Soundset 2011 Lineup Revealed!

In what has become the kickoff to the MN outdoor concert season the past few years, Soundset released its lineup this morning for the 2011 edition. Joining Minnesota mainstays Atmosphere, Brother Ali and the entire Doomtree crew (P.O.S., Dessa, Sims, Cecil Otter, Papertiger, Mike Mictlan, Lazerbeak) will be one of the biggest coups this young festival has pulled, as they have secured a headlining slot out of Outkast member Big Boi. De La Soul, Slaughterhouse and Curren$y will also take the stage on May 29. Check out Soundset's Home Page for all the details. Tickets go on sale this Friday, and will of course be reasonably priced as always.

The Rural Alberta Advantage @ First Avenue 3/25/11 (Concert Review)

When a band starts thanking the crowd before they've even played a song, you know you're in for a special evening. That's exactly what happened with The Rural Alberta Advantage last night at First Avenue. As soon as the screen raised and the trio appeared to a sold out crowd, frontman Nils Edenloff said grinningly, "This is the largest crowd we've ever played to. Even if our Toronto CD release show sells out, there won't be as many people as there are here, so let's call this our CD release show." As the massive crowd cheered in approval, the RAA burst right into the spastic "Luciana," which showcases drummer Paul Banwatt at his most furious. The tenacity at which he manages his kit is remarkable, and that continued into the equally upbeat "Muscle Relaxants," "Rush Apart," and the group's first hit "Don't Haunt This Place."

After a trifecta of songs from the new album, Departing, and another thank you or two from Edenloff (seriously, he had to have thanked the crowd a dozen separate times), the middle of the set found the attention shifting from Banwatt's drumming to Amy Cole's multi-instrumentation. Whether it was the keyboard, the Moog, the percussion or the high-tech xylophone, Cole played them with precision and importance, while also complementing Edenloff's signature nasal delivery with her own understated vocals. While Banwatt and Cole took a brief break, Edenloff jumped into a tame cover of Survivor's "Eye of the Tiger," that was enjoyable but expected considering it's been a staple of their setlists for years now.

They picked the energy back up with the rabid "Four Night Rider," the blissful "In the Summertime" and the intimate yet in-your-face "Frank, AB," which found much of the crowd singing along. As they closed out the main set with an excellent rendition of their recent hit "Stamp," the crowd grew even more appreciative, and in turn, so did the RAA. As they took their bows and stated "seriously, you guys have no idea how good this feels," the crowd roared and had no problem patting their respective backs. All throughout the night, the RAA seemed to be smiling, truly enjoying what they do and admiring those that come out to see them play. 

The encore began with "North Star," which Edenloff dedicated to the North Stars, prompting a "too soon" or two from the still lively crowd. After the trio caught their breath, they ripped through the crowd-pleasing "Drain the Blood," "Barnes' Yard" (one of the highlights off the new record) and "The Dethbridge in Lethbridge," which Edenloff and Cole bellowed with loving urgency. 

This is when the show would normally end, but after a brief band conference offstage, the RAA jumped back in front of the swelling crowd and declared that they would "do the impossible." Edenloff grabbed his guitar, Cole snagged a tambourine and Banwatt took a single drum as the trio headed to the landing on the stairs on the way up to the bathrooms. Here, after one last gracious thank you, they closed off the night playing the oh-so-quiet and aptly titled "Good Night" to a perfectly attentive crowd (well, after a few people shushed their friends). Edenloff proclaimed that "we've done this every time we've played Minneapolis and can't stop now."

No, no you cannot.

(Note: Opener James Vincent McMorrow seemed equally blown away with the turnout as the RAA. Unfortunately, JVM's subtlety and brazen falsetto had a tough time connecting with a buzzed Friday night crowd. Despite this, he still delivered a gorgeous set, just not at the right time).

Setlist: Luciana / Muscle Relaxants / Rush Apart / Don't Haunt This Place / Tornado / Two Lovers / The Breakup / Eye of the Tiger (Survivor Cover) / The Ballad of the RAA / Four Night Rider / Edmonton / Under the Knife / In the Summertime / Frank, AB / The Deadroads / Stamp / Encore: North Star / Drain The Blood / Barnes' Yard / The Dethbridge in Lethbridge / Good Night

The Pains of Being Pure at Heart - Belong (Album Review)

THE PAINS OF BEING PURE AT HEART * BELONG

(Slumberland/Collective Sounds)

I don't know if you can attribute it to nostalgia or just a nice change of pace, but I really can't get enough of recent 1990s revivalists. The Pains of Being Pure at Heart aren't straightforward 90s-lovers like [my current obsession] Yuck, probably because they've had a little bit longer to hone their craft. However, there's no doubt that the ten songs on Belong, their follow-up to their excellent self-titled debut LP, borrow slightly from some of the premiere bands of the early to mid 90s, including Smashing Pumpkins and The Cure. Lead singer Kip Berman has a whispy yet commanding voice. It doesn't dominate your ear buds with volume but begs your attention because of its sincerity. Nowhere is that more evident than in "Heart in Your Heartbreak," which may be the ideal radio single (if the band were on a larger label).

Belong is much more polished than their past output, and that can be argued both positively and negatively. Sure, the blushing naivety of TPOBPAH's earlier work was both charming and engrossing, but the new, hook-centric direction of the band invites them to showcase their burgeoning skills in alternate ways. As is heard on "My Terrible Friend" and "The Body," Belong shows the young quintet settling into a common idea of form & structure. All throughout, they're noticeably more cognizant of production. That's not to say this album is over-produced (because it's not); Belong is just obviously a product of planning, procedure and attentiveness to every little detail, whether it be an added guitar line, a locked hi-hat or the oh-so-little group pause between the bridge and chorus. All of those components result in maybe not the listen we were expecting, but definitely one that is desirable and capable of continued rotation.

With the slight change in direction TPOBPAH has taken, it's already easy to long for their more emotive past. Sadly though, the weakest moment in the album might be when the band tries to reconnect with that on "Anne With an E." In an album that is supposed to mark the young band's progression, "Anne With an E" seems like a [small] step backwards, and unfortunately, a little out of place. Thankfully, the anthemic "Even In Dreams" picks the record back up with a Weezer-esque vibe (seriously...replace Berman's voice with that of Rivers Cuomo...you'll hear it).

As the album steadily closes with the driving "Strange," we're again reminded of the band's humble infancy. Instead of a pounding exclamation to finish their second full-length, we're offered a slow fadeout that's as much a point of emphasis as it is a bow. TPOBPAH may not have gone about business as usual during the Belong sessions, but they absolutely created an enjoyable next step in what is still an adolescent career.

Grade: A-

The Strokes - Angles (Album Review)

THE STROKES * ANGLES

RCA Records

When The Strokes first burst into our lives 10 years ago, they drew comparisons to Nirvana; not for the music they were making, but for the shift in the musical climate their specific sound was supposed to indicate. It seemed like in the matter of months, they became one of the biggest bands in the world. They headlined the world's premiere festivals, were known as over-the-top partiers, dated celebrities and ruled the rock world for the better half of this century's first decade. So when they went on hiatus a little over 4 years ago after their mind-blowing debut and two equally respectable follow-up albums, it was a bit of a gut shot to their always supportive fan base. Less successful side projects and solo albums followed, but it wasn't until Angles was officially announced late last year that Strokes buzz started all over again. Unfortunately, the anticipation for The Strokes' fourth LP seems to have outweighed the product.

Angles kicks off with "Machu Picchu," and doesn't sound at all like The Strokes. Rather, it sounds like Junior Senior trying to be The Strokes. It's as if they didn't know if they should sound worldly, progressive or just be their old natural selves; the result is a major disappointment to anyone who has waited patiently for new material the past 5 years. The album's lead single, "Under Cover of Darkness," follows with a burst of energy harkening back to the Is This It? days. "Two Kinds of Happiness" is a strong next step, allowing the listener to reminisce about discovering The Strokes the very first time...smart, fuzzy guitars punctuated by Fab Moretti's signature crisp drum lines. "Taken For A Fool" starts off weak but grows more boisterous as the chorus hits. Aside from these minor highlights, though, the rest of the record doesn't pay homage to The Strokes' breakthrough debut, but rather actually makes us ask, is this it? By releasing "Under Cover of Darkness" as the first single, they pulled off the classic bait-and-switch, as the overwhelming majority of Angles is a lazy, soulless mess.

"You're So Right" & "Games" make Julian Casablancas sound like a malfunctioning droid; definitely not the one we're looking for. In these songs and many others throughout Angles, he borrows from the electronic effects that made his 2009 solo debut Phrazes For The Young so successful. Unfortunately for us, though, those traits do not mesh with the aesthetics his bandmates have brought to the table. It doesn't help that for a solid 6-7 songs, Julian just sounds bored and uncommitted, as if it's a chore for him to even be in the studio.

And then there's "Call Me Back." What the hell is this? Julian & company slow things down to an insufferable pace that not even a diehard Strokes fan could enjoy. If this song made the cut, what are the leftovers that Julian and guitarist Nick Valensi speak of in terms of material for the supposedly already-in-the-works fifth LP?  "Call Me Back" is not only the worst song on this album, but probably the worst one The Strokes have ever written, recorded or thought of. If there are indeed leftovers from the Angles sessions, I have very little faith in their strength or promise. Angles ends with the mostly forgettable "Metabolism" and "Life is Simple in the Moonlight." 35 minutes after patience was supposed to be rewarded, the listener is given a half-assed, haphazard effort that will immediately begin to collect dust.

I'll accept the fact that rock & roll fans are notoriously fickle and hard to please. I'll admit that a band who has had such early success as The Strokes will have a difficult time ever recapturing that same kind of acclaim. I refuse to believe, though, that this is the best we could get from a band knowingly capable of releasing substantially thoughtful and exhilarating material. Angles was phoned in, and intentional or not, it's a snub to The Strokes' devout fans.

Grade: C-

Quick Hits 3/16/11 (Album Reviews)

Wye Oak * Civilian - With music so beautifully sweeping, one would hope the vocals would capture the same result. Instead, vocalist Jenn Wasner mostly mumbles over 40 minutes of lush instrumentation, failing to create a cohesive listen. (B-)

Kurt Vile * Smoke Ring For My Halo - Failing to succumb to any pressure surrounding his earlier work, Kurt Vile delivers an album that further establishes his credibility as one of the most introspective and intoxicating songwriters currently making music. Thoughtful music for the foreground. (A-)

Acrylics * Lives and Treasure - Uninspired synthed-out indie pop from Brooklyn-based duo. [Note to self: save that descriptor for future reviews]. (C)

The Smoking Popes * This Is Only a Test - With all of the 90s revivalism happening in 2011, it'd be easy to mistake The Smoking Popes for an upstart suburban garage band. That's to say that they haven't changed much in 20 (yes...20) years. An easy and enjoyable listen that will please longtime fans. (B)

Middle Brother, Dawes & Deer Tick @ First Avenue 3/14/11 (Concert Review)

Photo: Steve Cohen for City Pages

Usually when I'm watching a band (or bands) perform, I'm thinking of how I will write up the show the next day, keeping close tabs on which band played which song, and in what order. Last night, though, I kicked that thinking to the curb and just enjoyed myself and every minute of the evening. From Deer Tick's boisterous opening set (featuring a Matt Vasquez mini-set) to Dawes' expected crowd-pleasing hour (w/ a little Jonny Corndawg for good measure) to the Middle Brother bonanza that closed out the evening, First Avenue had a Saturday night style gig as a week opener. Rather than recap each of the sets, here's a list of why last night was awesome:

• Deer Tick rocked, and John McCauley looked good with a gold tooth (and somehow later, with a matching gold shirt).
• Matt Vasquez joined Deer Tick for a blistering version of Nirvana's "Scentless Apprentice" that featured more guitars than a Thin Lizzy tribute band.
• Wait times between sets were short and sweet, while Ludacris played overhead.
• Dawes' featured plenty of new material, including a slightly more participative version of "Fire Away" then we've heard their last few times here. I wish they would've also done the crowd participation portion of the relentless "How Far We've Come," but we can't have everything.
• Matt Vasquez commented how Dawes' bassist Wylie looks like if Jeff Goldblum sold his soul to the devil for good looks.
• Despite being seated closer to the garage than the crowd, Griffin Goldsmith still manhandled his drums expertly.
• Minneapolis loves Dawes. Dawes loves Minneapolis.
• Jonny Corndawg. Jonny Corndawg's outfit. Jonny Corndawg's beard. Jonny Corndawg's banter. Jonny Corndawg's dance moves. Jonny Corndawg.
• Dawes' go-to closer, "When My Time Comes," is one of the best live songs any band can play. Last night's version, featuring Taylor's Middle Brother brethren (and yes, a little more Jonny Corndawg) was one of the best renditions of any song I've ever heard in concert. Hands down.
• I think John McCauley drank about 16 beers, some of them with no hands, and also expertly spat Budweiser bottle caps into the crowd (before drenching the "lucky" few in front of him with an unexpected shower of malt & hops).
• Matt Vasquez broke a string on his wicked Flying V early in Middle Brother's set. Rather than getting another guitar, he changed it himself, in the spotlight.
• John McCauley played so hard he bled, and wiped it all over his face...and made fun of the Spin Doctors classic "Two Princes."
• The nerdy bassist from Deer Tick has a booming voice; the verse he sang in Middle Brother's last song got one of the biggest pops of the night.

Yeah, so the show was awesome for all of those aforementioned reasons, plus countless others that I'm probably forgetting. Were you there? Post a highlight in the comments section and let me know what I forgot...I was too busy enjoying every last second of my Monday night.

The Pains of Being Pure at Heart - Belong (Full Album Stream)

The Pains of Being Pure at Heart are being super generous young kids & streaming their new album in full over at their website. Check out Belong, which is a little more in-your-face than their excellent 2009 self-titled release...and that's a good thing. They'll be in Minneapolis (with Twin Shadow) 4/25 at the Triple Rock. If you don't have a ticket yet, you better get on that.

New Music from Battles, Okkervil River, Arctic Monkeys

I have been one of the more vocal opponents of the recent boom of one-word band names ending with an "S." That said, Battles' new single "Ice Cream" is one fine song. We'll have to wait until June 7th for their new LP to release, but check out the deliciously named track below:

Battles - Ice Cream (Feat. Matias Aguayo) by weallwantsome1



Okkervil River's much anticipated new record hits stores this May. They've been kind enough to offer a free download of its first single, "Wake and Be Fine,"  here:

Finally, Arctic Monkeys have announced a new album, the awfully named Suck It and See, to be released in early June. Here's the first single, "Brick By Brick," which sounds as bad as the album's name:

Yuck Side Project - Already?

As I've been fawning over Yuck's terrific self-titled debut LP, frontman Daniel Blumberg has already embarked on a side-project under the name Oupa (thanks to Paste for putting this on my radar). Despite his lack of creativity in forging his bands' respective names, Blumberg is one smooth songwriter. Give a listen to "Forget" below, which is a tad more minimalist than his work with 90s-loving Yuck:

Forget by oupa

New Explosions in the Sky Single

So here's some good news for an otherwise bleak Tuesday morning. Explosions in the Sky, in all of their non-vocal kindness, have just released the first track off of their upcoming album Take Care, Take Care, Take Care (out 4/26). "Trembling Hands" rips like you'd expect, but is surprisingly short for a group known for 8+ minute epics. Take a listen:


Trembling Hands by Explosions in the Sky

Awesome New Band Alert - Ringo Deathstarr

My affinity for Star Wars stretches beyond the films, so when I came across a band with the awesomely mashed-up name of Ringo Deathstarr, I was instantly drawn to them. The Texas natives release their debut LP, Colour Trip, this Tuesday 3/8 on Sonic Unyon, and it's fantastically fuzzy. Check out one of the album's highlights, "Tambourine Girl," below:

Quick Hits 3/4/11 (News, Concerts, Free Album Streaming)

Blake Sennett misses Donkey Lips

Rilo Kiley lead guitarist Blake Sennett (aka Pinsky from "Salute Your Shorts") has played second fiddle to Jenny Lewis for many years. After Jenny embarked on her solo career (and subsequent pairing with lover Johnathan Rice), I was crossing my fingers that Sennett would return to The Elected moniker and release a follow up to 2006's excellent Sun, Sun, Sun. Well he did it, and this week Spin posted the falsetto-rich new track here. A change of pace and a welcome back. The new album, Bury Me In My Rings, hits stores on 5/17 via Vagrant Records.

The Kills, appropriately smoking

Minneapolis clubs have been announcing a ton of high-quality gigs for the late Spring / early Summer as of late. Make sure you pick up tickets to the following before it's too late:

*The Kills w/ Cold Cave - 5/5 @ First Avenue

*Iron & Wine w/ The Head and the Heart - 6/8 @ First Avenue

*Architecture in Helsinki - 6/9 @ Varsity Theater

*Okkervil River w/ Future Islands (and maybe Titus Andronicus) - 6/12 @ First Avenue

These guys are still around?

Local dude-rock station 93X has announced plans to bring back X-Fest after a 7 year hiatus, 5/28 at Midway Stadium. The macho daylong festival will feature Godsmack, Puddle of Mudd, Black Label Society and various other bands I had no idea were still making music. I've wanted the station to bring back this festival for years now (well, I'd rather have it harken back to the Edgefest days). I think it's important for the Minneapolis area to host bigger outdoor festivals again. Given this lineup, though, I'm starting to think 93X forgot it's actually 2011. Details here.

If you're looking for some new music on the cheap (aka free), you can find new albums from the following currently available at a variety of free (and legal) streaming sites:

*Rural Alberta Advantage, Middle Brother, Beady Eye, Ron Sexsmith and more at Spinner.

*R.E.M., Wye Oak, The Mountain Goats, Kurt Vile and Alexi Murdoch at NPR First Listen.

*Elbow, DeVotchKa, Julianna Barwick and a ton more at 3VOOR12.

The Rural Alberta Advantage - Departing (Album Review)

THE RURAL ALBERTA ADVANTAGE * DEPARTING

(Saddle Creek)

When The Rural Alberta Advantage released their debut, Hometowns, a couple years back, I became an instant fan and immediately wanted more. Even though they turned around Departing fairly quickly, my anxiousness found it long overdue. Patience is generally rewarded, and when the album's first single "Stamp" hit airwaves a few months back, I got legitimately giddy. One of the reasons I loved Hometowns so much was Paul Banwatt's speed-of-light drumming, and "Stamp" throws that front and center. It encompassed so many of the highlights of its predecessor into one neat 3-minute package.

Departing begins much more methodically than Hometowns. The slow and painfully romantic "Two Lovers" is far different than the in-your-face percussive blast we were given with "Stamp." It's definitely a curious choice for a lead track, but it succeeds in setting the tone RAA fans grew accustomed to with Hometowns. "The Breakup" kicks things up a notch, highlighting lead singer Nils Edenloff's over-the-top nasally delivery while simple layers of keys and Amy Cole's background "ooohs" and "aaahs" exuberantly complement his snarling vocals. The nasally peak is reached two songs later on the loud, straightforward, punch-in-the-gut "Muscle Relaxants."

The second half of the album finds the RAA drifting towards a common, pastoral feel. "North Star" relies heavily on simple themes reminiscent of small town winters, while "Tornado" spits forth the kind of cyclical lyrics that the title suggests, giving us a tale of love found, then lost. "Barnes' Yard" is the album's shining light and would prove to be an admirable follow-up single to "Stamp." It bounces with the same sappy energy as Hometowns' "Four Night Rider." The blissful and somber "Good Night" closes out the sophomore effort, giving us a nice little bell curve of an album.

Departing might be a goof of a title, because this record is anything but a departure for RAA. Edenloff's lyrics grow a little monotonous throughout the quick 10 song LP...sometimes to the point where taking a shot every time he or his lyrical muse held each other close/tight would result in excessive inebriation. While it won't produce the same kind of glowing buzz as Hometowns, it does provide them with a solid launching pad for expanding their live offering. Now who's up for an RAA drinking game March 25th at First Avenue?

Grade: B