1. Disloyal Order of Water Buffaloes: I think this band pays more attention to how their albums start and end than a lot of bands do nowadays. This sets a stage, all whispery and stuff. And then it sort of turns into “Love Hurts” for thirty seconds. I feel like there’s a backlash forming against the sort of GarageBand shit that Patrick pulls, but I love it. God bless him for doing stuff on an album with no worry about whether it can be recreated on the stage. I don’t want the same performance on stage as on the CD. Oh, and it has a bro chorus, like the current All-American Rejects single! It already sounds very different than their previous stuff, sort of more 1980s rock.

2. I Don’t Care: I still maintain that this song owes a debt to Goldfrapp’s “Satin Chic.” I also don’t think I’m listening to this loud enough. I also feel like this is going to be a stronger album lyrically (which Patrick started hinting at months ago). Infinity On High made me think that Patrick could make a hit song out of Pete’s grocery lists, but he’s got better stuff to work with, so he won’t have to resort to that. Patrick’s going all sort of bluesy… And then a breakdown! And it sounds like he’s being beaten to death in the background. But I’m sure he’s fine.

3. She’s My Winona: I wish I could put my finger on the element of the guitar/keyboard action that makes all of this sound more like the albums of the 80s. This could have all been in Back to the Future. After backing him up earlier, I feel I need to clarify. Patrick does sometimes need to take a chill pill. He’s never met a song that he didn’t add another vocal layer to, and he doesn’t have to. Sometimes the songs are strong enough to stand on their own. It will be fascinating to see them do these live. There are still some pretty good harmonies in this one.

4. America’s Suitehearts: There’s something oddly restrained about this song at the beginning. You can feel them holding back on purpose to let it loose in a moment. I’ve always liked that about this band; there’s something more to give. Dear Patrick, This is what I was saying earlier about reining it in!

5. Headfirst Slide: I like the songs that go a little dark tone-wise like this. It’s something they do that you don’t often get in pop-punk. Oooh, and this one also has a Queen-style harmony/organ break in the middle! And then driving guitars to push it back into the huge chorus. And horns! This is the kind of overproduction I like. It’s like an entire rock opera in one song. Also, I still believe that the line Pete Wentz was referring to when he said that there was one line on this song that influenced the whole album was “But what if you peaked early?”

6. The (Shipped) Gold Standard: Wow, I think this is the most standard emo-rock song they’ve ever put out. If you subtract the way Patrick’s voice slides into dangerously Michael Jackson territory, I would totally believe this was the best song that The Academy Is… or someone had ever put out. I think part of it is that it’s a good, strong song, but none of them are being made to strain their talents. Or, put another way, I could probably beat this song on Medium in Rock Band on any instrument. (Usually we get up to medium on the drums and then start crying.) Oh, and then a totally MCR jazz break in the middle.

7. (Coffee’s For Closers): Okay, totally pushy, speedy drums, plus strings. I have no idea where this song is going to go? Patrick’s already belting like the end of the first act of a jukebox musical. This sounds bizarrely like they were trying to create an anthem. But, being Fall Out Boy, they went a little more complicated than anyone else would have, so it’s got an extra layer of strings and it’s fast and the lyrics are a little bummery. (”I will never believe in anything again.”) But it ends with a really pretty little sonata-y bit.

8. What a Catch, Donnie: Okay, full disclosure, I already love this song on principle. I love songs that reference other songs, and the importance of other songs. (See also “A Praise Chorus” by Jimmy Eat World.) This song lets the Patrick chorus hold down the melody while Patrick proper picks up with the key lines from all of their previous singles pushed into the framework of this song. Making it just like “A Praise Chorus”, only self-referential. It starts by letting Elvis Costello do a line from “Headfirst Slide.” It references two songs ago!! That’s brilliant. (It also owes a bit of a debt to Doug Does Decaydance.)

9. 27: This song is clearly going to be old school bitter FOB. The first line is “If home is where the heart is, then we’re both just fucked.” This sounds like it would have a really dark video, if that makes sense. The kind where Natalie Portman (or some other guest celeb) would methodically kill them all.

10. Tiffany Blews: Patrick is going kind of over the top on this album, voice-wise. All I can think of is how I have all these friends now who are into a capella and I am realizing that you would actually need an entire a capella group to recreate a Patrick Stump vocal part.

11. w.a.m.s.: There’s something really sophisticated about the way they write songs. At the core, my first thought is often, “I couldn’t do this.” I don’t even know where you would start with making this. It’s not like making a creme brulee, it’s more like creating life. It’s complicated and alive and how do you even come up with the idea for a giraffe? And then there’s a weird little five second vamp at the end. That was unnecessary. Oh, it’s not over. It’s gone into what is basically delta blues. It’s like all of those samples on Moby’s Play. Why? It’s cool, but confusing. I am confused.

12. 20 Dollar Nose Bleed: Okay, ten seconds in, this is clearly going to be a synthesis of the whole Decaydance family. The refrain is sung by Brendon Urie. The verses sound like all of the second Hush Sound album. I think my friends have decided that this one is about addiction, so … Between the horns and the guest drops, this song is actually unreproduceable on stage. Okay, this is so much like a Hush Sound song that I desperately wish I had the liners so I could see the credits. Speaking of irreproduceability, the last thirty seconds are some kind of desperate spoken-word rant from Pete to his wife. Awks.

13. West Coast Smoker: Am I not supposed to think that title is about Snoop Dogg? He’s the only smoker that matters on the West Coast. The guest vocal on this one is weirding me out. It sounds like I’ve left another song playing somewhere, but just for a moment. It’s got a cool stuttery pace. It would be an amazing song if this were a movie rock opera and Patrick was playing some sort of huckster, like maybe leading a revival church. Oh no. Now there’s all that sort of hardcore screaming, where it sounds like the devil has shown up and possessed someone. Or Pete is going to vomit. This song is probably chock full of guest stars and that choking sound is actually, like, Butch Walker, but it’s still creepy.

Final verdict: I don’t love it immediately the way I loved Infinity, but I think that’s because it’s a whole work. Infinity was a collection of really amazing singles. This probably has more cohesion, and while that doesn’t automatically create skippers, it means that not every song is a blockbuster. Some are supporting players. I’m probably going to need to listen to it a few more times before I can render a decision. So, check back with me when we do the Year End List?

Either way - Sarah and I decided to do a quick rundown of what we’ve both listened to in the last week or so.

Sarah: this song is awesome, “Carlos Walter Wendy Stanley” by Chap
Megan: ooh. ok, quick. we’re doing a five minute rundown of cool things we’ve been listening to
Sarah: new Chiefs
Megan: new kings of leon, repeating ‘use somebody’ a lot; dr dog’s fate (THANKS SPENCER), new killers, raising sand (what, like, a year later?), alternate abbey road covers - ‘golden slumbers / carry that weight’ in specific. japanese motors
Megan: have you heard them? the single ’single fins and safety pins’ is awesome. but i like regrets a paradise better
Sarah: I have!
Megan: i listened to the new bloc party a few times
Sarah: Oh, um, the hot video at Oxford is “Who Let the Yankees in the Chip Shop” by the Matches. All those Suarez remixes
Megan: yeah, he has good remixes
Sarah: The TMBG “Cast Your Pod to the Wind” collection
Megan: i really liked the remix pete posted in his blog for, like, three horus
Sarah: i think hey monday is kinda boring, but i love cassadee drops
Megan: i really haven’t given them enough of a shot
Megan: i have razia’s shadow all queued up, just haven’t tried it yet
Megan: and, of course, folie a deux.

And that’s where I stopped, because that’s all I’m listening to right now. Sarah’s going to give it the Fyrehaus First Listen tonight. Look for her coherent cogitation on it.

We took our time getting here, because we didn’t think the chances of a crazy long line were high. And it was raining. And we had plum wine.

It’s the light, probably, but Nick’s riser looks pink striped, like everything at Victoria’s Secret.

Kim has made friends with the girl in front of us and her mother. They have come here from England for the first time for this show. Oh no! Kim and Katie just divulged that we bootlegged the album before its American release. Backpedal!

I’m standing behind three sixteen year old boys. If I snap and kill one for their “annoying noise” contest, it was justified.

Oxford Collapse If I were playing for a band that didn’t know me, I wouldn’t open with tuning and then the crazy shouting song. Also, the teenaged boys are obsessively photographing the show and each other. Murder. Most. Likely.

One of the more adorable things about this band is that they totally rock out like they’re just fucking shredding when, in fact, it is often mellow pop harmonies. I’m also digging their literal dedications. “This is for anyone who got married today.” “This is for those of you in law school.”

The guitarist and the drummer are super-typical Brooklyn/Columbia hipsters, but the bass player is fierce like he escaped from Against Me!.

They introduce my beloved “Please Visit Your National Parks” with an Obama shoutout, so I think my holler of excitement was misinterpreted. They then stuck the “Our name is Oxford Collapse” in the Chiefs shoutout, so again… During the song, the bass player goes totally crazy, on the floor banging on his guitar. It’s enough to make a girl feel like she’s totally misinterpreted the song.

Kaiser Chiefs: I think maybe the guy behind us has never heard the Chiefs before. He’s asking the girl he’s with if they’re better than Oasis.

Katie has made another friend.

Simon’s amp is five feet tall and silver sparkles. It’s so preeeetty. It matches the drums.

Their techs are all over 40. This instills confidence. There is a big bright light in my face. This does not.

Matt Pinfield is sidestage. Why do I see him at shows now? Oh, he’s introducing them. I guess he’s a dj on the new station.

Tracklist (There is not so much commentary, as I was dancing and screaming. Also, I think they played “Can’t Say What I Mean,” but now I don’t remember)
Spanish Metal
Everything Is Average Nowadays
Everyday I Love You Less and Less
When the Heat Dies Down
Never Miss a Beat
Ruby
Modern Way
Half the Truth: After this one, Whitey is winded. I want to also mention his perfect Beatles mop-top. I haven’t seen his eyes once.
You Want History: We wondered why there were two tambourines. Apparently their lawyer, Saul Rosenberg, is playing on this. It’s Mark Ronson. I think he only owns white oxford shirts and skinny black ties.
Good Days and Bad Days: Ricky says this is to be a single. After this, they’re all exhausted. Nick urges us to take advantage of life’s natural pauses while he sprawls, gasping, on his drums.
Na Na Na Na Naa
Take My Temperature: For a sorta obscure b-side, I hear this a bunch. Ricky makes the crowd part down the middle so he can walk to the bar and hop over and get himself a drink. He then makes everyone get back together so he can crowd surf back. The man is in fine form tonight!
The Angry Mob

Encore: While waiting, the crowd breaks into Olé.
(Don’t remember. Always Happens Like That?)
Oh My God

1. Spanish Metal: The album starts with this sort of crashing, snarly guitar, like this might actually be metal. And the opening lines are that sort of really symphonic harmony that you get on early Beatles album. It’s actually sort of insane how this song is constructed. It’s sort of like if the late-period Beatles had attempted metal. Nick and Whitey are working their asses off on this angry sound, but the vocals are super sweet. It’s bizarre and amazing.

2. Never Miss a Beat: The single. I fear that the video is confusing in that way where I couldn’t really hear the song. The sentiment is that sort of disaffected youth, I-don’t-wanna attitude that you get from The 1990s, but from a more adult perspective. The song itself is jumping, animated in that way that awesome Kaisers songs always are. It’s the kind of song that is best experienced from the barricade.

3. Like It Too Much: I think I already like this album. There’s a definite sound in here of the British Caribbean influence of the 1980s. Is that too obscure? Am I trying too hard? The beat sways, like the ocean, and it’s understated, even as they’re using two guitars and all kinds of effects. It’s the sort of song that you really hope they’ll play live, and then they don’t because it’s just a hair too slow.

4. You Want History: Wow. Speaking of the 1980s, it’s like every British one-hit wonder collided. Sort of Madness, a touch of Flock of Seagulls? There’s a bongo drum, I think. Plus a ton of synth and what I swear is a drum machine. “If you want history, you missed it.” The refrain is the best. “If the girls stop moving, the boys stop moving. If the girls start moving, the boys will join in.”

5. Can’t Say What I Mean: The first Chiefs album reflected a deep-seated Blur influence. (When once asked by a bandmate if he thought Damon Albarn knew any of their songs, Ricky responded, “He should. We ripped them off him.”) This one sounds like they went back to the music of Britain in the 1980s. There’s a sort of punk influence here. It basically sounds like a Factory Records band.

6. Good Days Bad Days: Yeah, back to the ska thing. So definitely bongos. You sort of have to march in place to this song. They also should probably be wearing matching sweaters and have hairstyles that defy gravity and nature.

7. Tomato in the Rain: The slow song! Imagine it playing in the sad montage in a 1980s romantic comedy.

8. Half the Truth: We’re back to Haircut 100. Awesomely. This is the sort of crazy fast, moshing song that will probably either begin or end the main set. And probably be a single. But then there’s rapping in the middle. Here’s the problem: Ricky sings, “I will not lie to you, but I’m definitely only getting half the truth.” And then this dude rapper busts in all “Yeah, I only tell you half the truth.” Making it accidentally a gay breakup song. Or maybe not accidentally.

9. Always Happens Like That: There’s a girl in this one. Wikipedia reports that it’s Lily Allen, which I should have figured out. (As an aside, I heard her cover of “Oh My God” in the T-Mobile store while fighting with Customer Service yesterday. Kinda random.) It also has the woodblocks which are the hallmarks of a Lily/Mark Ronson collaboration. Why are woodblocks the hallmark? Who even uses woodblocks? Wiki also says that she and three of the New Young Pony Club contributed to Never Miss a Beat, so I’ll have to listen to that again. Is it weird to say that this song would be the best served by a music video of a 1970s roller disco?

10. Addicted to Drugs: “You might as well face it. You’re addicted to drugs.” Oddly, this is their trademark “Why am I dating you? We have nothing in common” song. God, Mark loves those woodblocks. It sounds like we’re in fucking Haircut 100.

11. Remember You’re a Girl: A proper slow ballad! Still kinda 70s, but in the gauzy, Bee Gees way.

The verdict: YAY!

1. Buzzards and Crows - I know shambolic. The Libertines made a career out of shambolic, and the Kooks after them. This is … the beat is unsteady, the meter rolls like drunken stumbling, but it comes off sort of “Yellow Submarine”y. Interesting project, but an odd first song choice.
2. Hippy’s Son - The drinking song aesthetic of the first song falls away into more of the guitar jam we’re used to and Carl just angry as all hell about his own upbringing, and then a sweet chorus that sounds lifted from “B.U.R.M.A.”
3. Plastik Hearts - Does Panic at the Disco have me picking the Beatles’ influence out of everything? This is an oddly mainstream track for them, a little Kooks-y, but that “give everyone a guitar” party sound that is DPT’s own.
4. Tired of England - The title gave people pause when the tracklisting was announced, especially since the band worked on this album in LA, but the sentiment is that they love England and its faults. But it doesn’t make one want to travel there. “Don’t drink yourself to lonely death / In casinos on crystal meth.” Sounds kind of like Detroit.
5. Come Closer - It’s a soft ballady song, or, at least, as close as DPT can get, meaning that Carl on the acoustic gives way to Didz hollering and some la-la-la-ing. God, I’m gonna miss this band.
6. Faultlines - Ooh, another starting all Carl + acoustic. The electric is all jangly and hitting notes at, possibly, random. I want to love this album, but it sounds like they all wrote their parts in separate rooms. Also, where’s Gaz?
7. Kicks or Consumption - This is the sort of musical insanity/brilliance that you know they can do. Gary’s drumming too fast and Carl’s scrambling to get the lyrics in, but the guitars can’t be stopped and it all feels like being in a runaway car going down a hill.
8. Best Face - For a horrible second, it sounds like Carl’s going to start rapping. How do I say that this sounds like a classic old DPT song and make it clear that that’s a compliment? Though, Carl does sound really angry on this whole album, instead of joyous and hopeful like before.
9. Truth Begins - Carl + acoustic! Let’s see if this one will go all crazy. Ok, drums and guitars have joined, but things are still pretty mellow. It’s one of those “rally round, chaps! we’re going to make it someday!” songs that they’re good at. Plus, there’s trumpet!
10. Chinese Dogs - I admit I hoped a little that this was a cover of the Blur song, but it’s actually kind of better! It’s a drunken dancing song. It’s fun.
11. The North - Ooh, is Didz singing? It sounds like a wistful American alt-country/rock song, in the vein of Jenny Lewis or something. There is, I think, a lap guitar, and then violins!
12. Blood on My Shoes - THIS is the song that should have kicked off the album. It’s got a cheerful, singing in a pub sound, rollicking, yelling choruses. Then they could have gotten to the dark stuff, mimicking the band’s arc.
13. Hidden Track - Nope, just a five minute fade out and then voices calling for a speech.

Verdict: Not Carl’s best breakup album, but surprisingly personal, and it still feels like a group effort.

I think it sounds brilliant, really. They’ve both had a bit of navel gazing going on in terms of their own character defamation and personal life portrayal in the press, but they haven’t taken it up to 11. They could write the best sarcastic, dry-witted, un-understandable to Americans album EVER.

They could balance each other’s diva tendencies out! Really! It’d be awesome.

1. Black Sand - It’s a little weird (Jenny sounds like she’s down a well? in a bathroom?) but then halfway through, these totally Beatles-y strings kick in and it’s awesome. I have hope!
2. Pretty Bird - Is 90s’ folk country” a genre? It should be. It’s got that awesome sexy swagger of Lilith Fair bands, but a melody that is really only missing a steel guitar.
3. The Next Messiah - Shit, son! This is dirty, Southern rock! This is basically Skynyrd. Oh! And now there’s a choir. Okay, the choir might be a little much. She could have pulled it on her own. (Also, her pronunciation of “messiah” is wigging me out. Moo-siah.) Ok, just now noticing that this song is literally 9 minutes long. Wiki says that it’s actually three songs by Johnathan Rice that they smooshed into a Barbra-style medley (her words, not mine).
4. Bad Man’s World - Why isn’t there better info about this album on wiki? The strings are apparently by Paz and Ana Lenchantin. This song has fabulous, understated cello work from Ana, presumably. It’s a really quiet song, with a oddly Motown-y echo effect in the bridges. It sounds honestly like something from a contemporary musical, like the song that she would sing, all poignant and alone, in Dreamgirls.
5. Acid Tongue - This song is sort of Wilburysey, with a chorus behind her that you can basically assume is every Woodie Award nominee of the last two years.
6. Fernando - Yay! A version of this song now exists that wasn’t booted off of Conan. And, being Jenny and an album she recorded live, I can feel fairly confident she won’t overproduce it and suck the life out of it (I’m looking at you, Clap Your Hands). It’s just as rollicking and fast-paced as it was when I fell in love with it.
7. Godspeed - This probably should have been the close of the album. It’s the sort of indie prom slow song that might just get picked up for the season finale of Gossip Girl or some shit. Until that ruins it, all the indie girls with complicated haircuts and twee haircuts will put it on when they cry and sing along on the inside at concerts. (They won’t sing out loud, because they want to hear Jenny sing it.) Which is to say that it’s very good.
8. Carpetbaggers - This song feels toned down, slowed down. And, oddly, the addition of Elvis Costello kind of messes it up. Johnathan sang it live (and I’m sure he will continue to), and it’s sexier when the two of them do it.
9. Tryin’ My Best - I think this is what they mean when they say “alt-country”. It’s got lovely harmonies, and a serious gospel influence. And kind of a Motown influence. I like when Jenny pulls from those influences because it doesn’t feel like she’s just pillaging someone else’s heritage for everything it’s got (c.f. Amy Winehouse). It sounds like an homage.
10. Jack Killed Mom - The all-star choir is back! And as soon as I say the above about homage, this song rides so much harder on that gospel background. Taken with the holy rolling reprise, it sounds like every time Aretha turns up in a Blues Brothers movie.
11. Sing a Song for Them - A sweet little closer with the same premise as “Sing” by the Dresden Dolls. The sort of song that is bound to be covered in five years by someone far less talented and inexplicably hit the charts. Might even be in a Wes Anderson film.

1. There’s not a single track that I skip. None of the songs are annoying or repetitive. Every song brings that instant thought of “yay!”
2. I listen to it in order. It kicks off with teh catchy, sexy singles “U R A Fever” and “Cheap and Cheerful” (which is totally going to be my song I ever start stripping) and keeps you hooked in and listening straight to the cool down finale “Goodnight Bad Morning.”
3. 3. It’s The Kills. They know how to write a dirty American rock song that sounds like dance pop. Kings of Leon meets LCD Soundsystem. Plus, the songs are short enough that you can’t get sick of the conceit before it ends.
4. It makes you want to move. The songs are just built like that. Getting the riff of “Alphabet Pony” stuck in my head makes me want to dance, even when I’m on the subway.

Isn’t that enough reason to listen to it once? The first listen is even free!

[The Kills - Midnight Boom via lala.com]

Benjy Ferree: They’re a fairly solid Southerny rock band. They’ve got a girl on drums whose style and thrashing rather reminds of Kings of Leon, and a cellist who uses it like a fiddle. It pretty much outshines the rest of the band. Except the lead singer/songwriter/whatever… He is wearing a Hawaiian shirt and, I think, white face powder. He has also covered his own eyebrows and drawn on evil cartoon villain ones. No idea why. He has also affixed an echo device to his mic with napkins and tape. none of this goes with the band’s aesthetic.

The guitarist is singing backup, but his mic is up way too high, and its killing me. Two songs in, I think Elisabeth and I are kind of over this band.

I forgot how slowly hipster shows fill up. There are, I think, more people with passes than actual ticketholders. Partly because they seem to have given a pass to every Tom, Dick, or Harry. Also, I cannot tell when this band is tuning or if a song has started. Or when it ends.

The last time I was up seeing our good buddy AJH, I took a spin on his bandmate’s drum kit. I think I’d love to learn to play the drums. If only I had the money, the room, and no neighbors. And if there was a cure for my tennis elbow. This is why the Lord gave us Rock Band.

Sons & Daughters: Ten on the dot and it would be extremely charitable to say this place is half full. There are maybe 200 people, and if I wanted a spot in the front row, I could do it with 2 minutes and kind words instead of 20 minutes and sharp elbows.

Why can’t I pull off a leopard print romper with attached belly chains and separate chain link belt? To say nothing of the silver lamé ankle boots. I love her.

Goodbye Service - For the bridge, where he just bangs his sticks together, Dave climbs up onto the drum to lead us all. How can the crowd resist that?
Johnny Cash
Flags - Adele’s hair is like the best 1960s wig ever. I want every drag queen in Scotland to do her. Does Scotland have drag queens? Must investigate. Also, Adele says this is their favorite city. Scott bemoans the lack of shopping time this tour, especially with the strength of the pound.
The Nest
Rebel with the Ghost - Scott confirms that the last time they were here, Ailidh was already pregnant. In the spandex minidress and heels? Why can Scottish women pull that off? I once saw the wife of Franz’s Paul Thomson at 8 months pregnant in a red spandex minidress, a leopard fur coat and five inch heels. She looked hott.
The Bell - I realize that Adele is Scotland’s answer to Tina Turner.
Rama Lama - Scott dedicates this to the girls who were at the show before the band was. Adele says it’s a song about killing your boyfriend. Scott has two mics: a regular one that he talks into, and a slightly fuzzy, echoey, old-timey one that he uses for singing.
Gilt Complex - Adele has no idea what day it is. This is in part because they drove through the night. Scott drove. It was his first time on an automatic. Why is Scott driving? Why isn’t this fucking phenomenal band bigger? This is crazy.
Iodine
Darling - There’s one guy dancing all crazy. Elisabeth points out that its like watching a live iPod commercial.
Dance Me In - Adele says this song is about Morrissey, and someday, at the end of the world, we will realize this and revere him.
House in My Head

Taste the Last Girl
This Gift? - Too busy dancing to write it down, but I know they played this at some point, so let’s assume they closed with it. Though, I think they also played Chains, and that’s not on here. Hrm.

Sadly, because they drove here in a rented Acura or something, there is no merch. S&D merch would be awesome.

Which means I’ll look into their older stuff. But right now, right now, I am listening to their big single “Love Me Dead” on repeat and hoping with my fingers crossed that everything of theirs, ever, will sound like this.

Here - give it a listen. Ludo - Love Me Dead

I’m also listening to the Victorian English Gentlemens Club. I procured a few songs based solely on the name and have found them to be a delightful, in a screamo-English-agit-pop way. Not quite as self-aware as Art Brut, not quite as ironic or bitter as the Ting Tings. I loved them even before I realized that their name was clever, since two band members are women. They’re recording an album. Go check out the sneak-peak track “Parrot” on their myspace.