Dead Flowers: 10 Tracks from 2007

[Artwork by Marcel Dzama]

Putting together a year-end 'Best Of' list is always a tricky proposition. An album might have been on constant rotation at the beginning of the year, only to fall off one's musical map by the time December rolls around. With that in mind, here was the music that most impressed me during the year, and the music that got the most plays.

The Mix:

[Download it Here]
[Use Winrar to unpack the file]

Radiohead: "In Rainbows" (Album)
Was this the album that launched a thousand downloads,
And burnt the topless tower of Hollywood and Vine?

[Band Website]
[Band Wiki]
"Bodysnatchers" from the "Thumbs Down" Webcast:

Babyshambles: "Shotters Nation" (Album)
Finally, the people who only got interested because of Kate Moss had some evidence of what it was all about in the first place. This wasn't a perfect record, but when it worked it was laugh-out-loud funny and undeniably catchy. Maybe the handful of rubbish choruses ("You Talk", "French Dog Blues") wouldn't have been so bad with Carl Barat singing them? One will never know...

[Band Website]
[Band Wiki]

The Good The Bad and The Queen (Album)

In the end, many listeners seemed surprised by how subdued this record was. Live performances (where the band usually played the album in its entirety) are worth looking into, because they display the sort of raw energy that was a bit smothered by Danger Mouse's muted production. Still, it's hard to deny that Damon has a way with melody and a gift for evoking a certain time and place--the record sounds like 2007 felt: weary, melancholy, yet, if only in the slightest way, ultimately hopeful.

[Band Website]
[Band Wiki]
"Green Fields" Live:

The Veils: "Nux Vomica" (Album)

Sure, no self-respecting Anglophile would put a 2006 UK release on his best of 2007 list, but come on, it wasn't exactly a banner year for music. Finn Andrews and Co. dramatically upped their game on this release, which showed a sharpening of focus after their at-times uninspired debut. As far as up-and-coming groups go, this listener would bet on The Veils to make the first truly great record of the decade.

[Band Website]
[Band Wiki]
"Not Yet" Acoustic:

Tunng: "Take" (Song)

Sounding like The Beta Band gone off their meds, this had all the makings of a campfire sing-a-long (if said campfire was a burning car).

[Band Website]
[Band Wiki]
BBC Collective Version:

Foreign Born: "In the Shape" (Song)
Probably this reviewer's single most-played track this year. This definitely had something to do with the song's phenomenal second-half, which is brimming with percussion, acoustic guitar, and well-timed squawks from singer Matt P. Absolutely infectious and a sign of great things to come from this young LA group.

Listen:

[Download the MP3 Here]
[Band Website]

Tokyo Police Club: "Your English is Good" (Song)

Maybe it's nostalgia for the rural Ontario of my youth, but this song evokes lazy summer days and youthful ignorance/stupidity. This band's first two singles have been rather brilliant; it remains to be seen, however, if they can maintain such incredible momentum over the course of an album.

[Band Website]
[Band Wiki]
Promo:

The Raveonettes: "Lust Lust Lust" (Album)
The Raveonettes pretty much do one thing, but they do it very well. This was their strongest album yet. Maybe they could give their Danish compatriots Mew lessons on how not to become shit.

[Band Website]
[Band Wiki]

Vessels: "Yuki" (Song)
Crafting a mood of icy desolation, this post-rock act from Leeds raised expectations for their first full-length album. If it follows this blueprint: scattershot percussion, delayed keyboard, and subtle mastery of dynamics, it will be one of the best things in 2008.

[Band Website]

Mystery Jets: "Flakes" (Song)
On this track, this unruly band of misfits (and the singer's dad) traded gimmicky for maturity, reclaiming the Buckley legacy from a million hapless bedwetters. While it was a late entry, this was a serious candidate for song of the year.

[Band Website]
[Band Wiki]
Promo:

Thanks for visiting Dead Flowers in 2007. See you in 2008!

Jake Drake's Best of 2007

Here were Jake Drake's favorite records in 2007. You can also see the list on his site, The American Underground [Link].

#1 (By a landslide): VietNam- "VietNam"

Dr Dog-"We All Belong"
Baby Shambles-"Shotter's Nation"
Band Of Horses-"Cease To Begin"
Devendra Banhart- "Smokey Rolls Down Thunder Mountain"
LCD Soundsytem -"Sound of Silver"
PJ Harvey -"White Chalk"

The Good The Bad and The Queen -"The Good The Bad and The Queen"

The Willowz- "Chautauqua"
The Long Blondes -"Someone To Drive You Home"
The Hives -"The Black and White Album"
Arcade Fire -"Neon Bible"
Delta Spirit-"Ode To Sunshine"

Clap Your Hands Say Yeah-"Some Loud Thunder"

Listen to "Tick Tick Boom" by The Hives:

[Download the MP3 Here]

Reviewing the Reviews

If there's one thing that's consistently frustrating about music writers, it's their lack of willingness to go back and reevaluate their opinions once the initial excitement (or disappointment) of an album has worn off. In order to further the cause of journalistic humility, here's my take today on reviews I wrote this year.

(Click on the album title for the original review)

The Good The Bad and The Queen

Original Rating: n/a

What I said then: As hard as it is for this Radiohead fan to admit, while everyone was looking elsewhere, Damon Albarn established himself as Britrock's most consistent and innovative artist. His motives may have been questioned since he told us that there's no other way, but the results speak for themselves: the Blur behemoth, obviously, but also Gorillaz--a hugely popular group that manage to remain indie in the best sense of the word. Albarn's voice and melodies now have an instant familiarity that make his albums the aural equivalent of comfort food. In other words, he's become the Sting that doesn't suck.

What I say now: Well, this is obviously pre-"In Rainbows", so make that second most consistent and innovative artist. This album was quite good, but after playing it to death for the first couple weeks after its release, I haven't had the desire to return to it. Not sure why that is, really. Should've gotten an 8.

Arcade Fire: Neon Bible

Original Rating: n/a

What I said then: I wanted to like this record more than I actually did. "Neon Bible" gave me few reasons to return after my initial couple of listens. Arcade Fire's flaws are born of the best intentions, so it feels unfair to completely write them off. But after slaving away in that office downtown, you might not want to spend your hard-earned money on such a joyless and ultimately forgettable collection of songs.

What I say now: I don't even want to like this record anymore. That might have something to do with it being a steaming pile of dog shit. I took a lot of flak for this review, but I think I got it right. Should've gotten a 3.

The Veils: Nux Vomica

Original Rating: 7 out of 10

What I said then: Elsewhere, Andrews puts his distinctive warble to good use. While it's very likely a love/hate proposition for many listeners, this reviewer finds that he's usually careful not to overdo it. Yes, he often errs on the side of melodrama, but somehow it fits these songs. There is still a noticeable Buckley influence here, but one that's more "Sketches" than "Grace". Tracks like "Jesus for the Jugular" and the title track have a dark, bluesy feel reminiscent of Buckley's "The Sky Is A Landfill" or "Nightmares By The Sea" before them.

What I say now: This was a really solid album: complicated, compelling, and satisfying. If anything, I was too hard on it. Should've gotten an 8.

Interpol: Our Love to Admire

Original Rating: 6 out of 10

What I said then: The intricate "Mammoth" is like a finely crafted piece of origami, impressive in its complexity, yet ultimately hollow. "Rest my Chemistry" and "The Scale" are uneventful retreads of songs done better on "Turn on the Bright Lights". "Wrecking Ball" tries to incorporate compelling elements like a brass section, minimalist drums, and multi-tracked vocals, but the end result is a musical mess. This sort of failed experiment is why God created b-sides; for Interpol, a band never known for its prolificacy, it has become a crucial album cut.

What I say now: This album was truly terrible--a 6 was being incredibly charitable. Maybe I was hoodwinked by admittedly great first single "The Heinrich Maneuver". Everything else was shit. Should've gotten a 3.

Foreign Born: On the Wing Now

Original Rating: 7 out of 10

What I said then: Foreign Born are like a musical Rorschach test. U2 fans hear Bono in Matt Popieluch's soaring vocals and the Edge in Lewis Pesacov's effects-laden guitar. Joy Division devotees hear Ariel Rechtshaid's driving bass and immediately think of Peter Hook. For this reviewer, Foreign Born conjure up the nervous energy of the West-Coast groups heard on the Nuggets compilation: Maybe it's Popieluch's manic acoustic guitar throughout the album, or the propulsive drums of Garret Ray on tracks like "It Wasn't Said to Ask" and "Into Your Dream". However you peg them, it's clear that Foreign Born are mining a rich musical tradition: The chorus guitar on "In the Shape" is pure "Dirty"-era Sonic Youth; on the aforementioned "Into Your Dream", Popieluch evokes the spirit Lou Reed in his prime.

What I say now: That 7 was sort of an 'A for effort'. Foreign Born certainly have a lot of potential, but there were simply too many forgettable moments (or not enough memorable ones) on this record. Should've gotten a 6.

Babyshambles: Shotters Nation

Original Rating: 9 out of 10

What I said then: There are so many striking moments of spontaneity on the record that it's hard to mention them all here: the way the verse in "Deft Left Hand" is transformed into something quite special, taking the rest of the song along with it; the way the sparkling middle eight in "French Dog Blues" resolves into a Who-inspired breakdown; or the way "Crumb Begging Badhead" references obscure inter-war-period Polish writer Bruno Schulz before exploding into a 60s-organ-based freakout. This is why people originally gravitated towards Doherty, these little moments that make the listener chuckle at his nerve and marvel at his talent.

There's nothing more boring than a band that tries to make a "perfect" album, and you could never accuse Babyshambles of doing such a thing. This album has its flaws, whether it's the clumsy drumming on "Unstookietitled", the predicatable, Oasis-lite opening riff of the aforementioned "Deft Left Hand", or the relatively weak choruses on several of the tracks. But these are minor complaints.

What I say now: While this was definitely one of the most enjoyable records released all year, I may have gotten a little overzealous here. In retrospect, those choruses weren't just relatively weak, they were downright anemic. Should've gotten a 7.

Radiohead: "In Rainbows"

Original Rating: 10 out of 10

What I said then: One of the most interesting developments on "Kid A" and "Amnesiac" was the way in which the band learned to be so economical in their use of instruments: every piece of the arrangement played a distinct role. One example of this is "Like Spinning Plates", the sparse cymbal hits of which stand as one of Phil Selway's most evocative performances. The band got away from this on "HTTT" (see: laserbeams) and the record suffered as a result. "In Rainbows" benefits from an overall more minimalist approach: it's difficult to imagine Chris Martin having the courage to write something so deceptively simple as "Jigsaw Falling into Place" or "House of Cards".

What I say now: Sure it hasn't been very long since it was released, but my appreciation for this record continues to grow. There are no weak tracks here, and the likes of "Bodysnatchers" and "Reckoner" rank up there with the best songs the band has produced. Should've gotten an...11!


Think I got something wrong? Discuss it in comments...

Listen to "History Song" by TGTBATQ:

[Download the MP3 Here]

The Dead Flowers Best of Britpop Mix

Let's face it: any jerk can put some Pulp and Elastica on a CD and call it a Britpop mix. The recent Brit Box? Good intentions, but kind of boring. In the end, only one person could put you inside the head of a University of Michigan sophomore studying abroad in London in '96. Only one person could pick the music that would evoke day trips to Manchester on Smiths pilgrimages, or evenings spent sipping Newcastle and watching the band whose first release just got Melody Maker's "Single of the Week". That person is Dead Flowers' resident Britpop expert, Phil. For a year I've been pestering him to put together a mix like this, and he's finally delivered. Here's a track-by-track rundown:

1. Echobelly - Insomniac
Phil's Comment: Sept. 1994, Echobelly and Oasis both sell out the same venue, same capacity on different days in ny (wetlands). alas, quite different paths after that.


2. Gene - London, Can You Wait?
P: Never given their due/respect!
Mike (Dead Flowers)'s comment: I agree. Taken in small doses, Gene were quite good.

3. Blur - Chemical World
M: One of my favorite Blur tracks. Amazing guitar, and the lyrics would set the template for Britpop songs to come.


4. Oasis - Whatever
M: There's nothing better than a great non-album single. Sure, this apes The Beatles, but it does it in a classy way. Liam's voice would never sound better.


5. Suede - We are the Pigs
P: Best song intro in the britpop era.
M: While most latter-period Britpop bands would draw on mundane events like soccer championships and elections to find inspiration for their anthems, Suede had it right from the beginning: bad drugs and JG Ballard novels.

6. Tricky - brand new you're retro
P: I guess some trip-hop needs to be thrown in.
M: Sure, it sounds really dated. But it's interesting to hear what passed for 'cutting-edge' back then.

7. Salad - Granite Statue
P: Even the lesser players at the time were still quality
M: At first I thought this song was crap, but I've had it stuck in my head for the past few days and I can assure you it's top-notch. The girl can't sing, but only half of the Britpop singers could anyways.

8. The Auteurs - Lenny Valentino
P: Also criminally underrated, Luke Haines' post-auteurs stuff was never topped.
M: Haines really looks like Paul Banks in this video. Brilliant track.


9. Morrissey - Hated for Loving
P: Still the godfather of british pop

10. Marion - Time
P: Obligatory Manchester-based, smiths-heirs-to-the-throne-but-never-were band.

11. Sultans of Ping - Where's me Jumper?
P: The unofficial anthem of britpop.. bar-none
M: I think Art Brut heard these guys.


[Download The Dead Flowers Best of Britpop Mix]
[Use Winrar to unpack the file]

Listen to "We are the Pigs" by Suede:

[Download the MP3 Here]

I've Got the Poison

Here are some nice Radiohead links to get you through the week (links in bold):

New York Times Interview:
Signing a new major-label contract “would have killed us straight off,” (Thom) added. “Money makes you numb, as M.I.A. wrote. I mean, it’s tempting to have someone say to you, ‘You will never have to worry about money ever again,’ but no matter how much money someone gives you — what, you’re not going to spend it? You’re not going to find stupid ways to get rid of it? Of course you are. It’s like building roads and expecting there to be less traffic.”

Observer Music Monthly Interview:
Dan Lewis, 32, a teacher in Philadelphia, asks: 'Margaret Florence [aka Stevie Smith] one wrote, "why does my Muse only speak when she is unhappy? She does not, I only listen when I am unhappy." Can you relate to this?'

Thom: 'That's good. That's true. But unhappy would be the wrong way of putting it. You're in a certain state of mind. Unhappy is not... the entire manifestation of that state of mind. It's also hyperactive, out-of-control, off-your-face. All these things. But not necessarily just unhappy or melancholic, which I read the other day, which is a much better word.'

Incredible Fan-made 2008 Calendar

Listen to "True Love Waits" ('95 Version):

[Download the MP3 Here]
[Band Website]
[Band Wiki]

Quick Impressions of Radiohead's "In Rainbows" (CD2) and Sigur Ros's "Hvarf/Heim"

Here are short reviews of the latest music by the only two bands I've ever given a "10" to (Sigur Ros for "()" and Radiohead for "In Rainbows"):


Radiohead: "In Rainbows" (CD2)
You can officially add song selection to Radiohead's various strengths. None of the tracks on this bonus disc would have made "In Rainbows" better than it is; several of them might have made it worse. "Down is the New Up" is the most polished of the songs here, but it meanders needlessly and ultimately fails to satisfy. The string part, reminiscent of "DJ Shadow's Theme", is quite nice however.

The relic from the "OK Computer" era, "Last Flowers to the Hospital", seems tired and uninspired. Listening to the track, one can, for the first time perhaps, fully appreciate why the band made "Kid A". This type of thing might have sounded great in 1997. A decade later, the charm has worn off.

"Bangers and Mash" is the best thing here, its gritty guitar and propulsive drums adding another dimension to the "In Rainbows" sessions. Final track "4 Minute Warning" has been stripped of the Coldplayisms it had live, which many will find reassuring, but it's hard not to feel that the song is more of an afterthought than a triumphant closing number.

This disc is surely a nice treat after the spectacular "In Rainbows"--just don't go spending extra money for it.

Rating: 5 out of 10

Listen to "DJ Shadow's Theme":

[Download the MP3 Here]

Listen to "Down is the New Up":

[Download the MP3 Here]
[Band Website]
[Read my review of "In Rainbows"]

Sigur Ros: Hvarf Heim
This "odds and sods" collection, meant to accompany the by-all-accounts brilliant "Heima" documentary, is the first non-essential release by the Icelandic band. Opener "Salka" was left off "( )" at the last minute, and it's a shame, because it could have held its own on that record. Single "Hljómalind", while showing promise, is weighed down by its conventional structure and tacked-on final chorus. The acoustic half of the album will surely be treasured by Sigur Ros obsessives, but the track selection seems a bit off for a band ready to take its rightful place in the limelight.

Rating: 6 out of 10

Listen to "Salka":

[Download the MP3 Here]
[Band Website]

Jonny Greenwood: Prospector's Quartet

Listen:

[Download the MP3 Here]
[Movie Wiki]

View the trailer for "There Will Be Blood":

Yeasayer: 2080

Listen:

[Download the MP3 Here]
[Band Website]
[Band Myspace]

Frankly, Mr. McNicholas

If there was any doubt about who would come out on top of the Morrissey/NME "racism" scandal, it's been settled now. One can only imagine the tears in the NME editor's eyes when he read this diatribe by none other than Morrissey himself:

I abhor racism, and apologise - for speaking to NME

I grew up a chanting believer in the New Musical Express. Last week however, I was the victim of the magazine's agenda to cook up a sensational story...

On Friday of last week I issued writs against the NME (New Musical Express) and its editor Conor McNicholas as I believe they have deliberately tried to characterise me as a racist in a recent interview I gave them in order to boost their dwindling circulation.

I abhor racism and oppression or cruelty of any kind and will not let this pass without being absolutely clear and emphatic with regard to what my position is.

Racism is beyond common sense and I believe it has no place in our society.

To anyone who has shown or felt any interest in my music in recent times, you know my feelings on the subject and I am writing this to apologize unreservedly for granting an interview to the NME. I had no reason whatsoever to assume that they could be anything other than devious, truculent and unreliable. In the event, they have proven to be all three...

Into the 90s, the NME's discernment and polish became faded nobility, and there it died - but better dead than worn away. The wit imitated by the 90s understudies of Morley and Burchill assumed nastiness to be greatness, and were thus rewarded. But nastiness isn't wit and no writers from the 90s NME survive. Even with sarcasm, irony and innuendo there is an art, of sorts. Now deep in the bosom of time, it is the greatness of the NME's history on which the 'new' NME assumes its relevance...

he editorial treatment given to my present interview with the 'new' NME is the latest variation on an old theme, but like a pre-dawn rampage, the effects of the interview have been meticulously considered with obvious intentions. It is true that the magazine is ailing badly in the marketplace, but Conor doesn't understand how the relentless stream of "cheers mate, got pissed last night, ha ha" interviews that clutter every single issue of the 'new' NME are simply not interesting to those of us who have no trouble standing upright.

[Read the whole post]

Listen to "Everyday is Like Sunday":

[Download the MP3 Here]

Lush: For Love

Listen:

[Download the MP3 Here]
[Band Website (Unofficial)]
[Band Wiki]
[Recent Interview with Miki Berenyi]
(Thanks Big Boots)

Live:

Cat Power: Stuck Inside of Mobile with the Memphis Blues Again (Dylan Cover)

Listen:

[Download the MP3 Here]
[Band Website]
[Band Wiki]
(Thanks FW)

Tunng: Take

Listen:

[Download the MP3 Here]
[Band Website]
[Band Myspace]
[Read the recent BBC Collective feature on the band]

Sigur Ros: Heima (Acoustic, from the DVD)

Listen:

[Download the MP3 Here]
[Band Website]
[Band Myspace]
[Download the band's recent appearance on The Culture Show from BBC (Highly Recommended)]

"Heima" Trailer: