We all know that remakes are where it’s at when it comes to getting studio backing for a film. We also know that it can often spell catastrophe when it comes to getting a decent script approved. So how does screenwriter Michael Bacall’s (who is also making a shit ton of money off of his other current release, Project X) adaptation of Fox’s successful 1980s essential measure up in film form? Well, it’s actually a surprisingly gratifying interpretation. And my theory is that Nick Offerman’s brief appearance somehow infused the entire movie with magic.

Promotional poster for 21 Jump Street

Taking loose elements from the premise and characters available from the original series, 21 Jump Street centers on two extremely divergent personality types: The attractive and outgoing Greg Jenko (Channing Tatum) and the shy and introverted Morton Schmidt (Jonah Hill). Notice the absence of Johnny Depp’s character, Tom Hanson. Opening in the year 2005 with Schmidt trying his best to emulate the Marshall Mathers look, “The Real Slim Shady” plays as the credits roll. Schmidt’s thin shred of Slim Shady confidence is shattered after being rejected by the girl of his desire when he asks her to the prom–in addition to being ridiculed by Jenko for even attempting to get with someone so much better looking.

High school pariah.

Seven years later, Schmidt and Jenko find themselves becoming unlikely friends as they join the same police division…patrolling the streets on their bikes. After making their first failed arrest (Jenko never reads the perpetrator his Miranda rights), their boss, Deputy Chief Hardy (Offerman), sends them to what he initially calls “37 Jump Street.” He then realizes, “That doesn’t sound right.” This punishment occurs after he gives Jenko and Schmidt a witty spiel about how “the guys in charge are out of original ideas and find themselves forced to recycle old programs.” It is this sort of self-referential dialogue that makes 21 Jump Street palatable. Basically, everyone in the film is in on the joke and everyone seems to know on some level that Jenko and Schmidt don’t really belong in high school, including the principal (The New Girl‘s Jake Johnson), who points out the strangeness of “Doug” and “Brad” enrolling one month before school is about to end.

Brothers in arms.

Even though Jenko and Schmidt’s superior, Captain Dickson (the always entertaining Ice Cube), assigns them to specific identities and social groups to become a part of, the two end up confusing their names, thus sending them on different paths than the ones they used to know during their time in high school. As Doug, Schmidt finds himself falling in with the group he always wanted to be in during his adolescence. The ringleader, Eric (Dave Franco, yes, the obvious brother of James Franco), takes a shine to Doug, even going so far as to welcome him to pursue his presumed girlfriend, Molly (Brie Larson, another actress apart from Greta Gerwig and Molly Ringwald that managed to escape Sacramento). In fact, Eric’s exact words to Schmidt/Doug about Molly are, “We blow each other sometimes, but it’s not like a thing.”

Ice Cube as Captain Dickson, whose main line is, "Infiltrate the dealers, find the suppliers."

As Schmidt grows more attached to Eric and Molly and the entire notion of who he is as a popular kid, he starts to lose sight of the investigation, not to mention deserting Jenko, who has fallen in with the geeky chemistry crowd. Because of Schmidt’s obsessiveness with being cool, they both end up getting expelled after a mid-air showdown during the school’s production of Peter Pan. But this is only the tip of the iceberg when it comes to closing out act three. With cameos by Rye Rye (random, but awesome), Johnny Depp, and Peter DeLuise (both reprising their roles from the show), directors Phil Lord and Chris Miller (who will always hold a special place in my heart for being at the helm of MTV’s short-lived animated series, Clone High) manage to pull out all the stops. The only thing that could have made it better is an appearance by Steve Buscemi (whose recent reference to 21 Jump Street on the 30 Rock episode “The Tuxedo Begins” was almost as funny as this entire movie put together).

“Ain’t on my period, but I got a new pad.” And that new pad is Moscow, the latest adventure for Nicki Minaj’s alter ego, Roman Zolanski to embark upon. “Roman in Moscow” is our first glimpse of Minaj’s upcoming sophomore album, Pink Friday: Roman Reloaded. Set to be released in February 2012, the introductory song is a strong indication that Southside Jamaica’s pride and joy is back and better than ever.

Single cover for "Roman in Moscow"

Roman’s most memorable appearance on one of Minaj’s tracks was during “Roman’s Revenge,” arguably the best offering from Pink Friday (followed by “Moment 4 Life” and “Girls Fall Like Dominoes”). Assertive and empowered, Nicki as Roman matches the anger and ire of Eminem’s vocals easily. But on “Roman in Moscow,” the beautiful combination of Minaj and another incensed voice is noticeably missing. As far as Behind the Hype is concerned, two vexed rappers are better than one. Then again, as Roman reminds us, “I told you bitches last year I’m a rap bitch nightmare,” so I suppose that gives Nicki/Roman the license to do whatever the fuck they want.

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.

Photo: EventRundown

Last night was a sad one for fans of hip-hop.

Nate Dogg (born Nathaniel Hale) died in his Long Beach home at the age of 41.

While the cause of death has not been revealed yet, Hale did have two strokes back in 2007 and 2008.

Read Rolling Stone’s memorial article for more information about hale and his illustrious career, which found him collaborating on huge hit songs with artists such as Warren G., Snoop Dogg, Dr. Dre and Eminem.

In memoriam, here’s the classic music video for his anthem with Warren G, Regulators.

RIP Nate Dogg.

In its tenth year, some of the world’s most renowned musicians will be in attendance to showcase for you their skills. I’m of course referring to the mighty Bonnaroo, which takes places in the humid backwoods of Manchester Tennessee.  The festival grounds span over 100 acres, and there’s plenty to do in this beautiful southern backdrop. Even Conan O’Brien is pumped!

This year, Bonnaroo takes place from June 9^th through the 12^th, and we wanted to share the lineup with you, to get your Pavlov on. Take a look at the lineup, with included links to bios of the artists

• Eminem
• Arcade Fire
• Widespread Panic
• The Black Keys
• Buffalo Springfield feat Richie Furay, Stephen Stills, Neil Young, Rick Rosas, Joe Vitale
• My Morning Jacket
• Lil Wayne
• String Cheese Incident
• Robert Plant & Band of Joy
• Mumford & Sons
• The Strokes
• The Decemberists
• Ray Lamontagne
• Bassnectar
• Iron & Wine
• Girl Talk
• Primus
• Dr. John and The Original Meters performing Desitively Bonnaroo
• Alison Krauss & Union Station featuring Jerry Douglas
• Pretty Lights
• Florence & the Machine
• Superjam ft. Dan Auerbach and Dr. John
• Explosions in the Sky
• STS9
• Gogol Bordello
• Beirut
• Big Boi
• Scissor Sisters
• Gregg Allman
• Ratatat
• Global Gypsy Punk Revue curated by Eugene Hütz
• Robyn
• Warren Haynes Band
• Deerhunter
• Opeth
• Atmosphere
• Old Crow Medicine Show
• Bootsy Collins & the Funk University
• Wiz Khalifa
• Matt & Kim
• Grace Potter & the Nocturnals
• The Del McCoury Band and the Preservation Hall Jazz Band
• Mavis Staples
• Béla Fleck & the Flecktones
• Chiddy Bang
• Jovanotti
• Bruce Hornsby & the Noisemakers
• Loretta Lynn
• Cold War Kids
• The Walkmen
• Devotchka
• Wanda Jackson
• Neon Trees
• Portugal. The Man
• Sleigh Bells
• Amos Lee
• Best Coast
• Dãm-Funk
• The Sword
• The Drums
• The Black Angels
• School of Seven Bells
• J. Cole
• Nicole Atkins & the Black Sea
• Wavves
• !!!
• Junip
• Freelance Whales
• Justin Townes Earle
• Ryan Bingham
• Deer Tick
• Band of Skulls
• Sharon Van Etten
• Abigail Washburn
• Omar Souleyman
• Twin Shadow
• Kylesa
• Man Man
• The Low Anthem
• Alberta Cross
• Railroad Earth
• Jessica Lea Mayfield
• Smith Westerns
• The Head and the Heart
• Karen Elson
• Beats Antique
• 22-20s
• Phosphorescent
• Clare MaGuire
• Hayes Carll

With any luck, we’ll be making the trip to Tennessee for the festival, so if you’re from Los Angeles, you’ll have friends among you. Who do you want to see? Sound off in the comments.

Until next time my friends,

~Flak

Here we are once again, rambling on about putting the year’s albums in a specific order. Today we crack the top fifty (I felt the need to add that, because the article’s title didn’t make that obvious or anything)! So I guess the proper thing to do would be to get on with it, without blindly typing any more stream-of-consciousness nonsense… alright, here we go.

60. Trent Reznor and Atticus Ross – The Social Network

Not since 2007 have I been so enamored with a soundtrack (Nick Cave & Warren Ellis’ The Assassination of Jesse James, in case you were wondering). Like Cave and Ellis’ score, I heard this well before I saw the movie, and upon seeing it couldn’t help feeling like “wow, they made a movie for this album!” This feels so fully realized on its own, like a more complete Ghosts, but better. From the more simplistic piano led tracks to the ambient pieces to the light throbbing beats, The Social Network never loses its dark allure or its edge. Even the rendition of In the Hall of the Mountain King fits, surprisingly enough.

Recommended track: Intriguing Possibilities

59. Dum Dum Girls – I Will Be

I keep hearing about Wavves this and Best Coast that, well what about this? It’s got a hell of a lot more heart than Wavves and more diversity than Best Coast, not to mention that the production hits this perfect spot in between a sharp, crisp sound and that harsh, lo-fi element that so many bands seem to be so fond of these days. Kristin Gundred (or Dee Dee, rather) shows great skill in the songwriting department, not just because the melodies are great, but because she really manages to evoke whatever she’s trying to express in the listener, particularly when she adopts that lovelorn croon of hers (Rest of Our Lives, Baby Don’t Go). This album really deserves so much more credit than it gets.

Recommended track: Blank Girl

58.  Max Richter – Infra

Whether you’re a fan of modern classical (an admittedly silly name) or not, there’s no denying the jaw-dropping beauty that Max Richter has been consistently able to bring to the proverbial table, and Infra is no different. Divided into two jumbled suites, Infra and Journey, Infra is a masterful blend of static ambiance and neo-classical compositions ranging from minimalist piano to lush, soaring strings (and sometimes a combination of all three), and in the process nails an odd combination of being both harrowing and an utter beauty.

Recommended track: Infra 5

57. Home Video – The Automatic Process

Home Video’s brand of electronica has gotten more than its share of comparisons to post-Kid A Radiohead, and it’s not difficult to see why: downtrodden beats, themes of alienation and disenchantment, and of course vocalist Collin Ruffino’s delivery, which is rather similar to Thom Yorke’s. Admittedly, their latest does little to step away from this, but it does find the duo growing more comfortable with incorporating more elements into their own sound (taking advantage of David Gross’ classical training on Business Transaction, the dirty electro synth of the title track, etc.), and with as skillful as they are with making minimalist music sound intricate, that’s good enough.

Recommended track: You Will Know What to Do

56. Dead Letter Circus – This Is the Warning

Forget Circa Survive (yes I know, hello bold statement). Dead Letter Circus’ debut is an astounding blend of  experimental rock and crowd pleasing guitar hooks and soaring vocals that blows just about everything else in this genre out of the water. You can hear the best things about bands like Muse, the Mars Volta, Dredg, and the aforementioned Circa Survive all wonderfully blended into one cohesive sound, and what’s more is that the young band actually knows what to do with it. Dead Letter Circus is very much a band to watch for in the coming  years.

Recommended track: Cage

55. Whitey – Canned Laughter

Whitey recently announced a hiatus from recording due to a lack of funds, and it truly baffles the mind as to how someone with such a knack for melody and creativity with instrumentation could meet such a fate. From the brilliantly laid synths of opener Dinosaur to the demented swing revival of Count Those Freaks and so on, there is so much inventiveness being veiled with poppy hooks that one can’t help but wonder why this guy never really got anywhere…

Recommended track: I Had a Wonderful Night (It Just Wasn’t This One)

54. Matthew Dear – Black City

Sex. This whole album reeks of sex. Even in its lighter, David Bowie referencing moments (Slowdance, the bulk of  Little People (Black City)) still give off a dark, threatening sexuality that reflects the album’s title all too well. Matthew Dear’s low register sounds thoroughly predatory over these dirty synths, but it’s ultimately the beats that give off the dark, brooding sound. Unbound creativity meets a raging libido and a tremendously tasteful array of influences, and results in one of the darkest, most successfully experimental dance records of the year.

Recommended track: You Put a Smell on Me

53. TOKiMONSTA – Midnight Menu

For anybody who misses Nujabes’ brand of lightly ethnic instrumental hip-hop, TOKiMONSTA is easily the next best thing. The youngest (and only female) DJ on the Brainfeeder roster, Jennifer Lee brings a certain energy and playfulness to her music that keeps anything from sounding too heavy; psychedelic and ethereal, yes, but fun, and strangely funky as well. Clever beats, overly enjoyable hooks, and frankly everything has such personality to it that the music is almost as cute and quirky as the woman creating it.

Recommended track: Solitary Joy

52. Arcade Fire – The Suburbs

Talk about nailing a concept – as the magnificent We Used to Wait based project helps illustrate, the Arcade Fire has not only captured the feeling of growing up in the suburbs (hey, that’s what the album’s called!), but the wistful feeling of reflecting upon it. With such complex emotion, too; longing, regret, and even hope ring all throughout this sliiightly overlong album (the only reason The Suburbs isn’t higher), and they come across as eloquent and genuine as ever. And of course let’s not forget their towering composition skills, further embracing their Bruce Springsteen-esque roots rock in some areas and branching out in others (like the glorious synth pop of Sprawl II (Mountains Beyond Mountains)).

Recommended track: Suburban War

51. Clubroot – II MMX

Perhaps the best whack at Burial’s deep atmosphere-ridden brand of dubstep since… well, since Clubroot’s self-titled debut from last year. Dark, enveloping, and tremendously rich in just how much there is to explore, sonically speaking. A slightly ethnic flavor can be heard throughout the album, spicing up the already somewhat harrowing soundscapes (I love how music critics get to make up words!) with enough to differentiate the album from, say, Burial.

Recommended track: Whistles & Horns

50. Pantha du Prince – Black Noise

It’s very unusual for something so densely packed with layers to be so accessible. Black Noise does something that even the best electronica albums often forget to do – it doesn’t repeat itself. The lack of repetition is a huge part of its appeal, but even more is how oddly warm and inviting the melodies are; they’re almost earthy, something that you just don’t find in an album of this style every day. Extremely surreal, but never getting lost in itself, with the music constantly evolving through each track.

Recommended track: Abglanz

49. 65daysofstatic – We Were Exploding Anyway

Maybe post-rock wasn’t the most obvious choice of genre to throw electronics into (and perhaps not even the best), but 65daysofstatic nail it here with this incredibly inspired hybrid. The beats and flitting synths go unexpectedly well with the building guitars, and add quite a strong layer to each track’s progression. And really, the growth of each song is as organic as any of the band’s older work; while the electronics are  clearly at the forefront, they really are implemented seamlessly enough to be just another layer to the complex compositions.

Recommended track: Go Complex

48. Titus Andronicus – The Monitor

Titus Andronicus frontman Patrick Stickles reminds me of the drunken philosopher; you know the one, that guy at the party who is oh so eager to explain everything to anyone who will listen, making as many unorthodox parallels as possible in expressing his point. Like comparing a bad break-up to the Civil War, for example, as this irresistible sprawl of an album so gleefully does. It works somehow, though… mostly thanks to fantastic lines like “You ain’t never been no virgin, kid, you were fucked from the start.” Musically speaking, it’s a wonderful marriage of ambitious rock and seemingly random bursts of punk, and while it takes a few listens to warm up to, it is very much worth it.

Recommended track: To Old Friends and New

47. Edge of Dawn – Anything That Gets You Through the Night

I guess it’s futurepop, but this is the best take on the genre that I’ve ever heard. Yeah, it’s got that synth pop/industrial amalgam going on, but it’s so brilliantly written and layered that it’s far more charming than just about anything else carrying this tag – it really feels like what futurepop was intended to sound like, as it’s free of pretense and not overly concerned with sounding dark. The melodies are incredibly captivating, the hooks are instant, and overall it strikes a marvelous balance of being cold and being emotional.

Recommended track: Lucid Dreams

46. A Guy Called Gerald – Tronic Jazz / The Berlin Sessions

It’s amazing how a guy (called Gerald LOLZ) who’s been in the electronica game for twenty plus years can STILL be this on top of things. Consider the fact that this is essentially just plain house music, but it’s Gerald Simpson’s approach that makes it special. Beats materialize unexpectedly in the midst of gorgeous ambiance (and visa versa), and there’s a fashionably dated sound with unmistakably forward-thinking electronics, with the outstanding Wow Yheah being the first example that  comes to mind.

Recommended track: Dirty Trix

45. Frightened Rabbit – The Winter of Mixed Drinks

Frightened Rabbit are a bit more uplifting this time around. …actually, make that a LOT more uplifting. There’s something to be said for a band who can make a wordless chorus (The Loneliness and the Scream) sound like one of the most honest expressions of elation you’ve ever heard. It’s a bit more immediate than its stupendous predecessor, and perhaps more than just a little bit less deep, but leaving bitterness and regret behind was probably the best move this band could have made.

Recommended track: Nothing Like You

44. The State Lottery – When the Night Comes

Americana meets punk? Why not, especially when it’s done this well. There’s a distinct blue collar feel to this album, like that feeling you get when you walk into a bar after a shitty day at work and are greeted by the joyful roar of the group of friends who’ve been waiting for you. And yet still, the music is quite ambitious – I’m yet to hear a punk record so adventurous as to have a prominent saxophone popping in at just the right moments. Just get this. Seriously.

Recommended track: Greysers

43. Enslaved – Axioma Ethica Odini

Just about as progressive as black metal can get, without sucking its own cock in the process. Axioma Ethica Odini has got a fantastic combination of experimentation, crushing heaviness, and even a good poppy melody here and there (believe it or not; just listen to opener Ethica Odini). This thing has got some outstanding riffs and startlingly catchy melodies, but still keeps things nice, heavy, and dark, keeping that delicate balance with ease.

Recommended track: Giants

42. Klute – Music for Prophet

When you hear ‘drum & bass,’ chances are that you’re not imagining warm synths, imaginative melodies, or any sort of visiting other ends of electronica. And you’d be right; the average drum & bass album (or mix, for that matter) seldom approaches any of those qualities. However, Klute is anything but your average DJ. His impeccable taste for things not usually included in this genre (namely the aforementioned) are presented here in fine fashion, and still with a persistent breakbeat that could please simple dance music-loving folk and dance floors filled with e-tards alike.

Recommended track: Buy More Now

41. Eminem – Recovery

If you would, please permit me the lame joke of starting this off with “Guess who’s back!” While I rather liked Relapse, it’s great to see that he had this up his sleeve all along, because while Relapse appealed to an admittedly small subset of Em’s audience, Recovery is undeniable evidence that he’s still got it. The dark sense of humor, intense flow, and ingenious wordplay he’s known for is very much in tact, along with some gigantic beats (look at No Love‘s smart-as-hell reworking of Haddaway’s What Is Love) to back him up. Em’s on fire.

Recommended track: Almost Famous

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.

The nominees for the 53rd Annual Grammy Awards have been announced. Eminem leads all artists with ten nominations, while Bruno Mars follows closely with seven, and Lady Gaga, Jay-Z, and Lady Antebellum each clinched six. Other BTH favorites to receive nods include The Roots, Alice in Chains, Them Crooked Vultures, Janelle Monáe, and Cee-Lo’s Fuck You(!).

The nominees:

Album of the Year:
Arcade Fire – The Suburbs
Eminem – Recovery
Lady Antebellum – Need You Now
Lady Gaga – The Fame Monster
Katy Perry – Teenage Dream

Record of the Year:
B.o.B Featuring Bruno Mars - Nothin’ On You
Eminem featuring Rihanna - Love The Way You Lie
Cee-Lo Green - Fuck You
Jay-Z & Alicia Keys - Empire State of Mind
Lady Antebellum - Need You Now

Best New Artist:
Justin Bieber
Drake
Florence & the Machine
Mumford & Sons
Esperanza Spalding

Song of the Year:
Ray LaMontagne, songwriter (Ray LaMontagne and the Pariah Dogs) – Beg Steal or Borrow
Cee Lo Green, Philip Lawrence & Bruno Mars, songwriters (Cee-Lo Green) – Fuck You
Tom Douglas & Allen Shamblin, songwriters (Miranda Lambert) – The House That Built Me
Alexander Grant, Skylar Grey & Marshall Mathers, songwriters (Eminem featuring Rihanna) – Love The Way You Lie
Dave Haywood, Josh Kear, Charles Kelley & Hillary Scott, songwriters (Lady Antebellum) – Need You Now

Best Pop Performance by a Duo or Group with Vocals:
“Glee” Cast – Don’t Stop Believin’ (Regionals Version)
Maroon 5 – Misery
Paramore – The Only Exception
Sade – Babyfather
Train – Hey, Soul Sister (Live)

Best Pop Collaboration with Vocals:
B.o.B, Eminem & Hayley Williams – Airplanes II
Herbie Hancock, Pink, India.Arie, Seal, Konono No. 1, Jeff Beck & Oumou Sangare – Imagine
Elton John & Leon Russell – If It Wasn’t for Bad
Lady Gaga & Beyoncé – Telephone
Katy Perry & Snoop Dogg – California Gurls

Best Dance Recording:
Goldfrapp – Rocket
La Roux – In for the Kill
Lady Gaga – Dance in the Dark
Rihanna – Only Girl (In the World)
Robyn – Dancing On My Own

Best Rock Performance by a Duo or Group with Vocals:
Arcade Fire – Ready to Start
Jeff Beck & Joss Stone – I Put a Spell on You
The Black Keys – Tighten Up
Kings of Leon – Radioactive
Muse – Resistance

Best Rock Album
Jeff Beck – Emotion & Commotion
Muse – The Resistance
Pearl Jam – Backspacer
Tom Petty and the Heartbreakers – Mojo
Neil Young – Le Noise

Best Hard Rock Performance:
Alice in Chains – A Looking in View
Ozzy Osbourne – Let Me Hear You Scream
Soundgarden – Black Rain
Stone Temple Pilots – Between the Lines
Them Crooked Vultures – New Fang

Best Rock Song:
Neil Young, songwriter (Neil Young) – Angry World
Ted Dwane, Ben Lovett, Marcus Mumford & Country Winston, songwriters (Mumford & Sons) – Little Lion Man
Caleb Followill, Jared Followill, Matthew Followill & Nathan Followill, songwriters (Kings of Leon) – Radioactive
Matthew Bellamy, songwriter (Muse) – Resistance
Dan Auerbach & Patrick Carney, songwriter (The Black Keys) – Tighten Up

Best Rock Instrumental Performance
Jeff Beck – Hammerhead
The Black Keys – Black Mud
Los Lobos – Do the Murray
Dave Matthews & Tim Reynolds – Kundalini Bonfire
Dweezil Zappa – The Deathless Horsie

Best Alternative Music Album
Arcade Fire – The Suburbs
Band of Horses – Infinite Arms
The Black Keys – Brothers
Broken Bells – Broken Bells
Vampire Weekend – Contra

Best R&B Performance by a Duo or Group with Vocals:
Chris Brown & Tank – Take My Time
Chuck Brown, Jill Scott & Marcus Miller – Love
Ronald Isley & Aretha Franklin – You’ve Got a Friend
John Legend & The Roots – Shine
Sade – Soldier of Love

Best Contemporary R&B Album:
Chris Brown – Graffiti
R. Kelly – Untitled
Ryan Leslie – Transition
Janelle Monáe – The ArchAndroid
Usher – Raymond V. Raymond

Best Rap/Sung Collaboration:
B.o.B featuring Bruno Mars – Nothin’ on You
Chris Brown, Tyga & Kevin McCall – Deuces
Eminem featuring Rihanna – Love the Way You Lie
Jay-Z & Alicia Keys – Empire State of Mind
John Legend, The Roots, Melanie Fiona & Common – Wake Up! Everybody

Best Rap Song:
Jay-Z and Alicia Keys – Empire State of Mind
Eminem featuring Rihanna – Love the Way You Lie
Eminem – Not Afraid
B.o.B featuring Bruno Mars – Nothin’ on You
Jay-Z and Swizz Beatz – On to the Next One

Best Rap Album:
B.o.B – The Adventures of Bobby Ray
Drake – Thank Me Later
Eminem – Recovery
Jay-Z – The Blueprint 3
The Roots – How I Got Over

Best Country Collaboration with Vocals:
Dierks Bentley, Miranda Lambert & Jamey Johnson – Bad Angel
Dierks Bentley, Del McCoury & The Punch Brothers – Pride (In the Name of Love)
Zac Brown Band & Alan Jackson – As She’s Walking Away
Blake Shelton & Trace Adkins – Hillbilly Bone
Marty Stuart & Connie Smith - I Run to You

Best Country Song:
Casey Beathard, Dean Dillon & Jessie Jo Dillon, songwriters (George Strait) – The Breath You Take
Zac Brown, songwriter (Zac Brown Band) – Free
Tom Douglas & Allen Shamblin, songwriters (Miranda Lambert) – The House That Built Me
Rivers Rutherford, Annie Tate & Sam Tate, songwriters (Gretchen Wilson) – I’d Love to Be Your Last
Kimberly Perry, songwriter (The Band Perry) – If I Die Young
Dave Haywood, Josh Kear, Charles Kelley & Hillary Scott, songwriters (Lady Antebellum) – Need You Now

Best Country Album:
Dierks Bentley – Up On The Ridge
Zac Brown Band – You Get What You Give
Jamey Johnson – The Guitar Song
Lady Antebellum – Need You Now
Miranda Lambert – Revolution

Best Americana Album:
Rosanne Cash – The List
Los Lobos – Tin Can Trust
Willie Nelson – Country Music
Robert Plant – Band of Joy
Mavis Staples – You Are Not Alone

Best Traditional Blues Album:
James Cotton – Giant
Cyndi Lauper – Memphis Blues
Charlie Musselwhite – The Well
Pinetop Perkins & Willie “Big Eyes” Smith – Joined at the Hip
Jimmie Vaughan – Plays Blues, Ballads & Favorites

Best Metal Performance
Iron Maiden – El Dorado
Korn – Let the Guilt Go
Lamb of God – In Your Words
Megadeth – Sudden Death
Slayer – World Painted Blood

For a full list of the nominees, have a look here.

Oh Fontana, how I missed your hot summer days, but alas, I only came to bear you because of the musical miasma known as Epicenter 2010. This year brought together an odd assembly of talent, but this didn’t stop the faint-provoking party.

I took the reigns as the photographer/dude-getting-backsweat-while-facing-the-stage, and left the retainer of the oohs and aahs of the festival to Behind the Hype’s fresh flower, Forest Corbeil. But don’t think she’s a softie, as she’s the same flower that bought Bad Religion’s “30 Years of Fuckin’ Punk Rock” t-shirt before the festival end. This girl’s got talent for days, but don’t take my word for it, and welcome her to the family once her debut article drops.

As I said before, Epicenter 2010 was a mash-up of talent that Girl Talk would be proud of.  With just over two dozen artists performing over two days, I wanted to share a little bit of my highlight reel from the second annual festival.

Big Boi

I’d never had the chance to enjoy a full set of one half of the legendary Outkast, but what we got was a pleasant surprise. Even with Big Boi recently releasing his new solo album, Sir Lucious Leftfoot: The Son of Chico Dusty, Big Boi kept his set diverse, jumping from his first solo album, new solo album, and classic Outkast tracks all in one set. I spent half the set singing along to the catalogue with fellow head bobbers around us.

Bush

After almost 8 years of waiting, Bush put on their first live show at Epicenter 2010. While only two of the original members are still in the lineup, it was the same sound that I knew and love. Not only did I get some amazing shots of Gavin (who damn sure isn’t looking his age), but they started their set with one of my favorite tracks in the catalogue, Machinehead.

Eminem

Hands down, Marshall should have been the leading act for the evening (no offence to Gene Simmons and crew), with a crushed-car stage setup straight from the motor city. Hundreds waited over 9 hours to push their way to the front of the crowd to feel Eminem’s energy throughout his set. Like Big Boi’s set, he jumped around his entire ensemble of hits, while keeping thousands singing along to every word.

DMX

What can I say about DMX? The dog himself put on a surprise performance for adoring VIP fans on a small stage in-between Eminem and KISS, and left everyone with a long subdued, but far from forgotten phrase: FLESH OF MY FLESH BLOOD OF MY BLOOD!

Bad Religion

I’d never seen Bad Religion live, but they were definitely worth waiting in the 115 degree heat. I finally understand the very core of American punk rock at its finest. I feel like everything they played has been emulated in some way, by the hundreds of modern punk bands who pay homage to them across the country. 30 years of fuckin’ punk rock indeed.

30 Seconds to Mars

I’ll admit, when I heard the bands song on the preview for that owl movie, it threw me for a bit, but after seeing 30 Seconds to Mars live, I had a newfound respect for them. The stage presence was the most fun from these guys all weekend, which I don’t think had anything to do with Jared Leto’s acting ability or his fame in the movie world. In fact, it’s been said he refuses to play venues that only shop the band with his name as the front. Keeping the crowd at maximum power the entire set, he gave me a great photo op for me to share with all of you.

Epicenter’s second year was a great one, with my only real complaint being the insane heat that took a bit away from the experience. Thank you to all the great friends who went with me, whom I met there, and staff of the companies that made it possible for us to attend. We’ll see you there next year…hopefully in cooler climates Check out the full gallery below, and you might spot yourself!

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Until next time my friends,

~Flak

Inspired by one of the songs that appears here (and no, it’s not that god awful Papa Roach song), this week’s list is admittedly rather depressing. But there really is something to be said for songs that not only can pull you into environments where you really don’t want to be, but can convince you to let them as well – especially if you’ve ever experienced any of the material expressed here. As usual, feel free to add anything I may have left out. Now, on with the sunshine, lollipops, and rainbows…

The National – Conversation 16

"The fuck are you looking at?"

Easily the most recent song on the list, Conversation 16 details a man’s disenchantment with the married family life, and how it slowly descends into apathy. Probably the saddest part is where he starts bargaining, with lines like “I’ll try to be more romantic, I want to believe in everything you believe” and their less-than-believable delivery. That haunting, echo-slathered harmonization makes the song feel even more harrowing and hopeless… so much so, in fact, that the “I was afraid I’d eat your brains” sounds startlingly genuine!

Depeche Mode – Precious

With the humans oblivious, the trees made their move

It’s so impressive to see a band this old still churning out great singles like Precious. Dave Gahan’s soothing voice really drives home the sad haplessness of Martin Gore’s typically poetic lyrics, with that catchy and strangely danceable melancholy as only Depeche Mode can do it. The notion of children being caught in the middle of a taxing divorce is nothing new of course, but the take here is just so heartfelt and honest, accepting the blame and acknowledging that no, everything is not going to be alright.

Bad Religion – 21st Century (Digital Boy)

I'd hate to run into these guys in an alle-...oh wait

Now we go from torn, caring parents to the ones who throw gifts at their children rather than attention. A subject that could easily have rendered the song an exercise in empty self-pity, Greg Graffin handles guitarist Brett Gurewitz’s lyrics very well. There’s a real edge to his voice with the delivery, and the chorus is of such a fun, anthemic sing-a-long quality that it avoids any real heavy handedness.

Placebo – Black-Eyed

"...and he thought I was a girl! Can you believe that??"

A bit of a different approach here, Black-Eyed comes across more as a mocking of people who quickly use bad childhoods as an excuse for bad behavior. It’s quite clever too, what with how tragic and urgent the music feels, and it really makes the song all the more indicting. Placebo has always been one of those bands to get flak for receiving more attention from their image than their music, but as Black-Eyed shows, they’ve had more than their fair share of good ideas.

Billy Bragg – Valentine’s Day Is Over

Oh yeah, they look nice now, but...

The sadly forgotten 80s indie figure paints a rather bleak picture of a wonderful courting period culminating in spousal abuse here, with just a bluesy guitar and his passionate vocal. The way Bragg captures the female perspective in this song is unexpectedly insightful, particularly how it moves back and forth from listless musing over the failed relationship to the harsh reality of the situation. Very dark, but with a slight glimmer of hope.

Company Flow – Last Good Sleep

El-P: If you don't like black and white photography, FUCK YOU

Speaking of dark, Last Good Sleep could well be one of the most disturbingly realistic depictions of spousal abuse ever committed to tape. El-P grabs you right away with the chorus, “At night I cover my ears in tears, the man downstairs must’ve drank too many beers,” and along with that incredibly sinister beat, he makes it clear that this story won’t have much of a happy ending. The perspective is from a young boy who witnesses as some truly vicious beatings transpire, simultaneously terrified and guilt-ridden by the fact that he is as helpless as his battered mother.

Eminem – Kim

It was loaded alright... with HILARITY

Even though this is essentially an anger purging fantasy, this is probably the only song of its kind that can stand up to Last Good Sleep in how fucking scary it is. Those sharp, stabbing piano notes are so extreme that the song is unnerving even before Em shouts “Sit down you bitch, you move again and I’ll beat the shit out of you!” Kim is one of the most fearlessly personal I have ever heard, and it gets very uncomfortable listening to him portray himself as this wounded monster who’s snapped into a homicidal rage – which makes it all the more remarkable just how spellbinding it is.

Stabbing Westward – Sleep

The male answer to a pretty girl surrounded by funny looking friends

And now we get into the child abuse. One of the better bands to come out of the post-Nine Inch Nails industrial boom of the mid 90s, Stabbing Westward was never a stranger to darkly intimate subject matter, but it probably peaked with Sleep. Backed by a very tense blend of samples, keyboards, and guitars, vocalist Christopher Hall tells a story of a young girl suffering abuse at the hands of her father, with a level of vagueness that only serves to heighten its upsetting nature.

Korn – Daddy

I needed a laugh... this week's list is really getting depressing!

I couldn’t have been older than eleven or twelve when I heard this for the first time, and it freaked me the fuck out…. to tell you the truth, it still kind of does. It’s not even the brutally graphic depiction of the act that gets me so much as the equally detailed parental apathy, and then when the song falls apart along with Jonathan Davis toward its end, there’s just no not feeling for him.

De La Soul – Millie Pulled a Pistol on Santa

Scissors beats eye

Hip hop’s answer to Janie’s Got a Gun, by some of the genre’s earliest (and best) storytellers. There’s a very light foreboding to the song, cleverly splicing the in-the-moment obliviousness and after-the-fact hindsight that often accompanies a child’s sexual abuse. Despite the fact that the song culminates with the daughter snapping and killing the father, with an ending so abrupt that it almost startles, the beat is so gentle that the song never feels as grim as it should, and it works wonderfully.