Review — Spotify's Many Songs Overshadow Few Kinks

Legal and glorious.

A few days ago, I said Spotify, a new music streaming service that allows you to build your own playlists, would end piracy. Well, I received my invitation to join Spotify yesterday, and it's pretty darn close.

The fun starts after registration and uploading local tracks (we'll get to that later.) With more than 15 million songs, I was able to search for "JEFF the Brotherhood" (band), and find "We Are the Champions" (album) and listen to it the entire way through.

Example: I have NO Lady Gaga on my iTunes, or in my computer. At all. If I were to (hypothetically) want to listen to "Born This Way," I could. For free. Legally. Is anybody listening to this?

Another plus is the ability to download the Spotify software to iPhone or Android smartphones. While connected to the Internet, Spotify can stream any song from its library to your phone. If you have enough storage space, Spotify also lets you save local songs to your smartphone.

This sounds too good to be true. The short answer is: yes and no. It is a fantastic application to download to your phone, and can even put new songs in a "reminder" space for you to listen to when you get back to your computer. The bad news is that you can only stream Spotify's music if you have a Premium subscription, costing $9.99 a month.

There are a few new songs you will not be able to hear while they're still selling buckets of cash on iTunes, or because the artist simply doesn't want to test their new material in this market. American labels have signed onto Spotify reluctantly, testing many — but not all — of their catalogues. So while you may have Mission of Burma's "Vs." or Lady Gaga's "Born This Way," you won't get Pearl Jam's deluxe edition of "Ten." But, as stated before, this is a very small price to pay for the multitude of tracks that are available.

Then there are the ads on the free version. Although you can listen to this music (relatively) non-stop, sooner or later, an ad for Spotify or some new record will jump into the playlist, momentarily breaking your train of tunes. Again, a small price to pay when the ads are the reason you can use this program.

Although the Facebook feature still doesn't make sense, nor is it explained properly, Spotify for your desktop offers what other services have not: A choice.

REVIEW:
(+) Huge catalogue
(+) Listen to entire albums or single songs at your own discretion
(+) Better, simpler, more comprehensive than any other streaming service.
(/) Mobile streaming could be fantastic — if you have a premium subscription
(-) Pesky advertising
(-) Only 20 hours a month? Harsh.


Final Verdict: 8/10

Spotify to Launch in U.S.

The game has now changed.

About two months ago, I wrote about the major labels' inability to partner with Spotify, a music streaming service that is wildly popular in Europe.

Similar to Pandora Radio, Spotify's free service offers streaming music from the Internet (for up to 20 hours a month). Unlike Pandora, however, Spotify allows you to choose exactly what music you want to listen to, rather than listening to a pre-programmed station that randomly selects songs based on your station.

How are the labels agreeing to this frighteningly perfect deal? Advertising.

Up until now, there was only one game in town that offered a similar deal. Rdio operates the same way, except the user must pay a minimum of $4.99 per month. With Spotify, banner ads sustain the free online service.

This doesn't mean you absolutely must see banner ads while listening to all this legally free music. For $4.99 per month, Spotify offers a "Premium" service that removes the banner ads. And for $9.99 per month, the service will allow you to download software that supports Spotify on- and offline.

Spotify offers more than 15 million songs to the user's disposal. These songs are coming straight from the Big Four: Warner, Sony/BMG, Universal and EMI.

Similar to the "YouTube" deal I outlined in that previous blog post, Spotify will finally test the American music market in a way that it has never been tested. Major labels will now see what the long-term effects are of ad-supported music, and consumers will finally be able to test the lifelong wish of having a worldwide library at their disposal.

So what does this lead to?

1. The End of Piracy (maybe)
This will never be a full-truth, but seriously; with an Internet connection, what is the need for piracy anymore when the majority of desired music is completely at your disposal?


2. Better Competition
So far, the major players (Amazon, Apple and Google) have proved that their music services have been somewhat inefficient. Amazon and Google take too long to load and don't support protected files, and Apple is fairly expensive compared to any of the aforementioned plans.

3. Upward Profit for the Big Four
This is a tricky one. But, if like the YouTube videos, advertising proves to offer its services where the American wallet does not, this could mean big profits for the record labels. If the consumer decides not to pay for music, what's to keep the private sector from keeping the labels afloat for now?

Like I have said before, all you need is a digital-friendly service. If you offer it, they will come.

What do you think about Spotify's plan for the U.S. market? Comment below!

Dave Grohl Throws Fan Out of Show for Fighting

Nobody is getting the best of Dave Grohl.

It's a very common scenario: One person starts a (relatively) harmless moshpit, others join in. Sooner rather than later, some kid with a grudge against people and a taste for literalism starts punching some slam-dancers.


It can ruin a fun environment that's usually borderline safe. But Dave Grohl is having none of that BS.


Foo Fighters frontman Dave Grohl kicked a fan out for taking a moshpit a bit too far after fighting some other fans at last night's show in London's Roundhouse.


Here are the choice words Grohl had for his fan:

“You don't fucking fight at my show you asshole. Let me see him, who's fighting right now? It's that guy in the stripped shirt. Hey motherfucker look at me, get the fuck out of my show right now.”

For those who don't understand these things (and not many do): you push your way in, you push your way out, you move around a little. It's actually a lot of fun when done properly.

But there is always, ALWAYS one person who has been to too many Lamb of God shows and thinks these are meant to be soccer hooligan fights. That's when people get seriously hurt and Grohl should be commended.

He's not the first to act this fierce to a fighting faux pas. Emocore pioneers At the Drive-In were notorious (as are their reborn counterparts The Mars Volta) for berating the crowd or even walking off the stage if there was excessive slam-dancing. Check them out below during a 2001 show at Big Day Out in Australia:

The crowd ignored them. Many booed the singer, Cedric Bixler-Zavala. The next day, a 16-year-old girl was trampled by the massive crowd at a Limp-Bizkit concert.

This seems odd today, especially because it's so hard to remember anyone being that devoted to Limp Bizkit.

But Grohl made a smart and classy move: Cover your ass and assume no liability. Also, I'll bet the fans wanted this jerk gone, too.

More Details on Mic Todd's Walgreens Robbery

More has emerged from Coheed and Cambria bassist Mic Todd's robbery of Walgreens. You can read the details on Rolling Stone's blog here.

What sticks out here is that Todd's opioid withdrawal and the consequential lack of an available prescription could have felt as if he was in a deathly circumstance, as referenced by Dr. Dan Alford from the Boston University School of Medicine.

EDIT: This article was edited at 12:23 a.m. on July 13 to correct the effects of opioid withdrawal.

Rebecca Black Could Bring About World Peace

I don't believe a single hippie or music fanatic that has ever said that their music (many times the Grateful Dead or Phish. It's always some jam band that "you totally have to hear live.") could bring about "world peace" if everyone just listened to it.


It's seemed as if it was a lazy, inflated swoop statement. Until now.


According to Billboard, teen (ahem) sensation Rebecca Black will release a new music video July 18 (on Monday, damn) on her YouTube channel. The song is called "My Moment," and details the rise to Black's "stardom."


"It's a fairytale story, but it happened in real life," Black said in a statement.


Black, 14, is also planning a five-song EP for early August.

This is the face of freedom, America. Fun fun fun fun.

If you read this blog regularly, then you are probably asking why I am writing about Rebecca Black.


I believe the music of Rebecca Black is the closest to unifying everyone in the world — or at least the United States — under a single flag.


I challenge the reader to consider the worst song ever. It doesn't matter what genre, artist, year or label. It needs to be two things:


1) Massively produced so that more than 1,000 people have heard it, and
2) You hate it.


Okay, now that you have it in your head, compare it to Rebecca Black's "Friday." While the other song makes you furious, "Friday" is one of those rare occurrences of something so bad that it is good (see Tommy Wiseau's "The Room").


I know I'm not breaking any new ground here whatsoever. But if several people can have a positive reaction out of something so negative, what can't we accomplish?


Which is why I look forward to "My Moment." It has the opportunity to, once again, prove that Democrats and Republicans can dance to the same linear tune in full ironic merriment.


Again, I don't mean to pick on Rebecca Black. In fact, I could see most 7th and 8th graders actually liking her song if she were to perform it at a high school talent show. But she has stepped into the major label limelight, and should expect such treatment.


If anything, we should be thanking her.

Coheed and Cambria bassist admits to robbing Walgreens

Mic Todd, bassist for progressive rockers Coheed and Cambria, admitted in Attleboro District Court today that he robbed a pharmacy for painkillers on Sunday.


The Sun Chronicle, Attleboro's daily newspaper, reported that Michael R. Todd confirmed his robbery of an Attleboro Walgreens after he saw footage and photographs from surveillance cameras identifying him as the culprit. Attleboro District Court records show he is charged with armed robbery and possession of a controlled substance.


Todd was arrested Sunday for allegedly robbing the pharmacy for OxyContin painkillers just hours before the band performed in Mansfield, Mass., with Soundgarden.


Police said that Todd, 30, showed a note to pharmacists in Attleboro, Mass., claiming he was hiding a bomb underneath his clothes and demanded six bottles of the painkillers. 


Todd's defense attorney, Sandra Ferreira, said that the prosecution may not be able to prove armed robbery, because Todd never brandished an actual weapon.


Todd then took a cab to the Comcast Center in Mansfield, where Coheed and Cambria was supposed to open for Soundgarden. He was arrested before the show, after the cab was identified via surveillance footage.


Co&Ca frontman Claudio Sanchez has stated on the band's Facebook page that the band will continue to play the remainder of the tour, and that Todd would be replaced by studio band member Wes Styles, who also plays keyboards for the band.


“We are surprised to say the least and will address the situation with Michael after the tour,” the Facebook posting said.


This is by no means Todd's first run-in with illicit substances, however. During the European leg of touring for Good Apollo, Vol. 1 in 2006, he left the band for rehab due to heroin addiction.


What do you think of Mic Todd's arrest? Comment below.

Battle of the Music Clouds: Google vs. iCloud vs. Amazon

Three services recently announced their plans for a cloud computing service for music. Google was the first to rumor that Music Beta by Google was in the works. Then Amazon released Cloud Player, available with a free 5 GB storage space. 

Now, the gauntlet has been thrown down. Apple announced Monday that iCloud, the newest computing service offered by Steve Jobs & company, will be released in the fall.

With so many choices looming around, which one could possibly receive the plurality of the consumer vote? Let's put them to the test.

ROUND 1: INTEGRATION

This could be the most important aspect out of all of them. Apple has shown that more expensive products but complete horizontal integration can succeed demand, even in a recessed economy. This is a heavy decision.

Google Music — Google earns kudos for adding Google Music to the many, many applications already available to Gmail's users (this will happen once the beta is a full-blown application.) Users can listen to their music on any computer at any time, so long as it's connected to the Internet. It also allows users to download a free application on Android phones, theoretically eliminating the need for an iPod. While the app is not available on older Droid models, most recent models with powerful computing power will be able to use the update.

But here's a huge problem for Google Music: Because Google was not able to settle with the Big Four record labels, DRM files (purchased songs) are not able to be uploaded on the music cloud. This could be a problem if you're like me, having at least 1,000 songs downloaded from iTunes. Look for this to be resolved in one year, but it's very likely it won't be.

Amazon Cloud Player — Cloud Player is also available for many smartphones, including apps for Palms, Droids and Blackberrys. However, a huge miss on Amazon's part: integration with the Kindle. Several people read and listen to music at the same time, and what better way to do so than to combine electronic devices into one integral device? Don't be surprised if you see a new version of a Cloud-compatible Kindle by summer 2012.

Apple iCloud — No offense (as I write this on my wonderful MacBook Pro), but Apple holds several similarities to Scientology: Both are considered by many to be international cults that shell out more stuff correlating to how much money you can burn. But any time a user purchases a song from iTunes, that music is automatically updated to all of the user's Apple devices, not to mention that — for a small fee — all the user's music will be available on the iTunes server. The only problems here: If it's not on iTunes, it can't match up to iTunes' server. And everything you own better damn well be from Apple.

Round 1: Draw (Google and Apple)

ROUND 2: PRICING

It's still a big deal, considering more people are tightening their belts and wallets are thinning. For many, this will still be a heavy factor.

Google — Right now, it's free. What more can we say?

Amazon — Amazon is charging a whopping dollar per GB of storage every year, more than any of the services. So if you select that 50 GB plan (like I would), that's $50 out of your pocket. You may start out with a free 5 GBs, but most people will find this to be not enough.

Apple — Apple's website states additional storage costs $25, whether you want 5,000 or 20,000 songs.

Round 2: Google (for now)

ROUND 3: STORE

It's hard to get the public to trust you if you can't play fair with the labels and the artists. Let's see who has the edge here.

Google — No store, no points. Moving on.

Amazon — Amazon's store is pretty big (16 million songs in all), but doesn't have as many songs as iTunes, which has 2 million more.

Apple — In addition to outnumbering the number of songs on Amazon, iTunes still serves the most legal music downloads in the world, according to the International Federation of the Phonographic Industry. 

Round 3: Apple

ROUND 4: EASE OF USE

It doesn't matter who you are or how much money you spent on your service, inefficient programs are annoying. How do the players stack up here?

Google Music — After installing Music Manager, the device that uploads songs to Google Music's servers, on my computer, the first thing I noticed was the sheer slowness of the product. It's been two hours and I've only downloaded 200 songs!

But the scrolling and searching elements are vastly similar to any music library software, including cover art sections and even scroll bars that allow you to move through the music at your own pace. This seems like a non-element, but it's actually a luxury over the Internet.

Amazon — Again, Amazon is slow and doesn't upload songs with Digital Rights Management stamps. The service acts similarly to Google's, but the browser is more stripped down.

Apple — It's possible that this is complete bull, but Apple says that in addition to automatically pushing all content through the cloud, iCloud will also upload your music in a matter of minutes instead of days. And if for some reason your music isn't on one of your devices, tap the download button in the upper right-hand corner and it will be there.

Also Apple says it will upgrade all music files to 256 kbps AAC files, some pretty high quality for any Internet audiophiles. But this DOESN'T MAKE SENSE. Once a lossy file (such as an mp3) is compressed, there is no way to retrieve that data. So it could be a file good enough for an audiophile, but the sound sure won't be.

Round 4: Apple (for now)

Notice: This is not going to be like "Mad Max Beyond Thunderdome." It will not be two men enter, one man leave. This will be a drawn out clash between two computing behemoths. 

This is now the Wild West of the music industry.

Which service are you most likely to use? Comment below!

What You Already Know: Kanye (officially) releases 'Monster' video

What can we say? Kanye West knows a thing or two about losing a head.

Leaked last Christmas just after the epic "My Beautiful Dark Twisted Fantasy" was released, Kanye has officially unveiled the "Monster" music video, featuring a full cast of Rick Ross, Jay-Z, two Nicki Minajes and a whole mess of dead women. The video can be found on Rolling Stone's website here.

It's a big deal. Seriously. In fact, West has printed the final product with a prelude that reads:

The following content is in no way to be interpreted as misogynistic or negative towards any groups of people. It is an art piece and it shall be taken as such.

Unfortunately, I'm skeptical on that part. But the lighting and makeup work is fantastic, albeit rather late. ANYWAY, I will let the viewers be the judges.

What do you think of the new "Monster" video? Comment below!

Weezer cover Radiohead's 'Paranoid Android'

Looking for a classic redux? Look no further.

Neo-power-popsters Weezer got a little post-modern Friday when they posted their cover to Radiohead's "Paranoid Android," arguably OK Computer's best song.

And just in time (sort of). Lead singer/guitarist Rivers Cuomo's Twitter says he's writing new material. For those of you that haven't enjoyed Weezer since the Make Believe days, that's why I said sort of.

ANYWAY, the cover sounds really good. The key change is nice and ambient, sounding vaguely like a boosted Slightly Stoopid. But you don't have to take my word for it. Just listen for yourself.

Facebook to partner with Spotify for new streaming service

And the services just keep coming and coming, but America is missing out again.

According to Parmy Olson, a Forbes blogger, Facebook is partnering with the ad-free music-streaming service Spotify to provide a music service for the social networking site.

"Spotify on Facebook," or "Facebook Music" (they haven't picked a name yet) will allow users to listen to songs with their friends simultaneously. No money is being exchanged in the deal and Spotify will get no extra advertising with Facebook. It is strictly an integration via Facebook.

Facebook founder Mark Zuckerberg has expressed excitement about the deal, signifying that Facebook is finally getting the music service that Last.FM couldn't provide. But one major part of the deal is still missing:

AMERICA
Currently, Spotify only functions in (hold on to your hats) Finland, France, Norway, Netherlands, Spain, Sweden and the United Kingdom.

Spotify has yet to solidify a deal with the United States market, mostly due to the fact that America remains the No. 1 music market and labels are wary of a full-streaming service with no ad revenue (even if Spotify asks premium users to pay). That's a LOT of cash that labels think they're losing. But what the Big Four is missing out on, similar to the illegal downloading prosecutions in the early and mid-2000s, is the globalization of the digital marketplace, and the numbers prove it.

According to the International Federation of the Phonographic Industry's 2010 report, digital market services increased by more than $4 billion in revenue in six years. Physical distribution revenue is at an all-time low, as more and more chain and mom-and-pop record stores continue to close nationally.

In addition, music videos now make more money than ever with the advent of YouTube and the industry's new embrace with the video service.  For X hits on a specific music video, the label receives a small cut from YouTube. Don't think that makes cash? Think of all those Justin Bieber videos with 250 million-plus views.

My question is this: Why can't the music industry offer a similar "YouTube" deal to unlimited music services? For example, every time a person listens to a song, Spotify would give royalties to the record labels for their licenses of the songs.

Countries that use Spotify, Sweden for example, have seen increases in overall music revenue since the illegal download boom. Why? IFPI quotes Jonas Sjöström, chairman of the Swedish independent labels body.

"This kind of growth is achievable when you have a combination of good user-friendly digital services and a deterrent response to piracy," Sjöström said.

And maybe he's on to something. After all, Sweden is the birthplace of torrent masters The Pirate Bay. If they were able to overcome that very simple and vast piracy service, maybe the U.S. could, too.

Now, it is possible that American distribution could falter. Spotify and other streaming services could be the downfall of the American industry. But when the industry is making less money than ever before, maybe it's time for a change-up in the game plan.

Wavves announces new EP via Twitter

Wavves at SXSW 2009

Not much information yet, but noise/surf-rock trio Wavves tweeted today that the band is working on a new EP.

Here's the Tweet:

No title yet but t'll come out this summer and it will have a track with fucked up and best coast + one more collab shit will b bonkers

Very nice, Nathan Williams. And it's especially nice that Best Coast and Wavves can bury the hatchet after an ugly end to 2010. But the real surprise here is a possible collaboration with Toronto hardcore outfit Fucked Up. A joint work between these two groups — Wavves' groovy surf riffs and the Fucked Up's natural, crunchy aggression — could either be as dynamic as chunky peanut butter.

Check out the video below for Wavves' summer 2010 hit "Post Acid."

Review | 'Nine Types of Light' | TV On The Radio

Brooklyn group provides the soul in their most intimate release yet.

8/10
[Interscope, 4AD]


It's difficult to use the phrase "in a nutshell" when referring to Brooklyn-based TV On The Radio. The quintet's alternative funk ambience defies the very words used to describe them. Guitarists Kyp Malone and David Sitek have been too difficult to pigeonhole, throwing listeners for a loop on every record.

With 2004's Desperate Youth, Bloodthirsty Babes, they were known as an artsy indie band. Two years later they were stark and anthemic on Return to Cookie Mountain. But 2008's Dear Science was a break from the more introspective, bringing hard-hitting soul to the mix.

And three years later, TVOTR is looking to improve on Nine Types of Light, with a tried-and-true formula that we saw so fluently executed on Dear Science.

The bombastic audacity of Dear Science is not as truly evident on this record. Rather, the soulful music is used on the opposite spectrum of rock, casting an intimate mood in the lyrics. Singer Tunde Adebimpe plays his role dynamically, as evidenced in the first track, "Second Song."

An earnest Adebimpe sings to open the record, “Confidence and ignorance approved me, define my day today / I've tried so hard to shut it down like an oath, gently walk away. The track rolls along, hitting brief, accidental choruses that give the impression that we're in a gospel revival, and Adebimpe is our get-down minister.

Risking irreverence, it is also fair to say this is TVOTR's sexiest record. Highlights, such as the ostinato roll on "You," or the intimate single "Will Do," provide sensual slow jams with enough heart to avoid cliché.

One can live without the future single “Keep Your Heart,” which lulls on for a seemingly endless period of time. The chorus, "I'm gonna keep your heart," sounds more possessive than loving.

But the record is certainly catchy; even the beautiful acoustic “Killer Crane” provides a well-needed break from the dance-heavy front side. But the one thing TVOTR fans will need to overcome to enjoy the record is its lack of versatility. The eighth track, “Repetition,” is witty, but constantly regurgitating, “My repetition, my repetition is this.”

It’s cute, it’s catchy; it’s also a re-hash of umpteen other moments on the album. Yes, it certainly provides the perfect lyrical significance that we haven’t heard executed since the Red Hot Chili Peppers’ “Give it Away.”

But still, with something as consistently ever-changing as TVOTR, the rhythm section is at its finest. Drummer Jaleel Bunton’s beats hit with in-your-face fervor, and bassist Gerard Smith’s lines are as loud as ever, albeit less accented and a little more difficult to decipher.

That being said, most listeners will appreciate the new music, especially the long-awaited riffs that are inherently fun. And there’s certainly nothing wrong with throwing a few foxy crunches our way, is there?

The good, bad and inconclusive : 'Google Music' testing underway

iTunes could finally have a legitimate competitor in Google.

CNET reported multiple music industry sources say that Google is testing its prototype music service on its own servers. With the title "Google music," the service would work through the Android market.

But that's not all. The new application was supposed to be ready for late 2010, but the search engine is bogged down in publishing agreements with the four major labels: Sony, Universal, Warner Music and EMI.

While we don't know many hard details yet, there's going to be a lot of speculation until Google's I/O Conference in May. But if you're a consumer, Google Music seems like an endgame to this era's battle with the music industry. Outlined below are some of the situations that Google, the music industry and consumers will have to deal with, should Google Music be launched.

ON CLOUD NINE 
You know how Google Docs works, right? A document is saved on your Gmail account, and you can access all your work from any computer, all the time, via your email. This is cloud computing, the device that Google has excelled at more than any other service, even though they're losing millions of dollars every day by giving it to you, the consumer. That's because they make all this money back (and much, much more) in search advertising. It's a service, it's free and it's simple. What consumer doesn't want this?

Just think of your music library in this style. Imagine all your (legally) downloaded music, on a cloud. And while reports indicate Google Music would most likely be a streaming service, that's still your library that you can pull up at any time. And if you have an Android phone with 3G/Wi-Fi, it could all be on there too.

THE GOOD NEWS (FOR PEOPLE WHO LOVE BAD NEWS)
It could be a while before we see this. Even if tests are going well on the Google homefront, it doesn't change the fact that Google doesn't have any music to stream. And even with the four majors in talks with Google, we're not taking into account the independent labels that don't upstream or publish via a major.

Could Google even afford the amount of royalties these labels would charge? If you think the RIAA charged a bit much for a couple of downloads, Google's library would surpass tens of millions of dollars in mechanical licenses and song royalties. At that point, it doesn't matter how many people are using your open system, someone else is probably going to have to pay.

BITTERSWEET SYMPHONY
Some things are still inconclusive about Google Music, the largest question being, "What will become of the music industry?" If Google begins to wage war against iTunes, prepare for a long, ragged dogfight.

If you give a moose a muffin, he'll probably want some milk. And pretty soon Google will need its own MP3 player. And then its own recommendation engine. And then a doppelganger to Genius. The list goes on an on. Similar to iTunes, Google is a prime example of the benefits of complete vertical integration.

The difficulty in seeing how this specific situation plays out: Who is willing to give up their iPod and iTunes to take a chance on Google? While they by no means have a monopoly (digital downloads only received about 31 percent of total music sales in 2009), iTunes is definitely the banner name for digital music. And what about other subscription catalogues like Rhapsody?

When you're running up against an Internet giant who might as well have "We own you" as its slogan, smaller music services will have a tough time competing with Google's potential streaming service.

Dance Gavin Dance embattled on 'Downtown Battle Mountain II'

8.2/10
[Rise Records, 2011]

A couple of weeks ago, Dance Gavin Dance scream vocalist Jon Mess described their new release as “a chaotic mess,” a narrative that closely reflected the band’s emotional state. The day of this week’s release, Downtown Battle Mountain II, clean vocalist Johnny Craig finished rehab for multiple addictions. Craig, who returned recently after being forced out of Dance Gavin Dance following the original Downtown Battle Mountain, canceled all his shows save DGD and his other band Emarosa, an outfit with buckets of buzz at the apex of MySpace’s musical exposure.

With his close ties to social media, it should come as no surprise that Craig would front a band with the musical mentality of a seventh grader that knows how to play just about every harmonic riff and lick in the book.

And here we are again. Back with Dance Gavin Dance’s original lineup (minus guitarist Sean O’Sullivan), for a continuation of their first LP.

The assumptions are true: The sounds are quirky, soulful, apocalyptic, scattered, melodic and dissonant all at the same time (to name only a handful of adjectives.) The record is confusing, no getting around that. But DGD’s juxtaposition of funky-punky instrumentation, high-range vocals and aggressive screams is what makes this band one of the most remarkable in today’s screamo scene. The sequel to Downtown Battle Mountain is a mess; in the same way Jackson Pollock’s dripping phase is a mess.

Meandering guitar riffs from brainchild Will Swan bounce from opposite speakers like a game of Pong. This is hardly a negative consequence, though: Swan’s virtuosity is a tight rambling of high frequencies and melodic up-tempo punches that spin your brain upside down at a rate of umpteen times per second.

Though it’s in line with every other DGD album to date, including the self-titled release and Happiness with interim lead singer Kurt Travis, DBMII makes a newly syncopated impression on old fans. Songs like “Blue Dream” and “Privilously Poncheezied” showcase Craig’s popular influences, making a strong case that his voice rivals the King of Pop’s on the second side of Thriller.

The eccentric songwriting brings immense humor to an emo scene desperately in need of some honesty. “Thug City” bluntly reminds us the main reason many musicians get into the business: getting laid. “Pounce Bounce” has Mess musing, “What’s it like to be an atheist? / Are you okay with suicide?” It can be pretty grim, but only if you’re not thinking of all the scenesters he’s fucking with.

Craig’s overt chauvinism is tired though, and eyes will roll with his shouts of “What color are your fucking eyes?” and “Dance Gavin Dance, baby!” that appear as the played-out form of a mixtape distributed on a Brooklyn sidewalk.

The only problem is that we’ve been hearing DGD shout about one-night stands and relationship problems since 2006’s Everything I Say is Royal Ocean.

But unorthodox compositions for the sole purpose of providing rhythm give way to frustration. There has to be enough people that might like to know why Mess is completely indecipherable on about 80 percent of the album, even when his rhythmic howling on “Need Money” is simply addictive. By the time “Swan Soup” — track 10 of 11 — hits your ears, some listeners might be ready to retreat from the battle.

To enjoy DBMII, you have to endure a few listen-throughs. But after noticing the seamless transitions on tracks, the twisting nonsense of DGD starts to hold some clarity. Some fans are probably going to be disappointed and frustrated with the band’s revamped sound and relatively carbon copy lyricism. But what frustrates others will excite people that are ready to see Dance Gavin Dance running in place: ever-changing, yet always the same.

Dropkick Murphys not yet ready to go 'Out in Style'

[7.7/10]
Born & Bred Records, 2011

The story has repeated itself several times in the last half century: A punk band puts out a few hits in their heyday and, in the midst of trying to get their swing back while changing hands over the past three decades, they keep playing those same hits that got them famous in the first place. And while Dropkick Murphys have always got new stuff to play for a hungry Irish audience, relatively new fans and skeptics might think the band is teetering on the brink of redundancy.

Let’s back up for a second, because this needs clarity. Taken individually, every one of DKM’s records is anthemic, a gusty combat boot to the face. After getting some considerable airplay with “The Gauntlet” off 2001’s Sing Loud, Sing Proud!, the Boston misfits became a punk staple with Blackout. Soon followed by The Warrior’s Code, unduely famous for only the raucous “I’m Shipping Up to Boston,” they released The Meanest of Times in 2007. It was their most ambitious album to date, breaking the mold that punk couldn’t use mandolins and banjos to rouse a crowd.

But here we are, four years later, and listening to their attempt at a concept album, Going Out in Style. DKM are still trying to break the mold, determined and hungry to be taken seriously, but are easily pigeonholed in their position as a good Irish punk band.

Again, it’s not to say the songs themselves aren’t good. “Hang ‘Em High” is a valiant overture full of wartime bravado, and the eponymous track is probably going to be playing in every northeastern pub by Major League Baseball’s opening day.

There’s also a tradeoff in listenability. Crunchier songs have more insightful, wise lyrics than ever before, including the single “Memorial Day.” Bassist Ken Casey and lead vocalist Al Barr wax poetic when channeling the concept’s narrator, immigrant Cornelius Larkin. “I was young and I wouldn’t hear it, you had opinions I had mine too / Just a kid with all the answers, pompous pride and not one clue,” shows that the Murphys have gained a sense of life’s teachings through all those skinhead years two decades ago. And the coupling of “Deeds Not Words” and the stripped-down jigfest “Take ‘Em Down” are uncanny protest folk songs worthy of the legendary name Woody Guthrie.

But, as mentioned earlier, there’s a rigid dichotomy between songs with good songwriting and others that are just unlistenable. Snoozefest ballads “Cruel” and “1953” seemingly do nothing to provide context to the concept, and don’t have as much gusto as previous greats “Forever” and “Fairmount Hill.”

And it’s difficult to give the Boston bruisers any lenience on the term “concept.” Bouncing from the mid-19^th Century-dated “Broken Hymns” and leaping to “Sunday Hardcore Matinee,” which references Bad Brains of all bands, it’s hard to take them seriously when they try to tell a story that hasn’t already been set up for them, regarding the massive amount of cover songs they strive to perfect.

When we take a look at the overall direction of DKM, however, it’s probably best if we pay attention to the band as their fans always have: with a sincere sense of appreciation. The band doesn't necessarily have to keep playing the same blue-collar, northern Isle tunes over again, but they do because their fans devour it, and they have fun playing it. Whether listening to a studio recording or watching the 2009 performance of Live on Lansdowne, it’s obvious that the band has an insatiable appetite for having fun.

So when you finish the record to Casey and the great Bruce Springsteen throwing their gravel-filled voices across the bar on “Peg O’ My Heart,” you’ll remember the band’s not doing this for the exposure on Fuse, or a stuffy label that wants more pop sensitivity. They just want to play the damn tune one more time. Now that’s something to which I can raise a glass of Guinness.

Selected Songs: "Take 'Em Down" | "Memorial Day"

Dropkick Murphys release "Memorial Day" single

Punk has been getting pretty damn ambitious lately, and it's not just limited to the art scene.

Boston blue-collars Dropkick Murphys' seventh album, Going Out in Style, is reported by Rolling Stone to be a concept album. The record, being released on March 1, tells the life story of an Irish ragamuffin immigrant. You can listen to the single "Memorial Day" here.

I've been listening to DKM a long time. It was the first modern punk band I was introduced to that didn't sound like blithering gaggle of brats crooning about their tough suburban lives. It seemed to be made in heaven; ah, to be young and Scotch-Irish.

But for the first time since I picked up Blackout and tried to sing like a nicotine-addicted curmudgeon, I'm a little worried about this. It's been four years since The Meanest of Times, the longest gap between albums that the band has seen. And the departure of hook machine Marc Orrell should send up red flags for longtime fans.

But still, the Boys on the Docks are making moves here. The album apparently has vocals from NOFX frontman Fat Mike and the traditional "Peg O' My Heart" will feature — wait for it — Bruce Springsteen.

Allow that to sink in, hold your breath, then rejoice.

EDIT: Or, better yet, you could roll down the window, and let the wind blow back your hair.

Circa Survive TONIGHT at The National in Richmond, VA

Going into one of my classes, I always sit down next to the same person; let's call him Matt. Anyway, Matt is one of the five Circa Survive fans that I know personally on the face of this earth, including myself. So you might imagine my jubilation when Matt tells me Wednesday that prog-punk band Circa Survive is going to begin their spring tour in Richmond tonight, co-headlining with Christian hardcore outfit Anberlin and the experimental Foxy Shazam.

Although this is completely late notice, you're still in luck. Tickets are not sold out, and the National is a fantastic, intimate venue. On top of all that, Circa Survive puts on a show that I can only describe as fucking sick.

Is It Live?: Grammy Performers Announced

Arcade Fire might want to make a record in the month of May, but they'll be performing it in front of the entire nation at the 53rd Annual Grammy Awards.

The Grammys announced the first line of its performances this morning. Those taking the stage at the Staples Center on Sunday, Feb. 13 will be Arcade Fire, Eminem, Cee-Lo Green, Lady Gaga, Miranda Lambert, and Katy Perry.

I don't really get excited about the Grammys. Actually, scratch that; I despise the Grammys. As the highest award of the National Academy of Recording Arts and Sciences, the Grammys have rarely lived up to its promise, generally considered by critics as a staple within the industry's top professionals to execute a self-aggrandizing event, as well as systematically ignoring the major efforts of many independent labels and/or non-established genres of music.

BUT, I'm going to see where this goes. Arcade Fire — who are nominated for Album of the Year, Best Alternative Music Album and Best Rock Performance by a Duo or Group With Vocals ("Ready to Start") — are coming off the high of critically acclaimed The Suburbs, which was consistently on many critics' top 10 albums of 2010, including mine.

Eminem is carrying a whopping ten nominations for various ventures in his new album Recovery, including Album of the Year, Best Rap Album and Record of the Year ("Love the Way You Lie"). Cee-Lo is still reeling from the soul knockout "Fuck You,"which is instantly recognizable at any decent party, Miranda Lambert's Revolution was a critical, Nashville sensation, Lady Gaga's always a fun, hot mess to watch on television, and Katy Perry was ... well, she was on Sesame Street. Remember that?

Easy there, Elmo. Her eyes are higher up.

But if Arcade Fire's first Grammy performance is anything nearly as electrifying as the beautiful shitshow that was their YouTube Madison Square Garden concert, it'll be one hell of a gig.