Santa Barbara songstress Little Indian, aka Lindsey Waldon did a cover of Portugal. The Man’s All Your Light (Times Like These), and it’s so damn good I had to feature it. Check out the rest of her work on her Facebook, and holler at her on Twitter. Oh and here is the original song by PTM.

Thanks Lindsey!

Until next time my friends,

~Flak

It’s crazy to think that Portugal. The Man has already been in the game for 7 LPs. With a full album every year since 2006 (and two in 2009), they are back in full effect with their latest album, In the Mountain, In the Cloud.

For you readers who know me personally, you know that I carry a high respect for these gentlemen, and have been a big supporter for years; and I think now, more than ever, you’ll see why. With their first album on a ‘major’ label, they haven’t lost what has made them so fun\interesting to listen to. Portugal. The Man is just….different. That’s the only way I can put it.

Defined as psychedelic rock, I believe that holds true to an extent, but lyrics by front man John Gourley call for more definition. This album brings about subject matter of his life as a boy growing up in Alaska; wild frozen plains his backyard.  You feel heavy influences of a father’s word, and of the open air lessons that are unique to his story. Big shout out to John Hill, and the return of mighty Casey Bates on that production.

This album seems more cohesive than anything else in the bands catalogue, with the ‘echohouse’ (I’ll coin that if no one else has) choruses and instrumentals that make you sway to and fro. Zach Carothers again makes it look easy for us, and sings more often on the choruses than other albums.

Ryan Neighbors is still keeping the ladies in love with his vocals and wide keyboard arrays\ percussion layout, with several layers of sound through every track. The live translation will be something to play close attention to, with the ante of his already triple duty being pushed further.

Drummer Jason Sechrist remains a pillar to the entire element, holding it down throughout the album. Jason has always shined during the live shows in his pit of destruction, rapid fire percussion at its finest. Listening to him on the free live show downloads has been a musical highlight of this year.

But what about my favorites on the album? Of course I have my three.

With an intro that sounds like something Bowie would write, Once Was One is the 9^th track, and my first favorite. The echoes and complicated bass line in the chorus was very welcome, with the acoustic guitar before the monster of a chorus put this song on top of the list. I tried to decipher the lyrics to no avail, but the chorus just sounds damn awesome.

Got It All (This Can’t Be Living Now) feels like the tale of young adventures, feeling invincible when we go out to play, but having to come back to reality and learn from our teachers. My take: our teachers teach, but it may not always be a reflection of our personality. Our true selves show when we are learning of our own accord. Both sides combined, we’re got it all. Musically, the strings bring this song to an even greater echelon.

I’ve already heard a few people say that track 8, All Your Light (Times Like These) is the best song on the album, and I can’t agree more. That steady haunting beat intro and Gourley dropping that first line ‘I’m just a shadow of a bigger man\growing brighter with each year I am’ just set the damn mood. Both lyrically and musically, this is one of the most heavyweight songs by P.TM in a long time. I challenge you not to sing with the rest of the band in unison. Add this song to the soundtrack of my life playlist. With that jam session two thirds of the way through, this will make an interesting section in the live show.

This album is great from start to a hell of a finish, and for you true fans in Los Angeles, P.TM is playing an album release show at the El Cid on July 19^th, the day the album drops. Check out the details at their website, and preorder your copy! Also, the album is streaming over at Paste Magazine, so rock out in the office ya’ll.

Until next time my friends,

~Flak

The We Shared Milk. If you’ve been following our Behind the Hype monthly sampler’s you’ve probably seen me mention this Rock outfit from the PDX. I first met lead guitarist and singer Boone Howard in my time being the only black Portugal. The Man groupie, as Mr. Howard is the resident and touring sound engineer; and long time friend of the new Atlantic Records members.

When I first heard from Boone that he had an album dropping soon, I knew it would be hot shit. Being an engineer, you learn a thing or two about the game. But Boone isn’t alone (there’s a Daniel Boone joke in here somewhere). Eric Ambrosius is the official other-half, drummer and vocalist of TWSM. The band has been joined by friends on both the record, and at their live shows, with Nick Sickler on guitar on Moon Mother and Butcher (one of my favorite tracks on the album). Portugal. The Man members also join the fray, with Zach Carothers playing bass on the song Drag, and Ivory Tickler Ryan Neighbors on the track Moon Mother.

Their 3^rd official release, Jesuses, was just released, and has a very 90’s, West Coast vibe to it. Whether it be from the dusty-trail guitars of Cookie Jar, to the transcendent vocals and slight double-bassing of I Picked Up The Axe, to the dark dance jam Butcher, I felt like this release was as diverse as its song titles.

My favorite song however, was the 3^rd track, Drag, with its damn infectious Clueless-esque guitar filled chorus. Yes, I just made a Clueless reference. Yes, it’s one of my favorite films. The distorted vocals telling a story of the day brought a familiar style back from the 90’s, while still standing on its own. Zach killed the bass, with Eric providing a perfect beach song beat all the while.

Shout out to Edgar McRae for the excellent mixing, and Zoe Manville for the nostalgic (of Godzilla) album cover.

One of the best things albums is that it’s out now, and it’s totally free to download right here. This was a great, quick listen, and Drag has actually inspired me to create a Summer Mix Tape for Behind the Hype later on down the line. Go cop this one.

Until next time my friends,

~Flak

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.

This year’s Halloween was the best I’ve had in quite a while. Mainly because it was the first Halloween weekend in which I attended a concert with an included costume contest. My brother and I took part in HoneyChild, White Denim, and the mighty Portugal. The Man at the El Rey Theater; with this being my inaugural visit.

HoneyChild is an up and coming Los Angeles based band, with guitar-heavy, hair swinging soul layers, on an experimental cake. The only part about their set I didn’t like, was the fact I didn’t get to hear more. With a 20 minute set, it was hard to gauge how I feel about them live, but more opportunities are coming soon.

Second up was a band I had never heard of by the name of White Denim. Let me say that these guys made it rain in the El Rey. You can’t help but smile when the crowd goes wild in the middle of a song for completing an amazing instrumental verse. These guys never slowed down, with a style that reminded me of what would happen if the Mars Volta, RX Bandits, and The Black Keys had a ménage trois. Even with a microphone failure, lead singer James Petralli kept it playa and got a secondary mic working right as the instrumentals lead to the next verse.

As you know, the Portugal dudes murdered their set, with the highest energy opening I’ve seen them perform to date. With a packed room of long-time fans, everyone sang along (including yours truly) to every song. I will say however, that I could swear that I heard a new song by Portugal. The Man. The lyrics had something to do with a revolution. I guess we won’t be certain until a little later this year, or even beginning of next year. It may have been my favorite Portugal set, seeing as how my little brother had never seen them live, and they happened to play 1989.

Hats off to all these bands for a great Halloween weekend! Stay tuned for what all these bands are up to in the future!

Until next time my friends,

~Flak

Before heading to Silverlake to party with my crew, adorned with my Vault 21 outfit,  I’ll be making my way to the El Rey Theatre. And you should too.

Resident Los Angeles up and comers, HoneyChild with be in the house, along with those boys from Oregon/Alaska, Portugal. The Man. This will be my first venture with the HoneyChild camp, but from what I’ve heard from their free album (on their MySpace), I have a feeling the live show will make it rain.

Also, if you’ve never seen Portugal. The Man live, I would make it a priority. Maybe we’ll even hear some of that new album that they plan on dropping soon.

I expect this show will sell out tomorrow, so get tickets online, or roll the dice and hope the door will still have some for sale. See you there!

Until next time my friends,

~Flak

Last year at Outside Lands Music Festival up in the bay, I had the pleasure of meeting a lovely lady named Nataly Lola. As fate would have it, she was more than that chick that was hanging with the Portugal. The Man dudes, and was on her separate path of music badassness.

Time passed, and singer/songwriter/guitarist/contortionist Nataly would come to record an album on Harvest Road Music; where she would stage her complete domination of the contemporary adult music world. Her self-titled album just dropped, and I had a plethora of great points to get you hyped before you cop yours.

The first thing I thought when listening to the album was “damn, she’s like a good Jessica Simpson”, and I dare you not to think the same. She hits notes beautifully, holding them without wavering, while strumming away at her guitar. Also, the band is quite polished as well, with some of the most finely clipped notes I’ve heard in quite a while on an album of this caliber.

Theme wise, it’s a love/hate story, but told in a fresh way (albeit not too fresh for hearing on the radio). I think the second track; Meet Me at Midnight could have EASILY been on the Sex in the City 2 soundtrack, with its sultry Middle Eastern instruments to compliment the upbeat sounds. Ever Since and Cryin’ Shame reigned supreme as my favorite tracks instrumentally, while Daddy’s Shotgun was my overall favorite. As you all know, I’m a sucker for bass, and this one had me hooked.

I see big things in the feature of this bombshell, and if things go the same way they did when I called that Letron was gonna blow up, then we’ll be hearing more from Nataly VERY soon.

But don’t take my word for it; go get yourself a copy over at her website!

Until next time my friends,
~Flak

On May 1^st,part of the crew and I had the opportunity to get in on the latest venture by the art super geniuses of Poketo and Portugal. The Man. If you didn’t get in on the fun, you missed out on a great collaborative art show, with dozens of pieces by uncannily talented musicians.

Frontman of PTM, John Gourley lent his creative talent on two fronts, with several art prints that were available for sale, and also on the stage that lay outside the alleyway between Space15twenty and Umami Burger.

To no one’s surprise, the alleyway was packed with screaming fans who knew every note of every word oozing from the cornucopia of musical bliss. I peered at the frequency of the Umami staff that had to keep returning to kick adoring fans of the band get asked to leave their patio.

I won’t say too much, but I wanted to thank Poketo and Kitsunes Noir for letting me hang out and take pictures, and to the Portugal guys for putting on another amazing show. Head over to Poketo’s website to keep informed on what they’re up to, and don’t forget to make your way to Santa Barbara on May 8^th to check out the boys again in full effect.

Below are a few blurry pictures that I managed to snap during the event! Have a good week my friends.

Until next time my friends,
~Flak