fresh: best of Born This Way / album review

So, you have heard the first few singles from the album Born This Way and aren't impressed? Are you depressed and/or upset about it? FRET NOT! There are 5 hidden gems in this LP that are so good that they almost make you (well they actually make me) MAD that her record company and/or she is too stupid to pick them out as singles. God knows what goes through their heads when they decide which songs are to be released... but that's okay. These songs are fantastic. Brilliant. Reminders of what one of pop's biggest stars is capable. Here are the TOP 5 songs on Born This Way. You will hear ALL of these on Saturday at THE ZOO BALL! Enjoy!

5.) BLOODY MARY (7.0/10)

This song just beats out Judas for the 5th spot. It does so because its mix of dark and melancholy minor chords are simply more memorable than the electo-clash meet disco of Judas. It's growing on me daily and is one of two tracks on the album that are a departure from her previous song equations (the other being #1). It is not higher on the rankings because it is simply not as good as they are (and the lame breakdown at 2:50 doesn't help, either), but it is a good song - a VERY good song.

4.) AMERICANO (8.5/10)

This song probably makes me dance harder than on the album. And, to be honest, that shocked me. I usually don't like any songs like this... but it's just so well done. It's quirky, funny, well produced, and is a perfect 128 dance bpm. It is probably the most explosive song on the album and begs you to put your hands in the air. And, at the end, the hilarious "don't you try to catch me" breakdown just kills me. Amazing.

3.) GOVERNMENT HOOKER (9.0/10)

This song is sadistic, hilarious, sad, dark, and obviously a tongue-in-cheek social commentary. Musically this is nothing short of stellar and the first song on the album to really grab me (besides the "c'mon and ruuuun..." part in Marry The Night). And, let's face it, who in D.C. isn't a government hooker?

2.) SHEIßE (9.0/10)

Euro-electro-muthafuckin' dance, through and through. This song is pure get-the-fuck-up-and-move and I love every part of it. Favorite moment is easily "I'll take you out tonight..." Adore this song enough to originally say it was my favorite on the album - until the next track grew on me tremendously. Hands-in-air required.

1.) HEAVY METAL LOVER (9.5/10.0)

This song is pure and simple: it is good art. It is the direction a lot of us thought she'd go: quality dance electro with a stealthy, sexy edge that can't quite be mimicked by her contemporaries... at least not to the same quality level. Every part of this song is perfectly done. A rare 9.5/10.0 from DJ MAJR.

DOWNLOAD ALL 5 (1-CLICK)

Other track rankings/quick comments from DJ MAJR

7.0/10.0 - Marry The Night

Decent, could be better, but decent album entry track.

5.5/10.0 - Born This Way

For a gay anthem as big as it is, it could use more tweaking.

7.0/10.0 - Judas

Doesn't quite get the credit it deserves.

4.5/10.0 - Hair

Horribly written, but an infectious chorus.

7.0/10.0 - Black Jesus - Amen Fashion

I sort of love this song as a filler track. "Work it Black Jesus" kills me.

5.0/10.0 - Bad Kids

Has potential, but alas that potential isn't fulfilled.

3.5/10.0 - Fashion Of His Love

I'm not sure what she's thinking here... but she should just stop.

5.5/10.o - Highway Unicorn (Road To Love)

As a ridiculous dance pop track, it's on the same level as Born This Way, but better produced.

4.5/10.0 - Electric Chapel

Not good. Decent vocals. Terrible premise. Nothing more worth saying.

7.0/10.0 - The Queen

As far as the horribly written tracks, this is the cream of that crop. Infectious to a proverbial 'T.'

1.0/10.0 - You And I

Shit.

2.5/10.0 - The Edge Of Glory

Somewhere between contemporary christian rock music hell and Cher's cemetery of chord progressions lies this track.

ALBUM GRADE: 6.03/10.0

Femme Fatale - tracks 9-12

Trouble For Me

I can't help but love every part of this song. Maybe it is because it sounds nothing like Britney has ever done. Actually, it sounds nothing like Britney. I love the electro-deadmau5-esque repeating breakdown. Lyrically this song is no prize winner, but I really like it anyway. Its chord progression is pretty gorgeous and it is perhaps the most experimental of all of her songs, on all levels: lyrically, vocally, production-wise and, not to mention, the constant break in the beat. I love it and I'm not afraid to admit that. Haha. Get on it. 8.0/10

Trip To Your Heart

Paging Little Boots... we have an impostor. I adore Little Boots, and I love this track because it vocally sounds like her, while the background production is VERY Kaskade-like. This is the most gorgeous track on the album, hands-down, and probably should have closed the album. It's pretty amazing, actually. I don't remember anything this beautiful by Britney since Everytime, and this trumps that. I can't say enough about this song. It's like crack. I can't stop playing it. On its own merits, on all levels, this is the best song on the album. The highest she's scored for me since Toxic and Breathe On Me. 9.o/10

Gasoline

This song is pretty great, not gonna lie. I will not be surprised if it's a single. It has a distinct Kylie Minogue X feel to it, and that's probably why I am so into it. It almost has an indie-electro feel, where she drops into minor chords, and God knows that's an immediate aphrodisiac for yours truly. The breakdown on here isn't nearly as corny as most of hers, and it actually helps the song build, unlike so many other songs she has produced. The only knock is the STUPID lyric "my heart only runs on supreme." But, all in all, at this point you're thinking where the fuck has this side of Britney been over the last 12 years? Kudos, girl. Light it up. 8.0/10

Criminal

You really immediately want to hate this song. You do. It's a blatant sampling of Supertramp, but the more you listen to the song, the more you appreciate that sampling as part of the entire presentation of the song. I dig it, but am not falling all over this one. It's a perfect closing track, and it makes you want to restart the album to get your dance back rolling. Well done. 6.5/10

1-CLICK-DL (all 4 tracks)

TRACKS 1-4

TRACKS 5-8

"Femme Fatale" - Britney Spears: 6.375

GET EXCITED FOR FRIDAY!

review: Marina & The Diamonds (live)

Marina & The Diamonds put on quite the show this evening. From the outset, the show was a surprise.

When I expected her to fall back on back-tracking, she raised her voice and overwhelmed the crowd.

When I felt she may become more tentative with an oft-reserved D.C. crowd, she gave them an excess of sass and rock-starlet swagger.

Finally, when I thought she'd open up with a big hit and mosey through a set of filler before pounding out a couple of strong more mass-familiar tracks, she completely caught me off-guard with her arrangement and organic momentum.

For me, it is easy to say that the highlights were I Am Not A Robot and Shampain (my favorite two tracks), but the songs that really stood out otherwise were Numb and Are You Satisfied.Numb, in particular, was nothing short of enchanting. I Am Not A Robot was a unique balance of intimate and anthemic that brought quickly to mind seeing Regina Spektor perform On The Radio last fall in Los Angeles (at the amazing Greek Theatre).

I believe she will be a massive star, eventually.

Numb - Marina & The Diamonds

review: xtina - 'not myself tonight'

OK, let me start with saying I was a little excited to hear something new from the girl with perhaps the most powerful vocals of any of the pop bitches. The song has a great beginning, then it just implodes. It's danceable, but beyond that, it's vomit incarnate.

Not Myself Tonight - Christina Aguilera by user7455364

First, it sounds like a checklist of what Xtina's managers/producers thought a pop song should sound like. I bet it goes something like this:

1.) Sensually whisper something seemingly personal to the listener. They have been dying to hear your secrets.

2.) Howl and/or hoot like a creature from the deep in some coital condition.

3.) Give the obligatory and/or literal 'fuck you' ... because you're such a rebel. Look at you in your mom jeans with hips for days. Please tell us more of your Frederick's of Hollywood glamour shots and etch-a-sketch photo editing.

4.) Provoke imagery of reckless and animalistic behavior... because you deserve it, girl, you've worked so hard in the trenches of being un-famous for 5 years. You deserve a break today, so go on and get yourself lazy-susan'd at a coke-clouded club.

5.) Make more sex noises toward the end of the track. We have been waiting for this after such an amazing build-up. Thank god you're still making music.

Secondly, didn't somebody already rub you out of the bottle? Why are you toting a toddler and seemingly singing with one hand double-clicking your mouse?

Lastly, you have talent, but terrible management. Fire them all and start singing again. Or else you will forever be the girl who peaked with a song called "Dirrty." With TWO "R"s! TWO! Fucking christ... Please god, someone remix this song back from the darkside.

xoxo

Fischerspooner - review

Fischerspooner, 08May09
Webster Hall, NYC

With apologies to Ms. Spears, Casey Spooner is the true ringmaster -- all eyes on him. Whether he truly is an egomaniac or just accesses this persona on stage matters little; even a casual observer would crown him a performance art powerhouse.

Casey's crew consisted of five porcelain doll dancers conducting an avant-garde ballet, decked in torn leotards, bondage gear and whatever shiny things were left on the rack at American Apparel. Their movements were modern and frenetic, embellishing on the electrobeats with incoherent chatter and sadistic smiles to "The Best Revenge" and "A Kick in the Teeth" At times they were robotic and silent, others they darted around mirrors with motorcycle helmets, orbiting Casey in deliberate motions that forced the crowd to notice a lyric, bass line, or (of course) Casey himself. They attended to him with feathered capes, and in return, he played footage of their rehearsals and how they beat out hordes of dancers who never made the cut.

It was an eye-popping spectacle to say the least, and as Casey humbly noted before leaving the stage, "that is what they call a show."

Fischerspooner accomplishes something live that none of the 200+ act I have seen have been able to do: a complete sensory experience. One part modern dance, one part fashionista-tacular, and a shitload of amazing musical performance.

Casey Spooner owns the stage with enough LCD and stage-light manipulation to induce epilepsy, and bass-lines that I am pretty sure vibrated my pancreas.

Musically, every track was solid and accompanied by the type of interpretive dance that would make Cirque du Soleil piss its glossy self. Favorite tracks were "A Kick in the Teeth" , "We Are Electric" , "Supply & Demand" , and "Danse en France." The latter, in particular, was interesting because in the last :45 of the song, it was taken from its original deliberate delivery to the D.I.M. remix (which is an amazing 145bpm electro punch in the face). As far as "surprise likes," this show definitely made me love "Supply & Demand" a lot more.

It was the all-around experience. "A Must See," as the critic douchebags usually call it. But- you must see it.

Set-List
Amuse Bouche
Happy
Get Confused
Money Can't Dance
A Kick in the Teeth
Emerge
Supply & Demand
Danse en France
Sweetness
Cloud
The Best Revenge
We Are Electric
Never Win

- The Majr & Joe Gizzi
Photos by the brilliant Chris Gamio

Franz Ferdinand - review

Franz Ferdinand, 07May09
Roseland Ballroom, NYC

They owned the stage for 90 minutes from Bite Hard to This Fire, with stellar renditions of Michael (my favorite), Take Me Out and Lucid Dreams in between. No flaws. Unbelievable energy. Crafted. Intense. Amazing set choice. Brilliant rapport with the audience. There is barely anything left to say...

The Set-List
Bite Hard
Dark of the Matinee
No You Girls
Turn It On
The Fallen
Tell Her Tonight
Walk Away
Michael
Twilight Omens
Do You Want To
What She Came For
40'
Take Me Out
Outsiders
Ulysses
Lucid Dreams
This Fire

Rating: f***ing amazing

Fantasies - review

After a few years of rest from relentless touring, and a few therapeutic side projects, Metric returned with Fantasies on April 14, one week ago. Emily Haines and the boys have not disappointed.

Fantasies opens with Haines hauntingly crooning "I tremble...," followed by a brilliant synth-line. So far, so good. The rest of the opening track, Help I'm Alive, is a driving internal monologue of a tune (not a surprise for Metric), repeating the almost-tangible line "my heart keeps beating like a hammer" between rousing repetitions and brittle bridges. It opens the album with a sense of internal, dialectical tension. It is an above-average Metric tune that suffices as an opening quite well (i.e. it's no "IOU" or "Empty," but I like it a lot).

The album next moves into the upbeat, yet not completely danceable, rock-laden Sick Muse, which sounds like it could be from their last album, Live It Out. It builds until Haines, almost in anguish, belts out "Everybody just wanna fall in love / Everybody just wanna play the lead." The track ends like an anthem, which leads extremely well into the third track, Satellite Mind. This track has grown on me really quickly, as it has some of the best lines on the album and is completely danceable. "I'm not suicidal, I just can't get out of bed" is a line to which I can oh-so-kindly relate. This song, with each spin, rocks more and more.

Track four, Twilight Galaxy, is your first down-tempo track, with Haines soothing you with vulnerable lines like "Did I ask you for attention when affection's what I need?" Overall, the song is delightfully simple, without pissing off the audience. It is really well-executed, and serves as a breather before the the much more intense Gold Guns Girls, which belts out "All the gold and the guns in the world couldn't get you off." This song is not exactly danceable, but serves as a frantic and useful moment- a key element that is not used nearly enough nowadays. This is especially perfect for the next track, the albums first single-worthy track.

Gimme Sympathy is a beautiful synth-pop single that sounds like something Brandon Flowers would produce if he had more talent and a vagina. It is wonderful. I recommend this track to anyone who is looking for an "in-song" for Metric, and have already had many people inquire about it at recent gigs (not to mention all the Shazam-ers).

It does not end there. The next track is my favorite on the album. It is possibly the most low-key track on the album, but easily the prettiest. Collect Call is a tutorial in matching beautiful lyrics with ambient instrumentation (considering how many instruments you hear). "Wishing you could keep me closer / I'm a lazy dancer / When you move I move with you" is one of the most memorable lines from this resonant tune.

The next track, Front Row, is distorted guitar-driven dance-rock, backed up with great lyrics and a catchy bridge. It is followed nicely by the the sad and reflective Blindness, which solidifies everything I believe about Metric: they are one of the few bands that can make you ponder endlessly, cry on queue, and do a bittersweet dance in your underwear on a bad day. "I was the one with the world at my feet... Leave it up to me."

The album closes with Stadium Love, which is perhaps the most unique Metric song to which I have ever listened. It's catchy, loud, lyrically concise, distorted, and sounds like it was recorded in its namesake. "No one's getting out without stadium love!" Emily screams.

Now for the critiques: I only have two. One, it's not as good as Old World Underground, Where Are You Now? OWUWAYN? is one of the best albums I have ever heard, and always will be, so it is not quite a fair comparison. Plus, it has penetrative advantage in my perception, solidifying the theory of the "curse of knowledge." The big knock is that I came across a track that is a B-side, titled Waves, that I believe was the best track off this session, and it was not included in the album. I have no idea why! Waves is beautiful, driving, upbeat, lyrically deep, and pop the way it should be: instrumentally and lyrically sound with a splash of infectiousness. My favorite lines off the entire album's sessions come from this tune: "Saw the water, not the waves / Saw the waves, but not the tide."

There's always something energizing and bittersweet in everything Emily Haines and company produce, and this album is no different. Despite any knocks, this album is well done. Well f*ckin' done, Metric. You rock.

Rating: Own it.
-the Majr

Lily Allen - review

Lily Allen - 9:30 Club - 4/17

Why we love Lily: she's bawdy, doesn't take herself too seriously, and she's better than Katy Perry.

Yes, the bratty Brit came to the 9:30 Club Friday evening, supported by one of SHIFT's favorite Seattle bands with the good sense to take their name from V for Vendetta.

Natalie Portman's Shaved Head and their lead tune Me + Yr Daughter weren't familiar to the crowd of often teenaged Lilyputans, but the band relentlessly rocked through their set, resembling former energetic tourmates CSS. They may have arrived strangers, but they somehow proved DC can still dance.

Then out comes Lily. Our five foot faux-cockney girl was glammed up in a cut-off Betsey Johnson dress and glitter heels. To her credit, Miss Allen is an on-point performer, and sang most of her new record frolicking through a rollicking crowd, pacing solid tune after tune, and telling enough intimate and sardonic stories between each number to get through a pack of Marlboros.

She dedicated songs to her mum, dad and men who couldn't seem to sex her right, and kept the crowd singing along to forty-five second versions of tracks from her first record, including LDN and Smile.

And as if there wasn't a better town for it, she led us in a sea of bird flipping to Fuck You, a one time kiss-off to George W. Bush that is now universally appropriate.

The crowd was with her up until the last second, even through surprises like the Kaiser Chiefs' Oh My God and her closing number, originally attempted by Britney Spears. Allen had recorded a slowed-down version of Womanizer, but neither that incarnation or the one she did with Ellen in the bathroom came out. Instead, she pulled a ferocious, full-on eat-me-Perez-Hilton curtain closer that left the crowd smiling in a sweat.

Rating: Everything's just wonderful.
-a special contribution by SHIFTmate, Joe Gizzi

Ra Ra Riot - review

Ra Ra Riot has talent. I had a chance to see them last weekend at Webster Hall, in NYC, in what was the largest audience of their young careers. They hit the stage with rockstars in their eyes and had a hell of a time expelling their energy to the masses.

Ra Ra Riot played a short set (not as short as the dreadfully brief Ting Tings), including three of my favorite tracks from their debut LP, The Rhumb Line. Those tracks included Ghost Under Rocks, Winter 'O5, and the delightfully bittersweet and upbeat Dying is Fine.

The latter was one of my favorite tracks of 2008, and brought the entire event together for me. Without it, I would have had to play an episode of Family Guy in my head.

The band was well-rehearsed and crafted, while catering to a rhythm-less white kid audience. Unfortunately, within the crowd, there always has to be one Fratbag who tries to ruin everyone else's experience with his overzealous woohooing and exploitation of the one departure from his Puddle of Mudd-dominated playlist.

Ra Ra Riot is a band with endless potential. I hope.
Rating: slightly above 'just ok'
-the Majr

The Presets - review

The Presets. NYC. Amazing.

The Presets played Webster Hall this past Friday, and I had the honor of being there. While seeing them for the fourth time, I expected it to be enjoyable, no doubt. What I did not expect was the energy and force with which they blew me away. Their execution was right on, they felt the crowd in every song, and the set-list was perfectly placed to allow me to dance my face off.

After opening with Talk Like That, they sped through a non-stop dance-fest of a set, rendering yours truly sweaty and satisfied. The pit was full of energy (I have no idea who made that happen), and they closed with their usual I Go Hard, I Go Home, which was outstanding.

I can throw out a thousand superlatives, but the photos say it all.
Rating: fanf*ckingtastic

It's Blitz - review

Some bands suck at reinventing their sound. Some completely blow at attempting anything electronic, or increasing the synthetic influence of their style. Some bands' lyricists cannot write to save their lives. Thankfully, the Yeah Yeah Yeahs are not one of those bands.

I have purposely taken the time to write this review, as an album that debuts so favorably in my ear must be given ample time to f**k it all up after saturation. Though I am not as giddy as I was when I first heard It's Blitz, I can still say that the album is one of the best I have heard in the past year.

In all the good ways it can be defined, this album is "glossy." It is polished and controlled in a way that does not lose vocalist Karen O's chaos, while also enhancing their point through intense synths, dance-ability, and sobering lyrics. There are moments that make me want to dance for days, like in the first two tracks, Zero and Heads Will Roll, and others that capture the purity of deliberate, honest lyricism, like Hysteric.

Zero, in particular, is worth noting, as it opens the album and immediately sounds different than anything the band had produced before. All those background synths that never seemed to be anything more than supporting sounds, now announced a welcomed renaissance in the band's existence. The album can be slapped with one criticism, being that it does not come full circle, it rather starts powerfully and ends calmly. In other words, it flattens out a bit. With all that said, its most powerful track is Hysteric, a soothing and personal account of sudden affection and emotional sobriety that screams of all things wonderfully subtle.

All in all, It's Blitz is an accomplishment. It is glossy, glam-y, impassioned, dynamic, vulnerable and bold. It is exactly what one should ever want at this point in a band's career, and it is one of the top three albums I have heard in the last year.

Rating: Own it.
-the Majr

go on, take everything

This weekend I went to The Hose in the East Village, NYC. This is a bar that you basically cannot find unless you know where it is, apparently, but it was well worth the search (on Avenue B, between 13th and 14th). Alas, after finding the very subtle entrance, I escaped for a couple hours into non-suck land, which was fantastic.

It was "Nirvana Night," and I danced like an idiot to songs like The Vines' Fuck the World, Hole's Violet, and Nirvana's Smells Like Teen Spirit and Smashing Pumpkins' Bullet with Butterfly Wings. "Back in the day," as they say, I was a huge fan of the early '90's grunge scene, and the bands it influenced. In producing this evening, The Hole allowed me to stumble and dance down amnesia lane. Oddly enough, the highlight was hearing Violet, as Hole's Live Through This is one of my favorite albums, ever. R.I.P. Cobain (and Love's talent).

It was heavenly. I hope to go back as soon as possible. The atmosphere, staff and prices were as good as the music, and it provided a nice escape from the boring-as-hell typical bar scene.

Rating: Hit The Hole as soon as you can. You know you want to.
-the Majr

Bloc Party - review

I have been to a lot of shows at Nightclub 9:30, but I cannot remember the last time I saw it as packed as when I witnessed Bloc Party there on Sunday. The British sonic dance-punk band played to an adoring crowd of every demographic and orientation. For the 90 minutes of their set, I was reminded with each well-crafted performance of how I had heard of their inability to reproduce their sound live. Perhaps they had a "good night" at 9:30, but I genuinely doubt it. I can see how their sound is at its optimum in a small club of condensed acoustics, but cannot imagine someone not appreciating the quality of many of their stage presence.

They began their set by throwing two of the more upbeat tracks off their latest LP, Intimacy, One Month Off and Trojan Horse, followed by a single from their last album, titled "Hunting for Witches." Despite never really liking the latter track, I enjoyed it live (which is one of my favorite live performance phenomena).

For the next 45 minutes they reeled off tracks from all three of their full lengths, with a HUGE highlight occurring when they piggybacked two of my favorite songs, Song for Clay (Disappear Here) and Banquet. The latter, one of the best indie dance songs of the last 5 years, came beautifully out of the aggressive former. Still, it got better. Kele, the lead vocalist, ran into the crowd with his microphone cord almost tripping me (which I obviously did not mind) during a crowd-pleasing Mercury, the first single off Intimacy. He then crowd-surfed his way back to the stage. It was delicious.

The band closed the first set and took their pre-encore rest, but not before shelling out a sonorous execution of Ion Square, my favorite track from Intimacy. After returning, they played two tracks, the synth-dance Flux and overtly dance-punk Helicopter that both (especially the latter) got the crowd moving uncontrollably for the first time in the show. It was nice to see a D.C. crowd pull the stick out and actually let loose a bit. People were bouncing off one another in comfortable chaos- just as jeebus intended.

But- they were not done yet. After witnessing "the random show of enthusiasm," (per Kele) Bloc Party came back out and performed two final tunes. They started with the cleverly belligerent (and oh so danceable) Ares, the opening track off the new album. I must state that this track pumps me up so much every time I hear it, that I basically single-handedly re-created the pit. Finally, and much to the crowd's pleasure, they finished with the eloquently written and soothingly bittersweet This Modern Love.

Though I have seen amazing shows- some much better and many MANY much worse- I can say that this great performance was just what I needed. As a person who is rarely drawn to seeing a band more than once, Bloc Party warrants seeing at least twice more.

Rating: f***ing great
-the Majr

The Ting Tings - review

Katie White and that other guy (Jules de Martino), who comprise The Ting Tings played at 9:30 club this past Friday evening, and here is the breakdown...

Katie was a fantastic front lady for the two-piece, as she projected her vocals well and kept a great rapport with the audience. Jules hit the drums a bit and wore yellow Ferris Bueller meets Bono shades that made him appear wonderfully mysterious. Except, not. Katie sounded especially well in Great DJ and Fruit Machine, while slightly below par on Shut Up and Let Me Go and That's Not My Name. I enjoyed the entire set of 11 or so songs, but I was definitely waiting for more as the show ended. I guess playing cover songs is not in their repertoire, as they basically performed the entire debut album, We Started Nothing, on shuffle- and then called it a night. It is a good thing that their audience was made up of mostly MTV fans and other such pleasant beings, to say the least.

The set was just okay, the crowd's energy felt like the Republican National Convention, and the evening left something to be desired. Other than those, the scallops were delightful.

Still, I give a huge high-five to White for her personal energy and vocal quality, and I will continue to cheer this duo on as they ascend from their humble Leigh, Greater Manchester roots to international stardom. Someone needs to bridge the gap between the taste-retarded and the ones who listen.
Rating: just okay
-the Majr