Happy November + The Mystery of the B-Side Albums

November is finally here, which means Thanksgiving, having Christmas everything crammed down your throat for the next month and half and last, and more relative to When In Doubt, Clap!, a number of bands are putting out albums of unreleased material and b-sides from previous albums.

Included in the list of bands putting out albums full of not-so-new material during November are Copeland, The Format, The Killers, Thursday and Anberlin.

Coincidentally, three of these albums (with the exception of Kill The House Lights by Thursday and Sawdust by The Killers), a deluxe two-disc edition of U2's Joshua Tree and an album of material from Taking Back Sunday off of Tell All Your Friends will hit shelves on exactly the same day - Nov. 20.

Even though Thursday's album was released Oct. 30 and The Killers released Sawdust Nov. 13, you've got to wonder, what's the mysterious fixation surrounding this pre-Thanksgiving release date?

That's what I'd like to know. Was there some sort of contract time where they couldn't do anything with these songs after Thanksgiving or vice versa? I really don't know what the reasoning is, but I would love to find out.

One legendary band, one stellar album and two shows impossible to miss

Zeitgeist of Pumpkins, Bravery, LCD Soundsystem and an Arcade Fire

Biblically, after the feast comes the famine and vice versa. If this ideological maxim holds true in all aspects of life, then the return of Billy Corgan's "machine," Smashing Pumpkins is a great example.

In 2000, after the release of Machina: The Machines of God (and an online release of a series of songs called Machina II: The Friends & Enemies of Modern Music), Corgan's supergroup called it quits. Since that time, there has been a Smashing Pumpkins famine. For seven years the alternative rockers that were a dominating force in music remained silent.

Then, on June 25, 2005, in a full-page advertisement in the Chicago Tribune, Corgan announced plans to reunite the band. Though only drummer Jimmy Chamberlain jumped back on board with Corgan to reform the band, the two forged on to tour and produce the bands seventh album, Zeitgeist, which was unleashed in July.

While the album takes a different direction than the Pumpkins' previous albums, Zeitgeist stays true to the heavy, emotional style the band is most famous for. Corgan himself summarized the themes of the album as "love, loss and the government." The last topic is most apparent at first glance of the record. The cover pictures a sun-lit Statue of Liberty robe deep in water -- an obvious statement about current global warming trends. Song titles like "United States," "For God and Country" and "Doomsday Clock" solidify the message being put out in concern to political issues and trends.

But Zeitgeist isn't just an avenue for Corgan's political views to be expressed, the second single, "That's the Way (My Love Is)" attests to the well-rounded attempt Corgan and Chamberlain made to hit the "love, loss and the government" themes. "That's the Way" seems to echo Machina era Pumpkins and is arguably the catchiest track on the album.

Of course each track is good in it's own right, but, even so, Zeitgeist is not comprised fully of hit material. In fact, the album as a whole takes some getting used to before it's committed to memory and becomes a go-to album. An initial listen actually leaves the listener wondering where the transitions between songs even is most of the time.

The album tends to start really heavy and get lighter and lighter toward the end. It makes the listen flow, but also a little one-sided. It feels unbalanced at times but somehow, with each additional listen, it seems to even itself out and take on a more solid feel overall. For the listener spinning Zeitgeist for only the first or second time, do not worry that Corgan is going the way of his solo release.

Smashing Pumpkins are back, with a vengence, and with each unique listen a new track will mean more and gain more favor as the progression to loving the entire album becomes possible. Corgan, Chamberlain and the new crew stay true to the sound that is Smashing Pumpkins and Zeitgeist should be a perfect fit in completing any fan's catalog of the band.

In step with supporting the new album, Smashing Pumpkins are out on the road and will making an appearance in Utah at UVSC's McKay Events Center on the evening Friday, Sept. 28. Doors for the event open at 6:30 and ticket prices range from $36.50 to $47.50 depending on how close you want to be from the action.

Directly supporting the Pumpkins on this leg of the tour is The Bravery. The Bravery also recently put out a new album, The Sun and the Moon, which includes the hit song "Time Won't Let Me Go."

This is one of the must see events of the fall, as is another show which will be coming through Utah only two days prior to the Smashing Pumpkins concert.

Wednesday, Sept. 26, marks a most rare event for music fans in Utah Valley. Indie superheroes Arcade Fire are actually coming to perform in the state of Utah. In support of their incredible release, Neon Bible, and with direct support from LCD Soundsystem, this is a concert that anyone with any taste for indie music cannot miss.

Held at Thanksgiving Point's Waterfall Amphitheatre in Lehi, gates will open at 6:00 and the show will get underway at 7:00. The amphitheatre is a grassy venue and blankets are exceptionally handy for seating. Tickets for the show are $36 for general admission. Between the energy and ingenuity of Arcade Fire and the dance-punk infusion of James Murphy and LCD Soundsystem, whose latest release, Sound of Silver, has been well-received worldwide, this show cannot be missed.

So This week it's the battle of the two super shows in Utah County. Smashing Pumpkins and Arcade Fire. The Bravery and LCD Soundsystem. If there is any possible way to catch both of these mammoth-sized events, it's highly recommended.

In anticipation of Sept. 26, here is an old review/preview combo

Note: The following post is made up of a review for the LCD Soundsystem album Sound of Silver and a brief preview of Arcade Fire's Neon Bible which I wrote before it came out (obviously the information is dated, but it's about showcasing some writing I have done previously about the band and the album). I'm posting this review/preview combo in lieu of their upcoming visit to Thanksgiving Point on Sept. 26. It is looking to be one of the best shows on the year and you should expect a full rundown as soon as it's over on When In Doubt, Clap! So for now, enjoy a review/preview combo of each respective band's latest release.


Sound of Silver sounding more golden
New release by acclaimed disco-punk outfit aims for aesthetics

Sound of Silver, the latest release by LCD Soundsystem, is a major staple in dance albums produced this year.

LCD Soundsystem is the side project of James Murphy, co-founder of Death From Above (DFA) Records. Sound of Silver is the follow-up record to the 2005 self-titled release that made everybody want Daft Punk playing at their house.

LCD Soundsystem’s Sound of Silver was released through DFA/Capitol. It hit stores until March 20 in the United States. The record also leaked onto the internet months before the release date, and numerous fans had already put in a few good listens before the album ever touched the shelves. Those who wanted to get a preview, but not just a pirate copy, got a taste of what’s on the new album on the band’s Web site.

This new effort by Murphy is a standout, sporting tracks that could have been on the self-titled album as well as new standouts that are sure to perk up a lot of ears. Must-here tracks on the album include “North American Scum”, which is the first single from the record, “All My Friends”, and “Someone Great.” “Someone Great” was extracted directly from a 45-minute track Murphy put together for Nike and iTunes, aptly titled "45:33," in 2006.

Despite being a well-put-together release, Sound of Silver does have a couple of the nine tracks that quickly become mundane and overly repetitive. One track in particular, the opener “Get Innocuous”, lives up to its meaning. It fails to catch the listener’s interest throughout its seven-minute plus duration. Murphy and the sound system are in full force on this sophomore effort. He continues expanding his sound on the album, sampling from other influential artists like Bowie, Talking Heads and New Order.

Sound of Silver is possibly one of the most anticipated dance/disco/punk albums of the year. Clips of the new album on the LCD Soundsystem website, lcdsoundsystem.com


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Music Noteworthy of the New Year

A new year means a fresh chance for some excellent music. A number of artists are taking advantage of this by releasing their albums right away in the first few months of 2007.

Numerous releases doesn’t necessarily mean loads of excellent, listen-worthy music. To help alleviate some of the stress of picking through what’s promising and what wasn’t worth the cost of printing, there are some albums worthy of recommendation out there.

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Arcade Fire – Neon Bible

Canadian super group Arcade Fire, masters of utilizing large numbers of instruments as opposed to digitally combining their sounds using technology, bring forth their new effort, entitled Neon Bible, March 6. Neon Bible rings true to the band’s patent sound, and seems to pick up where their initial release, Funeral, left off. Singles like “Intervention” and “Black Wave/Bad Vibrations” make this effort seem a very listenable album that will be worth the anticipation.

In an effort to build some excitement about the release, earlier in January the band created a toll-free phone number which was answered by the first single of the album, “Intervention”. Though not the first to try this technique of getting a song into the public without the cliché internet “leak”, Arcade Fire is working hard to create a buzz about Neon Bible, which, hopefully, and likely, the album can match.

The New Nervous gets frantic on debut EP

Local band's first album makes social issues listenable and danceable

The local music scene in Utah Valley is hit or miss most times. One of those times when a direct hit occurred was when The New Nervous formed in late 2005. Another direct hit was when The New Nervous released their debut EP, Frantic Is The New Nervous, earlier this year.

Frantic is a solid seven-song effort accompanied by a couple of bonus tracks (practically making it a full-length release). According to the band, the idea of the record stems from the fact that “In a world overwhelmed by sensationalism, being nervous is no longer enough.”

Being nervous may not be enough to get a point across, but Frantic gets its message across loud and clear. An album full of social commentary on hot issues and fresh takes on often abused thematic elements, Frantic is sure to strike a fancy with listeners from all walks of life.

Opening the album is the catchy, fast-paced “Hum.” This track appears to be chronicling the ups and downs in a relationship packaged in a symphonic vocabulary full of new catch phrases and one-liners that could easily grace an infinite number of MySpace profiles. “Hum” also hits some of those bumps and smooth spots in the music as well. As the song opens with a pounding introduction, it immediately slows down as it begins the first verse. Then it speeds up again and takes several twists and turns that weave a beautiful story, punctuated by phrases like “I hear my heart in the stereo, rhythmically repeating.”

Into the middle of the album, “Our Mission Statement” and “Collapse Your Lungs” stand out as tracks that make bold statements about social trends. “Our Mission Statement” feels like a social deconstruction on the entertainment industry's stranglehold on the American public at large ,and how the public sits back and soaks it all in (“Hollywood dictates, you take the notes, on the very paper designed to slit our throats”).

“Collapse Your Lungs” takes on the issue of obsessing over body images as they are portrayed in the media. This story of someone chasing a “perfect” body image is noted in phrases like “pain is pretty,” “your enchantment with enhancement leaves you inadequate” and a line from the title of the track, “collapse your lungs, not enough room in your body.”

Scott Shepard's (vocals, guitar) lyrics are so thought provoking and immediately relevant to today's society while maintaining a sort of timeless quality that gives it staying power. And he takes one last jab at a hot social issue in the last track (not counting the bonus tracks) of the EP with “Pharmacadia.” Most easily The New Nervous' most danceable song, “Pharmacadia” addresses the topic of a societal dependence on prescription medications, as the title implies.

The song sets up a scene where the town of Pharmacadia everyone “thrives on what the doctors prescribe.” But then the song turns to the chant of “let's burn this temple down” and “I've got this body full of chemicals and I want out,” which seems to reference a desire to escape the dependency of drugs and live life without that chemical attachment.

Rounding out the Frantic experience, The New Nervous toss listeners a couple bonus goodies starting with a bare-bones, guitar-and-piano version of “Hum,” which superbly showcases the actual talent that stands at the core of The New Nervous. The other bonus track, “Deathcare Industry” feels like it is deserving of only being a bonus feature on the album. The bass-heavy, Deftones-esque song feels very forced and cliché. It definitely doesn't fit with the rest of Frantic and doesn't really seem to fit in with what anyone would expect from these local dynamos.

No matter the spin you take on Shepard's points of view purveyed in his songwriting, Frantic is a unique and experience with each and every listen. Each song envelopes the overall idea of “being frantic” to attack social issues in a manner that makes people want to hear about them. It addresses what people often choose to overlook without shoving it in your face. Frantic Is The New Nervous is one of the most impressive and powerful debut releases I've ever encountered. It's highly recommended for anyone interested in or a fan of the local Utah Valley music scene.

Wolf Parade frontman takes detour through Plague Park

This article also appearing in the June 18 edition of The College Times.

Boeckner’s Handsome Furs make “sparse and repetitive” anthemic

The latest installment of side projects off-shooting from the band Wolf Parade, Handsome Furs, released their debut full-length album on Sub Pop Records recently.
Plague Park hit shelves May 22. It sounds very similar to a Wolf Parade album, that is, if Wolf Parade was stripped and pieced back together consisting only of vocalist and guitarist Dan Boeckner, his fiancée, Alexei Perry, and a drum machine.

The concept behind the project, according to their website, is to be “Dark and minimal while noisy and earnest … as sparse and repetitive as possible with the help of little more than vocals, guitars and a drum machine.”

On first listen the album as a whole feels kind of lagging and bleak, but, given what the duo has set out to accomplish, they’ve achieved their goal with interesting results. Results that create a growing album that becomes more anthemic with each additional spin.

This growing power seems due largely in part to similarities to Apologies to the Queen Mary. Boeckner’s familiar, howling vocals on Plague Park feel reminiscent to “Modern World” and “Same Ghost Every Night.” It’s like he is using this new direction with Handsome Furs to improve and expound on the driving, haunting power that these two outstanding tracks provided to Wolf Parade’s LP.

Picking a couple stand-out tracks out from Plague Park is difficult given the “sparse and repetitive” nature of the album as a whole, but “Handsome Furs Hate This City” and “Dumb Animals” tend to stick out to most who venture into Plague Park.

This debut certainly mirrors the purpose of the project. The nine-track disc is bound by a very steady rhythm and tone. Each track bears some kind of originality while similarities envelope every stripped, machine-driven track.

Plague Park, though perhaps not super impressive on the first go-round, is a worthy effort from this duo, the newest addition to the pack of Wolf Parade sides.

Welcome To Happy Hollow

Originally ran as an artile in The College Times on October 28, 2006. It's old, and I cleaned it up, but the review is timeless in nature.


New Cursive album takes even newer direction

“Welcome one and welcome all to our small town,” Tim Kasher (vocalist, guitarist) sings, welcoming all listeners to the small town and the bands fifth full-length album – Happy Hollow.

Released August 2006 on Saddle Creek Records, Happy Hollow marks a move in a new direction for the Omaha, Nebraska four-piece comprised of Kasher, Matt Maginn (bass), Clint Schnase (drums) and Ted Stevens (guitar, vocals).

Keeping course with the bands unquenchable thirst for re-invention, take The Ugly Organ for example, and with the departure of cellist Gretta Cohn, Cursive have added a section of horns, arranged by Nate Walcott, which nicely punctuate the starts, stops, and strains throughout this 14-song collection. Even with so much change going on, somehow the Cursive stays true to their overall sound and Kasher to his disjointed song-writing style with Happy Hollow.

Continuing with a theme of change on the album, Kasher not only takes on a modified sound, he also moves past drowning his troubles with women at the bar and has a much larger fish to fry, namely God. It becomes somewhat what Jonah Bayer , in a review for Alternative Press, referred to as “The Da Vinci Code for indie rockers.” It isn’t a direct stab at Deity, but it does reveal a genuine skepticism about Catholicism with track like "Big Bang," "Bad Science" and "Bad Sects" which take definite aim at the religion.

However, he never mentions the church, nor does he denounce organized religion directly, he does it by constructing stories based on characters from the sleep town of Happy Hollow such as Father Cole, the pregnant teenager named Jeannine, other characters who remain nameless, and Dorothy, while not directly related to the subject of God or religion, strikes a familiar chord as a girl who keeps living in dreams of emerald cities and chasing tornadoes on the tracks "Dorothy at Forty" and "Dorothy Dreams Of Tornadoes."

One track that puts a bit of a kink in the fluidity of the record, even though it is somewhat of a roller coaster ride and full of thought provoking lyrics regardless, is the track "Into The Fold." Kasher recounts a philosophical discussion between a lamb and a shepherd, which will generally lose most listeners. Kasher perhaps gets a little to deep on this track, but it doesn’t really ruin the overall listen of the album.

Happy Hollow is a beautiful mix of storytelling, multi-genre sound, and ambiguity that create something of an eccentric package that is definitely worth a few good listens.