The guys from Ghosthustler, Denton's overnight Pitchfork sensation, were nice enough to give us an exclusive link to their new track "Busy Busy Busy," which you can download here. Although its not quite as poppy as their first two tracks, it's probably the most interesting thing they've done so far( in the studio-as-instrument sense), and you'll still get the bass hook caught in your head just about half way through your first listen.

We do have something else coming from these guys very soon, so stay tuned.

You may or may not have already seen this video (depending on how often you read MP3 blogs), but I just can't get this damn song out of my head:

Note: Written by D.L.

George Clinton and Parliament Funkadelic (House of Blues)
This probably would have been a better choice for the grand opening of House Of Blues if it had been an option. You can't really dispute Clinton's place in music history. The fact that his music is still sampled so often is testament to a sizable legacy. I would actually go to this show.

Frog Eyes | Alex Delivery | The Tah Dahs(Rubber Gloves)
Frog Eyes' vocal stylings are a little much for me, but they're a step above most indie pop I've heard lately. Alex Delivery are definitely the most remarkable group tonight. They've been criticized for trying to stretch the diversity of influences beyond the logical extreme, but I just hear some pretty interesting Kraut-influenced music, thick with texture and polyrhythms. Much better than I was expecting for sure. The Tah Dahs...well, they remind me of when Apples In Stereo turned into a pop-punk band. Sometimes it's astounding that a group can discover so many new ways to disappoint.

Modest Mouse | Man Man | Love As Laughter(Nokia Theater)
I don't know where to begin with Modest Mouse. They remind me of what Vice magazine said about Nine Inch Nails. I'm paraphrasing but they basically said that they exist in this weird limbo where they aren't cool, but they are also not uncool. I was once sitting at a T.G.I. Friday's and "Paper Thin Walls" came on over the piped-in music. It sounded pretty good. Probably the defining moment in the dramatic story that is Modest Mouse. Now Johnny Marr is in the band so he might be the only musician with the very strange resume of playing with Isaac Brock, Paul McCartney, and Morrissey. Wow. Talk about being simultaneously cool and uncool. Modest Mouse is pulling the classic strategy where the bloated major label act brings their still respected indie pals on the road in hopes that they can symbiotically get the trade off: New fans for the little bands and a desperate credibility transfusion for the weary dinosaur. Careful there, bands. This often backfires. Man Man is a celebrated live act but it's a lot harder to impress people at Nokia than at the Cavern. As in, almost impossible.

Nouns Group | Mom | Wild in the Streets (Humane Society Benefit Show Dan's Silverleaf)
Normally I'd say something about what a strange line up this is, seeing as how I can't think of two good bands in DFWd that sound LESS like one another than Nouns Group and Mom, but since the guest of honor for tonight's show is a dog, I can probably just get away with saying that this show is gonna be cool and stuff. It's a great line up on a big stage, and the proceeds go to the Denton Humane Society. Easy sell.

Signal Lost | Akkolyte | Trifle Tower (1919 Hemphill)
On several occasions over the past few months, I've seen statements in our comments threads to the effect of "everything the Gonzalez brothers do is incredible." And you know what, after seeing both Akkolyte and Unconscious Collective, I'd have to say I agree. Two of the most impressive talents in the area doing whatever the hell they want.

Sarah Reddington | The Robot Ate Me | Tha Bracelets | MC Router (Rubber Gloves)

This is Radio Clash with Flashlight Party: This will be Jordan's last Flashlight show at Hailey's before he moves down to Austin. Stop by. Good stuff is always played.



The Postmarks | Sarah Jaffe (Club Dada)
Although I can't say that I have too much faith in the tastes of many members of the Dallas media, I'm a bit surprised with all the local attention that Sarah Jaffe has received over the past few months. She's got a great voice, there's no arguing that, but to me most of her songs sound like Dawson's Creek music: fairly run-of-the-mill emotional singer-songwriter stuff that doesn't pack much of a punch lyrically or musically. Nothing terrible I suppose, but that's about as close as I can come to joining the chorus on this one.

Note: written by D.L.

Erykah Badu(House Of Blues)
If spending sixty-five to seventy-seven dollars for cover at a local venue is your thing, you're in for a treat. The House Of Blues is opening in Dallas tonight and what better way to kick things off in a Clear Channel subsidiary chain establishment that once counted Disney as a shareholder, than to have an outrageous cover charge? Sure, Erykah Badu is playing and she is undoubtedly a big act that can justifiably command a big ticket price. But when this place is somehow supposed to fill the void left by...well, everybody, it doesn't exactly bode well for live music in Dallas. Let's just hope the sound isn't terrible for that inevitable night when one of my favorite national acts play here. Opening night and already this makes Gypsy Tea Room seem like Secret Headquarters.

(Due to some miscommunication between myself and DL over the rating for this review, I posted the wrong number of stars. Someone asked in the comments why the album was only rated 31/2 stars despite the positive tone, and the reason was that it wasn't. It was supposed to be 4 1/2. Sorry for the confusion everyone. SR)

If you were to believe the local press, you might think Tame...Tame and Quiet is inaccessible, overtly complex, difficult, or even "lo fi." But listening to their record several times a day for the past week has left me wondering why anyone would draw such conclusions. Could it be the limited palate of the writers? Well, that's always a safe assumption when dealing with the local music press, and a quick look at some of the photos that accompany local features and album reviews often reveals bands with slightly bemused looks on their faces that just seem to say "Yeah, we know we're about to be completely misrepresented but hey, at least they're writing an article about us!" Yes, it's take what you can get when it comes to traditional local music journalists, but you can't completely blame the pencil pushers, seeing as how their heads are usually flooded with deadlines and thoughts of scoring a free copy of whatever soon-to-be released record they think they're above paying for. And although each little cog in the rusty guts of the music industry does serve a purpose of some kind, it's been just painful to read so many articles painting Tin Can Communicate as some kind of undecipherable slab of low budget noise, because it most certainly is not.

From the opening chords of the album, the quality and attention paid to each detail is obvious. Matt Barnhart's water-clear recording job leaves every bit of sheen on each cleanly plucked note and every bit of grime on each distorted down-stroke. It's the opposite of "lo fi," a term that is completely inapplicable when you're talking about a state of the art studio like the Echo Lab and several hundred dollars a day being tallied at the end of each session. This is no bedroom studio/apartment rocker digital hack job by any means, but is it possible that a writer could mistake a non-4/4 time signature or non-blues based guitar part as lo fi? Yes. It's possible. This kind of mistake has happened for years, but I thought most people in the Wiki Age had gotten away from it. I guess not. My point is that this is an unusually good recording for a local band, and to peg it as the opposite seems absurd. Even the CD art looks like an expensive print job, only it's missing something: the self-important gleam of a crudely designed record label logo. This means the band footed the whole bill themselves, which is increasingly less common in an era when most people are content to hustle free mp3's online (and who could blame them?). Despite the higher cost, the attention to quality and detail does say something about a band's dedication to their vision, whether there is outside cash involved or not, and I can respect that.

The music also reflects this dedication in its seemingly endless layers of texture and melody. This is an undeniably catchy record that successfully avoids the trappings of most catchy albums by taking time to sink in and allow subtleties to make an impression. Track lengths vary from about three minutes to seven and a half, and with such prog rock track times, its fairly easy to see why some people might assume it's an intimidating listen. But how intimidating can it be when hand-claps are present (as there on the track "Blank Checks on Clean Slates")? Anyway, I did worry at first about what I would make of the Tame...Tame and Quiet full length: they are an impressive live act to be sure, but there's always a feeling that the recorded document might not convey the power of their performances. And although they do seem more gentle on CD, sometimes the lighter moments are actually the highlights, as "Go Get The Ghost" in particular has a dreamy weightlessness that translates very well.

Some of the lyrical alliteration and the intricacy of the wordplay found on the album does border on being overbearingly clever at times, but even that minor complaint wears off after repeated listens. After all, the narrow "I love you/I hate you" spectrum of rock lyrics might sound a little simplistic next to all of these subtle guitar parts and shifting rhythms. The busy guitar playing found throughout the album wraps itself in tentacle-like form around every dynamic drum beat, partly out of the necessity of filling the void left by the lack of a bass player, which is something you might not have even noticed if so much hadn't been made of it. But as technically proficient as the guitar playing is, it doesn't veer into the pointless string bending showcases that you might expect from a band that obviously practices for long hours and spends up to a year working on a single song. There is no wasted space and the playing tends to be melodious and memorable, with all the avant flourishes shining through in the form of song length and time signatures more than anything else. Most of the singing and guitar playing wouldn't be out of place on a lot of popular indie rock records from the last ten years, and the well pronounced and properly finished sentences and verses remind me of some of the singing from Andy Cohen on Silkworm records, though that band's music is much different otherwise.

Tame...Tame also unexpectedly avoids most of the annoyingly meandering jazz rock trappings of their predecessors (Karate, for instance), with only the beginning of "What You Have Read" sounding like it's going to repeat itself into Chicago Post-Rock limbo just before it's saved when it all comes together, singer Aaron Bartz mumbles a line or two, and the song finally kicks in. There are smart little moments like this sprinkled throughout the album, from the unpredictable descending chord progression at the end of "Heroic As It Is" to the dramatic transitional thrust of "Cursive or Worse", probably the best composed piece of music on Tin Can Communicate. These songs have been stuck in my head for days, as much as any twee indie record, and even if this group's approach is sophisticated and devoid of any tossed-off open chord ditties, to say that there is pop songwriting technique at work here is hardly an insult.

So I'm at odds with the chorus that would try to convince you that Tame...Tame and Quiet is somehow so cerebral that they might be ungraspable. The band themselves might even disagree with me considering the last line of the opening track is the repeated declaration of "I am not for everyone." But as I listen back to the double-tracked vocals, with each word so clearly enunciated over pleasant guitar melodies that eventually pull an old Glam Rock stop/start showoff trick that I once heard on a Roxy Music album, I'm not so sure that's a valid statement.

(Rating is 4.5 out of a possible 5 stars)

Kronos Quartet (McFarlin Auditorium SMU)
If you're planning on attending one high priced high brow concert this year (and the nosebleeds are only $14 anyway), this is probably the one to go to. Its impossible to give you much of an idea of what Kronos Quartet does since they've covered so much ground throughout their legendary career, but a short list of artists who have either 1) worked with the famous string quartet or 2) allowed them to interpret their work will give you an idea of the group's prestige: Ornette Coleman, Terry Riley, Philip Glass,John Zorn, Steve Reich (on his most famous work), Allen Ginsberg, Tom Waits, David Bowie, Thelonius Monk and Bjork. Now thats a hell of a list, isn't it? Playing everything from pre-Renaissance European music to jazz to Jimi Hendrix to traditional Mexican to a full interpretation of Television's Marquee Moon, Kronos has consistently pushed boundaries during their thirty plus years in existence, breathing life into the concept of a "string quartet" and remaining on the cutting edge in multimedia performance, jazz, minimalist composition and more. Tonight they'll be performing Terry Riley's Sun Rings, which will feature the quartet (two violins, a viola and a cello) along with the Turtle Creek Chorale and the Women's Chorus of Dallas. The piece is a lengthy, 10 movement composition commissioned by NASA that features sounds and images from space. I have no idea what this will sound like, but I'm looking forward to finding out. Here is what the psychedelic minimalist master Riley has to say about it:



"Space is surely the realm of dreams and imagination and a fertile feeding ground for poets and musicians. Ancient astrologers were aware of the significant influences of planetary movements on our lives. I feel these influences are somehow responsible for this amazing collaboration which has been so enthusiastically undertaken by all the participants responsible for its outcome. Do the stars welcome us into their realms? I think so or we would not have made it this far. Do they wish us to come in Peace? I am sure of it."



You can call Titas at 214-528-5576 for info and tickets, or you can just pick them up at the performance I'm sure.

LOCAL TOP 5

1. Voot Cha Index - The Talking House/Cradle 7"
2. Mom - Mom
3. The Last Ones on Earth - The Last Ones On Earth
4. The Polyphonic Spree - Wait
5. J.D. Whittenburg - J.D. Whittenburg

OVERALL TOP 20

1. Feist - Reminder
2. Black Rebel Motorcycle Club - Baby 81
3. Blonde Redhead - 23
4. Dinosaur Jr - Beyond
5. Modest Mouse - We Were Dead Before the Ship Ever Sank
6. Frog Eyes - Tears of the Valedictorian
7. Centro-Matic - Operation Motorcide EP
8. Stars of the Lid - and their refinement of the decline
9. Dntel - Dumb Luck
10. The Blow - Poor Aim: Love Songs
11. Spank Rock - Fabriclive.33
12. Bright Eyes - Cassadaga
13. Young Galaxy - Young Galaxy
14. Tori Amos - American Doll Posse (spec. ed.)
15. Panda Bear - Person Pitch
16. Grails - Burning Off Impurities
17. Patrick Wolf - The Magic Position
18. Bill Callahan - Woke On a Whaleheart
19. Joanna Newsom - and the Ys Street Band
20. Terrible Twos - If You Ever See an Owl...

Can someone tell me who in God's name The Last Ones on Earth are?

Oh, and if you haven't checked out that Spank Rock mix.... do it now.

Notable Shows This Week:

WED: Nouns Group/Mom (Dan's Silverleaf)
THU: Frog Eyes (Rubber Gloves)
FRI: Violent Squid/Bird Names/The Carnys/Black Wizardz/Boids (8th Continent)
SAT: The Frenz/Ghosthustler/Laptop Deathmatch (Doublewide)
SAT: Boids/Cry Blood Apache/Electronik Warfare (House of Tinnitus)

FRIDAY

And/Or Gallery-JODI and Arcangel Constantini Exhibit and Tree Wave performance: Going from 6-9pm (with Tree Wave performance at 8), this multi media exhibit sounds quite interesting to me, and from what I can gather, its a pretty big deal that some of this stuff is coming to Dallas this evening. Top it off with free beer and a Tree Wave show on one of the best (and creepiest) corners in all of Dallas (you know, behind that tan Ministry of Love building with no windows), and you've got yourself a nice way to start the evening. The stuff at And/Or is always at least a step or two above most of the other crap that you'll encounter at most Dallas art galleries.

The Old Haunts | Chief Death Rage | Christian! Teenage Runaways | Lady Malice (Rubber Gloves)
Diverse line up of loudness at Rubber Gloves tonight... Unfortunately, the speakers on the computer I'm using right now don't seem to be working, and I haven't had a chance to listen to The Old Haunts... so they could be bad ass or major douche for all I know. Maybe someone who knows what they're talking about can tell us a bit more in the comments... the press release thing I read talked about "garage" and "surf rock," which can be good (Black Lips) or bad (The Hives). Anyway, I know the rest of this line up well enough, and you can probably expect a nice record selection from Lady Malice as well, with everything from Aphex Twin to Soul Sonic Force seemingly fair game in her sets with Wanz.

Absinthe Lounge: DJ Battle with Dj S.O.I. | Wanz Dover | Dj Schwa | Quick Chris/Tyrone and More: Don't have a lot of the details on this event, but Schwa and Wanz are always dependable for good sets, and even if you're like me (weary about going to Absinthe Lounge), this might be a good night to take a chance.

Cartright | Will E. Lee | Tartufi (Secret Headquarters)

SATURDAY

Lady Sovereign | Evil Nine | Jeremy Word (2505 Pacific Ave. Dallas)
One look at Lady Sovereign's Myspace page will probably tell you all you need to know about the way she's been marketed to death here in the U.S. over the past year. It was surprising to see her top TRL a few months ago, but when you consider the force behind her U.S. push, it really shouldn't surprise you at all, come to think of it. I've seen her live three times to be exact, and I've seen one great performance, one so-so, and one where she walked off the stage after five minutes because the sound system sucked. Doubt that will happen here, at the old Club 7 spot, and I'm guessing this thing will be just about worth the $15 cover. Local DJ Jeremy Word has been landing some big gigs as of late, and his blend of glossy house sets probably falls very close to the line that hipster house heads will draw between acceptable and too polished. However, those slight distinctions don't really end up making too much of a difference when things are going your way at a show like this, so I'm gonna say you might enjoy Jeremy's set if you're in the mood for that sort of thing. Most of the fashionable Detroit techno and Chicago acid influences were present in the mixes I've heard from him, but they're just pushed back a bit further than Pitchfork approved tracks might place them. Listen for yourself.

Eat Avery's Bones | Pixel Panda | Koji Kondo (Secret Headquarters)
What do I need to say about this show? Probably nothing. Judging by the length of EAB and KK sets, I would say the whole thing will take probably an hour at the most, but if you're up in Denton on Saturday, there is no better way to start the night. And with the amount that people seem to drink at SHQ, I'm guessing a lot of nights will end there too.

Album Leaf | Lymbyc System | Mom (Hailey's)
Hmm... I can't say that you'll be rocking your ass off at this show, but no one who would ever consider going to it would give a shit. I've never seen Jimmy LaValle's Album Leaf live before, but I've heard enough to know that all the proper post rock references could be used to describe his sound fairly well... repetition, ambient noise, jazz, kraut, lots of texture, etc. And just because I'm kind of being a jack ass about this description doesn't mean I don't like it. I do. I'm just tired right now. Lymbyc System is another post rock influenced electro | folk group that I'm interested in checking out, and you know we're Mom fans anyway. Translation: every band on this bill should be well worth seeing at Haileys. Its just that you know exactly what to expect from the touring acts, thats all. Recommended.

Cinco de Flyo with: E-Man | Killtronix | Select | Sober ( Amsterdam Bar)
A Central Booking show that should be a lot of fun if all their regulars come out (which they, uh, regularly do). the back patio at Amsterdam is seriously a great place to hang out under any circumstances, and although I've never been to a dance party there, I don't see how it couldn't be cool. Hot Flash associate Killtronix will play one of his eclectic sets along with the usual forward thinking fun as shit CB stuff.

Quite possibly the most annoying musician I've ever had the misfortune of hearing. Talk about an overrated piece of shit. If its a joke, then the punch line is too squeaky to be funny. And if its not, then the Pitchfork people really have turned into a bunch of douches.



Weekender coming a little later.

Thought we could get ready for the weekend with a good video that involves breaking stuff:

I probably have nothing to say about this season that you haven't already heard, but I was at least hoping for a good basketball game last night. I was never very confident that we'd win Game 6, but I was pretty sure that it would be close. What a joke. What a waste of time. And no more basketball on this blog for a while.



DMN

Star-Telegram

Mavs Belo Blog

This shit looks like the Weekender! I don't have time for this!

In Dot Dat | + members of Mom (J & J's Pizza)
In Dot Dat is playing their last show ever tonight. Members of Mom will play solo sets.

The Pharmacy | Koji Kondo | El Paso Hot Button(1919 Hemphill)
Similar lineup to last night only Fort Worth's Koji Kondo will play instead of Eat Avery's Bones.

Lost Generation(Fallout Lounge)
Tonight's set features music by Mouse on Mars, The Fall and related projects.

Tame...Tame And Quiet | Until They Arrive(Rubber Gloves)
Album review still to come...

Tartufi | Beauxregardband | Happy Bullets(Club Dada)

Son Volt | The High Strung (Ridglea)
Don't believe anyone that refers to Son Volt's recent output as "Dylanesque." That is all.

80's Night With DJ Music (Hailey's)

Mike Gravel certainly seems like a grumpy old man and a bit of a loose cannon, but after watching him on the MSNBC Democratic debate last week, I have to say that I like the guy quite a bit. When he remarked that some of the other candidates up on the stage frightened him, it seemed like the most truthful statement any politician has made so far in the early stages of the 2008 presidential election. Some of them frighten me too, Senator, and I'd be willing to bet that a lot of people feel the same way. Watch this clip from the debate: