A few weeks ago, Pitchfork Media posted a video by The Dodos, a San Francisco duo with an "acoustic troubadour meets freak-folk" sound.
I went to high school with Meric Long, the leader of the band. I recall him being a nice guy, and somewhat goofy in junior year English class.
From the high school friends I keep in touch with, I heard about The Dodos being Meric's project and that he was playing around town, although I haven't had the chance to see him perform.
The Dodos song "Fools," and their music in general, is pretty much what the band describes as their inspiration: "free-spirited, unhinged acts like Animal Collective." "Fools" is very energetic and emotive. I definitely dig it. The album is coming out on French Kiss next year.
It's strange to see a creative experience by someone you remember from an early educational institution, especially when you have similar interests as adults (freak folk, Animal Collective, San Francisco, independent music, etc.) and you weren't close friends back in the day.
It's a a feeling of genuine surprise and happiness when someone is doing something they love, coming from the same Lamorinda rich hippy suburban bubble as I did. It's also encouraging, and inspires me to get my shit together, get over my stage fright, finish the new album and keep pushing.
Cass McCombs is also from the same pool. I remember seeing him perform at a New Year's party in Walnut Creek in 1998, and tearing tickets at the now closed Park Theater about a decade ago (although thesedays his PR only brings up his periods in New York, Baltimore and now Chicago).
Of course people move on, and new environments shape their creativity. Perhaps that's one reason San Francisco has been taking its toll on me as of late.
I like Cass's music a lot, and I still haven't had the chance to get his new album. I've been wanting to do a cover of "Nobody's Nixon" for some time now. He's currently on tour with Jose Gonzalez.
Here are a few things I bought today at Amoeba Records on Haight Street (San Francisco):
Spank Rock & Benny Blanco Bangers & Cash Price: $4.98 Yes, I know a lot of the tracks were available for free on Spank Rock's myspace about a month ago, but I'm not much of an economist. "Shake That" and "Loose" were fun 2 Live Crew interpretations and damn, it's only $4.98 for better audio and hot cover artwork. All 5 tracks are ridiculously trashy, and it'll keep me running (and giggling) at the gym.
Kanye West Can't Tell Me Nothing Price: $5.98 This is Kanye's pre-Graduation mix tape. He raps over "Young Folks" and "The Eraser" (Thom Yorke's song that I talked about last week), babbles about porn, Rolling Stone and politics. There's also Kid Sister's "Pro Nails," which I really love. It's a very engaging listen. He has another official mix tape that was released last week. You can get it free at Kanye Talk.
Clipse We Got It For Cheap Vol. 2 Price: $5.98 This came out a few years ago, but I was inspired to pick it up today since Hell Hath No Fury still gets played regularly. They put a really excellent live show in September, and definitely value and acknowledge their fans more than any artist I've seen live in a while. I'm looking forward to putting this on.
Devendra Banhart Smokey Rolls Down Thunder Canyon Price: $13.98 I'm still an avid folk music listener. I wasn't totally looking forward to a new release by Devendra, mostly because his albums are very long and take time to digest (time that I was saving for a later date). Still, I will always buy anything he releases, mostly because he's charming, a great musician and unlike any other artist around right now. Oddly enough, I was reminded of him when I saw his Annie Leibovitz photo in this month's Vanity Fair. It was either this album, or the Jens Lekman's Night Falls Over Kortedala, but I decided I could wait on the Lekman album.
I wonder if Justin Timberlake is going to be one of those instantly recognizable voices in American pop music that will make fans purchase anything he sings on.
What was once a voice that was so deliberately borrowed from Michael Jackson is now the superlative for white boy soul.
There's no doubt Jackson's music will live forever. But even if he's appreciated in new hip-hop and soul (i.e., Rihanna's "Don't Stop The Music", Kanye West's "Good Life"), it's a faded memory of greatness, which makes us grasp Timerblake even tighter for being so young, prolific, alive and talented.
I like Timberlake a lot, and FutureSex/LoveSounds was an addictive surprise for me last year. He's working with everyone right now: Madonna, Duran Duran, and most recently, 50 Cent.
When you hear Timberlake's voice come in on 50 Cent's "Ayo Technology," you get a little bit of the goosebumps you would get hearing Michael Jackson on Diana Ross's "Eaten Alive."
The trouble with the "Ayo Technology" video, however, is Timberlake looks like a freakin' dwarf compared to the masculine man meat that is 50 Cent. Timberlake, who can often walk on air in music videos, looks uncomfortable bouncing in the background. I can't put my finger on it, but even 50 Cent looks a bit self-conscious -- maybe because it's his big pop song and he has only 1/3 of the rapping duties?
Timberland, wise as always, was able to keep his guest appearance outside from these two with a neat Minority Report scene. JT should have kept the collaboration in the studio and away from the music video.
The song itself is pretty good. It's trashy and familiar ("My Love," anyone?), and no big surprise why it doesn't stand a chance against Kanye's "Stronger."
I must add, 50, Timberlake and Timberland look like they're having a blast performing it live at the VMA's.
It's a a feeling of genuine surprise and happiness when someone is doing something they love, coming from the same Lamorinda rich hippy suburban bubble as I did. It's also encouraging, and inspires me to get my shit together, get over my stage fright, finish the new album and keep pushing.
Timberland, wise as always, was able to keep his guest appearance outside from these two with a neat 
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