Radiohead - Down is the New Up

This is the closet to an official video available. For "Down is the New Up" from In Rainbows Disc 2, 2007.

Radiohead - In Rainbows Disc 2

Radiohead, “In Rainbows – Disc 2” 2007

The second half of Radiohead’s experiment in forgoing labels and the RIAA begins by invoking the beautiful finale of the first disc’s “Videotape” on opener, “Mk 1” then plunges headfirst into “Down Is the New Up”, kicking this installment off into familiar but nonetheless exciting territory. Nothing is incredibly new here for those well-versed in the band’s previous efforts but Radiohead is still continuing to do what they do extremely well and with enough innovation that more “In Rainbows” material is certainly welcome.

Now that both sides of the album are released a greater picture of the work is finally presented and we can see that if the songs were to be condensed into one lengthier CD then it would have inevitably become the true successor to the list of albums beforehand. Double albums are often comprised of far too much filler but the second installment here demonstrates a collection of pieces that are essential toward the entire concept of “In Rainbows”. Whereas the first disc seemed to represent much of the “Hail to the Thief” aesthetic, the second disc continues this feel but incorporates much more of the ambience and driving acoustic guitar of “Kid A” and “Amnesiac”.

There is a certain amount of Radiohead ‘cool’ on this album that was missing from the first half as well. When “Up on the Ladder” starts to really groove it hits the spot that perhaps came closer with the last offerings “Jigsaw Falling into Place” but nails it far better by caring less about pulling heart-strings and more about nodding heads (also check out “Bangers & Mash” for more of the overdriven ass-kick represented in “Bodysnatchers”).

One of the only real faults here is in the presentation itself which is a necessary evil of the ambitious release of “In Rainbows”. The whole time the second disc plays begs for it to have been listened to a few minutes or immediately after the first ended. Initially, disc two was presented as nothing but B-sides for the die-hards who ordered the expensive digipack from Radiohead’s website but it is essential for getting a good grasp of the album as a whole. Whereas “Videotape” ended on melancholy, “4 Minute Warning” caps off the project on a much more hopeful note and the journey toward it through the energy of the second disc seems like an integral aspect of what the band was aiming for here. It is more than likely that it was assumed that with the current influence of the internet on music listening that disc two would be heard by anyone looking for it regardless but if this was the assumption it would’ve been perhaps better to have both sides released simultaneously or at least closer than two months apart. Just the same, “In Rainbows” is a great demonstration of the band’s maturation and continuing relevance in the music industry. Both the music itself and the broader implications of the release methods make Radiohead an enormous force and luckily, there is substance, quality, and innovation enough to warrant it.

Reid McCarter
December 18, 2007

The Hives - Tick Tick Boom

Video for "Tick Tick Boom" from The Black and White Album, 2007

Timbaland - Throw It On Me feat. The Hives

I don't know what I think but I think I like it.

The Bad Plus - Physical Cities

Video for "Physical Cities" from PROG, 2007.

The Hives - The Black and White Album

The Hives, the Black and White Album 2007

Okay, so the Hives are what they are and this album will not come as much of a surprise if you know what you’re in for. When Veni Vedi Vicious was released everyone was ready for rock and roll to be revived by the salvation of the “The” bands and the Hives were quick to be lumped in with the Strokes, the Vines, and the White Stripes differences in style be damned. It was revivalism that pop music was after and each band was ready to supply heaps of it but the ability to mature has been what has kept the early-2000 groups alive.

Tyrannosaurus Hives didn’t really reinvent the wheel but it set the stage for how the Hives were to keep things fresh. Aside from aping the Stooges and the Stones the stylish Swedes supplied something else that is just as valuable in quality pop – they knew how to write a ridiculously catchy single. The production on The Black and White Album gets even slicker this time around with the help of N.E.R.D’s own Pharrell Williams (check out the stupid sexy and completely humbly titled track, T.H.E.H.I.V.E.S) but this is not to suggest that style has completely replaced the hooks that make the songs worthwhile.

This is a straightforward album and rather than lean on the short, punchy punk of previous albums the Hives decide to roll more than they rock on tracks like the infectious “It Won’t Be Long” and first single, “Tick Tick Boom”. There is substance enough in the long run though and a definite sense of maturation in the more experimental cuts (the instrumental “A Stroll through Hive Manor” or “Puppet on a String”). The Black and White Album does more of what the Hives have produced before but seems to be more concerned with mass-appeal than ever before. None of the tongue-in-cheek posturing is dismissed here however but is instead amplified. Whether this is for better or worse is pretty subjective. There is certainly enough by way of quality, simplistic punk out there in other bands and it’s much better to see a good band grow up rather than live in constant artistic childhood.

It’s definitely worth a listen.

Reid McCarter,

December 10, 2007

The Bad Plus - PROG

The Bad Plus, PROG 2007

The Bad Plus are known best for recording covers of pop songs through the trio’s virtuosic jazz interpretations but the times when their albums

shine the most are often through their incredibly unique originals. PROG essentially follows the formula of past albums, providing spirited renditions of Tears for Fears’ “Everybody Wants to Rule the World”, David Bowie’s “Life on Mars”, Rush’s, “Tom Sawyer” and Burt Bacharach’s “This Guy’s in Love with You” but once again the innovation of the non-pastiche work is the best.

Many will know the group from their cover of Nirvana’s “Smells Like Teen Spirit” but those who stuck around to check out the rest of their albums will have found something much deeper going on.

Jazz is presumed dead and maybe it is because it’s certainly not pop anymore but for anyone seriously interested in the style there is something very noteworthy going on in this trio’s albums. The Bad Plus is bringing a rock sensibility into the jazz “genre” and at times PROG throws down harder than any of the top-40 guitar bands. It doesn’t hurt that the three musicians are extremely skilled – Reid Anderson’s bass lines are exceptionally adept at mitigating flurries of piano and drum work as the songs build and fall (on “Giant” the three create a groove deeper than many funk tracks by virtue of one perfectly written stand-up riff).

This facet of the music definitely makes it stand apart. The prog boys will have something to nod their head in off-beat timing to, rock fans will be able to get into the relatively accessible song formats, and jazz-heads can find plenty of exciting new steps into uncharted waters. With this may come the greatest overall success of The Bad Plus’ newest album – a possible revival of contemporary jazz led by musicians unafraid of embracing the genre as a relevant modern expression. PROG definitely has memorable cuts on it, something that may be difficult for jazz virgins to find in other works within the genre. For this alone it deserves to be applauded along with the back catalogue of the group’s albums.

Ultimately, PROG is an album that should at least be checked out by anyone who can appreciate their music without vocal hooks. The sheer flair and excitement that comes through the recordings is infectious and lets one forgive (or even endorse) the tribute tracks strewn throughout.

Reid McCarter

December 10th, 2007