The tireless Chino Moreno, known mainly as the Deftones‘ vocalist, has formed yet ANOTHER band, this time joining forces with Aaron Harris, Clifford Meyer & Jeff Caxide, all formerly of post-metal/experimental band Isis.

The band’s name is Palms, and they will release their debut album on Ipecac Recordings sometime this year.

Said Harris:

“Clifford, Jeff and I started Palms a little over a year ago out of a desire to continue making music together after ISIS ended,” explained Harris.  “Chino joined shortly after and our sound took shape from there.  We’ve worked really hard on this first release and are excited for people to hear it.  It’s nice to be back behind the drum kit, and with this line up.”

Chino himself had great things to say about isis, and how the project began:

“Being a huge ISIS fan I’ve always dug the moods these dudes convey with their sound,” added Moreno.   “I am excited to combine my sense of creativity with theirs, and to have fun doing so.”

It’s not as if things are slow in Moreno’s main band – the Deftones are working on a newa lbum for a summer release, and he’s been busy with his OTHER side project, ††† (Crosses)(who obliterated the Glasshouse a few months back). The dude’s just hungry for more musical projects, and there’s no doubt that Palms will be pretty mind-bending.

Stay tuned.

Bassist Chi Cheng of the Deftones, who was in a horrible car accident in 2008 and has been in a coma ever since, is showing signs of improvement, nearly four years since the incident.

As our esteemed colleagues over at Antiquiet pointed out, Cheng can apparently lift his leg on command and express himself vocally.

In the wake of his accident, his insurance company cut off coverage, leaving Cheng’s family in a tough situation, having to pay for an extensvie and expensive surgery that they couldn’t afford - prompting the Deftones to team up with an organization, One Love for Chi, to raise funds to help pay the medical costs. That organization’s site is currently down, probably swamped with traffic, but you can visit it here and donate/read more about his situation.

Below, watch Cheng lift his leg on command.

Good luck Chi, and hope your successful recovery continues!

Some of the best shows I’ve been to while living in Southern California have taken place at the Glass House in Pomona.

Last night, ††† (Crosses) made their live debut, and it was easily one of the better gigs I’ve been lucky enough to attend in quite some time.

A new project featuring Deftones vocalist Chino Moreno, Far guitarist Shaun Lopez, bassist Chuck Doom and live drummer Chris Robyn, Crosses have released two excellent, genre-bending EPs thus far, August’s EP † and the follow-up EP ††, which was just unleashed on January 24^th.

Blending Moreno’s outstanding vocals, Lopez’s versatile guitars, and various types of electronic flourishes, Crosses’ music can best be described as ambient, ethereal astmopherica, if that was an actual genre (although I’m open to coining it, starting now now).

As previously stated, last night was their very first live gig, and featured extra help on a second drum kit by Dino Campanella of Dredg (who absolutely annihilated his kit all night).

Since it was their live debut, the densely-packed Glass House was filled with eager Deftones fans, many of which screamed in delight at seeing their hero in such an intimate setting.

Emerging onto a smoke-filled stage after AWOLNATION’s Sail finished playing over the PA, Crosses began their 12-song set with †hholyghos†. The small stage was illuminated by a trio of giant, pulsating crosses of varying colors: throughout the night they glowed shades of green, blue, red, and orange, creating a dreamlike backdrop to the band’s mesmerizing music.

Moreno’s no stranger to this sort of thing – his old side project Team Sleep dabbled in ambient experimental music – but Crosses seem like something truly special.

Songs like †his Is A †rick, one of their standout tracks, were simply badass live, with Chino stomping around the stage and belting the song’s refrain with his explosive pipes.

As much as Campanella was a beast behind the drum kit, Chuck Doom ought to teach bass lessons to many other bands’ four-stringers. He attacked his axe with savage fury, and since the bass was so high in the mix the entire room sizzled with each pluck.

Lopez’s subtle yet driving guitar play was enveloped by the sonic whirlwind laid out by Doom, both drummers, and Moreno, taking the band’s sound into the heavens.

This may have been their first gig, but save for a few minutes of technical difficulties and a brief bout of feedback, you wouldn’t have been able to tell. These guys are professionals, and the thought of their live show improving with more practice is frightening. They obliterated that stage.

During the encore, Annie Hardy of Giant Drag came out to sing a duet with Moreno. I wasn’t aware who she was while at the show, but some post-show research revealed why her voice was so familiar: she is responsible for the female vocals on Pink Cellphone, a track from the Deftones’ stellar Saturday Night Wrist.

In terms of a downside to the show, as with any Deftones concert there is a bevy of overexcited fans eager to just shriek “CHIIINNOOOOO” for no discernible reason, which can take away a bit from Crosses’ moody electronic-tinged explorations. But considering how freakin’ cool Chino Moreno is, I’ll allow it.

The highlight of the set has to have been either the aforementioned †his Is A †rick, a new song that was wedged in the middle of the set, or The Years, a number I hadn’t been familiar with but was included on the Batman: Arkham City soundtrack. In particular, The Years, with its 1980s-tinged synth, whispered vocals by Moreno and slow burn that builds to a crunchy finale, is definitely one of the better compositions they’ve released thus far.

By the time the gig was over, it was apparent that Crosses have as bright a future as the dudes in the band will let it have. My friend remarked that “I think I’d say this is Chino’s A Perfect Circle”, and that’s really a great way to think about this project.

They may be new, but Crosses have an incredibly solid core, their brand of rhythmic, ambient atmospherica (there it is again) placing them far, far away from your average “side project”.

If you’re anywhere near where they’re stopping on this mini-tour, get your ass out there and experience it live.

I’ll end this with a plea: Chino, Shaun, and the gang – please keep this up as long as your day jobs will allow.

Crosses Set List

1. Thholyghost
2. This Is A Trick
3. Bermuda Locket
4. Frontiers
5. Prurient
6. Telepathy
7. 1987
8. Unreleased Song
9. The Years
10. Option

Encore:

11. Pretty Little Neighbor [Giant Drag cover, with Annie Hardy)
12. Trophy

Flash backwards to the year 2004. Limp Bizkit had just released Results May Vary, a mishmash of past-its-prime nu-metal angst and attempts at sophisticated “grown-up” rock music that lacked the mass appeal of the band’s previous hit records, Significant Other and Chocolate Starfish and the Hot Dog Flavored Water. Guitarist and costume-wearer Wes Borland had jumped ship in 2001, taking with him the band’s most likable (or least hate-able) quality: the riffs. If someone had told you then that “Limp Bizkit’s going to release a new album 7 years from now with their original lineup!” you’d probably have laughed in their face. It would be hard to imagine 40-year old Fred Durst hopping around shouting out expletives and bragging about being famous.

And yet, here we sit in 2011, seemingly decades from the heyday of the nu-metal movement, and Limp Bizkit have just released that album, Gold Cobra. There’s little point in critiquing an LB record in terms of “artistry” or “substance”, as they’ve always been the musical equivalent of cotton candy: it tastes good when you’re young but rots your teeth and makes you sick as you get older. As another comparison, consider Limp Bizkit the auditory version of a Michael Bay film: flashy, colorful, filled with explosions and some fun moments, but lacking intellectual capacity or depth.

No one asked Limp Bizkit to re-form and record a new record; all the fans from the late-1990s early 2000s are now in their mid to late twenties, hardly the angry-at-the-world high school drifters they were back then. Even Bizkit’s one-time contemporaries in the genre have either changed styles completely (Linkin Park) or stayed true to themselves and remained a major figure in rock music, despite their genre’s lack of popularity (Deftones). Others, like Korn, have failed to maintain a huge mainstream audience, having turned to dubstep in an effort to become relevant again. Listening to Gold Cobra, it’s apparent that Freddy D. and the gang just don’t care about being accepted. On five different songs on the album, he says exactly that: I don’t give a damn (Bring it Back), I don’t give a fuck what none of y’all people think (Gold Cobra), I don’t give a shit what those motherfuckers think (Get a Life), Should I remind you motherfuckers I don’t give a fuck? (Shotgun) and It’s going out to the people who don’t give a fuck (90.2.10). Perhaps Gold Cobra‘s artwork should have been this.

It’s a shame that Fred is such a force on this record, because Borland, John Otto, Sam Rivers and DJ Lethal have never sounded better. Remember how high in the mix Fred’s voice was on Chocolate Starfish? That’s again the case here, as most of the songs begin with loud guitars and violent rhythms, before quieting down and letting his shrill voice clog up all the air. After the nightmare-ish Introbra (ugh), Bring it Back kicks off the album with an oddly-timed blend of club beats and spitfire riffage. Fred rambles about parties and “danger zones” until a jarring Borland riff combines with Otto’s thunderous drums, giving the song a sick groove that unfortunately ends too soon.

One of these is not like the others...

Gold Cobra is the album’s lead single, complete with ridiculous music video (as shown below). Again featuring the mash up of Borland’s wailing guitar and Otto’s slick percussion, the song features more inane lyrics (Holding the gold, it’s so gold, it’s so golden y’all) and a verse structure that sounds like Avril Lavigne’s Girlfriend, a dubious comparison. In Shark Attack, Fred references Break Stuff, this time saying it’s Another one of those days/feelin’ like a shovel. An affront to the Bizkit detractors out there, Fred brags about still shockin’ like a heart attack, obviously proud of himself. Borland provides some of his best guitar work on the album on this cut, atmospheric squeals lighting up the background of the song. Fred’s terrible vocal bridge is saved by Rivers’ bass line, which nods to the Jaws films. Get it? Shark Attack and Jaws? Pure genius.

Despite its silly Cypress Hill-styled verse, Get a Life features the album’s most abrasive chorus, with Fred screaming like he hasn’t since Three Dollar Bill Y’all. Eerie guitars and pounding drums lead into the aggressive chorus, giving the song an appealing “old-school” vibe, as long as you don’t pay attention to Fred’s ego-stroking and confrontational nonsense.

Shotgun sounds like both P.O.D. and Saliva, so it’s best to stop talking about it right there. Douche Bag, with Fred copping a raspy, snarling tone, is made for the haters: transparent braggadocio aided by more ear-pleasing (if not technically advanced) guitar work by Borland. There’s an urgency in the music that leads into the chorus of Douche bag!/I’ma fuck you up/fuck you/ fuck you/ fuck you up! It’s a perfect song for blasting in your car as you chug energy drinks on the way to an MMA fight. The jazzy outro with Fred laughing like a power-crazed maniac is odd, and just may be his way of admitting that he’s been trolling us all these years.

As with most Limp Bizkit albums, the slower, “deeper” songs are the easiest to appreciate. Walking Away is atmospheric and finds Fred actually singing. Think Re-Arranged mixed with It’ll Be Ok and you’ll have an idea how this one sounds. Loser borrows My Way’s echoing guitar intro, but has its own nice melody and almost somewhat decent lyrics. The song shows that LB is capable of creating “good” music with some semblance of meaning and creativity every now and then. Borland adds a great guitar solo in the bridge as well.

Autotunage would have fit on Lil’ Wayne’s abysmal Rebirth album. A party anthem, the song is driven by some of Otto’s best percussion and drum work on the disc, which partly makes up for the song’s lyrical vapidity. Auto-Tune Fred is amusing for about a minute, but it soon wears thin, which might have been the point of the song in the first place. Who knows?

90.2.10, a song that begins with Slayer-like instrumental fury, quickly unravels into a typical Durst rap about girls and parties and Hollywood. Killer in You closes out the album with hip-hop beats, sludgy guitars and Fred warning someone about a home intruder. An odd choice for album-closer, maybe, but it does finish off the album on a high note, musically.

With Gold Cobra, Limp Bizkit have proven that they really don’t care about being hated; releasing an album like this in 2011 definitely takes some courage. There’s practically no audience for boisterous rap-metal like this in today’s musical climate. Here we are, however, with a brand new Limp Bizkit record to discuss. Perhaps it’s the shock value of a band like LB releasing an album like this that has garnered Gold Cobra more than a few mixed (or at least not-totally-hateful) reviews. The band consciously chose to return to the formula that put them on the map nearly fifteen years ago. Gold Cobra features the band’s best musical (but not lyrical) output since Three Dollar Bill Y’all, if you can tolerate Fred’s macho-dude posturing. Yes, it’s empty thematically; it provides nothing in terms of sophistication or introspection. If you want that, go listen to the new Bon Iver album. Gold Cobra is silly, frivolous summer blockbuster music, just as it was intended to be.

LB’s never been about substance, nor have they claimed to be “serious”. It’s easy and understandable to hate them for that, considering all the earnest, creatively worthwhile bands that struggle to make it in this business. In the end, though, despising Limp Bizkit just isn’t worth the time it takes to get worked up. If you don’t want to listen to it, don’t. They don’t take themselves seriously, so why should you? There are plenty of other better, substantive 2011 album releases to check out. If, however, you’re looking for some mindless, cotton-candy fun and can appreciate the solid musicianship behind Durst’s overbearing presence, give Gold Cobra a spin.

The lineup for this year’s Lollapalooza festival in Chicago was announced this morning.

Headlining the weekend of August 5-7 will be Eminem, Foo Fighters, Coldplay and Muse.

Other notable additions (among many) include A Perfect Circle, My Morning  Jacket, Deadmau5, Ween, The Cars (!), Arctic Monkeys, Death from Above 1979, Explosions in the Sky, Deftones (who are listed MUCH MUCH TOO LOW on the bill), Manchester Orchestra, Cage the Elephant, and Damian Marley & Nas.

Of course there are a ton of other acts on the bill. Click here to check out the full lineup.

My comments on the lineup: a bit heavy in the “bands that played both Coachella and Outside Lands” department, but there are also enough notable artists who avoided the other festivals to make Lollapalooza worth the money.

Ticket information and event details are available here on Lolla’s official site.

Deftones just announced their contribution to Record Store Day, the day bands and artists release limited-edition albums, vinyls, EPs, and other collectible goodies.

Deftones are releasing a vinyl album, the simply-titled Covers. The LP will include various cover songs the band has recorded over the years.

As per the Deftones’ official announcement of the release,

The set spans a wide range of genres, including covers from artists The Cure, Drive Like Jehu, The Cars, The Smiths, Lynryd Skynyrd and Duran Duran.

The track list is included in the picture atop this post.

This LP will only have 5,000 copies pressed, so if you want it you better snatch it up fast on April 16 (better known as Record Store Day).

Alright, after many delays (it’s FEBRUARY for fuck’s sake!), the conclusion of my silly little list is finally here. Anything you feel I may have missed, please feel free to make mention of, as this year had spectacular music coming out of its ass, and there is no doubt some great stuff I simply haven’t heard (or even forgot about entirely).  So without further ado, let’s DOO DIS THANG.

20.  How to Dress Well – Love Remains

Yet another album drowned in lo-fi production, but with the marvelous twist (what a twist!) of implementing a bit of R&B flavor to the music. This has been compared to artists as diverse as Burial, Bon Iver, and even D’Angelo, and interestingly enough, they’re all perfectly reasonable nods. It’s nearly as atmospheric, haunting, and soulful as the aforementioned (respectively), but with a peculiar warmth that leaves it with a strangely anonymous emotional quality. A darkly beautiful piece of work.

Recommended track: Decisions

19. The Felix Culpa – Sever Your Roots

What The Felix Culpa lacks in originality, they more than make up for with their grit and passion. Perhaps it’s true, as the band’s detractors say, that they’re not doing anything that Brand New or As Cities Burn haven’t already done, but these guys unquestionably mean every single word and note that comes out of them. There’s great texture to the music too, with fantastic, catchy riffs along with the occasional inclusion of horns and strings to back up the zealous vocals. While it’s not the most groundbreaking album you’ll hear all year, it just might be the most genuinely emotive.

Recommended track: What You Call Thought Control, I Call Thought Control

18. Hour of Penance – Paradogma

Gulp. All the sheer, relentless brutality Hour of Penance brought to the proverbial table on The Vile Conception is back this time around, but with a remarkable step forward in the songwriting department. The structure has tightened up considerably, with sections flowing into one another with seamless transitions. For every pummeling 500,000 mph bit, there’s a bit with a strong, steady groove, and all the while hooks are abound in the utterly crushing riffs. Everything, from the booming vocals to the intricate but furious drumming, comes together marvelously; sadly though, it makes the departure of vocalist Francesco Paoli and drummer Mauro Mercurio all the more disappointing, as it’s somewhat doubtful whether or not the band will ever sound this good again.

Recommended track: Caged into Falsehood

17. Immolation – Majesty and Decay

For me, this was in a tight race with Hour of Penance’s latest and ended up winning out simply because it displays so much more restraint and diversity. In fact, in Divine Code alone Immolation shows as broad a range as the entirety of Paradogma, but without losing any of its fierceness. Steve Shalaty’s incredibly precise drumming deserves mention as well, shining even more on the slower, deliberate moments (A Thunderous Consequence) than the chaotic ones (A Token of Malice). Majesty and Decay captures everything that is great about this genre, and shows none of the stagnation that is often expected from death metal bands around twenty years in age. As one comment I came across put it, “The first three tracks alone killed my whole family.” Well said.

Recommended track: The Purge

16. Phaeleh – Fallen Light

So they call this one future garage (dubstep would be too easy, apparently), and Phaeleh does an amazing job with it, crafting thoroughly hypnotizing pieces that take their time revealing themselves to the listener. Fallen Light is lush and beautiful, but its dynamism is such that it boasts moments appropriate for a club as well as those appropriate for that bleary-eyed trip back home the following dawn (which admittedly fall into the majority). Dark, enveloping, and endlessly charming, this one has grown on me to an absurd degree, and given its relaxed nature and excellent production, surely far more will be reeled in sooner than later.

Recommended track: Fallen Light

15. Menomena – Mines

Another superb album followed by the disheartening departure of a key band member, Mines (as in “this article is mines”) sees the band trading in even more of their quirkiness and random musical detours for something a bit more emotional, and at times, even downright listless. This is not to suggest that Mines is a bare-boned affair of any sort though, in fact it’s quite the opposite. They’re merely sharper at slipping their personalities into the music, like in the slow, calculated progressions of Oh Pretty Boy, You’re Such a Big Boy or Tithe, where the layers are in no rush to present themselves and feel all the more powerful for it (not to mention the heartbreaking delivery of lines like “My love is just not enough” or “Nothing sounds appealing”). If they do end up calling it quits, this is as good a swansong as any.

Recommended track: Dirty Cartoons

14. Flying Lotus – Cosmogramma

Cosmogramma is pure imagination, and really reminds you what is so great about electronic music in the first place: when there’s a sound you want to express that organic instruments simply can’t produce, glitches, manipulated samples, and the like just may be the answer. Particularly if you’re as skilled as Steven Ellison with putting it all together. In no other genre could this many other genres be so seamlessly placed alongside one another, to such an extent that it resembles its own new sound entirely. The great thing about tracks like Computer Face//Pure Being and especially the massive Do the Astral Plane is that they harness such unbridled creativity, and yet they absolutely throw down. The beats are so busy and messy, with touches of everything from jazz and soul to hip-hop and electro that, on paper, this album should be a complete mess – somehow, though, Cosmogramma repeatedly wraps one musical style around another to masterful effect, with a staggering cohesiveness that keeps everything sounding smooth, controlled, and fucking fun.

Recommended track: Nose Art

13. Amia Venera Landscape – The Long Procession

The second reason I’m glad I waited until after December to put this together is this massive sledgehammer of an album. Italian sextet Amia Venera Landscape’s full-length debut is almost overwhelming with its riotous guitars, frenzied percussion, and incredibly charged shouts over it all (though paired with a startlingly adept melodic singing voice). What keeps it from losing its edge is how well random ambient pieces are thrown into the mix, letting you catch your breath every so often before slamming you with another intense wave of hostility. Any post-hardcore metalcore whatever-you-want-to-call-it fan should really keep an eye on these guys, they’re off to an impeccable start.

Recommended track: A New Aurora

12. The Tallest Man on Earth – The Wild Hunt

Listening to this, it’s easy to take Kristian Matsson’s moniker as literal. Armed with only his guitar and incredibly emotive voice, he is able to take what should be an intimate, bedroom sound and utterly encompass listeners with his confident playing and sincere, vivid lyrics. The imagery his poetic words brings to mind feelings ranging from bittersweetness to hope to heartbreak, weaving tales of seemingly everything from theology to desire. Overall, it’s an intense listen that impressively transcends its humble origins of a simplistic singer/songwriter album.

Recommended track: Love Is All

11. Big Boi – Sir Lucious Left Foot: The Son of Chico Dusty

Kanye this. Not to discredit My Beautiful Dark Twisted Fantasy, which is certainly astounding in its own right, but Big Boi has done something even more impressive with his solo debut; he managed to make a spectacular hip-hop album without the aid of bells or whistles of any sort. The tools at use are the usual suspects; huge, head-bobbing beats, incessant self-reference, skits (that are actually funny!), and guest spots, but most importantly, an unbelievably proficient MC at the forefront just doing his thing. Big Boi’s flow is as impossibly slick as always, with simple yet effortlessly ingenious one-liners such as this one (from the stunning single Shutterbugg) that I’m going to end this write-up with: “It’s the nigga to B-I-G.  B-O-I?  O-U-T.”

Recommended track: Tangerine

10. Deerhunter – Halcyon Digest

Halcyon Digest is delightfully psychedelic, as the bulk of Deerhunter’s catalog is, but not only is it dominated with an indescribable and infectious warmth… the band just sounds so cool about it. Rather than gravitating towards pop, it’s as if they simply kicked back and waited for it to come to them. Most songwriters would kill for the catchiness of Desire Lines or the dark, almost creeping air of Revival, but Bradford Cox and Co. toss it off with an almost nonchalant ease. What’s more is that one (or in other words, my hapless wannabe-journalistic ass) is hardpressed to describe what exactly makes it so great; there’s nothing particularly new presented here, it’s just four guys cranking out spacey rock music that could well be far better than even they are aware. Halcyon Digest has been described as the ‘new classic rock,’ and frankly I’m inclined to agree.

Recommended track: Coronado

9. Janelle Monae – The ArchAndroid

A pop album themed after a long forgotten 1927 classic sci-fi film? That description alone suggests a near-psychotic ambition, much less when you include the ungodly musical diversity therein. How Monae is able to make soul, 60s folk, modern R&B, funk, classical, hip-hop, swing, and the rest of The ArchAndroid’s endless motorcade of styles all coexist so harmoniously is beyond me, but fuck if it doesn’t sound staggeringly good. Everything is woven together into such an impressive aural tapestry that even without the relentless hooks (the record’s first half is particularly rife with these), it’s a completely flooring listen. Not to mention the absolutely phenomenal voice that this woman has! But forget about all that, really all that you need to- …oh wait,  no. Don’t forget about all that, it was my whole point.

Recommended track: Tightrope

8. Perfume Genius – Learning

Like Bon Iver and The Antlers before him, Mike Hadreas’ full length debut as Perfume Genius has quite a story behind it – a history of experiencing far more harsh realities than one person ever should culminating in a drugged out downward spiral, before moving back home and sitting in front of his mother’s piano until inspiration finally struck. Only a person channeling a tremendous pain into a positive, creative endeavor could make the simple storytelling of Mr. Peterson sound so fragile and tragic, or concoct something as dramatically heartbreaking as Gay Angels without coming across as over the top. The spaced out sadness of Learning rivals that of Grandaddy’s Sophtware Slump or Sparklehorse’s Good Morning Spider not just in Hadreas’ skill for creating melodies, or even in just how bluntly honest he is, but for the glimmer of hope to which he clings all throughout. As the man himself said of this album’s creation, “I felt like my heart actually broke but in this sort of hopeful, genuine way. Like I could finally rebuild it.”

Recommended track: Look Out, Look Out

7. Cyanotic – The Medication Generation

The Medicated Generation is not just the most dense and painstakingly detailed industrial album you’ll hear in 2010, it’s also the most gripping. While the lyrical themes are nothing new for an industrial record (conformity, drugs, society, and the like), Sean Payne’s snarling delivery is so chock full of conviction that he never sounds contrived or generic. It’s the music behind him, though, that really sells this. Sample after sample after sample is intricately fused into this glitch-heavy metallic hurricane of an album, with everything from Slayer to Homer Simpson cleverly placed to enhance the idea behind each track. Even the more downtempo moments are packed like sardines with details, particularly Efficacy‘s foray into left field electronica, or Comadose‘s beautifully lackadaisical guitar-led dejection. It may not be accessible enough to convert someone who isn’t a fan of industrial, but for someone who is, this is an absolutely essential album.

Recommended track: Dissonant Dissident

6. The Dillinger Escape Plan – Option Paralysis

Getting into this band is a funny thing. Initially, the relentless musical chaos sounds sloppy, unorganized, and scatterbrained; once given a chance though, the music exposes its true (and downright startling) intricacy and attention to detail. From their debut Calculating Infinity on, the band has added twist after twist to their uniquely frantic, complex time signature-ridden brand of hardcore, culminating in 2007′s Ire Works, which many argued pushed the experimentation a bit too far. Whatever wrinkles were present in their last effort, however, have definitely been ironed out on Option Paralysis; the catchy melodies and broad array of influences are interlaced with the brutality more fluidly than ever before, as evidenced by tracks like the astoundingly ambitious Widower‘s gradual and seamless move from mournful jazz to raging hardcore and back, the hauntingly beautiful closer Parasitic Twins, and especially how they can coexist so easily alongside the towering, pulverizing throwbacks to 1999 like Crystal Morning. This is easily the group’s most fully realized work  yet.

Recommended track: Gold Teeth on a Bum

5. These New Puritans – Hidden

If this band’s debut saw them rubbing sticks together to make fire, their sophomore effort Hidden finds them mastering space travel. It is seriously that big a leap forward, and presents a wonderful thing for anybody who perhaps follows music a bit too closely – proof that yes, every once in a while, something truly new and fresh really is just around the corner. While post-punk inflected indie rock is hardly anything new, here it’s infused with dance beats, tribal percussion, and set atop a dark, never ending orchestra. Mark my words, these guys have laid the groundwork for something huge, and the stunning creativity shown here could well spawn its own genre.

Recommended track: Fire-Power

4. Beach House – Teen Dream

Like last year’s Merriweather Post Pavilion, Beach House’s Teen Dream managed to stay in the heads of critics and fans alike all throughout the year to keep their own place on more than just a few ’2010 top ten’ lists. It’s not difficult to see why, either; Teen Dream oozes a simple beauty that refuses to let its listener go; it shimmers with an almost overly heavy haziness, but is rife with gorgeous melodies, and atop them all is Victoria Legrand’s beautiful, immediately grabbing voice. There is an odd combination of longing and contentment on this album, which by definition shouldn’t work, but Alex Scally’s guitars, keyboards, and the like coax them all into one another before Legrand sings over it and gets it all to make sense. Teen Dream may lack in versatility, but more than makes up for it with its sheer emotion and genuine nature.

Recommended track: Silver Soul

3. Noisia – Split the Atom

After seven years of singles, splits, EPs, compilations, and remixes, the groundbreaking Dutch electronic trio have unleashed their first proper full-length, and it’s everything fans had hoped it would be and more. Stretching drum & bass well past its breaking point, Noisia incorporates so many different subgenres of electronic dance that its cohesion is nothing short of a marvel; from old school drum & bass all the way up to dubstep and ambient, Split the Atom mashes them all into one massive collective and makes it its own.  The shining moments here are numerous – the teeth-rattling bass of Shellshock, the funky electro house of Red Heat (which gives Justice a serious run for their money), the frantic beat underlying the gorgeous air of Thursday… shit, I could go on and on. Hands down, this is the best 2010 has to offer in electronica.

Recommended track: Machine Gun

2. Deftones – Diamond Eyes

No album that was a mere two months in the making should sound this good. The tragedy that befell this group is of course no secret, and their reaction is laid out here in fine detail; not necessarily in the lyrics, but in how their performance leaves no doubt that they threw absolutely everything they had into this. They hit harder than perhaps ever before (Rocket Skates, CMND/CNTRL) but are at their most delicate and introspective (Beauty School, Sextape) as well, bringing these dual sides together to such an amazing effect that it’s tempting to suggest that Diamond Eyes is not just their best since White Pony, but superior to the landmark 2000 album altogether. Everybody is firing on all cylinders, from Abe Cunningham’s always impressive drumming to Chino Moreno’s astounding vocal instrument, with what is arguably their most focused songwriting yet.

Recommended track: Prince

1. The National – High Violet

Yo Kanye, I’m really happy for you, I’ma let you finish. But The National had one of the greatest Runaways of all time! OF ALL TIME!

Ahem… sorry.

Despite all the outstanding albums I’ve heard in 2010, there was never any question as to what was the best in my eyes. High Violet continues The National’s extraordinary ability to articulate the experience of growing up through music, but their fifth LP has such a diction to it that it threatens to overshadow their last two albums (which were also just about god damned flawless). The lyrics, their vocal vessel, and the music behind it all serve just to express how the band feels about where they are, and it’s done so well that a documentation of a man hitting middle age almost feels universal. For example, I know absolutely nothing about being a husband disenchanted with the family life, yet Conversation 16 fills me with the angst of being overwhelmed with apathy, of drowning in alienation, yet with that undercurrent of a barely breathing hope that, however weakly, is able to persevere. And when you have been where Matt Berninger is talking about, be it the out of place homelessness of Bloodbuzz Ohio or the unshakable faith in love that the closer Vanderlyle Crybaby Geeks retains, it hits even harder. Albums that can pull that trick off only come around every so often, and this one (and this band in general, really) is truly something to be treasured.

Recommended track: Anyone’s Ghost (though simply saying “the whole fucking thing” was quite tempting)

As 2010 draws to a close, I feel obligated, as a blogger-slash-”music journalist”, to stand atop my Internet soapbox and tell you, the Web-surfing public, what I deem to be the year’s highest achievements in music.

2010 was a year of absurd hype (Kanye West) for various musical projects, and some of them lived up to the hype, incredibly. Others failed. But since I try to keep an optimistic leaning to my writing, I offer you this list of my top albums of the year, in no particular order. Let’s get started!

Fang Island – Fang Island

If you were looking for an album that will inspire you to high-five strangers on the subway, then search no more. The band’s debut on Sargent House Records is absolute bliss: energetic, upbeat, and absurdly fun, with relentlessly catchy guitars and sporadic vocals that often appear in a chorus, creating a euphoric sound that, frankly, sounds like nothing I’ve ever heard. The album begins and ends with fireworks, a fitting bookend to a collection of songs that capture the joy and celebratory nature of music.

Deftones – Diamond Eyes

When bassist Chi Cheng was in a terrible car accident in November 2008 and Deftones subsequently scrapped their in-progress album Eros, it was easy to assume the band would never release another album. Suffering a tragedy like that would take the wind out of most bands’ sails. True to their nature as enduring, passionate pioneers, Deftones re-grouped and wrote Diamond Eyes, arguably one of their strongest albums to date. While the production by Nick Raskulinecz mucks things up a bit, the album still made its way on this list. Chino Moreno‘s fury and trademark soft/quiet singing style are on full display here, and allows Diamond Eyes to basically serve as a fantastic “comeback” record for a band whose future was questionable just a couple of years ago.

Sufjan Stevens – The Age of Adz

When my friend (who admittedly holds Weezer‘s opus Pinkerton close to her heart)  tipped me off to this album by calling it “What Weezer could have been after Pinkerton”, I nearly spit out my PBR. That got my attention, to say the least.

I generally hate the things that trendy tastemakers like Pitchfork cream their pants over, but this time they’re on the right track. They gave this record an obscenely high grade of 10.0 (a grade normally reserved for only Radiohead albums). While that may be a tad too much, this album is flat-out DRUGS, in the best way possible. The mindfuckery that Stevens releases on this record is a far cry from his usual jangly acoustic quirk-pop. And yet, somehow, it works exceedingly well, in a Talking Heads-kind of way. It sounds as if Sufjan traded in his guitars for space keyboards and a trunk full of illicit drugs, and that’s BEFORE you get to the breahtaking 25-minute album capper Impossible Soul. It’s really a mini-album itself, and combined with the other songs on the record Sufjan has really created his “masterwork”. That’s really saying a lot for me, considering I hate that term.

So yeah, buy this record, turn off the lights (or leave them on, I’m not your boss) and let this album make you its bitch like it did to me.

The Black Keys – Brothers

If you hadn’t heard much from the Black Keys before 2010, chances are you have by now. This was their “breakout” record, used in quotes since “breakout” here means “album that put their songs on the radio and TV ads”. I can probably say I’ve heard Tighten Up hundreds of times on the radio in the past five months, and I don’t even listen to the radio.

The album, a true, authentic, rock & roll record, packs more grit and sleazy rhythm into fifteen songs than most bands do in their careers. And while Never Gonna Give You Up sadly isn’t a Rick Astley cover, its slow burn and singer/guitarist Dan Auerbach‘s sensual vocals make up for it.

I’d been a casual Black Keys fan before 2010, respecting their records but not really appreciating them for the visionary dudes they are, but with Brothers, I have finally come full circle.

Linkin Park – A Thousand Suns

Yes, yes, I know you’re ready to click out of this page because I’m offending you with Linkin Park. Yes, I know, nu-metal sucks. I know, Linkin Park is trendy and popular. Yes, I know, any self-respecting and customarily snobbish music critic (such as I consider myself) should have NO PART in saying anything positive about Linkin Park, because they suck or whatever.

But the fact of the matter is, A Thousand Suns is a fantastic record.

Mostly leaving behind the angsty rap/rock sound that catapulted them to stadiums around the world, LP instead decided to challenge themselves and create something that stands alone on its own, which this album definitely does. It’s long, has a bunch of interludes and only nine real “songs” (most being midtempo and atmospheric), but the end product is a cohesive experience that would be considered on most “Best of 2010″ lists were it by anyone other than Linkin Park, a band everyone loves to hate.

If you already hated LP, you probably won’t ever come around, and that’s fine. That’s, like, your opinion, man, and you’re entitled to it.

But if that bias keeps you from enjoying A Thousand Suns, then too bad for you.

Mumford & Sons – Sigh No More

2010 was a huge year for this upstart British group, with the single Little Lion Man getting all kinds of airplay on the radio in the past few months. They basically employ the same formula as Fleet Foxes, the hush-quiet acoustic folk thing combined with incredible vocals (sometimes group vocals) and a quiet energy that builds and builds into sonic explosions of passion and emotion.

Besides Little Lion Man, songs like Thistle & Weeds and The Cave really make this album shine, and cemented its place on this list.

I’m eager to hear what they do as a follow-up.

Kanye West – My Beautiful Dark Twisted Fantasy

This album is a monster.

I’ve always been indifferent regarding Mr. West, usually thinking he was “okay” while getting annoyed by his insane ego and self-absorption. When this album was being hyped by the Internet to levels not seen since…well, the last Kanye record, my interest increased slightly, if only to see if the album would possibly live up to such lofty expectations.

Then, he signed up for Twitter and posted updates about emotional fonts and small-ass jets. The other insane Tweets that followed helped promote the album fantastically, as he seemed more and more out of his mind.

Then, the album actually dropped, and everyone ate it up. Because it’s delicious.

Tracks like the 6-minute star-studded Monster, the insanely addictive All of the Lights (with Rihanna on vocal hook duty), and the Auto-Tune loneliness jam Lost in the World make this album more of a “game-changer” type of album than a “hip-hop” album.

Calling this record a “hip-hop” album is like calling Radiohead albums “BritPop” albums. Not applicable.

And no, I’m not equating Kanye West with Radiohead, although both have been featured in classic South Park episodes….

Ben Folds & Nick Hornby – Lonely Avenue

Much more of a “project” than “album”, Lonely Avenue pits piano man and amazing songwriter Ben Folds with British author Nick Hornby (he wrote High Fidelity, for one). They combined their efforts, with Folds writing music to accompany Hornby’s words, the whole thing adding up to form a story. The deluxe version of the album even comes with an illustrated book, so this whole thing is really neat.

Folds is at his best, doing his quirky piano melodies thing, and Hornby’s lyrics add satire and social commentary to everything. The two of them are a great duo, working well of of each other’s strengths as artists, and that shines through on Lonely Avenue.

Oh, and check out Levi Johnston’s Blues,  a song from the perspective of Bristol Palin’s one-time fiance (and baby daddy). Yay, satire!

Jamiroquai – Rock Dust Light Star

2010 marked the return of Jamiroquai, ending a 5 year absence with Rock Dust Light Star. The record, the first since 2005′s Dynamite, finds front man/focal point of the group Jay Kay at his best. Songs like White Knuckle Ride, Smoke & Mirrors, Hurtin’, She’s a Fast Persuader, and Hey Floyd are destined to incite many a dance party (or head-bob if you’re listening to it alone).

The album hasn’t found a distributor in the USA yet, but I hope that doesn’t hurt Jamiroquai’s chances of releasing it and (hopefully) playing a set at Coachella next April. I can only hope.

Portugal. the Man – American Ghetto

Their sixth album in six years, experimental indie rockers Portugal. The Man released American Ghetto in 2010 as their last album before graduating to Atlantic Records.

Every Portugal record is great, but American Ghetto is one of the more impressive ones. The songs transition seamlessly into each other, from the enthralling The Dead Dog all the way until the MGMT-ish album closer When the War Ends.

I can only imagine how great their upcoming record (and Atlantic Records debut) will be. If they build upon the growth shown throughout their amazing career thus far, it will probably find itself on my Best of 2011 list as well.

Honorable Mentions

Arcade Fire – The Suburbs

While I did drink the Kanye Kool-Aid in 2010, I still haven’t quite grasped the “amazingness” of Arcade Fire. That said, The Suburbs is impressive, if overlong. Songs like Ready to Start and Rococo are good examples of why this band gets so much damn attention, but they just don’t put me into “OMG BEST BAND EVER” mode like they do to everyone else. Still, great record.

Weezer – Hurley

Despite the ridiculous cover image, Hurley blew me away, considering I was expecting another “new school” Weezer album – that is, silly pop songs about Los Angeles, party anthems featuring overrated rappers, and a general disregard for the things that made Weezer Weezer.

And yet, somehow, Hurley reminded me of why I ever liked them in the first place. Songs like Unspoken, Hang On, Ruling Me, and Memories are vintage Weezer tracks, and it was great to hear them go back to basics and revisit their glory days.

Eminem – Recovery

Em returned to form in 2010, releasing Recovery, his best record in a long time. He went through some stuff, got over it, ditched the moronic character voices he used, and put out a solid album of songs.

He hadn’t gone anywhere, he just had to fix his shit and get back out there. Now, he’s back in the spotlight, and it’s because of the quality of this record.

The Sword – Warp Riders

These stoner metal gods released a concept record in 2010 about “inhaling deeply of the sacred smoke” on a planet divided, and the protagonist’s battles with the “Chronomancer” and other such ridiculousness.

Not only does the story amuse, but the songs are brutal, sludgy rock awesomeness.

One of the better rock releases in 2010, and arguably the best rock space opera stoner metal concept album ever.

The Budos Band – III

I first discovered this band at 2 am at a party on Halloween, as fatigue-inspired hallucinations set in.

This group’s amazing instrumental jazz/world beat fusion translates very well on record, and I imagine their live show is one big hip-shaking party. There’s no singing, but they don’t need any. The brass and sexy grooves more than make up for it.

I was pleasantly surprised by this album when I heard it, so much so that it ended up on this list.

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So that’s my list, take it or leave it. And leave comments if you want to call me an idiot/jerk/asshole/moron/genius/gay fish, I mean, that’s what the Internet is all about.

Drug use is such a prevalent theme in modern music that I’m surprised it took me this long to get around to blabbing on about it here. In any case, here’s another installment of my weekly blabbings, this time tackling (you guessed it) drugs – from fun times and general glorification to cautionary tales and the gritty details of addiction. As usual, please feel free to make any additional suggestions.

Cypress Hill – I Want to Get High

Let's get mothafuckin' hiiigh

Kicking off the outstanding Black Sunday is this doped up, half-sinister and half-giddy ode to smoking weed. B-Real is by turns energetic and sedated here, backed by a drowsy, hazy beat that hits you like that first cloud of smoke from behind the opened door of a hot-boxed room. Hell, my eyes feel a little red-rimmed just listening to this.

Primal Scream – Loaded

Background straight up trippin'

Another gem from an early 90s masterpiece, Loaded embodies the rave mindset of the time not with its music so much as its attitude. The whole psychedelic-rock-meets-dance-music of Screamadelica was perhaps best expressed by the sample from The Wild Angels: “We wanna be free, to do what we wanna do! And we wanna get loaded.”

Buckcherry – Lit Up

Wait.. you're not my dealer

There are many, many rock bands who do nothing more than make you wonder why they exist – Buckcherry would be one of them if not for the two good songs they ever wrote (seriously – I’ve had the misfortune of hearing a few of their albums from front to back… they’re pretty bad), and as you might guess, I consider this one of those two songs. It’s not difficult to make a coke-addled night sound like fun, but it’s the way they pull it off that makes it special.  While the contrived bunch clearly wish they were Guns N’ Roses, the band really captures that sleazy, boisterous feel almost as well as their hard rock idols, and it’s just so damn catchy.

The Notorious B.I.G. – Warning

STAY.

Yet another 90s classic – Ready to Die gave a lot of insight to the life of a drug dealer, and Christopher Wallace’s stories of these occupational hazards are still as captivating as they were when he first laid them to tape. Here, he goes over the paranoia of a well-off drug dealer, knowing all too well that the next attempted robbery could well be right around the corner, be it rival dealers or strung out customers, all with his trademark rapid-fire flow and that smart Isaac Hayes sampling beat.

Deftones – Beware

Hey look a penny

There are plenty of songs warning of the dangers of dabbling in drugs, but very few are able to sound not only this genuine, but this haunting as well. Chino Moreno delivers a typically passionate vocal performance, and the music is so dark and harrowing that it’s impossible to simply write this off as a cheesy “don’t do drugs, kids” sentiment. This bypasses preaching altogether and screams out experience with a staggering sense of creativity and force; it really is a lesson in how to make an anti-drug statement.

The Dandy Warhols – Not If You Were the Last Junkie on Earth

We're pretty. PRETTY APATHETIC LULZ

This one comes from the perspective of someone watching an old friend destroy themselves with heroin addiction, which goes oddly well against the bright, poppy, and hook-filled music. Courtney Taylor-Taylor’s smarmy declaration that “heroin is so passé” makes for one of the most unexpectedly catchy choruses of the 90s. As Patrick Bateman should say, it’s a “song so catchy, most people probably don’t listen to the lyrics. But they should!”

Velvet Acid Christ – Fun with Drugs

Blaarrgghhh

This song’s title (as well as the abundant Fear and Loathing samples) may give the impression that it’s embracing drug use, but the menacing whispers of “I see you, I feel you, I know you, I own you” and especially “I know you never wanted this” over that throbbing beat make its intent quite clear. Presenting addiction as a malevolent antagonist alongside the cheery samples shows the dichotomy of drug use very well, and that trademark EBM gloomy danceability certainly doesn’t hurt, either.

Alice in Chains – God Smack

Happy blue skies!

Dirt is one of those albums where it seems like if you look closely, each physical copy can be seen to be dripping leftover cooked heroin. Just about every song here feels dirty, dark, and overpoweringly hopeless, but then there were more philosophical moments like this. Layne Staley cleverly compares following a religion with addiction to heroin, reasoning that “God’s name is smack for some.” If only the band that took this song’s title as their namesake had ever been this interesting…

Spiritualized – I Think I’m in Love

Space: The best place for nodding off

Not many songs that seem to capture the feeling of being on heroin musically as well as lyrically, but I Think I’m in Love does it perfectly. The way the music gradually feels more and more warm and psychedelic as the track progresses is brilliant, as well as Jason Pierce’s murmurings. He starts out describing the beginning of the high, and then goes off describing a plethora of  feelings, all of  which he immediately contradicts, and they range from dry (“Think I’m in love, probably just hungry”) to nearly absurd (“Think I can fly, probably just falling”) to flat-out depressing (“Think I could be your man, probably just thinking”). Eight minutes about drug use as an escape from heartache that fly by every time.

Elliott Smith – Coming Up Roses

Do you mind? I'm trying to do drugs

It’s rather difficult to pick just one song by Elliott Smith, but this one won out simply because of how well he weaves the strong drug slang into his lyrics. He often said that these references were not meant to be taken literally, but whether or not that really was the case, this song paints a very bleak picture of seeking escape in drugs and shunning the resulting judgement of others, only to judge yourself even more harshly. Listening to tracks like Coming Up Roses now after seeing how clearly tortured the man was makes it all the more heartbreaking.

Saturday, June 5, 2010 marked the 18th Annual KROQ Weenie Roast, if you live in Los Angeles and listen to rock music, hopefully you’ve heard of the KROQ Weenie Roast. It’s an all-day outdoor music festival that combines the grilling of hot dogs, shady picnic areas, the need for sunscreen and the best of today and yesteryear’s rock n’ roll music.

Atmosphere is essential to a concert going experience, Live Nation and the Verizon Wireless Amphitheater provided nothing but a smooth and relaxing environment for all Weenie Roasters. Their ability to provide a tight-ship production attracted show goers of every walk of life, some even traveled lone-solider. While standing in line, a 42 year old man struck up conversation with us, informing us he had been a loyal attendee for over seven years and always came alone, this was his spiritual time — he shared tales of his family and professional life as we peacefully stood in the LONG line to enter the rock playground.

While atmosphere is important, music is the real reason everyone lathers themselves in sunscreen and stuffs joints in their girlfriends bras, plus this year the lineup was phenomenal. It was as if eras collided, covering sounds spanning the 70s’ into the present with nary break from the musical grounds that be KROQ’s Weenie Roast. You ask, “Awesome line up?” We retort, “Absolutely. Of course, no disappointments here.” After all, the concert went from 2:00 PM to 11:00 PM and KROQ is one of the leading rock stations in Los Angeles.

This is a lad to watch, if he keeps up the hard work someday his voice will beckon the world - just as Anthony Followill of Kings of Leons has. Dougy Mandagi vocals definitely have a unique tone to them but they carry an equal passion and projection to that of Anthony's. It might come out in a different tone, doesn't mean it attracts you any less. Photo by Scratched Diamond

The Temper Trap was the perfect band to kick-off the start of another sunny Saturday music festival. Their playful atmospheric sounds started promptly at 2:00pm, resounding ambition and inspiration throughout the crowd. These Aussies really brought their game face and usually the first time slot gets shorted an audience, killer sound and acquiring new fans but due to the quality production put on by KROQ the band was not shorted any aspect of playing a major music festival. The bands rhythmic, pop, indie rock sound was the blend needed to set the picnic in full motion.

The man with anything but a pitiful passion is Michael Angelakos. Again another, vocalist with an exciting screech. His high pitch voice is something similar to that of Ghostland Observatories, Aaron Behrens. Yet, this group uses no Mac Book to project their sound. Photo by Scratched Diamond

I first discovered Passion Pit on Hype Machine two years ago, instantly their sound was infectious. Their pop-electronic sound is enlightening and friendly, plus their quality use of the synth effects and energetic stage presence have you wanting to dance even more than the album version. The youngsters played tunes from both, “Chunk of Change” and “Manners,” all of which had fans singing along and bodies jumping. They were the perfect band to follow up, Temper Trap and to prevent the sun from zapping your energy early on.

Don't be jealous, just stuff your face! Photo by Scratched Diamond

VIP invitee’s were provided with a full fledge BBQ buffet that included everything from corn on the cob, BBQ chicken, weenies and for those animal lovers they provided top-shelf, homemade veggie burgers. Of course, all got cookies, lemonade and other concert delicacies. We were privileged enough to unknowingly sit down with a video game entrepreneur and Blizzard employee along with his proudly bumming sidekick. The lax environment created at the ground had all open, chatting and exuding friendliness to all those sitting on the lawn nearby, at the tree or simply in the bleachers next to them, the conversations definitely enhanced the overall experience. Back to the music.

Pete Loeffler's unique singing style has made Chevelle an instant favorite since their first single in 2002. Eight years later, they still sound just as good as they did at the first show I was so lucky to attend. Photo by Scratched Diamond

Chevelle melted faces – and not simply because it was blistering hot outside – with, “Send the Pain Below” and “The Red” bringing us way, way back to the past, and they ended the set with “The Clincher.” Their quality rock-n-roll has never eluded KROQ play, but they are rarely seen live in Southern California, making this appearance a very special treat for hardcore fans of the band.

Chino Moreno has been dedicated to deafening the public since 1989 and he gave the public the same lively performance during KROQ's 2010 Weenie Fest as I am sure he did, way back when. Photo by Scratched Diamond.

Legendary rockers, the Deftones, capped off the first part of the Weenie Roast. Organizers set it up the event, so that the first half of the day was spent at Stage 2 and then the remainder of the evening was spent in the Verizon Amphitheater. Every time I watch a legend perform, I know how they garnered the respectful title of ‘legendary’ and the Deftones were no different. They had sound problems all over the place but the band just plowed on with one of the most lively and growling performances of the day. Since there were so many Deftones devotees there, I don’t think anyone minded Moreno’s mic going out – they knew the majority of the lyrics – and his projection is outstanding. However, no joke, it was by far the loudest set of the day, so much so that I had ear plugs in and it was still overbearingly loud. However, showgoers did not seem effected in this same manner.

Bitt Daniels of Spoon shoveled out more than a bite of rock n' roll it was a full on dinner. Photo by Scratched Diamond

Spoon was not a band that I permitted to really rock my iPod, especially after catching them at Street Scene in San Diego a few years back and then after seeing their vastly improved performance and on point musicianship the respect has turned the table. They weren’t the greatest highlight or change of opinion about my preference of music that took place during the day.

Brian Aubert of Silversun Pickups is not female at all (see side notes). They get extra points for being local and still grasping the attention of over 10,000 fans. It really proves that there are just a few exceptional bands that are in existence and still growing that fans can never get enough of. Photo by Scratched Diamond

If you have even a tiny interest in the music Silversun Pickups puts out, you would’ve enjoyed this set. They were the catalyst of the night with hard hitting rock that reved the crowd up for what was to come. The set transcended from “Panic Switch” into “Lazy Eye” which was a seriously magical combination. The only problem with this set is that it was too short, but hey, that gives us purpose to catch them the next time they roll trough town. Gotta keep the fans wanting more. Psych’s truthful side note: I’ll have to take a moment to admit that I had no idea the lead singer was a male. Scratched Diamonds side note: Clearly Psych does not spend enough time perusing the home of music – MySpace.

Honestly, if there was no Nikki Monninger, I don't think Silversun Pickups would have half the crowd charming abilities they do. Photo by Scratched Diamond

Seriously, after seeing that excited face enter the stage, you know you are in for a good time. Photo by Scratched Diamond

How do you beat Silversun Pickups? Well, with Paramore. If you’ve read the BTH review of, Brand New Eyes, you know the mixed feelings about the band. Or should we say, once mixed feelings about the band? It’s time to admit, “if ever in my life I knew I had been wrong about something, this is it.” The adorable Hayley Williams not only brought the energy of a rabbit on speed, but they sounded really, really good. So good, in fact, that I take back everything bad I’ve ever said about Paramore. They know how to work their audience and have a well-developed honed sound and despite their youthful age are all seasoned musicians. I mean during the set Hayley announced that the drummer, Jeremy Davis, had just turned 20 the day before. Are you joking me? You know when you are not even permitted to drink a beer yet but are already playing to audiences over 10,000 you were always meant to drum.

Mark Mothersbaugh, 58 year old bad ass and front man of Devo for an astounding 36 years. Photo by Scratched Diamond

Honestly, neither of us expected much from these ‘old timers.’ I thought I wouldn’t even have to write anything more. Devo is amazing. Not only did they have costumes, choreographed dancing to their songs, and energy that 60 year old men just shouldn’t have, they had a video show behind them that was beyond hilarious. At some point there were dancing panties with cat’s eyes crying, like a sexy Hello Kitty and that was only a portion of the artistic social commentary the group offered. Bottom line, the crowd loved Devo, and now we love Devo. There’s not a word I can say that’s bad about them. They were definitely a band that stunned, shocked and excited all. I mean who is not inspired by men who are nearly 30 years older than you and can dance better, longer and just classier than you? Kudos men, KUDOS!

How can you not Love this doll? She is everything rock should be, determined, honest, wild and raw. Photo By Scratched Diamond

Hole has been a band of controversy since long before the death of rocks beloved Kurt Cobain and Courtney has always powered through the gossip, rumor and drug use and came out on top of all the grunge. Her dynamic and iconic voice was not the only thing she had under control this night, she suckered the Love of all. As the crowd cheered, “Courtney we LOVE You!” She proudly responded with a “Fuck You! Now tell me Fuck You!” Not only that, Courtney was the only lead singer to demand the crowd respect the musicians she was blessed to have work with her.

Go ahead, sing with her! This is a safe place to proudly give her your true Love! She will hold your whole wide world in her hands, it's true. Photo by Scratched Diamond

I always knew that C.Love would come back to the stage like a phoenix free from the ashes and she did just that but don’t get it twisted this not-so-skinny little bitch is “Fucking OLD.” While on stage Courtney boasted of her successes and flaws alike, truly expressing her gratitude for the whole world: KROQ for always playing her songs, even the ones that sucked, fans for talking shit about her when they’d never even spent a moment with her, men for sleeping with her and especially to those that were still cheering for her. She bitched about the audiences request to hear, Doll Parts, stating, “You guys know that song is only 3 chords and I wrote in a bathroom, right?” Despite her dislike of our choice she still belted it out for us. Also, her new bandmates not only have mastered the classic Hole material but the familiar sound of “Nobody’s Daughter” still embodies all that is Hole and proves that Courtney was always the true ear behind her maestros. She has picked yet another, top-knotch crew of musicians to perform alongside her. She ended the set with a classic Courtney moment, where she let us all know she did not give a blowjob to Scott Weiland, he did not need one to perform.

There is something that has to be appreciated about a man who doesn't use voice modulators, but chooses to sing through a bullhorn into his microphone. Photo by Julianna Young

Stone Temple Pilots are another group of grunge legends who performed. Their set list was impeccably picked, starting with power songs from Core, and only singing three song from their self-titled latest release, “Stone Temple Pilots.” Weiland seems to have lost that gut-wailing prowess that his voice once resonated. Whether his voice was never as powerful live as on CD or if it’s just changed from the aging process, it is definitely not as expected. If you’ve heard the song, “Between the Lines,” you know how Weiland sounds today and it’s just not the same. That being said, it is still Stone Temple Pilots, and everything else was absolutely perfect.

At this moment I’d like to advise our audience that we did not stay to see Sublime with Rome, and there’s a very good reason for this. Neither Scratched Diamond nor myself believe that there can be a Sublime without Bradley Nowell. While Stone Temple Pilots might sound different vocally, it’s still Scott Weiland behind the lyrical wheels. With Rome…well, the concept disturbs our moral sensibilities. They are icons, and it’s just not the same. Of course, even as we were leaving, we could hear the crowd singing along with every word in the background, and I’m sure a good time was had by all.

I’ve been to a few KROQ concert festivals before, and this definitely rated as one of the best. The transitions between all of the bands were smoother than silk. The lineup was impressive, powerful and iconic, so much so that I can’t imagine a better way that we could’ve spent Saturday night.