Garbage - Not Your Kind of People REVIEW

"The new animal collective has already leaked! Well who can you trust...

-Austin Lovelace"

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It's has been 7 years seance we've heard anything from this dynamic 4 peace, of post-grunge and pop music, and I will admit I was skeptical. Post-Grunge is a shaky genre, by this I mean most of it kinda sucks :/. Even though Garbage has separated themselves from the Creeds and Nicklebacks I also relies that I am dealing with a pop band.

With the famed producer Butch Vig, of Nirvana's "Nevermind" & "In Utero"/ Smashing Pumpkin's "Siamese Dream", and the late 90s sex symbol/Singer Shirley Manson it's easy to see why grunge would carry past the boundaries of a pop band. While no one in their right mind would dare call this band grunge I would be glad to carry the "G" in their name to the description of "pop-grunge". I have also had the miss fortune of hearing albums like "Let Your Dim Light Shine", by Soul Asylum, and "Secret Samadhi", by Live, tare some of the best Post-Grunge bands to their knees (voluntarily).


In a Recent Interview with SPIN Magazine Shirley makes it clear that fans will get what they want, "It's not our job to reinvent the wheel., That's the playground of the young.", but which old rickety wheel is she referring to..? because they left us on the 3rd wheel back in 2005. Rising to fame from the hype behind Butch Vig finally racking up the drums behind a full band, Garbage's accessible version of 90s rock unicycles across the top 40 finish line [Twice (on self titled, and 2.0)]. (get ready because the wheel references aren't over) While it's a feat to watch, uni-cycling isn't really a diverse or practical way to travel so, to keep their fans from getting bored, Garbage elected to try out a raw 90s pop album and added a second wheel. While the opener on "Beautiful Garbage", "Shut Your Mouth", hit hard the rest of the album features Butch Vig screwing with only production while everything else just danced around it. Tracks like "Androgyny" or "Chary Lips (Go Baby Go)" showed that they could pull it off but I'm not the only one who needed some more of a punch from them. Two wheels still arrant stable but all you have to do for more support is give it some gas (just in case no you never rode a bike), though Garbage wasn't looking for a quick fix. To prove "Beautiful" wasn't a sell out the band built one of those weird "Chinese 3 wheelers" and released "Bleed Like Me". Garbage wasn't going to fall back on the talent that made the famous. They where, how ever, going to "Run Baby Run" from their last album and ditch the electronics for, almost, a pure rock album. Fans don't leave after one flop but after getting a second album from a band that they didn't expect, return to form or not, a fan base will get unstable; so it's about time they relies maybe 3 wheels isn't a smart design... (DO YOU HEAR ME CHINA!)

Years later we go back to see them and, instead of trying to stabilize the car with 4 wheels, they're back at trying to master a sport they where great at almost a decade ago. It's clear that they've gotten better at it over the years and even become natural with it but now they're using the old parts as obstacles because no one would buy them. While they're old sound has left music almost all together they had no trouble taking it back but not without the affect of their past career. Just as their last two albums couldn't leave the support of their first two this new album wouldn't let it's former two fall behind (a quick break from wheel references).


The first single "Blood for Poppies" made it clear they where going back on the first wheel but it's not in the shape to make it over the obstacles. The heavy bass and guitar riffs on that track felt just like the Garbage I love but the chorus felt left over from "Beautiful" and the same can be said about the opener "Automatic Systematic Habit" and the whole of track 2, "Big Bright World". After the first three tracks pass I loose even more interest in the next 3 tracks, I am inferring that I liked "BFP" & "ASH". "Control" has some really nice vocal samples over the hook (and a really nice climax), and so does "Felt" but as whole songs they fall a little flat. Sadly "flat" is all I get out of the title track and it puts me back at the end of "Bleed Like Me" where tracks like "Why Don't You Come Over" and "Happy Home" leave me hanging. Thankfully, the next 4 tracks make me feel like I'm sitting in a room watching my favorite 90s pop/rock band wright at their best. "I Hate Love" and "Sugar" both start with the kind of production I loved on parts of "Beautiful" and then hit with the emotion of "2.0". "Battle In Me" and "Man On a Wire" don't mess around and hit you with Garbage grade aggression that is almost mosh worthy. "Beloved Freak", like "All Over but the Crying", "Milk" or "You Look So Fine", is a mood song and when you're in that mood it's on of the best on the album meaning Butches Production takes over (it may also be the first Garbage song to feature foreign a sample, correct me if I'm wrong).


My first impressions of the album where 30 second samples that the band uploaded on their youtube channel and if you heard them you would get my hype. They all featured the best of Butch Vig production on this album which is, as usual, top notch, but when you listen to everything else around them they can loose potency and aggressiveness. This album makes me ask "what happened to this part of Garbage I really like?". When they dismantled the car (yep the references are back) what happened to sex in the back seat? I always loved hearing Shirley talk about her sex life like any other male singer. Why can't she talk like a pervert like she did on "Queer", "You Look So Fine", "Cherry Lips" and "Bad Boy Friend", this is the first album without any of that; it's also clear that age took some of the seductiveness out of her voice. Where is the influence I heard from The Pixies and The Breeders on "Bleed Like Me" Shirley Manson is no less capable of writing like that (yes I'm saying she's still hot). Why are you backing off when you used to say "Sex Is Not The Enemy"?


"Lies more lies, I can tell there lies" ("ASH"), I wouldn't say Garbage has been the best at writing lyrics but there are very few spots on this album where I hear any sort of subtleties and there is redundancy all over this which isn't what I expect from a band like this. "What a joke, but do you hear me laughing" ("Battle In Me"), This is what I feel about a lot of the verses on this album. This is the first Garbage album I've had to groan through and this is without mentioning all of the "Shake It, Shake It, Shake It off"s on this thing.


Garbage has a choice to make from this album on; they can either ride the sound that there fans adore or they can decide to experiment and keep us from getting bored. I understand they aren't out to, "re-invent the wheel" anymore but I'm no more asking for that then I'm asking for another album. "Bleed Like Me" was nothing new to the system but it was defiantly Garbage in a new light and I see no reason for them to not try it again, or maybe even pull another influence out from under their belt. Any casual fan of post-grunge will like this album but Garbage risks loosing listeners like me by becoming another Everclear or Gin Blossoms; both of which are good bands but I haven't felt the need to care about them seance they fell into a rut and stopped evolving. Garbage is still a band I want to fallow because I know they won't disappoint but they run the risk of become "another one of those bands" so I ask them to please wright music more naturally instead of just trying to pleas your fans.

The Note Pad:

Other post-grunge bands: Everclear, Gin Blossoms, pre "Secret Samadhi" Live, Foo Fighters, Weezer, Jimmy Eat World, pre "Let Your Dim Light Shine" Soul Asylum 

Other bands you might like: No Doubt, Nirvana, Smashing Pumpkins, Pearl Jam, Screaming Trees, Soundgarden, Alice in Chains, maybe Paramore, Mother Love Bone 

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Foster - Emerald Lights, Fast Cars EP REVIEW

"Incredible B-Sides dude...

-Austin Lovelace"

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Wherever you are reading this, it’s probably safe to say that you could use a quick refresher (fresher in this case?) on this project. The best place to start would be to look more into the influences they show. Explosions in the Sky, Mogwai, Russian Circles, Slint, Maybeshewill, and Talk Talk. This band steeps itself pretty deep in the style of Post Rock, a genre whose participants names read off like a Dr. Sues book and have the same effect as a child’s parents hoped reading to their kids would. Fans of this kind of music get lost in their own world when they put their headphones in but other listeners, sadly, just fall asleep. I don’t think I could explain it better then the title of an album by Swans, “Soundtracks for the Blind”.

I could list off bands I love from this genre all day, but to do so would waste your time and dilute any point that could be made about this band. Post Rock has separated itself as a genre from anything else but the influences they take from Rock couldn't be clearer; bands like The Moody Blues, Led Zeppelin, and Swans are big ones. This band, however, separates themselves further away from the genre’s past because the sound palette this band uses pulls directly from their predecessors (listed above). While continuing the tradition of bending guitar strings to get out every sound possible, they never crossed the path of one that I would associate with their genre’s Classic and Experimental past. Every sound they use is an extension of the sounds Post Rock essentially invented but what keeps them from completely detaching themselves from their Rock roots is their strong connection with Indie and Classic Rock song writing.

Most Post Rock bands let their music do the talking and their voices are either absent completely or so immaculate that they feel just like another cord in the string section. Foster chooses to keep pinned to lyrics and verses, which is what warrants the Slint comparison (and Talk Talk, I almost forgot Talk Talk). I have never really been that big of a fan of Slint, which is sacrilegious to most Post Rock fans; the point of mentioning this is that Foster corrects the problem I have with that band. Slint’s vocals have always felt emotionless and they just hung off the end of the songs, like a broken eraser, while Foster does the opposite. There isn't a moment on this album where Tanner VanBaal’s vocals don’t feel genuine in what he’s talking about. Their vocal delivery soounds somewhere between sole artists like Bobby Womack and ambient like Jónsi (of Sigur Rós), almost like the singer of Talk Talk (I can’t forget Talk Talk). The combination is a beautiful addition to the instrumentation but I can hardly understand a word. “Staying right by your side, I’m alive” is the indication that the sound is more important then the lyrics anyway and that’s what I get from them but they do leave me wondering whether it’s the production or the singer mumbling that confuses me.

The problems I have with this album start with the production. Another comparison to make with Slint is the production style which unfortunately is something I don’t think Foster was able to turn around. Almost all the bands in this style have immaculate production but this album just like Slint’s “Spiderland” has an Indie Rock, on the edge of "lo-fi", kind of recording. I never liked that kind of recording with Post Rock because I like to use my “peripheral hearing”. All of my favorite bands in this style force you to go deep into their songs to find sounds hidden in the mix, and that creates a sense of depth in their music. That is still possible because of the stacked instruments, that do sound dence, but they don’t make you work for it. It takes away from them because they use a sound pallet adapted from bands who do use the immaculate production style. I am a frequent listener of music like this though, so I do have to recognize that the production might be the reason new listeners might be able to grab on to this easier than where Foster started.

1. Mexican Radio

This track starts out with a short build into a heavy, Mogwai sounding, riff that goes in and out of a few Russian Circles inspired bass lines, before hitting a groove that reminds me a lot of the more melodic Mogwai tracks like “San Pedro” or “The Sun Smells too Loud”.

2. Voices

My least favorite track on the album starts with the kind of echoey riffs that I’ve only heard from Foster but the vocals are so awkward over the intro and the chorus that it makes it hard to keep moving through the track. When I heard the short solo work Shane Cahn lays down over the songs transition (which is catchy as hell) it kept me going through the track. It is nice to hear the female voice on this track though...

3. Hand-Picked Lemon

The riff that I couldn't stand on the previous track is used here in a very nice groove. This is one of the few tracks that is constantly changing and introducing new sounds; it gives me the feeling and depth I expect from an Explosions in the Sky track (and Talk Talk). Though the riffing on the bridge, intro, and solo/transitions still reminds me a lot of Mogwai they are still sounds I’ve only heard from this band (correct me if I’m wrong but it sounds like they are messing around with the necks of their guitars).

4. Chupacabra

By this track I can tell they love messing with the guitar sounds that either annoyed me or got me really involved but from here on out they do a great job of it. This is easily the catchiest song on the album with lyrics I can actually hear, they make me want to sing along, “I wonder where they’ve been”. They also lay down a vocal melody that is catchy as hell with guitars squealing behind it, before it breaks into a heavy bass line. The breakdowns all over this track sound a lot like Maybeshewill with their Post Metal style and it leads to some really fast riffing to end the track right! They sound pretty fun on this track which only a few bands like And So I Watch You From Afar or sleepmakeswaves (and Talk Talk)play around with.

5. Necklace

The instrumentation on this track hits all at once and and really builds a beautiful noise under the most emotional vocals on this album. This song lacks some individuality but it really makes up for it in a real sentimental feeling and a great almost Godspeed You, Black Emperor type of outro starting when the band yells “1, 2, 3, 4”.

6. Top 40

This track hits the same way as the last but it had a few nice transitions with the echoing sound coming from each instrument at the same time and ending with a really tight drum roll and loud guitars that again remind me of Mogwai at their most melodic.

- Austin Lovelace

The Note Pad:

Other Post Rock bands: Slint, Talk Talk, Explosions in the Sky, And So I watch You From Afar, Maybeshewill, sleepmakeswaves, MONO, Russian Circles, Do Make Say Think, Godspeed You,Black Emperor

Other bands you might like: Pink Floyd, Swans, The Moody Blues, Rush, Radiohead, Led Zeppelin, Queen

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Sigur Rós - Valtari REVIEW

"We are officially 10 likes away from hitting 50! Thanks to Angela Delmedico for getting us to 40.

-Austin Lovelace"

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This is an album that's been highly anticipated, not surprising considering they're one of the biggest names in post rock. Seance post-rock has been a genre that has manged to climb and maintain a high popularity rate with the indie crowd, it's not surprising a band as unique as Sigur Rós would rise to the top. Although uniqueness is where a lot of listeners last doubted them. Their 2008 album "Með suð í eyrum við spilum endalaust" was easily their most accessible album and even though that turned critics off, it didn't stop fans from enjoying the album. As a fan of the band I loved the last album but I'm also a post-rock fan so it was clear to me that Sigur Rós was embracing the influence of another band. Explosions In the Sky is my favorite post-rock band and apparently Sigur Rós felt similar. So after putting out a live album (based on their last) and taking one extra year to put out a full length where do they land?

This album acts like 2008 never happened and acts like their previous album was a progression that doesn't need to be experimented any further. This album takes me back to what are considered their classic albums, "Takk...", "( )", "Ágætis byrjun". Sigur Rós is back to slow, immaculately produced, beautiful movements. They really try to get everything they can out of each note; they just get every bit of emotion out of each string, key, pluck, slide, and pull. Sigur Rós is once again trying to make you break down into either crying or complete contentment.

Not to say Sigur Rós is trying to satisfy critics or get stuck in a rut to make fans happy. I mean, is going back two albums really that far? Besides this album is a progression on the style that made them so sought after any way. The new Sigur Rós is clearly trying to break into ambiance, the closest genre to their origin. Being one of the slowest bands in their genre this career shift makes complete seance but Sigur Rós faces a conflict going from an album that went as far into post-rock as ""Með suð í eyrum við spilum endalaust" to an album that leaves the genre all together. Fortunately we don't have to experience that because they are ready to hold our hand and convince us that this move will not only work but be for the better.

You are guaranteed, as a fan, to be pleased with how Sigur Rós wants to change. The song writing style on this record is the same writing that people loved on "Takk" but hesitant. When I said "get everything they can out of each note" I meant it. Once a piano key is hit you wont hear the next one until the reverb on the last has faded. You get the same affect with every instrument and effect on this album, guitars all the way to the strings in the back. Fortuity the instrumentation is stacked so there is always plenty of sounds to pull out of what your hearing. What is extremely impressive about how "Valtari" does this, is how unbelievably beautiful each track is. A great example is the first single to drop from this album, "Ekki Múkk", which starts with these immaculate strings and then Jónsi's vocals come in while the song just grows, climaxes in the middle before it fades out in the cloud of honest joy it created. The first track, "Ég anda", starts quiet and builds until the end where it's just a thick loud mesh. Jónsi's vocals remain just as much of an instrument as everything else, when he holds these high notes for amazing periods of time, without even knowing the language he's speaking he is incredible.

The first 4 tracks on this album just pull everything out of me and if I let them, they could hypnotize me into pure joy but at some point I have to dig into this album a little more. After numerous listens the effect, at least as drastically, ends after the first 4 tracks. I wont pretend tracks 5 & 6 are bad but not as incredible as 1-4; which is a bar so high I don't know how they matched it 5 times. The 5th time being track 7, the title track. Staying consistently high volume this track makes so many slight melody changes that it pulls me back into the trance I was in at the beginning. "Fjögur píanó", though beautifully written, feels to much like something off of "Takk..." to flow with the whole album, it feels like it should have ended one track earlier with 5 & 6.

My complaints with this album are minimal but no matter how much I praise Sigur Rós for what they've done here I have to ask the question... Is this album as good as the ones that came before it? Well, it's better than  "Með suð í eyrum við spilum endalaust" but I can't say it's better then the works I and many others consider classics, but can we really expect that, really. I'm left with only one peace of advise for this band; fuck what everyone else thinks because when you want to delve into something new it is your responsibility to become the best at it even if you have to change, give your self to the genre you want to make. This is easily on par with "Von", their first album and as far as I'm concerned, that's all I really need.

-Austin Lovelace

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The Note Pad: The Music Is Sound Rating, Paying for Music, and Supporting Our Fans

"I'm fell off with green day a while back but I'm digging the hell out of this trailer!

-Austin Lovelace"

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I'm going to start reviewing new albums so I'll be abandoning the weekly format to cover the albums on my "anticipated list". I also want to cover other albums that came out this year so recommend albums to me and I'll give them a listen.

This is the system I'm going to use to rate the albums (already been used on the "Milo Takes Baths review". I'm hoping it's easy enough to understand, if not pleas let me know how I could fix it, but there are still some things I want to clear up. Rather than just using a number/star system or a symbol system we wanted to create a system that not only made it clear how we felt about it but could also be easily separated into 3 easey categories; simply put "buy it", "sample it", or "pirate it". We want to give the impression that we buy music that we like and for that matter, want you to buy and support. Even though our lowest rating is "pirate it" we don't support you doing it. We want this blog to have hummer so a rating of "pirate it" should be taken as a joke, though it does mean I'm not going to dish out any money for it. The ratings don't cross with each other, so you can't expect a rating including both "bad" and "buy it"; meaning that not dishing out any money means I didn't like it anyway and won't ever listen to it again. We do promote that you always pay for the music you like but our 2nd rating "sample it" can contradict that. Without trying to sound like I support pirating I do support "illegal downloads" to sample albums. I have used this method to listen and review albums before but I always had the intent on buying it if I wanted to hear it again, if I liked it, and I could rant on that but I will leave the issue at that. If there are any ways you can listen to a project for free and legally pleas sample that way; "Groove Shark", "Spotify", "Youtube", and more are all ways to legally listen to music. Our worst and final rating "rebecca black (why)" is not referring to the person it is referring to the meme and will only be used in the case of an album I actually find offensive and I can almost assure you our version of a 0 will hardly, if ever, be used. I don't like the song though.
(. )__(. )' ( .)__( .)'

We don't promote any particular way of buying your music as long as you pay for it but I will inform you that the older the medium is, the more money the artist gets. Record Companies not only have deals with stores and artists but also media developers as well; they move their attention to the newest media type; the artists get lower percentages of the money that goes into what is now cheaper mediums. In addition to also being more expensive and producing more money artists also get a larger percentage of the money spent on Vinyl rather than CDs, and more from CD's than MP3s. I myself always buy my music on CD but like I said before as long as you pay for your music than we don't care how.

Despite all opinions expressed we are not here to change minds or force ideas on anyone. We can only say what we think, and after that it's all up to you. You don't need to agree with a review I wright or a score I give so please tell us what you think. We'll even offer a download of our score template here so you can rate it for your self (here). You can use this system on your blog as well but please notify us. If you wright a review of the same album and send it to use We'll even feature it on the post, if we like it. We want to express our opinions but pleas take everything we've said with a grain of salt until you here the album for yourself, then tell us what you think. If anything, music deserves a collective opinion so join us and help us get there.

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-Austin Lovelace

Milo - Milo Takes Baths Review

"I'm gonna try something...

-Austin Lovelace"
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I wanted to try a kind of collaboration/promotion between blogs so the Review is actually written on their forum (here). Big fan of DeadEndHipHop so I thought I'd try this out.  

Give Me feedback on what you think of this idea because I may choose to review Hip-Hop on their site.

 Fav Tracks: "The confrontation at Khazad-dûm", "Lester Freamon toe-taps the blues", "Hall 2 with Will's singing untouched"

 The Note Pad:

-Austin Lovelace

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Translated Live 1

"I've slept a 15 hour night. It is officially summer which means one thing... SKA!

-Austin Lovelace"
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We tend to cover music in record, other than a few links to some live videos. Their is a reason for it... I'm sure you would rather hear about everything we listen to rather than only my favorite artists (come on, who sees an artist they kindove like live, and pay for it) but who cares. We're here to talk about music and in that case I'll promote some artists while I talk about some of my favorite bands. So lets see how some of your, and a lot of my favorite artists translate live.

I spent the last Saturday (5/26/12) visiting a, growing, local music festival called Meadowgrass; this is one of many folk/country/bluegrass/indie festivals based in Calorado Springs. If you live in a decent sized city, navigable by walking but it takes you 2 hours to walk anywhere important from a large neighborhood, than you probably know what I'm talking about. It's one of those, attract a crowd with one 'big' band and one that you probably should have heard of, kind of shows. Otherwise it's regional acts that people on the festival comity know about, have made a name for them selves in the local scene, or ones that are 'pretty big' in other regions and are just passing through. None the less I wish I could have joined them on Friday and stayed till Sunday, but this time I came for the headliner (I'll get to them soon).

... But before I get into anything else lets go through what I've learned about the scene my city, my dad, my dad's friends, and I hove chosen to include our selves in this weekend (remember that any reference to white people includes me as well).

1. If you were wandering where all the white people in The Springs' where, especially the ones in Grateful Dead/Tie Die T-Shirts, I know.

2. Considering the only black man attending was serving watermelon, racism is either dead or it comes alive in a crowd of white hippies.

3. White people at 'folk' festivals don't jump unless they are doing something that can only be described as Jim Carry, if he was to dance around a spittoon to the tune of a banjo. (or if your a women you might do that thing that naked fan girls did in the 60s, with cloths on)

4.  Not jumping means weird gyration that is off beat to the music the white people are 'dancing' to.

5. Mosh pit means something completely different to white people when their at a folks festival ( although getting trampled is still possible, but they call it 'the jive').

6. That girl you brought that kinda knows the band does not know the band

7. Botox does not stop the gain of cellulite; Stop bringing your 40 year old girl friend to your hipster festivals, she can't dance and she suddenly thinks she's 15!

8. There are women who have trained their children to pull down their shirt to be fed. The baby is 1.5 years old and walking. Don't you think being a feed on demand mother has to end once the baby knows how to get it?

9. It's okay not to stand up when the band is performing (which is good because white people like sitting in their own lawn chairs). Though, it's still cool that all the bands got there applause no matter what.

in the words of one of my friends (who is also white): "White people are goofy" but lets get to the music....

The 'Meadowgrass' Music Festival, Saturday 5/26/12 Colorado Springs CO
Click here for the full, weekend, lineup 

1. 11:00am - The Hopeful Heroins - From & Based in Colorado Springs, CO

Sorry to say that we didn't get to the show on time so we didn't catch their set but I'm including them because from what I've heard they're a fantastic folk/gypsy/soul group. I wish I could have heard her voice live because the two tracks that I've heard on their Facebook blew me away. They have a really full sound even though they only have a violin and an acoustic guitar, but what can you do.

Don't you just hate lazy mornings :(

2. 12:15pm - The Flumps - From Florence, CO/Based in Colorado Springs, CO

We showed up a few songs into their set but by far they were my favorite act of the whole day (even the headliner). I had to run around a little while they where performing so we could find some of my dad's friends who were meeting us there; long story short I only got to really listen to them right around the time the singer said "How  much time do we have? 10 min.? Awwww fooey" (they had some fun up there).

After only listening to them for about 4.5 tracks (great shout out to We Are Not a Glum Lot by the way) I was hooked. A stand out indie rock act for sure. I'm going to be looking out for your next high energy show for sure. Thanks for your music.

3. 1:30 - Baywood - From & Based in Los Angles, CA

--A band that falls into the "ones that are 'pretty big' in other regions and are just passing through" category.--

A kin to Herman Dune this band is another folk duo that loves (each other) to tell stories just to be fun, catchy and to lift any mood that your life has you in. They have an arsenal of pop/folk numbers telling stories about bubble families, (notably) their mutual love for the actress Emma Stone, and more I can't quite remember. I guess that's a good way to introduce how I felt about the music... Their corny banter in between songs leads a good example; ''this next song is new', I suppose your not surprised' ( they were new to the city so they where playing all new music, their version of an introduction), 'what's it about', 'I suppose this one is about a mutual love of ours', 'should we say who', 'I don't know should we', 'OKAY, it's Emma Stone', 'uh oh I'm embarrassed now', 'uh oh lets just play the song', 'lets'' (of cores I'm paraphrasing). Being one of those groups who's funny because they arrant just makes them a fun break from everything else but they don't have (at least live) what groups like Herman Dune have on every song, which is the feeling that there is something deeper in their song writing.

None the less they got across what they wanted to; in their own words "Two dudes sharing a #bromance and making folk music...". Maybe in the end it's just me not being a fan, yet, because their studio work is pretty good and if your looking for more music in this style here's you ticket.

4. 2:45pm - Grass It Up - From & Based in Colorado Springs, CO

I may have lied earlier when I said I came for the headliner; I came for the main headliner. Not at all saying that this band is a head liner but more of the most important back up band (assuming the others listed before fall under the same category).

Although not at all a tall order for these local legends; well, legends of blue grass (I'm not into blue grass, much at all) but do to repeated visitations by my dad to festivals like these, I know who they are.

I'm lying again, I like this blue grass band (live). Really if your a blue grass fan their essential but if your not (like me) than it needs to be fun and just like a corny name like theirs suggests, they are. It's really just blue grass music but with people who are highly technical in how they play their instruments, I believe I heard something about the banjo player inventing a new way to play?. The banjo player is their Jimi Hendrix no doubt but still the guitarist, you will fear the name Lesley, is a treat too (if you enjoy watching great musicians live). Their just fun to watch and they obviously have fun performing so why wouldn't you tap your foot to it?

5. 4:30 - Alela Diane - From & Based in Portland, OR

Introduced by one of the heads of the festival, this first headliner was essential. I mean, she must have been something amazing to the comity; being the only artist that needed to have a special set up to play. Don't get me wrong I was wowed by her performance but I was also put way off by the placement of it.

I'm sure you can guess that we're dealing with a singer song writer here and one with an amazing voice that matches her honesty, but honesty at that level it gets pretty sad. Singing the lyric about Colorado "When you left me for her, you left me in the snow", is the best example of the turn this festival took with her at the helm.

My mane thought through the whole performance being, 'she would have been such a great opening act', is what should tell you what I wished I would have experienced. I hope that I'm making it clear that I have nothing against her music or her performance, meaning you'd be best to check her out, but her placing was a kin to Bon Iver playing after The Mighty Mighty Bosstones. Just a little bit of a bummer if you went only to have fun, but her statement 'It just occurred to me that I write a lot of dark songs, that may not be appropriate for a sunny day like this' should tell you she has a seance of humor about it.

I need to see her again when I know what I'm getting myself into...

6. 6:15 - Big Daddy Love - From & Based in Sparta, NC

The second headliner, introduced as the band that would rock your socks off, is the same band that wants to show you every side of the festival they were invited to. Given their previous act it didn't seem like their enthusiastic introduction, 'pleas join me in welcoming BIG... DADDY... LOVE...', was out of place. Immediately getting the applause, that wouldn't have been appropriate for the last act, they went into a rocker; it was hard to keep me from laughing when the lyric 'my doctor told me to change my ways, but she never told me nothin' helpful anyway', was sung at haste. Spending no time acting as glum as my favorite song in their set, Mortality, which goes something like 'we all gotta deal with the pressure, we all gotta deal with the pain', they had fun every moment they where on stage.

Easily defined as blues, that last song is only a slight clue to what you can expect from them; blues, rock, country, folk, and blue grass all shoved into a compact 2-4:00min is about what you can. As you can imagine there is a lot of variety so the same gos for quality. Trying not to sound to critical of a band that clearly deserves it's fans I would say a lot of their material didn't exactly make me want to listen to anything besides the songs I loved, but that's just the studio. These guys where the best summery I could've asked for and a great last act before the the band that had to close stepped up.

7. 8:15 - Son Volt - From & Based in St. Louis, MO

I promised this earlier given that this is the headliner. The band that was meant to attract people to the festival in the first place.

Half of Uncle Tuplo fame, this band and Wilco have found and kept a consistent audience that will fallow and see them wherever they go and my dad is one of them. Not to say that before the show I had never heard of them before; being my dad's son I've heard all he has from and about this band but I would only call myself a casual fan. They've always had songs I liked but as a band I always thought they where just okay and up until this show, much like Farrar's hair cut, that hadn't changed.

If you ever wondered why it takes so long, a headliner gets all the time the need to set up while every other band gets as ready as they can before they get thrusted on stage. It's the easiest way to say that they got everything up to studio quality and they did a great job of it. They got up on stage picked up their instruments and played their songs just like they did in the studio. Fans got what they came for, which was a louder version of what they heard on CD, but I'm not a fan. I wanted to see this show so that the band could get up on stage and rock out; I was hoping they would change my mind but they where stone cold up on stage. They acted like performing was their job, granted it is, but that's not what I wanted to see. I was given the impression that they would rock the house (tent) down with stories like how they where so loud at The Folks Festival that they drove half the crowd away. They ended up boring me for the first half of the set accept the songs that I liked on record. I didn't go to the  to hear a record or to see men bored by their own music, whether they were or not it looked like it.

It's a big complaint but I did enjoy the second half of the set but it's because I liked those songs on record. The second half was when the front man, Jay Farrar, picked up the guitar and gave me what I was expecting, but only in sound. They sounded great but I still didn't get the active live performance that I was expecting. They changed my mind about their music; I enjoy listening to their records now so I congratulate them on great sound quality but I have serious doubts about weather I want to see them live again.

-Austin Lovelace

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Austin's Record Store Day Finds 2012

"Hey I'm going to start coming back to the blog. Just a little at a time but I'll write a post tonight. A fallow up to the other RSD post!
COME JOIN US ON FACEBOOK!

-Austin Lovelace"

As much as I want to call Record Store Day a gimmick because of the contest it has become, I can't help but say that it was fun trying to beat everyone else to the albums you want. In any case, half the albums I wanted were limited copies and the amount of massive luck I needed to get those albums was impossible to achieve. In the end I just picked up what I found and wanted so I'll talk about what I got, which is very different from what I wanted....

I' m trying to upload the songs on these records to our Youtube but if not you'll just have to wait. 

1. Gary Clark Jr. - HWUL Raw Cuts Vol. 1

Raw is the closest thing, comprehended by the human mind, that can be used to describe what this guy can do live. To be honest I think this guy's albums are good-average but his videos and lave performances are incredible. The song writing on his albums can be great to just being a back up to his masterful guitar playing but live his skills are enough, especially when you can hear new material. This thing displays new songs that sound as good as "Bright Lights", like "If You Love Me Like You Say", and There is also a live version of "Bright Lights" on this that is orgasmic. I can't wait till he puts out a new album.

There's also a cover of Jimi Hendrix's "Third Stone From The Sun" that was incredible.

2. The Cure - Entreat Plus 

Like the Gary Clark Jr. record this is live BUT all of the live songs are from "Disintegration". Maybe you've heard of it? I guess it's blasphemy but my favorite Cure albums are "Boys Don't Cry" and "Blood Flowers". That"Disentagration" one is a close 3rd though. I figured this record would give them a chance to jam out which is why when I had my record player set too fast, I thought it was awesome till I heard the chipmunk come on the mic. I honestly thought it was one of those old school pop songs that I love (news flash: "Disintegration" is slowed down pop songs) but alas it was not (it was not a 45 *facepalm*). Regardless of my first impression, The Cure are great live but they don't do anything out of the ordinary. You can expect more atmosphere because live they're very melodic and they build to impress the croud but they never drew any songs out or changed solos and melodies. It was still a good buy even though, like "Entreat", left me only slightly more over whelmed that the original album.  

3. Blitzen Trapper - Hey Joe (actually on my wish list)

It's a cover but I'm a huge fan of Blitzen Trapper A HUGE FAN. To be honest this cover isn't the greatest thing ever but there is a B-Side called "Skirts on Fire" that show cases the country direction that the band has been moving to ever seance their last album, and it's good. It's also thick yellow vinyl so FUCK YEAH.


4. The Byrds - I'll Feel a Whole Lot Better b/w It's No Use

Anybody who's a fan of 60s rock knows that this is just a reissue of one of the most famous Byrds songs, in their early days, but I love the song like a mad man. It's one of the best early 60s psychedelic pop songs and it's catchy as hell. Even more than that it has a B-Side that is an alternate version of "It's No Use" which has one of my favorite opening/closing guitar solos EVER and it's on of the first songs that showed what the Byrds would soon become!

(Sexy blue translucent vinyl)


5. Flogging Molly - Drunken Lullabies

Call them a guilty pleasure, call them copy cats, call them what ever you want but I love the hell out of this band and this hit song. Just the playfulness of the speedy banjo and the ruff bass melody behind it. Everyone has heard this song but the B-Side is a rare single, "A Prayer for Me In Silence" and one of their slowest songs and one of their most folky. I can see why it's a B-Side but I still love it. (Yes I've heard "The Pouges" and "The Dropkick Merphies", yes I love them too).

(Sexy red translucent 7")


6. Portugal The Man - I Got it All (This Can't Be Living Now)

One of my favorite albums of last year, that wasn't a top 25, was  Portugal The Man's "In the Mountain, In the Clouds". There are complaints that it was too coherent or there was enough variety but I dug it anyway. "I've Got It All (This Can't Be Living Now)" is one of my favorites off the record and the psychedelic pop/house effects just leap off the vinyl when you play it. There is also a decent remix that changes the beat of the song greatly and lets the vocals soar without the music behind it. Nothing special but I'm glad to have it.


7. Paul Revere & the Raiders - Ride Your Pony b/w You're a (Bad Girl) (actually on my wish list)

This band is really nothing more than an average 60s pop act that got through on their novelty status but I can't act like like RSD isn't either. All in all, this was my novelty buy for this years 5th annual novelty RSD.