Black Keys 'Brothers' (vinyl) review

I had been looking forward to this one I think since I heard it was coming out, or since their last one came out, or since Dan Auerbach's great solo release came out. Regardless, yes, the Black Keys are back with another album.

I was lucky enough to pick this up on Friday the 14th, as opposed to waiting until the 18th. That, in itself, is great. I'm just through the first few songs, and I'm already digging it. First reaction: it sounds like a mix between their older, super-garage-y sound the and the polished/produced sound they had on Attack & Release thanks to Dangermouse.

But I'm definitely liking it. I might have a full takeout/review sometime this weekend, but I don't know how useful that is considering this has been leaked for a while (although I purposefully avoided listening to a single note.) As for the release itself, the albums on two great, heavy, 180-gram black vinyl discs. The pressing looks solid, and it sounds great so far. It also comes with a big poster that looks really great and has the lyrics on the back. Oh, and a copy of the album on CD is included as well.

All in all, solid release as far as I can tell. Good packaging, great music. Pretty good for $26.

Record Store Day, Wu-Massacre and vinyl in a quote

I try not share any (or at least not too much) boring, mundane stuff on here. I try to avoid the whole "I'm eating a sandwich" stereotype of blogger-types since Twitter came around -- and because I generally despise such things myself ( 'I feel your pain.' ). But I had to share this short conversation between Emma (my girlfriend) and I post-Record Store Day morning.

I had just spent way too much money, and I was talking about how I needed to take a break -- at least a few weeks -- from buying any records. I had been buying quite a bit lately, as this blog will attest to, not to mention the amount I spent last Saturday.

Me: "Yeah, I just can't really afford to spend much more money on this for a while. Plus I'm kind of cheap when it comes to spending that much at one time."

Emma: "That makes sense, you've been spending a lot on records lately."

Me: "Right. Well, I mean, I'm going to stop after I pick up this album I already had ordered from Melody [another shop in D.C.]"

Emma: "What is it?"

Me: "That new Wu-Tang album, on vinyl."

Emma: "Well, yeah. You gotta get that one."

I appreciate the sentiment. And the album Wu-Massacre is pretty damn good too.

Why Record Store Day & the vinyl revival marks the death of the CD - if anything - in a good way!

Video killed the radio star. CD killed the vinyl record. And the MP3 killed the CD. In this progression of technological and musical advancement, where does the vinyl record's revival fit into the equation? I think only recently we've begun to see an answer to this question.

If you ask me, if there's any lasting effect that's likely to be seen from the vinyl revival, it's the death of the compact disc, despite what you may have heard. Think about it this way: for years there were vinyl records, which were the main means through which most everyone listened to music that didn't exist in radio transmissions. Eventually - and we've skipped the 8-track here - the CD came along and replaced the vinyl record in terms of price of production, portability and ease of use. That made sense, and the vinyl record was declared dead, buried with various other pre-1990 practices about which discussion has been avoided for obvious reasons.

Eventually, MP3s and the iTunes store came along, allowing people to buy certain songs and albums without ever having to leave the comfort of their point of Internet access, wherever that may be. Music was freed from the confines of walkmans, speaker wire and clunky boomboxes, for good or ill. Before we knew it, musical liberation was brought to anyone with the means to access the Internet and iTunes. Vive la musical revolucion! (...as it were.) In time, CDs became like a thumb drive, essentially a medium for storing musical data.

But then came that pesky vinyl record that just. will. not. die. Out of the ashes, it's back, and now there's this national Record Store Day thing that's big enough that my parents are calling me, saying they heard about it and wondering what I picked up (multigenerational fun!). Then there's the fact that more and more records are coming with digital download codes instead of CD copies -- who needs THAT? It's clear, given the recent strength of the vinyl revival, that it's indeed the CD that is on the march toward obsolescence, and here's why:

As I pointed out in this post, and above, since most everyone simply buys a CD for the digital data that's able to be loaded onto an iPod or MP3 player, the CD is more a means to these ends than anything else. A digital download, with a vinyl record, meets that need in a more pleasing way than a CD. When's the last time you heard someone say, "Yeah, I heard it, but I really want to buy the CD, you know, just to have it." And if there was a specific need for a CD, the low cost of a bunch of CD-Rs means that the musical data is easily made into a CD to meet whatever needs that medium fulfills. This low cost of production is a contributing factor to the death of the CD that, gladly, the vinyl record does not have to deal with.

But the point is, a vinyl record of music presents something that's pleasing to look at and very tangible in a way that adds to its value. There are often books or posters that come along with the album, and there's the album art and the records itself. It's all a nice bonus on top of the music that's available to many, regardless of their medium of choice. In this sense, the CD is utterly useless, a cheap plastic disc with little value outside of data storage, aside from the ability to walk straight out of a store and pop the CD into a car. And I challenge anyone to tell me of a time they last did that, or, better yet, point to data that show any significant number of people do that at all.

I admit, there's a large population of people who either download music illegally or just download it without even considering going to pick up a new album in a store of any kind. Sure, for these people, any physical copy of music is an unnecessary bother when they could simply download it via a click or two. But outside of this group, what we're seeing is an opportunity for the music industry to capitalize on two musical phenomena (vinyl and digital) decades apart that, coincidently, have merged to provide a great opportunity to an industry that's suffering under the weight of new technologies.

The portability of digital music, with the aesthetics of the vinyl record (with a 'digital option,' so to speak) present opportunity to capitalize on two different movements that are positive in a number of different ways. This is why, I think, the CD is dead - D. E. A. D.

On MGMT - 'Congratulations'

UPDATE [4/12/09 - 6:52 p.m.]: As I previously noted, I'm secure enough in my Pitchfork readership (in a not-self-hating way) to say that I agree with most everything this review says. But a few add-ons. One: This is an 8 or 9, not 6.8. But that's Pitchfork's thing, I think.

Two, there's no tabula rasa for Pitchfork going into a review, generally, or this one specifically. It's all relative to previous albums and the band itself. Not a bad thing. This album got the same score as MGMT's first from Pitchfork. But they're so different. Oracular Spectacular was fun at points, and solid overall. This album, is a whole 'nother animal. The samples, the styles incorporated. The way it's all over the place, but all right there at the same time. The obvious pivot in the direction of the band. And still doing it well. In that sense, this album is better than their first. There, I said it. Go. Buy. It. Now. Right. Now. Or tomorrow, when it's on sale. Go. Go. Go.

Here I was, trying to take a break from picking up records until next weekend's Record Store Day 2010. But I heard I had the chance to get MGMT's new album 'Congratulations' on vinyl before it's April 13 release day from a local shop here in D.C. and I wasn't about to pass it up. First few tracks in, I'm really glad I didn't.

Whoever's reading this -- my friends included -- probably saw a post on the hipster-favorite-turned-not-favorite band and closed the window. But if you're still with me, allow me to defend myself and MGMT. First, MGMT's first album, I don't care what you say, was a great record. The most common complaint I hear about it is that it was overplayed. Fair enough, but that's not the record's fault, and certainly not the band's fault. Blame your friends, the radio, the Internet, whatever. The first effort was great -- and this second album seems to shaping up in much the same way.

But, from what I've heard thus far, this is NOT Oracular Spectacular Part II. The first three tracks very much live up to the category of music of the first but it's different too. No surprise so far that its name is 'Congratulations.' Sounds upbeat. A bit of a sonic victory lap. Reminds me of the rumors that Kanye West is set to release an album called 'Good Ass Job.' Too bad MGMT didn't go that route... really piss the haters off.

I'll wrap up this post here and get back to listening. But what I really wanted to do was mount a defense for MGMT. OK, 'Kids' was overplayed. So was 'Electric Feel'...etc. etc. but certainly it wasn't the band taking control of your party's sound system, playing their own songs over and over and over again. Just have a listen.

On new vinyl... or down with the CD!

Going off my post in re: the Broken Bells release, I thought it was time for something about new vinyl. This whole adventure started with some old records in a basement, and then some used records from Cheapo in the Twin Cities. But eventually, I started buying all my new music on vinyl, assuming it's released in such a format.

It's been great discovering new albums, new music, new bands, and having the first listen be on wax rather than some downloaded MP3 or CD format. My latest purchase was Animal Collective's Merriweather Post Pavilion which, in my mind, was the album of the year in 2009 and one of my favorite records ever (criticize if you must). Naturally, I had been wanting to get this for almost a year, and last week I finally did. I've now bought this album TWICE: One on CD and one on vinyl. But I don't care about that.

Another nice feature is most of these records come with a free download, so really, you get this great physical/visual record, with the album art and everything, and the digital version for your MP3 player, which is essentially all you'd buy a CD for anyway, right? Not to mention, these are almost always high-quality, 180-gram-plus records, and they sound great.

Frankly, I don't think I'll ever buy another CD, if I can help it at least. For me, I'll buy it on vinyl if it's available, and then use the free download. It's what I did with Vampire Weekend's Contra, and it's what I did with Broken Bells, and what I'll do with the Black Keys due out next month, and on and on and on. Definitely recommend it.

This also reminds me of a post I read somewhere (I'd link to it, but I don't remember where it was) about someone was going to buy the new Beach House for a friend's birthday (which I haven't heard yet... worth a purchase?). Rather than buying the CD, they got the vinyl, even though said friend didn't have a record player. The record was visually appealing, and they got the MP3 download (legally), which is all they'd use the CD for anyway. Genius.

Really, this goes to the whole music industry. In a time when iTunes runs the show, and people are just buying songs instead of listening to whole albums (gross!) here's your chance. Vinyl has aesthetic value, it's nice to look at, it's part of a past that a lot of people like, but it also comes with this download card for your iPod. It's a win-win-win, and hopefully will get people back in the habit of experiencing albums as a whole, not just random songs in some kind of mix tape.

Go buy Broken Bells on Tuesday

The genius who brought us The Grey Album (Jay-Z's Black Album mixed with The Beatles' White Album) is back, and I for one couldn't be happier. This time, we get Danger Mouse teamed up with The Shins' James Mercer and the result is sonic joy.
Anyone familiar with Danger Mouse's work knows what to expect out this album. Orchestral, synth-y, pop beats with pronounced drum lines at times. James Mercer's voice fits perfectly with the sometimes-restrained, subdued melancholy production. The second track has some organ work that's out of this world. Frankly, I already love this album. One of my favorite of the year so far.

I was lucky enough to find it on vinyl a few days before the release (March 9) at one D.C. record shop that will remained unnamed -- wouldn't want to out the supplier. And I won't go on and on trying to review the record because I don't think of myself as a particularly strong music critic, but I know what I like, and this album is pure gold.

It's a joy to listen to on wax, and the copy I got came with a small poster and a code for a free download of the album in digital format. Unfortunately, the site isn't live yet, but assume it will be Tuesday. What could be better?

In short: Go buy Broken Bells on Tuesday. Support this music -- it's a great record.