The Animal Show » dfjacobs

Good Friday

dfjacobs — Fri, 24 Sep 2010 15:00:01 +0000

"You are now in the midst of a real MC"

I’ve been introducing myself to hoards of new people recently, and when the conversation inevitably broaches the subject of music, people often say, “you have fantastic taste, not to mention you’re brilliant and irresistibly handsome, you should write for a music blog.” Perhaps I embellished that conversation a tad, but only the part about my music taste, everything else was embellished a lot. Anyway, it’s always embarrassing to admit that while I already do write for a blog, I haven’t posted in months. Apparently ladies aren’t as impressed by lethargy as I had hoped.

Like Edward Ruler of the Polar Bears, I too have been unimpressed by the majority of summer releases. There have certainly been gems among the crap, but the ratio of Sir Lucious Left Foot to everything else is less than favorable. That said, my life-changing experiences at Lollapalooza should have amassed a three-part series of Pulitzer-worthy journalism, but again, I plead inertia.

As I often do on articles ending a hiatus, I’ll keep the words to a minimum and just deliver three of my favorite recently played songs. The first is “Good Friday,” one of the greatest Yeezy beats of all-time, and unlike its peer “Runaway,” this one does not feature the lyrics “find pictures in my email/ sent this girl a picture of my dick.” “Good Friday” is the best of a surprisingly strong (with the major exception of “Runaway”), batch of Good Friday releases; welcome back Ye. Next is the breakout hit off the latest Das Racist mixtape, Sit Down, Man. The track “hahahaha jk?” proves the incredible lyrical prowess of these Wesleyan alums and dfjacobs favorite. The apotheosis of their lyrical adroitness is without a doubt, “call me Dwight Schrute the way that I eat beats.” Finally, I leave you with the 2nd single off the Glitter & Bones’ eponymous debut. A song that has tons of “Top Gun” eighties flavor despite being created by a kid born in ’92. Think Tunnel of Love meets the Ivy League, mostly because it’s Adrian of the Ivy League’s new project.

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Good Friday (feat. Common, Pusha T, KiD CuDi, Big Sean & Charlie Wilson) – Kanye West (YSI)

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hahahaha jk? – Das Racist (YSI)

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Summer Boys – Glitter & Bones (YSI)

Is This the End or Just the Start of Something?

dfjacobs — Mon, 28 Jun 2010 15:00:31 +0000

I apologize, I couldn’t resist the brainless pun, but isn’t it better than “Goodbye Cruel World?” (Don’t ask why those are your only two options, my creativity knows bounds). In terms of an answer, it is most certainly the end of something (the exact title of front man Ramesh Srivastava’s announcement). For those of you still ignorant to the premise of this article, I’m referring to the disintegration of the once (blog) celebrated group, Voxtrot. Their incendiary rise and inevitable fall were not without their glorious moments though. The tremendous hype affixed to the group was not born out of thin air, but rather the quite justifiable excitement generated by their brief yet explosive debut EP’s. A mastery of lyrics, a self-aware yet superb vocal performance, perfectly harmonious guitar and bass lines, and brilliant percussion, are all prevailing features of their early releases. Mothers, Sisters, Daughters and Wives narrowly edges out Raised By Wolves EP for my favorite of their oeuvre, but both are incredible examples of everything there is to love about Voxtrot.

Raised By Wolves EP features one of the top 5 most earnest and vulnerable love songs of all-time, “The Start of Something.” There are certain things that you cannot control about songs, state of mind when you first heard it, people you associate with it and such, but all those things only add to my intense affinity for the song. To me it perfectly captures budding love, the intense rapture and vulnerability of feeling enthralled by another. And while I have heard “Come by and see me, I’m a love letter away” and “If I die clutching your photograph, don’t call me boring, It’s just ’cause I like you” mocked, I rank each among the likes of “losing love is like a window in your heart, everybody sees you’re blown apart, everybody sees the wind blow,” as some of my favorite lyrics ever written. Not to mention that the melody is simply power pop perfection.

Ultimately the hype of those EP’s, and comparisons to the likes of The Smiths, Belle & Sebastian, and The Cure, led to Voxtrot, their first full-length LP and one of the first harbingers of their end. While certainly not a disaster, their full-length LP does not hold a candle to their previous releases. Tracks “Kid Gloves” and “Firecracker” are great power pop songs, but their successes are inconsistently replicated on the rest of the album. Voxtrot waited so long to release their full-length album, that the expectations were implausibly lofty. The reaction to Voxtrot was critical condemnation and artistic stasis.

Which brings us to the present. After two final shows of the “Goodbye Cruel World” tour at Bowery Ballroom last weekend, Voxtrot is now defunct. They gave a passionate and surprisingly tight performance. They remain extremely impressive and fun to watch, with Mr. Srivastava’s funky, almost swimming-like dance moves and his coordinated jumps with bassist Jason Chronis. In response to “Voxtrot forever!” chants, he joked, “What’s that expression? It’s better not to fade away but to… burn in a fiery inferno.” And while Voxtrot may become one of music’s biggest “what ifs,” I’d rather rejoice in their numerous accomplishments than dwell on what could have been. They’re certainly not the greatest band to grace the earth, but they were outstanding, and made an impact on many lives (or at least iTunes libraries… same thing?) Mr. Srivastava’s impressive lyrical adroitness manifested itself one last time Friday night as he ended “Your Biggest Fan” by crooning “I used to be your biggest fan, I used to be your biggest fan, I used to be… in a band.”

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Rise Up in the Dirt – Voxtrot (YSI)

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Soft & Warm – Voxtrot (YSI)

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Raised by Wolves – Voxtrot (YSI)

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The Start of Something- Voxtrot (YSI)

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Your Biggest Fan – Voxtrot (YSI)

Rock is off to a shitty start in 2010

Subject: Please Post My Music

dfjacobs — Tue, 08 Jun 2010 15:00:19 +0000

Quick Quiz: Press Play Dee Jays or Frat Boys Posing?

The Animal Show literally figuratively gets millions of emails a day. Beneath the countless love letters and autograph requests, further down still beneath the multitude of emails my mother sends Edward berating him for giving me a platform to reach the world, are the emails aspiring acts send along hoping for the famous “Animal Show bounce” (or a spot on hype machine, your call). And while some of it is crap (you can stop sending us your GarageBand demos, Kenny G), every so often something comes along that renews my faith in the efficacy of the internet.

The group I am currently referring to is Press Play Dee Jays. The hardcore readership will remember their presence in my monumental (and oft-quoted) “Will Heartbeats Ever Flatline?” Although I was pretty hard on them for removing Eminem’s disgusting (this usage of “disgusting” means incredible, mom) flow on “Forever,” the Aussie duo recently contacted The Show with news of their new mash “Culture Shots.” This is a far more sophisticated and technically sound mash, and not just because they incorporated classical music. They build intensity right out of the gate and let Lil’ Jon and LMFAO rail on Wolfgang Gartner’s “Wolfgang’s 5th Symphony.” Wolfgang Gartner created an extraordinary remix of “Symphony No. 5 (Beethoven),” and Press Play Dee Jays develop the mix even further with the addition of “Shots.” While the mash may make Beethoven roll over in his grave, it will induce many more rolls on the dance floor.

The other two songs were not really sent in, but they continue the theme of fantastic mashes. The first throws D.C.’s anthem over one of the top 5 greatest beats of all-time, from you guessed it, “Paper Planes.” Brand-x does a stellar job to make Wale and Gaga sound right at home over M.I.A.’s immortal number (oh no, please don’t give out my phone number for this.). For those of you looking for more Brand-x, check out their track “MilkShake da Floor (Kelis vs. Major Lazer),” it’s as tantalizing as its parts would suggest. The final mash of the day is the latest from The White Panda, “The Next StarF*cker.” The White Panda continue their dominance in the genre, flexing their muscle with Dre and Snoop atop the hypnotic sounds of Starf*cker. “The Next StarF*cker” is a brilliant mash, and hopefully characteristic of what’s to come on their summer release, Rematch. With that, enjoy the mashes, and keep the emails coming…

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Culture Shots – Press Play Dee Jays (YSI)

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Chillin on the Plane L (M.I.A. x Wale x Lady Gaga) – Brand-x (YSI)

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The Next StarF*cker – The White Panda (YSI)

A New Post, A Big Tree, A Big Van. Oh, and music.

Every Bro Has a Story

dfjacobs — Mon, 07 Jun 2010 15:00:47 +0000

As I busted out some of the best moves ever seen on this side of the Mason Dixon line, the sweat poured down the pleasantly plump gentleman on my right. To be fair, I was similarly perspiring, amidst a sea of what can only be described as Bro Montana and his Navabro brethren. The location: Terminal 5 for Brobible.com’s Revelation Summer Kick-Off. While I am neither a reader of the site, nor a fan of notoriously brolific events, the brommunity created a lineup worth weathering the Charles Broakleys and Bronald Reagans (by the way, I’m two “bros” away from tying a non brobible.com and DMB fan site record for most bro references in a single article). The pinney clad crew managed to gather Chiddy Bang, RJD2, Pretty Lights and almost every club level lacrosse player in the country, certainly no small feat.

To start the night, the sample heavy duo from Philly brought the thunder. Working within the constraints of a thirty-minute set, Chiddy and Xaphoon played crowd pleasers “Truth,” “The Opposite of Adults,” “Never” and “All Things Go.” While they killed each aforementioned Swelly Express track, the highlight of their performance was indubitably Chiddy’s freestyle. After taking suggestions from the highly inebriated audience, Chiddy rattled off a startlingly sharp freestyle atop a classically tight Xaphoon beat. My only complaint of the set was absence of “Hey London.” Although I understand that we were on the other side of the Atlantic, the Air Swell track transcends its geographic ties.

Next up were the equally impressive beats of Rjd2. The temperate Ramble John Krohn sauntered on stage, said, “Hi, my name is RJ,” and proceeded to unleash his famed instrumentals. While I’m not usually partial to strictly instrumental performances, Rjd2’s beats and accompanying visuals allowed for a surprisingly impressive set. For those of you unfamiliar with Rjd2, check out the track at the bottom, something tells me your affinity for all things Don Draper and Sterling Cooper is about to be tickled.

Headlining the evening was Pretty Lights. While I had enjoyed their remixes and mashes (that are free via their website), I was unsure about how they’d translate into a live setting. Little did I know that producer Derek Vincent Smith, accompanied by drummer Cory Eberhard, would be able to provoke unbridled enthusiasm from the jammed packed crowd. Their remixes, samples and mashes continue to amaze me, and the concurrent light show (hence their name) only intensified their performance. The duo rocked the crowd for a venerable two hours and ended with one of the most amazing mashes the world has ever heard. While its become common place for artists to end New York shows with their rendition of “Empire State of Mind” (see LCD Soundsystem), Smith threw both “Juicy” and “Hello Brooklyn” atop Jigga’s Marcy Project anthem. I wish I could reencounter the unforgettable mash and share its magic with you, but for now I’ll have to leave you with the Tuckahoe mash of Pretty Light’s favorite “The Time Has Come” and Weezy’s “Stuntin’ Like My Daddy.”

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Hey London – Chiddy Bang (YSI)

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A Beautiful Mine – Rjd2 (YSI)

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Stuntin’ Pretty – Tuckahoe (YSI)

Welcome to the New Site!

Turn the Beat Around… Again

dfjacobs — Tue, 25 May 2010 15:00:33 +0000

Image Courtesy of Brooklyn Vegan

Since my last post, the world has turned to crap. Time Square fell under siege, Greece almost collapsed, BP pulled an Exxon Valdez in the Gulf coast, the Mexican victory at the Battle of Puebla was celebrated (oh wait, Cinco de Mayo was a pretty rowdy fiesta), Tennessee almost sank (and with it all photo evidence of Edward’s awkward years), and Lost ended. Suffice to say, the world is a pretty depressing place without dfjacobs. So to cheer all of you up, I decided to continue my only most read post of the last month: Turn the Beat Around.

Launching our rave is “Crown on the Ground” by noise pop’s burgeoning stars, Sleigh Bells. Comprised of Alexis Krauss and Derek E. Miller, the Brooklyn duo formed all the way back in 2008. On May 11^th, they released their first album (that wasn’t a demo) Treats, and it’s spectacular. Even for those of you averse to the feedback spewing and amp destroying that the noise pop genre is famous for, Sleigh Bells’ album may yet make a convert out of you. Treats is indubitably one of my favorites of the year, and the highlights include (but are not limited to) “Tell ‘Em,” “Kids,” “Riot Rhythm,” “Infinity Guitars,” “Rill Rill,” and “Crown on the Ground.” For those of you keeping score at home, I just listed six of the eleven tracks. I swear, the album is THAT good.

From burgeoning stars to seasoned doyens, our next track is “Dance Yrself Clean” by electronic superstars, LCD Soundsystem. The James Murphy helmed dance/punkers released their third studio album This Is Happening on May 17^th. The album, much like Treats, is dazzlingly brilliant, and another early front-runner for our best albums of the year list. LCD Soundsystem is similarly mesmerizing live; putting on one of the greatest shows I have ever seen on Saturday night at Terminal 5. Finishing with a balloon filled rendition of “Empire State of Mind” (see picture above), the show was simply tremendous, much like their album.

Capping off this trio of dance hall destroyers is our first Hip-Hop track of day, “Like a G6” by the Cataracs. Chances are, if you’ve left your house at any point in the last month, you’ve heard this blazing hot track, but nonetheless I couldn’t resist appending it to this article. Recently, the duo of Cyrano and Campa released a free mixtape titled, I Thought They Were Black!?, with their track “2Nite” debuting at 24 on Billboard’s Hot Dance Airplay charts. While their lyrics are not going to cap the oil spill, bring solvency to Greece or recover Edward’s embarrassing photographs (oh phewf, we never lost those) they make incredibly fun, party starting music (“Poppin bottles in the ice, like a blizzard/ When we drink we do it right gettin slizzard”). So with that I’ll conclude my latest self-indulgence, and I promise to release another article with much less lag time, and hopefully at a considerably lesser cost to the world.

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Crown on the Ground – Sleigh Bells (YSI)

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Dance Yrself Clean – LCD Soundsystem (YSI)

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Like a G6 (feat. Far East Movement & Dev) – The Cataracs (YSI)

Turn the Beat Around

dfjacobs — Tue, 27 Apr 2010 15:00:13 +0000

In the last fortnight, I humorlessly lowered the musical pulse of The Show. Now I’m not retracting my overwhelming endorsement of The Tallest Man on Earth and Mumford & Sons, because their greatness has not wavered. However, after three Snapple Peach Ice Teas and a pack of Sour Patch Kids, I’m ready to rave like a MDMA champion. And this may just be the booze talking (read: sugar high), but dancing to the Swedish “giant” doesn’t bring the thunder like say, dancing to a MSTRKRFT vs. Bieber mashup. “What?!” you ask, could such a raucous and remarkable combination exist? Well, thanks to the wonder woman of DJs, CJ Milli, the tween sex magnet has had his music morphed into a track that will destroy clubs he’s not even old enough to enter. CJ Milli mixes the track startlingly well and she should definitely be watched in the coming months (and no, not just because of her surprisingly good looks.)

Next up on our Beenie Man playlist is Them Jeans remix of “Pursuit of Happiness.” Them Jeans, or Jason Stewart (an actual giant standing at 6’8’’), speeds up the introspective Cudi ballad promoting crazier dancing and less head nodding. The addition of thumping bass and substitution of synthesizers in place of piano makes this track an instant explosion versus the original’s slow burn.

Finally, rounding out this stunning threesome is a deep cut. This song will not promote boogie nights as well as its predecessors, but I have been searching for an opportunity to promote this track for an annoyingly long time, and it will certainly get you moving. Released back in a trivial time void of the Double Down (November ‘09), this K-OS track samples Phantom Planet’s “California” (The O.C. theme song). As if this wasn’t incentive enough to give it a listen, K-OS tears this track a new one. “I Wish I Knew Natalie Portman” is an infectious Hip-Hop track that with major label support would be a mainstream radio destroyer. Now stop reading and go dance the hell out of these tracks, you can thank me later.

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Heartbreaker Baby (CJ Milli Mix) – Justin Bieber x MSTRKRFT (YSI)

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Pursuit of Happiness (Them Jeans Remix) – Kid Cudi (YSI)

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I Wish I Knew Natalie Portman – K-OS (YSI)

Turn the Beat Around… Again

The Tallest Man on Earth

dfjacobs — Mon, 19 Apr 2010 15:00:36 +0000

It’s quite regrettable that anyone who croaks their weighty lyrics to the tune of an acoustic guitar immediately draws comparisons to the godfather of folk/blues/rock, Robert Zimmerman. This practice is both restrictive and close-minded, often leading to the collapse of an artist under the immense pressure. Swedish born crooner The Tallest Man on Earth, also known as Kristian Matsson (suck it Sultan Kosen), has been plagued by such comparisons his entire career. Matsson, who actually stands at a paltry 5’9’’, will forever be associated with the legend (Dylan not Kosen). After The Wild Hunt, however, Matsson proves his brute strength and exceeds even the perilously high expectations. The album is composed of brilliantly emotive lyrics, austere accompaniment, and perhaps the most raw and unadulterated performance since acoustic Springsteen.

From the initial seconds of the opening and title track, “The Wild Hunt,” the listener is taken on a journey by a guitar, interspersed piano and the tremendous croon of the Swedish “giant.” The album manages to avoid monotony through the alternating intensity of guitar and piano, but most of all due to the tremendous range of Matsson’s wail. The fantastic opener directly precedes the even superior “Burden of Tomorrow,” which with just two complementing guitar parts maintains an evocative and profound sound. On the upbeat (among its peers) “King of Spain,” The Tallest Man on Earth nourishes his Dylan comparisons by mentioning “boots of Spanish leather,” a not-so-subtle homage to the Times They Are A-Changin’ great. Rounding out the marvelous sophomore release is the outcast anthem “Kids on the Run.” Matsson ditches the guitar for one last time, and with the accompaniment of his piano croons out some strikingly Springsteen-esque lyrics. The Tallest Man on Earth concludes the album with his strongest track yet, but the album’s meager 34+ minute run time leaves the listener begging for more (much like this review).

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The Wild Hunt – The Tallest Man on Earth (YSI)

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Burden of Tomorrow – The Tallest Man on Earth (YSI)

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King of Spain – The Tallest Man on Earth (YSI)

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Kids on the Run – The Tallest Man on Earth (YSI)

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Are Question Titles Getting Annoying?

dfjacobs — Wed, 14 Apr 2010 15:00:14 +0000

There comes a time in every man’s life where he must confess that he has lied to a person (how about that for politically correct) that he’s attracted to, and I am no exception. A few months ago I was chatting up one such lovely lady, tossing music knowledge grenades aplenty, with my infantry of charm and wit making coordinated assaults. While this is normally a flawless wooing technique, the expansive galaxy of music, especially the ever-expanding indie planet, leaves colossal room for error. When my splendiferous female mentioned Mumford & Sons, I nodded and confirmed my shared affinity for their music. Sadly, my ears had not yet been graced by their stirring and refreshing debut Sigh No More.

Obviously, I sprinted (read: hopped in the Prius) home to uncover these burgeoning stars. What I discovered on that snowy January day will forever change my perceptions of time and space (or maybe just introduce me to a new enticing group, your call). They don’t employ synthesizers or production heavy beats but rather mandolins and a folk-induced country sound. Fronted by Marcus Mumford, Mumford & Sons are an older, more British, folk-heavy and entirely gentlemanly populated Nickel Creek. While I am certainly not suggesting that Mr. Mumford boasts the same Mandolin prowess as your favorite and mine, Chris Thile, I do believe that Mumford & Sons possess the same pop/country crossover that led one southern trio of prodigies into all our hearts.

The Irish-bred folkers released their rousing debut in February (in the US) and have been steadily acquiring their deserved following since. With poignant lyrics chronicling the more tumultuous times in their private lives, the listener senses the intense potency of each word. Beyond quality song writing and stirring vocal performances, Mumford & Sons also turn in harmonious and affecting instrumental accompaniment. The only glaring fault of their otherwise enchanting freshman album is the monotone sound that their lesser tracks take on. The weaker songs become lost in a sea of folk, without even a lifeguard of lyricism to buoy them. However, those tracks are doubtlessly the minority and the album is nonetheless magnificent. After all, when Ray Davies (who you all knew was the front man for The Kinks) heard Mumford & Sons would be collaborating on his latest album, he announced that he was “more excited about that than [he has] been about anything before in [his] life.”

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The Cave – Mumford & Sons (YSI)

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White Blank Page – Mumford & Sons (YSI)

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Little Lion Man – Mumford & Sons (YSI)

Cover City

Are You Immuzed?

dfjacobs — Thu, 08 Apr 2010 15:00:05 +0000

It’s been more than a year since we last checked in with Alfredo Lapuz Jr, or, as he’s known on the streets, Immuzikation. His absurd skills have surprisingly only managed to improve with time. To say that he’s thumpin’ out the hits is an outrageous understatement. While none of these tracks are iPad new, the thought of you not having them in your iTunes kept me up last night, well, that and the cocaine. How he was able to blend the tremendous hits “Ambling Alp” and “Giving Up the Gun” so seamlessly that it actually sounds like one song, I’ll never know. Immuzikation is truly a master of his craft, and an artist who should absolutely be watched. With his abundance of talent, no one can be certain what Mr. Lapuz will do next, but I can promise you it will be miraculous. And thus endeth another installment of “Mailing It In” with your host, David Jacobs.

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Giving Up the Alp (Vampire Weekend vs. Yeasayer) – Immuzikation (YSI)

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One More Time to Pretend (MGMT vs Daft Punk) – Immuzikation (YSI)

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Sleepydream – Immuzikation (YSI)

Immuzikation is AMAZING

Will Heartbeats Ever Flat Line?

dfjacobs — Mon, 05 Apr 2010 15:00:53 +0000

Whether due to highly flammable vocals, otherworldly beats or the mere presence of Weezy, certain songs are simply mashup gold. Recently I used the phrase “mashup darling” to describe Down’s “Lean Like A Cholo,” and surely any track by Jigga or the Young Money inmate would also fit the bill. However, the apotheosis of this phrase is undoubtedly The Knife’s “Heartbeats.” The first track off the Swedish duo’s sophomore album Deep Cuts is an astounding combination of poignant lyricism and an infectious beat. The song manages to be both haunting and explosive; a lethal blend that makes it irresistible to a wide-range of listeners (and mashup artists).

In addition to popular covers by Jose Gonzalez as well as Scala & Kolacny Brothers, I discovered six different mashups featuring the track in my iTunes library. While this may only confirm my consistent taste and overwhelmingly large music collection, I believe it’s also a testament to the far-reaching appeal of “Heartbeats.” With mashes by A-Trak and E-603, featuring the likes of Drizzy, Yeezy, M.I.A. and Grizzly Bear, the variations of “Heartbeats” feature some of the best in the business. To evaluate the tracks, I channeled the Sports Guy (that’s Bill Simmons you hipsters) and created a pyramid to illustrate their varying levels of success.

Level 1 a.k.a. “the flyest of the fly” features A-Trak’s “Get ‘Em High (Remix)” and POTAMIC’s “The Way Heartbeats (Eminem vs. The Knife).” Both mashups take similar approaches; introduce incredible rap verses to the contagious “Heartbeats,” let them get to know each other, and watch the sweet harmonious love-making that ensues.

Level 2 a.k.a. “still fly with unforgivable shortcomings” includes, E-603’s “Bittersweet Heartbeats,” DJ Topcat’s “Paper Heartbeats (M.I.A. vs. The Knife),” and Press Play Deejay’s “Heartbeats Forever (Drake vs. The Knife).” E-603’s Something For Everyone hit finds itself in Level 2 due to it’s lesser quality, but more importantly because of Mr. Ward’s prolonged failure to accept my Facebook friend request (I mean seriously, what’s a brotha gotta do?). DJ Topcat’s mashup finds itself demoted to Level 2 because the “Paper Planes” beat is far too incredible to ever be removed. And finally Press Play Deejay’s cardinal sin is the removal of Eminem’s career-saving verse. Lebron tell Press Play what’s up.

Level 3’s a.k.a. “great song choices but half-ass combination” sole member is PARRKA’s “Knife/Heartbeats (Grizzly Bear vs. The Knife). I love both songs, and especially the witty wordplay of “Knife” vs. the Knife (that’s sharp, aaand boom goes the dynamite). However, PARRKA tries too hard to let both lead and in the end, neither song benefits. Perhaps because they are too similar, the tracks never truly unite and instead amount to an inept 5+ minute mishap.