We Are Scientists are a band that don’t get entirely as much love as they should. Along with being damned amusing as people, they make some of the best indie-rock I’ve heard, erm, in the last 10 years.

This album, while not particularly ground-breaking, is one I find myself coming back to time and again; it’s an example of a familiar style of music, but being executed so perfectly you can see past any contrivance.

While he jokes around with fellow band members in interviews, with their pop culture references and bizzare non-sequiturs, when it comes to his songwriting singer/guitarist Keith Murray is an incredibly sincere, heart-on-his-sleeve, but still witty lyricist, crafting perfect little pop songs that everyone can enjoy!

A lot of people are familiar with “The Great Escape” and/or “Nobody Move, Nobody Get Hurt” (both of which have cracking videos directed by The Lonely Island’s Akiva Schaffer), but I think my favourite track on the album has to be “Lousy Reputation”. I went a tiny bit bonkers when they played this live. And you can listen to it below! Enjoy!

Grand Theft Parsons
On DVD now

I picked up Grand Theft Parsons on a whim, paying £1.50 for it second-hand. I’d heard mention of the film before, knew it involved both Gram Parsons and Johnny Knoxville (both of whom which, for better or for worse, I am a fan of), and, I understood, had something of a “cult status” (or so it appeared to me).

Prior to watching the film, I decided to look up some info about it (as I am want to do). The quotes on the box included such gems as

“ONE OF THE FUNNIEST FILMS OF THE YEAR” – What’s On

and

“HILARIOUS…LEAVES YOU CHUCKLING FROM START TO FINISH” – News Of The World

Neither of these statements are true – not saying that’s a bad thing. Grand Theft Parsons is NOT a rip-roaring, gut-busting comedy; there are indeed some blackly comic moments, but making a wacky road trip movie based on someone’s death wouldn’t be too appropriate, would it?

This is something the film got criticised for – marketing something that isn’t a comedy, as a comedy, is usually a recipe for disaster. People are expecting a totally different film! Silly film executives. The other major criticism I saw (mainly from the IMDb user reviews, so make of that what you will), is that the film wasn’t the “respectful” tribute to Gram Parsons some (probably old and hairy) fans wanted.

Again, I don’t think this was the point of the film, AND I think those people are wrong.

The film depicts the based-off-true-story of Parson’s road manager/best bud Phil Kaufman (Johnny Konxville) who, following his friend’s early death due to a drug overdose in 1968, attempts to steal his body (en route to a plush funeral in New Orelans) to cremate it in the desert – as per Gram’s wishes.

Along the way he is helped by a hippy whose yellow flower-emblazoned hearse he plans to use as transport (Michael Shannon), and is pursued by his girlfriend (Marley Shelton), Parson’s father (Robert Forster) and one of Parson’s many ex-girlfriends, out to get a piece of his fortune (Christina Appelgate).

Obviously the film takes some liberties with the story, and of course parts of it are comic – how could it not be? They’re stealing a guy’s coffin, after all. But it never feels exploitative; in fact, the overall feeling is one of melancholia. Kauffman is throughout trying to focus on this “mission” as a way to avoid dwelling on the fact that his best friend has – very suddenly – passed on, something which Knoxville portrays surprisingly well.

There is a lot more drama in this film than comedy, but the two styles do not jar, and work quite well throughout, working their way to a sad, yet triumphant and almost touching finale.

Grand Theft Parsons isn’t a classic, groundbreaking piece – it’s one of those works you describe to people as a “good little film”. It features fine performances by all, a fairly solid script, and a good soundtrack of Parsons recordings. It doesn’t deserve to recieve the flak it did/does; I thoroughly enjoyed it, and would recommend it to Parsons fans and non-fans alike.

Download Gram Parsons – “Brass Buttons”

Where The Wild Things Are is something of a primary school symphony, credited to Karen O and the Kids; that is, the idiosyncratic Yeah Yeah Yeahs frontwoman, accompanied by a choir or rugrats. Simple, almost Kimya Dawson-like acoustic guitars rule mostly, but we do get flourishes of basic lines of xlophone plinking and strings plonking. Thoroughly enjoyable, and makes me look forward to the film even more (can’t quite get over the fact that the US get it today, everyone else has to wait for December…)

Download “All Is Love”

The Fantastic Mr Fox is scored mostly by French composer Alexander Despalt, and the inclusion of Nancy Adams’ “Love” from the 1970s Disney Robin Hood film serves as a good reference point to the sound Despalt evokes; that of classic children’s films from back in the day, adding to the overall somewhat old fashioned and anachornistic feel Wes Anderson seems to be going for in the film (well, all his films). And we get some obligatory Beach Boys and Stones tracks, always welcome (if expected by now).

Oh, and the new banjo-lead song by Jarvis on the album is brills, if brief.

Download Nancy Adams – “Love”

I’ve noticed a pattern between two of the most popular female-fronted acts that have risen to fame in the year of our Lord 2009 – that is, La Roux and Florence and The Machine – and that is that they both sound a bit like ghosts sometimes. But different kinds of ghosts…

La Roux – In For The Kill

The lovely Elly Jackson of La Roux – in this song more than any others on the duo’s self-titled debut – sounds like (as Chris Moyles pointed out) something paranormal at times. That “ooo-oooooing” all over the ends of lines, spooky.

BUT she seems like a nice ghost. A ghost that hasn’t gone over to the other side due to unfinished business; she was unable to reach her unrequited love before death, and now haunts the grounds of her home, a sad and lonely shell of a woman. You feel sympathy for the ghost of Elly Jackson as she coos like a heartbroken pigeon. But in a tuneful way, over a cool 80s-synth based-backing. If you were haunted by the Human League, it would probably sound like La Roux

Florence And The Machine – Rabbit Heart (Raise It Up)

On the other hand you have Florence Welch of Florence and the Machine, who isn’t a nice ghost that you feel sympathy for. Florence’s voice is a poltergeist, and it is terrifying.

She bellows and howls in a deranged manner, as a vengeful spirit might well do as it flew around your living room, smashing any glass or plates or other such fragile items you own. She would then possess your youngest daughter and make her emit terrifying, guttural moans. Spine-tingling, but in the bad way – the way that give you nightmares, while her demonic backing group strangle violins and traditional folk instruments like Cerebus chewing on a marching band in the fiery pits of HELL. In this case, it’s like Einstürzende Neubauten haunting you.

I hope this post has made my feelings on these two popular music performers abundantly clear. Cheers!

Awesome piano-popster Ben Folds has (finally) got another (proper) album coming out, entitled Way To Normal, which will see release in the US on 30th September (and a day earlier in the UK. Ha!).

Ben’s MySpace features two songs from the new album; the brilliant “Hiroshima” (about falling off stage at the beginning of a concert), and the possibly even-more-brilliant “The Bitch Went Nuts”, which chronicles an ill-advised date with a militant left-wing conspiracy nut who, whose somewhat-”nuts” behaviour in seeing everyone as an evil conservative, means that when the narrator “close[s his] eyes / [he]‘ll be fucking Jimmy Carter”.

That line alone puts it up on the level of that other Folds song with “bitch” in the title.

Download “The Bitch Went Nuts” (MySpace rip)

Tour tickets presale and iTunes preorder

Yes, Nashville punk foursome Be Your Own Pet are splitting up, according to this message on their website…

“To all of our fans, we are sad to bring you the news that our upcoming shows in the UK are going to be our last as a band. We thank you for all your love and support these past few years. It’s been a blast, but the time has come for the four of us to go our separate ways.”

Whatever happened to promising young bands actually having careers, man? And why couldn’t the Pigeon Detectives have called it quits early on too?

Download “The Kelly Affair”

The remaining UK dates are as follows….

22 August: Reading Festival – Reading, UK 23 August: Leeds Festival – West Yorkshire, UK 25 August: Carling Academy 2 – Liverpool, UK 26 August: Dingwalls – London, UK

Following in the tradition of Run DMC & Aerosmith, and Public Enemy & Anthrax (but, luckily, sounding nothing like either Limp Bizkit or Linkin Park), The Streets and Muse have teamed up for a rock/rap collaboration, apparently recorded during a “jam session” last year (and leaked this morning) annnnd…well, it kinda sounds like it. Keep with it ’til the first chorus, though, and then it starts sounding less like Muse and Mike Skinner dicking about in the studio, and more like an English Rage Against The Machine. It’s pretty cool.

Download Muse & The Streets – “Who Knows Who”

Having just got through re-watching Kevin Smith’s horrendously underrated Mallrats, I thought I should make a third post of the day – but just having it be one of those half-assed, post-a-song-with-a-teneuous-link-to-my-activites-of-the-day-posts.

So, here is Weezer‘s “Susanne”, the song which plays over the film’s end credits, and is a nice little slice of classic early Weezer power pop. Enjoy!

Download “Susanne”

Mike Skinner, aka The Streets, has released the self-produced (ie a little bit crap) video for new song “The Escapist”, which previews new album Everything Is Borrowed, due for release on Septmeber 15th.

The song certianly delivers on Skinner’s promises to move away from his usual chronicling of his life events (as seen on…well, all the other Streets albums), and also features more “peaceful positive vibes”, in contrast to the last album’s “guilt-ridden indulgence”.

Now, said previous album, The Hardest Way To Make An Easy Living, was somewhat indulgent, and was highly criticised for being very cliché in terms of talking about how “hard” the rock ‘n’ roll lifestyle Skinner was living at the time was. I, on the other hand, love the album; sure, Skinner wasn’t going through anything “new” in terms of famous musician’s “hardships”, and he knew it – the opening track, “Prangin’ Out” features the couplet ” Staring at the crackwork, lookin’ scary with me brandy / The rock ‘n roll cliche walked in and then smacked me”.

Mike Skinner had also built up a sort of rapport with the listeners of his first two, semi-autobiographical albums, Original Pirate Material and A Grand Don’t Come For Free. This meant, by the time of The Hardest Way…, we (well, I) was more sympathetic to his “plight” (I really need to stop putting things in sarcastic quotes) than, say, any boring rock star. Skinner made the rock ‘n’ roll life – something completley unattainable to the listeners – relatable. And made it sound shit.

Anyway, back to “The Escapist”. Basically, all that ranting was to basically say…well, I’m slightly disappointed with this. The fresh sound of “When You Wasn’t Famous”, the first singel from The Hardest Way…, made you sit up and pay attention. The self-described “peaceful positive vibes” are, well, kind of boring.

Hopefully this won’t be indicative of the whole album. C’mon Mike, show us how it’s done.