On Sunday, November 17 at 4:00 PM, I will air an interview that I conducted this summer with Dr. Jack Mitchell of the Wisconsin Center for Investigative Journalism. He was one of the original employees of NPR's highly acclaimed news and interview show, All Things Considered, and our interview includes discussion about the founding of the show along with his ideas regarding the future of public radio. Tune in!
Why does Cass McCombs want us to know that there are four-year-olds out there who smoke crack and don't believe in God?
Jim Morrison once said, “The West is the best.” It was on the song “The End,” a story about riding out on the westway highway to fulfill an Oedipal dream. On the way he does blue rocks on a blue bus. He seeks freedom at the other end of the country. It’s the farthest west anyone has ever gone--it took almost 1500 years since Christ pointed out the way--and once we got there, there was nowhere else to go, except to go weird. It was the End.Read more...
Yuppies lead singer Boogs Begley insists that this album needs to be listened to “on a loud stereo system.” I followed his instructions and figured out why: the fast and frenetic punk demands that the listener pay close attention. The songs are clearly painstakingly crafted not only individually but also as an album. “Across the Prairies” is a slow, chanted introduction before the listener is informed, “Alright, alright we’re going for a ride/whether you like it or not/grab your things collect your thoughts/we’re going for a ride alright alright” on “A Ride.” The album really gets going after this line with an abrupt howl and screeching guitar thud. The rest of the album flows seamlessly together with noisy guitars, driving bass, in-your-face lyrics, and brilliant pacing.
These Omaha punks (Jack “Boogs” Begley, Kevin Donahue, Noah Sterba, and Jeff Sedrel) cut their teeth with countless shows in and around their hometown since 2007. Their DIY punk roots show through not only in their disaffected, raw sound, but also their well-practiced songs. “What’s That,” “Easy Nights,” and “Getting Out” have been in the Yuppies’ repertoire for a few years now, but this performance is easily their best. Released by Dull Tools, Andrew Savage of Parquet Courts’ label, and featured streaming in Pitchfork Advance, Yuppies s/t is their finest work to date and they are finally getting noticed for it.
This album tells the story of the worst vacation ever, a night that must have been fun because it can’t be remembered, and worms crawling in your brain. The listener has no choice but to hop in the Yuppies’ car and cruise the hellish Midwestern night away.
Yuppies @ the Hexagon in Minneapolis Saturday, October 12th.
Come to the Cave from 8-9:30 PM on Wednesday, October 9 for some sultry blues dancing! It's an easy dance style to learn, and if you don't like to dance, it's also fun to watch. Music will be provided by KRLX, of course, and the Cave will provide coffee and tea.
WE BACK WE BACK WE BACK WE BACK
The white piano. Wash your hands, Brian, before you play the white piano.
KT Tunstall’s fourth major album, “Invisible Empire//Crescent Moon” comes after a period of change in Tunstall’s life during which she experienced the death of her father and the dissolution of her ten-year marriage. Inspired in part by these events, Tunstall has created a lyrical, evocative and thoughtful album that weaves together elements of folk-rock, blues, and country music. An emotional mix of vulnerability and forward-thinking strength is alluded to throughout the album but is especially present on tracks such as “Made of Glass,” “Carried,” and “Feel it All.” “Invisible Empire,” the first of the two title tracks, begins the album at a jaunty walking pace with KT Tunstall’s smooth alto voice singing of risk and survival over a shuffling guitar and drum accompaniment. “Crescent Moon,” by contrast, is more meditative and spare, beginning with the lines, “I’m a crescent moon/Looking for a place to lay my head and settle in,” and going on to explore lonely spaces and desert imagery. Other standout tracks on the album include “Yellow Flower” for its poetic and heartfelt lyrics held aloft by its simple but effective keyboard accompaniment, and “Hallowed Ground” for its gritty, irreverent, foot-stomping, bluesy spirit. Only a few tracks are patently forgettable, namely “Honeydew” and “No Better Shoulder.” “Crows,” an elegant commentary on death, and “The Boys of Summer,” her jubilant cover of Don Henley’s song of memory and love, make an excellent conclusion to the album. All in all, Tunstall has delivered another excellent album that is well worth a listen.
A good two decades in the electronic music scene, big-hair-big-sound supermusician Brian Transeau (known as BT) has produced, remixed, and shared the stage with a thousand big names. A Song Across Wires, his 9th studio album, is packed with collaborations with artists young and old. We see BT tackling some of the most popular genres of the moment, almost as an afterthought considering the context of his whole career. And in doing so, he's enlisted the help of some great talent to add flavor to his sound - Arty, Tritonal, Fractal, and Nadia Ali to name a few. Armada Music's one of the biggest labels for this sound, and ASAW is set to be one of the biggest albums of their year. There are a lot of solid tracks and the production value is top notch. But it doesn't really sound quite as inspired as other BT releases. It's his first album with the intent of being club-oriented, so I suppose I shouldn't be surprised that it's a record full of singles. But it just feels hasty. Even though there is great music around the disc, bits of this album are still boring.Read More
Karriem Riggins is from Detroit, right at the intersection of hip-hop and jazz. Karriem Riggins plays the clams, the skins, the traps, the Shirley Murphys. Since little kiddom he was drumming for his jazz father. More recently heʼs worked with the likes of Madlib, co-composing most of the tracks on Yesterdays New Quintetʼs Yesterdays Universe, and J Dilla, where Karriem became the de facto producer for The Shining after Dillaʼs death. A little less than a year ago, after working on so many other peopleʼs projects, jazzcats and rappers alike, Riggins dropped his first solo production, Alone Together.
Record Libe Hours
Tuesday: 12-4 , 7-11
Wednesday: 10-12 , 7-9
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