Libel is a Brooklyn power trio with a post-punk core, glam trimming and a healthy dollop of epic. Libel really should have had its heyday in 1993, when the group could have toured the country with simpatico acts such as Jawbox and Sunny Day Real Estate. It could have earned a moderate but loyal fan base that would be heartbroken at its sudden disintegration (likely after a poor-selling release on a major label). Twenty years later, with its legacy firmly established, the band would reunite for an epic global tour to celebrate the re-release of its debut full-length, which sounded ahead of its time on release but surprisingly pertinent in 2013. Let’s say that album is “Music for Car Commercials.”

Sound appealing? Send us a message at libelmusic@gmail.com or visit libeltheband.com

Music video for “This Is Love” off of Libel’s upcoming full-length, “Music For Car Commercials.” Directed by Daniele Babbo; filmed in the Bushwick neighborhood of Brooklyn, NY. Stream or download samples from the album at libeltheband.com

This Is Love

Kinda happened as a matter of fact
Boundaries crossed, battalions lost
Unprepared for the counter-attack
She got me good, misunderstood
Her intentions
Different than mine though not unkind

So I guess that we’ll say, this is love

Kinda happened in a moment of doubt
Shields were down, ceded the crown
Knocked me out with that sweet little pout
Thoughts were mixed, but plans were nixed
“C’mon baby
You know you want this, sealed with a kiss”

So I guess that we’ll say, this is love

Kinda happened as a matter of fact
Boundaries crossed, battalions lost
Kept up appearances just for good tact
But something’s brewing, it’s not my doing

So I guess that we’ll say, this is love
Ain’t this love grand, baby?

The latest mix of Thoroughly Modern Milieu – see it live on Sat. Feb. 16 at MuchMore’s.

Source: SoundCloud / Libel

Hey, hey y’all… We thought we’d share a new mix with you. This is… “This Is Love.”

Source: SoundCloud / Libel

The song that probably best captures the nihilism of the current age is “Fake Plastic Trees.” Thom Yorke has long been a champion documentarian of the alienation technology carries in its revolutionary wake, and beyond the synthetic plants in the title, he also comments on a “rubber man,” “rubber plans” and a man who was a plastic surgeon but “gravity always wins.” It less seems he’s talking about an inorganic world rather than one overfilled with synthetic substitutes and supplements that can’t overcome our feelings of emptiness. 

In typical Yorke style, the repetition and slight alteration of common phrases becomes frightening:

She looks like the real thing

She tastes like the real thing

My fake plastic love

The refrain of the song is simply “It wears her/him/me out” – the characters in this world are hit by an overwhelming exhaustion that leads to resignation when interacting with an increasingly unreal reality. The music behind the voice builds into a mighty crescendo during its final verse only to pretty much fall off a cliff at the final refrain – however, it then picks itself up a little so it can stumble onto its final chord.

During the lowest point, Yorke asks in his weakest voice, “If I could be who you wanted all the time.” Who is the speaker talking to? His fake plastic love (the song rather deftly hints at an illicit affair to bring its subtext down to earth) or himself? This also could be voiced by any of the characters in the song (the speaker, his lover, her husband). Though it starts with an “if,” it’s not actually a question – it’s an “if-than” statement that has no “than” because none of these characters can imagine a different world.

For some reason, this supposed intellectual analysis of the hipster at NYTimes.com inspired the above.

Source: Spotify

Kids Write the Dumbest Things, Public Enemy Edition

I can be slow on the uptake sometimes, but wow, this review from NPR is just hilarious. The disconnect between current pop culture and its roots is mind-blowing.

Text

I’m not sure it’s schadenfreude, but I have been waiting for the critical masses to sour on Animal Collective. It seemed about time for the lovefest to end. I wouldn’t call the reviews to “Centipede hz” damning, but they’re certainly lukewarm, which apparently means “THEY’RE SO OVER!” in the pop culture canon.

What really irritated me in the AV Club’s review was the opening paragraph:

“… Animal Collective has always tried to leave signs of pop sensibility buried underneath, as if the group were determined to use the language of emotion to make purely cerebral statements. Because of that, Animal Collective isn’t a band that anyone either likes or dislikes; it’s a band that listeners either get or don’t.”

Not only does “language of emotion” making “cerebral statements” sound like absolute gibberish (I can hear the face palms of a thousand literature professors), pushing the idea that I can’t simply like or dislike the band made me unleash a loud, unpleasant snort. Oh, I just don’t get it, because I’m apparently not cultured enough? Not – god forbid – hipster enough?

A large number of music reviewers try to hide the fact that they can’t articulate what an artist sounds like or their reasons for enjoying a certain sound by name-dropping a slew of certified alterna-culture stars (agreed upon by the pop culture bourgeois for decades, decades) or by employing the ultimate adolescent put-down: “You don’t just get it.”

It can always be better phrased. When someone says they don’t “get” 80s American hardcore, it could mean they fail to relate to the anger at feeling helpless in an increasingly alienating society. Or it could mean the music too simple or derivative of better metal bands.

But what’s the point in trying to guess why people don’t like a certain sound when you should just describe it?

I find Animal Collective dull to the point of annoying. My eyes automatically start rolling if “My Girls” comes on at five minutes of twinkly synth bullshit and possibly the simplest vocal melody this side of “Hot Cross Buns.”

I get Animal Collective’s attempt to build sonic wonderlands anchored by pop sensibilities and Beach Boys-esque harmonies, but I don’t think they do a very good job at it – or at least making it interesting.

Read: I don’t like the band. See? You CAN simply not like it!

Criticizing critics can also be a pretty lame practice, but sometimes they’re just asking for it. And sometimes a single review can epitomize a chief reason why it’s so difficult to find quality music in the oversaturated pop ocean – the “tastemakers” write and reason like schoolchildren. (A nice segue into a question about Hipster Runoff – is that shit for real or what? Has writing about indie rock devolved to Perez Hilton levels or is it some genius social commentary on the vapidness and arrogance of the self-anointed hipster class?)

At the same time, my favorite comment on the AV Club article described Animal Collective as “the embodiment of ‘pretty okay.’ Hipster Coldplay.” Yes, I giggled.

Another newbie from Pianos…

Source: SoundCloud / Libel

Source: SoundCloud / Libel

Hi guys – live track from last Friday at Pianos.

Source: SoundCloud / Libel

To Kill a Troll

The article itself is very thoughtful, but this comment really struck me: “[Internet trolling] is simply the wounded squealings of a population cursed with more aggression than it knows what to do with and less self-worth than it needs to survive.”

Boys with fragile egos resorting to masculine barbarism to assert themselves. The Internet is simultaneously the apex and nadir of civilization.

Source: incisive.nu