Built to Spill- There's Nothing Wrong with Love (1994)

In the now long gone '90s, Built to Spill dominated the indie rock scene alongside fellow pioneers Pavement and Modest Mouse. The term "indie" may be deprecated upon in this day and age, but listening back to the golden years, it's not tasking to pinpoint where it all started. However, even the great eras must come to an end. Pavement disbanded prior to the new millennium, and Modest Mouse found a new home and grander budgets underneath the wing of a little record label called Epic. Even Jeff Mangum of Neutral Milk Hotel pulled away from the public eye after releasing In the Aeroplane Over the Sea—one of the most beloved triumphs in the indie scene. So what became of Built to Spill's bearded frontman Doug Martsch? For starters, he consistently maintained his reputation as a powerhouse guitarist for nearly 20 years, outlasting various bands, projects and pipe dreams that most people with a guitar fantasize about. Although being one of the first to have his band defect from independent labels to find a home with Warner Bros., he fortunately retained as much creative control on a major label as he would have elsewhere. Most people don't realize that 1997's Perfect from Now On was the band's Warner Bros. debut, clearly due to the fact that it doesn't sound like a major label album. Despite that, at eight songs and nearly an hour long, it cemented their status as indie rock kings.
Three years prior, Built to Spill quietly released a loud pop rocker on pseudo-legendary Up Records. There's Nothing Wrong with Love is an amazingly fun album to enjoy, probably as much as it was for the band to record. Martsch displayed an almost whimsical style to his lyrics at this time, focusing more on the direct subjects than the thought provoking ones. The opening verse to "Fling" features some surprisingly not-so-subtle sexual innuendo, while fan favorite "Car" is a substantial blueprint to the existentialism and analogical style that would be heavily explored on Perfect from Now On and future endeavors. It goes without saying that the guitar riffs from one album to the next remained infectiously heavy, which above all else has become Built to Spill's defining attribute. Not a lot of guys had the guts to perform guitar solos in the '90s, but Martsch was determined to keep it in style.
Take a trip back before when Warner Bros. owned the band's asses, when the Brontosaurus took to the sky and step dads looked just like David Bowie. If this album was good enough for Pitchfork's top 100 albums of the '90s, it's fucking good enough for you.

1. In the Morning
2. Reasons
3. Big Dipper
4. Car
5. Fling
6. Cleo
7. The Source
8. Twin Falls
9. Some
10. Distopian Dream Girl
11. Israel's Song
12. Stab
13. Preview

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The Flaming Lips- The Soft Bulletin (1999)

For years, (like many artists of the same massive cult status, i.e. Radiohead, or say, the Grateful Dead) the Lips have been delivering perplexing marvels in rock music. But the prevalent, expensive and fancy equipment were never an option for Wanye Coyne's control. Even beyond the animal suits and dancing choirs, the exhibition of the Lips' high standing capacity is actually more hands on than you think. Take Coyne's paint splattered Calvin Klein suit, for example, or even his spray painted leaf blower "balloon machine." The Lips have always had that intimate touch, through their music and beyond, and this is what makes The Soft Bulletin so special for me. It's a constant tug upon your coattail, a small child longing for attention, or a passionate kiss. It's a fucking kitten. Whatever it may seem, this record still gives me that sensation. From the opening's glorious optimism, through the sincerity in "A Spoonful Weighs a Ton," and to the driving essence of "Feeling Yourself Disintegrate," it's understandably unreal. Everything is contradictory, and it finds this way to totally make sense. It's a trait the Lips have carried through their career because they realized it doesn't have to make sense to mean something to someone else. The abstraction is 85% intentional. This was (probably) the factor that drove Spin Editor, Doug Brod, to claim he's "not sure I've ever met anybody who didn't like the Flaming Lips." What is it about the Lips that keep us so personable with their music? The answer is found here.

1. Race for the Prize

2. A Spoonful Weighs a Ton

3. The Spark that Bled

4. The Spiderbite Song

5. Buggin'

6. What is the Light?

7. The Observer

8. Waitin' for a Superman

9. Suddenly Everything has Changed

10. The Gash

11. Feeling Yourself Disintegrate

12. Sleeping on the Roof

13. Race for the Prize (alt.)

14. Waitin' for a Superman (alt.)

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Violent Femmes- No, Let's Start Over (2006)

Embarrassing or no, I was first introduced to the Violent Femmes through an episode of Sabrina the Teenage Witch. It was back when Disney had bought the show for a couple years (2003, no doubt) and I would constantly find myself watching reruns. A fabulous episode it was! -Quick Synopsis: Sabrina's aunt's don't want her going to a concert by herself (Violent Femmes), so they accompany her disguised as teenagers, "Hillary" and "Zellery." Hillary clashes with one of the security guards and Gordie falls for Zellery, but in the end everything is resolved and Sabrina gets to ride the vacuum cleaner. The band also played "Please Do Not Go," as a special performance for Libby after Gordan Gano was put under an infatuation spell. The things I'd do if those really worked...

But Sabrina aside, the Violent Femmes are still a troupe deserving of ratification. Years of playing coffee houses and street corners really do pay off, adhering with the band even after modest success. You can hear this easily through the band's signature folk-punk fusion, and while Gano croons rhythmically about longing for love, sex, and affection. Playing live was the complete essence of the Femmes.

No Let's Start Over was originally recorded in 1984 during a performance in London, but was released as a DVD in 2006; this is merely the audio rip, and I've yet to see the actual performance. The set list consists of (mostly) songs from the band's early career. Ancient tracks include the legendary anthem "Blister in the Sun," alongside other easily recognized songs like "Add it Up" and "Kiss Off." A few other treats featured are The Blind Leading the Naked's "Faith," and "Prove My Love" from their widely recognized self titled. Even if you're not familiar with the band's catalog, live albums always offer a variety of singles to rarities, and is rewarding in itself to anyone ready to jump in. With this, I offer you a push.

1. It's Gonna Rain

2. Prove My Love

3. Country Death Song

4. Spiritua

5. Confessions

6. Faith

7. Gimme the Car

8. Black Girls

9. Add it Up

10. Blister in the Sun

11. Kiss Off

12. Kiss Off (reprise)

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Dinosaur Jr. @ Headliners Music Hall, Louisville

Dinosaur Jr., Lou Barlow and The Missingmen

Friday, October 16, 2009

Headliners Music Hall

Better than: Any experience in my life leading up to this show.

One thing I've learned about Headliners is that they really don't give a shit about your age. Although, it's not particularly a bad thing; eighteen and over shows should be banished altogether. Really, why? No one's buying beer with their little wristbands and hand stamps; no underage child is going to go home drunk. It seems that there is an unfair prejudice against people under 18, and with a band like Dinosaur Jr. arriving in town, the hate should stop here. To my absolute pleasure, it did. Eighteen or no, I got through that door.

The only downside to my experience was arriving extremely late. I missed Lou Barlow and The Missingmen's set -a total bummer because this time, I actually wanted to see the opening act. But my absence was made up for (see paragraph 4) and I believe it was well deserved. After all, who can deny the significance of flowers? Carrying a bouquet around a gig is a sure way to get noticed, at least; making friends this night was far from avoidable. It's nice being able to charm your way to the front.

Around came 9:00 and J Mascis took the stage, unnatural platinum hair swaying side to side with awkward bluesy sound checks and all. I never expected to take J for a bashful guy, but aside from mumbled thanks in between songs, he said nothing the entire set (this, of course, assuming he sang lyrics.) But modesty aside, the set list was insane. Predictably, tracks from Farm took up a good portion of the night -"I Don't Want to Go There" included an extended jam, along with a funky version of "Over It" and the record's catchy opener, "Pieces." But old school Dino fans got their treat as well. You're Living All Over Me's "Little Fury Things," Bug's "Freak Scene" and the popular "Feel the Pain" of Without a Sound were also honored. Keep in mind (for those who aren't familiar with the band) Lou Barlow is in Dinosaur Jr., even though he also produces solo work and was one of the founding members of Sebadoh. For the record, I freaking love Sebadoh. And deciding whether my bouquet should be given to J Mascis or Lou was an epic on its own. This, along with a few drunken dancing wash-ups, was my only distraction of the night.

It turns out my internal conflict was decided for me. Immediately proceeding the show, J Mascis hightailed to the tour bus and never came out, no answer to my urgent knocks and still no Lou to be seen. As with the Melvins, I figured lurking near the backside of the building was my best option, so I shot the breeze with some of Lou's old college friends, one of whom stole part of my heart.*

The whole ordeal lasted for at least two hours after the show had ended, but in the end Lou got my flowers and he wrote me a note in thanks. It was actually the first time I've had a real conversation with one of my underground heroes. And I didn't cry this time. It's not like I try to be the creepy fan chick anyway, it just comes naturally. But we'll see how long this newfound coolness fairs. Meat Puppets are hitting Headliners Nov. 17th. You bet your ass I'm there.

*TOM IF YOU SEE THIS POST, CALL ME.

The Smiths- Strangeways, Here We Come (1987)

The Smiths were more expansive than their generic name gave away. Does it even need to be mentioned what a great duo Morrissey and Johnny Marr made? To this day, they still refuse to tarnish their legendary years in the '80s by reforming, as if anything could be done to ruin a band so flawless. With a cadence that dripped with sincerity and sex, Morrissey gave voice to a muted generation. There weren't a lot of songwriters with the huevos to speak up about such sexual and personal subject matter before him; songs from human nature to comatose girlfriends and the every day life in between.

Strangeways, Here We Come is short, barely brushing past the 36-minute mark, but you'd be a fool to underestimate how much is packed into a half-hour with The Smiths. There are jams, ballads and anti-ballads that paint a vivid picture of mundane-yet-provocative life, and as mentioned prior, they are wildly relatable with Morrissey's affection. Even from the song titles alone, there's a certain atmosphere that's dark and inviting for anyone yearning to dim the lights and take a closer look at themselves. Strangeways is introspective music at its finest.

1. A Rush and a Push and the Land Is Ours

2. I Started Something I Couldn't Finish

3. Death of a Disco Dancer

4. Girlfriend in a Coma

5. Stop Me If You Think You've Heard This One Before

6. Last Night I Dreamt That Somebody Loved Me

7. Unhappy Birthday

8. Paint a Vulgar Picture

9. Death at One's Elbow

10. I Won't Share You

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Melvins @ Headliners Music Hall, Louisville

Melvins, Weedeater, Evil Army and Down
Monday, September 28, 2009
Headliners Music Hall
Better than: Nearly every rock show I've ever seen.

Perhaps it's dry city for Down fans, or maybe too many people just don't like Pantera, but I was expecting sheer mayhem. Hardly anyone was risking their limbs to be up front to, at the least, catch a glimpse of Phil Anselmo or even Jimmy Bower assaulting his drums. It's one of the very few occasions where people care more about the opening act rather than the actual headliner; it was beautiful.

The Melvins graced the stage by 9:00, as promised by Coady Willis whom I had spoken to earlier while waiting in line outside. I caught him before the band was apparently going out to eat (-yeah I know! It's like they're real people too!), and fortunately he remembered me. We had previously spoke after a Big Business show and we talked about tapeworms or something; sorta eerie, but mostly exciting. Buzz came out wearing his signature suede smock/turtleneck thing, immediately breaking into the set's first song, while the band's two drummers, Dale Crover and Coady Willis, pounded ferociously on their two drum sets. Among the night's setlist was Houdini's "Hooch" and "Night Goat," along with "Billy Fish" and "The Kicking Machine" from their '07 release Nude With Boots. The audience was treated to a dose of comedy as well. Between three and four song intervals, Buzz would stop to tell some kind of obscure joke no one really understood (or at least didn't hear over ringing feedback), but we would pretend to laugh and think it's funny anyway. It's Buzz, after all.

The show was great, yada yada. But here's where it really comes down to:

The Melvins have been one* of my favorite bands, at least since 10th grade, and are probably the only artists who have survived my drastic change in apparent 'taste'. This wasn't a promotional tour. The Melvins haven't had a new album since 2008. Ultimately, this tour was for the fans, (and maybe for some money too), but more importantly, for me. So you can probably imagine my immediate reaction when I was personally escorted behind the band's tour bus. Buzz in front of me, and my arms around his neck.

I am an emotional person.

I have no other reaction except to cry.

And to think I never understood those girls in the 70's, who ripped each other's heads off in the presence of John Lennon or Paul McCartney. To me, it was part of the era, and to me it looks ridiculous. But that's just how I was to everyone else. I was the sobbing teenage girl who could barely speak, and when I did, in complete gibberish. The only issue was that I didn't care. You get so overwhelmed with excitement and gratitude that it doesn't even seem real. It's everything you've dreamed of in front of you, and you're hugging it.

I encountered Dale Crover later in the night, along with a couple dudes from Weedeater. I cried in front of them, too. Maybe it was the alcohol (I literally had 12 beers), or it could have been the Buzz overhaul still seeping in, but I couldn't stop. The only thing that really sinks in now is that it was definitely worth coming home extremely late for. I would get grounded for the Melvins any day.

*The list of artists I label as 'one' are usually considered my absolute favorite. Although, given the amount of absolute favorites I actually have, I still feel using the word 'one' lessens Melvins value to me. It's like saying Tom Waits is one of the greatest songwriters of all time. What I mean is that he actually is the greatest songwriter of all time, among others. Therefore, there's no specific way to classify something I consider to the absolute best. I just, like the Melvins...a lot.

worst band ever

hands down.

Hole- Plugged & Unplugged (1995)

In light of the upcoming release of Nirvana's Bleach re-issue, I feel a change of perspective is in order. I don't give a shit about your personal feelings of Courtney Love. At this point, the only things that should matter are seeing Gus Van Sant's Last Days and downloading this album while you sit through it. So, open your mind. Let the rush of 90's nostalgia run through your viens and press play.

Love introduces you half shouting before breaking into the opening song of the night, "Miss World," the band's first single. The tinge of shouting teenagers is a little distracting, but given that this really isn't an official album (but rather, a bootleg of live footage), you can't really blame me. Just pretend you're really there, ok? Next on the set list is "Best Sunday Dress," and following that is the pretty-in-a-creeper-way "Softer, Softess" from Live Through This. The Crystals' song "He Hit Me" is also another highlight from the set. It seems like such an appropriate song for Hole to cover; I mean, it's soooo Courtney. And she doesn't sound half bad on it either. Another memorable cover performed was Duran Duran's "Hungry Like a Wolf" in which Love abruptly stops playing mid-song, almost as if she were joking. But I suppose that's a relief since she was totally butchering the song anyway. It's obvious the crowd doesn't mind either.

I only have a few concerns about a couple tracks, and they're only from confusion. Someone tell me, what's with "Sugar Coma"? Why does it have an identical melody to Celebrity Skin's "Boys on the Radio"? And is "Old Age" a Nirvana cover or is it the other way around? I know for a fact there was a tape demo of Cobain playing it on the Sliver box set, but I'm curious to know who's song it was first. These are things I've pondered over for a while, and surprisingly, the answers were unable to be found on google. So, grunge fiends, hit me up!

1. Miss World

2. Best Sunday Dress

3. Softer, Softest

4. Drown Soda

5. He Hit Me (It Felt Like a Kiss)

6. Asking for It

7. You've Got no Right

8. Old Age

9. Hungry Like a Wolf

10. Doll Parts

11. Sugar Coma

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Siouxsie and the Banshees- A Kiss in the Dreamhouse (1982)

Following on the heels of the late 70's punk rock movement, post-punk strikes again, but more lovingly. As the album title suggests, A Kiss in the Dreamhouse paints the image of surreal romance and dark secrets. It was also recorded in what Banshee fans refer to as the band's 'experimental' phase, which explains the crazy utilization of chimes, bells, synths, and vocal overdubs. But with the band's musical aspirations totally unzipped, who knew the album would turn out so fucking beautiful?

The record kicks off with frontwoman Siouxsie Sioux crooning angrily on the opener, "Cascade;" her voice 'like liquid falling,' literally. The emotion is almost intimidating, but vast craving only leads to the proceeding "Green Fingers," accessible through its catchy flute riff, like a bright notion in a dark situation: a much needed release from the harsh emotion of the album's opener. "She's a Carnival" serves as the records harshly delicious gem, which accommodates to an astounding harmonized vocal threesome, all with Siousxie herself. Totally wild. To top it off, the band also included a blues track, "Cocoon," soaked in a beautiful loungy bass-percussion intercourse. If there ever was a genre of surreal, new wave blues, this would probably be it. For an extra treat, the alternate versions of both "Fireworks" and "Slowdive," along with the Workhouse demos of "Painted Bird" and "Cascade" are graciously included.

A Kiss in the Dreamhouse is completely breathtaking, holding imagination to its highest limits and bending experimentation through fleshing out the unconscience images in our own states of sleep. Sometimes it's hard to leave, but Siouxsie and the Banshees don't make it hard to come back. Waking up is no longer an option.

1. Cascade

2. Green Fingers

3. Obsession

4. She's a Carnival

5. Circle

6. Melt!

7. Painted Bird

8. Cocoon

9. Slowdive

10. Fireworks (12" Version)

11. Slowdive (12" Version)

12. Painted Bird (Workhouse Demo)

13. Cascade (Workhouse Demo)

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Van Halen- Fair Warning (1981)

I've had Huevos for about a year and a half. Through this time, I've spent hours upon days trying to keep things tidy and updated. True, there have been some slums in posting, but aside from that, I think I've done a pretty good job. But it could all stop here. Faithful readers are probably already stumped -I'm stumped myself. Am I really posting a Van Halen album? From what I hear on Fair Warning, it hardly seems like the traditional cheese wizzed party metal that we're all accustomed to, especially coming from a band like this. But even through that time period Van Halen have always delivered something more, and I think that's something no one can deny, no matter what.

For the unknowledgable Van Halen listener, this record was released during the David Lee Roth period. What does this mean? Nothing. I genuinely have no broad knowledge of the band's history, or as to why it would even matter if it was during Roth's period or not. To a virgin listener, it doesn't matter. Hopefully the same can apply to you -unless you have a weird grudge against him or something, and I know some people that do. You might even have an unfair prejudice against the band itself based on the genre they represent, but I'm hoping that's not the issue here. It's just that sometimes I wish I didn't feel like I have to literally persuade you to download what I'm posting. I love the things I post and my affection by itself should be motivating. But if push comes to shove...

Which reminds me, this album rules. And it begins with the crooning phrase "this is Mean Street." The album's opener could figuratively be one of the most impressionable tracks on the record, just listen to the introduction. I don't mean to sound sappy or anything, but I do feel that Eddie was trying to say something with that solo. It's clever, surprising, whatever; it's cool. Not to mention, it's a good way to get pumped for the rest of the record. But who's to say the proceeding "Dirty Movies" isn't equally as driving? "Sinner's Swing!" gives the same impression, though it's a tad fast: a more sped up bluesy groove than what was apparent from the first two tracks. As a listener, you begin to realize the balance and nature of the record. Each track has a certain chemistry, and through that chemistry there is a defining moment. This is when you hit "Push Comes to Shove," a definite shining instance within the midst of almost prog-like riffs and mumbled vocals.

As the song suggests, "One Foot Out the Door" concludes the album on a hard, hanging note. We probably didn't understand anything David Lee Roth just said, but the track's brevity, in a compact 1 minute and fifty-eight seconds, is enough of a conclusion for me. Go Eddie, and fuck Van Hagar. Period.

1. Mean Street

2. "Dirty Movies"

3. Sinner's Swing!

4. Hear About it Later

5. Unchained

6. Push Comes to Shove

7. So This is Love?

8. Sunday Afternoon in the Park

9. One Foot Out the Door

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