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We Love You...Digitally
Hello and welcome to the interactive version of Filter Good Music Guide. We’re best viewed in full-screen
mode, so if you can still see the top of the window, please click on the Window menu and select Full Screen
View (or press Ctrl+L). There you go—that’s much better isn’t it? [Guide stretches, yawns, scratches something.]
Right. If you know the drill, go ahead and left-click to go forward a page; if you forget, you can always right-click
to go back one. And if all else fails, intrepid traveler, press the Esc key to exit full-screen and return to a life more
humble.
Keep an eye on your cursor. While reading the Guide online, you will notice that there are links on every page
that allow you to discover more about the artists we write about. Scroll over each page to find the hotlinks, click
’em, and find yourself at the websites of the artists we cover, the sponsors who help make this happen, and all of
the fine places to go to purchase the records you read about here. Thank you for your support of this thing we call
Filter. Good music, as they say, will prevail.
— Pat McGuire, Editor-in-Chief
Letters, inquiries, randomness: [email protected]
Advertising and such: [email protected]
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You can download the FILTER Good Music Guide at FILTERmagazine.com. When you’re there,
be sure to check out our back issues, the latest of which features MGMT, Nas and Damian Marley, and
Public Image Ltd. And if you’re heading to Chicago’s Lollapalooza, Outside Lands in San Francisco,
Seattle’s Capitol Hill Block Party and Bumbershoot or Austin City Limits, keep your eye out for us.
We’ll most certainly be there.
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Visit FILTERmagazine.com for music news, MP3s, magazine features, extended interviews,
contests, staff picks, album reviews, the world famous FILTER blog, and our newest addition,
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Out now: FILTER Issue 40
“Broken Social Scene: The Revolving Kingdom”
In this special 40th issue, FILTER heads to Toronto to visit with Broken Social Scene
to learn how it operates as an independent yet synergetic machine since forming in
2001, helping jump start the careers of several notable musicians including Feist,
Metric and Stars. The band’s latest release, Forgiveness Rock Record, revives the
group’s orchestral flare and lo-fi sensibility yet expands its sonic reign. Also: We
recruit Renaissance man Will Oldham to pick the brain of country music legend
Merle Haggard; pair up author/TV writer Jonathan Ames and The National’s Matt Berninger for a chat; pay tribute to
The Jam; and explore HBO’s post-Katrina New Orleans drama, Treme. Plus: Warpaint, Edgar Wright, Born Ruffians,
Flying Lotus, Phosphorescent, Delphic, Orbital, and a comic strip EndNote about Flea and Larry David from Curb
Your Enthusiasm star Jeff Garlin. Prittttttay, pritttttay, pritttttay good!
8DCI68IJH
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Kenny McGuane, Marissa Moss, Breanna Murphy, Loren Poin, Bernardo
Rondeau, Zach Rosenberg, Ken Scrudato, Laura Studarus, Colin Stutz
Art Contributors
Carla Azar, Jeffrey Brown, Daedelus, Mark Fox, Anthony Lister,
Mark Mothersbaugh, P-Thugg, Amedeo Pace
Marketing
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Thank You
“MY WORK SPEAKS
FOR ITSELF.”
McGuire family, Bagavagabonds, Brittany Boyd, the Universe, Wendy & Sebastian
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FILTER Good Music Guide is published by FILTER Magazine LLC, 5908 Barton Ave., Los Angeles
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anything, including the return or loss of submissions, or for any damage or other injury to unsolicited
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envelope or package of appropriate size, bearing adequate return postage.
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COVER PHOTO BY SUSANNA HOWE
We get a lot of mail here at the FILTER offices—some good, some bad, some…
well, completely unclassifiable. Send us something strange and you might see it
here. Boxed sets, while often abundant with goodies, very seldom necessitate the
need for said titular box. Our friend Matt Sharp, former Weezer bassist and founder
of The Rentals, is here to change that. His recently released Songs About Time
Rentals boxed set is unlike any other, complete with 42 tracks on CD and vinyl, a
72-page hardcover photobook, 52 short films on DVD, a roll of undeveloped film
and more. “Boxed”? More like “bank vaulted.” If you’re friends with P. then you’ll
definitely need one of these 365 Limited Deluxe Editions.
The father of old-school tattooing, Norman “Sailor Jerry” Collins
was a master craftsman whose artistry and integrity remain as
timeless as the rum that bears his signature.
SAILORJERRYRUM.COM
RESPECT HIS LEGACY. DRINK SAILOR JERRY RESPONSIBLY.
©2010
©2010 Sailor
Sailor Jerry
Jerry Rum,
Rum, 46%
46% Alc./Vol.
Alc./Vol. William
William Grant
Grant && Sons,
Sons, Inc.
Inc. New
New York,
York, NY.
NY.
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I first heard the talk box on “More Bounce to the Ounce”
from Zapp. Roger Troutman is definitely the all-time master
of the art. I say “art” because as opposed to Auto-Tune and
the vocoder, a talk box is truly something you have to learn,
practice and master to achieve good results. The instrument
is very physical. It’s basically the sound of a keyboard being
amplified and pumped in your mouth with a tube attached
to a horn driver.
You have to learn how to shape words with a tube in your
mouth, so it takes a bit of craftsmanship before it becomes
second nature. We had no Internet back when I was learning
how to use it, so I didn’t get help from Swedish or German
forum enthusiasts who would’ve been glad to tell me all
about it. I had to find out for myself—even build my first talk
box. I have a terrible singing voice so this gives me a great
opportunity to serenade the ladies and maybe someday sing
lullabies to my kids without provoking nightmares.
Circumvent Instruments
By Mark Mothersbaugh of Devo
For something to be unique it has to be pretty special, so
for me it’s a category of instruments: Circumvent. It refers
to what Devo did back in the early ’70s: We would take
synthesizers that had been factory-wired and reprogram
the circuitry to give them a new use; we would repurpose
electronic toys and make them into new sonic devices.
I’ve bought old calculating machines from the ’70s with
repurposed buttons and numbers that play tunable notes;
you can tune all the notes on a calculator and have a new
keyboard, a new programmer, a new trigger for your
oscillator. It makes you think about music differently.
I write so much music in my life. I’ve written for 40 feature
films, 65 TV shows, two dozen games. You look for inspiration,
things that get you excited about music again; when you look at
a keyboard, it looks like a fence that you can’t get through. I’m
constantly on the lookout for Circumvent things that people
come up with. It’s subversive in a really creative way. It adds a
spark to something that’s otherwise cliché or dead when you
use prepackaged samples or software synths of the designer.
The shape and design of the instrument you are playing
makes you think and play music a certain way; whether you
are going to use two hands and stay within a range of a certain
tonality and musical notation. So it’s these crazy, screwed-up
agents of chaos—Circumvent toys and homemade devices I
buy on the Internet—that were my secret weapons for the
new Devo record.
How does the Fiesta get more miles per gallon than
many hybrids?* Two words: thoughtful engineering.
The kind that understands that giving the Fiesta a
Ti-VCT engine will allow it to squeeze every last
drop. Or that a line cutting through the taillamp
will make the Fiesta more aerodynamic,
and therefore more fuel-efficient. But these
are only a few of the many reasons the
Fiesta can go farther than so many other
cars. Including all those hybrids.
IT’S A PRETTY BIG DEAL.
MICHAEL PILMER
The Talk Box
By P-Thugg of Chromeo
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INTRODUCING THE NEW FIESTA
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The Monome
By Daedelus
LAURA DARLING
The Monome is best described by its inventor, Brian Crabtree, as an “adaptable, minimalist interface.” It basically
looks like a grid of buttons that when plugged in can light up, with not much else to get in the way. It connects by
USB cable sending OSC messages to any programs on your computer that’ll listen, and if they send messages back
to the Monome it can do all kinds of fun, light-up mischief. It has inspired a rabid community of music makers and
programmers who design all kinds of apps for its use (almost all open-source, like the device itself).
I simply could not perform as I choose without it. Making music that is part sample-based and part organic
compositions, the traditional performance method would be with instruments (and I don’t have enough arms) or
entirely in-the-laptop (and what’s the fun it that?). So, the Monome allows me to improvise completely and yet still
play my music. Every Monome is handmade so I highly doubt it’ll catch the world on fire. There are already many
other companies making similar devices (APC-40 and Launchpad come to mind) for people who don’t care about
environmentally-sound production practices or open-source hardware. The software made for the Monome is free
and can work with those devices and pretty much anything. But the ideas behind its construction and design are so
fantastic that I sincerely hope more music will be made by devices like it.
Joe Waltz
By Amedeo Pace of Blonde Redhead
A few years ago, I found a little Electro-Harmonic keyboard under
the staircase in my apartment building, which someone must have
neglected as it had paint all over it and hardly worked. I have never
been the kind of person who goes to music stores and keeps up with
the latest musical gadgets—I’ve tried, but it’s not really something I
enjoy—but someone told me about a man named Joe Waltz who could
probably take a look at it. I called Joe the same day and was pleasantly
surprised by his kindness and strangeness—and I mean that as a
compliment: He was one of us, I thought! We became good friends and
though we have barely ever gone into a music store together, we often
have coffee and talk about music.
Joe has been my greatest inspiration as far as making my often
abstract ideas come to life. I have to be very careful as to what I say
around him since he’ll just go home and solder it all together. He put
an old delay pedal of mine into a sewing machine pedal; he helped
me with my guitar sound and my pedal board, amp, and keyboard; he
has helped me record demos and albums and also figured out what
electrocuted my cat! He also designs pedals for Eventide...he is the
best. Thank you, Joe!
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Essentially a one-man design studio, Oakland, California’s Jason Munn fills a very special niche in
the indie music scene. Under the moniker of The Small Stakes, Munn creates highly sought-after
music posters for bands, artists and their aesthetic-loving fans, including those of Deerhunter,
Calexico, Okkervil River, Built to Spill, Andrew Bird, No Age, Modest Mouse and Mark Kozelek,
just to name a few. Munn’s limited-run silk-screen posters are minimalist yet meaningful, firmly
embedded in pop culture yet clever enough to approach “high art.” And perhaps most importantly,
people absolutely love them.
This year, the art-lit and design publishing house, Chronicle Books, released a book of
Munn’s work, aptly entitled The Small Stakes: Music Posters, which collects 150 posters and
includes a full-length interview with the artist himself conducted by Death Cab for Cutie’s Nicolas
Harmer. Covering the span of Munn’s productive yet still blossoming career, the book is a striking
representation of Munn’s finest works and a welcome introduction for those discovering him
for the first time. The Guide talked to Munn about his process, artistic progression and his stillcongealing creative aspirations.
How would you describe your process
of making a pictorial representation of a
band’s sound?
Jason Munn: I view it as collaboration between
myself and the band. I don’t want to make
something that’s simply my idea and doesn’t make
sense with the music. I try to pull things from the
music, like album titles or band personalities or
the feel. Sometimes, it takes me a while to get an
idea of what I want to get across that makes sense
both in regards to the music and for someone
who doesn’t know the band at all. It’s that middle
ground that I really like to be in.
With your new book, we get to see your
posters throughout your career. Can you
notice a definite evolution in your work?
Early on, I used a lot of found imagery
and combined it with other things. I did
a lot of stuff like that, where I would take
imagery and combine it with something else
to give it a new meaning and feeling. With
the newer stuff, there’s only occasional use
of other materials, like textures and things
like that. I don’t know what triggered the
change. Now, I guess, instead of trying to
find imagery, I try to think about ideas; the
hardest part is thinking of ideas that make sense. Plus,
innovative bands—like Antony and the Johnsons—push
me to do something different since their music is so
different. I want the poster to reflect that in some way,
which leads to new things, artistically.
One discovers reoccurring images in your posters, such
as insects, hearts and feathers. Is this intentional?
When I started making posters, I didn’t want to have
things reoccurring. But later on, I liked having those
themes. I think a lot of it becomes this vocabulary to work
with and simple shapes turn into totally different things.
For example, the Nada Surf poster [Nada Surf, 2008] is
a balance of a light-hearted aspect with something harsh:
two arrows pinning flies’ wings to the wall. It’s a negative
aspect because the flies are dead on the ground, but the
wings did stick in the shape of a heart. So, did the flies die
happy? Plus, there’s motion involved—like a snapshot in
time instead of just a static picture.
Do you see yourself ever moving into other subject
matter, or what might be termed as “fine art”?
That’s a good question and I don’t know how to answer it.
But, I’ve been thinking a lot about whether I want to do
something different. I’m not really sure because I still really
enjoy making the posters. I sometimes veer off for a couple
of weeks to work on some other projects that are not posterrelated and then I always go back to the posters. I still have a
huge interest in music and I think that will always be part of
who I am. It’s hard for me to say—I’m still enjoying it so I’m
not trying to think too much about it.
Since you’ve probably spent a lot of time going over your
body of work while preparing The Small Stakes, have you
found a poster that you’re particularly fond of?
I’ve got a few favorites, to be honest. For me, if I could
look at a poster a year or two after I made it and not want
to change anything, then that’s good. One of my favorites is
one I did for The Books [The Books, 2006]. It has a tape reel
unraveling on it. I remember it having to be done quickly
and I remember unraveling a cassette tape and laying it on
my scanner. I put it there a few times until one felt right. The
poster is still very organized with the type I used and I like
that combination—the randomness of the tape and the very
organized lettering. I just really like the overall picture.
What is your favorite part of what you do?
You think of something for a really long time, but then it comes
together and takes only an hour or two to make. I usually spend
more time on the idea phase and there’s a little pulling and
pushing to get an idea to work; there’s this upfront process
that nobody sees. But I love that moment when everything
finally comes together. Although I don’t print most of my
work anymore, there’s the feeling of seeing the last color go
on and seeing the completed poster that is also special. Early
on, finally seeing ink on paper was the best part; seeing it come
out and knowing you did it yourself. It’s like, “Wow, I’m not just
doing this on an Inkjet at home. This is real.” F
GOOD MUSIC GUIDE FILTER 9
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Contriving a conversation with a musician about art brings to mind the rather biting Billy Bragg album title, Talking with the
Taxman about Poetry. Certainly, being involved in music could hardly be assumed to be a direct bridge to Actionism or Abstract
Expressionism—just as one shouldn’t expect the IRS auditor to be quoting Keats or Rilke just before he tells you how fucked you
are. But our subject, Autolux’s singing stickswoman Carla Azar, teems with genuine and informed enthusiasm regarding the
visual arts. In fact, early into our chat, acknowledgement of an adoration of Antonin Artaud, mad godfather of the Theatre of
Cruelty, definitively sealed her subversive art credentials. Here, Ms. Azar takes us on a run-through of the distinctly not-rockand-roll influences that have shaped her unique cultural vision and thusly helped to form Autolux—and the band’s new album,
Transit Transit—as we know and love them.
The main art movements and artists that have truly influenced my creative process in Autolux
are minimalism (Charles Bukowski, writer; Brian Eno, musician; Ludwig Mies van der Rohe,
architect; La Monte Young, composer; Robert Bresson, filmmaker), Surrealism (Man Ray,
Brion Gysin, Marcel Duchamp, Francis Bacon), Fluxus (John Cage, composer; George
Brecht, conceptualist), and the Bauhaus.
Visual arts definitely affect the way I relate to music. I’ve always been drawn to
musicians that have a strong visual aesthetic, whether it’s a part of their album artwork,
videos, or in their general human or non-human existence: Björk, Kraftwerk, The Velvet
Underground with Andy Warhol, Sonic Youth, Radiohead with Stanley Donwood,
etc. When I was younger, I was really drawn to the Fluxus movement. I saw a Nam June
Paik book in the store and wanted to know more about him as an artist. That movement
had a do-it-yourself aesthetic and leaned more towards simplicity, which I related to as a
musician. Street artists have also been a huge influence. For me, their work is completely
raw and rhythmic. I usually gravitate towards repetition, spontaneity, fearlessness, and
freedom—which these guys all seem to have. A lot of those artists that I’m into are now
showing their work in galleries and museums, so it’s not really fair to categorize them. The
main influences in that world for me in the last few years have been Barry McGee, Mark
Whalen (aka Kill Pixie) and Anthony Lister.
Anthony Lister is the Australian artist and friend who painted on the photograph of me [at
right]—he’s incredibly talented. Being one of my favorite artists at the moment and definitely
one of the more charismatic humans I’ve met, I thought it might be more interesting to have
some sort of collaborative effort with Anthony to give to the magazine. Hence, I had photos
printed of myself and sent them to Australia for him to paint on, in hopes that he would make
me into a superhero. F
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There’s a classic Kim Gordon quote that goes, “People pay to see others believe in themselves.”
With a similar thought, Matt Berninger, the earnest-eyed singer and frontman of the Brooklyn-by-way-of-Cincinnati rock band The National,
speaks up: “I’ve always had the feeling that there’s this myth of talent or of people being naturally gifted,” he says, “but I know so many people
who, when it came to art as a kid, somehow were given the impression they weren’t very good. I think that forms really early and you just convince
yourself you could never do that—this whole sense of, ‘Art, I just don’t get it.’ And I think that’s a sad sort of myth. Art is one of those things that
if you just think about it and read more about it and learn about it you’ll get excited by it… Art is digging in and working at something so you
can learn how to be innovative and exciting.”
At 39, Berninger is a perfect example of this egalitarian ethos. In many ways, music, his craft and trade, is something foreign to him. He plays
no instruments and only began to write and sing songs when he was in his twenties at the encouragement of friends. Over the past decade-plus he
has, however, developed beautifully. So much so that in a band that comprises some seriously classically proficient musicians—in the identical twin
guitar playing brothers Aaron and Bryce Dessner, and the rhythmic Devendorf brothers Scott and Bryan on bass and drums, respectively—he holds
his own with muddled jargon and utterly poetic lyrics to shape his sentiments into true, modern American audio folk art.
Much like the chaotic order of Cincinnati-native Mark Fox’s sculpture that graces the cover of The National’s fifth and newest studio
album, High Violet, the resulting songs are an abstract embodiment of meticulously composed catharsis: Visceral enough to make one weak,
dynamic enough to make one think. And it’s selling, too; debuting at No. 3 on the U.S. Billboard charts and high internationally as well, High
Violet has been the band’s biggest success so far with more than 120,000 sales to date.
The Guide sat down recently with Berninger and Aaron Dessner, the band’s principle songwriters, to discuss the art of translating thoughts
to sounds and the meticulously crafted mess that is The National.
»
Matt Berninger: My vocabulary for talking about how the songs should be in the key
of this and this kind of a tempo isn’t very vast. So, often I’ll say the song should be
blurry here or it’s too colorful there. At one point, I think it was when we were making
[2007’s] Boxer, I remember describing that it sounds like someone’s shaving a rainbow.
Sometimes that’s my way of talking about sound, I just use visual images and the guys
actually do kind of see it and know what I’m talking about. Sometimes it’s silly, sometimes
it’s ridiculous and completely abstract and it takes us a long time to figure out what we’re
talking about, but we do that a lot in talking about the sound and the music.
I went to eight years of design school and was a graphic designer for almost 10
years in New York and there is something that you learn about balance and composition
and using the right amounts of this element versus that element. One of our design
professors used cooking metaphors, like when you’re cooking pasta there’s 60 percent
pasta, 20 percent butter, a little bit of spices…you have to have all these balanced
elements. And we do think of that in the songs a lot, where the guitar rhythm might be
the pasta and these little flute overdubs are the capers or whatever. All that kind of crossuse of different languages to describe abstract things like sound and music is something
that we’ve always done.
What is the band’s relationship with art that shows trained mastery or skill
versus more raw, visceral works?
Berninger: I’ve been described as being the low-art guy and Aaron and Bryce as being
high-art guys, and that’s right to a certain degree but I think we all have good ears for
both sides… I’m not a trained musician but I love the complex, weird stuff as much as
they love the ugly, visceral, garage-y sounding stuff. But maybe there is a thing where
those guys often won’t be happy with something if it’s not innovative on some level and
that’s why our songs always have both of those sorts of bloodlines going through them.
Aaron Dessner: In the band there are different levels of technical proficiency.
You have my brother, the classically-trained guitarist. And actually, before The
National, he was a successful classical guitarist doing concerts and still has a whole
career outside of rock music playing really serious classical music. He’s sort of, in
terms of music theory and ability, a nuclear physicist. But then also a lot of our
favorite bands—whether it’s the Pixies or Pavement or Guided by Voices—they’re
these bands where it wasn’t about being technically good, it was just about the songs
and the feeling. And I think we still are very much embracing that and we like
spontaneity and for something to feel casual and have some sort of rough edge to it,
and not be too polished or elegant or perfect. We’d never want to be Muse or Rush
or any of these technically-polished bands.
It’s a weird mix where we try to take a song that’s basically quite simple at its
core and give it some complexity that unfolds and maybe that’s where you get a
little of the high art. It’s a simple rock song but then we try to subvert it in some
way or just develop it so that there’s a complexity to it that reveals itself over time.
That’s what takes us a really long time to figure out, how to give it that depth. And
that’s where some of the training and theoretical aspects of our band come in. We
do think a lot about it, and a lot of the orchestration and those elements take a lot
of time and thought.
PHOTOSCOURTESY
COURTESYMARK
MARKFOX
FOX
PHOTOS
As a medium, music can be fairly abstract. Since a full vocabulary to describe
sounds doesn’t really exist, when you’re writing songs how do you communicate?
Are you influenced by other mediums or senses?
So when you look at someone like Mark Fox’s sculptures, there’s the same sort
of dynamic range that is both immediate and emotive but also shows amazing
technical savvy?
Berninger: Yeah, it looks like a big mess but it’s a big mess that was meticulously
created. It looks like chaos but you have the several levels of choosing of what doctrine
or script he’s going to write out and choosing the colors and meticulously cutting it all
out with an X-Acto blade that probably takes months. [Fox’s work] on the album cover
is about the size of a small bush but some of [his work] fills entire rooms. So he’s got
an amazing combination of this visceral image he’s created, but it’s a very long and slow
meticulous process to get there. It’s not far off from what we do. F
LEFT: MATT BERNINGER, ARTIST MARK FOX AND SCOTT DEVENDORF WITH FOX’S SCULPTURE, “BINDING FORCE”
RIGHT: THE NATIONAL SIGNING “BINDING FORCE” LITHOGRAPHS
WOLF PARADE | STORNOWAY
SUPERPUNK | THE CHAP | POTION
JUNIP | BLOOD RED SHOES
T H E M O U N TA I N S & T H E T R E E S
LABRASSBANDA | JOHNOSSI
KOBERT | FELOCHE | IRIE RÉVOLTÉS
THIS WILL DESTROY YOU
EARL GREYHOUND | LYREBIRDS | FOTOS
Organizer: Reeperbahn Festival GbR
DEER TICK | MUSÉE MÉCANIQUE
YOUNG REBEL SET | AMANDA JENSSEN
JOCHEN DISTELMEYER
THE CROOKES | SCHLACHTHOFBRONX
MARIT LARSEN | BAND OF SKULLS
NILS KOPPRUCH | CAPTAIN PLANET
GISBERT ZU KNYPHAUSEN
CURRY & COCO | THE BLACK ATLANTIC
CAMPUS
CREATIVE INDUSTRIES MEETING
ARTS
NORTHERN EUROPE
FLATSTOCK EUROPE 5
STREET ARTS, FILMS, GUIDED TOURS
23. – 25. SEPT. 2010
HAMBURG/GERMANY
WWW.REEPERBAHNFESTIVAL.COM
FEHLFARBEN | BABYLON CIRCUS
LAURA JANSEN | ROYAL REPUBLIC
HORSE FEATHERS | HANS UNSTERN
THE BLACK BOX REVELATION | DE STAAT
NILS FRAHM | LOVE AMONGST RUIN
KARIMA FRANCIS | MODDI | MOHNA
HUNDREDS | ZPYZ | SPACEMAN SPIFF
TIM NEUHAUS & BAND | KLEIN | BOY
THE LOST CREW | HEROES & ZEROS
WILHELM TELL ME | BEAT!BEAT!BEAT!
THE PICTUREBOOKS | SAALSCHUTZ
TUSQ | VIERKANTTRETLAGER
THE JACK STAFFORD FOUNDATION
AND MANY MORE
David Bazan is the former front man of Pedro The Lion. Bazan’s latest album, Curse Your Branches, deals with his drinking problems and how he left evangelical
Christianity. Jeffrey Brown is a cartoonist who managed to write and draw this interview despite failing to operate his recording device correctly both on the phone
and in person.—J.B. [Editor’s note, in a George Jetson’s boss’ voice: Ar-tists!]
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%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
3T,OUIS$EPTOF0ARKS2ECREATION&ORESTRY0RESENTS
(Go to FILTERmagazine.com or pick up FILTER Magazine’s Summer Issue for full reviews of these albums)
BAND OF HORSES
91%
Infinite Arms
BROWN/FAT POSSUM/COLUMBIA
A confident new Band delivers a gorgeous,
introspective meditation on family, nature,
solitude, and patience. Who said growing up
is hard to do?
THE DEAD WEATHER
85%
Sea of Cowards
WARNER
With an even greater determination to
offend, Jack White’s newest concoction is
an unrepentant, sleazy blues-metal potion.
Make that a double, barkeep.
TEENAGE FANCLUB
81%
Shadows
MERGE
Shadows isn’t “crucial listening,” but after
having to wait a half-decade for new songs,
the fact that the Fanclub is here now is
reason enough to take notice.
VARIOUS ARTISTS
Broken Hearts & Dirty Windows:
90%
The Songs of John Prine
OH BOY
Bon Iver, Conor Oberst, Drive-By Truckers
and more take on the vast, amazing
versatility of Prine’s work one funny, sad and
heartrending track at a time.
THE BLACK KEYS
84%
Brothers
NONESUCH
After all these years, Auerbach and Carney
are still creating hits that warrant multiple
encores. It’s official—this garage band has
advanced well beyond the suburbs.
JAMIE LIDELL
80%
Compass
WARP
The former beat-boxer trades in his
hankering for performance art for this
Beck-produced emotional rollercoaster that
swings from synth to experimental folk.
RATATAT
83%
LP4
XL
The album’s title isn’t the only thing nearly
identical to the duo’s previous records…
but if the music ain’t broke, don’t fix it.
Consistency is here to stay.
JOSH RITTER
76%
So Runs the World Away
PYTHEAS
A mix between an album and a novel, complete
with a piano-waltz tale of a love affair between
a horny mummy and a Victorian archeologist.
[Insert Freud pun here.]
SAGE FRANCIS
82%
Li(f)e
ANTIThough combining rock with rap always
risks awkwardness, Francis’ poetry
overcomes some of the musical missteps
that this combination cooks up.
REFLECTION ETERNAL
74%
Revolutions Per Minute
BLACKSMITH/WARNER
Don’t call it a comeback—Kweli and
Hi-Tek’s newest is only saved by its
collaborations with other artists like Mos
Def and Jay Electronica.
LCD SOUNDSYSTEM
87%
This is Happening
DFA/VIRGIN
After reinventing dance rock in just two
albums, Mr. Murphy goes out on top with
his third and final piece of passionatelydelivered brilliance.
FILTER
ALBUM
RATINGS
CHEMICAL BROTHERS
86%
Further
FREESTYLE DUST/ASTRALWERKS
This cinematic, expansive outing is everything
at once—swirling, dizzying, disorienting and
hypnotizing—resulting in a soft fusion of
sound that delights and enraptures.
91-100%
81-90%
71-80%
61-70%
Below 60%
8
8
8
8
8
a great album
above par, below genius
respectable, but flawed
not in my CD player
please God, tell us why
August 28-29, 2010
2 days, 2 stages, 18 bands
Central Field, Forest Park
St. Louis, USA
BROKEN
SOCIAL SCENE
SO MANY
DYNAMOS
Y
D
E
E
W
T
F
F
JE
BUILT
TO SPILL
LUCERO
MAGNOLIA
SUMMER
go to
TITUS ANDRONICUS
CAROLINA
CHOCOLATE DROPS
BOTTLE ROCKETS
FRUIT BATS
THE AIRBORNE
XIC EVENT
ALEJANDRO TO...and many mor
e!
ESCOVEDO
WWW.LOUFEST.COM for tickets, showtimes, & cool stuff!
Bjh^X!ZiX#
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!!!
86%
Strange Weather, Isn’t It?
WARP
Californian disco-punkers !!! went to Germany
to record the group’s fourth album—a much
darker and danceable record than previous releases. The
influence of the German club scene is apparent in “The Most
Certain Sure,” while “AM/FM” has a definite New Order
tinge. The group still moves within the same sphere as LCD
Soundsystem and The Rapture, but if you’re not fed up with
indie-electronic-dance-rock just yet, !!! is still among the best
in the hybrid genre. LAURA JESPERSEN
R.E.M
Fables of the Reconstruction
89%
[25th anniversary edition]
CAPITOL/I.R.S
The re-release of R.E.M.’s third and arguably
most iconic album of its I.R.S. period is something the band
probably would never have imagined when they recorded it
in early 1985. Songs like “Can’t Get There from Here” and
“Driver 8” are still lo-fi gold even with their digital remastering.
The second disc of demos gives an insider’s peek into the
band’s thoughts as they originally wrote the album in Athens.
The unreleased “Throw Those Trolls Away” makes you wonder
what other unheard gems R.E.M. is hiding. DANIEL KOHN
DARKER MY LOVE
80%
Alive as You Are
DANGERBIRD
With their third Dangerbird-backed album,
Los Angeles-based psychedelic rockers
Darker My Love have completely shifted gears. The band’s
latest finds frontman Tim Presley and friends ditching the
heavy jam-banding that’s defined their previous sound
in exchange for some earthier ’60s California folk. While
extreme stylistic genre-hopping usually feels contrived,
Alive as You Are is a pleasant enough recording brimming
with lyrical personality—a personality normally buried under
DML’s psychedelic drone. KENNY McGUANE
THE BOOKS
83%
The Way Out
TEMPORARY RESIDENCE
The Way Out is an intricate collage of forgotten
recordings recast into the musical form known
as The Books. On their first full album in five years, Nick
Zammuto and Paul de Jong generously deliver 14 beautifullydifferent tracks, including a rare four with vocals. This
electronic-folk duo, in the likeness of bohemian hedonists, turns
meticulous attention-to-detail into bounding creativity—and
something unequivocally bookish. MARY KOSEARAS
Wdd`
MICK ROCK
Best Coast’s first LP is still a clear good vibration in
complication amour, resonating through hot, stoned days of
West Coast love and lonely, sleepless nights of unanswered
phone calls. As Bethany Cosentino aptly mopes: “Ooh I want
you, but there’s something about the summer that makes me
moody.” As a wholly L.A. affair—sorry, Katy Perry—here’s
the record about California girls. BREANNA MURPHY
The Rolling Stones, Black Lips and Frank Black—and
brand new tracks offered up by Beck, Metric and Broken
Social Scene—this is one movie score that won’t leave
us bemoaning 40-second instrumentals and re-hashings
of Bill Withers tunes. This is something we can actually
use…a compilation disc that is an indie-pop partystarter. It’s official: Scott Pilgrim wins! ERIK NOWLAN
MIDNIGHT JUGGERNAUTS
81%
The Crystal Axis
SIBERIA/INERTIA
It’s been two years since clubs were haunted
by “Shadows” from the Juggies’ debut album,
Dystopia. And the Aussies still dish-up sci-fi synth pop with long,
grandiose intros and copious energy wrapped in futuristic, cluborientated Krautrock. Tracks are effectively infectious and “Vital
Signs” will no doubt get even the most inveterate wallflower
dancing. The Crystal Axis has a hint of the “sequel” to it, but still
manages to stake out on its own. LAURA JESPERSEN
CHIEF
80%
Modern Rituals
DOMINO
It’s easy to lure listeners into submission with
soaring harmonies and wistful lyrics, and on
Modern Rituals, Chief tries both. But these things only go
so far in boosting singer Evan Koga’s limited vocals or the
overly-glossed production of this dulcet but inconsistent
record. They’re best on tracks like “Night & Day, where the
classic-rock sound is modernized by peppery drumming, or
when toying with unexpected melodies. Chief’s got promise,
but it’s too early to hail. MARISSA MOSS
Exposed: The Faces of Rock ’N’ Roll
CHRONICLE
87%
For over 40 years, legendary rock
photographer Mick Rock has
captured some of the most famous
faces in music. From Bowie and
Reed to Bono and Gaga, Rock’s photos have defined
the undefinable. This career-spanning book is an
amazing look at some of the most iconic moments in
both music and culture—and what it ultimately means
to be a rock star. DANIEL KOHN
BEST COAST
85%
Crazy for You
MEXICAN SUMMER
Ready for your summer crush? Missing the
debased lo-fi fuzz of its previous 7-inches,
ELI “PAPERBOY” REED
78%
Come and Get It
CAPITOL
Blue-eyed soul singer/guitarist Eli “Paperboy”
Reed’s third offering and major label debut
might finally earn him the mainstream success that has thus
far eluded him. Heavy with swaggering, mood-laden rock
and roll, guitar-strumming, and Reed’s soulful, albeit English
vocal style, Come and Get It might be missing a certain
kick, but it’s nevertheless intriguing. NAZIRAH ASHARI
SCOTT PILGRIM VS. THE WORLD
Original Motion Picture Soundtrack 83%
ABKCO
Let’s get this straight: most soundtracks
suck. However, with music from T. Rex,
VERSUS
84%
On the Ones and Threes
MERGE
Versus changed the world, but no one noticed.
So, they try again. Male vocals croon like
Chet Baker and female counterparts talk down with poisoned
sweetness (“Gone to Earth”). The twinkles of music past have
been removed, and in their place, gravel has been thrown
across the guitars—darkness creeps forward and the album
builds and crashes with fervor. JONATHAN FALCONE
85%
WILDBIRDS & PEACEDRUMS
80%
Rivers
THE CONTROL GROUP
Pulsating and haunting, Wildbirds &
Peacedrums’ third release—a double CD of
previous limited edition EPs, Retina and Iris—remains true
to the duo’s sound. The backing vocals of a choir on Retina
add a layer to the effortlessly minimal sound for which the
band is known. Iris brings Mariam Wallentin’s vocals to the
foreground with fewer distractions, creating a more intimate
atmosphere. Together, the EPs make Rivers a good addition
to the W&P discography. LYNN LIEU
BBC
Taking the whole “British deadpan” to
its driest depths imaginable, this mock
educational series expounding the
myths and misconceptions of science—
all the while passing them as truths—is either genius or
completely moronic. Although I’m still not sure which
one is correct, the stout English accents and incredible
art direction seem to suggest ingenuity. With guest
stars Simon Pegg, Edgar Wright and Nick Frost, and
DVD commentary by Trey Parker and Matt Stone
among others, this collection of to-the-hilt parody must
be seen to be misunderstood. ERIK NOWLAN
RA RA RIOT
85%
The Orchard
BARSUK
Start at the beginning and let it play all the
way through: The Orchard gives us an achingly
mature version of a band yet to fail. Wes Miles sings his heart
out, but not any more than the rest of the musicians play. Along
with some help from Andrew Maury and mixed by Chris Walla
(with one assist from Vampire Weekend’s Rostam Batmanglij),
this incredibly talented group commits to a sound that is
reflective of the challenging but thrilling days we are currently
aging ourselves through. MARY KOSEARAS
YkY
Look Around You: Season One
THE ACORN
83%
No Ghost
BELLA UNION
Folk-poppers The Acorn seem destined
to follow the career trajectories of
underappreciated bands like Doves or Rock Plaza Central.
The Ottawan quintet’s chest-beating 2007 concept LP, Glory
Hope Mountain, attempted to break that roadblock and
frontman Rolf Klausener’s delicate equilibrium of hearth-like
timbre and stirring upsurge might just crash it down on No
Ghost. The Acorn hit a spry pace here, as chiming guitars,
violin embellishments, and burbling electronics coalesce into
a harmonious mélange. KYLE LEMMON
EELS
85%
Tomorrow Morning
VAGRANT
Mark Oliver Everett is cheering up. Freed
from hopeless relationships, his ninth studio
album, Tomorrow Morning, finds the notoriously moody
troubadour spinning some surprisingly sweet sentiments.
While E might have shed his tongue-in-cheek misanthropy,
his trademark spiky songwriting still remains driven by its
own twisted internal logic. An album awash in electronics and
found sounds, Tomorrow Morning is as warm as it is weird
and the perfect listen for anyone who wrongly believes happy
people are all the same. LAURA STUDARUS
MT. ST. HELENS VIETNAM BAND
83%
Messengers
DEAD OCEANS
On Messengers, frontman Benjamin Verdoes
laments, “Oh, there is a dissonance between
us,” a line more applicable to the eccentric Seattle-based quintet
than an ex-lover. Cut-and-paste compositions, dueling guitar
riffs and pummeling bass drums collide head-on in frenetic
epics “Leaving Trails” and “Hurrah,” sending Messengers to its
summit more than halfway through. The result is a seamless
yet stark poeticism that best represents MSHVB’s overcast
outlook on the world below. LAUREN BARBATO
Wdd`
Paul is Undead:
The British Zombie Invasion
73%
ALAN GOLDSHER
GALLERY BOOKS
With zombies and vampires en vogue,
it was only a matter of time before
the popular music figures became the
subject of this phenomenon. This book
is a fictitious oral history of The Beatles as brain-eating
zombies who form a band in Liverpool with dreams of
global conquest. Though the writing might be tedious, the
saving grace is comic artist Jeffrey Brown’s humorous yet
sickly depictions of the Fab Gruesome. However, while
the conceit may have worked with Pride and Prejudice and
Zombies, in long-form Q&A style, Paul should have been
left dead. DANIEL KOHN
MOUNTAIN MAN
77%
Made the Harbor
PARTISAN
Bennington, Vermont’s Mountain Man
sidesteps most of the instrumentation of its folk
descendants. Instead, the all-female threesome opts for vocal
prayers, edging on the preternatural. The Appalachian slants
on “Animal Tracks” and “Soft Skin” make for instant earworms,
whereas campfire vocal experiments “Mouthwings” and “River
Song” are much too languid. Made the Harbor’s curios build to
a lovely afternoon, but its pleasant-sounding smoke rings won’t
cling to your clothes for long. KYLE LEMMON
NEU!
85%
Neu! 86
GRÖNLAND
The brief discography of Krautrock
minimalists Neu! is finally given the box-set
treatment, but the real treat in the new Grönland package
is Neu! 86—the duo’s final album. The results of an abortive
reunion 10 years after Klaus Dinger and Michael Rother
disbanded, these tracks languished in the realm of bootlegs.
Now remixed and reassembled by Rother (following Dinger’s
death in 2008), Neu! 86 is fascinatingly eclectic, from the
high-’80s neon pop of “La Bomba (Stop Apartheid World
Wide!)” to the synth-chilled drone bliss of “Wave Mother.”
Acrimony never sounded so fun. BERNARDO RONDEAU
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Halo: Reach
90%
XBOX 360
BUNGIE
If you haven’t been living under
a rock, you know that every Halo
game is widely anticipated—and
this one is no different. With
the inclusion of space combat (finally!) and
character-specific power-ups, Halo: Reach is set to
be the most engaging experience in the series yet.
Even the multiplayer is improved by new modes,
weapons and a revamped rank-and-reward system, so
if you were on Halo-hiatus, strap on your armor and
welcome back! ZACH ROSENBERG
THE SWORD
83%
Warp Riders
KEMADO
The Sword has proved its awesomeness simply
by naming its new album Warp Riders. Oft
associated with Tolkein’s misty realms and the lonely outerreach epiphanies of Robert A. Heinlein, The Sword is master
of the esoteric and, now, the psychedelic. Tasteful, even
wizardly solos populate the album, and J.D. Cronise’s lyrics
drip with hand-crafted mystical urgency. Divided between a
Mongol warrior gallop and Zeppelin III stomp, Warp Riders
is a bona fide modern-day mind-flayer. LOREN POIN
LOST IN THE TREES
81%
All Alone in an Empty House
ANTIIf classically-trained musicians raided the indiepop music department, this is the orchestralfolk result. While instrumentals and harmonies are spot-on
throughout, they flourish amidst sporadic cases of vocal fodder.
Case in point: “I take true love/I cut it up with scissors/I throw it
into the fireplace,” Ari Picker tells in the chorus of “Fireplace.” If
folk is the musical form of storytelling, here Picker and company
might just fall a bit short. MATT ELDER
Wdd`
Night of the Living Trekkies
85%
KEVIN DAVID ANDERSON & SAM STALL
QUIRK
Zombies? Check. Trekkies? Check.
Zombie outbreak turning dressed-up
nerds into relentless blood sucking,
flesh-biting undead monsters? You
better fucking believe it. Kevin David Anderson (not to
be confused with Kevin J. Anderson, author of the Dune
prequels—snort!) and Sam Stall write an entertaining,
funny and completely absurd tale of alien-zombie spores
on the loose, affecting the entire city of Houston and
taking down a very amped up—and nerdy—Trekkie
convention with it. This ain’t high art…but it’s oftentimes
a much better read. ERIK NOWLAN
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