December 19, 2007
2007: The Year in Movies and Music
By Jaime Lees
Published: December 19, 2007
LCD Soundsystem’s self-titled 2005 release stands as the album that made me finally, truly believe in new electronic music. But Sound of Silver was a huge step up — and my ultimate album of 2007. It had everything I wanted: fun, super-fresh style, beauty and plenty of beats. “All My Friends” is elegant and touching, “Someone Great” is bloop-bloop perfection and the hand claps and joyous shouts of “a-woohoo!” in “Watch The Tapes” are majorly addictive.
Still, my favorite part of the music year was when an android stork dropped down from outer space and delivered us Radiohead’s In Rainbows. The media hullabaloo surrounding the surprise release sucked me in whole (because I’m a dork and I love shit like that). And while I remain fascinated by the band’s alien marketing techniques, the album had the chops to back up the hype. It’s pretty, glitchy, bittersweet and epic — in short, everything you would expect from a Radiohead album. However, In Rainbows is instantly more accessible than Amnesiac, Kid A or even Hail to the Thief. Around the same time as the album’s release, the band started leaking performances on its Web site, including live versions of album tracks and my new favorite cover ever: Radiohead playing New Order’s “Ceremony.”
My heart swelled with pride when the Arcade Fire released Neon Bible, and then both fans and critics welcomed the album’s lush, bountiful orchestration. Arcade Fire fans have formed a near-cultish church surrounding the band, but their worship might be justified. “Intervention,” “Ocean of Noise,” “(Antichrist Television Blues)” and “My Body Is a Cage” are nothing short of magical and could easily be mistaken for the rapturous hymns of a new religion. Everyone was primed for a backlash against the indie darlings, but you can’t argue with songs this beautiful.
As far as independent releases, at the beginning of the year I was gifted with an advanced copy of AA Bondy’s recently released American Hearts, and it’s been in heavy rotation ever since. The solo singer-songwriter put aside his former life as the lead singer of scorching glam-grungers Verbena in favor of a more earthy, exposed adventure. Bondy composes lonely tales of complicated redemption, teetering between the delicate confusion of Dylan and the hopeful pride of Springsteen. His soulful voice is soothing and softly Southern, making American Hearts a perfect Sunday-morning album.
I also happened upon tons of great local releases this year. The Humanoids’ Are Born is my favorite; the songs are pure punk and the band straight-up shames most other locals with its energy and authenticity. Rats and People’s The City of Passersby is dense and enchanting, and quite a few songs on the Bureau’s We Make Plans In Secret deserve repeated spins. Finally, Riddle of Steel’s 1985 wasn’t released until the end of this year, but I can safely predict that it will rock me through 2008. (click to read all)
— Jaime Lees
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Posted by Jaime
December 19, 2007
Koffin Kats
9 p.m. Friday, December 21. The Bluebird, 2706 Olive Street.
By Jaime Lees
Published: December 19, 2007
Instead of feeling cornered or trapped by its “psychobilly” label, the Koffin Kats embrace it. The tattooed, mohawked and pompadour-sporting trio possesses endless energy, meaning that its music is fast-paced, punk-derived and just a little bit evil. The band’s sound isn’t limited to just one genre, however; anthemic new songs prove that the Koffin Kats really know how to bring the horror business. (Think a slightly punk-rock Elvis Presley singing the Misfits.) Its live shows are always lively and fun, but take care: Sometimes the Koffin Kats excite audiences so much, its fans get a little rowdy and aggro.
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December 19, 2007
The Livers
9 p.m. Tuesday, December 25. Way Out Club, 2525 South Jefferson Avenue.
By Jaime Lees
Published: December 19, 2007
Up-and-coming locals the Livers put on one of the most interesting live shows in St. Louis. Though the band consists of just two members — Scot Freeman and Luke Roulston — it multiplies its live sound by playing electric guitars in front of a pre-recorded video of Freeman on drums and Roulston on bass. (The pair has even worked out witty banter-and-joke exchanges between the band members and their video-selves.) The resulting sound is that of a full four-member band, but without the two extra dudes to drink up the beer allowance. The Livers aren’t all gimmick, though: The band impresses with sharp lyrics, searing riffs and grunge-heavy drums, meaning its songs sound like solid ’90s rock. (But in a great, Dave Grohl-y kind of way, we swear.) Plus, the Livers’ live show is fun, diverse and full of unlikely covers (like Elastica’s “Stutter”) and cheeky crowd interaction.
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December 12, 2007
The Shondes/The Helium Tapes/That’s My Daughter
9 p.m. Wednesday, December 19. The Bluebird, 2706 Olive Street.
By Jaime Lees
Published: December 12, 2007
Some are quick to call the Shondes a “queer-core” band based on the presumed transgendered identities of a few members — and because its sound easily attracts a college-aged queer-core audience. But it’s more precise to call these New Yorkers a powerful, political band composed of young queer activists. While often compared to Sleater-Kinney, the Shondes sound more like the Gits: bold, melodic and aggressive, with music featuring interesting Jewish folk-music underpinnings. Though the lyrics are naked and unapologetic, fierce indie rock is its main ingredient — the full force of which can be felt when the band plays live. The Helium Tapes and That’s My Daughter open.
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December 5, 2007
The Misfits at the Roberts Orpheum, Tuesday, December 4
Wed Dec 05, 2007
By Jaime Lees
Original Misfit Jerry Only has the unenviable task of filling the slot left by former lead singer Danzig, that superstar sausage. While Only’s attempts are appreciated, it’s true that the band just isn’t the same. The word I heard thrown around a bunch last night was “depressing.” Only at least looked like he was having a good time. He frequently flashed a handsome smile and made sure to high-five every single kid that got up on stage to stage dive. His signature devil lock hair style now protrudes from a receding hairline, but he did his best to act the part and keep the crowd amped. He gave typical banter (”St. Louis! Since you’re such a small crowd you’re going have to be THAT. MUCH. LOUDER!” or something like that) and basically let us know he knew where his bread was buttered. Keeping this audience happy required playing few new songs and tons of old Misfits classics (”Halloween,” “Die Die My Darling,” etc.), and the band obliged. As a nod to current guitarist Dez Cadena’s former band, the Misfits also ripped through a few Black Flag treasures (”Six Pack,” “Rise Above”). Sadly, this was my favorite part of the show.
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December 5, 2007
VHS or Beta
8 p.m. Saturday, December 8. The Gargoyle, on the campus of Washington University at Forsyth and Skinker boulevards.
By Jaime Lees
Published: December 5, 2007
The dance-rock craze just won’t end, but that’s cool with us: We like to stagger home after a long sweaty night of clappin’ and vibratin’. VHS or Beta is one of the best examples of what a band can accomplish in this particular genre. The Louisville band makes music that mixes an equal balance of disco, house and punk, all the while never forgetting the beat. The VHS or Beta boys also give special attention to the sing-along factor, with nods to ’80s popsters such as Big Country and Duran Duran (a band they toured with a few years back). The newest album, Bring On The Comets, is so diverse in its danciness that it should attract fans of Interpol and Daft Punk alike.
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