The Replacements played their first show in 22 years last night

Unfortunately, I'm nowhere near cool enough to have been able to fly up to Toronto to see The Replacements play their first show in 22 years at Riot Fest, but I wanted to make sure everyone could see the best coverage out there. Slicing Up Eyeballs is putting together an incredible archive of Tweets, pictures, and are piecing together the setlist through videos posted on YouTube. I'm sure you're not even reading this and have already clicked the link.

Don't forget, the Replacements are also playing additional Riot Fests in Chicago on September 15 and Colorado on September 21. Hopefully there will be an actual tour to follow.

John Davis from The Folk Implosion has a new solo album coming out

Lou Barlow's former partner in the Folk Implosion has been quiet for the past 15 years, but that's changing with the October 29th release of Spare Parts, his first solo album. For now, you can check out the first track, "Masoch." It's almost 6 minutes of sparse solo singer-songwriter fare that reminds me of Elliott Smith mixed with Bob Dylan. It contains virtually none of the funky weirdness of the Folk Implosion, so don't expect a follow up to "Natural One." Instead you get reverb heavy vocals, acoustic guitar, and strings for a lush sound. Spare Parts will be added to my already packed list of my most anticipated releases of September/October.

Lou Barlow covers Ryan Adams

We love cover songs at If It's Too Loud..., so when one of my favorite artists covers another one of my favorite artists, you can rest assured I'm going to post about it. I'm already in a tizzy over Sebadoh's upcoming album (Defend Yourself, due out on September 17), and Lou Barlow just posted a video on YouTube where he's covering Ryan Adams' "Two," one of my all time favorite Ryan Adams tracks. The best part of this whole thing is that the video is posted on a brand new YouTube channel that Lou started so he could share covers of his favorite songs. 

Kitten Forever - Pressure

Hailing from the shockingly indie fertile mecca of Minneapolis, Kitten Forever are a new generation of riot grrrl band. The trio of Liz Elton, Corrie Harrigan, and Laura Larson trade off instruments throughout and bring their own blend of punk to a musical style more than two decades in. They are equal parts the sense of humor of Cake Like, the edge of Bikini Kill, and the groove of Death From Above 1979. The 13 songs on their latest release, Pressure, are raw in the best way, but have a sense of melody and songwriting structure almost completely disguised by the distortion and gang vocals. Be Your Own Pet made me feel old; Kitten Forever make me feel downright elderly, but I’ll still head out anytime they venture out to the Boston area.

Check out Pressure on Kitten Forever’s Bandcamp page, and check out the video for “Famous Friends” below.

Body/Head - "Actress"

Kim Gordon's post-Sonic Youth band (a duo with Bill Nace) has finally released a track, and it's pretty much exactly what I expected. "Actress" exists in the land between the SYR series and Evol. It's not pure noise, but it's pretty damn close. That's good for me since I hate most true noise bands and prefer some remnants of a song structure. In Sonic Youth's last few albums, Kim's songs were always the noisier and more experimental of the batch. If "Actress" is an example, Body/Head will be by far the most avant garde of the bunch while SY are on indefinite hiatus.

"Coming Apart" is due September 10 on Matador. Listen to "Actress" below.

First Listen: New Releases for August 20

Biggest new release week since the blog started, and biggest new release week in recent memory, so let's just get to it.

Braids - Flourish // Perish: A confession to start out: when I saw this release listed in this week's albums, I got excited as I thought this was something new from indie rock band Braid. It's not. Braids, instead, is an electronic outfit from Canada that has put out a surprising album that I really, really loved on my first listen. It's got a stark coldness to it that is difficult to achieve, and actually kind of gave me an "Aphex Twin if Aphex Twin was trying to make accessible music" vibe. If this sort of thing interests you at all, you owe it to yourself to give it a try. It's really one of the more interesting recent releases.

Travis - Where You Stand: A "hey, remember us" album like none other. Travis hasn't released anything in around five years, and while their most recent album was a return to form after having some questionable releases in the mid-2000s, Where You Stand is interesting more in its overall "yeah, we're here" existence than anything else. While "Warning Sign" certainly jumps out as a highlight, the album seems to be content in embracing the band's more quiet moments. They're far from a Bends-era Radiohead/Morning Glory-era Oasis retread anymore, but it's difficult to find anything special about the album early on.

Tim Easton - Not Cool: I first heard of Tim Easton when Jay Bennett and Edward Burch opened for him when The Palace at 4am was out. He was an interesting rootsy rocker then, and he's continued along that line now with Not Cool, an album with an older feel to it than most of the rest of what I've heard from him. Nothing stands out, but I can imagine pulling this one out a lot for a while.

A$AP Ferg - Trap Lord: When it comes to the A$AP mob, you're going to get something fairly specific. I tend to like A$AP Rocky's stuff (his album could be in my top 10 this year), and Ferg's is interesting in a different way. It doesn't have the same catchy songs that Rocky has, but it's a different feel across the board. This one is likely to be a grower for me if it catches me at all.

Superchunk - I Hate Music: Superchunk is one of those bands that is like a warm fuzzy blanket. I like what I hear, you know what to expect, and there's the occasional song that jumps out at you. I Hate Music would only be made better if they'd get it up on Spotify already.

Mark Kozelek and Desertshore - Mark Kozelek and Desertshore: A pretty stark, confessional album from the lead singer of Sun Kil Moon and a band that includes members of Kozelek's other band, Red House Painters. It's good, but has a very sad tone to it, especially in the song where he mourns the loss of Magnolia Electric Co.'s Jason Molina. Still very good, looking forward to spending more time with it.

The Goldberg Sisters - Stranger Morning: The Goldberg Sisters are, now I have learned, the musical project of actor Adam Goldberg, a classic "that guy." The album is a little more interesting with that nugget of information, but, on a whole, it's more a slow, sometimes-but-not-always interesting alternative rock piece. Nothing about it screams exciting, which might be the point.

The Greencards - Sweetheart of the Sun: Fun fact - I only got into the Greencards in an attempt to try and listen to some music from the Greenhorns, who have the two members of The Raconteurs that aren't Jack White or Brendan Benson. This is a bluegrass band that doesn't excite me the way, say, Punch Brothers do, but it's still very pleasant to listen to and I consider them one of my more favorite bluegrass-style groups. It's been a while since I've heard something new from them, so this is a solid return for me.

Earl Sweatshirt - Doris: On one side we have the A$AP mob, on the other the Odd Future collective. Earl Sweatshirt releases Doris this week and, like the Tyler, the Creator album from earlier this year, I find it to be extremely inaccessable and just a little too weird for my tastes. I get why some people like this, and I get why I don't (when my preferences go more Childish Gambino/Kanye West), but I don't even know what to say about this. Is there a such thing as stoner rap? If so, is this it?

Laura Veirs - Warp and Weft: Warp and Weft is Laura Veirs's ninth album, and first for adults since 2010's July Flame. While the sound is closer to her work on Carbon Glacier than on July Flame, it still comes across as more mature and less stilted (a quality I loved in Veirs's early work). As with all her albums, one listen doesn't come close to helping get to where it's going, and this is a fascinating release in its lack of overall immediacy combined with many of the sounds coming from it. It's different than what I expected to hear from her as of late, that's for sure.

Julianna Barwick - Nepenthe: I didn't know about Julianna Barwick until recently, but the ethereal atmosphere of her new album gives me a lot of fond reminders of Sigur Ros's ( ). It's definitely worthwhile as a background album, but it also works well for more detailed listening with the way she continually loops her vocals into different soundscapes. Definitely the most different thing I've heard this week.

Sarah Neufield - Hero Brother: This album hit my radar solely because Neufield is (one of?) the violinist(s?) for Arcade Fire, and is a solo effort. I wasn't sure what to expect, but it's basically an instrumental violin piece with some interesting things going on. More a curiosity than anything else, it's pretty good for what it is.






Also out today is Zola Jesus's Versions, which is not available anywhere I can find to stream, but is a live reworking of some of her songs.

Parquet Courts - "You've Got Me Wonderin' Now"

On the heels of last year's pretty fantastic Light Up Gold, Brooklyn's Parquet Courts are releasing a new EP into an already crowded fall schedule. Tally All the Things That You Broke is scheduled for release on October 8. The opening track has been released, and I like it better than anything on Light Up Gold. "You've Got Me Wonderin' Now" is a 2 1/2 minute blast of Sonic Youth meets "California Dreaming." It's super up-tempo and poppy with an absurdly catchy hook, but with blasts of noise and more changes than any song this short has any right to contain. Plus, there's a recorder.

For more information on Parquet Courts, check out their Wordpress, listen to "You've Got Me Wonderin' Now" below, and see them on tour, if you happen to be in Europe or Austin.

AUG 23rd @ Leeds Festival, Leeds, UK
AUG 24th @ Reading Festival, Reading, UK
AUG 25th @ Rock En Seine Festival, Paris, FR
AUG 30th @ End of the Road Festival, Curated by Boyz II Men, North Dorset, UK
AUG 31 @ Electric Picnic Festival, Dublin, IE
SEPT 2nd @ AN Club Athens, GR
SEPT 6th @ Berlin Festival, Berlin, DE
SEPT 7th @ Into The Great Wide Open Festival, Vlieland Island, NL
SEPT 8th @ Bestival, Isle of Wight, UK
OCT 8-13th @ Austin City Limits, Austin, TX
OCT 14th @ Whelan's Dublin IR 
OCT 15th Melkweg, Amsterdam NL 
OCT 16th @ VERA, Groningen, NL
OCT 17th @ Doornroosje, Nijmegen, NL
OCT 18th @ Loppen, Copenhagen, DK
OCT 19th @ Molotov, Hamburg DE 
OCT 20th @ Venue TBC, Prague, CZ
OCT 22nd @ Bi Nuu, Berlin, DE
OCT 23rd @ Atomic, Munich, DE
OCT 24th @ Tunnel, Milan, IT
OCT 25th @ Marché Gare, Lyon, FR
OCT 26th @ Maroquinerie, Paris, FR
OCT 27th @ AB Club, Bruxelles, BE
OCT 28th @ The Village Underground, London, UK
OCT 29th @ Gorilla, Manchester, UK
OCT 30th @ Brudenell, Leeds, UK
OCT 31st @ Mono, Glasgow, UK

First Listen: New Releases for August 13

Thank you for dealing with the delay. While you wait for tomorrow's new releases, here are some favorites from last week:

Washed Out - Paracosm: Washed Out might be best known for his song being used for the theme for Portlandia, but those expecting another chillwave piece are going to be disappointed in this album that, on one hand, sounds like nothing else before it, and, on the other, doesn't sound like anything especially compelling. On first listen, it's just kind of...there, and nothing about it stands out. I was hoping for some nice electronica and got something very different, and I'm honestly torn about this album so far.

Glen Campbell - See You There: Glen Campbell recently finished his farewell tour, as he is suffering from Alzheimer's disease. This album is his revisiting some of his most famous or important songs a final time in a more stark, spacious tone. It's a great album, but the shadow of Campbell's illness really impacts one's relationship with the album on a whole. Still, it's interesting to hear a more modern take on songs like "Wichita Lineman," and for a farewell album, this is pretty solid.

Valerie June - Pushin' Against a Stone: Valerie June's debut album is a folksy, bluesy, classic Americana effort that has shot to the top of my favorite albums from this year. I heard "You Can't Be Told" a while back and have anticipated this album ever since, and it absolutely delivers. This should be heard to be fully understood, but the best comparison I can make is a more traditional, more soulful Sallie Ford. Definitely add this to your list.

Scott & Charlene's Wedding - Any Port in a Storm: Scott & Charlene's Wedding are a throwback of sorts to the stilted indie pop of a decade ago with a hint of anti-folk for good measure. I listened to this album once and didn't feel as if I really understood it, but further listens have given me a broader appreciation for it even if I can't figure out exactly where this band is trying to go. Sometimes music can simply be fun, though, and this is a fun album that might tweak the right nostalgia button for you.




We'll be back on Wednesday with the normal schedule!

Late Saturday Songbending

Was just alerted to this YouTube clip of Dolly Parton's "Jolene" slowed down 25%, and now it sounds like something really sad and lonely, but also really, really interesting.

As slow as things can get for us old fogeys on late weekend nights, this might be something to take with you into the evening.

Live Shows - The Nines Festival, Willard Field, Devens, MA 8-10-13

For the inaugural Nines Festival, 10 diverse bands were brought to an athletic field in the middle of a decommissioned military base that has never hosted a music event of this size. It could have been a recipe for disaster. Instead it was a fantastic day of music and arts that will hopefully be the first of many to come.

Upon walking into the venue, I was struck by how much art was integrated into the festival immediately. Installations and dancers were the first thing we came across before we even got into the main area. The main stage was set up right at the home plate of the baseball diamond, which created a fantastic natural line: People could stand in front of the stage on the dirt, while blankets and chairs stayed back on the grass. It probably wasn’t done on purpose, but it was the happiest of accidents.

First up was Walter Sickert & the Army of Broken Toys, who were an interesting choice to say the least. As much performance art as they are music, they mesmerized half of the audience and confused the other half with their blend of punk, folk, cabaret, burlesque, and indie rock. Filling virtually the entire stage with as many dancers as actual musicians, they set the tone for the rest of day. There was no better act to open a “music, arts, and discovery festival” than the Army of Broken Toys. The easy comparison would be the Dresden Dolls, but they’ve always seemed to come across a bit too pretentious and serious for me. Walter Sickert & the Army of Broken Toys had none of that, and showed that art can be fun. Their cover of “Paint It Black” sucked me in. Another cover, “I Put a Spell on You,” closed their set with most of the act in the crowd.

Another highlight of the festival was the Stitch Comedy Tent. Curated by Rick Jenkins of The Comedy Studio in Harvard Square, it offered rotating shifts of six of Boston’s upcoming comedians. I saw the first three acts – Ken Reid, Bethany Van Delft, and Erin Judge – all of whom had unique styles and viewpoints. For a stage lacking huge, national names, it was always packed during performances. What started as a way to get out of the sun for most attendees quickly became a highlight of the day.

Shuggie Otis was up next on the main stage. The funk/soul legend, who just released his first album since 1974, battled some sound issues (or maybe just an early set time), but quickly settled into a great groove after a few songs. Seeing a classic artist back on top of their game is always one of the best parts of any festival. For someone without a huge amount of name recognition, he won over everyone that made it out early enough to catch his 2:30 set time.

Next we headed over to the Lucky Cat Stage for Matt Pond. I think most of the crowd expected a singer songwriter, as the vast majority of the crowd planted themselves on chairs and blankets. That seemed unusual, as Matt Pond brought pure power pop in its finest modern form to the festival. Songs like “Hole in My Heart” are hardly blanket and chair songs, but Matt Pond kept the momentum of a great music fest going.

Walk Off the Earth had by far the most people wearing their t-shirts of the day, and I just don’t get it. To me they seemed little more than an internet video combined with Barenaked Ladies 2.0. Apart from their 5 people on 1 guitar novelty cover of last year’s hit song “Somebody That I Used to Know,” they seemed like a less edgy version of Sublime’s more radio friendly songs. I was definitely in the minority, as the rest of the crowd was more energized than they had been all day. This lead to my one true complaint of the festival: If you weren’t enjoying a band on the main stage, there was not much else to do to avoid them. The artist section was right at the back of the main stage area, and it was too loud to really talk to the artists about their work.

After unsuccessfully avoiding Walk Off the Earth, we headed back over to the Lucky Cat Stage for K. Flay. She brought the most energy I had seen of the day at this point, drawing a small but extremely dedicated crowd into frenzy. You never know how hip hop will translate live, and you really never know how indie hip hop will translate live. We’ve all seen shows where the rapper hits play on a computer before starting, or a “DJ” puts on a record and does little more. K. Flay was truly an act to see live, giving it her all with a DJ and live drummer. Her performance brought the closest we saw to a punk edge all day, with songs like “Rawks” and “Starfvcker.” The only odd moment is when she chose to play part of a Drake song in the middle of her own, and do nothing but let the crowd sing along.

Delta Spirit absolutely crushed the main stage. Their albums have always been a little too precious for me, but live they are a beast. It could have because this was a one off show that got them out of the recording studio for the day. The band was thrilled to be performing live, and rocked far harder than the “indie folk” moniker would suggest. Live their songs go from cute to absolute epics that threaten to become stadium rockers. Please go see them live when they hit your town.

Closing out the Lucky Cat Stage was turntable legend Kid Koala. As most “DJs” these days are more adept with their laptops, it was refreshing to actually watch one with mastery of a turntable. I think he sensed the crowd wasn’t used to the art form since he gave a quick tutorial of how turntables worked and explained what he’d be doing before he started. He chatted up the crowd between songs, telling stories behind the mixes, which of his many projects different songs were attached to, and family stories. The best crowd reaction was when he explained he had lost a bet and had to wear his Yo Gabba Gabba costume at 100 shows while performing his song from the show. The toddlers in the audience were in heaven, and so were the grown adults who performed the dance for the song.

As the sun set on the night, Dr. Dog took the stage. Their blend of psychedelic indie-folk was a bit too polished for my personal taste. It wasn’t bad, it just… was. They have an extremely devoted following who drank in every song like it was the essence of life. The longer they went on, the more they slowly won me over. It didn’t make me a fan by any means, but they were adequate enough.

Explosions in the Sky were the perfect way to end the evening. Heavy enough to keep everyone energized but calm enough to let us re-renter reality, they reminded me of early Smashing Pumpkins: Beautiful and aggressive. As the lights of the stage bathed the field in a multicolored hue, you could still gaze at the stars above and the beginnings of the annual Perseid meteor shower.

For a first time festival, it was nearly perfectly run. Next year, as word of mouth spreads, this is sure to become a highlight of the New England music scene.