The final phase of my Coachella 2009 coverage is upon us at last. I’ll finish what I started oh so long ago, and give you the third and final piece of the magic that was Coachella.

I feel like I missed an important saying while walking around the festival grounds and camp grounds. The saying “Happy Coachella!” rang through clearly throughout the day. At first it was annoying, but later on had me feel a little bit endearing, as only the cool people were saying it. Me being cool, I embraced it sooner or later.

By the third day, I had gotten in the true swing of the festivals epic motions. I took my time to hang around the camp all day. While sitting around in the internet café tent, I watched as people got pissed about their iPhones being stolen, and ran into some friends of mine back home. Carrying a tray full of homefries that he was given for free, Brandon A. and I hung out with his girlfriend Bonnie C., and another classmate of mine, Andrew M.

Andrew, Myself, and Brandon. Sex.

After watching the effects of the sun on their deodorant sticks, I watched how to cleverly sneak illegal substances into the grounds, and headed for the main gain, with my first artist of the day being Lupe Fiasco.

I broke off from the friends in search of a great place to stand, and got decently close to the main stage. Now, Lupe is one of my favorite rappers right now, and I was hoping to be blown away by his performance, but also not sure of what to expect at the same time. His band spent a good amount of time getting us hyped to bring him to the stage.

Thankfully he delivered. I wanted to hear Superstar, but songs with featurettes are harder because the other person has to be there. Then, out of nowhere, Matthew Santos comes out midway during the show to sing Superstar and help out in general with the backup singing.  Also, they surprised me to sing Streets on Fire another favorite of mine that Santos sings the introduction to.

Best of all though, was finishing with the song DayDream which I was worried that it wouldn’t be played. It’s the feeling you get because you may love a song, but the rest of the world may not care about said song. Here’s a clip of its badass intro by the lead guitar player of Lupe’s band.

For the next few hours, I needed to occupy myself while waiting for the Yeah Yeah Yeah’s to take the main stage. I stopped in to see the Clipse (who cancelled btw…shout to James for calling me out) perform Wamp Wamp and then moved back to the main stage to catch the end of Peter, Bjorn, and John. The reason for seeing them was twofold: I just got their latest album and, and because I wanted to see Young Folks performed live. My wishes were granted, and when they got done playing, I moved along closer to the stage, as I knew it would get hectic for Karen O and company.

I didn’t get as close as I wanted, but I did meet a lovely couple who were veteran Coachella visitors; Michelle and Eddie T. from Santa Barbara. Eddie had steel balls, admitting his love for Karen O., but it seemed as if this was nothing new when Michelle didn’t flinch. But who can blame him, its Karen O.

Eddie, Me, Karen O....on the screen.

Its Blitz came out a few months ago, and it so far is one of my favorite albums of the year. But people warned me that the Yeah Yeah Yeahs’ shows have been ruined before from Karen’s old drinking habits, but she was clean as a whistle for this performance. Karen look awesome in her get-up; a pair of teal reflective pants with matching gold scale boas. Here was the set list and clips from Dull Life (my favorite new song of theirs) and their first big hit, Maps.

1.Runaway
2.Dull Life
3.Gold Lion
4.Honeybear
5.Black Tongue
6.Human Fly (The Cramps cover)
7.Zero
8.Cheated Hearts
9.Skeletons
10.Soft Shock
11.Maps
12.Heads Will Roll
13.Y Control

The last bit of the night and festival was a crossroads for me, because I had to make a terrible decision: stay at the main stage to see The Cure play what would be a legendary show, or watch Chuck D and Flavor Flav of Public Enemy. I had no idea what The Cure was going to play, but they were taking the main stage, so it had to be epic right? But on the other hand we have Flavor Flav announcing that they were going to play the historic landmark of a record It Takes a Nation of Millions to Hold Us Back. I gambled my friends, and still haven’t decided if I won or lost, but I went with the Cure. But not before getting a clip of Flav in his jester hat.

Before laying down and enjoying the mega set list of The Cure, I captured a bit of the bass line from one of my favorites, Lullaby.

Main set:
1.underneath the stars
2.prayers for rain
3.a strange day
4.alt.end
5.the end of the world
6.lovesong
7.to wish impossible things
8.pictures of you
9.lullaby
9.from the edge of the deep green sea
10.the perfect boy
11.wrong number
12.push
13.inbetween days
14.just like heaven
15.primary
16.shake dog shake
17.the hungry ghost
18.disintegration
19.one hundred years
20.it’s over

Encore 1:
21.if only tonight we could sleep
22.the kiss

Encore 2:
23.at night
24.m
25.play for today
26.a forest

Encore 3:
27.three imaginary boys
28.fire in cairo
29.boys don’t cry
30.jumping someone else’s train
31.grinding halt (partial)

This was quite an intense set, and went on way past its curfew. During the last encore, the main power was cut, but the band kept playing on their rig power. During an almost acoustic performance of Boys Don’t Cry, the boys keep on pushing, over a lovely end to Coachella 2009.

This was an experience unlike anything I’ve ever seen or heard in the world of music, and I hope to be there again next year. Hopefully we at BTH will be ballin’ so hard that we will get VIP comp’d tents. I hope you’ve enjoyed my segments on Coachella 2009 and that you’ll look into going next year, as its well worth the money.  Thank you to all the people involved in making this happen…and by that I mean the artists and my friends, as Goldenvoice were the assholes who wouldn’t even give a human response to our press pass submission.

In case you want to go back to previous parts of my Coachella 2009 coverage, here are the links for Day 1 and Day 2.

Until next time my friends,

Flak

Ok I’ll admit it; I’ve never owned a Depeche Mode cd until today. But bear with me; I’ve always respected them for their musical talent when I hear them while amongst friends. But now that I have a medium to express my musical appreciation correctly, I feel that I will give credit where it’s due, and present to you a professional review of Depeche Mode’s twelfth studio album, Sounds of the Universe.

But first, as always, let me give you insight on the history of what some call the most successful and unwavering new wave band of all time.

In 1980 across the pond in Basildon,Essex, England, at St. Nicholas School Youth Club, a group of blokes from other bands No Romance in China, The Plan, Norman and the Worms, and The French Look played a show together. I won’t go too deep into the details, but it created the base band that we now know as Depeche Mode.

Originally, the lineup had Vince Clark in the band, who would later be replaced by Alan Wilder. Sadly, both members ended up leaving the band in the (1981 and 1995 respectively)  leaving the power trio of original members Dave Gahan, Martin Gore, and Andrew Fletcher. Dave is the group’s memorable Baritone singer, with Martin on guitar, bass, keyboard, and backup vocals. Andrew also plays the bass, with additional work on the synthesizer.

Over the years, the band has sold over 100 million albums worldwide, which to give you a bit of a scale, is something close to a third of the United States owning one of their albums (which makes me feel better that I didn’t own one until today). They first went platinum in the US with the 1984 album Some Great Reward. After that, triple platinum with 1990′s Violator, with another platinum in ’93. The guys have done their homework, and have mastered the formula to make good music that can make the people obsess over them.

Today, the twelfth of such masterpieces was released; Sounds of the Universe. Produced by Ben Hillier who worked on the 2005 album Playing the Angel for Depeche (also has produced for Blur, The Horrors, and Natalie Imbruglia), we are again seeing the bands simple genius come out in full effect.

The first track, In Chains gave me a “this shit should be in a movie” feeling after about four minutes into it. This track also alludes to what will be the theme of talking about our love for woman, and their mesmerizing gestures and appearances.

The bass line in track 6, In Sympathy got me hooked to this song almost immediately. Usually the bridge and main verses don’t usually sound so simple and perfect in most music, but again, we are talking about seasoned professionals.

Spacewalker is the ninth track, and deserves its name, due to the alarmingly familiar synthwork of an 80′s space flick, or maybe something out of one of my favorite PC games, Deus Ex. The song is purely instrumental, and has earned a place in my sci fi playlist (yes I have a sci fi playlist…it’s inspiring for my sci fi novel writing, so shut up).

Track 3, Wrong, will be in a movie in the next few years; I’m calling that right now. The song is about just doing all the wrong shit all the time. Also, let it be known that the B-Side of this track is the ONLY song in Depeche Mode history that David Gahan and Martin Gore have both collaborated on, with Gore composing the music, and Gahan taking care of the lyrics.

My favorite track however, is the thirteenth and final track, Corrupt, for a gang of reasons. First off, I’m a fan of the standup bass wood clicking sound. This is also very much a Depeche Mode “sounding sound” reminding me of various snippets throughout their history (tempo, beat and whatnot). Mainly though, it’s the theme of the song that is just delicious. The song talks about meeting a girl and doing what the song says…corrupting her.  Here’s a sample:

I could corrupt you
It would be easy
Watching you suffer
Girl, it would please me

But I wouldn’t touch you
With my little finger
I know it would crush you
My memory would linger

You’d be crying out in pain
Begging me to play my games

Don’t forget to listen to the song all the way through (to about 8:15), as the hidden mini track, Interlude #5 is an outro to the album, to a reworked instrumental to the earlier track Wrong.

To bring us home though, I’ll go ahead and call myself a new listener to the band. I think that as a new listener, this is a very good band to chill around the house with, as some songs are just instrumental and easy to relax to. The gratifying part of this is that you aren’t missing out on too much, and I think that’s the feeling that the band is going for.

For the old fans, I don’t think this is a compromising album, that make you say “Oh well their old stuff was good, but this sucks”. But at the same time, it’s fresh enough to negate you from saying “This shit is just like the old shit. Snore.” We had similarly positive results with other 80′s band re-ups with Duran Duran‘s album Red Carpet Massacre from a few years back, and also with The Cure‘s 4:13 Dream, which I’ve already reviewed. But I’m just a humble servant to the music world. I leave the rest in your hands.

Until next time my friends,

~Flak

So for all you fellow Coachella goers, I wanted to give you a little update on where I will be headed during the weekend, should you want to meet up with me for the festivities. Using the cool little Coachooser app on the website, you can select who you want, and don’t want to see. You can then share your list with people online via a link, with the option to email it to yourself so you can stay reminded.

Here’s my for sure list for the weekend, with their included set times and location (which my Coachooser doesn’t list for whatever reason…FAIL):

Friday, April 17th

• Franz Ferdinand 6:35-7:25, Coachella Stage
• Girl Talk 9:00-9:50, Sahara Tent
• Paul McCartney 10:00, Coachella Stage

Saturday, April 18th

• Atmosphere 11:05, Outdoor Theatre
• Jenny Lewis 9:50-10:40, Outdoor Theatre
• M.I.A. 8:55-9:45, Coachella Stage
• The Killers 10:45 Coachella Stage
• TRV$DJ-AM 7:20-8:20 Sahara Tent
• TV on the Radio 6:25-7:15 Coachella Stage

Sunday, April 19th

• Lupe Fiasco 3:45-4:35 Coachella Stage
• Shepard Fairey 2:15-3:15 Sahara Tent
• The Cure 9:25 Coachella Stage
• Yeah Yeah Yeah’s 6:15-7:15 Coachella Stage

This is probably where I will be for the weekend, and may I say, I’m very happy to see that M.I.A. was added to the lineup. Also ya’ll, I’m camping there, so let me know if you are too and we can all chill after the show. Hope to see some of you there.

~Flak

Oh Coachella, how you make me salivate. What is Coachella you ask? Quite simple actually: the Coachella Valley Music and Arts Festival (or just Coachella, if you’re nasty), is a glorious triumvirate of musical & artistic days and nights, organized by Goldenvoice, taking place across the Empire Polo Fields in Indio, California.

Here you will find many walks of music, arranged on 5 stages: Coachella Stage, Outdoor Theater, Gobi Tent, Mojave Tent, and Sahara Tent. All of these have live music playing at all times. In the past decade, Coachella has fallen on the last weekend in April, and this year is no different. Patrons can enjoy their favorite artists on the various stages around the fields, and gawk at the art sculptures scattered about the grounds. Speaking of the sights, it gets quite hot (I’m talking 100 plus degrees ya’ll), so you’ll be happy to know that just about everyone will be in bikinis and board shorts, if staring at interactive sculptures isn’t your thing.

Here’s the poster of the lineup:

Here is the lineup for the 3 days, broken down, with a link to preview of each artist:

Friday, April 17th

• A Place To Bury Strangers
• Alberta Cross
• Bajofondo
• Beirut
• Buraka Som Sistema
• Cage the Elephant
• Conor Oberst and the Mystic Valley Band
• Craze and Klever
• Crystal Castles
• Dear and the Headlights
• Felix da Housecat
• Franz Ferdinand
• Genghis Tron
• Ghostland Observatory
• Girl Talk
• Gui Boratto
• Leonard Cohen
• Los Campesinos!
• M. Ward
• Molotov
• Morrissey
• N.A.S.A.
• Noah and the Whale
• Patton & Rahzel
• Paul McCartney
• Peanut Butter Wolf
• People Under the Stairs
• Ryan Bingham
• Silversun Pickups
• Steve Aoki
• Switch
• The Crystal Method
• The Aggrolites
• The Airborne Toxic Event
• The Black Keys
• The Bug
• The Courteeners
• The Hold Steady
• The Presets
• The Ting Tings
• We Are Scientists
• White Lies

Saturday, April 18th

• Amanda Palmer
• Amy Winehouse
• Ariel Pink’s Haunted Graffiti
• Atmosphere
• Band Of Horses
• Billy Talent
• Blitzen Trapper
• Bob Mould Band
• Booker T
• Calexico
• Cloud Cult
• Crookers
• Dr. Dog
• Drive By Truckers
• Drop The Lime
• Electric Touch
• Fleet Foxes
• Gang Gang Dance
• Glass Candy
• Glasvegas
• Henry Rollins – spoken word
• Hercules and Love Affair
• Ida Maria
• James Morrison
• Jenny Lewis
• Liars
• Junior Boys
• Mastodon
• Michael Franti & Spearhead
• MSTRKRFT
• Surkin. Para One (Live)
• Superchunk
• The Bloody Beetroots
• The Killers
• Thenewno2
• Thievery Corporation
• Tinariwen
• TRV$DJ-AM
• Turbonegro
• TV On The Radio
• Zane Lowe
• Zizek Club

Sunday, April 19th

• Antony and the Johnsons
• Brian Jonestown Massacre
• Christopher Lawrence
• Clipse
• Friendly Fires
• Fucked Up
• Groove Armada (DJ Set)
• K’naan
• Late of the Pier
• Lupe Fiasco
• Lykke Li
• M.A.N.D.Y.
• Marshall Barnes
• Mexican Institute of Sound
• My Bloody Valentine
• No Age
• Okkervil River
• Paolo Nutini
• Paul Weller
• Perry Farrell
• Peter Bjorn and John
• Public Enemy
• Roni Size Reprazent
• Sebastien Tellier
• Shepard Fairey
• Supermayer
• The Cure
• The Gaslight Anthem
• The Horrors
• The Kills
• The Knux
• The Night Marchers
• Themselves
• Throbbing Gristle
• Vivian Girls
• X
• Yeah Yeah Yeah’s

What you need to know before you go:

First off, it’s going to be a stupid level of hot out there in Indio. It is a desert after all, and we recommend bringing a cooler filled with just water bottles for the weekend, as the venue booths will rape you sideways with water bottle prices for those foolish enough to go without beverages. We’re not saying you can’t have a cooler filled with drank/syrup/what have you, but we just want to stress how pissed you’ll be when water bottles cost ten bucks and up. Sun screen is also a very good idea, along with hats. You’ve been warned.

With that being said, on to clothing. Hot weather and hot women go together. Meaning you will see girls in bikinis and shorts, not unlike that hot hippie brunette Michelle Lombardo, from David Duchovny’s Californication. Ok, well maybe you won’t get that lucky with eye candy, but still, you guys should be ready. Don’t bother with jeans or any of that pish posh. Also, you have plenty of time from now ’till then to get right for the summer time. Oh and ladies, you’ll have your fair share of chest-shaved men to gawk at while you’re baking in the sun together. Bring some cheap sunglasses to block the sun, and if they get stolen, you won’t want to kill someone over your Rite Aid shades.

As for accommodations, sooner rather than later would be a good idea to try and find a cheap hotel for the festival. But real G’s just camp out in their cars, or bring tents to pitch right there in the fields. The fields are a dedicated campsite for this event, and here are the rules. Bring blankets, some warn jammies, and protection, for all you hippie, free-love types out there. Again, you’ve been warned.

Coachella by night: A few of the tents can be seen in the background

Once you get there, how to make the most of your trip:

When you get there, we suggest you get your bearings, and learn where everything is in the surrounding area; food, bathrooms, and things of this nature, just to save time in the long run. It would blow to miss half the set of the band you came to see because you couldn’t find the pisser.

Check out the artwork there during the day while waiting for your band to play. Last year they have had some pretty cool shit there. Make sure to bring a camera to get a record of your desert skylarking, and tomfoolery. Also, memories of your eye candy to put on your MySpace/Facebook/meat market of choice will be a plus.

....the hell?

Who Flak thinks you should take a gander at over the weekend:

Let’s be really real for a moment if we can. Coachella is expensive. $99 a day if you pay individually, and $269 plus tax for a 3 day pass. So if you absolutely have to go, but don’t want to go deeper into debt, here is who I think is worth seeing on each of the days, so you can better decide how to burn through your scrilla/guap/bread.

Friday, April 17th

Franz Ferdinand: Well, considering I reviewed them already, I won’t explain further.

Peanut Butter Wolf: I’ve never heard them actually, but they opened for the Mars Volta, so why not?

The Crystal Method: I’ve been a long time fan of this amazing duo and their remixes

Saturday, April 18th

Atmosphere: This dude is a badass MC, and his 2008 album, When Life Gives You Lemons, You Paint That Shit Gold, was amazing.

The Killers: Another album I reviewed already, I need not say more.

Thievery Corporation: I’ve been listening to their latest album Radio Retaliation almost nonstop recently, and I want to see how they play out.

Jenny Lewis: Lead singer of Rilo Kiley and one of the brainchildren of the one song I really want a stripper to dance to for me, Moneymaker, on their album Under the Blacklight. Plus, she’s a hip and sexy redhead, which is totally in for me right now.

TV On the Radio: I’ve been a fan of theirs from the beginning, and I missed my first chance to see them live at The Roxy. I shant screw this up again.

TRV$DJ-AM: The dudes survived a plane crash. Nuff said.

Sunday, April 19th

Clipse: Wamp wamp, what it do, what it do? Rapping about crack never sounded so good.

Lupe Fiasco: Long time fan of the Chi Town based rapper. I keep hearing how amazing his live shows are. His political hip lyrics make one think.

Peter Bjorn and John: If they play Young Folks then I’ll be content.

Public Enemy: You’re a true fool if you pass up the chance to see Chuck D and Flava Flav together again. Yeeeeeaaahhh boooooooyyyyyyy!

Shepard Fairey: The mastermind behind the Obey propaganda is someone who deserves my hundred bucks for his overnight revolution. He is one of the most important modern graffiti (and otherwise) artists of our time.

The Cure: The third artist in this feature that I’ve reviewed already. Not to be missed! They’d better play Fascination Street.

Next up is my humble adjutant, Gunfart, to give you his two cents:

Rather than being a venue for the up-and-coming (aka New and Exciting, or at least Relevant), this years Coachella Festival line-up feels more like a rest home squatting on the heads of the Music Industry’s most resourced and invested; nicknamed The New Craperella. Whereas in the past they felt like potent cocktails, diverse, inventive and fierce, this years groupings seem more like wheat-grass protein shakes being forced down our throats by sweaty PR cronies. You have the Old (to draw in the crowds who can afford the ticket prices) and then the heavily leveraged New Acts that are supposed to WOW us with their inventive reuse of past musical styling. This is supposed to persuade us into purchasing new music?!  So typical Industry thinking.  But all is not lost….check these acts out!

So out of the 100+ bands scheduled, who’s worth seeing?

Friday, April 17th

Paul McCartney: While I have not personally seen him my brother-in-law (who has seen more shows than anyone I know) personally vouches that he was one of the best performers he has ever seen.

Leonard Cohen:  The Voice….the man could say anything and I would nod my head in agreement.  A true original even today.

Morrissey:  Carrying the torch of The Smiths beautifully alone.  How about a reunion…please?!

The Black Keys:  I saw them at The Troubadour a few years back and they are a fantastic blues band from Detroit. A two piece that lights the stage on fire every bit as well as Screamin’ Jay Hawkins.

Molotov: I actually first heard these guys in a video game for the original XBox, Total Overdose, and I was so impressed that I went to Amoeba Records in Hollyweird and bought every record they had.

Saturday, April 18th

Booker T: Even without the M.G.’s a Stax recording genius.  “Green Onions” anyone?!

Calexico: One of the best bands to represent Coachella, as they lack a definition.  But regardless of their varied musically styles, they play from the heart.

Michael Franti & Spearhead:  Former lead singer of The Disposable Heroes of Hiphoprisy; if he plays California Uber Alles, that’s enough for me.

TV On The Radio: This would be the band I would most want to see.  This band anchors Day 2 by itself.

Superchunk:  They are funny, they are loud and they rock, without taking themselves too seriously.

Sunday, April 19th

Paul Weller: Lead singer of The Jam and still producing great songs.

Public Enemy: Despite the theatrics of Flavor Flav derailing his meal ticket, you cannot deny their relevance or impact.  I saw them at the Santa Monica Civic in 1988 and I can attest to their power and presence.

The Cure:  You haven’t seen them yet?  Get thee to a concert hall!

The Kills:  I admit I have a bit of a crush on Alison Mosshart, however this is lo-fi music for broken people…like me!

X:  The best band of the entire festival.  I would like to take this opportunity to acknowledge each band member:

• John Doe:  One of the most passionate and sincere front men to ever grace a stage.
• Exene:  Desperate and passionate, she’s a perfect patriot for rock-fueled truth mongering.
• D.J. Bonebrake:  Often times he’s overlooked until you see him play.  He drives the energy.
• Billy Zoom:  He plays like a marble statue, solid and true.  His stance, smile and talent will want you to pick up a guitar and later realize how much better a musician he is than you.

Gunfart’s closing thoughts:

Here’s the deal…If you can pull out a friggin HUGE name like Sir Paul McCartney, why not take that money and give us some us something really exciting.  Like a peppering of world music, things we have not heard before or sounds that have not been imitated and recycled to death.  I think that including bands like Mexican Institute of Sound is a great start, but more could be done to attract a more diverse global presence.

I hope you’ve enjoyed this preposterously long feature on Coachella, but all this jargon might just save your trip from failure. Tickets can be bought online, and while there are 50,000 tickets for each day, they have sold out before. Hope to see you there kids!

~Flak and Gunfart

Call me daft if you wish, but Robert Smith is a hero. Why? Because he is one of the few musicians from my childhood to withstand the test of time, whilst keeping his persona intact. And I’ve always admired the celebs that have an amazing career and life, while being able to (mostly) keep out of the spotlight of shame.

If you haven’t figured out by now who Robert Smith is, he’s the lead singer of the British band The Cure. Remember them from the 80’s? They are the ones responsible for bringing us such delightful songs as Close to Me, Boys Don’t Cry, Disintegration, Friday I’m in Love, Lovesong (yeah 311 didn’t write that one folks),Why Can’t I Be With You?, Lullaby, Fascination Street, and The Love Cats… The latter four being my favorites of long time past.

Smith is the only constant member of the band, since its inception in 1976. This time around though, the line-up consists of Robert Smith on the mic (also the guitar, bass and keyboards when needed), Simon Gallup (another musical hero of mine) on bass, Porl Thompson on Guitar, and Jason Cooper on the drums. The boys from Crawley, England released their 13^th studio album, in 2008 entitled 4:13 Dream.

Apparently, 4:13 Dream was originally intended to be a two-disc album, having a whopping 33 songs recorded songs for the release. Robert Smith said that this album would mostly comprise the upbeat songs, and that the darker songs would maybe be released on another album. This is good for two reasons I believe: First, I believe that there is music for every mood, and that The Cure has done a surprisingly good job at making me feel more upbeat (take The Love Cats for instance on the album Japanese Whispers), and second because this means that we have not seen the end of The Cure.

Through the bands MySpace page, the band announced that in the four months before the album was set to be released, every thirteenth day of the month, a single would be released. This would coincide with the album’s title. Unfortunately, the album was pushed back from September 13^th, to October 28^th by Geffen Records, killing the amazing idea. But to make up for this, on September 13^th, the band released the EP Hypnagogic States. This EP was a cd of the remixes of the four singles released in the previous months.

From left to right: Gallup, Cooper, Thompson, and Smith...with the lipstick..

Anywho, I’ll end my usual digression and get down to the nitty. Here’s what I can say about the album from a general standpoint: Old fans of The Cure will feel right at home, as the band keeps its same vibe of calm but complicated, while showcasing that the band hasn’t stopped moving forward since its creation almost 30 years ago. Robert Smith still has that wild singing structure that hasn’t made a compromise for, despite the flak he may have gotten over the years for it.

For the new listeners, I can say that this is as good a time as any to get into The Cure, and still feel like you are a fan of times past. Why you say? According to Robert, 4:13 Dream is chock full of songs that were written over a decade ago, that didn’t make the cut for other albums at the time (such as Sleep When I’m Dead, originally written for the album, The Head on the Door in 1985). This way you can feel at least semi nostalgic, and not lie to you and your friends when you claim “Yeah I’m a fan of their old stuff too”.

Some people feel as if this cd was taking the safe road in its production, but I think this is just as Cure-ish as anything. As my fellow writer Gunfart said, “So this album is basically The Head on the Door part 2”. The production seemed much better than past albums in my opinion, probably because I’m used to listening to the 80’s songs of theirs, and frankly, recording technology has advanced just a bit.

As far as my favorite tracks are concerned, the intro track Underneath the Stars was amazing, with pure instrumentals for the first two minutes. The guitar on track 7, The Hungry Ghost was very comfortable for me, and carries the song beautifully. Track 11, Sleep When I’m Dead may have been written for an album over 20 years ago, but it’s right at home on this album. I didn’t know it was an old song until after I was in love with it, but my feelings have not strayed. The 12^th track on the album, Scream, was interesting, because I felt like it had a Middle Eastern tone in it. Weird I know, but I was diggin’ it and don’t disagree. Still though, the song that made this album one of the best of the year for me is track 8, called Switch. For me, it managed to be upbeat, dark, and beautiful all the same time. The lyrics are some of the best Robert has written, and are the definition of feeling, without leaving you asking what it’s about. Listen for the subtle piano played by Smith throughout the song, to remind you that as “sick of being alone with himself” as Robert is, the song is something I don’t plan on being sick of anytime soon.

4:13 Dream is what making a legacy is all about. Old bands like The Cure are keeping it more fresh and exciting than the failed marriages of Southern California, with twice the work. Go grab this album; it may very well save you. You can thank me later.

~Flak

Music is the cornerstone of many a writer’s inspiration and the Behind the Hype staff is no exception.  A few of us music nerds decided that we would compile our pompous list of albums so that you might benefit from our nerd nuggets of musical wisdom.  It follows no standard format, as we all like to do things our own way.

DISCLAIMER:  None on the Behind the Hype staff has been paid any sum of ducketts in order to persuade you to like and/or buy any of these albums.  We happen to love them by choice…but if anyone wants to throw money at us after the fact…knock yourself out…and we like cash…or a giraffe…and we already have tons of porn soooo…a giraffe covered in cash would be best.

Dr. Jonathan C Goodvibes’ Picks

Cat Power: Jukebox
This is the best collection of covers you’ll hear for some time to come, even if you don’t know it. Chan Marshalls beautiful and haunting voice weaves and hovers through the record, interlacing every song with a whiff of smoky melancholy. The killer track (and I do mean killer) on this album has to be the icy Blue. Cat Power, with her Dirty Delta Blues Band manage to inject blooming warmth like a shot of bourbon set against Joanie Mitchell’s chilling lyrics. Her reinterpretation of Hank Williams anthemic and oft-quoted Ramblin’ Man (titled here as Rambilin’ (Wo)man) strips from the lyrics all masculine unapologetic bravado and swaddles it in feminine grace and sensuality. These two songs are typical of the rest of the album. Covers are either really fucking bad or really fucking great and their great because they manage to be more than ham-fisted pantomimes or interpretations that are way off the fucking mark. You can tell Chan really loves these songs and after you hear Jukebox, you’ll understand why.

Xu-Xu Fang: The Mourning Son
Xu-Xu-Fang is a band I have had the agony of following for over two years with the end result being Two EP’s which is not anywhere near enough to satiate my appetite. The sweet and rich morsel that is The Mourning Son , however, should be enough to indulge your rock sweet tooth. Sit back, relax, light a joint (don’t forget to put on the album), and drift off into the world Xu-Xu-Fang invite you into. The psychadelia-infused textures and rich soundscapes will pull you in like a dragnet. Though short in length, tracks such as These Days and Good Times have Gone Away will choke and drown you while Thunderhooves allots you the recovery time to breathe and pray the rock gods for more.

Mogwai: The Hawk Is Howling
Mogwai, pioneers in the instrumental rock movement prove once again their worth and show they are in no fucking way running out of steam with The Hawk Is Howling. Songs like I’m Jim Morrison, I’m Dead , Batcat, and Scotland’s Shame trudge and march ever forward with sludgy resolve across the instrumental rock landscape. Though the band personally sees their previous release Mr. Beast as their best work, I feel this is not only one of the best rock albums of the year, but their best work to date. Every song undulates with dramatic peaks and troughs making the entire album feel like an unavoidable massive wave that catches you in its momentum. Songs, let alone albums like this are hard to come by. Mogwai once again prove how infinitesimal we are by making giant fucking music that shadows us and sweeps us in.

Cold War Kids: Loyalty To Loyalty
In twenty years when you’re explainin’ to some piss-ant baby balls twenty-something why his favorite whatever-the-fuck kids are listening to in the future ain’t got the stayin’ power of a true rock band because it ain’t got the voice of a generation expressing frustration, alienation, boredom, a cryptic inherent joy in the sadder things in life and a graceful unapologetic undercurrent to an acceptance of want of vice and vice as a fucking virtue, you’re withered hand will point at some futuristic floating space-jukebox blasting Against Privacy, Something Is Not Right With Me, I’ve Seen Enough, and maybe even Every Man I Fall For if you’re feeling particularly nostalgic and negligent towards your beer. But nobody’s heard of ‘em in the future, you old coot! “Shit, if they were so fucking important, why haven’t they got a reality show yet?”, and that’s when you know you’re way too fucking old.

The Walkmen: You & Me
This is certainly the best piece of work from The Walkmen oeuvre. Those looking for the raw and precise power of Bows and Arrows might find themselves disappointed. Though no song on the album is as fast and adrenaline-inducing as The Rat, Tenley Town (which was on A Hundred Miles Off), the songs on You & Me draw their power and evocativeness from subtlety and grace. On The Water, Donde Esta La Playa, and Red Moon are personal favorites and are among the best examples of the creativeness and tight musicianship of one of the best bands. Truly a great American rock band.

Spazarella’s Picks

Murder By Death: Red Tooth and Claw
Having finally heard this band shortly before the release of this album, I was so blown away by the force of Red Tooth and Claw that I doubt I’ll ever stop getting goosebumps when I listen to it.  Passion drips deliberate from every instrument, hand and vocal cord and as the songs progress, the listener is propped on the edge of their seat from beginning to end.  The cello, the drums, the guitars, and the echo of Celtic sorrow, Tom Waits and Johnny Cash, this is not an album to relax by, but rather much closer to a mission statement or a call to arms, facing a bare landscape with nothing but love, loss, family and purpose.  You can’t help but be moved, in fact I dare you not to feel the ferocity to your very bones.  Get in your car, find a long stretch of empty road at sunset, and breath in this album.

Elbow: The Seldom Seen Kid
Why doesn’t everybody know about Elbow?  This band is awesome (as you can see I am struck dumb without decent adjectives as a result)!  Guy Garvey’s lyics and howl are heartbreaking and fill the part of your heart that you like to keep blue.  Don’t fight it, embrace it and throw on Elbow.  The second track The Bones Of You, sweeps you off your feet and for some may carry you into memories “five years ago and three thousand miles away”.  Grounds For Divorce, The Loneliness of a Tower Crane Driver, Some Riot and Friends of Ours are the highlights.  I expect An Audience With The Pope goes under appreciated but lyrically it reminds me of the charm of classic lyricists like Cole Porter and Johnny Mercer.  I find the album’s appeal universal. Anyone who’s heard it in my car wanted more.

Calexico: Carried To Dust (Bonus Track Version)
My first exposure to Calexico was unfortunately their most uncharacteristic album Garden Ruin, and not until hearing the collaborative album with Iron & Wine was I want to give them another chance.     Carried To Dust is a consistent and charming arrangement that releases my shoulders from their usual rack.  The individual tracks melt one into the other easily and though this Tucson, Arizona based band always seasons their sound with flavors of their region (and that hollow weeping guitar that seems to bounce right off of the canyons and into your ear) it by no means defines their sound.  Alt-Country comes close, but I hate labels…it’s fucking good.  Tracks that speak to me the most, Victor Jaras Hands, Two Silver Trees, Man Made Lake, Falling From Trees.

Girl Talk: Feed The Animals
The first time I heard DJ Girl Talk was the album Night Ripper and I was in absolute shock at how such a simple concept could light me up and make me so hot and ready to dance!  The follow-up album was a little…miss-guided and featured too much self glorification and I was prepared for the DJ to fall into the sad category of flash in the pan, but Feed The Animals broke down the door and may have actually trumped Night Ripper…though I still haven’t decided.  Mashing the craziest combos of hit after hit from so many different corners of the pop and hip-hop landscapes it’s continually stimulating to the brain, ear and feet.  Suffice to say if you need a damn good party album and/or goin’ out and getting pumped, you need look no further, only use with caution…you may struggle profusely to replace it in the future.

Shelby Lynn: Just A Little Lovin’
Though not a popular choice, having an affection for Shelby I am partial to her work and I thought this album was an appropriate choice for her.  A cover album of Dusty Springfield classics, she breathes heartbreaking life into painfully honest lyrics.  Shelby, much like Dusty, takes her musical strength from her misery and so I thought the album a very fitting tribute.  Few people could be more or equally qualified.  Anyone Who Had a Heart gains a depth that it never evoked before.  With the exception of the smiley I Only Want To Be With You and sultry Just A Little Lovin’, the album breaks your heart but makes you come back for more, just like the heroine of her tales.  Anyone who’s ever loved will see themselves reflected in the weaknesses.  If not, it provides excellent solace in sorrow.

Cat Power: Jukebox
Oh yeah, Dr. Goodvibes and I fought over this one!  I think it’s only fair then to give a variety of perspectives to reiterate what an awesome album it is.  Some might quack that a cover album does not deserve such fanfare, however C.P. makes each song very much her own.  Ramblin’ Woman is an anthem typically hear from the male perspective and finally and refreshingly approached by a woman that at least sounds like she knows what it means.  Silver Stallion is my favorite and the rest of the album just slides into the sultry corner of every persons mind.  For men, she’s the one, and for women, she’s the hero.

Adele: 19
Damned good and Damn fun!  I’m not going to spend too much time on her but to say, don’t fight it and just listen.  Don’t listen to who she’s compared to, just listen.  Vocal talent:Check, Lyrics: Check, Great Production: Check, Variety: Check.  My faves: My Same, Best For Last, Melt My Heart To Stone, Tired.

The Spazz’s 10 Hot Tracks That Get A Nod (from albums not already covered):

• Tricky: Coalition
• The Black Keys: Strange Times
• Kings of Leon: Closer
• Eagles of Death Metal: Wannabe in LA
• Coldplay: Lost!
• Portishead: Carry On
• Sia: Little Black Sandals
• Vampire Weekend: Oxford Comma
• Hooverphonic: Expedition Impossible
• Santogold: L.E.S. Artistes

Gunfart’s Picks

Old people love redemption.  Hell, we crave it.  So when our personal heroes stray like lost dogs and find their way back, I have nothing but respect and gratitude for their return to fortune.

Nick Cave and the Bad Seeds:  Dig, Lazarus, Dig!!!
The albums title has 3 explanations points behind the title.  Can you argue with such confidence? After angst filled side project with Grinderman, the Australian “Man in Black” returns to lesson the good folk with a new lineup and a return to a more familiar form.  Expect an angry walking bass line with a dialogue to match.

Favorite Tracks:

• Dig, Lazarus, Dig!!!
• We Call Upon the Author
• Midnight Man

The Pretenders: Break Up the Concrete
“Boots of Chinese Plastic” Herald the new beginning.  I have not heard material so fresh and alive since Pretenders II.  The riffs and attitude are new, unexpected and wholly welcomed.  At times it sounds like Dave Alvin joined the band and they jammed at the Knitting Factory.

Favorite Tracks:

• Boots of Chinese Plastic
• Don’t Cut Your Hair
• Break Up the Concrete

James: Hey Ma
Their first release in nearly 7 years, it’s a quiet, melodic cannonball aimed to disarm all of their previous deceased contemporaries and distant themselves from their successful but pandering experimental albums.  Many listens reward greatly in its sublime humor and buried melodic shenanigans. Although constantly compared to The Smiths, this album is more reminiscent of early Waterboys recordings. A powerful affirmation that their best work is yet to come.

Favorite Tracks:

• Hey Ma
• Waterfall
• Boom Boom

The Cure: 4:13 Dream
I was not a fan of Bloodflowers, but consider this latest undertaking “The Head On the Door” Part II.  Sweeping, breathless and a permanent reminder of Robert Smiths pop genius. It plays like your favorite movie projected unto a blowing bed sheet behind your Mother’s house.

Favorite Tracks:

• Underneath the Stars
• Switch
• The Perfect Boy

Elvis Costello & The Imposters:  Momfuku
I saw him open for The Police at the Hollywood Bowl – he blew them away!
A very spontaneous and unexpected record. (Yes, I own the vinyl).  It sounds like some of these songs could have been written during his Get Happy days.  Steve Nieve, his longtime keyboardist of choice, really shines through this bare-knuckled, stripped down arrangement.

Favorite Tracks:

• No Hiding Place
• Turpentine
• Stella Hurt

Flak’s Picks

The Sound Of Animals Fighting: The Ocean and the Sun
Why I love it: Because Chris Tsagakis is one of my favorite drummers, and it contains members of Circa Survive, RX Bandits, and many others.
Why you should get it: If you want to hear what it sounds like when animals fight, you won’t be disappointed.

Jason Mraz: We Sing, We Dance, We Steal Things
Why I love it: Because it’s as if he is a genre of his own. I felt strangely compelled to sing the album out loud whilst driving.
Why you should get it: The fact that he can freestyle in French at his shows should earn him a listen.

Madonna: Hard Candy
Why I love it: Timbaland, Justin Timberlake, AND Pharrell Williams guest star as producers.
Why you should get it: Because Madonna can still make a killer dance album. Admit it.

The Mars Volta: The Bedlam in Goliath
Why I love it: Because they are the remains of my favorite band, At the Drive In, and they scored Thomas Pridgen, another one of my favorite drummers.
Why you should get it: If nothing else, tracks 3, 4, and 5. Drummers will love it even more.

Sia: Some People Have Real Problems
Why I love it: Because she talks about real shit, and is one of the few great things to come from Britain.
Why you should get it: Because she’s the one who sings that song in the last episode of Six Feet Under.

Radiohead: In Rainbows
Why I love it: The two disc set is one of the best things they have ever made. This is the first contract-free album they have released.
Why you should get it:Thom Yorke deserves it, due to the fact that he NEVER sleeps, to make sure the album is amazing. He loves us!

The Raconteurs: Consolers of the Lonely
Why I love it: It made me a fan of Jack White from the White Stripes.
Why you should get it: Beautiful breakdowns and fans of Jack will be interested in his side work.

Lil Wayne: The Carter 3
Why I love it: Lil Wayne is the best rapper alive.
Why you should get it: Lollipop, A Milli, need I say more?

Ne-Yo: Year of the Gentleman
Why I love it: because I thought R&B died with D’Angelo.
Why you should get it: Closer is a bomb track. Plus, this guy is writing for all the hip hop and R&B greats.

Protest the Hero: Fortress
Why I love it: I rarely find a hardcore album that I love, but these dudes are talented.
Why you should get it: The singer can actually sing, not just scream.

The Roots: Rising Down
Why I love it: Black Thought is one of my favorite MC’s
Why you should get it: Because The Roots have that gorgeous organic hip hop feel.

The Cure: 4:13 Dream
Why I love it: I have been a fan of the cure for many years, and like Gunfart will say, it’s like this album is The Head On the Door part two.
Why you should get it: These guys didn’t skip a beat since the 80′s. If you loved them then, you’ll love them now.

TV on the Radio: Dear Science
Why I love it: 80% Soul, 10% Funk, 10% Rock, all talent.
Why you should get it: Because you should listen to actual musicians for a change. The Jonas Brothers can only take you so far.