Beach House - Bloom

The Tune for Today is: 

Beach House - Myth

Drifting in and out 
See the road you're on 

You came rolling down the cheek 
You say just what you need 
And in between 
It's never as it seems 

Help me to make it 
Help me to make it 

If you built yourself a myth 
You'd know just what to give 

What comes after this 
Momentary bliss 
The consequence 
Of what you do to me 

Help me to make it 
Help me to make it 

Found yourself in a new direction 
Aeons far from the sun 
Can you come? 
Would they come to breach you? 
Let you know you're not the only one 

You can't keep hangin' on 
To all that's dead and gone 

If you built yourself a myth 
You'd know just what to give 
Do you lie? 
Oh, let the ashes fly 

Help me to make it 
Help me to make it

Review by Heather Phares (allmusic)

"It's a strange paradise," Victoria LeGrand sings at one point on Beach House's fourth album Bloom, and there isn't a more apt description of the beautifully heartbroken mood that she and Alex Scally create here. Reuniting with Teen Dream engineer Chris Coady, the duo designed the album to be listened to as a whole, and fittingly, it often feels more like a suite than a collection of songs. This ambition is admirable, but it also means that it takes a while for individual moments to emerge from the album's beautiful haze. Indeed, Bloom may be Beach House's most sonically gorgeous album yet, with an icy sheen that doesn't warm up much, even when recordings of locusts and seagulls show up between tracks; it's easy to imagine LeGrand exhaling clouds of mist while singing the backing vocals on "Lazuli." While the endearing, sometimes awkward intimacy of Beach House's earlier work -- which felt like LeGrand was crooning confessions over creaky, vintage keyboards and drum machines just for you -- is missed,Bloom's shimmering remoteness enhances the album's philosophical, searching approach to love and loss. It's a mood and setting perfect for LeGrand's vocals, which have never sounded richer or more world-weary: "What comes after this momentary bliss? Help me to name it," she calls out on the opening track "Myth," a sentiment echoed later by "Wishes," where she wonders, "How's it supposed to feel?" Emotional moments such as these take their time to emerge, but when they do, they're riveting, particularly on "Troublemaker," which recalls Beach House's previous albums in its delicate dance between sad, stark verses and more hopeful choruses, and on the beautifully resigned "Irene," where a whimsical keyboard melody offsets and underscores the feeling of loss at the same time. Since Bloom's suite-like flow downplays Beach House's poppy side (with the notable exceptions "Other People" and "The Hours"), it's not the band's most immediate music, but the album's challenging mix of heartbroken words and aloof sounds rewards patient and repeated listening.

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Yeah Yeah Yeahs - Show Your Bones

Great News the sexy Karen O. anounced that the Yeah Yeahs Yeahs will release a album this year, until then enjoy this tune.

The Tune for Today is: 

Yeah Yeah Yeahs - Phenomena 

Hey!

Don’t touch kid, sleep with the lights on 
Touch kid, how you surprise me 
Now roll kid, knock your body off! 

You’re something like a phenomena 
Something like an astronoma 
Roll kid, rock your body off! 

Something like a phenomena, baby
You’re something like a phenomena 
Something like a phenomena, baby
You’re gonna get your body off 

Don’t fall asleep with the motor on 
She’ll make you sweat in the water 
Don’t fall asleep with the motor on
She’ll make you sweat in the water 

Hot time kid 
Hot time kid 
It’s cold under the blanket 
They loved it 
They shot it 
The fastest ran and got it 
That story that ease my 
They hide it up the sleeves, my 
They hide it 
They hide it 
They’re never gonna find it 

Don’t fall asleep with the motor on
She’ll make you sweat in the water 
Don’t fall asleep with the motor on
She’ll make you sweat in the water 

Something like a phenomena, baby
You’re something like a phenomena 
Something like a phenomena, baby
You’re gonna get your body off 
Something like a phenomena, baby
You’re something like a phenomena 
Something like a phenomena, baby
You’re gonna get your body off 

Hot time kid 
Hot time kid 
It’s cold under the blanket 
Hot time kid 
Hot time kid 
It’s cold under the blanket

Review by Heather Phares

As explosive as they seem on the surface, the Yeah Yeah Yeahs are also an ambitious, thoughtful band and keep pushing the boundaries of their music. They moved from the rawness of their early EPs to the polished art-punk of their first full-length in just over two years, and this drive to keep topping themselves is what led to breakthroughs like Fever to Tell's gorgeous ballad and hit single "Maps." After taking three years to follow up Fever to Tell, and scrapping many of the songs that they came up with while on tour supporting that album, the Yeah Yeah Yeahs returned with Show Your Bones, the yin to their debut album's yang. While Fever to Tell and "Maps" dealt with falling in love (and being more than a little freaked out about it), Show Your Bones is a breakup album. If the Yeah Yeah Yeahs had made this album earlier in their career, Karen O's cutting lyrics and Nicolas Zinner's choppy guitars would've sliced the poor ex to pieces; after all, on "Bang," from their self-titled debut EP, they (hilariously) wrote off a lame one-night stand with "as a f*ck, son, you sucked." Show Your Bones, however, tries to go much deeper than that. Even Show Your Bones' rockers are subdued. The cryptic lead single "Gold Lion" (which sounds like a mash-up of Love and Rockets' "No New Tale to Tell" and Siouxsie and the Banshees' "Peek a Boo") is a little plodding; though it eventually worms its way into listeners' heads, it's surprisingly restrained compared to previous singles. Aptly enough for the kind of album it is, Show Your Bones' softer songs are some of its strongest: "Dudley" sounds a little bit like Sonic Youth covering the nursery rhyme "Hush, Little Baby," while "Cheated Hearts" is a big, rousing ballad in the vein of "Maps." And, as on Fever to Tell, the band loosens up as Show Your Bones unfolds. "Mysteries" is a jealous cowpunk number that sounds tossed off, but has more bite and fun in it than the rest of the album. On "Turn Into," they take this twangy sound and turn it sweet, resulting in one of their best songs yet.

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By the cover the new album promise to sound acid punk, YEAH! 

Joy Division - Permanent

The Tune for Today is dedicated to Aaron Swartz, R.I.P:

Joy Division - Heart and Soul

Instincts that can still betray us,
A journey that leads to the sun,
Soulless and bent on destruction,
A struggle between right and wrong.
You take my place in the showdown,
I'll observe witha pitiful eye,
I'll humbly ask for forgiveness,
A request well beyond you and I.

Heart and soul, one will burn.
Heart and soul, one will burn.

An abyss that laughs at creation,
A circus complete with all fools,
Foundations that lasted the ages,
Then ripped apart at their roots.
Beyond all this good is the terror,
The grip of a mercenary hand,
When savagery turns all good reason,
There's no turning back, no last stand.

Heart and soul, one will burn.
Heart and soul, one will burn.

Existence well what does it matter?
I exist on the best terms I can.
The past is now part of my future,
The present is well out of hand.
The present is well out of hand.

Heart and soul, one will burn.
Heart and soul, one will burn.
One will burn, one will burn.
Heart and soul, one will burn.

Review by Ned Raggett (allmusic)

If Unknown Pleasures was Joy Division at their most obsessively, carefully focused, ten songs yet of a piece, Closer was the sprawl, the chaotic explosion that went every direction at once. Who knows what the next path would have been had Ian Curtis not chosen his end? But steer away from the rereading of his every lyric after that date; treat Closer as what everyone else thought it was at first -- simply the next album -- and Joy Division's power just seems to have grown. Martin Hannett was still producing, but seems to have taken as many chances as the band itself throughout -- differing mixes, differing atmospheres, new twists and turns define the entirety of Closer, songs suddenly returned in chopped-up, crumpled form, ending on hiss and random notes. Opener "Atrocity Exhibition" was arguably the most fractured thing the band had yet recorded, Bernard Sumner's teeth-grinding guitar and Stephen Morris'Can-on-speed drumming making for one heck of a strange start. Keyboards also took the fore more so than ever -- the drowned pianos underpinning Curtis' shadowy moan on "The Eternal," the squirrelly lead synth on the energetic but scared-out-of-its-wits "Isolation," and above all else "Decades," the album ender of album enders. A long slow crawl down and out, Curtis' portrait of lost youth inevitably applied to himself soon after, its sepulchral string-synths are practically a requiem. Songs like "Heart and Soul" and especially the jaw-dropping, wrenching "Twenty Four Hours," as perfect a demonstration of the tension/release or soft/loud approach as will ever be heard, simply intensify the experience. Joy Divisionwere at the height of their powers on Closer, equaling and arguably bettering the astonishing Unknown Pleasures, that's how accomplished the four members were. Rock, however defined, rarely seems and sounds so important, so vital, and so impossible to resist or ignore as here.

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Talking Heads - 77

The Tune for Today is: 

Talking Heads -  Uh-Oh, Love Comes to Town

Wait, wait for the moment to come 
Stand up, stand up and take my hand 
Believe, believe in mystery 
Love love love love is simple as 1-2-3 

I'm a know-it-all, I'm smartest man around 
That's right, you learn real fast through the smartest girl in town 
Here come a riddle, here come a clue 
If you were really smart, you'd know what to do 
When... 

Jump back, sit back, get back, relax 
It's ok 
I've called in sick I won't go to 
Work today 
I'd rather be with the 
One I love 
I neglect my duties, I be in trouble but 

I've been to college, I've been to school 
I've met the people that you read about in books 
Here come a riddle, here come a clue 
If you were really smart you'd know what to do when I say 
Jet pilot gone out of control, ship captain on the ground 
Stock broker make a bad investment when love has come to town 

Where, where is my common sense? 
How...did I get in a jam like this? 
Believe, I believe in mystery 
Love, love love love is simple as 1-2-3 

Here come a riddle, here come a clue 
If you were really smart, you'd know what to do when I say 
Why am I going out of my head, whenever you're around? 
The answer is obvious, love has come to town

Review by  William Ruhlmann (allmusic)

Though they were the most highly touted new wave band to emerge from the CBGB's scene in New York, it was not clear at first whether Talking Heads' Lower East Side art rock approach could make the subway ride to the midtown pop mainstream successfully. The leadoff track of the debut album, Talking Heads: 77, "Uh-Oh, Love Comes to Town," was a pop song that emphasized the group's unlikely roots in late-'60s bubblegum, Motown, and Caribbean music. But the "Uh-Oh" gave away the group's game early, with its nervous, disconnected lyrics and David Byrne's strained voice. All pretenses of normality were abandoned by the second track, as Talking Heads finally started to sound on record the way they did downtown: the staggered rhythms and sudden tempo changes, the odd guitar tunings and rhythmic, single-note patterns, the non-rhyming, non-linear lyrics that came across like odd remarks overheard from a psychiatrist's couch, and that voice, singing above its normal range, its falsetto leaps and strangled cries resembling a madman trying desperately to sound normal. Talking Heads threw you off balance, but grabbed your attention with a sound that seemed alternately threatening and goofy. The music was undeniably catchy, even at its most ominous, especially on "Psycho Killer," Byrne's supreme statement of demented purpose. Amazingly, that song made the singles chart for a few weeks, evidence of the group's quirky appeal, but the album was not a big hit, and it remained unclear whether Talking Heads spoke only the secret language of the urban arts types or whether that could be translated into the more common tongue of hip pop culture. In any case, they had succeeded as artists, using existing elements in an unusual combination to create something new that still managed to be oddly familiar. And that made Talking Heads: 77 a landmark album.


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Divine Fits - A Thing Called Divine Fits

The Tune for today is:

Divine Fits - Would that not be nice

A lot I've wondered,
How do I swing this?
I gotta be up for a long while,
'Cause I gotta know it, know it tonight.
'Cause if I did,
Would That Not Be Nice.

I wish that I was in Minneapolis,
Like Barbarita, we lay lights flat,
And share a feeling under the moonlight.
And come to think it,
Would That Not Be Nice.

There's Cleopatra, up on her throne.
Come Cleopatra, come, come back home
I'll be here waiting with basmati rice.
Can you tell me now,
Find More lyrics at www.sweetslyrics.com
Would That Not Be Nice.

You're so destructive, a little deranged.
Sometimes I wish that, you were just strange,
I must admit it, that sounds alright.
And if you were, 
Would That Not Be Nice.

You got a carpet, candelabra from California.
And if you light it, you set the room up,
With flickering lights.
And if you did,
Would That Not Be Nice.
Would That Not Be Nice

Review by Heather Phares (allmusic)

Any collaboration involving established musicians that is (un)lucky enough to be called a "supergroup" brings with it all kinds of expectations, both good and bad: either this meeting of musical minds is going to unite the best parts of all the members' previous projects into an amazing whole, or, more likely, it'll be a disappointing clash of musical egos, or a watered-down compromise. Divine Fits, the project of Spoon'sBritt Daniel, Wolf Parade, and Handsome Furs' Dan Boeckner, and New Bomb Turks' Sam Brown defies all of these expectations, in large part because their debut album, A Thing Called Divine Fits, sounds far too natural, and not nearly showy enough, to be seen as the work of a supergroup. The trio's seamless blend of Boeckner's new wave-y synth pop and Daniel's precision-tuned rock was hinted at with A Thing Called Divine Fits' lead single "My Love Is Real," and that song's starkly, darkly catchy vibe contains the rest of the album's sound: throbbing, understated synths, insistent beats that jab listeners like a finger in the chest, and echoing vocals that sound like they were recorded in an alley in the middle of the night. Remarkably, this album manages to be even more spare and streamlined than Daniel's work with Spoon; while it's tempting to say that his aesthetic predominates in any of his collaborations, it may just beBrown who helps make A Thing Called Divine Fits so relentless from start to finish. He nails down every track, from his suitably frantic work on "What Gets You Alone" to the cracked-knuckles percussion that underscores the cocky strut of "Would That Not Be Nice." Indeed, the album's first half is so tight that it borders on suffocating; when the band finally opens up on the quasi-folky ballad "Civilian Stripes," it's a relief. Likewise, the subtler dynamics on the cover of "Shivers" and the quirky, looped backing vocals on the stand-out "Ice Cream" serve as welcome reminders of these artists' more nuanced approaches with their other projects. While A Thing Called Divine Fits might be a shade less eclectic than Boeckner,Brown, and Daniel's other projects, it's hard to find fault when the results are this consistently catchy.

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David Bowie - Aladdin Sane

The Tune for Today is: 

David Bowie - The Jean Genie

Small Jean Genie snuck off to the city 
Strung out on lazers and slash back blazers 
Ate all your razorswhile pulling the waiters 
Talking bout monroe and walking on snow white 
New Yorks a go-go and everything tastes nice 
Poor little greenie, woo ho 
Get back home 

The jean genie lives on his back 
The jean genie loves chimney stacks 
Hes outrageous, he screams and he bawls 
Jean genie let yourself go! 

Sits like a man but he smiles like a reptile 
She love him, she love him but just for a short while 
Shell scratch in the sand, wont let go his hand 
He says he's a beautician and sells you nutrition 
And keeps all your dead hair for making up underwear 
Poor little greenie, woh ho 

The jean genie lives on his back 
The jean genie loves chimney stacks 
Hes outrageous, he screams and he bawls 
Jean genie let yourself go oh 

Hes so simple minded he can't drive his module 
He bites on the neon and sleeps in the capsule 
Loves to be loved, loves to be loved 
Woh ho 
Woh ho 

Aoo jean genie lives on his back 
The jean genie loves chimney stacks 
And he's outrageous, he screams and he bawls 
The jean genie let yourself go! go 

Go 

Jean genie lives on his back 
Jean genie loves chimney stacks 
And he's outrageous, he screams and he bawls 
Jean genie let yourself go woh ho go 
Go go

 Review by Stephen Thomas Erlewine

Ziggy Stardust wrote the blueprint for David Bowie's hard-rocking glam, and Aladdin Sane essentially follows the pattern, for both better and worse. A lighter affair than Ziggy Stardust, Aladdin Sane is actually a stranger album than its predecessor, buoyed by bizarre lounge-jazz flourishes from pianistMick Garson and a handful of winding, vaguely experimental songs. Bowie abandons his futuristic obsessions to concentrate on the detached cool of New York and London hipsters, as on the compressed rockers "Watch That Man," "Cracked Actor," and "The Jean Genie." Bowie follows the hard stuff with the jazzy, dissonant sprawls of "Lady Grinning Soul," "Aladdin Sane," and "Time," all of which manage to be both campy and avant-garde simultaneously, while the sweepingly cinematic "Drive-In Saturday" is a soaring fusion of sci-fi doo wop and melodramatic teenage glam. He lets his paranoia slip through in the clenched rhythms of "Panic in Detroit," as well as on his oddly clueless cover of "Let's Spend the Night Together." For all the pleasures on Aladdin Sane, there's no distinctive sound or theme to make the album cohesive; it's Bowie riding the wake of Ziggy Stardust, which means there's a wealth of classic material here, but not enough focus to make the album itself a classic.

The New Album Song: Where are we now

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