The Beach Boys in 1964. | Photo by Desconocido via Wikimedia Commons

The Beach Boys to Collaborate with Foster the People, Maroon 5 at Grammys

The three rock bands are set to take the Grammy stage together, where Beach Boys members Brian Wilson, Mike Love, Al Jardine, Bruce Johnston, and David Marks will reunite for the first time in over two decades. This collaboration comes as the latest in a string of performance announcements including Adele, Deadmau5, Taylor Swift, Katy Perry, and Nicki Minaj.

Foo Fighters Look Forward to Fighting Adele

“Fighting” for Grammys, that is! They are up against one another in a whopping six categories, including Best Album. Foo Fighters singer Dave Grohl says he’s honored to be up against the “Someone Like You” singer and praised her with his comment to The AP, saying, “I’m glad that we’re with Adele in the same category. It means we’ve done something right. I think she gives us all hope. She’s made an incredible record, and she’s an incredibly talented artist, so maybe it is true that the cream actually rises to the top.” Adele’s Grammy performance will be her first live show since she underwent vocal chord surgery last year.

Grammys Go Electronica

For the first time ever, the Grammys will include an all-electro performance segment to honor the rising genre. Deadmau5 and David Guetta are among scheduled performers to bring the best in electronic dance music to the awards show.

Lady Gaga. | Photo by TJ Sengel via Wikimedia Commons

Lady Gaga Announces “Born This Way Ball” Tour

Gaga is gearing up to hit the road on a whopping 110-date tour this year. She recently announced the first dates of the Born This Way Ball Tour, which kicks off in June in Asia and Australia. She won’t be North America-bound until early 2013, but hey–it’s never too early for Little Monsters to start planning their ball outfits.

Klaxons Cancel Concerts to Work on Album

Indie rockers Klaxons just announced cancellations of their 2012 festival appearances in favor of focusing on a new album. Both LCD Soundsystem‘s James Murphy and The Chemical Brothers are rumored to be involved with the band’s Surfing the Void follow-up.

And in case you missed it…

M.I.A. got a little profane during the Super Bowl half time show

Adele’s 21 is STILL at #1

Everyone feels bad for Lana Del Rey…even The Black Keys

NBC’s The Voice is back for round two

Newsic Music November 26th – December 2nd: Grammy Nom Week, Lady Gaga, and Green Day by Nee-Sa Lossing

Newsic Music November 14th-20th: Lady Gaga, Beyoncé, Justin Bieber by Nee-Sa Lossing

Newsic Music September 19th-25th: R.E.M., Rihanna, Lady Gaga by Nee-Sa Lossing

The crowd at a Justice concert. | Photo courtesy of Bertrand via Wikimedia Commons.

As with upcoming record releases, a new semester brings four fresh, action-packed months of concert-going to look forward to. For those who love the arena experience and those who find a packed, sweaty venue is more their scene, Boston has something to offer. Here are my top concert picks for Spring 2012–this is only a tiny taste of the hundreds of acts coming through the city this spring, so get out there and discover the live music Boston has to offer.

2/9/12 – EOTO – House of Blues

The electronic duo puts on a truly unique show–all their live material is completely improvised! They even offer most recordings from their concerts for download, so fans can hear for themselves that their claim is true.

2/10/12 – Die Antwoord – Paradise Rock Club

The rave-rappers just released their highly-anticipated sophomore album, Ten$Ion–and those who thought their 2009 debut, $O$, was the weirdest musical endeavor imaginable are wrong. Ten$ion brings the crazy to a new level (in the best way possible) and is sure to translate into a wild live show.

2/21/12 –  Crocodiles – Brighton Music Hall

3/6/12 – Kaiser Chiefs – House of Blues

3/7/12 – The Black Keys – TD Garden

The Black Keys hit it big in 2011, and are embarking on their first-ever arena headlining tour to kick off 2012. Their December release, El Camino, showed off a new glam-rock influence–a twist on their signature bluesy rock that’s sure to fill TD Garden to the brim.

3/9/12 – Anti-Flag – Brighton Music Hall

3/19/12 – Justice – House of Blues

Even those who “have never heard of Justice” have probably heard of them because of their immense influence on the rest of electronic music. The French duo made their name with hits like “D.A.N.C.E.” and “We Are Your Friends,” and are now touring to promote their latest album, Audio, Video, Disco. As an electronic music lover, seeing Justice live has been on my bucket list for years.

3/21/12 – Odd Future – House of Blues

3/26/12 – Band of Skulls – Paradise Rock Club

3/27/12 – Kasbian – House of Blues

4/3/12 – Nero – House of Blues

4/4/12 – SBTRKT – Paradise Rock Club

4/11/12 – The Horrors – Paradise Rock Club

4/18/12 – 4/19/12– Bassnectar – House of Blues

4/29/12 – Yann Tiersen – Royale

For those who don’t recognize him by name, Yann Tiersen is the genius behind the soundtrack of every hipster’s favorite foreign flick, Amélie. The French-born musician uses piano, violin and accordion to craft his distinctive, yet experimental sound. His low-key vibe is perfect for a mellow night out to de-stress before going into finals in May!

5/9/12 – M83 – House of Blues

5/10/12 – Rusko – House of Blues

5/20/12 – Rancid – House of Blues

Dum Dum Girls Live at Paradise Rock Club by Marry Pivazian

Fences and Uh Huh Her at Paradise Rock Club: A Photo Essay by Marry Pivazian

The Many Faces of Diamond Rings by Meghan Gilligan

This isn't her first album. | Album cover courtesy of lanadelrey.com

It must be noted that this isn’t Lana’s first album. She released her debut in January 2010, but it didn’t catch on. So, like any smart wannabe star, she came up with a persona, signed to a major label and found success on YouTube. With the album out, all of the speculation surrounding her can finally be put to rest. While the quality of the music is admirable, the album as whole doesn’t amount to much. It seems she stuck her good songs at the beginning and then forgot about the rest. It isn’t standard pop, but the songs lack depth.

Lana has stated in several interviews that her music represents her. With lyrics like “Money is the anthem / God, you’re so handsome” and “Money is the reason we exist / Everybody knows it / It’s a fact, kiss kiss,” Lana comes off as shallow. The music itself isn’t bad, but it isn’t great. It’s hip-hop mixed with pop and retro. What makes “Video Games” so good is the simple melody and chord progression. However, on most of the album there aren’t many hooks, and the orchestral bits seem like afterthoughts. The most disappointing aspect of Lana Del Rey is that the mediocre stuff covers up some truly original songs. There is no denying she has talent, but the rush to release an album off the success of one song could hurt her more than propel her career.

Lana’s few great songs are like the marshmallows in Lucky Charms. But the rest of the album is just plain and forgettable. When the sweet stuff is gone, what’s the point of having the rest?

The Finals Playlist Fall 2011 by Ross Ballantyne

Top Picks in Upcoming Albums: Who To Look Out For This Semester by Nee-Sa Lossing

The Sudden Rise of the 76ers: True or False? by Chris Walker

A$AP Rocky turned in a highly memorable performance at the Middle East on Monday night. | Photo courtesy of Liveloveasap.com

Although a New Yorker by birth, residence, and lyrical boasts (“Harlem’s what I’m reppin” is heard in multiple songs on the album), A$AP’s diverse tastes and influences make LiveLoveA$AP a fantastic listen.  Underneath a quick delivery, which at times scarily resembles that of Bone Thugs-n-Harmony, are drawn out, syrup-soaked beats drawn from A$AP’s affinity for Houston hip-hop.

As Pitchfork reviewers noted, A$AP is not the most varied when it comes to his lyrics or themes: his concerns are almost exclusively about being a “pretty muthaf***a,” “reppin’ Harlem,” doing all sorts of drugs, and, of course, women. Yet where other artists concerned with similar topics wear thin after about two songs–50 Cent, for instance–A$AP’s ear for beats (the recruitment of Clams Casino for many of the songs has proved genius) and his general musical instincts have served him well. As a result, LiveLoveA$AP has received numerous spots on year-end best-of lists and has appealed to fans across the music spectrum, including this writer.

After downloading his mix-tape on the day of its release, A$AP became my new musical obsession; he was all I listened to while walking to class, riding the BUS, sitting in my room, etc. If a friend asked for a music recommendation, A$AP’s was the first and often only name with which I replied. It shouldn’t be surprising, then, that when I learned A$AP and his crew were venturing to Cambridge’s Middle East, I immediately snatched up a ticket.

After waiting for nearly an hour for the star of the night to emerge, the audience–composed almost exclusively of 18-25 year-olds–received the Harlem rapper with thundering applause, whistles, and chants. Any lingering anxiety from the long wait was erased completely with the rowdy opener “Pretty Flacko.”

Midway through the set’s second song, “Wassup,” A$AP ensured the crowd’s goodwill for the night’s duration. As a fan was being forced out of the club for violating the Middle East’s strict no-crowd-surfing rule, the MC called for the DJ to stop the music and yelled across the stage to the security guard, “Yo! Bring him back! BRING HIM BACK, MAN.” As the fan was welcomed back into the throng of fans near the stage, A$AP offered something of a defense: “Yo, I don’t know if you know this, man, but we from Harlem. You can’t blame us for body slammin’, crowd surfin’, or mosh pittin’, that’s jus’ what we do!” The crowd, needless to say, loved every word of it.

Next up was the very popular “Bass,” a song featuring the beats of, and a few shout-outs to, the aforementioned Clams Casino. Following his earlier summation of Harlem practices, it was no surprise to see A$AP leap into the welcoming arms of the crowd as the song reached its conclusion. There was never a dull moment over the next 45 minutes, as A$AP went through impressive renditions of “Demons,” “Get Lit” (during which he inevitably took a few puffs of a fan’s joint), “Trilla” and “Roll One Up.”

Conscious of “Peso”‘s nearly universal appeal, A$AP wisely ended the night on his biggest song. At this point he was visibly enjoying himself, thrusting the mic to the crowd and letting them rap; and rap they did–every word. With a cheeky grin, many thanks, and a few choice words regarding the police officers wandering around the stage (think of the NWA song), he was gone. An overjoyed audience, by this point exhausted and sweat-drenched, showed their intense appreciation as A$AP made his exit.

Undeniably it was a memorable night for all involved, and one that indeed justifies all the hype, praise, and attention of which A$AP has been a constant recipient since the release of LiveLoveA$AP. 

Andrew Jackson Jihad Play the Middle East by Kelseanna Smith

Middle Brother Madness by Kristin Toussaint

Dr. Dog: New Label, Same Stellar Live Performances by Bethany Reynolds

Lana Del Rey. | Photo by André de Saint-Paul via Wikimedia Commons

Lana Del Rey – Born To Die – January 27

The full extent of my obsession with 2012s debut Internet sensation Lana Del Rey is best saved for another article, but the self-described “Gangsta Nancy Sinatra” will be hitting shelves in full force on January 30 with her album Born To Die. Born Elizabeth Grant, the native New Yorker released her debut album in 2010 to underwhelming reception before adopting her management-formulated stage name last year. The singer-songwriter cites influences from Elvis Presley to Britney Spears, giving her sound a distinct retro flair with a charming girlishness and rich-girl sass. The album’s lead single, “Video Games,” was released last fall and charted internationally including a top spot in Germany. Since then, her music videos have gone viral, gaining her legions of fans online – has she perfected Kreayshawn’s art? Either way, I vouch that her less-than-perfect, nerves-fueled, Saturday Night Live performance that you might have heard about (Spin, Pitchfork, MTV News, etc., etc., etc.) is in no way a reflection of what you can expect to hear on Born To Die.

Die Antwoord. | Photo by Greg Lawler via Wikimedia Commons

Die Antwoord – Ten$ion – February 7

South Africa’s premiere zef-rap-ravers are back. The trio is finally set to drop their sophomore album, Ten$ion, after a tumultuous break-up from their former label, Interscope – rumor has it that the label was too insistent on trying to censor some of their more over-the-top lyrics. Ninja, Yo-Landi and DJ Hi-Tek weren’t having it and took matters into their own hands, leaving the label and self-releasing the album on their own Zef Recordz. It remains unclear exactly what Interscope was so upset about, but that only makes Ten$ion more intriguing and a must-hear for 2012.

Band of Skulls – Sweet Sour – February 21

Even if you’ve never heard of Band of Skulls, you’ve probably heard them. Their music has been featured in countless commercials, movies and television shows, and now the U.K. trio is gearing up for their second full-length release, Sweet Sour. Check out Band of Skulls’ definition of bluesy, ’70s-influenced modern rock in leading singles, “The Devil Takes Care of His Own” and the album’s title track, and pick up Sweet Sour on February 21.

Pep Love – The Rigamarole – March 6

As a native Bay Arean, I’ve gotta rep my home turf. Pep is a founding member of Oakland-based hip-hop collective Hieroglyphics but started releasing solo discs in 2001. In his work with Heiro, he refined a unique style, but his standout delivery skills set his solo work apart. His upcoming offering, The Rigamarole, out March 6, is sure to showcase his signature party lounge vibe that’s perfect for chilling out in the midst of a busy semester.

The Shins – Port of Morrow – March 20

While some people argue that the Shins’ trademark indie rock has already been outdone and replaced by newer, better, more apathetic and sensitive groups in the years since their latest release (2007’s Wincing the Night Away), James Mercer and crew are prepared to challenge the skeptics with their long overdue fourth full-length, Port of Morrow. Producer Greg Kurstin (Foster the People, Sia, Lily Allen) is also sure to bring an extra edge to the release, which is due out in March.

Metric – TBA – TBA

Honestly, there’s really not much to say about Metric’s next album – yet. Front-woman Emily Haines spilled a couple clues to Spin last October, saying that the band was nearing completion of their fifth full-length and are expecting a Spring 2012 release. Details, however, are yet to be heard. In the meantime, gear up for this mystery album with their 2009 release, Fantasies.

Upcoming and Unexpected: White Female Rappers by Nee-Sa Lossing

The Rise and Fall of Lana Del Rey by Briana Seftel

Spring 2011 Semester in Review by Amalie Steidley

Formed in 2003, six young Berklee students united in their love of music to form one of the most exciting bands to come out of Boston. Throughout their 3 albums, they have flawlessly intertwined genres, spanning the musical spectrum from funk to psychedelic to metal. Their latest effort, titled The Nexus (2010), effectively blends their individual talents into thirteen beautifully crafted songs that reveal one simple message: have a good time. Whether it’s the trance-inducing sounds of “One Light,”  the fun and carefree riffs of “Alone Again,” the bouncy and Sublime-esque tones of “Baby’s Mama,” or head-banging bridge of “Steve Got Arrested,” Spiritual Rez manages to stimulate all the senses. Yet the band’s raw talent really shines on the stage, as their shows give the audience a glimpse into the soul kitchen in which Spiritual Rez cooks their powerful concoctions.

Bassist Jesse Shaternick joins singer Toft Willingham in harmonizing vocals during a concert. | Photo courtesy of Spiritual Rez

From the second that Spiritual Rez steps on the stage, the audience is assaulted on all fronts with an array of textures and tones. In one moment you will be sent into a sudden frenzy as Ian Miller flails away on the drums as if he had ten arms, reminiscent of a young Keith Moon. The guitar follows with charismatic rhythms and smooth tones that tingle the spine. The talented dancing brass section composed of trombonist Bryan House and saxophonist Kory Stanbury play perfectly in sync while somehow managing to dance like their legs are made of jelly. The hidden weapon that plays the bass, Jesse Shaternick, slyly lays down an infectious yet funky groove. All this is topped off with lead singer Toft Willingham’s smooth emotional vocals and his uncanny ability to woo and pull the crowd in with an invisible hand. His soulful preaching elicits a mystical state in which his words begin to reside in your soul. All together, the sounds of Spiritual Rez swallow you in a capsule of musical revelation.

A band with this much energy and chemistry on stage must have an unrivaled passion for music. In an interview with drummer Ian “Meat” Miller, he commented on the unspoken bond between his bandmates and the endless joy of playing music for a living. “Music is my favorite drug. Music is such an escape for the band–there is so much energy throughout the whole show. Our message is really all about having a good time.”

Throughout the years, Spiritual Rez has seen many lineup changes, the most recent occurring in August 2011 when esteemed lead guitarist and musical virtuoso Van Gordon Martin left the band to lead a solo career. The split was amicable on both sides and the newly minted 5-piece continued on with a resurgence of creativity in their music and shows. The band, as always, kept a positive attitude, with Miller remarking, “Adversity is to be looked at and smiled at. You must turn adversity into opportunity, keep growing as a band, and go on with your goal, which is try to make the world a better place through music.”

The year 2012 holds promising opportunities for Spiritual Rez, as they are in the midst of recording their fourth album and preparing to go on their next yearlong tour around the nation with a new guitarist. Don’t miss their show on January 28 at the Middle East in Cambridge, just in time to warm up chilly New England with what is known as “the craziest dance party you’ll ever be a part of.”

To learn more about Spiritual Rez, visit their website or their Facebook page. To take a listen to their album, The Nexus, visit their Bandcamp page. 

Getting Funky For a Cure: Dance Marathon Takes BU by Bethany Reynolds

Fresh Ideas and Produce: BU’s First Farmers’ Market Thrives Despite Rain by Ingrid Adamow

So Fresh It’s Sick: Dated ’90s Kids Shows by Alyssa True

The Black Keys' El Camino.

Put simply, the Black Keys’ El Camino is a solid rock album. Every track stays unique, while the album as a whole is pleasantly cohesive. The current (and only) single, “Lonely Boy,” is truly representative of the album’s sound. And the third time collaboration between the rock duo and producer Danger Mouse is, once again, a success.

El Camino is a nice companion to the Black Keys’ last offering, Brothers, while still remaining distinct from the rest of their seven-album discography. While the band hasn’t abandoned their bluesy past completely, they did refresh their sound in a big way. The new album feels glamorous and grand (but not alienating to long-time fans) – maybe in an effort to put new sparkle on their sound after the breakout success of Brothers.

The band has a new trio of female backup singers, which lends tracks a pop vibe and ups the glam factor throughout El Camino. While you can hear that added dimension on “Lonely Boy,” their best use of the backing vocals comes on “Gold on the Ceiling,” where a bouncy tambourine and swirly guitars round out the reformed Black Keys. Meanwhile, the band’s defining bluesy beats (think the foot-stomping “Howling For You” from their last album) remain wonderfully woven throughout the entire album.

“Little Black Submarines,” another standout, comes right after “Gold,” slowing it down a bit with front man Dan Auerbach crooning: “I should’ve seen it glow / but everybody knows that a broken heart is blind.” By the two-minute mark, though, scratchy guitars and heavy bass interject, bringing the song back around to meet the style of its neighbors on the track list.

“Sister” and “Nova Baby” were mediocre interruptions on the generally strong album – not bad, but with their generic “indie rock” leanings, they might as well have been Broken Bells songs (Danger Mouse’s collab with James Mercer of Shins fame.) But maybe that’s just Mouse’s Grammy-Award-winning touch showing – not necessarily a bad thing.

El Camino is sure to solidify the Black Keys’ standing in the music world and the mainstream media, while their first arena headlining tour hits Boston on March 7.

Newsic Music October 3rd-10th: Weezer, The Academy Is…, The Black Keys by Nee-Sa Lossing

From Raves to Rock Shows: Must-See Spring Concerts by Nee-Sa Lossing

Global Service Project Puts the Boston Back in BU by Bethany Reynolds

The Milk Carton Kids | Photo Courtesy of Solid Gold

Prologue has a short and sweet running-time of 34 minutes, and provides all-encompassing music to dedicate your ears to on a long drive or a rainy day in bed: the songs tell narrative tales of hardships and love that inspire listeners’ full attention.

The album contrasts heartfelt ballads such as “There By Your Side” with upbeat, Americana folk tunes such as “I Still Want A Little More”—reminding listeners of the great diversity of sound that Simon & Garfunkel provided in their early works.

Prologue opens with strong vocals and even stronger acoustics in “Michigan,” one of the album’s highest points, and instantly takes a folksy turn in “Undress The World.” Pattengale and Ryan harmonize and strum their guitars in unison throughout the album to maintain their joint aural identity as The Milk Carton Kids.

In Prologue’s Foreword, musician Joe Henry describe Pattengale and Ryan as “a single, shadowy persona within the frame of Prologue–like young twins cast to tag-team one demanding role in a terse-but-tender film by Elia Kazan, haunted and hounded across a lonely landscape in search of the love that might provide their collective character a fleeting taste of both redemption and self-recognition.”

Prologue delivers an altogether soothing experience to listeners with high points resting in the powerful harmonies in “Michigan” and “No Hammer to Hold,” and the upbeat acoustics in “New York.” With Prologue’s release, The Milk Carton Kids join the ranks of the Fleet Foxes and the Avett Brothers as a powerful resource for contemporary folk music—an untapped resource, that is.

Prologue was one of 2011’s best kept secrets, but the secret is bound to get out as Pattengale and Ryan continue their U.S. tour in 2012, keeping the folk genre and the power of lyrics alive.

To learn more about The Milk Carton Kids and download Prologue for free, visit their website at http://www.themilkcartonkids.com/ or follow them on Twitter @MilkCartonKids. 

Step Aside Marshmallows: Hot Chocolate Concoctions for the “Big Kids” by Annie Rath

So Fresh It’s Sick: Dated ’90s Kids Shows by Alyssa True

The xx have perfected 'suitable for homework' ambient music and, as such, feature on this playlist. | Album cover courtesy of Young Turks.

Have no fear, for here, I present you the the perfect playlist to keep you sane during your studying. Consisting mainly of relaxing, soothing music, this playlist is meant to serve as brilliant ambient music without distracting from work. There are, of course, a few choice surprises in there, just in case you happen to fall asleep (M83, The Rolling Stones), have an insatiable thirst for some classical music (Claude Debussy), or feel the intense urge to sing along to something (Bon Iver, Vampire Weekend). So, without further ado:

1. “Stars” – The xx

2. “Separator” – Radiohead

3. “Apple Orchard” – Beach House

4. “Skinny Love” – Bon Iver

5. “County Line” – Cass McCombs

6. “Beau Soir” – Claude Debussy

7. “Grapevine Fires” – Death Cab for Cutie

8. “Condor Ave.” – Elliott Smith

9. “Tiger Mountain Peasant Song” – Fleet Foxes

10. “Midnight City” – M83

11. “Can’t See My Own Face” – How to Dress Well

12. “Icarus” – White Hinterland

13. “Heart Crimes” - Inc.

14. “Colomb” – Nicolas Jaar

15. “Get Off My Cloud” - The Rolling Stones

16. “Trials of the Past (feat. Sampha) – SBTRKT

17. “Tangle In This Trampled Wheat” – The Tallest Man On Earth

18. “I Think Ur A Contra” – Vampire Weekend

19. “Eyes Be Closed” – Washed Out

20. “Quedate Luna” – Devendra Banhart

The Finals Playlist by Briana Seftel

The Rise and Fall of Lana Del Rey by Briana Seftel

The Milk Carton Kids: 2011′s Best Kept Secret by Meghan Gilligan

First, let me say that I am a fan of you music. Your lyricism is incomparable; the flow is simple yet tactful; and the flashy clothing choices over the years have set a precedent for men’s fashion–that it is great to take risks.

I only have one real issue, sir. Where is the album? Please tell me all the guest features are leading to something. Over the past four years, you have teased the public with your voice, and in all honesty, it’s been cool. From Rich Boy’s “Throw Some D’s (Remix)” to Beyoncé’s “Party,” you’ve worked with artists big and small and gave everyone the same amount of high quality and energy. You even did an album interlude for Lil Wayne, and made that into a standout track.

One of the last public sightings. From 2007. Photo courtesy of Gage via Wikimedia Commons

The public loves it. Case in point: When you were not featured in the music video for Mrs. Jay-Z’s single (and replaced by the newly minted star J. Cole), the outcry across the blogosphere and Twitter began. People demanded to know what had happened and felt that the song dropped in quality (sorry, Cole). The perfect comment came from “CafeGlow,” who wrote “No one can successfully replace Andy 3k on a remix. Not possible” after seeing the song on hypetrak.com.

We know you’re not doing films at this moment. Semi-Pro was your last film, and it was fine. Since we haven’t seen you in anything else for three years, so we can perceive this as not being a distraction right now.

So, I ask again: where is the album? The people hope you’ve been working on it. I’ve been praying for it like a boy seeking a snow day. And even if you don’t do a solo album, the world still wants a new OutKast album. You know Big Boi is waiting, and wasn’t that the plan? You each give a solo album, then come back together? Just saying.

Good luck, and I hope that the project meets your standard, sir.
With Respect, Christopher Walker.

Archy Marshall's debut EP as King Krule is now available. | Photo courtesy of True Panther Sounds

Despite his age, the five songs on the EP are all quite dark, filled with tension and anxiety. Take, for example, “Lead Existence” which, at just over a minute, is the EP’s shortest song – it builds quickly before unexpectedly ending on the line “I lost the soul to my blues, a long time ago.”

If one were to look at Marshall before listening to his music, one would certainly not expect the voice he produces. Looking like an androgynous mix between La Roux and Rick Astley, Marshall is slight, well-dressed, pale, and boasts shockingly red hair. Yet when he opens his mouth, what emerges is not quite a radio-ready voice like that of La Roux or even Astley, but one with shades of Leonard Cohen, Billy Bragg and even Tom Waits. Marshall’s voice, unlike perhaps Coen’s, is much more expressive and changes appropriately given the different songs’ lyrics and music. Over 808 drums and a heavy bass on “Bleak Bake,” Marshall is laid-back and calm, making the violent imagery in lines like “Now I’m covered in blood on the bed/And it’s a familiar scene” even more haunting.

“Portrait In Black and Blue,” the EP’s centerpiece, is easily its catchiest. Featuring guitar riffs not unlike those perfected by Johnny Marr and bands like The Libertines, “Portrait” is the EP’s most accessible, as well as danceable, track. Marshall shows off his (albeit  limited) range as he goes from his by-now trademark mumble in the song’s beginning to his own version of crooning by its end.

Wisely, Marshall saves the EP’s best song, “The Noose of Jah City,” for last. Undoubtedly, it is the most focused and well-rounded song of the five. A meditation on the stress and anxiety that comes from living in a massive city (London, in Marshall’s case), “Noose” is centered on an echoing guitar line and keyboards, over which Marshall’s reverb-heavy vocals emerge. Again, even at such a young age, Marshall sounds mature and poised when predicting his own death – “My body found, but my soul was left to drown/Suffocated in concrete.”

King Krule – The Noose of Jah City

What Your Ears Are Missing: Youth Lagoon by Ross Ballantyne

What Your Ears Are Missing: M83 by Ross Ballantyne

Radiohead’s “The King of Limbs” Review by Tara Jayakar

Multiple Grammy nominee Bruno Mars. | Photo by Brothers Le via Wikimedia Commons.

Grammy Noms Announced

Not “noms” as in food (as in “nom nom nom”), but nominations for the 2012 Grammys. There were few huge surprises this year, aside from Kanye West getting snubbed on an Album of the Year nom and Nicki Minaj’s Pink Friday release date deeming her fair game for the Best New Artist category (it came out on November 19, 2010). Bruno Mars, Adele, Mumford and Sons, and Lady Gaga are among some of the Recording Academy’s favorites, along with a totally random nod to Skrillex in Best New Artist. View the full list of nominees here.

Lady Gaga Drops “Marry The Night” Video

After a cryptic teaser of her fifth Born This Way single, Lady Gaga officially released her “Marry the Night” video on Thursday night. The 14-minute video shows Gaga going through what she told MTV News was “one of the worst days of [her] life” – getting dropped from her contract with Def Jam early in her career. Needless to say, the superstar has moved on to bigger and better things, but “Marry the Night” is a noble nod to her past struggles.

The Black Keys are hitting the road in 2012. | Photo by Music54 via Wikimedia Commons.

Green Day Goes Green for the Holidays

The pop-punkers are urging fans to “go green” when shopping for gifts this holiday season. Frontman Billie Joe Armstrong is teaming up with the Natural Resources Defense Council to plug the organization’s Green Gifts Guide, where shoppers can find “gifts that won’t end up broken but will actually put the world back together again.”

The Black Keys Announce First Headlining Arena Tour

Mark your calendars: the Black Keys will be hitting Boston on March 7! Their new album, El Camino, drops this Tuesday, and you can hear the offering’s first single on the band’s official YouTube channel.

Got a a juicy music news tip? Send it to me at nlossing@buquad.com!

Newsic Music February 3rd-10th: Grammy Preview, Lady Gaga, Klaxons by Nee-Sa Lossing

Newsic Music November 14th-20th: Lady Gaga, Beyoncé, Justin Bieber by Nee-Sa Lossing

Newsic Music October 11th-17th: Lady Gaga, Adele, Dr. Dre by Nee-Sa Lossing