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The White Stripes: "Blue Orchid"
get behind me satan -is the white stripes? fifth album -produced by grammy award winning producer jack white -recorded in Detroit at third man studios, mixed in Memphis at ardent studios, mastered in new york city at masterdisk -album contains thirteen original songs -songs were written on piano, acoustic guitar, and marimba -songs are deceivingly orchestrated, some sounding as if they were recorded with a full orchestra when they only have piano and bass on them -none of the songs had been played live before the recording of the album -none of the songs were completely written before the recording of the album -contains the white stripes shortest song to date -only three songs are electric guitar based -the band used their live sound engineer to engineer the recording -their fourth album, elephant was released one year after completion. the first single from get behind me satan, ?blue orchid,? was released two weeks after completion -jack white has described the record as an exploration of ?characters and the ideal of truth? -the band will tour prior to, and continue after, the album?s release but are only playing countries and cities that they?ve never been to before. The band plan to tour the u.s. and Europe afterwards. -a vinyl version of the record will be put on hold pending a unique release. -produced by jack white, engineered by matthew kettle, mixed by jack white, mix engineer john hampton, mastered by howie weinberg, photos by ewen spencer all songs written by jack white album artwork design by the third man artwork layout by arthole graphics
Jimmy LaValle, perhaps known best for his work in the contemplative dream-rock outfit Tristeza and San Diego's The Black Heart Procession, began releasing delicate, progressive instrumental work as The Album Leaf in 1999(the name comes from a Chopin piece). After years of labor-intensive touring and tinkering with complex tracks in his cramped bedroom studio, LaValle was repeatedly offered a rare invite from Icelandic phenoms Sigur Ros and Mum to record his newest solo opus in their Mosfellsbaer studio. He finally accepted and flew overseas to compose and record "In A Safe Place." With the addition of vocals (absent from previous Album Leaf releases) from The Black Heart Procession's Pall Jenkins, Sigur Ros' Jon Thor Birgisson, and LaValle himself, the songs on the new record are chillingly delicate and more pop-based than ever before. "In A Safe Place" masterfully negotiates the spaces between minimal electronica and neo-instrument rock.
Motion City Soundtrack: "Hold Me Down"
The way it works, everyone likes the first record better. You're a music fan, presumably, so you probably understand the idea here that, when placed in historical context, a band's initial statement to the world is often seen as its most lasting. Motion City Soundtrack began in Minneapolis in 1999. Two years ago, they released their first album, I Am The Movie, crawled inside a van for seemingly the end of eternity and shot a video with their friends back home for "The Future Freaks Me Out," a loud and instantly enjoyable anthem that has become such an undeniable apex at the band's live shows that it is no longer sung by singer/guitarist Justin Pierre as much as it is sung back at him. But as ubiquitous as it became, the song perfectly captured Motion City's allure. Irresistible and unhinged, "The Future Freaks Me Out" was a reference point for what was to come with Commit This To Memory, ironic considering they wrote the song in mere hours and it almost didn't even make it onto their debut. "Two weeks before we went in, [guitarist Joshua Cain] played the part and I sang those words and that's what came out," Pierre says now in amazement. "It was completely random. But that's how we work. It's funny when there's talk about how this record could 'make or break us.'" He laughs. "This band has always gone on its gut instinct." Last year, by way of the unrelenting schedule they kept behind I Am The Movie, the band was asked to join Blink-182 on a tour of Europe and, then, Japan. Somewhere backstage and in between, bassist Mark Hoppus modestly mentioned to the group that he was interested in pursuing production work once Blink took a necessary pause later in the year. Though he didn't know it at the time, Hoppus had just found his first client. "We thought of it almost as a joke,'" Cain recalls. "But on our last day of tour I asked him, point blank, 'Do you want to produce our record?' When he said, "Fuck yeah" I was like, 'Okay... can I get your phone number then?'" Stretching out in Los Angeles later that fall and occasionally propped up by some of their other famous friends, Commit This To Memory finds Motion City the sort of definitive record usually reserved for much later or---to really bring this full circle---slightly earlier in a band's career. "Everything Is Alright," the album's first single (with Fall Out Boy's Patrick Stumph and Limbeck's Rob MacLean and Patrick Carrie there in the background), isn't about writing off their past as much as it is putting a fine point to it. With Hoppus' encouragement, Pierre, alongside Cain, bassist Matthew Taylor, moogist Jesse Johnson and drummer Tony Thaxton have begun stepping back from---and outside of---their roles when necessary. "Any time we wanted to take a chance with Mark he would go for it," Cain recalls. "He was so supportive. He would always say, 'Your name is going to be a lot bigger on the front of the record than mine will be on the back.'" The relationship that they developed with Hoppus may have helped hone Motion City's uniquely and cinematic sound of sound but, more importantly, it encouraged them to open the windows and allow themselves room to breathe. The space inevitably allowed Pierre's charismatic personality the room it has long since needed. A former film school student who has always likened himself to a director first, a musician second, and now some fascinating form of the two, is projecting his own life here. Songs like the plaintive, near-ballad "Hold Me Down" and the incredibly candid "Resolution" are among the most personal that he has ever written. "I think I tried to be as honest as possible on this record," he stresses. "I was less inhibited on this one from hiding. In the last two years this was what was going on." While it's true that Commit This To Memory can trace itself incredibly close to Pierre's personal life, with repeated listens it's clearly more the work of five musicians, finding themselves and turning to one another. "We've learned the reality of what we were doing," Cain says humbly. "When we left [I Am The Movie producer] Ed Rose, we left with a record that was better than our band. So we went home and had to become that good." Which is otherwise what they've done. But really, it's also where all these rules about second records and inhuman expectations begin to reverse and turn in on themselves. Motion City should have been trying to outdo themselves this whole time with Commit This To Memory. They found themselves instead. "I really think we've achieved everything we can as human beings playing music," Pierre says with a slight hint of laughter. "Really, we just played in our own city, selling out a show at [First Avenue], which is where we saw all our favorite shows. And that was something that I've wanted to do since I was 14." In a way, Commit This To Memory recalls the lost indie heroes Cain and Pierre spent those formative years in Minneapolis poring over, but there's also a slight irony in the fact that this is the one record that seems destined to lead to their own version of this. "I would love to say that I don't care what people think," Pierre stresses. "But you know, I am like most people. I do hope people like it." Whatever you make of the second Motion City Soundtrack album is now left up to the songs you're currently holding onto. As for us? We couldn't possibly be any prouder.
Motion City Soundtrack: "Everything Is Alright"
The way it works, everyone likes the first record better. You're a music fan, presumably, so you probably understand the idea here that, when placed in historical context, a band's initial statement to the world is often seen as its most lasting. Motion City Soundtrack began in Minneapolis in 1999. Two years ago, they released their first album, I Am The Movie, crawled inside a van for seemingly the end of eternity and shot a video with their friends back home for "The Future Freaks Me Out," a loud and instantly enjoyable anthem that has become such an undeniable apex at the band's live shows that it is no longer sung by singer/guitarist Justin Pierre as much as it is sung back at him. But as ubiquitous as it became, the song perfectly captured Motion City's allure. Irresistible and unhinged, "The Future Freaks Me Out" was a reference point for what was to come with Commit This To Memory, ironic considering they wrote the song in mere hours and it almost didn't even make it onto their debut. "Two weeks before we went in, [guitarist Joshua Cain] played the part and I sang those words and that's what came out," Pierre says now in amazement. "It was completely random. But that's how we work. It's funny when there's talk about how this record could 'make or break us.'" He laughs. "This band has always gone on its gut instinct."
Motion City Soundtrack: "Hold Me Down"
The way it works, everyone likes the first record better. You're a music fan, presumably, so you probably understand the idea here that, when placed in historical context, a band's initial statement to the world is often seen as its most lasting. Motion City Soundtrack began in Minneapolis in 1999. Two years ago, they released their first album, I Am The Movie, crawled inside a van for seemingly the end of eternity and shot a video with their friends back home for "The Future Freaks Me Out," a loud and instantly enjoyable anthem that has become such an undeniable apex at the band's live shows that it is no longer sung by singer/guitarist Justin Pierre as much as it is sung back at him. But as ubiquitous as it became, the song perfectly captured Motion City's allure. Irresistible and unhinged, "The Future Freaks Me Out" was a reference point for what was to come with Commit This To Memory, ironic considering they wrote the song in mere hours and it almost didn't even make it onto their debut. "Two weeks before we went in, [guitarist Joshua Cain] played the part and I sang those words and that's what came out," Pierre says now in amazement. "It was completely random. But that's how we work. It's funny when there's talk about how this record could 'make or break us.'" He laughs. "This band has always gone on its gut instinct."
Motion City Soundtrack: "My Favorite Accident"
The way it works, everyone likes the first record better. You're a music fan, presumably, so you probably understand the idea here that, when placed in historical context, a band's initial statement to the world is often seen as its most lasting. Motion City Soundtrack began in Minneapolis in 1999. Two years ago, they released their first album, I Am The Movie, crawled inside a van for seemingly the end of eternity and shot a video with their friends back home for "The Future Freaks Me Out," a loud and instantly enjoyable anthem that has become such an undeniable apex at the band's live shows that it is no longer sung by singer/guitarist Justin Pierre as much as it is sung back at him. But as ubiquitous as it became, the song perfectly captured Motion City's allure. Irresistible and unhinged, "The Future Freaks Me Out" was a reference point for what was to come with Commit This To Memory, ironic considering they wrote the song in mere hours and it almost didn't even make it onto their debut. "Two weeks before we went in, [guitarist Joshua Cain] played the part and I sang those words and that's what came out," Pierre says now in amazement. "It was completely random. But that's how we work. It's funny when there's talk about how this record could 'make or break us.'" He laughs. "This band has always gone on its gut instinct."
The Early Years: "So Far Gone"
The Early Years David Malkinson, Roger Mackin and Phil Raines (guitar, guitar and drums) ? only formed in late-2004 and not along after, their demo tape received the on-air backing of Huw Stephens and Steve Lamacq on Radio One and John Kennedy on XFM (they were even invited in to record sessions for both stations), Beggars Banquet were alerted to their talent. Less than a year on and their debut album is ready to go. Furthermore, it?s a delight. Both live and on record, the results are stunning; never swaying from their ambition to make inventive, original and accessible music. You might have already been converted to their ?noisy majesty? (Drowned in Sound) at this year?s Tapestry, Truck and Latitude festivals, supporting bands like Electrelane and / or at numerous club nights across the capital. You might even have been turned on to them by seeing them on constant late-night MTV2 rotation or soundtracking a recent Nike World Cup advert. Either way, once their music takes hold, you?ll not be sorry. The Early Years say themselves that they offer a sound that lies somewhere between their joint love for ambient noise, motorik beats, drones, feedback, harmony and melody. Dave cites his influences as Acid Mother?s Temple, The Boredoms and Spiritualized, Roger talks of his love for The 13th Floor Elevators, Julian Cope, The Velvet Underground and Storm in Heaven-era Verve and Phil talks of Can, Neu! and Tortoise as being his major sources of inspiration; all this helps to explain both the bands depth and integrity
The truth is, Maria McKee is only beginning to tap into what she has to say. On Peddlin' Dreams (Eleven Thirty Records), her sixth solo album, she draws not only from her own songs but also from those of her bassist, producer, frequent co-writer, and husband, Jim Akin. Their distinctive styles, brought into focus by an approach to recording unlike any that McKee had followed before, make Peddlin' Dreams one of her most urgent and eloquent works. That, of course, is saying a lot. From her early performances at sixteen, singing with her brother, Bryan MacLean of the epochal group Love, through her run with Americana pioneers Lone Justice and on to the career she has established on her own, McKee has maintained an uncommon honesty and excellence as a writer and singer, as those who have written with her (Steve Earle), recorded her material (The Dixie Chicks), or added her songs to high-profile film soundtracks (Pulp Fiction) can attest. Her last studio album, High Dive (2002), epitomizes her work up to that point: Meticulously produced, finely polished, it fit McKee's pattern of spending as much time as necessary to come up with an album that met the high standards she sets for herself. Fans learned to be patient, knowing that the payoff would be worth the wait. It always was, especially High Dive, which earned vast praise. Mojo magazine, in a four-star review, called the album "an organic, risk-taking record oozing rich details," while USA Today declared that Maria "has one of the strongest and most versatile voices in pop music." In addition to dates in the U.S., Maria toured across the U.K. and Europe on a 10-country tour in support of the album. Peddlin' Dreams is a departure, conceived with the same self-imposed expectations yet reflective of her evolving ambitions. On this project, McKee and Akin emphasize emotion over seamless craftsmanship; the production quality is as strong as ever, but its intention is to invest each track with a live feel. On "My One True Love" she whispers her vocal, as if standing inches away from the listener in some quiet room of the heart; on "Everyone's Got a Story" she's fronting her band in a raucous jam, ripping licks on her guitar over a thrashing beat. The other songs settle between these extremes, each with its own balance of intimacy and abandon -- and all of it feels totally alive. "The truth is, High Dive was a labor of love," Maria explains. "It was also incredibly demanding -- a lot of hard work for both Jim and me. We wanted to make Peddlin' Dreams' more direct and spontaneous. We didn't think about it too much; we just went in and did it. The process was much more natural." More than that: Their approach on Peddlin' Dreams signals a shift in Maria's thoughts about recording, her relationship with the public, and deeper issues as well. "In the past I haven't been the most prolific artist," she admits. "It's taken me as much as six years to go from one album to the next. I've had to sit with songs and ideas a long time until I've felt satisfied with them. I want to make better use of my talent now. If I'm honest with my songs, I can put albums out more frequently; that's become important to me because of how incredible my fans have been and how important it is for me to connect with them as often as I can." Her first step was to surrender the reins of production. She had her reasons: to concentrate more fully on performance, to expedite the process. Most crucial, though, is her respect for Jim's insight and skills. "High Dive was very collaborative," Jim says. We shared production credit. This time, she said, 'Go ahead. You make it.' She came into the studio to sing and play her parts. I'd hear the chord progression, the lyrics, or maybe just the melodies -- the skeleton of the song -- and then flesh it out. It was effortless, immediate, a production based on intuition." Jim's expanded role made it easier for Maria to find the heart of each song. "With this album, I wanted a more open, almost stark recording," he explains. "It's all about emotion in the vocal. Where the voice cracks and reveals something that's almost beyond what the artist intends." Sessions began with Jim and the drummer, Tom Dunne, who drove out to a warehouse in Costa Mesa. There, they cut the drum tracks, without a click or even any demos for reference. "Tom was just playing to the music in his head," Jim says. We'd do three, four, or five complete takes, and I'd choose the best one. The idea was to go for a John Bonham sound -- very open, big, and natural, with minimal, mainly distant miking. I was very happy with what we got." These tracks were the foundation for Maria and the musicians as they cut the songs that featured the full band. Everything fed off the drums; you can hear it in "Everyone's Got a Story", "Sullen Soul", and "Peddlin' Dreams", where Dunne's sound, raw and punchy, defines the live feel. Each of these performances, like the ones cut solo or with a scaled-down lineup, were captured at Maria's and Jim's home studio, which they'd completed just in time for the High Dive sessions a little more than two years ago. This, too, served the goal of going for the emotional gold. "Jim loves having a home studio because he can capture me in different moods," Maria says. "I'm sort of mercurial, so he'll observe and say, 'Hmm, Maria would really handle this song especially well right now." Clearly Maria had her reflective, introspective days, as reflected on the plaintive "Appalachian Boy" and the wistful "My One True Love". Other times she must have been feeling playful ("The Horse Life"). And her gritty, snarling guitar solo on the jam that ends "Everyone's Got a Story" just might have come from what she describes as "a melancholy frame of mind." Maria also turns in a moving rendition of Neil Young's "Barstool Blues". "After going over the Americana terrain for years and years, the worst thing anybody can say to me about my music would be, 'Oh, it's like American barroom rock!'" She continues, "So it's ironic for me to do 'Barstool Blues', which is the greatest song ever written with that sort of imagery yet it totally transcends any genre because it's such a great piece of art. To Jim and me, Neil Young is a god -- but I have to do something risky on every album, and for me that meant recording this song because his original version is perfect." The point is that every moment of Peddlin' Dreams is real. Every note reflects the new immediacy in her music. In its details and taken as a whole, Peddlin' Dreams is a message to McKee devotees: Expect more exceptional work, covering more bases, more often from this extraordinary artist. For all that she's achieved, Peddlin' Dreams points the way toward greater things just over the horizon. "Who knows how the next record will sound?" says Maria. "I certainly don't. I just know that I'm staying in the moment now. And I believe that's going to bring everyone who's enjoyed my music -- the Lone Justice people, the High Dive people, and everyone else -- together like nothing I've ever done before."
Our Love To Admire is at once unmistakably Interpol and undeniably new. The witty and perverse "No I In Threesome" is an upbeat ode to shaking up a staid relationship propelled by Carlos D's peerless bass melody while the tenderly observant "Pace Is the Trick" proves that the band are still the masters of the dramatic – check the painful pause right before the sinfully satisfying return of Sam's thundering drums and Daniel's ringing lead guitar. The band's impressively seductive evolution is obvious all over the record, but never more so than on tracks like "Mammoth," "Who Do You Think" and on the album's lyrical centerpiece, the ghostly "Rest My Chemistry." While Daniel is understandably proud of the song he cautions against reading too much autobiography into its lyrics. "We always leave the interpretation to the listener," he says. "I mean, you shouldn't watch a movie for the first time listening to the director's commentary!"
The Somnambulants: "Take It On"
Stylistically, The Somnambulants are even more driven by cinematic influence, as evidenced in their lyrical imagery and spacious production. Joseph White built the first Somnambulants songs from music soundtrack pieces composed during his tenure as a film student. In fact, their name was taken from the somnambulist character Cesare - in the 1920 German film The Cabinet of Dr. Caligari. Its fitting, therefore, that the title track from their previous album, Evacuation, appeared in the soundtrack for the Oscar-nominated film Half Nelson (Lakeshore Records).
