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Words Archive
This Just In: Fist bumping at a rock show is never OK.
"yo, you goin to that foot patrol show dawg?"
1. If sports are involved, fist bumping is always acceptable.
2. If you are wearing a suit, you may only fist bump if you are drunk. Or if you have just wrapped part of your suit around your forehead.
3. You may not fist bump under any circumstances, in a hospital. Unless Rule #1 (or Rule #2) applies.
4. Do not fist bump someone else's misfortune, even if it helps you. Just look down, furrow your brow, and nod sternly.
5. No fist bumping between the hours of 7am and 10am. And if you're watching sports at this time, it's probably soccer or NASCAR, and then you should really not be fist bumping. High fives will suffice for both.
6. Do not fist bump in a meeting. Even if you are drunk.
7. Do not fist bump your children. Unless you're drunk, then it's OK.
8. Girls can fist bump anytime they want. And yes, guys think it's cute.
9. Do not refuse a fist bump. If you, as a bumpee, believe the bumper is violating a rule, speak to him afterwards. Refusing his bump is not going to help anything.
10. Do not fist bump yourself
-From somewhere on the Interwebs
Wed May 21 2008 · Posted in Daily
I’m Zoe, I’m 13 and THIS is my radio show!
Back in 2004 Little Radio began broadcasting worldwide online and as a pirate radio station in Los Angeles. One of our most popular shows was Zoe Radio, with 13 year old Zoe. She was discovered after her father posted a playlist that included everyone from Treepeople to Stevie Wonder and impressed me so much I asked her dad if she'd like a show.
Every Sunday her father Ian would drive her down to the station and she'd launch into 2 hours of music while she discussed the past weeks happenings at school. Her amazing musical taste and confidence on the mic earned her a story in Spin after only 3 months. (written by our own Kate Sullivan before she had her own radio show) She was also dubbed "Badass of the Month" in Elle Girl and listed in NME as one of the "Best Podcasts" on the net.
Her musical knowledge comes from growing up with a music geek dad who worked for the Beastie Boys for years and even created the first band/artist website on the internet. I mean, the guy had a website up in 1993. We couldn't even spell "email" back then. He's recently left Yahoo Music and is currently CEO of an amazing new company Top Spin Media.
4 years later Zoe is 17 and has been accepted to a little college out east called MIT. She finds time to do shows when she can and recently checked out the college station at MIT. Go Zoe!
Check the podcast section for many of her old shows.
Tue May 20 2008 · Posted in Daily on littleradio.com
The Wedding Present: El Rey
The Wedding Present
El Rey
2008 | Manifesto Records
The Wedding Present falls under the category of one of those work horse
bands. They've been around forever, slowly churning out album after
album, and for the most part ranging from good to stellar. El Rey is
their 8th studio release, helped along with Steve Albini in the studio,
and with more than a handful of references to Los Angeles thrown about.
You can keep reading after this, but I'll just state it now- this album
is stellar.
The
songs on El Rey are just chock full of that self hating, girlfriend
hangup lyric writing that David Gedge seems to have been put on earth
for. While he's singing "I thought you'd always be beside me" you have
to wonder how much a man can take. And yet, The Wedding Present doesn't
make it awkward to listen to it all pour out, it's an expected trait
with this band, and without I think I'd feel slightly stunned. There is
a healthy balance between slow, shoe gazing melodies ("The Trouble with
Men", "Boo Boo"), and tambourine clapping, almost wanting to call it
Pop songs ("The Thing I Like Best About Him is His Girlfriend"). Maybe
perhaps Gedge had a bit too much sun out here in California, but there
are definite warmer, poppier overtones weaving through several of the
tracks ("Soup", "Don't Take Me Home Until I'm Drunk"). However, that
aspect helps the overall album, although still sounding like the
Wedding Present I'm fond of, feel more modern and not falling into the
trap of playing like a band still in the decade the were formed.
El
Rey, for fans of The Wedding Present, should feel like an old familiar
friend, while those of you out there trying them for the first time can
easily slip into the album. I would suggest checking out "Santa Ana
Winds", "I Lost the Monkey", and "The Thing I Like Best About Him is
His Girlfriend".
-Elana Rintala
0 comments
Mon May 19 2008 · Posted in Reviews on littleradio.com
A Brief History of Amazing Letdowns: A guide to the best shoegaze albums
Many of you reading this will complain about why Verve and Swervedriver aren't on this list under the "UK" section. I just think they rock too hard in a classic sense, and I mean that as a compliment.
Coined by the music press at NME and Melody Maker, “Shoegaze” (some people still call it “Dream-pop” or “Space-rock”) is a moniker that reveals a unique style built around effects and sound. The influence of The Beatles, Cocteau Twins, and The Jesus and Mary Chain can be heard in almost every band listed. The UK shoegaze scene soared with several fresh and invigorating EPs throughout the late 80's and early 90's. But the lack of musicanship and emotion killed many albums and follow-ups leaving an open door for the incoming Britpop wasteland. Here are the best long-players from the UK and the USA (in no particular order):
Tue May 13 2008 · Posted in Daily on littleradio.com
Interview with The Morning Benders
The Morning Benders will storm Southern California to coincide with the release of their
debut LP "Talking Through Tin Cans" by stopping by the Echo this
Thursday May 8th. If you purchase the album through their website, you
can get a free ticket to their show as well as assorted b-sides and
goodies. I managed to sit down on a windy afternoon and ask Chris Chu
(Vocals/Guitars) and Joe Ferrell (Guitars) some questions about their
album and tour with The Kooks.
LR: Congratulations on the
upcoming release of the album. I was impressed that Chris is credited
for producing, engineering, and mixing the album. Was it difficult
wearing that many hats?
CC: It was a lot of running around.
Especially when I was working on my own parts. When I was tracking I
would move microphones around and play something and then run into the
control room. It was a busy experience.
LR: Is it something you would want to do again?
CC: I think I probably will always have some input. I would like to have
someone else do certain parts of it. A lot of the time I am trying to
find a sound. It is distracting when you are turning knobs and find
something that is interesting as well.
Tue May 13 2008 · Posted in Interviews on littleradio.com
Jason Anderson: The Hopeful and The Unafraid
Jason Anderson
The Hopeful and The Unafraid
2008 | K records
Jason Anderson can tell a great story, you just have to be willing to listen. Oh,
yeah, and to have heard of him too. The Hopeful and The Unafraid is the
newest release from this frenetically industrious artist, capturing
much of his live magic in studio format.
"El Paso", the first
track off the album, for some reason I can't put my finger on, reminds
me of Bruce Springsteen. He's yelling out a story at you, it's
energetic, and you feel compelled to keep hanging on through the builds
to hear the conclusion. Or maybe it's the touch of Americana, not goofy
apple pies and baseball, but dusty highways and lazy, twangy guitars.
The title track "The Hopeful and The Unafraid", is really a powerful
track that makes it hard not to dance to. Anderson is able to feel
inspired by the likes of Van Morrison with his yeah yeah yeah's and horn section blaring back at him on this
track, but finds a medium between not sounding like a throwback, and
yet not trying to sound just plain old. Continuously on The Hopeful and
The Unafraid I find myself surprised by the subtle simplicity of many
of the tracks ("Ohio"), and the raw power found just underneath the
surface of them.
Occasionally the music takes over, and the
vocals seem to melt away into the background only to dive back to the
forefront later on. I don't know if this was intentional or not.
Sometimes it works, sometimes I wish I could hear him a bit better.
"July 4th" tends to carry on in this way with the vocals. Otherwise, it
is a solid album from a musician that could use just a little more
spotlight. I'd recommend listening to "El Paso", "The Hopeful and The
Unafraid", and "The Half of It".
-Elana Rintala
Mon May 12 2008 · Posted in Reviews on littleradio.com
Liars Interview with Angus Andrew
Angus Andrew from Liars phones in from the road before their stop at the El Rey theatre on 2/22 with No Age. I recommend you pick up tickets here as it could very well be a special tour ending show.
LR: How is it going Angus?
AA: It’s good mate. How are you?
LR: Not too bad. The proverbial first question for you..How is the back holding up?
AA: It’s fucked man. I got no other way of saying it. I don’t know if you
can print those words but its not a hundred percent. Its getting there
slowly you know the grease in the joints are loosening up. I am
certainly not the nimble guy I was a couple of years ago.
LR: I thought the tour would be sponsored by Icy Hot.
AA: (Laughs).. Mine would be Tiger Balm. I like that stuff.
Mon May 12 2008 · Posted in Interviews on littleradio.com
Frightened Rabbit: The Midnight Organ Fight
Frightened Rabbit
The Midnight Organ Fight
2008 Fatcat Records
Frightened Rabbit is the perfect symbol of not being able to cope with the crap that life sometimes dishes out to you. The Midnight Organ Fight is the second full length release from Glasgow guys who take that pain and wrap it up nicely like a bitter pill in maple syrup.
Frightened Rabbit synthesize indie pop with elements of folk music that
an outsider to the United Kingdom would think every village there
produces. With that said, if you like your happy music sans the folk
influence, this album might be a bit much for you to handle; I however,
found it well balanced. Reading the notes on The Midnight Organ Fight,
the lyrics are pointed out to be a integral part of the bizarre nature
of the band. While both sounding modest and 'clean', they hint at
sexual desire, isolation and violence. Knowing this ahead of time
though helped, as not everyone really pays attention to the lyrics, but
here, the vocals ring clear as a bell.
The songs here sound
more developed than their last release, with structures that are both
dynamic and mellow. From the first quite notes on the opening track
"The Modern Leper", the album quickly bursts into ear pulling
excitement carrying on throughout the album, even in their softer
moments. "Old Old Fashioned" feels, in an un-ironic way, timeless. It's
catchy, with the notion that you could be sitting in a pub somewhere
singing along to it with a number of other patrons; in a sense 'fun'.
"Keep Yourself Warm" stands out with its slow build into crashing drums
and guitars, but mainly, the lyrics, poured out with such sad
sentiments as the repeated phrase "It takes more than fucking someone
to keep yourself warm" seem to be echoing the collective void of
generations of down-beaten relationships. The combination of songs on
here reminds me of L.A. based Amateurs and the newest Iron and Wine release. The Midnight Organ Fight,
for a sophmore release, is everything polar opposite of slumpy. I would
recommend "The Modern Leper", "The Twist", and "Keep Yourself Warm" as
must listen to tracks.
-Elana Rintala
Fri May 9 2008 · Posted in Reviews on littleradio.com
Interview with The Presets’ Kim Moyes
The new album from The Presets Apocolypso is coming. You have been warned. I downloaded the album from itunes a few weeks ago and know it finish my top 5 albums of 2008.
LR: How does the songwriting process work in The Presets? Do you start with synths? Beats? or Lyrics?
KM: We start with some kind of idea that might be a chord progression or a
melody or a loop on the computer and then thrash it out till it feels
good. then we look for more sections and try to shape it according to
how it is making us feel. this process can take sometime as we are
going back and forth from working together to working solo on in until
it has a good decent shape. When it the song starts to present itself,
Jules will then start adding vocal ideas which later turn into the
lyrics.
LR: I have seen you five times in concert and love the
fact that you have two Korg MS-20's on stage. What drove this decision
to use vintage gear while on tour?
KM: It's been a nerdy passion
of ours for quite sometime now and apart from the great sound these
synths make they have such a distinctive look about them. We are very
familiar with these synths and can get around them quickly so it's just
the easiest option for us to use them live.
Fri May 9 2008 · Posted in Interviews on littleradio.com
Black Rebel Motorcycle Club: Baby 81
Black Rebel Motorcycle Club
Baby 81
2007 | RCA
I don’t think anyone expected 2005’s Howl to be some rebirth for a band that layered dark, foggy rock so well, but it acts as a strong example of the trio’s ability to craft songs with greater detail without the digital effects. That album was a retreat of sorts, yet still sounded like a BRMC record from track to track. So it was a warm welcome to hear the opening track, "Took Out a Loan," marking a return to what BRMC have always been great at; densely arranged riffing, fuzzed-out bass guitar and driving percussion. Baby 81 is more like a summation of sounds, a homecoming if you will, while testing the waters with stronger vocal melodies and cleaner production.
Robert Been’s vocals on "Berlin" and “Need Some Air” take off in fast-paced tempos recalling the harder rock of Take Them On, On Your Own. The throwbacks from the first album come through more consistently on the heavy “Cold Wind,” the echoed goodness of “Lien On Your Dreams.” “Killing the Light,” reveals Hayes’ penchant for blues-oriented rock that quickly becomes covered in a distorted wash. And don’t forget the Led Zeppelin stomp that marks “666 Conducer,” similar to “When The Levee Breaks.” Overall, the shimmering, hollow guitars glide underneath hooks with emotional backbone and a familiar temper towards our failing government. This is the BRMC I love to hear.
The boldest moments
shine through on “Window,” album closer “Am I Only” and the romantic
feel of “All You Do Is Talk.” All three of these cuts put a much larger
emphasis on the dynamics and feel of the vocals. This is something that
was explored on Howl but works even better within a rock n’ roll format. If there’s any indication of a newer direction it lies within these songs.
If
you were expecting or hoping for some groundbreaking collection of
songs you’d be mistaken, BRMC were never about that in the first place.
The band has always made records without any preconceived idea or
expectation from critics or fans. Baby 81 picks up where Take Them On, On Their Own left off and, thankfully, still reminds me of a tougher version of JAMC while carving out loose and accessible rock n’ roll.
-Scott McDonald
Thu May 8 2008 · Posted in Reviews on littleradio.com
Press Kit 101 with Mahogany
Press Kit 101 with Mahogany
Many bands, artists, and labels throw together a press kit like it's a
peanut butter and jelly sandwich. When we receive mail for radio/review
it's typically loaded with a cd and some xeroxed version of a press kit
that simply rambles off quotes and lots of descriptive words about the
music. It never really does the job or offer a glimpse into what the
band is really about. But wait a sec, isn't this the digital age?
I've become a huge fan of digital/online press kits that are simple, visually creative, and get right to the point. New York's Mahogany are a great example of how to put togther something that truly
represents the music and the people involved. Check this out and take
notes:
Mahogany Connectivity! Press Kit
Wed May 7 2008 · Posted in Daily on littleradio.com
Buffalo Tom’s Best
I have to say that Let Me Come Over is Buffalo Tom's best
album. The songs are rooted in tales of love and loss and feature
jangling, distorted guitars and honest lyrics. Buffalo Tom were the
rock band that everyone could relate to, regardless of your devotion to
a particular genre. This album has aged so well to the point that I
would rate it as one of the must-have albums from the 1990's.
From
the opening track "Staples" to the straight-ahead rock of "Velvet
Roof," and finally the epic college radio hit "Taillights Fade," the
album was flawless and unleashed heavy doses of emotion and gritty
rock. These songs are like snapshots from an era when music was all
over the place and daring. And luckily for us we had a guy like Bill
Janovitz who could speak clearly over rough guitars without ever
sounding pretentious or above the listener.