The set started out with them as a trio with all the basic elements covered: bass, guitar and drums, which all of them played with great energy. It was actually kind of mesmerizing to watch three young men bounce around the stage like grasshoppers and make such rhythmically pretty, but ultimately uninteresting pop, like a movie whose sound hadn't caught up with the images yet.
An additional guitarist joined them after the third song and my hopes rose. Maybe this was the ace! Maybe this guy had some amazing guitar solos up his sleeve and the other guys brought him out as a secret weapon! But no, just like the other he began jumping up and down and dancing with wild abandon while strumming uninspired licks on his instrument.
The as-yet-unnamed album will include 10 unreleased songs, quite possibly outtakes from different albums going back to 1987's Bad.
Ironically, Rolling Stone ends up quoting Tommy Mottola, the former Sony executive with whom Jackson bitterly feuded when he was alive. Mottola, however, supervised Jackson's career during his his glory days, and would be an authority on what unreleased tracks are in the vaults. "Every time that [Jackson] recorded, he over-recorded. He would record anywhere from 20 to 30 songs for each album," Mottola said last year. "Any of them could have been as big a hit as the ones that came out."
What known Michael Jackson outtakes do you think Sony Music should include on the November album?
How about this one:
He'll be spinning at Control at Avalon tonight. We caught up with him to ask a few questions:
LA Weekly: There seemed to be a time not too long ago when dance music strove to keep as far away from pop as possible. Now the opposite is true. Is this a healthy thing for dance music? Why?
As I Lay Dying will be playing as part of The Cool Tour lineup tomorrow, July 31, at the Hollywood Palladium.
Composed of vocalist Tim Lambesis, guitarists Nick Hipa and Phil Sgroso, bassist Josh Gilbert and drummer Jordan Mancino, this heavy, hard-working musical unit is celebrating a career that has lasted a decade. Since forming in 2000, the band has risen from the murky San Diego metal/hardcore scene to play with everyone from Lamb of God and Killswitch Engage to Cannibal Corpse and GWAR.
AILD are without a doubt one of the hardest working bands in contemporary metal, and they must given credit for their five studio albums and their 2007 Grammy nomination for 'Best Metal Performance' for their song 'Nothing Left' off the album An Ocean Between Us.
LA Weekly got a chance to speak with lyricist and singer Tim Lambesis, who discussed the San Diego metal scene, being Christians and the temptations of the road, the latest album entitled The Powerless Rise, what fans can expect from the band's live set and exactly why they chose to headline a package tour called, 'The Cool Tour.'
(Well despite that name, it really is cool)
Early this year, though, California-bred indie darling Joanna Newsom dared to go long -- the 28-year-old harpist unveiled Have One on Me (on the Drag City label) to neither catcalls nor accusations of indulgence, or at least not many.
Newsom, her voice still a delicate flower, expanded her arsenal of instrumentation for her first release since 2006's "Y's," and between her sophisticated arrangements and polyrhythmic bent "Have One on Me" never feels bloated. The public seems to have welcomed the string-wielding folkie as well -- the album cracked the Billboard charts, and we're still looking for another harpist's album to have done that.
All of which means Newsom will have plenty of material -- and, likely, earn plenty of love -- when she headlines the sold-out Orpheum Theatre on Saturday. The Fleet Foxes' Robin Pecknold, performing solo, opens.
Full line-up and ticket info after the jump.
In the strange wake of music's digital rebirth, vinyl has experienced a modest boom in popularity, seen by many as a replacement for the awkward middleman that is the compact disc. INCHES reviews the output of L.A.'s healthy vinyl community, believing that good music deserves much more than a handful of ones and zeros.
Title: 1 + Dog Days / Flower of Disease
Label: Southern Lord (East Hollywood)
Format: 2LP and 1LP, 180 gram black vinyl
Read our review, and download some free thrash after the jump.
"Dub" is "bud" spelled backwards... We came up with this brilliantly baked nugget (pun intended) of wisdom last night while waiting to get into at the Dub Club, which saw possibly the longest line ever for the popular Echo Park reggae night.
Yes, there was lots of time to think up dumb stuff like stoner anagrams, and munchie out (there was a food truck and sidewalk hot dog stands, natch), and smoke (duh!) for the hundreds who stood along Glendale Blvd. all the way under the Sunset bridge to get into the Echoplex. The club's 10th anniversary party nearly hit capacity by 11 pm. and some waited for well over an hour. Many just left. We worked our press creds and somehow made it inside (behind No Doubt's Tony Kanal) before midnight, greeted by the sounds of Bob Marley, and hordes of heaving, happy bodies.
With the album confirmed as the last official Slum Village release, T3 looks back on their relationship with the Native Tongues crew, reveals the Slum songs that ended up on Tribe and Common albums, and explains how Dilla's beats on their four-track demo tape first caught Tip's attention.
On the Slum Village song "Hold Tight," Q-Tip rapped, "I'm a leave it in the hands of the Slum now." How did that make you feel?
We were all honored that Tip was showing us all the love he showed us. Q-Tip is basically the guy who started the Slum Village career and the guy who started J Dilla's career as a producer. He gave us that first opportunity.
How did you come to meet him?
We met him through a guy named Amp Fiddler, who was on tour with Parliament/Funkadelic and A Tribe Called Quest. Amp told Tip about us, invited us to the tour, and we gave our demo tape to Tip.
Can you remember what was on the demo tape?
Ha ha, it was four songs, that's about all I can remember. Actually, Tip didn't like the songs on the demo - he just liked Dilla's beats. That's how Dilla started producing for him, on the strength of the beats on that demo. Then once we did Fantastic: Volume One it was a smash. We gave that to Tip and he loved that and started playing it to all his dudes in the industry.
Today we became aware of one in particular, DJ Pauly D's "Beat Dat Beat," a spoken-word slice of dance cheese featuring Pauly's overenunciated bon-mots ("Being a guido is a waya LIFFFFE").
We asked LA Weekly's dance expert (and news blogger) Dennis Romero to weigh in on the merits of Pauly's track. Here's his verdict: "Sweeping pads. Crunchy, electro-tinged synths. "Fuk Dat"-style talk-over. If spikey hair could stand up and dance on its own (without the help of Axe hair gel or two hits of ecstasy), it would be to this track."
You know you wanna: