The last time the public heard anything about UK’s The Darkness was six years ago. Just when we thought we wouldn’t be graced with the sight of singer Justin Hawkins’ custom spandex suits, the band releases a brand new single called “Nothing’s Gonna Stop Us.” The video features a 2-D animation of the band, giving us insight into their sense of humor and solidarity as a unit. Sort of corny yet carelessly fun, the first track off a full length release (date and name is yet to be determined) “Nothing’s Gonna Stop Us” doesn’t seem to offer anything musically new from the group. Still laden with Hawkins’ signature falsetto screams and guitar god-like solo’s, it’s everything I would expect from a band that produced past hits with the same formula. Maybe the rest of the album will have more twists and turns for our listening pleasures, but as it stands this looks to be a pretty predictable album, albeit fun as hell to rock to. – Angela Blasi
Anti-Flag, The General Strike February 13, 2012
Review by Angela Blasi
The General Strike is Anti-Flag’s 8th studio album slated for release on March 20, 2012. Following their last record (The People or the Gun,) The General Strike is the group’s second release on Side One Dummy Records. Maintaining the politically motivated lyrical content the band is known for, musically the band redefines their lens of interpretation through a more aggressive scope while bringing a force that is defined by the band as, “the sound track for the masses of dissatisfied private citizens that are currently protesting corporate injustice and governmental power around the world.” (anti-flag.com)
The record opens up in the simple, anthemic style any Anti-Flag fan would come to expect on the intro track “Controlled Opposition.” A mere 22 seconds long, Justin Sane sets the tone for the subsequent tracks while screaming, “No justice in a legal system run by criminals/If you don’t like the court ruling then you shouldn’t be poor./Now, go die.” Not even an entire minute in and listeners know they’re in for 12 solid tracks of colorful opposition to injustice and oppression. From this point forward, the album moves with a driving momentum it never seems to lose.
Operating as a sort of call to arms, The General Strike delves into a harder sound for the group. I really enjoyed this record musically as well as lyrically. The band hails this as their most aggressive record to date, and I think they have successfully accomplished that. Although I have always appreciated their consistency of sound, change is a good thing. Breaking away from past formulas, the band manages to maintain their penchant for catchy riffs and choral lines while steadily keeping the tempo swinging. Chris #2’s bass lines groove effortlessly from track to track, filling out each songs’ sound with a fullness that provides a punchy backbone. I could not help but notice the raw edginess that kept on coming song after song. From the first second of every new track, the intensity never let up on the listener. It’s as though Anti-Flag sought to sow the seeds of rebellion through the osmosis-like absorption. Not for nothing, but only a few minutes after listening I could see myself in a mosh pit somewhere, fist in the air and sweat rolling down my face as I continually belted out the lyrics of “The General Strike.” All those choral chants, one can’t help but want to lift up their voices like a battle cry.
Lyrically, Sane provides us with his witticisms and biting sarcasm designed to dig a thorn in the side of every fat cat and corporate pig conceivable. Refusing to hold back, the urgency and anger in his lyrics decry publicly the shamefulness of capitalism while making said concepts relatable to listeners. Young or old, this record doesn’t seek to isolate its listeners, but rather seeks to appeal to a broad spectrum of disenfranchised citizens. On “Nothing Recedes like Progress,” a sample of the Human Microphone opens the track, giving a nod to the Occupy Wall Street Movement. I enjoyed this addition, as it so vividly captures the spirit of the bands’ politically charged mission. (The back story to the Human Microphone is simple; the police banned megaphones under noise ordinances, not to be defeated the OWS folks invented a system of call and response, inadvertently unifying the movement even further.) Additionally, “Bullshit Opportunities” screams with the voice of a movement in the face capitalist majority, “redefining what success is/redefining what wealth is.” It’s as though it embodies the restless energy and philosophy of the proverbial 99% in the heavy guitar riffs, rolling floor tom and a bass as punchy and fluid as its players.
My only qualm about this record is that it seems to go by too quickly. I started listening and before I knew it, I was already back at the first track. However, it’s the type of record that has cohesion, making it an easy listen from track one through twelve. Needless to say, I have allowed it to loop on repeat for the better part of a day and I’m not sick of it yet, the true hallmark of a good album. Make sure to check them out on their record release tour with The Flatliners and The Have Nots.
THE GENERAL STRIKE RECORD RELEASE TOUR
Anti-Flag with The Flatliners and Have Nots
03/06 Philadelphia, PA – The Barbary
03/07 Washington, DC – Rock & Roll Hotel
03/08 New York, NY – The Studio
03/09 Allston, MA – Brighton Music Hall
03/10 Wilkes-Barre, PA – Redwood Art Space
03/11 Pittsburgh, PA – Altar Bar
03/12 Detroit, MI – Magic Stick
03/13 Chicago, IL – Reggies
03/14 Cleveland, OH – Grog Shop
The Guitar Collection: George Harrison iPad app February 4, 2012
Even though I don’t own an iPad, millions of you do. Check out the video below for The Guitar Collection: George Harrison iPad app.
BANDWDTH Publishing, in conjunction with the George Harrison Estate, announces the release of a special iPad app celebrating the guitarist and his historical guitar collection. The Guitar Collection: George Harrison iPad app will be released through iTunes on February 23, two days before Harrison’s birthdate
The app brings George Harrison’s private guitar collection to life through photographs, detailed descriptions, audio, and video footage. For the first time, with the help of unique 360° imaging by photographer Steven Sebring, fans can see the scratches, dings, and worn threads on the guitars as if they were themselves holding the instruments.
Fans will be able to examine Harrison’s private guitar collection, through personal audio recordings from Harrison himself as he introduces many of the guitars and plays sections of songs.
The history of each guitar is laid out in great detail; including the origin of the guitar, when and how it became part of Harrison’s collection, modifications he made to it and why each was so important in creating his distinctive sound. Songs from his catalogue are organized by the guitars used on each track, which allows the user to appreciate the personalities of each instrument.
The video section of the app contains footage of Ben Harper, Josh Homme, Mike Campbell, and Dhani Harrison each playing and showcasing the guitars and exploring their feel and tone. In addition, Conan O’Brien and Dhani discuss what make these guitars so exceptional. Also in this section, guitar great Gary Moore shares his views on what made George Harrison such a distinctive and influential guitar player.
The app will sell for $9.99 at the Apple App Store.
Streetlight Manifesto and Reel Big Fish December 16, 2011
Review by Jake Davis
Rodeo Ruby Love
When buying tickets to a show with either Streetlight Manifesto or Reel Big Fish, any skanker worth his checkered shoes knows he’s in for a good show. Nonetheless, I entered Webster with a certain amount of apprehension. Could all the stories people have told me about these two bands live be untrue? My friends, I come to you with joyous news. I have seen heaven on stage. I can say with all certainty there isn’t a better live show than Streetlight Manifesto or Reel Big Fish, and the fantastic openers that preceded them. On that note, certainly the biggest surprise of the night was not one, but two amazing openers. I will say the first band, Rodeo Ruby Love, even though they were a great act, seemed a little out-of-place. The Indiana natives have a wonderful mix of upbeat ska tunes (oddly lacking a brass section on stage), the best of which was a horn-tinged number called “Rickey Henderson.” They were a little soft and slow in tempo compared to the rest of the groups, and because they were opening the show, had a bit of a lukewarm reception from the rowdy bigger-name hungry audience. The best part of the suspicious interaction between band and crowd was the extremely funny self-conscious looks of complete uncomfort the rhythm guitarist had on his face. To top it off, their mixing seemed a little off, drowning out the vocalists with guitar fuzz. Listening to them now, I cannot say enough good things about them, considering their tight sound and often-hilarious lyrics. My one piece of advice to the band: Give Annie Cheek (the female vocalist) some sort of instrument on stage so she doesn’t stand there looking so endearingly awkward as she waits for the next bit of her lyrics to kick in.
Lionize
The next band to play was Lionize, who my friend dryly remarked that he wouldn’t want to meet any of these guys in a dark alley, are certainly a physically imposing, heavily bearded band. When a huge white guy, decked out with a lumberjack beard came out on stage, my first reaction was, “Oh, God, another lame, loud, grunge knockoff band.” Readers, learn to never trust my first impressions. To start, the lead singer had a beautiful voice, and his crystal clear lyrics cut straight through the crowd. This is one band that no one saw coming, but no one wanted to leave after their first song. Between a wonderful vocalist, a truly amazing keyboardist who laid out incredible organ riffs and superbly tight drum lines, this band impressed like no other. Its one thing going into a show and knowing the band will be great and another matter entirely for one to come out like a bolt out of the blue. This is one hard-edged reggae band I’ll keep coming back to again and again.
Streetlight Manifesto
And now, the moment I couldn’t wait for…Streetlight Manifesto takes the stage. The opening notes of “Watch It Crash” hit our collective audience ears. No matter how steady I wanted to keep my camera, I couldn’t help but screaming “Mercy, mercy, mercy me!” when the chorus came about. They played an incredible set, I only wish it lasted longer. They played 10 amazingly created songs. I cannot express how great they were, but I must confess, Reel Big Fish I looked forward to more and was ultimately more entertaining.
When they came on stage accompanied, of course, by the Superman theme song, the crowd just about lost it. I think a sweaty, shirtless man next to me began to cry. I rushed to the front of the photo pit, and used the majority of my camera’s memory on this incredibly charismatic band. They danced, sang, make bawdy jokes, sang “Suburban Rhythm” countless times in different styles and took pity on the short kid among the huge security guards and looked right at the camera multiple times. If that grandiose run on sentence didn’t prove it to you, they were unbelievable. Better than anyone had ever told me, and I implore anyone to see them. Take a train, bus, learn to fly, rent a camel, I don’t care. Just go. This band gets me so excited, and really, as the guy in the “Bitchin’” shirt could tell you, you should be too.
Thoughts On Skrillex December 15, 2011
by Angela Blasi
This is my official introduction to Skrillex, powered by one Sonny Moore. The video coupled with the song really grabbed my interest, as I felt like the two were a perfect hybrid of visual and cerebral mediums, not to mention I really appreciated the plot twist to the entire story. As I delve deeper into their sound, I may or may not find that I like every single track with the same affinity I have for “First Of The Year (Equinox),” however, I am coming to appreciate Moore’s talent for his craft. Electronic sounds have never been out of my musical tastes, nor have they been the main focus. Regardless, I definitely dig what I hear so far.
Perfect Teeth Comic Book Series November 22, 2011
Review by Angela Blasi
What do you do when the world seems to be obsessed with the idea of vampires and you’re a punk rocker? Why, you create a comic book hybrid of both those things!
Paper + Plastick Records along with Viper Press have unveiled its newest project in the form of comic book series called Perfect Teeth. In this fictitious world, art imitates life as vampires aren’t seductive predators, they’re dominating Billboard charts. In real world fashion, other major music labels follow suit, booking talent from some of Halloween’s most recognizable faces. If you have a Twitter account, you can download the comic for free here. But wait, there’s more! Not only has Paper + Plastick created a comic based on a group of blood sucking rock stars but they’ve brought the experience to life. Owner of Paper + Plastick Vinnie Fiorello, along with Stephen Egerton (Descendents) and Jon Snodgrass (Drag The River) have teamed up to create a single under the guise of Perfect Teeth that is to be released later this month. Visually, I enjoyed the content; its satirical nature and the whole look of it in general. It’s a cool, creative medium jam-packed with sarcasm.
Worst Tour Name Ever; Bands, Not as Bad November 18, 2011
Review of the Rock Yourself to Sleep Tour in San Diego
By Orin Jones Photos by Leo Malevanchik (click on the thumbnails below for a slide show and a better view of these phenomenal shots!)
Ah, good old all-ages SOMA Club,San Diego,CA. When I saw Girl Talk here a few months ago, the crowd was slightly older than it is tonight, but not by much. I’m 32 – easily twice the age of the average age of a SOMA attendee. At least photographer Leo is nearly twice my age and, unlike most of these fans, he’s finished growing. Never ceases to amaze me: the more time passes, the more cell phone screens shimmer across the crowd. How do venues prevent bootlegging when most of the viewers are video recording? I guess we’re finally past the dark era of charging for (low-quality) informational content…right? Please? I wore my black Chucks and so did everyone else. Hey, at least I fit in a little.
Couldn’t figure out what time the freakin’ show started, so we missed the first few act: Memphis May Fire, Serianna, and Atilla. Well, we caught the end of one band, who were actually quite good, but no idea which one. Before the next band came out, there was that awkward time that always comes between bands at any show, of any style of music (like during sex, when you break to pee). I walked Leo to the “photo pit,” the area between the screaming fans and the stage, where the largest bouncers lurk, incessantly pushing limbs and bodies back over the rail, or lifting them in to be briskly escorted out the side. I stood chatting with Leo at the entrance to this area; without a wristband, I couldn’t go in. Suddenly, the lights dimmed and the crowd went bezerk. My head was only a few inches from a set of speakers larger than my bedroom. I moved a bit back and Leo began snapping pics.
On the way in is a large banner: “IF YOU PUSH, THRASH, KICK OR MOSH, YOU WILL BE IMMEDIATELY EJECTED!” Of course, hundreds around me were doing all of these things; I considered getting into it, but meh. It has probably been over a decade since I moshed. At least I’d like to know a song or two to get pumped. The band, A Skylit Drive, was so-so. Actually, the guys on instruments were quite good — steady rhythms and lots of energy. But I couldn’t get over the lead singer, a short, funny looking guy, reminiscent of Riff Raff, the handyman from Rocky Horror Picture Show. ASD, if you’re reading, get rid of this dude. The other singer on stage, the more nondescript one, had a better voice, less effeminate moves and even (with the mic) took a running start before diving over the photo pit into the crowd. Each band-member wore jeans tight enough to cause injury, as did all of their fans. Showing my age yet? Gosh I hate when bands tell me to wave my hands, but the crowd was into it. At one point, the singer intoned, “This next song is about sex, drugs and rock and roll.” The crowd roared as I puked in my mouth a little.
Before the final band took the stage, I went to the smoking area with Leo. He told me that during the set he’d almost been crushed many times by kids landing all around him. Also that, at one point, the lead singer had jumped onto a ledge mere inches from Leo’s very expensive camera equipment. He was also being showered, as band members were spraying and spitting water everywhere. The climate was sultry, to be sure, but I don’t know. I just can’t help remembering back to concerts of my youth, where bands sprayed beer and passed joints as large as…well, me at the time. I kinda miss that. I moved for a few girls to pass through. An obese Mexican kid crouched against the wall hollered at them: “Wanna talk to my friend? He’s 14 years old and drunk as fuck!” I guess the spirit is still alive somewhat.
The next band, headliners Alesana, was more to my liking but still not great. The crowd galvanized. Like the previous bands, the members were mostly in their young twenties. This group, however, had one older bald guy, maybe my age or a little older even. He was the designated screamer. Is this “screamo”? Guess so. I couldn’t understand a word out of his mouth. Between songs, the lead vocalist (not a screamer) told us, “This next one’s called ‘The Murderer.’ It’s a song about a guy who walks into a bar, locks the door and kills every son of a bitch inside.” The drums, guitar and bass began, followed by incomprehensible screaming. I LOL’d. The song might just as well have been about Mother’s Day. I used to rock out to Deicide and Cannibal Corpse, which have even more cryptic lyrics (like “Satan spawned the Caco Daemon” ad infinitum), so I really can’t talk smack. Seems that at some point in some teens’ lives, they feel the need to listen to shitty music. They probably don’t like these awful sounds either, but know it bothers everyone else, and that’s just how they’re living their thus far meaningless lives. The screamer’s faded “And Justice for All” tour t-shirt was too small, exposing his beer belly. Wonder if he was around for that tour, or just bought it at a vintage store. I would’ve loved to hear a cover off that album, although Alesana probably couldn’t, due to licensing restrictions. Fucking Metallica.
In the lobby, a tiny blonde tween pushed her near-twin-tween friend to meet one of these rock stars. I got a close look at this guy: sweaty, pale and donning dark shades (inside, at night), he resembled a fatter, more depressed Lars Ulrich. Or a morose zoo beast. He clearly needed another bump, or at least a record deal. Were there any here tonight? What the hell was the point of this “Rock Yourself to Sleep” tour put on by Motel 6, what the fuck does Motel 6 want with these mediocre musicians, and where is the asshole who penned this awful tour name?
Before Alesana finished, Leo and I decided we’d had enough. At 13 years old, I began frequenting the heaviest heavy metal shows at the filthiest clubs in NYC. Driving home after this show, I thought back to the sublime emotions I’d bring with me, leaving those clubs at all hours, drunk, stoned, floating. Granted I left this venue sober (SOMA does not serve), and I’m a few years older, but I just didn’t feel even a pinch of that same elation. On this night, I felt content, but it was different. I rolled down my windows, blasted Pantera all the way home, and went to bed early. I did, after all, have work in the morning.
-
- Sleeping With Sirens
-
- Sleeping With Sirens
-
- A Skylit Drive
-
- A Skylit Drive
-
- A Skylit Drive
-
- A Skylit Drive
-
- A Skylit Drive
-
- Alesana
-
- Alesana
-
- Alesana
-
- Alesana
-
- Alesana
Do You Feel Auto-Tune Has A Pervasive Negative Effect on Society’s Perception and Consumption of Music? November 16, 2011
Do you feel that Auto-Tune has a pervasive negative effect on society’s perception and consumption of music?
TNT
Yes, Auto-Tune has a pervasive negative effect on society’s perception of music. When musicians created music before the days of auto-tune, they were considered talented artists. What happened? Today, to have a hit song, it has to have an electronic sound fluffing over the mistakes or notes where the pitch just wasn’t met? I don’t think so. I can understand that auto-tune may have a place in society’s music, but it does not need to be the center of attention. It does not need to define mine or anyone’s musical preference because it is not a talent or art form, it’s pressing a button to modify your voice. I don’t know how I’d react if someone told me their favorite type of music is anything auto-tuned. Probably the same way I reacted when I heard Snoop Dog did a song with Katy Perry, nauseated and confused.
Jake Davis
Auto-tune is the lowest form of music, in my opinion. It takes talent out of the equation, allowing America to focus even more on how people look, dress and act, regardless of what they have to say. Take any group or artist that regularly uses auto-tune while maintaining their real voice, all you’ll see is how fake they are. I, of course, excuse techno and electronica because they base their entire sound off of computer generated tones. For everyone else, it makes them sound tiny and unnatural. And what happens when they get on stage? Disaster, pure and simple. If this doesn’t sway you, think about classic music that stands the test of time. Frank Sinatra, The Ramones, The Beatles, Black Sabbath are classics because they had true talent and musical ability, not a good team of computer techs behind them. So, pop artists of today, lay off your sound crew and perhaps get some lyrical and musical rehearsal in, you’ll thank us in the long run.
Orin
Auto-tune haytaz, in the immortal words of T-Pain (from his song, of the same name) “calm the fuck down!” I believe, in the future, every song will utilize auto-tune. Imagine the Star Spangled banner! Oh…wha? They have that? Um…you’re saying I can auto-tune anything? h…I already have the app on my phone, you say? Okay, it’s a bit much… OhhHhHh nOoOoo it’s nooOOooooOTT!!! I LOvve iiiTttt! “U got meE… U got meEEeeee…”
oZ
Yes, auto-tune does affect people negatively. I feel that auto-tune tracks manipulate the impressionable, unimaginative mind into robotically shaking their body (or buying into) to nonsense with a catchy chorus. It seems auto-tune produced tracks, are produced in such way to compensate for lack of content, originality, skill or even just inability to sing on key. However, this does not in any way insinuate that there are no ‘good’ songs made in auto-tune. After all, auto-tune was created to correct inaccuracy in songs, not to decide if a song is good. Furthermore, it is used in other ways and at this point is standard in professional studios.
Mark
God YES. At one point, it had a more understandable purpose. Let’s say an artist has done 12 takes of a vocal, and the 2nd take is by far the best with the only problem being a few minor note issues (too flat, too low, etc). To have a program that would allow a producer to keep the best performance while correcting some of the not so great parts would be a godsend, as it was nothing more than a neat and helpful tool to make the mixer’s job easier. But with the mainstream unveiling of this new technology in Cher’s 1998 single “Believe,” little did music audiences world-wide realize that it had signaled the official beginning of the end for not just talent and perseverance, but for musical integrity. Not to mention the creating of a gimmick ridden crutch that the industry for some reason refuses to go without, even though it can very well stand on its own without it. Lacking anything as costly and time-consuming as market research, all one needs to do to find out just where music (not to mention its lazy and complacent audience) currently stands as a whole is to listen to the radio. It’s nothing but an overproduced, over funded and underwhelming wasteland where auto-tune and its talent-less slaves rule supreme. I am not sure who is to blame anymore…the industry/producers or the public. On one hand, there’s the industry and all who function within it, who are responsible for auto-tune being EVERYWHERE, in pop songs, rock (I’m especially talking about you Nickelback), folk, country, etc., with the main culprits not surprisingly being (in my opinion) the shittiest genres of music, R&B (correction: MODERN R&B) and rap. Why an “artist” who rhymes words together would need his or her voice to be notationally corrected is beyond me. But apparently, in general a dance track isn’t considered marketable (or danceable unless it is auto-tuned), a rock song isn’t great until the vocals sound unnatural and robotic (way to hate on dance music by using their exact production, assholes) and folk isn’t as down-homey until that vocal sounds “natural”. Or maybe it’s the audience, who willingly eats this shit day after day without so much as a peep of any sort of displeasure, the only ones speaking up being the pretentious indie snobs, but then again, they always complain, and no one wants to listen to them anyways. Thank god for music.
Angela
Yes, auto tune has a pervasive negative effect on society’s perception of music. I find my ear picking up more and more musical phrases adjusted with auto tune. The radio serves as my main source of music and as a haven for auto tune. It seems to me that artists rely heavily upon the technology to perfect their work. As a result, I’m inclined to believe that artists are either so mechanically engineered that their reputation and brand appeal matters far more than their talent, or are so insecure about themselves that producers everywhere are given green lights to massive creative edits. I’m not entirely sure if this is simply an American pop music type of phenomena or if the music industry is allowing technology to reign supreme over the perfectly flawed organic nature of the human body for a more polished approach. I understand that it’s a business that requires advertising, marketing and merchandising like any other, however I don’t seem to understand how artists who typically are so passionate about what they do, can sit comfortably existing as fraud. Additionally, one then must ask what effect this is having on up and coming artists perception of themselves and their work. Moreover, this affects the listener as it creates unrealistic expectations of the talent. I have found many a recording artist who can put out a fantastic album but leave stadiums of people disappointed in concert. If a band or musician decides he or she would like to be nothing more than a packaged deal with a shelf life and a team of song writers, then by all means go ahead and enjoy the ride – just don’t conduct interviews like you take the “art” you create from the depths of your soul and christen the fans with it so that they may be born anew in the melody of your auto-tuned choruses.
Hoverbee
Yes, I feel that auto-tune has a pervasive negative effect on society’s perception and consumption of music. When it was first used by recording artists as an addition to or an effect on a certain part of the song, it was for creative or expressive purposes. Now it seems to be used by almost every artist no matter what, even in concert settings. Auto-tune is just as bad as lip syncing to a prerecorded track. You don’t actually have to sing, or should I say that with auto-tune, you don’t actually have to know how to sing. Which means any talentless person can put out a record and have perfect pitch. The result is shoddy music disguised by technology that the public consumes as if it were the real deal. Auto-tune is offensive to those musicians with talent who can actually sing and who spend time honing that talent.
Daniel Edward
Auto-tune definitely has a negative effect on perception and consumption of music, but it also depends on what music you listen to. Too much Top 40 is auto-tuned within an inch of its life, and a lot of real talent (except for Adele) gets lost in the thumping club beats and trash pop. Auto-Tune has syphoned the need for vocal talent from music.
Klone
The biggest problem with “auto-tune” is that it’s something the public even knows exists at all. Tantamount to the “movable panel in the back of the Aztec Tomb” (anyone catch the reference?), “auto-tune” is supposed to be a hidden trick up the sleeve of sly studio engineers and editors. It’s a tool in a music producer’s arsenal of equipment to deliver a high quality product to a demanding public. It was meant to be used sparingly and to correct particular moments of a singer’s performance that may have faltered during recording (or if the particular singer isn’t really all that talented, but somehow in the ways they will, landed themselves a recording contract). When considering the expense of studio time, and the editor’s time, if you could fix a momentarily missed key for just the second it happened rather than have the artist record another take, you use the tool. That said, it is meant to also be something unnoticeable, and the fact that this crutch is now being used as the main attraction, it cheapens the integrity behind the performers. There was a time before auto-tune where a performer had to bring it or go home. These days, seems any Joe Shmo can step up to a mic, click the auto-tune on and become the next big thing. When you think of it in those terms, the ONLY effects on society’s perception and consumption of music has been pervasive and negative…at least, as far as learned appreciators of music like us. For those who’ve never known music without auto-tune, say anyone 16 and younger, this entire question probably seems silly. That’s what’s sad.
Paper + Plastick Releases Compilation to Benefit NJ Publicist Rey Roldan November 11, 2011
In the wake of a serious house fire that claimed thousands of dollars in personal property damage, Paper + Plastick Records has teamed up with other labels and friends to present a 40-song digital compilation to help New Jersey-based publicist Rey Roldan.
“Rey is a friend who works in music and for that reason, getting together this benefit was the most logical thing we could do,” said Paper + Plastick owner and Less Than Jake drummer Vinnie Fiorello.
Roldan, who owns Another Reybee Production, Inc., has 16 years of experience in the music industry as a journalist and publicist. His reputation as an industry lifer is built on his work with clients ranging from independent punk bands to large mainstream artists.
The compilation features 40 songs from bands like Yellowcard, Chuck Ragan, MC Lars, He Is We, Less Than Jake and The Sounds, and can be downloaded based on a pay-what-you-want donation. The minimum donation is $1.
Fiorello, who has worked with Roldan through his own band, Less Than Jake, and Paper + Plastick bands for over five years, said pooling together the compilation was almost second nature.
“Rey has been an ally with everything I’ve been doing in music for a while now,” Fiorello said. “So when I heard about the fire, I figured, ‘What better way to help Rey that by using what he has given himself to for almost two decades?’ And that’s music.”
We would appreciate a post linking to the compilation. All of the proceeds from the donations will go straight to helping Roldan in his recovery attempts.
Tracklisting:
1. The Photo Atlas – Jealous Teeth
2. City Rain – Montage
3. Arts and Crafts Movement – Los Angeles
4. Chuck Ragan – Wash My Feet In The Waves
5. The Gamits – Delusional
6. Edelweiss – Icarus
7. Have Nots – Louisville Slugger
8. The Front Bottoms – More Than It Hurts You
9. MC Lars – Bill and Sarah Wedding Dance
10. The Stereo – Home (Acoustic)
11. Strung Out – Firecracker
12. The Waltz – The Capitol Of Everything
13. Mike Felumlee – We’ll Find A Way
14. Brian McGee – Hold Sway
15. Hypernova – Extacy
16. King Raam – The Hunter (Shekarchi) (Feat. Esfund & Shara)
17. Red City Radio – Captioned For The Hearing Impaired
18. Veil Veil Vanish – Change In The Neon Light (Black Cloud Remix)
19. Reverse The Curse – The Space In-Between
20. Samiam – Dead
21. Landmines – Black Tide
22. VNV Nation – Nova
23. IAMX – Fire And Whispers
24. Killola – Stop It. I Like It
25. Polar Bear Club – Kneel On Nails
26. Picture Me Broken – Dearest (I’m So Sorry)
27. The New Rochelles – This Is My LJ
28. Candy Hearts – Good Enough
29. Direct Hit! – Monster In The Closet
30. Plow United – Header
31. Great Cynics – Twenty Five
32. Hank & Cupcakes – Hit
33. Yellowcard – With You Around
34. He Is We – Pardon Me
35. Weerd Science – Heaven Burns (Demo)
36. The Sounds – Something To Die For (MFMB Mix)
37. Miss Derringer – Bulletproof Heart (Live)
38. Meat Beat Manifesto – Easier Listening
39. Morning District – Bullet And A Brightside
40. Less Than Jake – Goodbye, Mr.Personality
What Is The Funniest Song You’ve Ever Heard? November 6, 2011
What is the funniest song you’ve ever heard?
TNT
The funniest song I’ve ever heard comes from Liam Lynch’s Fake Songs. My favorite track is “Still Wasted (from the party last night).” It paints the picture of a drunken man who is still wasted from the party last night, trying to make it to work the next morning. Favorite line: “I’m wearin my bed sheets like a cape and a cowboy hat (he’s wasted) and naked. But if I don’t go to work how will I pay my tab? I’m wasted (he’s wasted).” Some other great songs off this album are “SOS,” “Fake David Bowie Song” and “Rock and Roll Whore,” featuring Jack Black.
Jake Davis
As a longtime listener of Weird Al Yankovic and Monty Python, the list goes on and on. For a more recognizable punk song there is one clear choice, “Franco Un-American” by NOFX. While dated, the song is about the Bush Administration but not in the typical “fuck you” punk sense. No, the song is told by a poor slacker who never ever paid attention to politics. One day, he decides to look at all the issues and punditry this country has, and needless to say he freaks. So, he goes into detail about how he can’t sleep, eat or think without feeling like the country will sink into the ocean. A true classic comedy punk song, it speaks to the terrified punk rocker in us all.
Orin
Ten-thousand years bad luck to whoever says “Detachable Penis” or anything from TeamAmerica. Funniest song I can think off right now is “Hand of the Almighty (God Will Fuck You Up),” by John Butler. It makes me smile. You’re gonna have to YouTube it, if you haven’t already. Oh, and Hanson’s “Mmmbop.”
oZ
The funniest song I have heard (recently) is by a comedian name Jon Lajoie called “Stay at Home Dad.” This song is particularly hilarious because he actually raps and the lyrics are creative. The melody reminds of Rage Against the Machine, especially towards the end when he says “That’s right I take care of my children” over the guitar buildup. It resembles Rage’s “Fuck you I won’t do what you tell me” lyric, but with a positive, completely different twist.
Mark B
“The 12 Pains of Christmas.” It’s extremely corny, very hacky and utilizes voices and characters that have been made fun of since the beginnings of civilized society. And yet, every time I hear it, I find myself shaking uncontrollably with laughter. It’s one of those “it’s so bad it’s good” type of tunes. Christmas is my favorite holiday, so the song helps me get into the Christmas spirit and makes me a little less of a grouch for the holidays. Whenever I hear it, I know that the Christmas season is rapidly approaching, and to make with the spending.
Angela
The funniest song I have ever heard most recently is “I Like to F*ck” by Tila Tequila featuring Hot Rod. The first time I heard it I did not think it was serious. That was, until it was brought to my attention that this song was a Tila Tequila original; which then made this even funnier, as she really is trying to be a “musician.” I mean, with such poignant lyrics as, “I like to fuck, suck cock until I hurl/ I like to fuck everybody in the world” how could you not see the Grammy nominations all over that?
Hoverbee
It’s hard to pick one song that I would classify as the funniest I’ve ever heard, but the song “Debra” by Beck is right up there. The song is a plea to get with a girl he met at JC Penny named Jenny. He’d also like to get with Jenny’s sister. He’s not sure, but he thinks her name is Debra. A close second is a song called “Hollywood Freaks,” also by Beck and appearing on Midnight Vultures, the same album as “Debra.” The song starts with the lyrics, “hot milk, hmm tweak my nipple” and continues on to absolute craziness.
Daniel Edward
I’m gonna say “Peacock” by Katy Perry is one of the funniest (and catchiest) songs I’ve ever heard. It’s an entire song about wanting to see a gentleman’s ‘peacock’ and how amazing it is when she finally does.
Klone
Hands-down, “Karate” by Tenacious D. It’s a short but sweet ditty about taking vengeance for betrayed trust, and using karate to do so. Knowing that Tenacious D is basically a buddy band of Jack Black and Kyle Gass, we know that neither of them can do any karate. Plus, the ultimate move is “pulling out all your pubic hair”, which is not a move that Mr. Myagi taught Daniel-san. Hilarious.
Nevermind The Posers 