Kanye West is about to release an album that has recieved a lot of hate. Not only is it unconventional for Hip-Hop, but it’s unconventional for him as an artist. Say what you will about Auto-Tune, or attitude, Kanye West is about to change the game and open the doors to something both refreshing and necessary. Check out my review of the album after the jump.

Most of us consider it luck when we’re able to say we’ve been in a relationship for six years; even more so when said relationships result in engagement. But what do we call it when engagements are broken and love is lost? Kanye West has never been one to hide his emotions. Be it public outrage or lavish celebration, the cards are always on the table when it comes to ‘Ye; something he makes clear in his music. It should come as no surprise then, when Kanye West’s engagement to Alexis Phipher met its demise in April of this year, there would be some kind of emotional backlash. Fortunately for us, Kanye poured his heart and soul into a project that, while paradigmatically different, ended up unquestionably pleasurable. 808’s & Heartbreak is Kanye West’s pop debut, an album unconventional, unrelenting, and unbelievable.

Kanye’s public image is in tatters. Even those who love Kanye West hate Kanye West. Whether it’s his ego or his emotions, they are overstated and in most cases annoying. But, Kanye doesn’t care. Should we be surprised at all then, his new album would be so dramatic? In the past ‘Ye’s lyrics have almost always been about either his ideas of success and fame (‘Breath In, Breath Out’), or his full embracement of it (‘Good Life’). But then he had nothing to complain about. His breakup has clearly hit him hard, and rather than take it to the press, Kanye’s put it to record. 808’s & Heartbreak is littered with lyrics putting his emotions on the table. From the start of the record, “I wish this song would really come true, I admit I still fantasize about you” (‘Say You Will’) to the end “Tell everybody that you know, that I don’t love you no more” (See You In My Nightmares). Add to that the loss of his mother (by botched plastic surgery no less) and it becomes painfully, not annoyingly, clear that Kanye West has one true desire left in his life, “to be a real boy”. 808’s & Heartbreak is West’s reaction to loss. Fame can be crippling, and with everything around him falling apart, he’s chosen to be true to himself. “It took a lot of devastation for me to make, but everything has come from my hell” West told NewsOfTheWorld.com. He continued, “But I have to look at life with hope and love now. From here on out, I’ll do exactly what I want to do”.

Just what is it that Kanye West wants to do? Kanye, on B.E.T.’s Hip Hop Awards gave us our first hint, “We’re blessed to be in this man’s presence,” speaking about T-Pain, later referring to him as, “a genius”. This of course is the second time Kanye has called Pain a genius on television. Possibly in reaction to this T-Pain says, on his unreleased track ‘Silver & Gold’, “I ain’t a genius, but I made some genius shit.” One of these genius things is the dreaded and undeniable reoccurrence of the Auto-Tune technology. Originally met with praise, the Auto-Tune is now something that even T-Pain says is “on its way out”. As usual though, Kanye doesn’t care. And why should he? Something so played out as the Auto-Tune can even come off as welcoming when put to good use. With 808’s & Hearbreak there isn’t a track that doesn’t have Auto-Tune (besides the terrific and telling album ender “Pinnochio Story”), and there isn’t a track that suffers for it either. West fully embraces his professed obsession for Phil Collins on a number of the tracks; most notably on album standout ‘Paranoid’, where crystal synths propel a bubbling beat that eventually reaches it’s boiling point and becomes the best pop song to be released in 2008. Similarly, ‘Heartless’ has a beat constructed with 808 drum machines and helped out with an incessant flute that sounds incredible and a sound unheard on any hip-hop song in recent memory.

Where the album falls short is in its collaborators. This, as we’ve learned, is Kanye’s album, so to have Lil’ Wayne making shit raps (literally) and Young Jeezy once again talking about food is only distracting and detrimental. It’s obviously just to gather fans of hip-hop who might otherwise have thought this an all-pop album. Even with this downside though, one that only affects two of twelve tracks, the songs convey Kanye’s ‘Amazing’ musicianship and lyrical skill, “I know I’m wrong. I’m a problem that will never be solved, and no matter what you’ll never take that from me: my reign is as far as the eye can see.” And as a result we’re left with an album that is terrific while telling, interpersonal while accessible; all the while both Kanye and consumer getting exactly what they want. Win – Win.   

As the year winds down the press releases pour in with all the agencies making their case for the artists they represent. One band serves as a good reminder, however, that there is still two months left in 2008. Lemonade’s self titled debut came out late last month, and has been tearing apart my player ever since. Also released along side the album is a remix album that sees their friends close and far away reinterpreting the songs. Here is San Francisco’s Ryan Merry taking on the excellent Sunchips under his Ghosts On Tape moniker.

Lemonade - Sunchips (Ghosts On Tape Remix)

You’ll often hear words like ‘Haunting’ and ‘Reminiscent’ when hearing about the new Castanets album City Of Refuge. What with all the echo and reinterpretation that probably wouldn’t be the worse way to describe it. Nothing is more ‘Haunting’ or ‘Reminiscent’ however, than watching Ray Raposa preform live. As anyone who saw him on tour in support of his fabulous In The Vines will tell you, there is no folk show more freaky, no dirges quite so dim. Don’t assume he’ll be performing alone though. While he will undoubtedly spend most of the time facing a wall hunched over his guitar and effects, the very pretty voiced Annie Palmer will be doing double duty on bass and banjo (as well as some singing), and intriguing Yoni Kifle (from the last tour!) will be drumming and bassing as well.

Castanets - Good Friend, Yr Hunger
Castanets - This Is The Early Game
Castanets - Sway

This is all of course without mentioning the headliner: Miles Benjamin Anthony Robinson. But you already know how I feel about him.

Miles Benjamin Anthony Robinson - Buriedfed

Miles Benjamin Anthony Robinson - Woodfriend

Miles Benjamin Anthony Robinson - Who’s Lauging?

mp3: Stars - In Our Bedroom After The War

It’s been a month now since Stars released their Sad Robot EP, which only comes one year after their Polaris Prize nominated In Our Bedroom After the war. Well, they must be eager to get it out there because the EP has warranted a tour of its own which will be hitting Oregon this week.  Tomorrow they are playing Eugene’s WOW Hall, while wednesday they can be caught in Portland’s Wonder Ballroom. One of my favorite Canadian bands Think About Life are opening, and this alone (if not the fabulous/cheap food served downstairs of the Wonder Ballroom) is reason to get there early! Also, this tour is the only opportunity to grab up their ‘Limited Edition’ version of the Sad Robots EP.

Sad Robots (limited edition) track listing:
1. Maintenance Hall, 4am
2. A Thread Cut With A Carving Knife
3. Undertow
4. Going, Going, Gone (live version)
5. 14 Forever
6. Sad Robot

Both venues open their doors at 8:00PM.

DON’T SLEEP!

The third day started off once again with a two-headed free set, this time by Britt Daniel and Built To Spill. Although I couldn’t stick around for Built To Spill, I managed to catch a great deal of Britt’s set which consisted mostly of solo-Spoon renditions. I recall a split record with Britt Daniel and Connor Oberst that had some solo things of Britt’s I really enjoyed. When I went to the show, I was expecting this kind of thing to make up the majority of the songs he would preform. Unfortunately, that wasn’t the case and all of the experimentation and musical tricks that made Ga Ga Ga Ga Ga so good were out the window. Familiarity still made for some fun though.

On quite the other end of the musical spectrum was White Fang, whom I caught next at Satyricon. Their antics are becoming more and more familiar, but this is only indicative of how much I prioritize their performances. Sure, they can almost always be seen throwing their drumset and flailing around, but it is in where their drums land, and who’s space they invade that keeps it interesting. I’ve seen white fang probably 5 times in 5 different venues now, and if they were head to head with No Age, I truly wonder who’s show I’d make it to.

I’d never heard or seen southern belle before this Friday, and now that I have I can remember why. This band, while probably a great deal more talented, will always remind me of bands I went to high school with. Their names escape me, but that is only because none of them are worth remembering. I know it seems hypocritical to praise white fang for their youthfulness and bash Southern Belle for the same directly after; but where white fang puts their energy, Southern Belle puts their emotions.

You’ve heard me praising Miles Benjamin Anthony Robinson in the past, claiming he would be, “your new favorite artist”. Well, admittedly I was wrong, seeing as how very few of you were there to watch him. I still feel its a shame though. He delivers flawlessly with such unique weathered vocals that only compliment the amazing instrumentation. I couldn’t stick around for him to introduce his band, but I hope that they are mainstays, as they certainly helped to recreate his amazing songs.

I’m glad I left his set when I did, because I managed to catch the last bit of Eat Skull’s set. I’ve heard people bashing Eat Skull for playing terribly and being too drunk on stage. Both of those accusations are what I find most entertaining about their sets. They may not play very coherent or palatable songs, but it’s the guy from The Hospitals for Christ’s sake; what would you expect?

Best Fwends drive me crazy. Their name, their album, their live show. The only good thing I can say about this band is that their song fits well on Spank Rock’s Fabriclive33 mix, and that’s only because it had been reworked by XXXchange.

Unfortunately the Murder City Devils’ set with Past Lives was canceled, but maybe to make up for it Spencer Moody’s Triumph of Lethargy Skinned Alive To Death played. It was fun to watch him on stage again, but with such an unmistakable voice, it was hard not to just wish it was MCD.

As promised, These Arms Are Snakes were amazing. I hate Dante’s with a (fiery) passion, but for some reason TAAS were booked there again. Maybe its because any venue smart enough to book them in the first place knows how packed it will be. Steve Snere bounced off the walls, often onto or into the crowd, while the rest of the band played perfectly tight. What more can I say, These Arms are so so fun live.

Speaking of fun, Matt And Kim were playing about the same time at Backspace. Following Best Fwends is easy, but Matt & Kim truly do a great job of getting the crowd riled up. Someone claimed, “they owe all of their popularity to Kim’s smile.” and while it does lend a great deal to what makes them so endearing, they would be nowhere if they didn’t make great catchy pop-punk.

I only caught the very end of Old Time Relijun’s set, but they appeared to be having a blast as did everyone watching.

Who better to end the night than the infamous Monotonix? Even in still photos of the band, I’ve gathered that their live show is not to be missed. Prior to the show I had only heard their EP, which didn’t inspire a great deal of excitement. I was in for a surprise to say the least. In just about the instant their set began there was a garbage can flying against my camera, and people seemingly trying to hurt each other. The set continued in this fashion, with music being an afterthought, throughout.

At one point I left to make sure my camera was ok (and admittedly to grab a breath) and I was followed by the drummer, who was finishing up outside. Singer Levi “Ha Haziz” (Yomtov) Elvis even climbed a tree, no longer singing, rather shouting and mooning those who stuck around. It was a wild time as everyone had promised, but even listening to their record today takes patience.

Speaking to Zac briefly before the show was very informative. Not only did he make us aware that Please Step Out Of The Vehicle would not be preforming there, but he also let us know that Parenthetical Girls would be preforming two sets; one as a “Rock and Roll” group, the other “as an orchestra”.

The first set was typical of Parenthetical Girls. Multi-instrumentalists Matthew Carlson, Eddy Crichton & Rachael Jensen sat stone faced before their instruments, adding a touch of seriousness to Zac’s antics. Zac spent a great deal of the show circling the crowd, tapping a lone drumstick against a wall or pole to keep the beat. An employee at the venue noted, “I went in to check it out, and everyone was looking my way; then I saw the singer coming toward me from the crowd”. Although his actions may seem like gimmicks, they lend a great deal to the fairy-tale-esque nature of their songs. The fact of the matter is, Parenthetical girls could all sit stone faced and still be fascinating.

The band paused for an intermission, in which 17 others came on stage to help out. Unfortunately no Morgan Henderson, but there was plenty of talent there regardless. Once Zac & band got situated they began to play Entanglements from start to finish. Zac noted, “This is probably the only time we’ll ever get to do this.” If this album is nearly as successful as it deserves to be, they should have no problems putting this kind of show together more often. Regardless, it made the show seem even more special than it already had. A thank you is in order for Time: Based Art for hosting such a memorable event.

In an attempt to make up for the night before, I began my second day of the festival at 11:00AM at the Doug Fir, where Port O’ Brien was playing a small set for Seattle’s KEXP. I’d always wanted to see them play live, but given that the show was for radio, it wasn’t all that exciting. They joked about the Doug Fir’s lighting, which is almost always red, but then realized that people over the radio couldn’t see it.

A little later in the day I swung by the Wonder Ballroom, where the first of 3 free Nike sponsored shows was going on. Who else but No Age was playing, making for my 11th time seeing them this year. What’s left to say except that I cannot wait to see them again. Seriously… I love this band.

Let us please promote whoever booked this show, because no one was complaining about the lineup: No Age followed by Battles absolutely free.

Battles is one of my favorite bands to see live. Their adaptations are incessant and their energy is never ending. Drummer John Stanier for example isn’t content to leave the stage until he is using the amp to prop himself up. Someone heard him say, “I think I’m gonna have to sit this one out” as he sat quietly behind the band as a pool of sweat piled up underneath him. This isn’t to discredit the rest of the band though, who also could be seen dripping buckets of sweat as they impeccably blended songs of old with those more recent.

Ice Cream Man could be seen giving out free treats outside of the show, cheering up those who maybe couldn’t get in.

I caught a very brief bit of Calvin Johnson, who was stranger than I remembered his records being.

His voice was reminiscent of Noah Georgeson, who I maybe would have preferred to see, if only for those crazy eyes. Unfortunately I had to dash, missing M. Ward.

The reason I didn’t stay was The Cool Kids, who weren’t exactly playing at the same time, but people sure were pouring in early. I watched a bit of Cool Nutz before catching up with him for a bit at the bar downstairs. Even White Fang were there early.

The Cool Kids were just that, with a crowd of almost entirely teenagers singing along. They’ve come a long way since they played the festival last year, and it showed in their confidence and delivery on stage. When they played last year, they weren’t quite able to put the mic in the crowd for half the song. Now, people were singing every word, as if they didn’t even care to hear the Kids themselves.

Ditching Del, I scrambled to Holocene, where an at capacity crowd was anticipated. I’m pretty sure that anytime Bradford Cox steps into town, something changes. Good shows happen on almost every Thursday, but this particular one brought the masses to Holocene. Starfucker were in the middle of their set when I arrived, and there was absolutely no way to get closer than the door to the room in which they played. I thought that I was doomed for Deerhunter, but the room cleared nicely after Starfucker left the stage. It’s definetly nice to see Starfucker getting so much attention; they deserve it.

Deerhunter didn’t make people wait too long to get on the stage, however their bassist was busy “Shapeshifting”, leaving Bradford to fend off the crowd with jokes and threats. It was pretty obvious the bassist was on something, as he appeared pretty disassociated and even had a bucket to vomit in. Musically though, he did fine, blasting through some of my very favorite songs from the new album. It was really fun to watch the relationship between Bradford and the new guitarist Whitney. He joked with her and she’d throw it right back at him. Although the crowd was large, it was evident that they were perfectly comfortable, even with a man down.

It’s been only hours since the festival ended, and I’m already ready to re-live it. A huge debate has been going on inside my head on how to properly enunciate Fuck Buttons‘ name. After watching them this Wednesday it became clear that emphasis belongs on the ‘Fuck’, as in ‘fuck that’, or ‘fuck you’. Fuck Buttons. What brang me this clarity is the sheer abrasiveness of the pair’s set. Sure, at times they just stood in front of their respective instruments, but even then the music was enough to cause comotion. To those not familiar, this may have seemed like an exhausting affair; but anyone with respect for their album would agree that it was a near flawless recreation, and a great start for the festival.

On the easier side of things was Mogwai, who headlined the set at the Roseland on Wednesday. While Mogwai are a force to be reconed with on record, the crossover comes across as sort of a bore. Such a cohesive set of songs can seemingly only transfer over if preformed in its entirety. To pick a few here and there becomes distracting and incoherent. Song by song though, Mogwai played perfectly. I guess when watching a band who’s been together for so long it should be no surprise that the preformers play tight together. In the case of instrumental music though, this is the true measure of talent when it comes to playing live. Mogwai nailed it, and although I’d still rather sit at home and listen, I can now check Mogwai off of my list of bands I’ve always wanted to see.

Unfortunately these two acts were all I managed to catch Wednesday night, but you’d sympathize if you had stepped into berbati’s that night. From what I’m told, the Old 97’s rocked the house.

To know me well is to know I wouldn’t miss a dubstep show for the world; but as it just so happens, the entire world is getting together to play with Parenthetical Girls for their record release party tonight. Ok so 20 people isn’t the world, but if 230,000+ will get excited for a 9-piece band, surely we can double that in attendance tonight at 240 E Broadway, where Parenthetical Girls will play with 11 more.

In listening to the excellent new album, Entanglements, it becomes painfully clear that this could never be fully recreated live. Parenthetical Girls look to refute that claim by playing with 20 people to bring every piece of record to life. Morgan Henderson lent his bass clarinet talents to the record, and as he played last night in Portland with Past Lives, it isn’t hard to imagine he’ll be a part of this event.

It should be noted as well that this is going to be Please Step Out Of the Vehicle’s last show ever, so you can bet Alan Singley will be there. A star studded event like this is not to be missed.

8$ for PICA memberz

10$ for everyone else

240 N Broadway @ 9:30 PM

We’ve already told you that tonight you should not miss Fuck Buttons & Mogwai at the Roseland Theater; an easy feat. Thursday however, proves much more challenging as there are sets all over the map, music-wise and genre-wise.
5:30pm No Age
7:00pm Battles
9:00 pm Calvin Johnson
10:00 pm M Ward
10:00 pm The Cool Kids
11:00 pm Starfucker
12:00 am Deerhunter

The choice is clear early on, as No Age and Battles are all there is to see during their given time slots. Although capacity was a big issue at last year’s Nike sponsored free events, this year sees the shows moved to the Wonder Ballroom, who’s capacity hopefully wont leave many out. I’d plan to get there early though; because who wouldn’t want to see No Age take the stage only to be followed by Battles, who you may recall I really enjoyed at this years Sasquatch Festival.

Shortly after Battles are finished, I recommend rushing to the Crystal Ballroom. Calvin Johnson is a local North West legend, and if you didn’t already know, he has his hands in absolutely everything you’ve ever loved in the music biz. Unfortunately after he finishes, things begin to get a bit confusing. While one might be tempted to just stick around for M. Ward (who is amazing live), they should be aware that one of the only hip-hop shows at this years MusicFestNW is happening just down Burnside at the Roseland Theater. The Cool Kids take the stage at the same time as M.Ward, and I suppose it’ll just be a matter of what is interesting you at the time. Another thing to note though: although M. Ward resides in Portland, this doesn’t really increase your chances of seeing him live more often.

If neither of these sound interesting, please save me a spot while watching Bodies Of Water, who I am so so sad to be missing at Holocene. After all, Holocene is where you will want to be post 10:00PM. Portland’s own Starfucker take the stage just shortly before the fabulous Deerhunter. Whether you did or did not catch Deerhunter at last year’s MusicFestNW, tomorrow’s show is sure to amaze, as it’s hard to imagine messing up an almost flawless catalog.