Blowing Up 2: The Sequel

So Shark Party has now joined the MOG Music Network, which means even more people are coming to the site, as evidenced by the new deluge of downloads and band e-mails I've been getting. It's certainly exciting, but a bit scary since now, people are, you know, reading and stuff. On another note, I recently had one of my entries from October ("Strange New Strange", featuring TV On the Radio, Shiny Toy Guns and others) taken down by Blogger because of an anonymous record label protest. So if all of a sudden any of my entries vanish into the ether, that would be the cause. While it's understandable on Blogger's part, it's also a bit frustrating, given that it tosses the baby out with the bathwater and destroys my entire post, for the sake of one asshole. So if it happens again, I may restructure how I post here. For now, though, I'll keep chugging along.

Deerhoof is a weird-as-fuck band from San Franciso (figures as much), that has been fairly prolific, despite living on the musical fringe for some time now, but may have a chance to break through to a wider audience (if not exactly the mainstream) with their new LP, Offend Maggie. Lead vocalist Satomi Matsuzaki still packs as much quirk as ever, but the rest of the band has beefed up its sound, layering harsher guitars and experimentation to her light and fluffy delivery. The final product is a cheerful clash of sound that puts the "rock" back in "art rock", and stands as one of the most engaging things I've heard all year. It's also bordeline ah-mazing if you're under the influence of something else that comes from California, or at least so I hear. It's always a good thing when I wrestle with which song to post. I love a few on the album near-equally, but I figured I'd give the this one the spotlight, considering it's the right season and all. Make sure to seek out "Fresh Born" and the incredible title track though, if this doesn't convince you to buy the damn thing. Angelinos can check out the band this Friday when they play The Echoplex with Experimental Dental School. I'm jealous of anyone who gets to go.

----------------------Song of the Week-----------------------

Deerhoof - "Basket Ball Get Your Groove Back"

.............okay, because it's just so fucking good, here's the aforementioned title track, set to a suitably weird-ass video:



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From a band I absolutely love to one I might learn to like, we come to The Stills. Upon their arrival five years ago, I was immediately turned off by singer Tim Fletcher's Ian Curtis syndrome, an illness which has instantly killed some (She Wants Revenge) and yet merely held others back (Editors, Interpol) for me. I assumed The Stills fell into the first column, even after I heard their second album had a crazier, more psychadelic vibe. Their newest album hasn't won raves, but ironically, I much prefer it to their first effort. It's not mind-altering stuff, but it finds the band crafting some memorable hooks, and some arena-ready choruses. The best example can be found with "Being Here", which sounds like the song bands like Daughtry or Razorlight have been attempting to make for the last few years, and never quite capturing (to put it mildly). My ears could be decieving me, but I think it's quite good (arena rock can be your friend).


The Stills - "Being Here"

Next up is a song I've been meaning to write about for a while, from a band that until recently, I'd written off as a one-hit-wonder (and a slightly overrated one at that), with the Aoki-clan (or if you're in NY, the MisShapes scene)'s favorite song of 2007, "We Are Rockstars". The band in question is British electro-rockers Does It Offend You, Yeah?, who have recently re-appeared on indie103 with their second single, "Dawn of the Dead". It's lighter than "Rockstars", despite the title, and is a nice throwback to Duran Duran-era British pop. It also forced me to examine their debut LP, which was far better than it has any right to be, coming off as a more earnest Electric Six crossed with some extra 80s synths. If you're into that sort of thing (and who isn't), it's more than worth a gander.


Does It Offend You, Yeah? - "Dawn of the Dead"

Finally, I've got something just for fun. Friday night in West Hollywood, me and my friends decided to get happy & go see "Repo! The Genetic Opera". If you haven't heard of the film, it's easily summarized as a graphically violent, gothic rock opera starring Sarah Brightman, Giles from "Buffy", the girl from "Spy Kids" and Paris Hilton, directed by the guy who did some of the "Saw" movies. If you're not sold yet, you probably never will be. Whatever the case, I decided that if I ever were to see the film, it would have to be in just the environment I ended up putting myself in: intoxicated, surrounded by an army of "that girl"s, all of them as doughy as they were angry, dressed to the nines in costumes from a film that had yet to come out, marching down the theater line singing songs from said film, while being cheered on by the film's director, as well as the cast (including Hilton). The film is retarded on every level imaginable, but the environment was 100% conducive to having a good time, and thus, I had a blast. On top of that, the cast is 100% committed (even Hilton, who's used as a twisted-Edie Sedgick-style prop), and the music is memorable. Not always great, but never less than memorable. Submitted for your approval is Vega's sexy (relax, she's 20 now) defiant "fuck you, dad!" declaration of independence, which is inexplicably aided by Joan Jett on guitar. Yeah, like I said, it's pretty retarded. But kind of awesome at the same time. grrl pwer!!!


Alexa Vega feat Joan Jett - "Seventeen"

PS: Paris' face peels off during the movie, mid-dance routine, so that alone is reason to see it. Don't look at me like that.