The TrendRobot Marches On » Highly Recommended

The Huz reviews: Openers Need Love Too: Bad Rabbits

Chris Huzl — Thu, 13 May 2010 03:02:26 +0000

I first saw Bad Rabbits open for Foxy Shazam and their energy absolutely blew the audience away and had everyone steady-groovin’ by the end of their set. The Boston band brings a very refreshing high energy style of music with it. The “New Crack Swing” genre gives you a vibe of late 80s/ early 90s dance music mixed with some hard hitting funk/soul vocals and their live show is very in your face, with all the members dancing around and creating an interactive experience for the audience. If you’re looking to have a good time and get down then you need to for sure see Bad Rabbits on their next tour, hopefully as a headliner.

Their seven song EP, “Stick Up Kids”, is free for download on their website and is a must have. Throw it on your iPod or burn it on a CD and blast it in your car and prepare to have the songs stuck in your head for a couple days.

Watch. Listen. Download. Dance.

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Minus The Bear: Omni = “Bear Gone Electric”

Bryan Kinnear — Tue, 11 May 2010 16:53:05 +0000

Minus the Bear holds a special place in the hearts of hipsters and 20-something college students searching for meaning everywhere. Luckily they make good music for the rest of us too. Their new album OMNI continues their long standing run of fantastic album releases and shows the band is still evolving. What more could one ask for?! How about the same poignant and slightly melancholy lyrics? Check. This is very possibly the summer album this year, and by that I mean it screams “LISTEN TO ME WHILE SIPPING LEMONADE”. The up-beat electro-pop that is delivered on nearly every track is a breath of fresh air after the decidedly mellow Planet of Ice, their last release. If you’re a fan of Minus The Bear you’ve probably already picked this up, great job. If you’re unfamiliar with them, jump right in, this album is a perfect starting place for a newfound love for a band you should have been loving for years.

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And check out their video for My Time, the first track from OMNI

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Electro: Danger

Tobias Lee — Thu, 15 Apr 2010 14:56:00 +0000

Now I am generally not a huge fan of the genre, however in regards to this particular artist I am in awe of his talent. World meet Danger, a French electro artist who creates the most awesome, in my opinion, 16 bit teasers for his EP releases (if you are aware of him, forgive me for I know I am behind the times). Here is a taste for all you loyal trendrobots.

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New Band of Horses – “Compliments”

BRQ — Mon, 12 Apr 2010 09:13:12 +0000

Despite not remembering half of the Band of Horses show in Boulder, something about this song rings a bell. The first single from the upcoming Infinite Arms album, “Compliments” might be one of my favorite BOH tracks. So many other forums have already dismissed this as an “over-polished, studio-friendly” track. So what? Band of Horses lyrical prowess and guitar rock are far past being lo-fi noisemakers and are poised for greatness.

MP3: “Compliments” – Band of Horses

Preorder Infinite Arms from Amazon
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Album Review: Portugal. The Man push their creative thresholds on American Ghetto

Chris Huzl — Wed, 07 Apr 2010 04:32:23 +0000

Portugal. The Man has released a full-length album every single year since 2006 with each one having its very own, distinct style to it. This goes especially for the last three releases, Censored Colors, The Satanic Satanist, and the latest, American Ghetto. The reasoning behind their quick creativity could be due to the band releasing their albums independently. The band parted ways with Fearless Records after the release of Church Mouth. Since then, every album has been released under their own independent record label, Approaching AIRballoons.

American Ghetto caught everyone off-guard when John officially announced plans on the band’s website, less than a month before it came out digitally. John Gourley, singer and guitarist, and producer Anthony Saffery went to the studio and took yet another, different stylistic approach to the album. Whereas Satanic Satanist has some psychedelic rock characteristics, American Ghetto takes Portugal into a bit more of an electronic-infused realm. Gourley explains the writing process as such: “We discussed doing something a bit different from Satanist, doing something a bit more beat driven and just, overall, having fun with sound and doing something a bit more spontaneous.” What sets American Ghetto apart from other Portugal albums is that it is mostly mapped out with drum machine beats and a bit more produced than past albums. At the same time, Ghetto holds true to the band’s aesthetic.

American Ghetto features some infectious, hard hitting beat oriented songs such as “The Pushers Party”, “Do What We Do”, and “1,000 years’”. It also offers very mellow/groovy songs like “Just a Fool” and “Some men”. The final track, “When the War Ends”, is one of my favorites and sums up the album quite nicely. You really get the feeling that the band had fun making the song and is just one of those sunny day type of songs. American Ghetto as a whole is definitely a solid album, one I would recommend, and is yet another step forward for Portugal creatively.

The band has only pressed 16,000 copies of American Ghetto on CD but no limit on the Vinyl pressing. You can order the album in different types of bundles on their site, each coming with a digital copy that you can download immediately after purchase. If you’re feeling nostalgic, you can also do it the old fashioned way and wait and pick up the CD and/or Vinyl in stores on May 11^th. I personally would suggest ordering the CD online so you’re guaranteed a copy because American Ghetto is certainly an album worth having.

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[Music Video] Titus Andronicus – “A More Perfect Union”

BRQ — Tue, 30 Mar 2010 13:41:48 +0000

The title track off of The Monitor, the Titus Andronicus’ romping ode to the Civil War gets a visual collage of epic proportions (despite being a sufficient radio edit). “A More Perfect Union” normally spans about 7:10, but is cut to a more manageable length here without taking the main concept away.

The video mashes together the Civil War sentiment with the roughshed modern feel that Titus Andronicus mixes with every track on The Monitor. A less violent romp through the southern woods leaves the band victorious once again.

Titus Andronicus Official Site
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[MP3] Tokyo Police Club – “Breakneck Speed”

BRQ — Mon, 29 Mar 2010 14:25:55 +0000

Tokyo Police Club basically fell off the face of the planet since releasing Elephant Shell a few years back. Despite touring and making cameo appearances on Desperate Housewives, TPC’s internet buzz has been pretty non-existent. “Breakneck Speed”, the first single off of the upcoming Champ, has been the first we’ve heard from the band in quite awhile, but just as Dave Monks laments, “It’s good to be back”.

“Breakneck Speed” might not be the most apt name for the track, but for anyone who is a fan of solid rock ‘n’ roll, this single hits on all of the critical points. Monks hasn’t changed up his crooning style a bit and the track moves in the futuristic guitar rock that Tokyo Police Club affectionately put their stamp on in their formative years. Take a gander for yourself:

MP3: “Breakneck Speed” – Tokyo Police Club

Tokyo Police Club official site
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The ol’ musical attic.

Bryan Kinnear — Thu, 25 Mar 2010 20:13:37 +0000

Ever get an album, listen to it, think to yourself “man this is rad” and then forget about it for years? I recently stumbled on one of those albums. Asheru and Blue Black of the Unspoken Heard is not a familiar name to most, and it’s no surprise to me that many of the people I’ve talked to about this particular work are absolutely blank when I mention it. They released Soon Come in 2001 and it went under the radar instantly. No large label, no champagne, no flashy music videos to be replayed over and over on TRL. Just fantastic music. Replete with intelligent lyrics, jazzy intros, and fantastic horn sections, this is one album that demands your full auditory attention. Listen, enjoy, and next time, bring a friend.

Pick it up on

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[Album Review] We Were Promised Jetpacks – “These Four Walls”

BRQ — Mon, 22 Mar 2010 15:18:51 +0000

Born from the reverb of labelmates Frightened Rabbit and The Twilight Sad, We Were Promised Jetpacks will possibly never escape their immediate comparisons. Released in 2009, These Four Walls was originally received by the online music community as a bit of a novelty, following suit after Frightened Rabbit’s stellar Midnight Organ Fight set a new stamp on angsty rock n roll that was literal, guttural, and realistically heartbreaking. The comparisons, while glaring, aren’t necessarily deserved, however, as the blogosphere was more eager to churn out a review the day the album dropped as opposed to absorbing it over time. With a post-punk backing, I believe it is ultimately the masculine, bar-fighting power of We Were Promised Jetpacks that makes this album both a genuine rock ‘n’ roll article and a more attractive emotional pill to swallow.

These Four Walls is a rock ‘n’ roll record, first and foremost . . . let’s not make any quarrels over that. The 4/4 timing and rampant kickdrums are there, as are the three-chord melodies. Also, from here on out, I’ll neglect making any more Frightened Rabbit references other than the fact that the frantic, ramshackle rhythms of We Were Promised Jetpacks boasts more of a physical punch than any of their Fat Cat counterparts. While it is the effective lyrical prowess that Frightened Rabbit rely on, WWPJ rely solely on brute strength in both beats, repetitive prose, and guitar twang. More akin to a drunken sing-along, turned chaotic backalley brawl, perhaps the only complaint one could make would be the reversed sense of storytelling/orchestration on These Four Walls.

The composition follows the tracklisting perfectly, beginning with a rousing, chaotic rock song in “It’s Thunder and It’s Lightning”, that begs you to leave “before you punch my lights out”, and then winding into an instrumental-based series of calms. After the initial boom, the power and brogue continue through the midway section of the album on tracks that mix a bit of Bloc Party-esque dance with WWJP’s own, personal, brand of modern rock and heavily-accented crooning. By “This Is My House, This Is My Home”, though, the album has reached its crescendo and begins to decline in tenacity and energy until capping out on the sober dawn of “An Almighty Thud”. The album kicks ass and then falls headfirst into artsy, indie rock, beginning with thunder and lightning, and ending with a thud. If only these songs were flipped, the album might have a more dramatic appeal.

These Four Walls is an album that has really grown on me over the past couple of months and is an album that was written off as a trending sound or look-alike to Fat Cat’s stable of Scottish acts too soon. The internet buzz machine seems apt to write a review immediately upon the release date (even if they’ve only owned the preview tracks or promotional album for a few weeks) instead of letting it sink in. We Were Promised Jetpacks bear more resemblance to a modern day, tech punk rock act than they do an emoting bunch of foreigners, destined to be the next U2. With accomplished skills and the confidence to go blazing into complete rock n roll chaos, These Four Walls is an album that will receive plenty more listens and become a repeat listener as the years go on. These Four Walls, for me, is the album that I’ve been searching for after Bloc Party fizzled in their sophomore attempt and re-affirms my belief that UK bands continue to create the catchiest music as of late. Influence and comparison aside, We Were Promised Jetpacks will survive on their own accord, and, simply put, if Frightened Rabbit is the crushing winter, then We Were Promised Jetpacks are the youthful spring.

MP3: “Quiet Little Voices” – We Were Promised Jetpacks
MP3: “It’s Thunder and It’s Lightning” – We Were Promised Jetpacks

We Were Promised Jetpacks Official Site
Fat Cat Records
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[Band to Watch] Sleigh Bells turn dance into Brooklyn hardcore

BRQ — Wed, 17 Mar 2010 13:52:48 +0000

A week or so ago, I wrote about how awful a side project/duo could turn out, especially if it goes the mall-pop route that Pin Me Down did. Sleigh Bells, hailing from Brooklyn, however, has an edge to their music that takes them to a whole new ballgame.

Sleigh Bells is composed of Alexis Kraus and Derek Miller (formerly of hardcore outfit Poison The Well) have a well diversified portfolio to say the least. Miller creates a backdrop of razor sharp synth strikes and pounding bass lines and guitar fuzz while Kraus offers her vocal talent that can go from sugary sweet to punk rock in an instant. Check out what I mean below by flipping from the Kinks-inspired “Infinity Guitars” to the doo-wop groove of “Ring Ring”.

The duo have reached critical mass at this point as, despite their lack of support on the internet, they have been signed up to open for Yeasayer and Major Lazer, and even have deals with MIA in the works. The band’s insane live show hits Denver’s Bluebird Theater on April 24 in support of Yeasayer and their forthcoming LP, Treats, due out May 11.

MP3: “Infinity Guitars” – Sleigh Bells
MP3: “Ring Ring” – Sleigh Bells
MP3: “Crown On The Ground” – Sleigh Bells
MP3: “Beach Girls” – Sleigh Bells

Guaranteed to be an eardrum-shattering good time:

03/17-20 – Austin, TX (SXSW)
03/23 – London, UK @ White Heat at Madame Jo Jo’s
03/25 – London, UK @ Notting Hill Arts Club
03/26 – London, UK @ Koko
03/29 – Knoxville, TN @ The Valarium #
03/30 – Carborro, NC @ Cat’s Cradle #
03/31 – Baltimore, MD @ Bourbon Street #
04/02 – New Hyde Park, NY @ Starlite Ballroom #
04/04 – Boston, MA @ Middle East #
04/06 – Columbus, OH @ BoMa #
04/07 – Pittsburgh, PA @ Rangos Ballroom at Carnegie Mellon University
04/08 – Syracuse, NY @ Spark Art Space at Syracuse University
04/09 – Buffalo, NY @ Mohawk Place
04/10 – Toronto, ON @ Wrong Bar
04/11 – South Burlington, VT @ Higher Ground
04/16 – Indio, CA (Coachella)
04/17 – San Francisco, CA @ The Fillmore Auditorium &
04/19 – Portland, OR @ Wonder Ballroom &
04/20 – Seattle, WA @ Neumos &
04/21 – Vancouver, British Columbia @ Commodore Ballroom &
04/23 – Salt Lake City, UT @ In the Venue &
04/24 – Denver, CO @ Bluebird Theatre &
04/25 – Omaha, NE @ Waiting Room &
04/26 – St. Louis, MO @ Gargoyle Club &
04/27 – Minneapolis, MN @ First Avenue &
04/28 – Madison, WI @ Majestic Theatre &
04/29 – Chicago, IL @ Metro &
04/30 – Cleveland, OH @ Grog Shop &
05/01 – Toronto, Ontario @ Lee’s Palace &
05/02 – Montreal, Quebec @ La Sala Rossa &
05/03 – Boston, MA @ Paradise &
05/04 – New York, NY @ Webster Hall &
05/05 – Philadelphia, PA @ The Trocadero &
07/18 – Chicago, IL (Pitchfork Music Festival)

# w/ Major Lazer
& w/ Yeasayer

Sleigh Bells Official Site

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