FILM Clips Watch & Share music radio conversation friend started with your friends: 



music radio conversation friend started


music radio conversation friend startedThe Shins Phantom Limb Video

music radio conversation friend started

Wincing the Night Away

The Shins New $9.99!

Brought together by a genuine love of pop music – and subsequent eschewal of college aspirations – singer/guitarist James Mercer, drummer Jesse Sandoval, keyboardist Marty Crandall and bassist Dave Hernandez formed The Shins. Mercer had taught himself to play the guitar as a teenager, while listening to bands like My Bloody Valentine and Echo & The Bunnymen. With time, he developed a more pronounced interest in ‘60s pop and the art of well-crafted songwriting. Mercer’s aesthetic, paired with the like-minded sensibilities of his bandmates, gave rise to this most friendly troupe of disbelieving pop heroes. After seeing the band’s San Francisco show (in the midst of their tour opening for Modest Mouse), Sub Pop CEO Jonathan Poneman was smitten. And in 2001 – The Shins spoke their very first words. 

To play music for a long time, you have to surprise the people that love you – while also surprising yourself. Enter Wincing the Night Away, The Shins’ third and best album to date.

Recorded over time in Mercer’s basement studio, Phil Ek’s Seattle digs, and in Oregon City with veteran engineer Joe Chiccarelli (Beck, U2) – Wincing the Night Away is a whole new animal. It is the sound of a band growing up and out. Mercer’s infectious, indelible melodic style is still at the core, and unfaltering. But anything can happen around it – and in this case, it does. “Sea Legs” pairs a hip-hop (yes, hip-hop) beat with lush melodic lines and searing guitars. Elsewhere, the band toys with tweaked-out piano steeped in psychedelic strings (“Red Rabbit”); fractured synth samples (“Spilt Needles”); gauzy, arpeggiated keyboards cloaking thunderous anthems (“Sleeping Lessons”); and, taking cues from early Jesus and Mary Chain albums – sweeping, fuzz-toned epics (first single from the release, “Phantom Limb”). Finally, “Turn on Me,” “Girl Sailor” and “Australia” are the lilting, exhilarating, rollicking, rock-solid pop songs we’ve all come to covet from The Shins. 

The Shins Wincing the Night Away (Sub Pop)
The Shins' latest gets kinda weird, but always brings it back home. 

Menomena Friend And Foe (barsuk) 

Found at  WW  | [January 17th, 2007] The Shins - Wincing the Night Away album - Video

Wincing the Night Away

The Shins New $9.99!


[INDIE POP] The Shins' third full-length, Wincing the Night Away—an album many think poises the band to take over the world—begins with a spacey, almost liquid-sounding guitar and singer James Mercer's haunting, treble-rich voice telling listeners, "Go without/ Till the need seeps in." It's an apt way to approach fans who've been waiting three years for new material (since 2003's Chutes Too Narrow). And the Shins don't waste any time delivering exactly what such need demands. 

At just a tad over two minutes in, Wincing's opener, "Sleeping Lessons" (a song title that, like the album's, nods to Mercer's insomnia) absolutely explodes: A brightly strummed acoustic guitar creeps in, growing gradually louder until the song launches into fuzzed-out noise rock with Mercer triumphantly singing the echoing words, "You're not obliged to swallow anything you despise." 

Certainly not, but such advice couldn't apply less to the Shins' latest collection of palpable, soaring indie-pop. While the curious intro of "Sleeping Lessons" hints at the semi-experimental nature that some of Wincing's 11 tracks embrace, the second track, "Australia," fulfills listeners' jonesings, quite immediately, for bombastic, simply awesome pop: After a lackadaisical string of "La la la's" and some intra-band goofing around, "Australia" bursts into Mercer melodramatically crooning the words "born to multiply" in a Mozzer-ish way that, along with the track's wash of atmospherics and shimmering cymbals, is awfully reminiscent of the Smiths. But the Shins quickly reclaim the track, throwing in almost too many catchy tidbits for one song to contain; this all goes without mentioning the intermittent appearance of a rollicking banjo and a surf-rock guitar solo halfway through. 

The bait has been set, and the Shins only sweeten the pot with the "Woah woah oh"-laden first single "Phantom Limb" (a track that's so immediate you feel like you know the words the first time around) before delving into a sprawling, bass-heavy interlude on "Sea Legs." Recalling the recent exploration of another local band (the Decemberists) into jam-tastic long-form song, "Sea Legs" shows the Shins traversing new territory, getting a little trippy and, quite welcomely, taking risks. 

Like many a great band before them, the Shins are growing, broadening their arsenal of musical tools and inviting you to inhabit new spaces with them and their sandpapery percussion, wah-wah keyboard blips and funk-ish bass lines. 

Wincing the Night Away keeps you on your toes, though, never allowing you to space out for too long. "Red Rabbits," which features the Decemberists' Chris Funk on lap steel (the Fruit Bats' Eric Johnson, who's now an official member of the band, and Viva Voce's Anita Robinson lend a hand throughout Wincing, as well) employs a similarly ethereal backdrop but laces it with Mercerian melody, resulting in a subtly infectious, affecting pop number. 

The rest of Wincing continues in this fashion, alternately engaging listeners with undeniable vocal turns, slightly hidden hooks and endlessly creative instrumentation. It's at once familiar and new: "Turn On Me," for instance, pretty much rips its rolling beat straight from the Crystals' "Then He Kissed Me." But, regardless of any oldies mining, the most refreshing thing about Wincing is the fact that it's most reminiscent of a band we've all missed for quite a while: the Shins. 


The Shins' Wincing the Night Away comes out Tuesday, Jan. 23. Also see Riff City, page 35. 

^Menomena Friend and Foe (Barsuk)
Menomena drops Portland's first perfect 10 in years. 

[EXPERIMENTAL POP PERFECTION] It's been three long years since I Am the Fun Blame Monster!, the debut release by Portland's Menomena. And it's been worth every second of the wait: As did Monster, Menomena's proper sophomore release, Friend and Foe, will set a benchmark for every experimental pop artist for the next three years—presuming Menomena adheres to this cruel release schedule. 

The arrangements on Friend and Foe (an album which, to be accurate, was preceded by Under an Hour, a three-song modern-dance accompaniment originally written for the '04 T:BA Festival) are simple enough: drums (my god, the drums!), piano (deft, ecstatic, blinding!), baritone sax (like it was designed for rock music!), bass and guitar (of course!) and the suddenly very adroit and bold vocals of Justin Harris, Danny Seim and Brent Knopf (which were great before, too!). 

As such, Friend and Foe feels considerably more straightforward than the frequently cut 'n' looped Fun Blame Monster! It's less stop-and-start, less processed, less glitchy. These are all things that contribute to the near-perfection of the record. Rather than relying on Deeler—the homemade production software designed by Knopf and used heavily on Monster—Menomena's members are now relying more on themselves as adept songwriters and virtuosic musicians. 

Of course, the most immediate thing—and appropriately the first thing you hear on the record—are the drums of Danny Seim, which feel like giant aural punctuation marks in a novel of unattainably fine prose. That first track, the so, so perfectly titled "Muscle'n Flo," then drops into a destructured and wholly original composition that somehow remains accessible—a seamless quilt of explosive drum breaks, slide guitar, soaring vocals and piano fills. It, and much of the record, maintains a dramatic, end-of-the-world glory vibe much like that of TV on the Radio's Desperate Youth, Blood Thirsty Babes (not to mention a certain truck with Tunde Adebimpe's vocals), but with a dynamic and depth that TVotR is just finding. 

And the strata throughout the record are astounding: The classic peaks-and-valleys trope is cast aside here, as Friend and Foe's 12 tracks develop and drill through crust, aquifer and magma with absolute mind-fucking detail. "Evil Bee" is a wonderful play at faux amnesia, with simple guitar strumming building into a ragged march that's sustained for barely a measure before climaxing amid refrains of "Oh/ To be a machine/ To be wanted/ To be useful." The track then drops into a baritone-sax line before climaxing several more times, all the while slyly recalling its prior constituents: that strummed guitar, the accordion haze you didn't even realize was there at first, the marimba that's suddenly mimicking the first bass line. On the same tip, the arrangement of standout track "Wet and Rusting" feels, in the immediate, like instrumental free-association, with instruments trading back and forth between melodies and themes. 

And all of this praise, horribly, goes without mentioning the dark humor ("Weird," "Running") and commentary ("Air Aid," "Rotten Hell") that runs through Friend and Foe. Yet, even without it, Friend and Foe still stands as the most powerful, radiant and inventive record that's descended on our city in years. We don't normally drop scores in these pages, but this, friends, is a fuckin' 10. 


Menomena's Friend and Foe comes out Tuesday, Jan. 23. 

^Mike D. Wednesday, Jan. 17, & Friday, Jan. 19
Ex-SOB frontman just can't turn his back on rock 'n' roll. 

[ROCK] Michael Damron tried to take a break from music after disbanding his five-year labor of love, gritty rock outfit I Can Lick Any Sonofabitch in the House. He was unable to do so. Little more than two months after the break-up, Damron finds himself playing with a new group of musicians (including Sam Henry of the Wipers and Alan Hunter of the Eels) that he's dubbed "the Loyal Bastards" and working on a new record. I caught up with Damron (who also goes by Mike D. and Michael Dean Damron) in the basement of his favorite club, Dante's. "I'm a lifer, man," he told me with conviction. "I'm John Lee Hooker. I'm dying in this shit." —CASEY JARMAN. 

WW: Are you going to miss Sonofabitch? 

Michael Damron: Absolutely. I already miss it. How I broke it up was kind of fucked up, and if I could do it over again—but in the spur of the moment, I did what I did. We were having a show at Outlaws, which we probably shouldn't have taken, but they offered us a lot of money. There were PA problems, and it wasn't very well attended, which is fine, but it was like, "Man, this is our hometown. We've been busting our ass here, and we can only get about 75 people to come see us." Then there were personal issues with members of the band. It all came together...I just stopped in the middle of the show. 

Why did you call it quits? 

It just had run its course. By the time I was ready to stop it, it had been five years, maybe more.... I wanted to break this up a year ago, but I felt an obligation to make it work. I don't want to sling mud at [SOB's members], because we aren't on the friendliest of terms. They are all good fellas. 

Everyone says having a band is like being in a relationship. 

It's harder. With a girlfriend or a wife, it's one person, but with a band you have five wives, and you all have to make each other happy. [Pauses.] But I wanted to be more than what I was, and I wasn't feeling it with this band. 

I'd imagine that you're getting excited about music again. 

I'm beyond excited. The first week I bailed out I wrote four new songs, and it's some of the best shit I ever wrote. I feel really fucking good about it. Damron plays solo with Angie Aparo and Kate Mann on Wednesday, Jan. 17, at Dante's. 9 pm. $10. 21+. He and the Loyal Bastards also play with Mars Needs Women and the Astrolauts on Friday, Jan. 21, at Dante's. 9:30 pm. $6. 21+. See for the uncut Q&A. 

^Swim Swam Swum Wednesday, Jan. 17
Swim Swam Swum gives up a few stories but hangs on to its intrigue. 

[GUARDED POST-PUNK] When Swim Swam Swum played to a pretty full Towne Lounge on the Thursday before last, the trio's set felt like two shows, with two separate audiences, taking place in the same room. 

In a half-circle around the tables near the front of the stage were a couple dozen people standing with knees and heads bouncing: These folks were tuned into Clinton Cunningham's loud, treble-heavy, crystal-clear and looping bass lines, and their bopping mirrored drummer Randy Bemrose's motions as he flopped his dark mop in time with the ruckus of his fills. But there were also the seated followers of frontman Matt Taylor, who performs somewhat bashfully, his closed eyes hidden behind glasses, his vocals taking on a slightly affected, candied-yet-strained high pitch. It was a post-punk show with a singer-songwriter nucleus: at once loud and reserved, rocking and intimate. 

Afterward, when I got a listen to SSS's self-titled EP—which was recorded by Point Juncture, WA's Skyler Norwood (who's also worked with Talkdemonic and Horse Feathers)—Taylor's voice struck me as cleaner, though no less removed in its demeanor. And when I met up with him and Cunningham for beers at My Father's Place, I found Taylor, a 29-year-old Salt Lake City transplant and former auto mechanic, no more forthcoming in person. Thrifty with his words, Taylor told me that his lyrics are mostly "stuff that rhymes, stuff that sounds good." 

It wasn't until I actually asked him if he was down about something that he and Cunningham both laughed and opened up. They told me how out of place they felt playing a show at Rock N Roll Pizza last year with a couple of more mainstream-pop-sounding high-school bands ("I thought we were gonna get beer bottles thrown at us as soon as we started," said Cunningham). They also shared the story of how, at My Father's Place a couple weeks earlier, Bemrose (who is also the frontman in Junkface) overheard their conversation about SSS's previous drummer quitting abruptly via only a MySpace message; right then, Bemrose joined their table and volunteered to play, cementing the band's current lineup. 

Probing deeper into Swim Swam Swum's music might also unearth interesting anecdotes, but further investigation is by no means necessary: As that recent Towne Lounge performance showed, Swim Swam Swum is plenty interesting as an enigma. 


Swim Swam Swum plays with the Shotgun, Shiloe and the Hermans Wednesday, Jan. 17, at the Tonic Lounge. 9:30 pm. Cover. 21+. 

 Film Clips

just added:

Bible Jokes Ebook on Kindle

The top 20 movies 2013 you should not miss  (according to Time)


In this film section:
Music video
mtv mva music video awards
music radio conversation friend started
chasing cars
How To Save A Life
taking back sunday
Peter Luts what a feeling
james blunt video
the funeral - band of horses
mad world
queen the rock band
show stopping
white and nerdy
irreplaceable beyonce
keywords mp3
project playlist
lyrics for music
Tokio Hotel Sex
something corporate down
jess loves nick
Stone Sour
taking back sunday make damn sure
Data Rock - Computer Camp Love
Britney spears photos
free music downloads
sexual healing clip
dan higgins
doomsday clock
all american rejects
RIAA Radio Blast
nelly tip drill music video
olivier norden music video
ipod nova
free music services
britney spears circus
make your own beats
mtv music videos
All Music Access
grammy awards 2009
Yamaha MOTIF XS7

Film clips

Search  this site

What Next ? text the romance back-even if it is not your fault

Get music radio conversation friend started in three little steps ! Start ] Up ] Music video ] mtv mva music video awards ] [ music radio conversation friend started ] chasing cars ] How To Save A Life ] taking back sunday ] Peter Luts what a feeling ] james blunt video ] the funeral - band of horses ] mad world ] fff ] queen the rock band ] show stopping ] white and nerdy ] irreplaceable beyonce ] keywords mp3 ] project playlist ] lyrics for music ] Tokio Hotel Sex ] rihanna ] something corporate down ] jess loves nick ] Stone Sour ] taking back sunday make damn sure ] Data Rock - Computer Camp Love ] Britney spears photos ] free music downloads ] sexual healing clip ] paramore ] dan higgins ] doomsday clock ] all american rejects ] RIAA Radio Blast ] nelly tip drill music video ] olivier norden music video ] ipod nova ] free music services ] britney spears circus ] make your own beats ] mtv music videos ] All Music Access ] grammy awards 2009 ] Yamaha MOTIF XS7 ]