Ty Listens to "Down in the Weeds, Where the World Once Was"

It has been nine years, but Bright Eyes put out a new album a week or so ago. I had read news awhile back that they were working on some new material, but I had kind of forgotten about it. Then they released a music video which I watched and enjoyed. But again, that was in early summer. I had forgotten that they were working on music.

Then one afternoon when I was out, or doing homeschooling, I don't really know anymore, the days all blend, my buddy Kirk texted to ask if I had listened to the new record yet. I hadn't, so I remedied that right that moment. I didn't know what to expect. I am a fan. I first listened to Bright Eyes when I heard the record "I'm Wide Awake, It's Morning". At the time I liked slower acoustic stuff, and when they went heavy and angry, I liked it. I then devoured pretty much all of their stuff. The live record, "Motion Sickness" is a great live album. I wasn't so much into "Digital Ash in a Digital Urn". And I really, truly liked "Cassadaga" and "The People's Key". I then went back and listened to really early Bright Eyes. "Letting Off the Happiness", and mainly "Fevers and Mirrors" were revelatory for me. Then I dug into Conor Oberst' solo stuff and his work with other bands. I was, at least considered myself, a full fledged fan. I dig his writing. Yes it can be depressing, but so can so many other bands and singers and songwriters I listen to. Hell, I love the blues, and that is as sad as it gets. But as he has grown up, Oberst, he seems to have gotten a little less sad, a little less depressing. I could hear a tinge of it in "Cassadaga", I believe he wrote that record when he got clean. Then it was even more forward in "The People's Key". But coming into the new record, since it had been so long, I was intrigued. Would he go back to the anger and depression, focusing more on acoustic music? Or would he continue with his growth?

Well, "Down In the Weeds, Where the World Once Was", definitely reminds me of the more grown up Oberst. It has been nearly a decade, Oberst is now 40 years old, he has gone through a divorce, he has lost a brother, he has been accused of sexual assault, which was retracted by the accuser fairly quick after the accusation, he has been through a lot, and he has come out the other side. That is what I get from "DITWWTWOW". This is a grown up making good, accessible grown up music. It still has his touch, and that voice is so uniquely him. But still, this album has happier music, and not nearly as depressing lyrics. It can go there from time to time. "One and Done" is kind of on that track, but it still sounds happy when you get to the chorus. It is also a great closure song. It feels like he is getting all the bad stuff from past relationships off his chest. Then to follow that up with "Pan and Broom", which sounds like an 80's tune, but with Oberst's happier lyrics, I love it. I like the way the record starts too. "Dance and Sing" really gets it going. There is some nice guitar in the song. It brought me right back to 2010 when I listened to him the most. "Just Once in the World" has that acoustic sound, but it builds and builds to a great crescendo. So far "Mariana Trench" is my favorite track. It has my favorite music in it, and the chorus is catchy as hell, which shocked me coming from Oberst. I find myself humming this song a lot. I really dig "Persona Non Grata". It starts out with just Oberst and a piano, but when the drums kick in it has that classic sound. I find it comforting to hear this music and be taken back to where I was nearly 10 years ago. It also has some cool strings and horns attached, which is always a plus for me. "Tilt-A-Whirl" seems like an ode to his brother that he lost. He opens by saying that a "phantom brother came to me". The song is also sad, but sweet at the same time. It's a good one. "Forced Convalescence" is upbeat and fun, musically. Again, the lyrics can be a downer a bit, but the music works so well, and I find myself bobbing my head along when it plays.

This record is good all around. It is a cozy blanket. It is a reminder of why I started, and continued to listen to his music. Oberst is a great writer, and I think age has only made him better. He has been through and seen so much, I believe that helps him as a writer. I highly recommend this album. It is some great work. 

Ty

Ty is the Pop Culture editor for SeedSing and the other host of the X Millennial Man Podcast.

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Ty Listens to "Paradiso"

The Sloppy Boys released a new record “Paradiso” last week, and boy was it much needed. I like this band, I think the guys are funny, but I also appreciate the music they make. They are fun, they remind me of summer and, while this whole year has been a totally dumpster fire, their music lets me forget for thirty minutes about what is going on outside. They make fun music that just grooves. I didn't know they were making another new record either, but I guess, just like the rest of us, they have a ton of free time, so why not, right.

This album, much like their first two, is swift, charming and funny. There are songs about drinking, drugs, getting laid and having a good time, which is what I have come to expect from them. But what I didn't really see coming was how much better they are getting at their instruments. I also dig the fact that they have thrown a sax on a few songs. They are branching out, and I like that. I also have become very accustomed to Tim Kalpakis' voice, and I am a tried and true fan. I fully enjoy when he is the lead singer. Don't get me wrong, Mike Hanford is a solid singer too, and Jeff Dutton throws in some solid backing vocals, but I am a Kalpakis guy.

The opening track, "One Last Bender" sets the table perfectly, and Kalpakis' voice is front and center. It is a fun song about getting hammered. It's great. The next song, "We're Gonna Get You Laid" is funny, and it takes the perspective of a guy trying to help a girl get laid. I think that is pretty cool, and the song is rad. "Breakfast at Bellevue" features Kalpakis on lead vocals, and has a very cool build up at the beginning. Then it morphs into their surfer summer rock style they have locked down. "Out on the Town" is like an old school 80's rap song. It has neat keyboards, funny vocals and hearing them do a song like this makes me laugh and groove at the same time. It is a good song to run to as well. "The Mastah Bong Ripper" is like Black Sabbath meets the Count from "Sesame Street". This song is so weird and so awesome. It's also hilarious the way they put it out on the record. It is totally different from anything they've done to this point, and I love it. It is my favorite song on the record at the moment. "Armageddon" is like a tribute to both Billy Joel and Bruce Willis. They sing and play it in classic waltz style, all the while talking about friends that have grown up and stopped drinking and have families, but they also mention Bruce Willis movies. It is great. "Little Miss Socialite" is a song that could easily be played on pop radio today if pop radio were cool. It has some nice distorted guitar in it, and the lyrics are solid. "Oh Yeah" is more of a classic rock song. It has banging drums, good quality guitar and Mike Hanford bringing it with his voice. The song is all about yelling the phrase "Oh Yeah" also. That is what I love about this band. They are good, but they don't take themselves too seriously. They play music for fun and just happen to be good at it. "College Night" is the longest song on the record, coming in at over six minutes, and it starts with Tim Kalpakis just naming colleges, and then they get into the meat of the song. It starts with distorted guitars, and then shifts to acoustic, with some nice little riffs thrown in, and Kalpakis singing about what college students do at night time. It is kind of sweet if I do say so. This is akin to "Classic New York Night" from their last record. It is an anthem type song, and it sounds like an ode to something bigger. But when you listen to the words, it is pure comedy. I love that they do one song like this on their records. It is almost as assured as their surf rock sound. "Full Blown Free for All" is the closer, and it sounds like the closer to a rocking record. It is fast paced with fast singing and it closes out this new album perfectly.

I really like “Paradiso”. I am a Sloppy boys fan, or Slophead as we are now known. I am happy they made a new record also. It is a nice detour from the real world, and I appreciate that they keep making music. I definitely recommend this record. 

Ty

Ty is the Pop Culture editor for SeedSing and the other host of the X Millennial Man Podcast.

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Ty Listens to "Talking Heads"

I grew up in a house where music was played constantly. My parents are children of the 60's, two of my brothers are kids of the late 70's and early 80's and my brother closest in age to me was a hip hop kid in the early 90's. There has been plenty of music, and plenty of different music that I have heard in my 37 years so far on this planet. Like most people I have developed my own taste, I have very emotionally charged feelings about what I like and why I like it and I consider myself a music snob. But, my taste has been molded by everyone in my family. I have my love for The Beatles from my dad. The Band is one of the best bands ever, and I have my mom to thank for that. Hip hop groups like Public Enemy and Grandmaster Flash and the Furious 5, I have RD to thank for that. Jam music and hippy bands, I can attribute my other brothers, and my oldest brother's wife for my love, albeit short lasting, for jam music.

The one band that all three of my brothers have listened to, and grown to love over the years, Talking Heads, never really, truly spoke to me. I listened to them. I was the typical guy that liked their hits, but I never really ventured beyond that. I would just listen to their songs that I heard in movies or on TV shows or other bands covering them live. Recently though I have found myself revisiting bands that I never gave a true chance. I have been listening to a lot of bands people have told me about, but I never really felt that I needed to give them the time. I am also running all the time during the pandemic, and lately I have been devouring music on my runs because podcasts can get a bit boring, or they don't give me the energy that I need. My kids would also much rather listen to music than another basketball podcast. Over the past week I decided that I was going to give Talking Heads a fair shake. I don't know if it was the new Scott Aukermann and Adam Scott podcast about them that got to me, or if I just decided it was time, or a combination of the two, but the time had come to give in.

Boy am I glad that I did. Talking Heads are absolutely incredible, way ahead of their time, geniuses, have made some of the best music that has ever existed and just an all out wonderful band. Forgive me if I have already written about them in my Greatest American band pieces I did, but I didn't really get them until just the other day. In the past three days I have listened to "77", "More Songs About Buildings and Food" and "Stop Making Sense" each about three times from start to finish. This is some of the most incredible music I have ever heard in my life. To hear them, especially on a debut album like "77", sound like they did is amazing. They were so ahead of their contemporaries. They had a clearer vision than anyone else where their genre was headed. If I had to pick a genre for them I'd say they are post punk, but Talking Heads is so much more than just a genre. They bend so many different styles and blends of music. They can do so many different styles. The band is truly phenomenal, and David Byrne, he may be one of the most musically talented writers and composers of all time. Hearing what he wrote on "77" is simply astounding. Then to hear the sonic change they made on "MSABAF", they knew where they wanted to go, got some help from Brian Eno, and they went there, but also went beyond.

Then yesterday I decided to give "Stop Making Sense" my first listen. I have read and heard many things about the record, but I never dove into it. I decided I was going to go run for about an hour, so I figured it was a perfect time to finally check it out. Well, my run lasted for an hour and 20 minutes because I had to hear the whole thing. I got three songs into it and I was absolutely blown away by what I was hearing. It has to be one of the best live albums that has ever been made. Listening to "Stop Making Sense" actually makes me miss live music that much more. I didn't think I was missing it much during the pandemic, but this record changed all that. I wanted to be there when they recorded this. I want to see Talking Heads. I know it's not viable anymore, but this album makes me miss it, and wish for live music. It is perfectly crafted, perfectly sequenced and lets the band totally shine. And talk about hits. This record is filled with incredible live versions of any Talking Heads song any average fan could ask for. But they also throw in some other stuff that just blows me away. When they turn into the Tom Tom Club and play "Genius of Love", it is such a change departure, but it is groovy as hell. To go from that right into a sped up version of "Girlfriend is Better" shows how gifted they were as a band. Also, the version of "This Must Be the Place" that they play, they call it "Naive Melody", makes me adore the song so much more. "Life During Wartime", which they play right after "Burning Down the House", is legendary. And that is how the whole record is. It just gets better and better with every listen.

I have found that has been my feeling with the first three records I have chosen to listen to as well. I have found myself craving their music lately. I wake up and turn them on when I make breakfast. I listen to them when I workout. They work for everything. I'm so excited to see where they go from here, and how much more I grow to love them. I definitely waited too long to really listen to Talking Heads, but better late than never, right. They are clearly one of the best, most influential and most important bands of all time. Talking Heads are amazing. 

Ty

Ty is the Pop Culture editor for SeedSing and the other host of the X Millennial Man Podcast.

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Ty Listens to "Dream Hunting in the Valley of the In-Between"

I realized the other day that I have been writing about a lot of movies and TV shows I have been watching during quarantine, but I haven't talked much about music. I figure that is for many reasons. A lot of releases got pushed, concerts got moved to next year, and RTJ 4 doesn't come out until June 5th, and believe me, I am going to spend an entire week talking about that record.

During our quarantine, I have been re listening to some bands I haven't in awhile, and I have discovered some new stuff I really like. I started listening to more music on my runs too. It makes them so much more fun and easy. I have been listening to RTJ obviously, I check in on The Black Keys, I listen to Outkast, I have discovered people like Yola and Lil Dicky and some other underground hip hop artists. Recently I started to listening to a band called Man Man again that my brother Seth got me into about seven years ago. I enjoy their sound, my wife describes it as fun circus music, and they are a blast to run to. They make fun music, but are also proficient musicians. They also write some kick ass lyrics. And much to my surprise, they released a new record fairly recently. I was scrolling through Twitter one night and saw that Har Mar Superstar said something about it. I immediately checked it out to confirm that it was true, and when I saw it was, I turned on Spotify and listened right away. That was a week ago and I am still listening now. I am listening as I write this review.

The record is called "Dream Hunting in the Valley of the In Between". First things first, I love that name and the picture on the record is perfect. It's very symbolic of how I have perceived and consumed their music the past seven years. As for the songs on the record, I mean come on, they rule. It has that "circus" sound that my wife mentioned. My kids love it because we can all listen together. The lead singer has such a cool and unique voice that works so well for their sound. The musicians in the band are technically sound. The instruments they use, outside guitar, drums and bass, make them sound fuller and so much cooler. They use xylophones, pianos, sousaphones, saxophones, trumpets, clarinets, marimbas and a French horn, among other things. They are a very talented, yet fun band. And boy do love these songs. The first one I heard was "Cloud Nein", and it is fun, bouncy and sounds like it could be played on pop radio if they went that route. The intro is wild too. I also love the bridge, how it just drops out and then comes back with a vengeance. Some other highlights for me are "Lonely Beuys". This has them at their most circus, but it just works. It is a bizarre sounding song, but I can't get enough of it. "Future Peg" has a very cool rock sound. I love the guitar that opens the song, and it foes in and out of the "circus" sound. I adore the beginning, and the verse of "Goat". It is, how should I put this, very seductive in its sound. I really enjoy the music in this song. "Inner Iggy" sounds like a 50's surf rock song, and I have found that I really like that the older I get. "The Prettiest Song in the World" sounds very pretty, but the lyrics are about how it is not very pretty. It is a perfect encapsulation of their sound, talent and how ell they play off one another. "Sheela" has some very cool piano, with a rad guitar riff to start off the track. This song is GREAT running song as well. "Swan" may be their most stripped down on the record, and I like when bands do stuff like that. It is just a piano in the beginning, and then some singing. It is a very sweet sounding song. Then they follow it up with "Powder My Wig", which reverts back to the 50's surf rock. It is a perfect follow up to such a pretty song. The title track has that piano again, starting slow, and from there they add some horns and the song just builds and builds from there. It is a great closer.

I really like this band, and I love this record. I highly recommend people check it out. It is fun.

Ty

Ty is the Pop Culture editor for SeedSing and the other host of the X Millennial Man Podcast.

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Ty Listens to Childish Gambino's "3.15.20"

Donald Glover, AKA Childish Gambino, released a surprise new record last week. I, was dealing with some stress, as most of us are right now, so I forgot to stream it on his website. But, the other night I was blowing off some steam, riding the recumbent bike in my basement, and I remembered that he had put out a new record. And, much to my pleasure, he released it on all streaming platforms, so I hit up my Spotify and immediately downloaded it and listened while I exercised the stress and anxiety away.

On first listen, and believe me when I say that I will be listening a bunch more, I enjoyed, for the most part, what I heard. First off, I need to, as everyone else should, not compare it to "Awaken My Love". That record is a masterpiece, and it will go down as one of the best records of the 21st century, hands down. I don't think anyone can deny that. I haven't met a person that doesn't enjoy some part of that album. It's exquisite. But, I did expect something akin to "Awaken My Love". I assumed that he was going to stay in the R&B/soul/funk genre of music. I love his rapping. I think he is a very good emcee. I like the way he flows. But the stuff he showed on "Awaken My Love" blew me, and everyone else, away, so I just figured that he was that type of singer/musician now. And there are definitely elements of that on "3.15.20". The songs all have dates as their titles, and some of the songs have the same feel as stuff off of "AML".

The opener is very funky, with some electronic sounds mixed in. It is all instrumental as well. But as the album goes in, it is almost like Glover decided he was going to take pieces from "AML" and "Because the Internet", his second record. I like both of these, and to hear them blended together, it works. I have said multiple times that Glover is in a space right now where he can, pretty much, do no wrong. I am going to like whatever he puts out there, be it music, a new TV show or a role in a movie. Hell, he was, by a wide margin, the best part of "Solo". "Atlanta" is one of the best shows on TV right now. And now with "3.15.20". he has just furthered my belief in him. The album has some solid, funky tones to it. There are some songs that go as long as seven minutes, something I am not a huge fan of, but they work because they are so groovy, and Glover throws in some rapping, or singing, and it just works.

Glover is a very solid rapper, like I said before, and ever since "AML", he has shown how great of a singer he really is. Hell, he even showed that in the new "Lion King" movie. He sings as well as Beyoncé. Yeah, I said it. And his singing shows up tenfold in "3.15.20". He hits those crazy high notes, Teddy Pendergrass style is some of the songs. It takes me back to the older funk music that I listen to regularly. I know he gets compared to Parliament Funkadelic a lot now, and that is a very apt comparison. It is perfect actually. But what makes him stand out as Childish Gambino is his ability to shift from singing super high notes on one song, to becoming a full fledged rapper on the next. His rapping on this record is very good, and like I stated before, it reminds me of his stuff off "Because the Internet". That record is a bit more of a slow burn, but with each extra listen, the more I grew to love it. I feel like that will be the same with "3.15.20", except I may grow to love to sooner because of the mixing of genres.

"3.15.20" is a very good record. It is also nice that he put it out now because, we should all be self isolating, and anytime there is some new music, it is a nice way to break up the monotony of the day. I enjoyed hearing it while I worked out, but when my kids have a break in their home schooling, I will listen. When my wife is on teleconference meeting in her downstairs office, I will listen. And when my wife and I have free time together at night, when the kids are in bed, I will play it for her so she can hear.

I hope more artists follow Glover's lead and release their new material while we are all self isolating. But, as usual, Glover is the first to do it because he is a leader, and because he knows his stuff is for almost everyone. This record is good, and it will continue to be played in my home for the foreseeable future.

Ty

Ty is the Pop Culture editor for SeedSing and the other host of the X Millennial Man Podcast.

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Ty Listens to the Podcast "Ear Hustle"

Awhile back on the podcast I mentioned that I was currently getting caught up on a different podcast called "Ear Hustle". today I got totally caught up, and I have to tell you, this is one of the best, most informative, eye opening and true story telling I have ever listened to.

I was first interested in this particular pod when I heard one of the co hosts, Earlonne Woods, on another podcast I enjoy called "Without Fail". Hearing his story, hearing how they got "Ear Hustle" started, hearing how he was doing now that, spoiler alert, he has been released from jail, I was totally in for it all. I then heard that his other co host was a visual artist and a volunteer at the prison named Nigel Poor. I looked her stuff up, I thought she seemed cool, so I immediately subscribed later that day to "Ear Hustle".

It took me awhile to get going, I do listen to tons of other stuff, but once I got started, I just could not stop listening. I would try to listen to at least three episodes a day. The episodes are no more than 45 minutes long, so while this wasn't too hard, I do have two younger kids, so I had to find free time to listen. I would listen on runs, during races, on my way to play basketball or during quiet time in my house. I was, and still am, hooked.

The stories are so real because they come from real inmates. They are personal. They are dark. Some are funny at times. Both Nigel and Earlonne are excellent hosts. They really know how to talk to one another and other people. The new co host who comes in season four, after Earlonne was released from prison, he calls himself New York, is just as good as the other two. This show knows exactly what it is doing, and they do it so damn well.

There are so many things I have learned, as a suburban white dude, about prison that I have never thought. I have also found out that a lot of the urban legends about prison are pretty far fetched. But also, there are still some things that ring true. Prison seems boring and repetitive. It seems dour. People do get sick and tired of doing the same thing all the time. Well, some people do. Others appreciate the structure, or at the very least, they need it. One of the biggest things I have gotten out of this show is that these prisoners, some who have done some heinous things, are people, and they are capable of rehabilitating themselves. Earlonne was arrested for armed robbery, and I respect him and his story more than people who have never served time. Some of the guys that come on and talk about their stories, what they did was awful, but I feel empathy for the ones that sound like they have changed. I just listened to an episode about a guy that got off death row, and he really seems like he has changed for the better. The season four finale was a harrowing story of anger, violence, forgiveness and redemption. It nearly brought me to tears. While still in prison, the stories Earlonne and Nigel told, and had people tell them, were wonderful and eye opening. I feared that may change when Earlonne got released, but New York kept the stories from the inside going, and having Earlonne talk to guys that got out, and how they are doing now, it is a great blend.

"Ear Hustle" is one of the best put together podcasts that is out there right now. It is also one of the most original, and coolest ideas for a podcast. After getting caught up, I have told my wife that I am inclined to go and volunteer my time at a prison. I don't know what I would do, but I want to do something because this show has made me realize that I have something to offer, and I shouldn't shy away from prisoners. They are people. People who made terrible choices, but people nonetheless. I am so excited for season five, and I don't have to wait too long. It comes back early March, the 5th I want to say, and you better believe that I will be waiting with bated breath.

I cannot recommend "Ear Hustle" enough. It is truly wonderful.

Ty

Ty is the Pop Culture editor for SeedSing and the other host of the X Millennial Man Podcast.

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Ty Listen's to Har Mar Superstar's "Hot Dish"

I come to you today with another album review of another record I have been looking forward to for awhile now.

About a year ago I guy I am a big time fan of, Har Mar Superstar, announced that he was working with a singer named Sabrina Ellis, and they would be touring and releasing a record within a year. I was stoked. As I said, I love Har Mar, and anytime he works with someone else, it usually works out. He even made Macauly Caulkin sound decent when I saw him live, and Caulikn's Velvet Underground cover band opened for him. Needless to say, Har Mar is a pro, and he makes good choices. They call themselves Heartbones, and they released a few singles during summer. I loved those. I even thought of putting it on my best of music that year. I also heard that, on tour, Heartbones was doing the entirety of "Dirty Dancing" live on stage. I even had a shot to see them in Kansas City, but too much stuff came up and I had to miss the show. But still, I was following Heartbones on all social media. I listened to the released singles, I watched videos and I followed their announcements. So, when I saw Har Mar posting about the album coming out today, I was waiting with super anticipation. I took my daughter to the doctor this morning, and on the way we listened. I then went to my buddy's diner afterward and listened to it again. We then drove home and I listened for a third time. And as I type this, I am listening to it again.

Needless to say, I love this record. There is no bad song on the whole eleven song long record. Every song is an absolute homerun. The record opens with one of the singles I had already heard, "This Time It's Different", but they juiced it up a bit. They made it sound a little cleaner, and I am here for it. The rest of the record is so cool and poppy, in a great way, and a throwback to the "Dirty Dancing" era music and, I am now happy to admit this, I love a good, synthy piano, which is all over this album. The second track, "I Like Your Way" has that excellent 80's style sound that I have found myself digging a ton lately. "Open Relations" is groovy, funky tune that just makes me want to dance. Every song makes me want to dance on this album for that matter. "Control" has a great distorted sound to it, and I love the drums on the song. The vocals are pretty great as well. Both Har Mar and Sabrina Ellis can really, really sing, especially this genre of music. "Don't Read the Comments" is a perfect song for the current world we live in where anyone anywhere can tell people how they feel about their art. "Unforgivable" starts off with a really cool acoustic guitar and some soft piano and Ellis singing softly in, I believe, French. The song then builds and builds with some cool flange throughout the 3 minute run time. "Little Dancer" is the other single that made its way onto the record, and just like with "This Time It's Different", they added some studio magic, some more instruments, and it sounds wonderful. My daughter and I were both singing along this afternoon. The last four songs send this record out so perfectly. "Dashboard" sounds like it is straight out of an 80's movie montage, and I love every single second of it. This might be the most dance worthy track on the whole record. "Claws 87" is just a cool ass song. It has a cool feel to it, the lyrics are cool and the way they sing it is cool. This is the coolest track by far. They follow that up with their cover of "Hungry Eyes". Look, I enjoy the original, so to hear a couple singers I really like do an updated version of the song, it makes it that much better for me. I also love the distorted vocals that sound echo-ey throughout. And the closer, "Beg For It" rules. It is almost all synth piano and the singing is so cool. It sounds like the song that was at the end of the "Black Mirror" movie "Bandersnatch", except it is a tiny bit less robotic, and I am all in for it.

I love, love, love "Hot Dish". I cannot wait to listen to it a bunch of more times. I hope, they are touring again, that they come close to Saint Louis so I can go see them. This is the type of music I am really digging right now, and this record is simply wonderful. I cannot recommend it enough. Har Mar rules on this, and I am so glad that I now know who Sabrina Ellis is because she is a great, great singer. Go check out this record ASAP.

Ty

Ty is the Pop Culture editor for SeedSing and the other host of the X Millennial Man Podcast.

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Ty Listens to Nathaniel Rateliff's "And It's Still Alright"

On our pod about what we were most looking forward to in 2020, during the music section, I mentioned Nathaniel Rateliff's upcoming solo record, “And It’s Still Alright”. I am a big fan of his band, I like his voice, and I was curious as to what he would sound like solo. I know his early work is mostly solo, and acoustic, but truth be told, I don't listen to that very often, hardly ever in fact. I love the sound of The Nightsweats, with the horns and full backing band. He also lets his voice boom when performing with The Nightsweats, and it simply works. But as I have mentioned many times, I like when artists I enjoy take risks, and I was looking forward to this album. The record came out last week and I have listened to it four times all the way through now, and I think I can finally formulate an opinion on it.

Right off the bat I want to say that I like it. I think it is a solid album that has some really good songs on it. I feel like my kids and I will be singing along to some of the songs in the very near future. But, there are some tracks on it that feel out of place. They're a bit too "sleepy" if you ask me. It is almost like he wanted to really go hard on the acoustic stuff, feel around a bit, and sometimes that falls flat for me.

The record does start off really great for me. The opening track, "What A Drag" is a nice way to open an acoustic record. It is just him and his guitar, and I really enjoy the feel of the song. He follows that up with the song he released early, "And It's Still Alright", which has similar vibes to the opener, but a bit different. "All or Nothing" has a very slow feeling at the beginning, but the song picks up a good amount of steam, has a full band, and at this point, it is my favorite song on the album. I was nervous about the beginning, but the middle and end really bring it home. I also enjoy "Expecting to Lose". It has that Nightsweats sound, minus the horns, but with some kick ass slide guitar. Rateliff also sounds like himself the most on this track. It is also the most upbeat of all the songs on the record for me. "Tonight #2" is where I get a little lost. It has that constant strumming of guitar like a classical song. I also feel like Rateliff wanted to try something different with his voice, and it just feels off. I'm also not huge on bringing in a bunch of strings for no apparent reason. This song misses the mark for me. "Mavis" returns us to the acoustic guitar, and while I enjoy the guitar, the vocals are odd. They sound a bit hollow to me. But, the guitar, I really like the guitar and the quiet drums during the song. I also like how it gets a bit louder and faster midway through. It's a nice enough song. "You Need Me" is slower, but Rateliff sings it a bit faster than the music calls for. He seems sped up, and the music is always trying to catch up. Some of the lyrics are indecipherable for me. I do like "Time Stands". It has some electric guitar in it, and the lyrics are beautiful and devastating. This is the breakup song of the record. That is clear. It is really good too. I have always had an affinity for songs like this, so I was predisposed to liking it, and I like it quite a bit. He puts it all out there, and I enjoy this song very much. "Kissing Our Friends" returns us to the slower part of the album that I'm not super high on. It's an okay song, that has a nice acoustic intro. But I feel like, if I were to see him live, this is a song where I would kind of tune out of for the duration. Like I said, it is fine, just a bit too slow for me. The closer, "Rush On" has that slow beginning like so much of this album, but it never seems to build like the other songs with slower intros. It just kind of stays at the slow pace for the 4 minutes and 20 second so of the song. I feel like it is a fine closer for this record, but I would've personally liked something a bit more upbeat. Maybe switch this with "You Need Me". That's what I would've done.

In the end, I like the record mostly. They're definitely some songs I would've left off, but I am also not a professional musician. I also don't truly know what he is fully going through right now. I know this record is about his breakup, and that is clear enough. But I'm sure he had his idea of how he wanted to present it, and this was it. I'm still going to listen to the album a ton, I will just skip the songs I am not a big fan of. It's a good, not a great record. Maybe my expectations were too high, but his last two records, with The Nightsweats, have been total homeruns. This album is like a ground rule double. Still good, just not as good.

Ty

Ty is the Pop Culture editor for SeedSing and the other host of the X Millennial Man Podcast.

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Ty Listens to Beck's "Hyperspace"

Much to my surprise when RD and I recorded our last podcast, he pointed out that Beck had put out a new record. I didn't even know that he was in the studio, let alone putting out a full LP.

So, after he told me this, and I found some free time, I sat down and listened to the new record, "Hyperspace". And, I adore it. I like the sound and feel and music and pretty much everything involved with this new record. Beck has always been the type of musician that does something different on each new record, and that rings completely true with "Hyperspace". Beck's last record was a bit more rock heavy, with some hip hop lean. I really enjoyed that album, and I saw him tour on that record. So, I was curious as to what direction Beck would go in with "Hyperspace". Well, he does a synth heavy, almost new electronic, with vocals, style record. He sounds like so many bands that were one hit wonders in the 80's, think the song "Here in my Car", or anything from Blue Oyster Cult, and that is what "Hyperspace" sounds like, except it is Beck, so it is a thousand times better. Each song on the album is good, fun and sounds like Beck, but this time he uses a ton of synth. The single, "Saw Lightening", is the only song that deviates from the new age rock sound, but not that much. Beck plays slide guitar, and the song is a bit more rock forward, but that is the only real difference. Also, the song rules. But the rest of the record goes everywhere, and only a guy like Beck can pull this off. There are some slower songs, but they never drag because that is not what Beck does. His songs are never more than 4 minutes long, and that is how this album is. The faster songs are super fun on the new album too. They are groovy and synthy and dancy and they sound cool as hell. I never thought of myself as a fan of synth heavy dance rock, but after listening to this record, and then listening to some of the music I compared it to earlier, I think I do like this type of music. I love the song "Here in my Car". I legit enjoy Blue Oyster Cult. I like a good portion of the 80's rock. I enjoy a one hit wonder as much as the next guy. But, when you take someone as talented as Beck, and he decides to go this route, it makes me respect this style of music even more. He takes that popular sound and makes it better because he knows exactly what to do with it. He can transcend the one hit wonder sound. He can make this type of music palatable for everyone. He makes it fun. He makes it cool. He makes it enjoyable. I used to say that synth was a guilty pleasure for me, but after "Hyperspace", it is just a pleasure. I am a fan of this style of music from now on, and I am not ashamed to admit it.

I like that Beck does stuff like this. I like that he wants to try every style of music, and he is usually very successful when trying it out. "Hyperspace" is no different. Of course I recommend the record, as I would with anything Beck releases.

Ty

Ty is the Pop Culture editor for SeedSing and the other host of the X Millennial Man Podcast. Minor correction. The song “Here in My Car” by Gary Numan is just called “Cars”. A little knowledge for Ty.

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Ty Listens to "IGOR"

In anticipation of seeing him live in a few months, I have been devouring Tyler the Creator's most recent album "IGOR", and I have to say, I really, really like it.

I was a bit on the fence at first because it is such a departure from what I am used to from him. On his other records he has some, how do I say this, nasty or, at times, scary things he talks about. Don't get me wrong, I am a fan of all his stuff, but when he was with Odd Future, and when he first went off on his own, he had some shocking lyrics. That was how he made his name as a solo artist. Then, a few years ago, he released “Boy Fuck Girl", which I like, but it showed a little growth from him. It was still akin to his older style, but he did have a few songs that kind of ventured out of his norm. On "IGOR", it is all different, and I love it.

When I first heard the album, I was stunned. I didn't expect it. In fact, my first thought was, why? But, as I listened to it more and more, I started to like it more and more. Now, I feel like I listen to it front to back once a day. I listen to it in the car, on runs, while mowing my grass, pretty much anytime I am driving, or exercising, I find myself picking "IGOR" as my choice.

First of all, I love the opener, which is pretty much all instrumental. There are a few lyrics here and there, but for the most part, it is like a pump up song. It gets you ready for what you will be listening to from there on out. The very next song, "EARFQUAKE" shows how much of a difference Tyler the Creator is making on this album. This song is, by far, his most accessible. It has a great hook, a nice beat and there is a few verses from Tyler himself that are excellent. The video for the song is awesome too. Check it out. But in "EARFQUAKE" Tyler even sings, and I have to say, he pulls it off.

From there on out, the record shows a total and tonal change from him. The album is, in essence, a love record. It seems like he has someone, or had someone, in his life that gave him the influence to put this type of record out. The music is softer and nicer and different in a very good way. And don't get me wrong, this is still a rap record, it is just different from what Tyler the Creator has done before. For example, "NEW MAGIC WAND" is a straight up rap song, but it doesn't have any shock lyrics, or stuff that makes me take a step back. He crushes the song, but it is just different. I also appreciate that he recorded himself saying some pretty deep stuff in between songs. I like that he kept it on the record too. It's great.

So while it took me a few listens to get into it, I now have a newfound love for this album. I have stated many times that I like when artists take chances, and Tyler the Creator is taking a big chance, and nailing it, on "IGOR". The newfound love also has me very hype to see him do this record live. I cannot wait to see what the show is like, and to hear these songs live. I have never seen him live either, and I feel like this is a great entrance into a live Tyler the Creator show. If you are a fan, you will love this record because Tyler the Creator is awesome. But I feel like people that may not listen to him would enjoy this record too. It really is for music fans of all kinds. There is still cursing on it, so maybe don't listen to it with the kids, although I still do listen with my kids. But, other than that, "IGOR" rules.

Ty

Ty is the Pop Culture editor for SeedSing and the other host of the X Millennial Man Podcast. He is glad to find some new exciting music. All the Weird Al has not been getting Ty pumped to mow the grass.

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Ty Listens More Closely To "Let's Rock"

So, last Friday I wrote an instant reaction to the new Black Keys album, "Lets Rock". On first listen, I enjoyed it, and said I needed more time before I could get a really solid feel for the album. Well, I have listened to the entire record over a dozen times now, and I have some thoughts.

First off, a lot of people, a lot of writers and music people love the record. Pitchfork gave it a phenomenal review. Rolling Stone loved it. Paste was on board. Someone said that the record is "garage rock at its finest". I agree with all of these people, except, I do not think it is as groundbreaking, or as exceptional as others. Again, I love love love the album. I cannot state enough. I wouldn't have listened to it as many times as I have, and continue to go back to it, if I didn't enjoy the record. But, I think an album like "Turn Blue" is a better overall record. "Lets Rock", for me, doesn't even sniff "Thickfreakness", which I think is the greatest garage rock record. I like "Rubber Soul" and "Attack and Release" more. For me "Lets Rock" is right up there with "El Camino" or "The Big Come Up". Again, love both of those records, but they wouldn't be the first ones I pick to listen to. I do think "Lets Rock" is better than "Brothers" and "Magic Potion" though.

"Lets Rock" is beautiful in its simplicity. That is what I like most about this album. The songs are no more than 3 to 3 and a half minutes, they are straight forward rock, Auerbach uses his signature distortion, Carney is hammering away at his awkward drum kit, and the record flows. It is an easy and fun listen. I have learned all the words to all the songs already. I love the opening track "Shine A Little Light". It has the classic Black Keys feel, but the instruments give it a newer, cleaner sound that I find nice. I usually prefer the dirty and distorted Black Keys, but "Shine A Little Light" grabs me. I absolutely love "Walk Across the Water". I love how it starts off like it is going to be a heavy rock song, and then totally changes into a love song when Auerbach starts the lyrics. I've grown to adore when the Black Keys do love, or ballad, type songs. They make it sound dingy, but then you listen to the words, and it totally blows me away. It is one of their prettiest songs ever. I can't wait to hear it live in September. "Get Yourself Together" is a classic Black Keys song. It's distorted, it is fast, it is grimy and it rules. "Eagle Birds" is like that too. I don't know much about cars, but when Auerbach starts to talk about twin engines and whatnot, I'm on board. I like the guitar riff in the song too. I like "Breaking Down" because it has that sitar sounding guitar flange to it. It is a nice flowing song too. "Under the Gun" is as true a rock and roll song as you can get in 2019. It is heavy and well played by the band. I like "Go" a bunch too. The video for that song rules. And the closer "Fire Walk With Me" is a perfect way to end this particular record. Its jumpy, quick and precise. See, I named the good majority of the record, and what I like about it.

My only problem is, there are a few songs that just seem like filler. I'm not nuts about "Lo/HI", but that could be because I have heard it a million times already. It was the song chosen for March Madness. "Sit Around and Miss You" is too country for me. "Tell Me Lies" is fine, but I don't like that it follows such a great song, and a sweet song, like "Walk Across the Water". And "Every Little Thing" is fine, but forgettable. I love this record. If I had to rate it out of ten, now that I have listened to it more than enough to give my full opinion on it, I'd give it a 7.5. It is good, I will love it when I hear the songs live and The Black Keys can really do no wrong in my opinion. I'm just a little more tepid than other music writers.

I need to say this one more time, "Lets Rock" is dynamite. Buy it, stream it, do whatever you have to do to hear it because The Black Keys are real writers and musicians, and that is rare nowadays. They rule.

Ty

Ty is the Pop Culture editor for SeedSing and the other host of the X Millennial Man Podcast. He was going to give “Let’s Rock” 43 thumbs up, but he did not want to insult his favorite band.

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Ty Listens to "Let's Rock"

An album I have been waiting for for about 5 years now finally came out today. The Black Keys new record "Let's Rock" was released worldwide today. The first thing I did after I woke up and fed my kids breakfast was download the record, and I have been listening ever since. I wanted to do a kind of instant reaction to this record. I wanted to try something a little different. I usually give an album 2 or 3 listens before writing about it. But, The Black Keys are one of my all time favorite bands, and I wanted to write about the record as I heard it in its entirety the first time.

So, first reactions right off the bat, I really like the record. I'm sure I will grow to love it with more listens, but right now, I just really, really like it. It has a bit of a different feel from their previous records. That is a good thing. I have said that I appreciate when bands deviate from what made them famous and try something new. That is why I loved "Turn Blue" by them so much. It was a big departure. "Let's Rock" doesn't have that psychedelic feel that "Turn Blue" had though. "Let's Rock" reminds me a ton of Creedance Clearwater Revival, who I also love. It is a rock record through and through. There are some songs that have that wonderful distorted guitar sound I instantly fell in love with, but then it shifts into a slower rock song. That surprised me in a good way. I listened to the three song EP they put out a few months ago, with the songs "Go", "Hi/Lo" and "Eagle Birds", and I loved all of those. But, they were straight up rock songs. There are some songs on this record that are way different, and I bet when I see them live in a few months my appreciation with grow tenfold.

The opening track "Shine a Little Light" starts off super hot, with a great guitar riff and drum groove, and then it slows down to an almost ballad. It is jarring at first, but as the song moves, it gets better and better. "Tell Me Lies" is one of their slower songs, but I like when they do stuff like that. I like when they slow it down and go a bit away from their comfort zone. "Fire Walk With Me" is a great closer to this record as well, I just finished my first go through. It wraps up the record perfectly. I'm going to keep listening because that is what I do, especially with Black Keys records. I want to get a real feel for it.

The second go round has just started for me, and I am already super in to it. Even more so than the first time, which is a good sign. I keep bobbing my head with all the new songs that I am hearing. Look, I was predestined to like this record. I love this band. I have been a fan since I first saw them on an MTV2 awards show back in 2002. I have followed them ever since. When I see them in a few months that will make, I believe, the tenth time I have seen them live. The Black Keys are a great band. I'm actually shocked they aren't more famous, because they are so god damn good at what they do.

First reactions? "Let's Rock" is a good mix of their old sound, and a new thing they are trying. I love that they keep adding something new to their sound with each new album. That shows growth. They have never gotten stale. Keep up the good work gentleman, and I cannot wait to hear these new songs live.

Ty

Ty is the Pop Culture editor for SeedSing and the other host of the X Millennial Man Podcast. He likes to bob his head around to let his kids know how rock music should be. Up and down is a “yes, do not stop rocking”. Back and forth is “no, do not ever stop rocking”.

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Ty Listens to " Dancing on the Wind"

A couple of weeks ago The Sloppy Boys, Mike Hanford, Tim Kalpakis and Jefferson Dutton, all from The Birthday Boys, and several written comedy shows, released their second album, "Dancing on the Wind". They did the podcast go round to promote the record, and played some live songs while appearing on the pods I listen to. I was a fan of their first album, and I figured, with a little extra work, and touring they did, the second record would be even better.

I was right. I adore this album. I can put it on at any time of day and it will bring a smile to my face, and I will happily sing along to the songs. I love how solid they all are as musicians, and the fact that they are good at comedy, it makes the lyrics to the song so much more enjoyable for me. None of these guys had to do much to win me over, I watched both seasons of Birthday Boys on IFC, and have followed their comedy careers since, and Mike Hanford as John Lennon is one of the best comedy bits that I hope never ends. But, on "Dancing on the Wind", they made me like them that much more.

The record starts out great with "Santa Ana Winds". It is a straight forward, some may say pop, some may say punk, song that is as funny as it is good. The music is solid, the lyrics are hilarious, especially when they talk about drying off a body part with a Dyson blade, and the song is a tight 2 minutes and 40 seconds. You get the feel right off the bat that The Sloppy Boys knew exactly what they wanted to do with this record, and "Santa Ana Winds" is a great jumping off point. The second song, "Lifeguard Life", is not only my son's favorite song, but he cracks up every time he hears it. It is about as perfect as a summer guitar surfer song can get. Mike Hanford nails the lyrics, and the instrumentation behind it is wonderful. From there on out, this record has some solid hits. One of my favorites, and my wife's for that matter, is "I'm Taken". We have both asked each other, on separate occasions, what Kalpakis' wife must think of this song. I think she loves it, my wife seems to think that she thinks it is hilarious. It is a great song either way. "Give it Up" is awesome. I like that they use distorted guitars, and the song has a build to the chorus that always gets me. When they finally reach it, I am fully on board. "Radio Dayze" is ridiculous and hilarious and perfect for someone my age. Hanford sings the song about all the "good" music he used to listen to on the radio, and he name checks people and bands like Master P, Avril Lavinge, Train, Limp Bizkit and Incubus, among many others. It is a riot. "East Coast Wedding" and "Smashing the Plates" have similar tones, and they are both about messing stuff up. They both rule as well. "The Bands" is a riot. I love "Slop Head", and have taken to calling myself one, and my wife called me one the other day when I put this album on in the car. But my favorite song on the whole record is "Classic New York Night". It might be their longest song to date, but it is awesome. It has that build up that I mentioned before, but it actually makes me want to visit New York City, something I never thought was possible. They make it sound so damn cool. And I now know that "no trains go to Staten Island", from my many listens to the song.

This whole album is really good, and totally worth a listen. If you know of these guys, or are familiar with their work, you will love this record. But, I played it for a buddy of mine who listens to punk rock, and who had no idea who these guys were, and he loved it. He told me that fact the other day. Go check out "Dancing on the Wind" by The Sloppy Boys. It is pure summer music, it is funny, it is fun, but above all else, it is really good.

Ty

Ty is the Pop Culture editor for SeedSing and the other host of the X Millennial Man Podcast. Much like Homer, Ty does not want to go to New York City due to the problems with pimps and C.H.U.D.S.

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SeedSing Listens to Vampire Weekend's "Father of the Bride"

Let me say at the very beginning that I am a huge fan of Vampire Weekend.

Let me have it. Hipster, pretentious, whiny white boy rock lover, I have heard it all. Recently one of my favorite writers flat out crushed the band and all of their fans. The comments in the article are even more cutting.

The hipster act of criticizing other hipsters is in full force with Vampire Weekend. I lived through it with Beck, Radiohead, and Arcade Fire. I am ready to live through it when my family, friends, and readers, want to tweak me about my love for a band called Vampire Weekend and their 21st century version of whiny white boy rock. I will not apologize. I loved their first three albums, I am sure their fourth one will be just as good.

Here is the thing, I predictably really like “Father of the Bride”. As long as the band keeps putting out songs like “Oxford Comma”, “M79”, “Giving Up the Gun”, and everything on “Modern Vampires of the City” I was going to like “Father of the Bride”. Not only do I like it, I love it. I may be so bold and say that this is Vampire Weekend’s masterpiece.

The album starts of with a strange little song called “Hold You Now”. It is odd, but it has grown on me, and yes it does have a sample of children’s choir singing from the movie “The Thin Red Line”. The next song, “Harmony Hall” has been out for a while now and I believe this is the song that will define Vampire Weekend. It is their “Thunder Road”. From there on the record gets better. The B side of the vinyl, yes I bought “Father of the Bride” on vinyl, is flawless. The unfortunately named “Unbearable White” is a jazzy tune that I love, and I hate jazz. The final song on the B side, “Married in a Gold Rush” is in my opinion the best song on a killer record. It is awesome.

The second record/disc is more experimental, yet still incredible. Songs like “My Mistake” and “2021” feel like the tunes of a different band with a Vampire Weekend flavor. The record ends with the melancholy “Jerusalem, New York, Berlin” a fitting cool down to a great run of music.

I, like many Vampire Weekend fans, was a little concerned that founding member Rostam Batmanglij had left before “Father of the Bride was recorded. Rostam released his solo record “Half-Light” in late 2017 and he was not not going to record any new music with his old band for the time being. He is still listed as a writer and producer on a few songs, so his influence is not completely gone.

I do want to highlight Danielle Haim from the band HAIM. She is featured on a couple of great tracks on “Father of the Bride”. Her duets with front man Ezra Koenig are incredible. She is the number one reason that the opening track is worth listening to, and Haim and Koenig on the aforementioned “Married in a Gold Rush” plus the D side track “We Belong Together” propels the record from good to great.

I was pretty sure I was going to like “Father of the Bride” before I heard the first note. I was also pretty sure the hipster on hipster hate was going to follow the release of the album. I was ready for all of it. Yet being biased towards one of my favorite bands, I was not expecting to like “Father of the Bride” as much as I have. Months ago I downloaded “Harmony Hall”, and I figured that would be the key track. I love that song, and the all of the rest that surround it on the latest from Vampire Weekend.

Final word is that if you love Vampire Weekend, you will love “Father of the Bride”. If you are new to Vampire Weekend, this record will make you a convert. Unless you support hipster on hipster fighting.

RD

RD Kulik is the Head Editor for SeedSing and the other host of the X Millennial Man Podcast. 

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Ty Listen to "On the Line"

I’ve been a Jenny Lewis fan for some time now. The first time I really remember getting into her music was when I saw her band Rilo Kiley open for Coldplay. That sure was a lifetime ago. From that night on though, I was taken by her music. I loved the music I heard that night. I went out and listened to a bunch of Rilo Kiley after that.

Then, she ventured away from the band and did some solo, and side projects. Her first solo record, “Acid Tongue” came out at a pivotal time for me with alternative rock/folk music. I was heavy into that style, and her record really spoke to me. I listened to it so much that I had to buy a few copies. She then teamed up with The Watson Twins, and while don’t like country music, I liked their take on it. That record was heavily listened to as well. That album also came out right around the time I started to date my wife, and we listened to it together a ton. It was our album of choice.

Lewis then took some time off. I was craving some new Jenny Lewis music, and in 2010 she released the album “Jenny and Johnny”. I bought it, but I wasn’t crazy about it. It strayed from what I liked about her. It was too poppy. She came back in a big way in 2014 with “The Voyager”. That album ruled. She seemed to be coming into her own.

Fat forward to the present. Her newest record, “On the Line”, this is a work of art. This record was worth the wait. As I said, I had kind of grown a bit fatigued, a lot of her stuff sounded too similar. But, she apparently went through some personal stuff, used that for this new record, and man, it is her best. It is my favorite record of hers, by far. I love every song on the album. I have been blown away at the lyrics, music, production quality and many different genres she does. It is such an eclectic record. It’s different from her other stuff, while still sounding a bit like her old self, the stuff that hit me just right.

The opener to the record, “Heads Gonna Roll”, is great. It blends the Watson Twins stuff with rock. It is a great opening track. And from there on out, the record is a major achievement. Some of my favorite tracks are “Do Si Do”, “Party Clown”, “Wasted Youth” and “Little White Dove”. On “Do Si Do”, she gets some help from Beck, and they make some beautiful music together. Lewis is front and center, as she should be, but you can feel the Beck influence. “Party Clown” has this fanciful piano riff, but the lyrics are crushing. It’s one of my favorite types of songs, the ones that sound fun, but they’re tragic. I listen to that song once a day. “Wasted Youth” is an awesome rock song. It reminds me most of her Rilo Kiley days. It has that great alt rock feel, and it’s a great way to follow up the opening track. And “Little White Dove” is a great Fleetwood Mac impression. My wife pointed that out to me when she heard it, and it is a spot on comparison.

This whole record is awesome. It has that girl power that I’m trying to help instill in my daughter as the other 2 records I’ve written about this week. I also really like that you can hear the life she’s lived in the past 5 years between records on this album. “On the Line” is awesome, it’s continuing the trend of great new music in early 2019. She is touring with this record too, and I’m heavily leaning towards seeing her because I love the album so much.

Seriously people, check this album out. It’s tremendous. 

Ty

Ty is the Pop Culture editor for SeedSing and the other host of the X Millennial Man Podcast. He likes it when an old favorite artist comes out with new great stuff. Will Ma$e be the next old favorite of Ty’s to come back?

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Ty Listens to "Lux Prima"

About a month ago I saw some stuff online saying that Danger Mouse and Karen O, of the Yeah Yeah Yeahs, were working together on a new record. I was intrigued by this news.

I am a big time Danger Mouse fan. I wrote a whole thing about him and Rick Rubin during our greatest American band series. I think he is the best current producer, and only second to Rubin. What I love about Danger Mouse the most is how he gets these great musicians to try stuff seemingly way out of their comfort zone. He did it with Cee Lo Green, turning their band Gnarls Barkley into a major pop success. He did it with The Black Keys, getting them to add more instruments than just guitar and drums. He did it with Jack White, who is an asshole, and Norah Jones on the record the three of them collaborated on. He has worked with a ton of modern musicians, and all the stuff they put out works, in my opinion.

I was very late to the game with Karen O. I had friends in college that always tried to get me to listen to the Yeah Yeah Yeahs, but I never did. Then, when Spike Jonze made his version of "Where the Wild Things Are", he got her to do all the music with a bunch of kids. I loved that soundtrack. I still do. I still listen to it on occasion. From that, I finally checked out the Yeah Yeah Yeahs, and I liked what I heard, and that was all due to O's voice. She has a great voice for rock and roll. She also does great things on that "Where the Wild Things Are" soundtrack. I just recently listened to some of her solo stuff, and B side stuff, and I really liked all of that.

So, when the first couple of singles from this new collaboration came out, I listened intently. The first song, "Lux Prima", was beautiful. It has a super long, and awesome, intro and outro. But, when the intro ends, Karen O comes in and just blasts that song to a whole new level. It is perfection. It is the type of odd ball rock song that I eat up. I listened to that track over and over again. A few days later they released a second song, "Woman", and while it couldn't be more different, it was just as good. "Woman" is more anthem like and straight up rock and roll. It is also a great song for me to play when my daughter is in the car with me. It is so upbeat and powerful and forward thinking. It is about the greatness that being a woman in modern America can be. I love this song. So does my daughter. So do my wife and son for that matter. It hits us in all the right ways.

The full album came out about a month ago, titled "Lux Prima", and I have listened to it at least a dozen times now. The whole record just oozes of Danger Mouse, but it has Karen O's spectacular vocals and song writing attached. I already mentioned the 2 singles, but there are so many other good songs on the record. I love "Redeemer", another straight up rock song. "Turn the Light" is a bit more poppy, but I love it. It is fast paced and quick too. "Ministry" slows things down a bit, and it is almost haunting. It is such a good song. "Leopard's Song" totally rules. And the closer, "Nox Prima" tidies everything up like it should.

I love this record, but I already kind of new I would. I am at a point where I do not doubt Danger Mouse anymore. I'm getting there with Karen O as well. I love all the different styles they do on this record. I love Karen O trying out newer and wilder things with her music. There is some really good music coming out right now. So far 2019 has been much better early on than all of 2018, and "Lux Prima" is just further proof. Check this album out, it has a little something for pretty much everyone.

Ty

Ty is the Pop Culture editor for SeedSing and the other host of the X Millennial Man Podcast. He may think that Jack White is a major league asshole, but Ty still wants to try the musician’s famous guacamole.

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Ty Listens to Lizzo's "Cuz I Love You"

After seeing a ton of stuff on social media, and hearing from friends and family members, I finally listened to Lizzo's newest record, "Cuz I Love You" this morning.

Oh, I am listening to it as I type this by the way.

I have never listened to Lizzo before, but I have to say, this record is rad. I am blown away by how much I like each and every song on it. I have listened to it on repeat today. Luckily my wife has the day off, so I got to run my errands solo today, and that gave me extra chances to hear the record. It isn't safe for children's ears, even though I will listen to it with my kids in the car, as I have said, I want them to be exposed to good music.

Man, this lady can sing. Her voice is like the perfect mixture of funk, soul and hip hop. The opener has all three of those styles blended to perfection. It is a great, great way to open a record. In fact it reminds me of my first experience with Har Mar Superstar's music. I didn't start listening to him until he put out "Bye Bye 17", and I haven't looked back. He had that funk sound that attracted me. Lizzo has that, but she adds the soul and hip hop, and it is just awesome all the way around. She can even dip into pop music from time to time, but it is good, and fun, pop music. The song "Juice" has top 25 written all over it. From the music to the lyrics, it is all there to be a top song. I can picture a bunch of teens bumping the song at parties. What I love most about the record is the confidence that she brings. Her voice is already super powerful, but when you actually listen to what she is saying, she has no problem saying exactly how she feels, and what she wants. I wish I had that confidence.

Take a song like the closer, "Lingerie". That song is sexy as hell for one, and when she gets into the words, damn she exudes that powerful confidence. The same can be said for the song "Soulmate". That song is all about self empowerment, and it is great. The hook on the track is wonderful as well. "Like A Girl" is another track that I will play so my 3 year old daughter can hear a powerful, confident woman sing about how she is proud to be a powerful and confident woman. The whole record is going to be like that for my daughter and I listening to it together. I have been trying to expose her to more female singers, I will be writing about some more new albums from women singers this week that we listen to, but Lizzo is tops right now for the easy reason that she is doing ti best right now. She has no fear, she has no qualms about who she is, she knows what she wants and she puts it up front and center on this record. Even her Erykah Badu impression, "Jerome", is a far superior song to "Tyrone", of which I adore. I mean "Jerome" is a hit. The music is so mellow and cool and her vocals, I mean come on, she blasts it out of the park.

I am so glad that I have so many cool people in my life that introduce to me to dope stuff like Lizzo. This record will now be played on repeat in my car and house for a long, long time now. This is the record of the Spring by far, and it may be the best of the summer. I am already feeling like this is going to be on my best of 2019. It is that good.

I highly, highly recommend people listen to "Cuz I Love You". It is amazing.

Ty

Ty is the Pop Culture editor for SeedSing and the other host of the X Millennial Man Podcast. He is holding all his Streisand records for when his daughter reaches the right age to enjoy them. Sixty seems to be the right age.

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Ty Listens to Some New Black Keys Music

This morning I awoke to some wonderful music news. I checked my email, as I do every morning over breakfast, and I was pleasantly surprised to have an email from one of my favorite bands, The Black Keys.

As I opened the email I got even more excited. Today they released their first single since 2014. In 2014 they put out the excellent, and I think underrated album, “Turn Blue”. Since then, Dan Auerbach has done some solo stuff. He opened a studio, with the help of Patrick Carney. He gave some new people a chance to shine. I just learned that Carney had a child with former pop star Michelle Branch. Needless to say, they have both kept busy since “Turn Blue”. But, I was commiserating with my dad the other day that I wanted some new Black Keys music. I even brought up the fact that they may be done. That would have been a bummer, but knowing what I know now, I would’ve understood.

Today The Black Keys shocked me in a good way. After opening the email, I immediately downloaded the song, entitled “Lo Hi”. I could not love this song more. It had every blend of The Black Keys in it. It’s quick and to the point, clocking in at almost exactly 3 minutes. The guitar is fuzzy and distorted perfectly and loud and filled with reverb. The drums are punishingly good and loud too. It’s a groove that only Carney, in my opinion, excels at doing. And the singing, my goodness does it rule. Auerbach has grown leaps and bounds as a singer. I personally prefer the early singing, I like the gruffness, but like any perfectionist, Auerbach has taught himself to do wonderful things with his voice.

I have been listening to this song on repeat since this morning. I went for a run with my buddy, and on our way to the spot, he had to hear it twice himself, and hear me talk about my love for the band. I have shared the URL on my Facebook page and have really pushed for other fans to listen. I immediately told my father, another big fan, to check it out. I cannot get enough of it at the moment. I have also already played it for my daughter a few times, she gives it a thumbs up, and my son has heard it once, and asked to hear it again after school.

“Lo Hi” is a great appetizer to what I hope will be a full new record coming soon. It is classic Black Keys, but with the modern good stuff they’ve gotten into since they worked with Danger Mouse. I’m so stoked. I’m so happy they’re back. I cannot wait to hear more, and when they tour, you better believe I will see them. Go listen to “Lo Hi”, especially if you’re a fan, and I guarantee you will be as happy as I am now. This is awesome.

Ty

Ty is the Pop Culture editor for SeedSing and the other host of the X Millennial Man Podcast. He is still waiting for some new music from rap icon Snow. We need something to compliment the genius of “Informer”

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Ty Listens to Charles Bradley's "Black Velvet"

Today Charles Bradley, or his estate, or his record label, I’m not quite sure, released his final record, “Black Velvet”. This record is a great send off to an under appreciated star of the soul music scene.

I’ve loved Bradley since I first heard his entire life story about 5 years ago. If you don’t know about him, check it out, it’s amazing. He didn’t get his first record deal until he was 62. From there on out, he released many records, all of them great. He also was touring constantly and putting on some great, great shows. Unfortunately I never got to see him live, but from what I’ve seen on the internet, and heard from people who saw him, they all said the same. He was a flash of lightening and we now have his music for the rest of our lives.

Charles Bradley died about a year ago from stomach cancer. When diagnosed, he hammered out as much music as he could, until he couldn’t anymore. Today we got to hear some of his last songs, and they’re wonderful.

From what I’ve read, the songs on “Black Velvet” were from recording sessions from his last record, and some covers he wanted to do. The covers are wonderful. He does “Heart Of Gold”, a Neil Young song, and he does it great justice. It’s beautiful. He also does Nirvana’s “Slip Away”, and it’s so different, but so awesome. He takes a Nirvana song and makes it a soul song. It is a truly remarkable feat.

The 8 other songs are just as good. There’s an electric version of “Victim of Love”, from one of his earlier records, and I love it. The 2 singles, “I Feel a Change” and “Stay Away” are classic Bradley. “I Feel a Change” is so heart felt and sung beautifully. “ Stay Away” is a funky, rock and roll esque soul song. It’s my favorite on the record so far. “Luv Jones” is a cool old school song where Bradley lets his band do some singing, then he comes in and crushes it, as usual. The title track is an instrumental, and it feels like the band made it as an an ode to him. It’s their gift to Bradley. The opening track, “Can’t Fight the Feeling” is a great way to kick it all off. It really gets you wanting to hear more and more. These are the standouts to me.

This is a record I’m going to be listening to a lot for the next couple weeks. I was saddened when I heard that Bradley passed, but at least now I have “Black Velvet” to listen to and remember him. I adore this album. I cannot recommend it enough.

Charles Bradley was a star and he will be greatly missed. Do yourselves a favor and listen to his music, and enjoy how great he was. “Black Velvet” is a triumph.

Ty

Ty is the Pop Culture editor for SeedSing and the other host of the X Millennial Man Podcast.

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Ty Listens to the Gorillaz New Album "The Now Now"

About 2 weeks ago The Gorillaz put out a new record, "The Now Now". I had heard rumors that they were going to put out one, and by they I obviously mean Damon Albarn and his collaborator, but I didn't know when it was exactly coming out. I then saw on Facebook or some other site that they were putting it out on June 29th. And, like they promised, it was released then.

I have been listening to "The Now Now" pretty much every day since I bought it. I find at least one time a day, be it a car ride, a run or shooting baskets, to listen to the record. I love it. I was a big time fan of their last record, "Humanz", but, dare I say, I like "The Now Now" even more. It feels a bit more accessible to all fans. There were parts of "Humanz" and "Demon Days" and even their first record that seemed odd or out of place. I personally love all three of those records, especially "Demon Days", which I think is one of their most underrated records. But, "The Now Now" is better than all three. In fact, it, for the time being, it is my favorite record of theirs to date. I love the simplicity of this new record. I read an interview with Albarn where he said that he wrote most of it while on tour last year. Last year was one of their first fully American tours, and by all accounts, it was a big time success. But, in the down time that they had, Albarn decided he was going to write a new record. What I appreciate most about "The Now Now" is how mellow and simple it is. Also, even though I love all the guest appearance they usually have, and sometimes the guests make the record or song, I was pleasantly surprised that they only have 3 songs with guests on the record. It was a nice change of pace to hear Albarn as the characters in the band singing most of the songs. I love his voice, so of course I was going to be on board with this decision.

In fact, one of the songs that features a guest, the first track, which is amazing, "Humility", doesn't include the guest vocals. I believe George Benson is on the song for his guitar alone. By the way, "Humility" is a great way to start this record off. The song is bouncy and fun. It has an upbeat guitar riff and Albarn's vocals are top notch. They released a video for this song prior to the record coming out as well, and I highly suggest checking it out. It is so cool and exactly what you would expect out of a Gorillaz video. It is dope. The next track, "Tranz" is another upbeat, fast paced tune. I really enjoy this song as well. It goes a little harder than "Humanity", which is more like a beach song. "Tranz" is more of a club track, or just a straight forward electronic song with vocals. It is pretty awesome. Some other tracks on the record I really enjoy are "Kansas", "Idaho", "Sorcererz", "Lake Zurich" and "Magic City". "Kansas" is a slower tune, made all the better with Albarn almost crooning the lyrics. He clearly wrote this track while in Kansas, and listening to this song makes so much sense when you see it through that lens. "Idaho", another state name song, is another slow song, but it is more of an instrumental, electronic song. I know that may sound oxymoronic, but it is the truth. It actually reminds me of a Ratatat song, and I love that about it. I love Ratatat as you all know. "Sorcerez" goes hard and strong. It is a rock song mixed with electronic elements. It really sounds like a song off their first record, and that makes it so accessible to old school fans. It is a great follow up to "Kansas". "Lake Zurich" is another song that is more instrumental than anything else. I remember the first time listening to it, I was watering my plants and I just, without even knowing, found myself dancing and grooving along with the music. My neighbor almost snapped me out of my trance by asking what I was listening to. I let him check it out, he is an older gentleman, and even he enjoyed the song. It is so cool and so groovy. I love "Lake Zurich". And "Magic City" is like a culmination of everything that makes this album so wonderful. It has the great instrumental electronic stuff, but it also has great vocals and it is just a perfect song. It rules.

I adore this record. I know that I will be listening to it for the next couple weeks, no question. I highly suggest everyone go check out this record, even if you are not a Gorillaz fan. I truly feel like everyone that listens to this record will like it. It has a little something for everyone. Well done Mr. Albarn, as usual.

Ty

Ty is the Pop Culture editor for SeedSing and the other host of the X Millennial Man Podcast. His pop culture the last few weeks has been all about animation. Today he had the Gorillaz, last week he had The Incredibles.

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