KWUR 2008 LISTENERS POLL ALLLLLLRIGHT

Hey folks,

I promised a little poll thing last week, but life got in the way and I didn't get around to making it until this weekend. Thus, without further ado...

CLICK HURRRR



Okay, a few things. First up, yeah, it looks like the Pitchfork poll but that's because the survey generator they used is super easy to work with. All of the music listed in the best album/etc. was played on KWUR this past year (with a single exception, which should be pretty easy to pick out). So, yeah, the list may not be comprehensive, but it's what we're playing. It's a great opportunity to see what you like/hate, and also what we're missing or you'd like to see us play more of.

Most importantly, if you take the survey and give us your email at the end, you will be entered to win an Of Montreal schwag-pack - including the new album, Skeletal Lamping, on vinyl, CD, a poster, and pins. Take the survey before someone steals it! (oh yeah, we're not gonna do anything with the email addresses after that, just need a way to tell you that you've won)



DO IT!!!

the Saturday Evening Post-up (Sunday edition)

SOOOO, uh, in case you hadn't noticed, it's not Saturday. I didn't quite make it to the station yesterday, so please accept my humblest humblest apologies.

Every once in awhile, a CD slips through the cracks here at KWUR. Sometimes no one picks it up to be reviewed and sometimes it literally slips into a crack and is lost for like six months. There often are stacks and stacks of unreviewed CDs at the end of the semester, and for every ten discarded turds there's a real gem. So, this week, I'm going to take a look (via DJ reviews, as always) at a couple of CDs that didn't quite make it onto the new release shelf this year. I'll offer a few brief comments after each review, as well. Let's show 'em some love:

David Byrne and Brian Eno - "Everything That Happens Will Happen Today"

These two draw on a lot of genres here - sun bleached pop, jazzy lounge, folk - and combine them to make a diverse and enjoyable album. Eno's production is top-notch and Byrne's croons are as falsetto as ever.

RIYD: Talking Heads, older Eno, Radiohead

Play: 1 (sun bleached, layered pop), 2 (ambling folk), 3 (textured jazz), 4 (standout - beautiful pop), 11 (great finish)

(ed. note)
This album, like Radiohead's "In Rainbows" or Nine Inch Nails' "The Slip," was released via the internet long before it met any kind of official physical release. Because of this, we only just received it, although it's been in circulation for quite some time now. This was the year of self-releases, and if other major bands (such as those aforementioned) follow the trend, it's going to shake up the entire industry, from the (honestly outdated anyway) Big 5 (Universal, et al) to lowly college radio outfits like us. The times, they are a'changin'.

Land Of Talk - "Some Are Lakes"

Saw them open for Broken Social Scene and fell in love with Lizzie Powell's voice. Solid album with quite a few shining moments. Good blend of drum beats, kind of jagged guitar riffs and dreamy pop-esque vocals. Give them a listen.

Play: 4, 6, 7, 10

(ed. note)
As noted in the review, these guys opened for Broken Social Scene at the Gargoyle about a month ago. I've been to my fair share of shows, and I've only been truly impressed by openers a handful of times - and I'd easily include Land of Talk in that handful. Whereas most openers tend to be watered down versions of the headliner, or even just flat out suck, they truly stood out on their own merits. It's indie pop, no doubt, but with razor sharp edges and a lot of tension boiling under the surface.

Annuals - "Such Fun"

Nice, country laced indie pop. Anthemic stuff, and lots of nice instrumentals. The vocals are a little annoying at times, got a little pop-punky, but the musicality of the band really makes this record worth your time.

Play: 2, 3 (good build), 6 (rockin good orchestration), 9 (nice piano), 10 (pretty)

(ed. note)
Back in 2006, Annuals basically exploded onto the indie scene from the ever-fertile fields of North Carolina via their debut "Be He Me." This was around the time I really started getting into "indie," and one of my friends burned it for me. I hated it. Here was a band that was lauded as excellent by a number of prominent music blogs (this was also 'round the time the "blogosphere" came into full effect, I think) and I just didn't get it. Yet, this album didn't get half the press or praise their first did, and I liked it a hell of a lot more. I don't know what that says about anything - other than maybe I shouldn't read Pitchfork so much.

Isobel Campbell and Mark Lanegan - "Sunday At Devil Dirt"

Former female vocalist for Belle & Sebastian teams up again with Screaming Trees frontman (and Tom Waits doppelganger) Mark Lanegan. Really downbeat ballads, slow, ominous folk/country. Their voices blend well together, and really fit the music. All of these were arranged by Isobel, and they're all really good.

Play: 2, 4, 5, 6, 9 (really sweet), 11

(ed. note)
What the hell happened to Belle & Sebastian? They recently released "The BBC Sessions," but it's been, like, a billion years (actually 3) since they put out new material, and 10 since "If You're Feeling Sinister" (which is arguably their best work). I suppose none of that is relevant here, as Isobel's no longer a part of the group. She is, however, doing fine work with Mr. Lanegan - this album isn't groundbreaking but it's damn fine nonetheless. I think (and hope) time will be kind to their work together.

Last charts of the yeaaaaar:

Rank Artist Recording Label
1 WOMEN Women Jagjaguwar
2 VIVIAN GIRLS Vivian Girls In The Red
3 JENNY LEWIS Acid Tongue Warner Bros.
4 I'M FROM BARCELONA Who Killed Harry Houdini? Mute
5 EAGLES OF DEATH METAL Heart On Downtown
6 PAST LIVES Strange Symmetry [EP] Suicide Squeeze
7 DESOLATION WILDERNESS White Strobing Light K
8 TOUGH ALLIANCE A New Chance Modular
9 STARFUCKER Starfucker Badman
10 BOUND STEMS The Family Afloat Flameshovel
11 MENAHAN STREET BAND Make The Road By Walking Daptone-Dunham
12 THESE UNITED STATES Crimes United Interests
13 GENTLE GUEST We Are Bound To Save Some Souls Tonight Amble Down
14 ANTONY AND THE JOHNSONS Another World [EP] Secretly Canadian
15 ETTES Look At Life Again Soon Take Root
16 PARTS AND LABOR Receivers Jagjaguwar
17 SEBASTIEN GRAINGER Sebastien Grainger And The Mountains Saddle Creek
18 TOBACCO Fucked Up Friends Anticon
19 MANCHESTER ORCHESTRA Let My Pride Be [EP] Sony
20 PINK SPIDERS Sweat It Out Mean Buzz
21 WINTERSLEEP Welcome To The Night Sky Labwork
22 LITTLE ONES Morning Tide Chop Shop
23 HER SPACE HOLIDAY XOXO Panda, And The New Kid Revival Mush
24 FUCKED UP The Chemistry Of Common Life Matador
25 PORTUGAL. THE MAN Censored Colors Equal Vision-Approaching AIRballoons
26 LITTLE TEETH Child Bearing Man Absolutely Kosher
27 RELIGIOUS KNIVES The Door ECSTATIC PEACE!
28 OF MONTREAL Skeletal Lamping Polyvinyl
29 ARIZONA Glowing Bird Echo Mountain
30 JAY REATARD Matador Singles '08 Matador

and that's it folks. I'll catch you again in a few weeks - enjoy the holiday.

Elliott Carter at 100

Just barely in time for the end of the day, KWUR today marks the 100th birthday of Elliott Carter, America's leading modernist composer, born December 11, 1908 in NYC, and, believe it or not, still composing and very much with us. Some recent articles about him in the last week, just before his birthday:

(1) Boston Globe, Matthew Guerrieri, Dec. 5, 2008
(2) Boston Globe, Jeremy Eichler, Dec. 6, 2008
(3) The Guardian, Nicholas Wroe, Dec. 6, 2008

From KWUR, we had a chance to air:
(a) Gra for solo clarinet
(b) A 6 Letter Letter for English horn
(c) Double Concerto for Harpsichord, Piano and Two Chamber Orchestras
(d) Quintet for Piano and Winds
(e) Asko Concerto
(f) Oboe Quartet

So, a small shout out from us at KWUR, 90.3 FM to the birthday boy, Elliott Carter, with good wishes for many more.

NYTimes: "College Radio Maintains Its Mojo"

http://www.nytimes.com/2008/12/07/arts/television/07sisa.html
http://www.nytimes.com/2008/12/07/arts/television/07sisa.html
http://www.nytimes.com/2008/12/07/arts/television/07sisa.html
http://www.nytimes.com/2008/12/07/arts/television/07sisa.html
http://www.nytimes.com/2008/12/07/arts/television/07sisa.html
http://www.nytimes.com/2008/12/07/arts/television/07sisa.html
http://www.nytimes.com/2008/12/07/arts/television/07sisa.html

the Saturday Evening Post-up (12/6/08)

Hope everyone had a relaxing break. No charts this week because of there was basically no one here last week, so instead I've got a ton of new reviews, the last part of the Neutral Milk Hotel review, and a LISTENERS POLL OMG OMG OMGGGG anyway check this shit out first:

The Decemberists - "Always The Bridesmaid: A Singles Series (vol 1-3)"

Colin Meloy is back with the Decemberists on this new compilation of singles. Pretty standard Decemberists stuff - horns, hooks, awesome chorus, Colin's voice, strings, etc. Pretty good tracks overall, though not exactly innovative given their previous releases.

Play: 1, 5 (Velvet Underground cover), 6

Three Second Kiss - "Long Distance"

Italian deconstructed rock trio puts out a trebly, dissonant, angular disc that offers more raw energy than darkness typical of the "math" genre. Produced by Steve Albini (!), this band bears resemblance to a busier Shellac, a more organized U.S. Maple,, or even a late Fugazi. Vocals are a groaning ESL stew. Hear!

Play: 1 (militant with distorted vocals), 2 (develops well with some classic mathy guitar riffs), 5 (clanging chords with rumbling close bass harmonies opens wider than most), 6 (chanting, minimal)

The Gentle Guest - "We Are Bound To Save Some Souls Tonight"

Combines a lot of sounds for a rhythmic, folksy, and fun album. Sounds like Reel Big Fish meets Drive-By Truckers at times, other times more like a raspy ballad of Tom Waits or Bob Dylan. The stripped down feel is like early Ray LaMontagne, only not as tender and more upbeat.

Ryan Adams and the Cardinals - "Cardinology"

Pretty subtle album, definitely one of the better ones in the huge amount of music under his belt. Solid lyrics, nice hooks. Takes a couple of listens to appreciate the details but I'd definitely give this a try. A bit predictable though, not as edgy as "Heartbreaker," but still good overall.

Play: 2, 4 (a bit radio pop-esque), 7

Megapuss - "Surfing"

Devendra Banhart, Gregory Rogove (drummer of Priestbird), and others - including Fabrizio Moretti of The Strokes and many from Little Joy - combine to create an all around groovy album. One of my favorites of the year.

RIYD: MGMT, The Black Keys, Devendra, Little Joy

Play: 1 (good for lovin), 5 ("too much fun..." so catchy), 9 (rockin), 10 (disclaim but rocks)

Part 3/3 of the NMH interview:

Sample: In regards to the CD (On Avery Island), all the songs run together and you can tell that there's an ongoing theme. Two or three of the songs sound rather similar in parts. I know it's not a rock opera, but is there an overriding concept? Or is it entirely subconscious?

Scott: I've got a really good answer!

Jeff: You're going to give some bullshitty... alright.

Scott: Okay, but don't put this answer in unless he wants it. He only knows two chords!

Jeff: It's more like a story than a concept in the sense that a concept can be overly done. I'm not "conceptual" in the full sense of the word. It's not supposed to be a book where the opening song is page one and it works up to the end. There is definitely a story, but at the same time, there's not a very rigid structure. Do you understand?

Sample: Well, although there's a story, I have no idea what it's about. Any explanation I've come up with is by virtue of just making something up to find something.

Jeff: I write lots of songs that relate to each other and some of them end up being released and others don't so it's an ongoing thing where the same story is continued in my songs... I just keep writing until it's finished and they cut it up into different parts. Because people are going to relate to songs and relate them to their lives, it's not just a one-sided, either you get it or you don't, story.

Sample: Are the different styles on the album used to convey or correspond with different moods? Something will be lo-fi and folky, the opening track is more pop-oriented...

Scott: It's because you forgot how you mixed and got that sound earlier...

Jeff: Each song has it's own mood... that's why I was trying to record at home. I'm into home recording, not lo-fi. Home recording gives the freedom to deal with something for a long time, not so much "Let's make the song sound shitty."

Sample: Were some of the songs on the album recorded in the studio and others at home?

Jeff: They were all recorded at home. But we had a reel-to-reel four track and a little board console.

Sample: Isn't it hard to hold down a job and tour?

Jeff: Every time I quit a job, I would say, "My mom fell down the stairs. I have to go. Sorry." And then come back in two weeks and say, "She's better," and get my job back... my mom got really mad and tired of it.

Scott: That's bad karma.

fin.


Check back tomorrow for the completely unofficial, done on the fly, KWUR LISTENERS POLL FUCK YEAH ALRIGHT!

KWUR Does Klassical @ Powell

Recently, the Saint Louis Symphony hosted a "Bloggers Night at the Symphony" at the 'Beat Movement' concert on Nov. 15. Eddie Silva, the SLSO's publications manager (and a former Riverfront Times writer), invited said bloggers to post their impressions of the concert and the scene that night, which many of them did here.

Independently, KWUR invited station DJ's to go to a "KWUR Does Klassical" night at the Symphony the night before Bloggers Night, that Friday. In a shameless attempt to ride very belated coattails on Bloggers Night, I asked KWUR people who went to that Friday concert to contribute their impressions:

B: "I didn't enjoy the bass centered piece so much. Maybe it's just me, but I like my basses sticking in the rhythm section or whatever it would be considered in classical music with the occasional solo. The violinist in the second piece was outstanding and a joy to listen to and also watch perform. The Rite of Spring was mind blowing. I was warned in advance that it would be an intense experience and it surpassed my expectations."

D: "I didn't like the two contemporary pieces. The first piece had two interesting movements, and then fell apart in the third and fourth movements, and even when it was interesting, it didn't really grab me at all. The second piece had one of the dumbest beginnings I've ever heard, although it grew on me by the end. The performance of The Rite Of Spring was really terrific, I thought, although I didn't like the subtitles."

T: "Weeks after the performance of Igor Stravinsky's The Rite of Spring, I still conjure a vivid sensory image of the experience. The Saint Louis Symphony Orchestra led me with a hand firmly guided through the narrow straits of complex polyrhythms, jarring dissonances, and intense dynamic polarity that make the work so personally memorable. But the vividness of my memory is not of an aural aspect; no, the experience was distinguished by its raw physicality. In The Rite of Spring, the percussion is not remembered by mallea nor inca nor stapes but by the chest cavity, moved to reverberate. The opening melody erects an indelible pattern in the minute hairs of the neck. It is a penetrating sensation. I am thoroughly amazed by a piece that in spite of its horizon-dilating erudition is able to connect with an audience on such a visceral plane."

Because I'm a regular subscriber to the orchestra, I wanted to let the others get the first word, as my own impressions are longer:

G: "The first work by Mark-Anthony Turnage surprised me by how mellow it was. I'll admit that I was expecting something a little edgier, but I knew that jazz would play a big role, given Turnage's reputation for using jazz in his concert hall works. John Patitucci did really well, as did Erik Harris in his 3rd movement duet with Patitucci. It was nice to see the orchestra shuffle its feet in appreciation after the duet. I was expecting the audience to do the same, but they didn't.

I got said musical edge at the beginning of the Mackey concerto. I was somehow put off by the beginning, but as the piece went on, I got more and more into it, and the title made more sense. As she was in John Adams' The Dharma at Big Sur last season, Leila Josefowicz was very extrovert and totally committed, and also very appreciative of the orchestra.

This Rite of Spring was my 4th time hearing it live, each time with the SLSO. The music never fails to astonish when heard in 3 dimensions live, even on a 4th hearing. I admit that I wasn't too enamored of the subtitles for the ballet's plot on this occasion. I liked them for past performances of The Wooden Prince and Petrushka, but the 3rd time wasn't the charm here. So I just focused on watching the orchestra and tried not to look at the screen.

I talked with some (non-KWUR) friends about the concert and the music. This was the first Powell concert for two visiting students from Europe. One was surprised at seeing an electric bass guitar on stage at a symphony concert, the first time she's ever seen that. The other herself thought the start of the Mackey was not to her satisfaction, but the piece got better for her as it went along. By contrast, a third friend liked the Turnage more than the Mackey."

RIP