Well have I got a treat for you today, kids. (fairly) recently, I was able to nab an interview with founder and main writer of a band L.A. Weekly deemed “Undefinable”. Bobby Tamkin of Xu-Xu Fang had a few minutes free from his hectic schedule to grant me a super-cool interview that totally took forever to transcribe. Please enjoy, because it was really annoying having to back up 7 times every 10 seconds.

It took forever to transcribe using this thing...

Behind The Hype-You came out with “Los Angeles in The Winter of ’99” in about ’03-

Xu-Xu Fang- Actually it was 2001. I recorded the album by myself I just had one of those old 8-Track tape machines before I had a computer and I had all these bits of music and I’m really into really old mystery theater, Twilight Zone type of stuff. I did it out of fun, like this total recording nerd project. So six months go by and I’m at a record store, I gave it to everyone in the store and a day later I had people asking if I wanted to do this live, so by the time I actually got it up and rolling as a band, it was a couple of years. It was still Xu-Xu- Fang, but it was a totally different concept.

BTH-So did you start off with a different idea of what you wanted to do, was it a test run? Because your first album sounds completely different from what you’ve come out with since.

XXF- Well, before I did that I was in a band called Hovercraft and we had film playing on a big screen and we would do an experimental/avant-garde, kraut rock thing with no vocals along the vein of early Pink Floyd. We tinkered and played a lot more with melody and song structure. After that I played in The Warlocks which was a lot of fun and a very obvious Rock and Roll thing. After I stopped playing with The Warlocks I thought about doing other kinds of things and I couldn’t find any bands I was interested in and so I knew what I wanted to do had to be musically challenging. I wanted to do something unique unto itself, something that couldn’t be pinned down as anyone’s style which is how I came up with this mystery-science theater type sound. The music itself in the CD isn’t that unique; you have your drums, bass, guitar, keyboards, but no traditional song structure, no vocals no obvious melody. It was meant to be a different way of listening to an album, like a book, a single piece; sit down, put on some headphones take a bong hit and drift off. I was totally about doing something new. After that I became interested in writing an actual song with a vocalist, some melody, lyrics etc. I enjoy trying new things so who knows, maybe after the next Fang album it’ll go back to what the first album was like.

BTH-Even with your more recent work it still is presented as a single piece.

XXF-I wanted to keep that sense of a common thread, that same concept of being taken to another place. I didn’t want to lose that sense of atmosphere, so I was trying to figure out how to create songs and still retain that sense of escapism that an album like that can provide. I enjoy the concept of an entire album as a single piece.

BTH-So how do you feel about the death of the album?

XXF-Well, with the advent of the iPod and iTunes, albums are dying and the idea of albums done as one piece is starting to die off. I was talking to a friend of mine about that and it’s sort of disheartening because I like positioning songs in an order like chapters and it brings you up or down as the mood shifts on the album. I like iTunes and people being able to get music so easily, but it’s a double-edged sword. It’s bad if you’re just writing or recording to create a single, because it becomes a commodity. We just had a single on the show Gossip Girl and afterwards, everybody was buying up the single. But there are also so many more cool sounds and things that accompany the song. But I think it’s something that you just have to expect. If you’re making music that features singles you gotta deal with it, or make something that’s a little more challenging in the hopes of drawing them into the album as a whole.

BTH-Do you think your EP (The Mourning Son) is accessible to most people, something easy to digest and enjoy, or is it something that takes a little time to listen to?

XXF- I’m always shocked when I hear anything we’ve done on the radio. “These Days”, to me, is a pretty adventurous arrangement, and it definitely has its place and moments. Some of the other songs are even more accessible, but I think because I’m relatively new to song writing, I purge everything out and it’s really up to you. “The Mourning Son” is kind of a rock song but it’s on the darker side; mellow singing dark lyrics but it still has some song structure with a chorus a bridge, etc.

BTH-How much time did you spend with the Warlocks because I hear some similarities in that you both implement a lot of texture and layering in your music.

XXF- Well that’s something Bobby (Hecksher) and I had in common. We found we enjoyed the same stuff like Spacemen 3, The Jesus and Mary Chain and stuff like that but I think we both really appreciate the concept of creating a rich song. So that may mean layering tons of guitars and keyboards and percussion but the biggest difference between what we do and what they do is that they like to keep it dirty and we clean it up a little bit. I think we both have the same musical heroes so we both sort of channel that, but in different ways. He’ll keep it a little grungier and dirtier, their song structure is more traditional. Also I don’t think anyone expects a certain sound from us. I wouldn’t hesitate to implement electronic beat-based stuff; they have a clear idea of a specific sound that they want. Bobby knows what he wants and just does it.

BTH-As far as what you’ve done musically do you find you play more what you might want to hear as a music fan, or maybe what’s more enjoyable to play. Is that at all a factor?

XXF- I think about that because I don’t know if I would listen to this music necessarily. Sometimes I like it and other times I think I could do better. Whenever I finish a song I despise it. I think it’s because I spend so much time with it I’m tired of it, I’m over it. I enjoy having a finished product, but I’m always exhausted with it after it’s done. Afterward I think of trying something different-I’m all over the place all of the time.

BTH-Earlier you mentioned that there are certain bands you enjoyed. Would you say these are influences on Xu-Xu Fang specifically?

XXF- Not really. I sort of found out about these bands and found that people that enjoy these bands enjoy us as well and compare us in a sort of backwards way, but my influences are much broader than that. For instance, the TV show The Twilight Zone. The music in that is dark and orchestral and very simple and mood-based. Also Stravinsky, who did The Rite of Spring which was considered murder music back then, and I can see parallels between that and early Metallica because there’s a certain mood they’re trying to convey. Maybe the stuff I’m influence by bands like Pink Floyd were influenced by as well. But as far as influences, I’ve been more influenced by film composers and such. I’m just bored by four guys with guitars, bass and drums singing a pop song. I might tap my foot to it but I don’t really go back to it. One of the most underrated albums in my opinion is Ritual de lo Habitual by Jane’s Addiction. It reminds me of all the pockets in L.A.. They’re still using guitars bass and drums, but it’s so rich and thick and it rocks like a motherfucker. I think there may also be some insecurity about making a guitar riff that anyone can make. Having my own studio, I can just go on and on with overdubbing. For instance, on “These Days”, there are these notes and chords that clash. It’s not even dissonance, it just clashes and it doesn’t sound right but it barely peaks out amongst all of the other instrumentation but it creates a sound I never could have done on my own in the first place and I’m sure early pioneers like Pink Floyd had the same concept.

BTH-So you enjoy a lot of long, sweeping orchestral instrumental rock.

XXF- I love it.

BTH-Xu-Xu Fang reminds me a lot of those bands. Bands like Godspeed You! Black Emperor have these longs sweeping tracks that constitute one album, but you can listen to a single piece on its own as well.

XXF- I think it’s all about taking the listener out of where they are. I think for my perspective, it’s all about trying to combine the Constellation Label bands and pop elements and some abstract dissonant stuff and putting them all together.

BTH-So how important is setting an atmosphere and mood at your shows? Creating atmosphere and mood seem like prevalent themes in what you want to do as far as your albums are concerned.

XXF-Creating a sense of atmosphere and mood is probably 90% of it. The times that I’m unhappy with shows and different projects that we get involved in are when all of a sudden it becomes a format of like, “Ok here’s a rock band.” We’ve done a few video projects where we’re interviewed and we play in the studio. Not into it. We’re up on this stage in this random place with no audience and we have to play these songs and that’s really not my intention. It’s not just about playing these rock songs and it’s sort of why I’m always sort of second-guessing myself because I don’t want them to just be these rock songs. It needs to be mood-based or else it doesn’t work.

Bobby's hypno-light'n'fog combo used to lull unsuspected music journalists...I was trapped!

BTH-Once again, you guys are really concerned with mood. Does that lent itself to improvisation in your live shows? How much freedom do the other band members have in the writing process?

XXF- Right now I’m writing all of the songs. I write ‘em and them bring it to them. Sometimes I’ll have all the parts written out, sometimes I’ll leave it up to the musicians and ask them ‘what would you do here?’. With the song “Good Times” we do a jam that can go anywhere between Five and 20 minutes depending on how we feel. When we first started playing we only had five songs so we made the endings of every song really long to fill up space so we can do a whole set. Since we’ve added more songs we’ve cut off those endings so that the songs aren’t quite as long, but “Good Times” has a nice long jam where it’s fully open. The “Good Times Jam” as we refer to it as is the opportunity for us to get our ya-ya’s out and do what we want. We practice the song, but once we get to a live setting we know we’re gonna jam and we just go for it and see what comes out. I have a little idea about where I want it to go as far as where I want the song to ebb and flow, but as far as what (the musicians) are playing, they do what they want.

BTH-It sounds like your writing process is really organic, you just let it come, you don’t force it. Is that mainly an explanation for why you haven’t come out with much material in the past few years?

XXF-It’s a combination of that and getting the right band members. When I first put this second version of Xu-Xu Fang together, I wrote, like, six songs and then put people together to help me do it live. Getting back to the orchestral thing, there are a lot of simple parts that make one big greater sound, so there are not any great guitar solos or anything that’s in a traditional rock band format. One guitar player could possibly do two different guitar lines, but there’s something about having two different instruments on their own doing it and it creates these overtones and textures that you wouldn’t get otherwise. So going through different band members has really been the biggest obstacle. Not until eight months ago has the line-up really been solid. That’s mainly due to the fact that the band is solid, they know what to do, their gear works so it’s easy to get the train on the tracks. Part of the reason why things were slow in the beginning was because we’d lose musicians and to find someone new who has all these qualities that we need is not an easy thing to find. I don’t want to have just anybody and I guess I’m particular about gear and ability because it’s a particular sound. Since we’ve been out in the public eye a little more in the past few months, we’ve gotten a lot more offers to do shows and projects and that’s been slowing down the process of writing songs.

BTH-So are there any upcoming plans for a tour, or maybe a Full-length LP?

XXF-(As far as the tour is concerned) not right now, just because we’re still establishing ourselves in L.A. I really interested in producing more music. We’ve got a new E.P out right now (called Seven Days), but hopefully around spring or summer time we can do something. I’d really like to do a tour with A Place to Bury Strangers. As far as a new album, we’ve got this super-producer by the name of Dave Jordan who’s become a fan of the band and wants to produce our full-length, which is pretty amazing. I think we’ve got about three or four more songs to complete, then we’ll be ready to go.

BTH-The vocals (especially) add this haunting quality to the music. There seems to be this introspective morose undercurrent to the music. Would you say your music is “sad” or “depressing” or “brooding”. Do you think these qualities are mutually exclusive to being haunting and atmospheric?

XXF- I like all of that. They all work together. I find that when I write music, it’s usually when I’m in a darker mood. I try to write up-beat lyrics, something happy but I find I always go back to something depressing. When I’m in a great mood what I want to do is be outside hanging out with my friends. But nine times out of ten I’m in that other mood and that’s what gets me in the studio.

BTH-So it’s like an outlet.

XXF- Full on…I’ll wake up on a Saturday morning and I’ll think there are a million things I could be doing. Maybe hangin’ out with girls, or kicking a soccer ball around with my friends. I’ll call ‘em up and no one is picking up the phone and it’s those moments when I think “why isn’t x y or z happening in my life, why isn’t any of this working” when I go and write music. I think that’s why my lyrics take a dark turn because when I’m creative is when I’m feeling the most isolated in life. I think that can happen to everybody, especially in a city like L.A. You think ‘there’s a million things going on right now and I’m not doing any of ‘em’ and so for me to alleviate that, I write music.

BTH-So how important are lyrics to you in the writing process? Do they take prevalence, is it a case-by-case basis. Are lyrics the strong point in certain songs? Listening to you guys, it seems the instrumentation is the vehicle for setting mood and the lyrics wrap around that. Do you see the lyrics as just another “instrument”?

XXF- If I could-well, I suppose I could do this-I’d be happy with the vocalist just sang melody lines with no words. I’d be totally into that too. But when I made a conscious effort to write songs, I didn’t want anyone to have to pull out a dictionary to figure it out-I didn’t want it to be difficult for people to relate to. When it comes to writing lyrics, I think about the lyricists I liked and what they wrote about and I found it wasn’t anything fancy. Like Black Sabbath, when you read those lyrics, it’s really easy to relate to. They make it easy to understand. Without being corny, my approach was something that’s easy to swallow but is also unique. So, I do think lyrics are important, but they don’t drive the song. I think if you heard “These Days” as an instrumental it would still evoke the same emotions because it’s great this hypnotic, minor-chord sound to it, but when you add the vocals it takes it up a level.  I think I try to be evocative through the music first and then enhance it with the vocals and lyrics. If we create the mood then I think we’ve served our purpose to some degree.

When I awoke all my questions had been mysteriously answered!

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.

The interior is saturated with so much red you’d swear the building were hemorrhaging. Black furnishings, chandeliers impose on the monopoly of red in the room. This used to be a church. Tonight, Bordello is the venue playing host to one of the best bands in L.A. you’ve never heard. And they’re late…

Bordello of Blood(sans Dennis Miller)

The ambience at Bordello is striking and rich, perfectly suited for the dream-fuzz psychedelia of Xu-Xu Fang. They kicked off their set with their title track from their recently released EP, The Mourning Son. The band is the brainchild of Warlocks alumnus, Bobby Tamkin. While the Warlocks have a habit of stumbling aimless and lost at times in their own songs, The Fang exhibits a great sense of purpose and urgency. One only need hear the throbbing drums, pulsing and subtle guitarwork, and haunting deadpan of their singer to see that this band is anything but aimless and lost. Playing every song from their EP as well as their hit single, These Days, Xu-Xu Fang put on a captivating performance. Though the stage looked a bit cramped (three guitarists, a bassist, a vocalist, drums, and keyboards), they managed not to step on each others toes, playing meditatively, hypnotically. The set was short, no longer than 30 minutes due to the fact the the band really only has about 5 or 6 songs to their credit thus far. If you have been following this band (which you haven’t) you might be a little frustrated at the pace this band is going at. They play few shows, have only recently put out an EP which followed their breakthrough single These Days about a year ago. But this makes these few shows all the more worth it.

Xu Xu FANGtastic!! HA!

There is a haunting undercurrent about their shows, as if a climax is right around the corner. Don’t hold your breath though. Xu-Xu Fang shows occur so rarely and to take advantage of the opportunity to see one of the greatest bands in this city is one you shouldn’t pass up. Find them if you can. Surely everyone else will.