Faith No More's Disappointing Return to Music

The artwork for Faith No More's first single in 17 years, "Motherfucker."
In 2009, I was a hardcore fan in a state of bliss. I saw Faith No More was reuniting and I probably shrieked like a little girl imagining seeing them perform live. Truth be told, they have long been one of my favorite bands, but given their career trajectory I never once imagined they'd reunite. When they did, it came as a total shock.

It could have been for the money. After all, the ensuing tour was a cash cow. But these guys were always restless artists of the highest order. Could you even imagine Faith No More sitting around in a room without magic happening? Well, it finally did. Here we are, 17 years later, and they've finally released new music. The unfortunate part, though, is that their first single comes out of the gate sounding less like a punch to the face and more like a band in search of its sound.

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The Ugliest Indie Feud of 2014

Sun Kil Moon's Mark Kozelek performing on Late Night with Jimmy Fallon in 2012.
Let's assume you don't follow the indie-rock blogosphere. You may never have heard of Mark Kozelek or his project Sun Kil Moon. Think of him as like an acoustic guitar-playing, folkie version of Trent Reznor; he's a brilliant musician who performs under the name Sun Kil Moon. It's a "band" in the same sense Nine Inch Nails is a band, but at the end of the day, Sun Kil Moon is Mark Kozelek.

I used to be a fan of his, but I am no longer. If you don't know who Sun Kil Moon is, you likely don't know why that is, so here's a little background on exactly why Kozelek may be the most immature, idiotic person in the indie world and why I can no longer stomach even his older recordings.

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The Flaming Lips' Shtick Is Getting Stale

Photo by Mark C. Austin
Let's have a talk about the Flaming Lips. The Oklahoma City band made their name in the '90s alt-rock scene with "She Don't Use Jelly," but they were nothing like their contemporaries. Their history was checkered with intense experimentation, and that song was an outlier in their catalog.

This sort of teeter-totter balance between accessible, mainstream rock music and vast sonic experimentation has continued unabated as the Lips have become one of the most successful bands in modern music. But as they've gotten more famous and more financially stable, the whole thing might be growing stale.

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Cold War Kids Are Back; Will Anyone Notice?

Photo courtesy of The Press House
For a minute there, Cold War Kids looked like the saviors of intelligent, conceptual rock and roll. When their first album, Robbers and Cowards, was released in 2006, it caught most of us who follow indie-rock off-guard. It was slickly produced and unabashed in its stadium aspirations, but it carried the weight of thoughtful lyricism and progressive musical tendencies.

In other words, Cold War Kids looked poised to be the Phil Collins-era Genesis of the 2000s: Loved by many, huge in the mainstream and hated by a large group of too-cool-for-you hipsters. It all went wrong after a couple of hits and the band disappeared from the public eye. However, with new strong material under their belt, are the Kids making a comeback nobody has caught on to yet?

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Thanks But No Thanks, The Contortionist

When the Contortionist released their first full-length record, Exoplanet, in 2010, they were one of the most exciting things to come out in the realm of progressive metal for a long time. Where the genre so easily verged into tired cliches or overused tropes, as in the later releases of bands like Dream Theater and Between the Buried and Me, the Contortionist had the right mix of heavy-ass death metal and progressive tendencies.

Now it's 2014 and their third album Language is hitting the stores and online distributors. However, after hearing the first two singles, I'm about ready to throw in the towel on this band. This has all been done before, and better.

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What's the Big Deal About Stage-Diving?

Photo by Saul Torres via Wikimedia Commons
If you were at the recent Joyce Manor show at Walters, you got a rude awakening from the fun of flailing around in a punk-rock mosh pit when Barry Johnson, the band's lead singer and guitarist, went off on a fan who was stage-diving.

All insults to the fan's patriotic jingoism aside, all because the dude was wearing an American flag on his T-shirt, Johnson's outburst was his second and less polite of the two in as many weeks about stage-diving, and has ignited a massive controversy in the punk scene. It's a controversy so big that it got Johnson punched in the face. What's the big deal, though?

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Is Prince on the Verge of Irrelevance?

Prince on New Girl.
Recently, Prince announced he will release two new albums at the end of this month: Plectrumelectrum and Art Official Age. That's a pretty big outpouring of new music from the artist, who since 2009 has only released elusive singles and an album that could only be found in copies of a UK newspaper.

However, despite relentless attempts to keep his face in the spotlight, including an appearance on the Fox sitcom New Girl, those aforementioned singles, and a Dave Chappelle reference that showed he still has something of a sense of humor, it's worth asking where Prince still stands in the public eye.

Is he still relevant? Will these new albums have any impact at all? Or is Prince very quickly becoming a legacy artist?

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Are Musicians Right to Ban Fans Recording Their Shows?

Kate Bush during a rare televised performance in 1986.
Recently Kate Bush began a string of her first live performances in some 35 years, an unprecedented 22-show residency at London's Hammersmith Apollo now continuing until October 1. That is awesome for her fans in the UK and possibly Europe, but obviously leaves a lot to be desired for those of us in the U.S. and elsewhere who would love to see the singer perform after all these years.

That's where recordings come in. When Bush's run is over, many fans will be clamoring for YouTube videos to see how it and went, and what we missed out on. However, she has politely requested that no recording devices, including cell phones, be used at her shows.

The request is fair enough, but it raises a larger point. In this day and age, many older musicians are striking back against the constant recording that goes on at live shows, and a sizable debate has arisen. Is it okay? Should musicians chill out about it? Or are they right to ban fan-made recordings of their shows?

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Lana Del Rey: A Fine Line Between Serious and Boring

It seems like these days everyone is in a rush to be taken seriously as an artist. You can hardly bat an eye before the next pop star is making his or her "serious artistic leap." Miley Cyrus, Justin Bieber and Kesha have all done this in their own way in the past few years, but one particular example stands out to me.

Lana Del Rey has never been your average pop star. Her rise to fame and the subsequent backlash have led her on a strange roller-coaster ride. Either way, she's at the peak of her popularity now, and definitely a mainstream artist. While she's never made "fun" music per se, Del Rey has decided with her latest, Ultraviolence, that she wants to be taken seriously as an artist.

Unfortunately, apparently that means making boring music. It also forces us to ask ourselves: Does being serious as an artist really mean being boring?

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Why Can't We Let Dead Musicians Be Dead?

Michael Jackson's hologram doppelganger at this year's Billboard Music Awards.
Recently you may have seen Michael Jackson on television, despite the fact that Michael Jackson has been dead for five years now. Through the use of hologram technology, his corpse has essentially been dug up and plastered on our TV screens, with herky-jerky movements and backing music crafted posthumously from antique scrapped recordings of the man's voice.

Freddie Mercury showed up at Queen's musical We Will Rock You in London. Tupac showed up at Coachella; Ol' Dirty Bastard and Eazy-E at Rock the Bells. It seems like this is where our society is headed into the future, and it raises an interesting question about us. Why can't we let the dead just be dead?

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