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The CHIRP Blog
Mike Bennett writesFriday iPod/MP3 Shuffle—Happy Birthday Paul Westerberg Edition
Certainly one of the most beloved and influential bands from the American indie world of the ’80s, The Replacements are legendary for their early bratty records, their unpredictable live shows, their indie swan song (the classic Let It Be) and their maturation on Sire Records. And the straw who stirred most of the Placemats’ drinks was frontman Paul Westerberg. The speed at which his songwriting grew is amazing, if you compare a song from Stink to something like “Unsatisfied”. He has settled down into comfortable adulthood, putting out records that still please his adoring core of fans. Let’s celebrate Paul the only way we know how — by getting your iPod or MP3 player, hitting shuffle, and sharing the first 10 tunes that come up.
- Paul Nicholas — Heaven on the Seventh Floor (Have a Nice Day – Volume 24): A cheesy fun 1977 Top 40 hit from this British singer/actor who also appeared in the film version of Tommy (as cousin Kevin). This song seems perfect for the Me Decade and notions of free love, casual sex and songs with a light disco feel.
- Judas Priest — Metal Gods (The Essential Judas Priest): Judas Priest? Metal Gods? Isn’t that redundant. What intrigues me about the Priest, is that their earlier material, which was very much in the vein of heavy metal of that era, was very good. But they seemed to find a foothold during the New Wave of Heavy Metal, and found a way to mix the usual hammer and tongs approach with defter compositions and rhythms. This song is a prime example. The Glen Tipton/K.K. Downing guitar combo is as heavy as ever, but the rhythm section is playing a pea soup beat that could fit on a dance record (if speeded up a bit). And the chorus is delightfully subtle. Yes, they are Metal Gods.
- Steve Wynn — Wait Until You Get To Know Me (Crossing Dragon Bridge): This is a self-deprecating waltz tempoed tune. Wynn bangs out the rhythm on his acoustic, his vocals are overmodulated and double tracked, and a wobbly lead jazz guitar line holds it all together. This is a song about a guy trying to take advantage of beer goggles near closing time and the sleazy aspect of the lyric is captured by the music.
- Bo Diddley — Say Man (I’m A Man —- The Chess Masters 1955-1958): One day, Bo Diddley and his maracas player Jerome Green started throwing down the dozens over a Latin rhythm. The dozens is an African-American tradition of two men taking turns throwing down (hopefully!) good natured insults at each other. They rolled some tape on this, it captured the public’s imagination, and Bo found himself back on the Top 40 charts. He came back to this format again and again, often taking both roles by speeding up his voice to provide one of the competitors.
- King Khan & The Shrines — Que Lindo Sueno (The Supreme Genious Of): One thing I love about King Khan is how thorough his love of R & B is. While he’s best known for James Brown style frat rockers, he does it all, forging ahead behind his powerful personality. This song has a gentle samba beat, driving horns, spy movie guitar and a typically engaged vocal. Cool stuff.
- Orange Juice — Moscow Olympics (The Glasgow School): Edwyn Collins’ recent come back after two strokes and the new Orange Juice box set have brought well deserved attention to one of the greatest Scottish rock bands ever. Collins had a knack for combining accessible R & B foundations with classic post-punk style guitars and melodies, making something familiar sound just a little bit off, and therefore, fresh. This instrumental sounds like it was recorded in a subway station and has a twinkling ’60s mod feel. Collins’ guitar playing is charming.
- The Sugarplastic — My Heart Lately (Will): On Will, this criminally underrated L.A. band really gravitated towards its psychedelic pop side. This is a hazy dream of a song, with delicate piano, Ben Eshbach trading lead vocals with disembodied voices and wandering choruses. This is truly a brilliant use of the studio as an instrument, from how the instruments are placed in the mix to how each element of the song is stitched together to create a brilliant whole. This sounds like a ’40s Disney movie song cycled through the haunted house repeatedly and then sprinkled with some Abbey Road era Beatles.
- Surfer Blood — Floating Vibes (Astro Coast): A fine 2010 debut album from a band who, at times, reminds me a bit of The Shins and Rogue Wave, sort of. This song has a big fat lead guitar part, which sets up the soothing melody. This song actually reminds me a little bit of third album era Translator mixed with a bit of the classicist side of XTC. Which is another way to say this is damn good indie pop.
- Pere Ubu — Monday Night (Cloudland) Pere Ubu’s second go round, found the band taking on a more accessible tack, especially on this masterpiece of avant-garde pop, produced by Stephen Hague. The band that had deconstructed rock was putting it back together, sometimes just for hooks, but often achieving emotional resonance. This song is driven by big drums and somehow mixes a girl group structure with a Western campfire singalong, with a big twangy guitar in the background. For all of his quirks, David Thomas is a great singer, and this song is an example of that.
- White Plains — My Baby Loves Lovin’ (Bubblegum Classics — Volume Two): A lot of British bubblegum was a bit more sophisticated, relying less on double entendre, and more on just driving home a simple hook. The song is aided by the vocals of session singer Tony Burrows, who took the lead on many Brit bubblegum hits by fake groups such as Edison Lighthouse, The Pipkins, The Brotherhood of Man and others.
Shawn Campbell writesShawn Campbell’s Best of 2010
Throughout December CHIRP Radio presents its members' top albums of 2010. The next list is from CHIRP Radio DJ and the President and Founder of the Chicago Independent Radio Project, Shawn Campbell.
(Click here to get the complete list of CHIRP Radio members' picks.)
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The Tallest Man on Earth – The Wild Hunt (Dead Oceans)
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Obtuse but intriguing lyrics, impassioned but challenging vocals, and the ability to hold an audience in the palm of his hand make this the best early Dylan record since 1963. -
Allo Darlin' – Allo Darlin' (Fortuna Pop!)
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I am forever a sucker for a sweet-voiced female pop singer with a somewhat darker lyrical bite. And unlike so many twee acts, they’re supposed to be great live, so I eagerly await a US appearance in 2011. -
Summer Camp – Young [EP] (Moshi Moshi)
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This catchy mini-album has a spaciousness that makes it feel like it recorded from the room next door…it’s a little lo-fi, a little retro 80s, a little mysterious, like music from the college radio station you could never quite tune in when you were 14. -
Disappears – Lux (Kranky)
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Dark and sweeping, the long-awaited Disappears full-length didn’t disappoint. One slinky and vaguely oniminous track after another, this one may haunt your dreams. -
Cee Lo Green – The Lady Killer (Elektra)
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Even for a lover of all things indie, sometimes a big, shiny, well-produced pop record is just what the doctor ordered, particularly when it features one undeniable song after another, showcased by the fine, soulful voice of Cee Lo Green. -
Tennis – Baltimore [EP] (Underwater Peoples)
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Boy meets girl, boy marries girl, boy and girl sell their possessions, buy a boat, learn to sail, and then release a charming retro pop EP detailing their adventures on the high seas. What’s not to love? -
jj – jj No. 3 (Secretly Canadian)
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Shimmery and soothing, simultaneously cool and warm, this jj record, like its predecessor, is the perfect soundtrack for a relaxing weekend or a mellow evening with some good friends and a few nice bottles of wine. -
V.V. Brown – Travelling Like the Light (Capitol)
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An old school pop-soul record by a female singer with a modern sensibility, with a little more luck, Travelling Like the Light could’ve been 2010’s Back to Black. Alas for V.V., this was not meant to be, but this is still one little party of an album. -
Seabear – We Built a Fire (Morr Music)
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Carrying none of its homeland’s native chill, Iceland’s Seabear delivers a remarkably warm, cozy record, a soft blanket of indie folk-pop that gently insinuates itself into your subconscious. -
Frankie Rose & The Outs – Frankie Rose & The Outs (Slumberland)
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Tied with...
Best Coast – Crazy for You (Mexican Summer)
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...and...
Dum Dum Girls – I Will Be (HoZac/Sub Pop)
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2010 was a great year for girls in garages with close proximity to beaches and loads of Phil Spector productions in their record collections. Take your pick from these, or go with Grass Widow, Reading Rainbow, Super Wild Horses, or any number of other fuzzy, poppy, lady-led gems.
Honorable Mentions:
Verma – Salted Earth EP (self-released)
LCD Soundsystem – This is Happening (DFA)
Cave – Pure Moods EP (Drag City)
Stornoway – Beachcomber’s Windowsill (4AD)
Magic Kids – Memphis (True Panther Sounds)
Oval – O (Thrill Jockey)
Sam Amidon – I See the Sign (Bedroom Community)
Superchunk – Majestry Shredding (Merge)
Austin B. Harvey presents: The Liquid Diet writesAustin Harvey’s Best of 2010
Throughout December CHIRP Radio presents its members' top albums of 2010. The next list is from CHIRP Radio DJ Austin Harvey.
(Click here to get the complete list of CHIRP Radio members' picks.)
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Stricken City – Songs About People I Know (The Kora) / Animal Festival EP (Self-Released)
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This London quartet craft catchy, singable pop tunes with danceable rhythms, wonderful melodies, and sonic flourishes aplenty. The former release, a mini-album that stampedes through its 10 songs in 31 minutes, showcases tremendous breadth and range, from soaring choruses to hushed balladry. Relentlessly fun, thoughtful, and never hesitating to pull out the stops. The follow-up EP is more of the same, with more electronic elements and wistful chord progressions. Sadly, the bands second album, next years Losing Colour, will be their last. Perhaps they were just too good to last. -
The Walkmen – Lisbon (Fat Possum)
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When The Walkmen sound great, which is often, they seem to give their brand of poppy indie-rock more space to breathe then any other quintet out there. On their latest, strings and horns are even brought into the mix. But still its the songs, even when the refrains crescendo to their highest point, that allow the listener to roam around like a vacant snowy night. The result is the best non-Scandinavian winter album in years. -
Broken Social Scene – Forgiveness Rock Record (Arts & Crafts)
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The Canadian collective employed John McEntire for production on their fourth proper album, and the Chicago brainchild did good here, by the band, and the listener. The band use all their weapons in ways familiar and unfamiliar, creating an indie-rock stew that goes from minimally electronic to brutally epic, post-punk to post-rock. Its an album for sorting through ones demons, and at the end they feel exorcised. -
The Streets On Fire – This is Fancy (The Currency Exchange)
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When starting a new business venture, some folks stick to the adage, "Do one thing, but do it better than anybody else." This seems to be the mantra of Chicagos The Streets On Fire. Their debut album roars out of the gate with disgustingly filthy guitar, vocals culled from what could be a shortwave radio, and anthemic power to light the entire Midwest. Post-punk jams from your neighbors basement, bluesy, urgent, fun, and undeniable. -
Four Tet – There is Love In You (Domino)
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Maybe its because Kieran Hebdens live show at Metro earlier this year was one of my favorites. Maybe its because he samples, of all things, a handbell choir, and I happened to play handbells at church in my youth. Maybe its the fact that this album is a huge departure from the also-excellent (and more rock song-based) Rounds. Truth is, it's a combination of those things, as well as some of the best beats of the year coupled with bits of sound clipped from the places you'd least expect. At once moving and booty-shaking, and unafraid to do either. -
Eux Autres – Broken Bow (Bon Mots)
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There were so many twee-pop, chamber-pop, and Spector-influenced female-fronted fuzz-pop records released in 2010 that wading through all of them to find a gem or two is daunting and frustrating venture. So let me do you a favor and tell you this: Get This Album. Trust me. Everything about the above genres is nailed by this Portland duo. One of the few indie-pop records this year that never sounds forced. -
The Roots – How I Got Over (Def Jam)
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After stating that Rising Down would be their last, The Roots come back with a lean, mean, intellectual album thats the head-bopper you knew they still had in them. In addition to giving us the best Joanna Newsom track of the year ("Right On"), the Philadelphians give us piano-driven floor-thumpers that still prove that theyre the best hip-hop act in the biz, Jimmy Fallon or not. And auto-tuning the baby crying on the last track? Genius. -
Charanjit Singh – Ten Ragas To A Disco Beat (Bombay Connection)
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Heres the deal: Back in 1982, a Mumbai soundtrack composer and wedding performer went into the studio with a few Roland synths and merged East with West, playing traditional Indian ragas on keyboards, and backing the tracks with disco beats. The result is a stunning precursor to modern techno that still sounds groundbreaking today. A commercial flop in India in the 1980s, this 2010 re-release has folks trumpeting Singh as the pioneer of acid house, years before the term existed. Mindblowing. -
Frightened Rabbit – Winter of Mixed Drinks (Fat Cat)
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The Scottish band added a member, beefed up their sound, got over a breakup, and the resultant record is their best. More confident, with still enough insecurity to create lyrics of self-doubt as well as self-assurance, Frightened Rabbit have mastered bringing in their folk influences into a full rock band setting. Empowering stuff for anyone getting past relationship troubles. -
Verma – Salted Earth (Self-Released)
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Aiming right for the intersection of krautrock and psychedelia, and hitting the darkest of bullseyes, this Chicago quartet paint haunting pictures with fuzz, delay, and squawks. All the while, eerie vocals and insistent drums ease their way into your cerebral cortex. It might not be metal, but its certainly one of the best heavy releases of the year in any genre.
Cut-Missers:
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11. Robyn - Body Talk (Konichiwa) Anyone who says "Dancing On My Own" isn't 2010s best song is a liar.
12. Drink Up Buttercup - Born And Thrown On A Hook (Yep Roc) Imagine if an indie-rock band joined the circus. An energetic, yet well-thought, debut leaping from verse to chorus to completely-unrelated-movement with reckless abandon.
13. Kanye West - My Beautiful Dark Twisted Fantasy (Def Jam) Proggy at times, but otherwise a brilliant and forward-thinking masterpiece from modern musics foremost nutball.
14. The New Pornographers - Together (Matador) The New Pornographers albums are like Star Trek movies. Every other one is wonderful. This one is wonderful.
15. Arcade Fire - The Suburbs (Merge) Uneven at times, but still a wonderfully satisfying chamber-pop record.
16. Janelle Monáe - The ArchAndroid (Atlantic) Plays like a soul review in the 22nd Century. Also plays like the best Outkast album since Stankonia. The lady can rap, sing, and write.
17. Charlotte Gainsbourg - IRM (Because) The best work Beck has done since Midnite Vultures. A wonderful marriage of French pop and indie sensibilities.
18. Club 8 - The Peoples Record (Labrador) Coquette-ish Swedish pop with West African backing beats? Just crazy enough to work. If it were only summer...
19. of Montreal - False Priest (Polyvinyl) Kevin Barnes is insane. If he wants to make sci-fi sex jams, you say "yes" and dance along.
20. LCD Soundsystem - This Is Happening (DFA) Would have made my top ten had I not realized that there are a couple serious clunkers on it.
James Vest writesJames Vest’s Best of 2010
Throughout December CHIRP Radio presents its members' top albums of 2010. The next list is from CHIRP Radio DJ James Vest.
(Click here to get the complete list of CHIRP Radio members' picks.)
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Tame Impala – Innerspeaker (Modular)
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When describing a good music review, CHIRP music director, Billy Kalb, once noted, "Be specific. Don't use a word like, 'Beatles-esque'." With Tame Impala, it's rather complicated to move beyond the label, but imagine an alternate universe where The Beatles played "Tomorrow Never Knows" on Ed Sullivan. Moving on for there, the band exchanged flutes for synths, Yoko Ono for psychotropic soundscapes that spilt over the event horizon, arriving in our reality through the black hole we call a speaker. -
Broken Bells – Broken Bells (Columbia)
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One thing I will add about The Broken Bell's self-titled, is that when I listen to it, I'm aware I'm listening an ALBUM. I've yet to start a track without finishing every remaining tracks. For that, Broken Bells is a lot like CHIRP Radio. Expression lives in the tracks, Mood connects songs, and a good program captivates collectively. I listen while I get stuff done, I listen to sit and drift away, but don't interrupt me. When this album is on, I'm listening. -
Qwel & Maker – Owl (Galapagos)
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Local hip hop duo Qwel and Maker drop another fat cut of boom-bap into some old fashioned soul stew. Their third album is indeed charmed, showing both maturity and forward thinking of bigger acts, while keeping it old school with some classic soul samples that'll make you want to dance on your kitchen table. This album represents everything I love about Hip Hop–the past, present and future -
GAYNGS – Relayted (Jagjaguwar)
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Gayngs, the two-dozen-plus-member supergroup, reenacts an important time in rock history when all the awesome acts from the 1970s end up washed up 10 years later, playing sappy slow jams to stay on the FM dial. But stay tuned, the album quickly breaks character and goes all over the 80's and 90's road map, while keeping each song at the firm speed of 69 BPM. If you are looking for an album to play while you drive your Delorian in the slow lane, look no further. -
Beach House – Teen Dream (Sub Pop)
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After attending my younger cousin's funeral earlier that day, it didn't really hit me what the world had lost until later that night, when I went to see Beach House in concert. Teen Dream is a consistent reminder of life's gains and losses, whose voice lifts you up and let's you go, in an ocean of organ waves and crashing bass. -
The Budos Band – The Budos Band III (Daptone)
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Each album is a reminder: Don't mess with the Budos Band. No guest vocalists, no break beats, no retooling, just some god-foresaken, evil-hearted Doc Severinsen VooDoo horns, replacing Carson with a sack full of funk, and the guest's chair with a pit full of vipers. -
The Flaming Lips – The Flaming Lips and Stardeath and White Dwarfs with Henry Rollins and Peaches Doing The Dark Side of the Moon (Warner Bros.)
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Like a Christmas Carol on LSD, the most important psychedelic band of our time came face-to-face this year with the most important psychedelic band of all-time, but alas, no one but me and a bunch of Ebenezer Scrooges noticed. I couldn't find one review that praised The Lips for having a blast creating a demented tribute to one of the greatest albums ever made, but this one is will be remembered for historically if for nothing more than it's good cheer. -
The Limiñanas – The Limiñanas (Trouble in Mind)
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Simple songs channeling 60's California surf rock, sung in French and released by Chicago's own Trouble in Mind. If this album doesn't get you to look up from your computer when it comes on the rotation, then what's the point of good music? -
Ty Segall – Melted (Goner)
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I never tire of one-man bands. What they lack in polish, I fill in with dreams of myself, playing on stage with a space helmet on, half full of fuzzy bass lines, massive delay switches, effortless ivory ticklers, and a spy glass to watch the beautiful women smiling in the front row. Until that helmet exists, here's to the one-man bands. -
The Magnetic Fields – Realism (Nonesuch)
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If fishing is about being bored with a purpose, The Magnetic Fields is my musical equivalent of sitting on a rocky bank. The smoothness of the surroundings are only broken when I recall that I haven't moved in an hour. The is something peaceful and freeing about Realism, you'll love the extra time off from the work that is other albums.
Psychotic Distraction writesChesney’s Best of 2010
Throughout December CHIRP Radio presents its members’ top albums of 2010. The next list is from CHIRP Radio DJ Chesney.
(Click here to get the complete list of CHIRP Radio members’ picks.)
In alphabetical order…
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Backyard Babies – Them XX (Versity Rights)
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Sweden’s long-running glam/punk staalwarts commemorate their 20th anniversary with an extravagantly packaged 3CD/1DVD/120 page 10X10 hard-covered collection, spanning the band’s entire career from their 1994 debut Diesel and Power to their excellent 2009 self-titled release. A massive collection of hard-to-find B-sides/live tracks/remixes, a complete video anthology, an excellent 80 minute documentary, and over 300 photos from this Swedish Grammy-winning band that just can’t seem to make a dent in the American market. -
Blessure Grave – Judged by Twelve, Carried by Six (Alien8)
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Bizarre and menacing electro/gothic rock from California that could’ve just as easily been released in 1983 as 2010. A release that would fit comfortably between your Bauhaus, Joy Division and early Sisters of Mercy albums. Sadly, it appears the band called it quits in November after only two years. -
Grinderman – Grinderman 2 (Mute)
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Mr. Nick Cave steps away from the piano, picks up the guitar, and lets loose some of the gnarliest punk-infused blues (blues-infused punk?) since…well, Grinderman’s 2007 debut. Cave and three fellow Bad Seeds prove that their first album was no fluke, and that Grinderman can indeed stand on it’s own four legs. Also of note: Nick Cave’s excellent novel ‘The Death of Bunny Munro’, released in 2009. -
The Jim Jones Review – Burning Your House Down (Punk Rock Blues)
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The 2nd full-length release by former Thee Hypnotics frontman/lunatic Jim Jones is (somewhat) more controlled than their 2008 self-titled debut, but no less visceral. A howling slab of raging garage punk & soul, delivered with the intensity of a young Jerry Lee Lewis jamming with members of the New Bomb Turks and Zen Guerilla. One of most blazing live acts on the circuit, to boot. -
Killing Joke – Absolute Dissent (Spinefarm)
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Killing Joke’s fourteenth album (!) and their first since 1982’s Revelations to feature the original line-up (Jaz Coleman, Geordie Walker, Youth, and Paul Ferguson) is the perfect mix of 2006’s Hosannas from the Basement of Hell and 1996’s Democracy (and maybe a touch of 1994’s Pandemonium), along with the cerebral lashings one has come to expect from the band. Truly a band that has not only refused to mellow with age, but have become more agitated and outspoken over their 30+ year career. -
Kylesa – Spiral Shadow (Season of Mist)
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If one were to pinpoint the exact location bewteen Neurosis, The Melvins, Sonic Youth, and Baroness, that area would likely be Savannah GA’s Kylesa. Their fifth full-length release is the band’s third to utilize their thunderous two-drummer attack, and guitaris Phillip Cope’s production is absolutely top-notch and leaves no riff unappreciated. -
Negative Approach – Live at the Double Door (Chicago IL); Sunday, October 10, 2010.
Every so often a show comes along that reminds me of why I do this. I had been waiting upwards 20 years to see Detroit’s hardcore legends; not only did they not disappoint, they blew my expectations clear out of the water. Frontman John Brannon is still one of the most ferocious and maniacal frontmen of the past 25 years, and the band as a whole did everything absolutely note-perfect: no talk, all action. Inspiring. -
Swans – My Father Will Guide Me Up a Rope to The Sky (Young God)
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After a 12 year hiatus and a half-dozen albums with Angels of Light (among other countless projects), Swans mainman Michael Gira brings one of the most groundbreaking and influencial bands of the past 30 years back in full force (don’t you dare call it a ‘reunion’, Gira warns), and the results are predictably levelling. Gira’s creative output over the past 3 decades is absolutely mind-blowing in its consistency, and this album ranks with some of his finest work. Also of note: if you haven’t yet read Gira’s hard-o-find 1995 collection The Consumer, hunt down a copy ASAP. -
Triptykon – Eparistera Daimones (Century Media)
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The debut full-length from former Celtic Frost mainman Thomas G. Warrior’s latest musical endeavor is a logical extension of CF’s 2006 epic Monotheist: a monsterous wall of all-encompassing, cavernous noise that stretches out over 9 songs and 80+ minutes. A dense, sprawling album that rewards heavily with repeated listenings. -
Umberto – From the Grave (Permanent)
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The debut release from sometime Expo-70 collaborator Matt Hill is the classic ‘soundtrack for a film that doesn’t exist’, and that film happens to be a late 70’s Italian zombie gorefest. Sinister analog synth grooves that call to mind Dario Argento and Lucio Fulci’s darkest moments. The soundtrack to the greatest horror movie I’ve never seen.