Sometimes I wish was like...Kate Nash

I love Kate Nash.

I hate Kate Nash.

Yep. And how.

Actually, truthfully, I want to be Kate Nash. And not in a creepy psycho way, I promise. The girl is freaking adorable. I want her wardrobe. I want her hair. I want her beguiling smile and her pert little nose. And the lilt in her voice. (I don't actually want her boyfriend, though. I like his band and I go see them whenever they're in town, but he seems kind of dirty [the unwashed kind]—maybe it has something to do with seeing him three nights in a row where he spilled beer and bled on himself and wore the same shirt each night, with the beer stains. But really, it's all about personal preference, and this is not a judgment at all. My friends all would. It's just me. So really, it's lucky for him that I'm not her.)

Barring that impossibility, I want to be best friends with her.

And barring that, I'd like to shake hands with her. She's accomplished a feat that few ever do—expressing such basic and universal emotions, situations, insecurities, personalities, all those things, with such cutting incisiveness and disarming wit.

And then I'd like to ask her, "What the hell were you thinking?!" about the other half of her album.

It boggles my mind that an album that has such amazing and insightful songs on it, songs that inspired me to listen to just them on repeat for TWO WEEKS STRAIGHT, could have an equal number of just awful, cringeworthy ones as well. I guess no one's perfect.

This past year, I've had to suffice a lot with listening to bands' albums instead of seeing them live. I've listened to Kate on repeat a lot (as I mentioned) and I tried not to think about how I missed her three times in New York. Well, last night at the Bowery Ballroom, it was finally my turn.

And she's so charming and disarming and the songs of hers that I love I love so much that I'll probably have to see her every time she's here. And yes, I gritted my teeth through the awful songs, but looking up at her cuteness almost makes them bearable.

She started out with "Mariella," which is a good, bouncy opener.

Then launched into "Shit Song." No comment.

A b-side, "Stitching Leggings," followed, but the vocals were so low you couldn't hear her verbal gymnastics in the chorus very well.

I don't have the exact setlist (yes, I'm a bad blogger), but the rest included "Skeleton Song" (a surprise favorite of mine, considering I had no imaginary friends growing up, though perhaps I do now—Facebook holla!)

"Birds." Sigh. She sounds so wonderful singing it, and I love the adolescent awkwardness and the sweet story, but the actual chorus lyrics make me wince.

Hearing the opening notes of "Nicest Thing" is like getting punched in the gut. But in a good way. I have a friend who can't even listen to it because it resonates so true.

I think that the entire night was worth it, including the young audience making me feel over the hill and the two women behind us singing at the top of their lungs, off-key, not knowing all the words (I sing too, but when I don't know the words, I don't sing ones I've just made up), just to hear "We Get On" live. This song is me in a nutshell, in my hopeless crushes and patheticness and, I don't want to say obsessiveness, because it's such a strong word. But not in an embarrassing way. If it was embarrassing, someone wouldn't have written a song about it. And as Kate says, "I wish that I could tell you face to face instead of singing this stupid song." And that's enough for me.

"Dickhead" turned out to be a bit of a comedic song, since the people next to me started laughing. I just thought fondly of my friend who asked me to shout out for it and was glad I hadn't had to.

"This is my brain, its torturous analytical thoughts make me go.... insane." Amen, sista. "Mouthwash" is the song of hers that seems to get stuck in people's heads most often.

I will never get tired of hearing "Foundations." Live, recorded, home videos of us singing, what have you. This song is so good, that after telling me it wasn't worth $10 to (legally) acquire Ms. Nash's album at Virgin Megastore, a friend of mine backtracked and said, "Actually, it's worth $10 just for 'Foundations' alone." This is true. It's also true that after hearing this song the first time, as a friend asked me, I did think Kate was going to turn out to be edgier. But I like kitsch. So it's all good in the end.

Everyone's favorite but my own, including Grey's Anatomy, "Merry Happy" ended the main set. I can live with that.

For an encore she did the storytelling "Little Red" and then "Pumpkin Soup." Oh, how I think she needs a better closer. It's not just because I don't like that song at all. Okay, yes it is. I don't like it. I think that singing "Foundations" as the very last song would be better. But I'm partial.

I'm also partial to Kate in general. I can say that some of her songs are shit, but if you talk shit about her, you'll have to answer to me. And I'm from Brooklyn, so you really don't want it to come to that.

Damn the Man

"You have good taste in music. For a girl." I've heard that one too many times. Next guy who says it to me is liable to wind up with a black eye. I often find that discussions arise regarding women and music, women in music. I'm always inordinately pleased when a male respects my taste in music, who looks at me as someone knowledgeable. Why should that be, though?

Any female who is very into music winds up in these discussions. I've rounded it down to the fact that male attitudes towards females regarding music—whether it’s as a music fan or as a musician, whether in the press, the industry, or as a listener—is one of the last remaining sexisms.

Men are comfortable stating their beliefs—vociferously, as fact. Women? Not so much. We tend not to speak up for fear of sounding stupid, and worsening our case. Even when we know what we’re talking about. And even when we do speak up, men who disagree with us think we’re silly and wrong because we have different opinions than they do. Opinions are not fact, they’re opinions. But expressing ours opens us up to being torn down in a way men never have to worry about.

We're criticized for squeeing over cute band members, looked down on as groupies and fangirls, but men never have to answer for admiring attractive female musicians.

We pay more for haircuts and dry cleaning. Yet we are increasingly gaining top positions in companies. But if you look at the music industry, it’s sorely lacking females. Whether it be journalists, executives, or real, proper, good bands.

A while ago, I noticed how the majority of the newly successful female or female-fronted bands have reverted to old-fashioned sounding music, or even just a bit retro. The Pipettes, The Chalets, The Long Blondes. They’re all reminiscent of the female bands of yore. (Well, it seems like it’s been that long.) Why is that? Why can’t females be successful playing contemporary music? Why are there no dark-electro female bands, for example? There are very few female bands that are actually rock bands. Leila from The Duke Spirit is a fledgling. Karen O is our goddess and leader. Is it that we’re only capable of singing girly music well? Or is that we’ll only be accepted if we play that feminine, Supremes-shimmying type music?

I’ve had this rant in me for a while, but what inspired me to put it into words now? Lily Allen. A musician I have not supported because she makes more headlines tearing down people than she does making music (this case included). To me, her music just isn’t good enough to make up for it. Lily Allen was named as #3 on the annual NME cool list, a list which, this year, has an unprecedented number of female musicians. Which I thought, at first, could only be a good thing.

Then I read this. Lily’s latest infamous myspace blog entry. But I really respected and related to what she had to say. This is it in its entirety:

I probably shouldn't be writing this , but I have to get it off my chest . I am not a big fan of the NME , as they sold me down the river when I last talked to them , I did and interview and made a sarcastic joke using the word "gak" which is slang for cocaine . They glorified my joke and used it out of context , then their public relations dept , contacted the tabloids in a shameful attempt to sell more copies . And , I have ever since been known as " Lily Allen , Pint sized potty mouth popstar who once admitted she would celebrate her no 1 single by taking cocaine ! " .
Thanks NME . Now , I have read many articles in the NME , where male band members freely admit to, or associate themselves with the taking of drugs , and I havent seen many of them ending up in the tabloids . Take Klaxons for example, and the ongoing MDMA references. " MDMAZING " I believe was the title of a recent article ( how responsible! ) .
The only reason I can think of , for recieving such a different form of treatment , is because I am a woman . I did recieve a written apology from Conor Mcnicholas ( the editor) . But i vowed never to work with the NME agian . As I thought, if there was one publication I could trust and be frank with , it would be the theirs .

Anyway , I was aproached by them again , with regards to the "Cool List Issue 2006" , five women had made it into the top 10 and , subsequently we (the women) were asked to pose for photos to be the main feature for the cover . As I said before , I vowed not to work with them again , but as the context was so important ie; a a strong female presence in music . I thought i might aswell put aside my differences and do it . Now i don't care for " the cool list " , and I said this to them in the interview , which is probably why they didn't print it . I don't really think the NME are in any position to tell us who is cool and who isn't , personally I don't think a bunch of people sitting in an office drinking tea , inventing musical genres , and watching Nathan Barley DVD's are leading any kind of cool brigade , do you ?
But i did find it interesting that they wanted to put five women on the cover , and wanted to name 2006 , our year .

I went to get a copy yesterday , and this is what we ( the women ) got . Another fuckin MUSE cover . I like Muse , infact , Black Holes and Revelations , is one of my favourite albums of this year . But the NME have covered them so much this year already .

Now usually you might expect a call , just out of courtousy telling us we had been pulled off the cover , but we recieved nothing .

This is Conors ( the editors) comments on this issue , He has obviusly put out some press release , stating how supportive the NME is to women in music

Conor McNicholas, the editor of NME, said he was pleased that the Cool List was full of women who had brought "new energy" to the music world.

"This year's Cool List is a testament to the raft of hugely talented women who have taken hold of the music scene in 2006," he said. "From Beth to Lily to Karen, they've brought new energy to a scene dominated by men. They're also living proof that you can still rock a crowd when you're wearing stilettos."

I mean how fucking patronising " you can still rock a crowd wearing stilletos "
Is that all we are , stilleto wearing people , is that all he could say ,that we brought a " new energy" to the music scene . Don't make me sick , wev'e always been here you arrogant prick , this was your chance to actually show you meant it . And instead you put Muse on the cover . Cause you thought that your readers might not buy a magazine with an overweight lesbian and a not particularly attractive looking me , on the front . Wankers .

You should take your heads out of you New Rave arses , and actually think about your responsibilities to youth culture , and to women in general .

Oh and by the way , theres not enough RAVE in New Rave .

And all along, I thought it was breasts and vaginas that prevented us from rocking a crowd. Who knew it was just stilettos??

Let’s try and end this off on a more positive note. How long did it take women to get the vote? To become CEOs in companies? To be able to use birth control? Do you foresee things changing any time soon? And what has to be done to effect this change? Will it take decades, centuries? And should we just get off our righteous indignation and stop caring so much, and maybe then things will change?

It's written on the wall that you're sexy in Sheffield

Ey up! There was one band in town this CMJ season that seems to have eluded the blogosphere. It mystifies me, since this is a band that I discovered over the internet, and they're all much more up on things than I am.

Ladies and gentlemen, I present to you, Little Man Tate (myspace). I can hear you ask, "Isn't that a Jodie Foster movie?" Well, yes. It's that too. Dare I say that the band is better than the movie? It's certainly a lot more fun.

Hailing from the hamlet of Sheffield, most notably home of the Arctic Monkeys, though some of us prefer to think of it as the place that spawned Def Leppard, the band in its present incarnation sings raucous, raunchy, irreverent songs about the things they know best: drinking, parties, girls, relationships, sex, flirting, cross-dressing, lesbianism, texting, drinking, oh, and boobs. The irony is that if you have the good fortune to get a chance to speak to the guys in the band, singer Jon Windle, guitarist Maz (don't you love the one word names?), bassist Ben Surtees, and drummer Dan Fields, they are just like their songs.

The first song of theirs I ever heard was "Sexy in Latin," and it's still probably my favorite. I still wonder what "It's written on the wall that your sexy in Latin" means exactly, but who cares when the songs is so much fun to sing along to. Live, it takes on a whole new dimension, as you can't help but dance, and are treated to singer Jon Windle's acting out the song with hand motions. "Man I Hate Your Band" has one of the best sing-along-choruses in a long time, with every person sympathizing with the sentiment and thinking of their own pet peeve band. "What? What You Got" features one of those perfect musical moments--you know what I'm talking about--when the guitar joins into the bass intro. It's magic, I tell you. "Down On Marie" is a dance fest with an almost Southern Rock feel to it. "Hello Miss Lovely (So You Like My Jeans)" is a sweet homage to the misinformation and miscommunication that goes on between the sexes. "Just Can't Take It" has the loveliest jangly guitars, almost sounding a wee bit bluegrass. "House Party At Boothy's" memorializes the parties thrown by a mate of theirs back in Sheffield.

They played three shows in New York, and I nearly made it to all of them, but best laid plans and all. The first thing that struck me when they took the stage was, "Hey, they're a lot more dressed up then the last time I saw them." Though they profess not to care about being cool and all that, I suppose when you come to a place like NYC you want to put your best foot forward. And they did. Sometimes literally, stepping out onto a table, or into the crowd. We were treated to two new songs (or at least ones I hadn't heard before), "Little Big Man" and standout "European Lover." (I would love the lyrics to that one. Actually, to all of them.)

As if their stage performance and music wasn't entertaining enough, chatting with them after was worth the price of admission. They're famous for being extremely fan-friendly, and very hands-on with their internet following, including the names of all members who had joined their forum by 2005 on the back of the single, "The Agent." You can see why they inspire so much devotion. They'll buy you a drink. There's good-natured ribbing. They have genuine interest in you, where you're from, what you have to say. They'll give you a back rub. Maybe go do karaoke with you. And it doesn't stop with them; their crew is the nicest you could ever hope to encounter, even remembering you and greeting you like old friends the next time you see them.

So check them out. Listen to the songs. Go see them when they're back here. (I've got it on good authority they'll be back in March for SXSW.) You might even get a massage.

Trust me, though, this is one bandwagon you want to get on. It's too bad you can't rent them on dvd, like the Jodie Foster version.

My Little Brother Just Discovered Rock and Roll

And so we were all able to tell the difference checking out the Art Brut show last night at Bowery Ballroom. Having sat out Tuesday night’s show, I was told that Wednesday was the night with the “bad openers.” This proved to be only half true.

In general, when going to see a band like Art Brut, you’d expect some eclectic openers, and we’ve had to suffer through a few doozies in our time as Bruisers. When The Robocop Kraus came on, I thought, “This can’t be right.” Because they weren’t awful. I didn’t understand what the singer said the name of the band was, I thought he said they were from Sweden (nope, Germany), but the one thing I did hear him say is, “We're so excited to be in New York” with a big smile on his face.

It’s not vanity or ego. I don’t need everyone who comes to play here declare their love for my city. But it was the genuineness with which he said it, and then the enthusiasm and eagerness that they showed performing was infectious…they won over the audience. (A certain band who will go unnamed could take notes on that.) What could have turned out to be another nightmare set for a poor opener trying to pierce the too-cool shell of NY hipsters turned out to be so much fun. People were clapping. Cheering. Maybe even *gasp* dancing. They had fun, and they tried really damn hard, but eventually, against their better judgment, the audience had fun too.

I can’t really describe their sound. It was on the lighter side of indie, with keyboards. Not quite Maxïmo Park-like, though. A touch of 80's pop. The vocal stylings screamed Futureheads, but without the complex harmonies. Same way of delivery, and the singer even almost had the same voice as Mr. Hyde. I couldn’t stop smiling all the way through, and declared at the end that they were so adorable that I wanted to take them all home with me. I settled for spending $15 to take one of their cds instead.

And now we get to the ugly. Literally. And not ugly, even. Fugly. Gil Mantera’s Party Dream. I’d like to think that I have a decent sense of humor. I even managed to live through a Towers of London set with mild amusement. But if this band is supposed to be funny, then I don’t get it. I know it’s a strange thing to say, coming to see a band like Art Brut who themselves are a bit of a parody of a real band, but this band was less a parody and more a joke. The kind that you don’t laugh with, you laugh at. Or, in our case, scamper away from when they jump into the audience and wail, “Eeeew, he touched me” after not getting away fast enough. However, when they weren’t performing and the singer was talking, he was quite funny. Too bad he didn’t restrain himself to just that. Members of Art Brut were standing on the side watching and laughing, and I felt a feeling akin to the one I got watching Alex Franz watching and laughing the performance of The Evaporators when they opened for them at Roseland back in October 2004 - and feeling very much like I was just not cool enough to understand why it was so great.

They were part Towers of London (parody aspect), part Chromeo (electrified vocals), mixed with large doses of The Village People and The Full Monty. Luckily not the full monty. But more than I ever wanted to see. Not to mention that they were their own personal fluffers and would periodically stroke themselves inside their pants. As my friend MD said, “I don’t need to come to a concert to see that, I can just get on the subway.” I made my friend Jasmine take pictures, just because I know that no one would believe me without pictorial evidence. I warn you, though, your eyes will never be the same.











And now on to “Doug Brut.” What can you say about them? They’re just ridiculous fun. The kind of fun where you don’t mind the boys moshing and shoving you around, and you even for a split second think about joining them. The beer thrown was cool too, because my hair looks better with some beer in it, no joke. Eddie eschewed their setlist in favor of “requests” (which resulted in them playing their setlist, just in a different order.) Some of the same jokes as last time, but they make you laugh at them anyway. Mikey the drummer, as always, standing. And my oh my, how Jasper has grown. When we saw them back in November, he was new to the band and still a bit hesitant. No more. The attitude is pure rock and roll. The hair is now even more so. What an inspiration. I think I may go out and form a band…

The King of Chav Rock

Richard Archer is a chav. I've known this since the first time I saw Hard-Fi, the band for which he is the lead singer, back in July at the Mercury Lounge. And I'm American. But hey, every walk of life needs a hero, right?

This didn't keep me from venturing out to see the band again on Tuesday night at the Bowery Ballroom. In the interim since my first look-see, I've had time to listen to their album, Stars of CCTV (so what if it hasn't been released here yet?), and form an opinion of their music, not just their place in British society. In July I knew that I liked "Tied Up Too Tight," but didn't know much else.

My informed opinion wasn't the only change that night - their stage show had changed as well. We were surprised to see a backdrop with the CCTV logo and "HARD-FI In Progress" written across the top. Then when the stage was being set up for their performance, light machines were brought out. (Light machines? For an indie band?!) My friend asked a roadie if there were going to be smoke machines as well (partly tongue in cheek, partly because she doesn't like them.) His answer? "We're not allowed to use them here." Not "no," but "not here" (perhaps.) When the setlists were taped on, we noticed that they had turned it into a crib sheet. Next to "Feltham is Singing Out" (a song about a prison near where the Hard-Fi guys live) was "Rikers Island Prison" - a clear indication of their schpiel for the evening (though he proved unable to read the handwriting and my friend wound up supplying the name for him). There was also a note to remind Richard to mention the signing after the show (he didn't), as well as the the names of the opening bands scribbled at the bottom to thank (he forgot).

To me, this summed up the overall opinion I had formed of them - they're a bit cheesy. In the way that swaggering guys are. They're the guys who walk around as if they're hot shit. In some ways I suppose they are. They've done good. Real good. And their music is a study in contrasts. The good part is melodious, boisterous, and beautifully harmonized. The melodica features heavily in their music, and it's the best renaissance of an instrument in recent history. The prettiness of their harmonies stands starkly against the bad part of it, which is the musical equivalent of a guy in an Italian Stallion shirt, gold chains, hair slicked back with too much gel. The good, including the aforementioned "Tied Up Too Tight," "Feltham Is Singing Out," "Better Do Better," "Stars of CCTV," and "Move on Now," are quite enjoyable. The bad, such as "Cash Machine" which cloaks the story of a guy who gets his girlfriend pregnant by accident and then runs off in a good dance beat, is cringeworthy. It wasn't helped by Archer, at a pause in the song, cooing sexily, "Sorry, baby." Like that makes it better.

I'll admit that through the swaggering and cheese, I was waiting for the songs I like. If I blocked out what he was saying, I could even enjoy dancing to the music. And I did. Not everyone is as particular about their lyrics as I am or finds things cheesy as easily as I do. And Hard-Fi is a band for both kinds of people. Those who love them and those who just like them. You can enjoy them both ways.

Of course, the guy from London I wound up speaking to at the gig in July wouldn't agree with that. His take: "I couldn't like them. He's just such a chav."

I knew all along that I was right at the start

Now I come to the extremely difficult task of picking my top ten songs of the year. Some of them were easy - for example, my #1. I heard it in January, and I knew even then. But some of the others were hard, and a few are in grey areas since they're not official releases, and so I have to use the almighty "/" to pair them with a "real" song.

Without further ado...

Top 10 Songs of 2005

#1: Maxïmo Park - "Apply Some Pressure"

What happens when you lose everything?
You just start again.
You start all over again.

How do I love this song? Let me count the ways. I love it in the album version. I love it in the inferior single version, in all formats, original and rerelease, and on the US EP. (I'm not obsessed. I'm just thorough. Honest.) But most of all, I love it in the original demo version.

This song just fits me. It defined my year. Perhaps it will define my life? We'll see, but I'm pretty sure it will be one of the favorites of my lifetime. It speaks of loss and renewed hope, of the push/pull of life, and of getting up and starting again. It is an anthem for life.

#2: Battle - "Tendency"/"Demons"

Cause I mean everything that falls out my mouth,
I love you like family,
Yes, I love you like you don't know,
I’m moving on and up,
But I’m still the boy you knew;
I'm the boy who threw his arms around you.

I've previously waxed poetic about "Tendency." From the opening guitar chords, it gets under your skin and haunts you. Jason Bavanandan growls with urgency and passion, and it makes for the kind of song you get passionate about. Hearing this song was one of the pinnacle moments of Leeds festival for me. I'm a bit worried since they were having trouble laying it down for the single, and I've heard things about a string quartet being added. But since this song was not released this year, my backup choice is "Demons," also an excellent song, deceptively upbeat, though it hooks you with lyrics like:

I'll stick a fork into your side
Just to make sure you're alive
It'll jeopardize our friendship
But you've always hated that.

It looks like "Tendency" might have a shot at making this list two years in a row.

#3: Arcade Fire - "Rebellion (Lies)"

People say that your dreams
Are the only things that save you
Come on baby in our dreams
We can live our misbehavior

I think haunting is perhaps the keyword for my year, because this is another song that lulls you, starting off soft and melodic, and then exploding into accusation.

Every time you close your eyes
LIES! LIES!

Betrayal has never sounded so good.

#4: Arctic Monkeys - "Fake Tales of San Francisco"

His bird thinks it's amazing, though
So all that's left
Is the proof that love's
Not only blind but deaf

This song could have made my list for that line alone, but aren't we lucky, because it comes with oh so much more. From the begining guitar riff that can be described as nothing short of funky, through Alex Turner's piss-take of the posers and scenesters that we all run into and take the piss out of. This song is the one song of theirs I remember from their Leeds set. I remember everyone screaming, "Kick me out! Kick me out!" The breakdown before the bridge is some of the best guitar work I've heard in years. Except no imitations, though - the album version is inferior to the demo.

#5: The Futureheads - "Hounds of Love"/"Area"

...that I am afraid to be running away
From nothing real
I just can't deal with this...

When do harmonies become poetry? When they're put in the hands of The Futureheads. When does a cover become original? When put in the hands of The Futureheads. This song should be called a re-creation. It is impossible to hear this song and not have it get stuck in your head. But it's not a bad thing.

While "Hounds of Love" was re-released this year, "Area" was an original release. As infectious as any track on the self-titled album, it bodes well for album #2.

#6: Babyshambles - "Fuck Forever"
Happy endings they never bored me
Happy endings they still don't bore me
But they, they have a way
A way to make you pay
And to make you toe the line...
You're so clever, but you're not very nice

Zane Lowe version for me please. The single version was overproduced, and just generally didn't sit right with me. It's rare you can remember the exact time and place that you've heard a song for the first time, but I can with this one. It was the first song of Babyshamble's I had heard, just when I was getting into The Libertines and the Shambles. I stopped in my tracks. And I listened to that song on repeat. Another great moment at Leeds was being caught up in this mass of humanity all jumping and pumping their fists in the air, all singing along.

Oh Peter. Forever's not overrated.

#7: Nine Black Alps - "Unsatisfied"

So come back down from your daydream high
Lost for words when you sympathize
There's a million ways to believe you tried
Well I'm unsatisfied

Another song that gets you from the first few chords. There's a word that I'm looking for to describe the beginning guitar riff that eludes me. Ubiquitous is not right. But it's so good, I'm excited to be taking guitar lessons so that I can learn how to play it. This song is more subtle than many of the other Alps' songs, and maybe that's what makes it so remarkable. Sam Forrest shows restraint in his delivery, while conveying the dissatisfaction with life, and people,and their excuses that seems to be so universal.

So long since the one lit up your life
So long since you've heard from the world outside

#8: The Rakes - "Open Book"/"Retreat"

You are not an open book
I can't do nothing about that
But I'm worried
I'm overdrawn
What am I doing up at the witching hour?

Yes, dammit, I picked an album track. To me, all the other songs pale in comparison, though I know I'm in the minority. This song sneaks up on you. It starts off with synth, snaps, and simple drum beats, and then fills out with Alan's croon.. and then WHAM! Guitars! Drums! Woh-oh-ohs! And suddenly you're dancing around your room like a maniac.

It's hard to pick a single to round it out, but for me, the others were pipped at the post by "Retreat." The refrain is legendary.

#9: Interpol - "Evil"

You've come to love me lightly
Yeah you come to hold me tight
Is this motion everlasting
Or do shudders pass in the night?

Is there anyone who doesn't know the first word of this song? Sing it along with me... "Rose-ma-ry..." This is one of the few Interpol songs that I like. And I more thank like it. It's literate, it's lyrical, and melodical. And the chorus makes you just want to jump up and down.

You are weightless, semi-erotic

I don't know how one is semi-erotic, but it sure sounds alluring.

#10: Franz Ferdinand - "The Fallen"

Some say you're trouble, boy
Just because you like to destroy
All the things that bring the idiots joy
Well, what's wrong with a little destruction?

What's wrong with a little destruction, indeed. Destroying their assurance that their songs would never be too wordy, Alex Kapranos fits more words per square inch of song than Britney Spears even has in her vocabulary. I don't know if this has officially been released in the US yet, but the video's done, so it's being counted. It's hands down the best song on the album, and is such a leap ahead from their first album. Even if I'll never be able to learn all the words to sing along.

You are the word
The word is destroy

Apparently work on their next album is starting imminently.

So much to look forward to in 2006. Bring it.

Oh tell me, what did you expect?

Since every band worth talking about seems to be on hiatus over the holidays, I'll do some typical year-end roundups. Because I know you all really care how I rank the musical events of my year. Don't lie.

I've just recently compiled the list of gigs I went to this year (50+), so I'll start with my top 5 gigs of 2005. This does not include Leeds festival or Matt Nathanson because he falls out of the genre I usually write about. (I will one day right a massive entry on him, though.) Well, without further ado...

#1 gig of 2005:
Maxïmo Park at Bowery Ballroom, September 25, 2005


Do you know those gigs you go to, when it's a band you've seen a few times before, stating out from when they were small and unknown, whose music you absolutely adore? And then you're at this gig, and they play more music than they ever have, but they also play it better than they ever have. It's like they have coalesced, right before your eyes, into this professional and kick-ass live band, and you are completely blown away, even though it doesn't come as a surprise to you.

Yeah, it was one of those.

(Although, they'd better play "Acrobat" the next time they come through, which they've been doing at UK gigs.)

#2 gig of 2005:
The Futureheads acoustic set at Pianos and full band set at Webster Hall, June 6, 2005

The big deal about these was that I didn't really like The Futureheads up until them. My friends adored them, and I really liked "Hounds of Love," but I couldn't get into the album at all. It was interesting going to the acoustic show first. I think if a band is talented, it shines through in that sort of setting. And it works so well with their harmonies, because so much of the music of their songs is produced by their own voices. And I had so much fun at the full band show, which is saying a lot considering that I didn't know most of the songs very well. It made me walk out of there liking The Futureheads. In fact, I started to crave listening to them. And lo and behold, I liked the album (minus one or two songs) afterwards. Even loved it.

#3 gig of 2005:
Art Brut at Mercury Lounge, November 10, 2005

Modern art may not make me want to rock out, but these guys sure do. Another band I couldn't really get into prior to seeing them - though I loved a few songs and generally liked the songs, I just couldn't listen to them a lot. Frontman Eddie Argos turns the concert-going experience into a wry, jumping-around-like-an-idiot experience. Something for your mind, and your body.




#4 gig of 2005:
Bloc Party at Webster Hall, June 15, 2005


While I am still waiting to hear "Always New Depths" live, we heard just about everything else that night. The boys played two encores, smashed some stuff, stage dived and almost had to be dragged off stage. We almost had to be dragged out of there.








#5 gig of 2005:
Nine Black Alps, Hard-Fi, and The Cribs at Mercury Lounge, July 19, 2005

The great thing about living in NY is that we get to see bands that are big or are getting there in small venues. In this case, three of them on the same bill for only $10. The only band I really knew any music from was the newest band on the bill, Hard-Fi. I knew about two songs from The Cribs. But I came away loving Nine Black Alps, liking Hard-Fi, and thinking that The Cribs are fun. (I now really like them.) I've seen the first and last a few times more, and am seeing Hard-Fi at Bowery Ballroom in January.

Honorable mention:
Arctic Monkeys at Bowery Ballroom, November 16, 2005

I may be a bit down on the Monkeys for the attitude they showed, but I also really like a lot of their music and find it a bit addictive. This was the better of the two shows, and it was a good time all around.

More lists to come before the year's over...