Justin Bieber spaces out on monkey’s passport

From here:

BERLIN — Justin Bieber had to leave a monkey in quarantine after landing in Germany last week without the necessary papers for the animal, an official said Saturday.

The 19-year-old singer arrived at Munich airport last Thursday. When he went through customs, he didn’t have the documentation necessary to bring the capuchin monkey into the country, so the animal had to stay with authorities, customs spokesman Thomas Meister said.

Most big name musicians travel with small monkeys.  He’s not having a break down, he’s got shit goin’ on.

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Active Music Listening Wednesday March 27, 2013

YTD recordings listened to: 246
Good music, not recommended for purchase: 161
Not good music: 68
Buys: 9

Possibles: Sidsel Endresen & Stan Westerhus, Boyd Rivers, Abdoulaye Alhassane Toure, Cryptopsy, Nick Waterhouse, Patterson Hood, Skyzoo,  Chris McGregor, Brother Ali (2009), Alvin Youngblood Hart, Bob Gluck Trio, Ether Net, Oddisee, Holly Williams, Matt Davis’ Aerial Photograph, Hollis Brown.

@@@ Mwahaha: Mwahaha (Plug Research, 2013).  Off the All Music weekly email.  It’s rock with a dash of Radiohead neighborhood prog and a blissed out/stoney singer.  Clouds and dreams people.  The second tune rocks a bit harder than the opener Swimmer, but we’re still talkin’ about the trippy rock neighborhood.  The tunes are solid, but not surprising in structure.

@@@ A Rocket to the Moon: Wild and Free (Fueled by Ramen, 2013).  Marketed as indie, this is straight up mainstream rock from the All Music weekly email.  Big production, smoothed out sound, extremely shiny sounding and very predictable rock for the suburbs.  Today’s version of Hootie and the Blowfish, and we never needed Hootie the first time around..

@@@ Kreator: Phantom Antichrist (Nuclear Blast, 2012).  I caught this long running metal band off my weekly metal email.  Their discography stretches back quite a bit but as I’m not a super metal guy, they’re new to me.  While they sport a fairly decent wallop, these guys traffic in a more epic, old school metal vibe rather than the newer straight sonic assault.  The drummer maintains an iron like grip on the band while the guitarist serves up your classic metal riffage/kachunk and back again.

@@@ Aaron Diehl: The Bespoke Man’s Narrative (Mack Avenue, 2013).  I found this recording via a review at a British jazz blog here.   It’s a straight jazz recording with piano, vibes, bass, and drums.  The playing is uptempo and straight.

Active Music Listening Tuesday March 26, 2013

YTD recordings listened to: 242
Good music, not recommended for purchase: 159
Not good music: 66
Buys: 9

Possibles: Sidsel Endresen & Stan Westerhus, Boyd Rivers, Abdoulaye Alhassane Toure, Cryptopsy, Nick Waterhouse, Patterson Hood, Skyzoo,  Chris McGregor, Brother Ali (2009), Alvin Youngblood Hart, Bob Gluck Trio, Ether Net, Oddisee, Holly Williams, Matt Davis’ Aerial Photograph, Hollis Brown.

@@@ Julian Lynch: Lines (Underwater Peoples, 2013).  From the MOG new release page.  A proggy affair.  Sonically above average and interesting to listen to.  Not proggy like  Yes, more proggy and odd like XTC.  Would not be surprised if this record was by an Englishman.  Nope, the dude is from New Jersey.  I really like the third tune ‘Horse Chestnut’ and after listening to the whole record I would say it’s a less poppy, more pastoral Dirty Projectors Bitte Orce era type record.  Very melodic but not cheesy with a hint of the pastoral.  The record fades a little bit in quality as the better tunes are upfront but it’s still the most interesting music I heard today.

@@@ Palma Violets: 180 (Rough Trade, 2013)  A MOG new release page new record.  Punky British indie with an impressively massive bass sound on the first track, ‘Best of Friends’.  The second tune ‘Step up for the Cool Cats’ has a swelling organ (not of the genital variety) and the singer is crooning more than shouting lending a bit of a retro-roots sound to the record.  I like the energy of this record and think it’s pretty good fare for the non-adventurous listeners out there.  It swings, it has some interesting sounds to it, and it’s not a complete carbon copy of another record.

@@@ Harper Simon: Division Street (PIAS America, 2013)  Dreamy, baby poweder soft indie record I found on the MOG new release page.  I’m not connecting with the singer and his tone.  The music is fairly straight with heavy 1980’s synth rock influences.  Not really my cup of tea.

Active Music Listening Monday March 25, 2013

YTD recordings listened to: 239
Good music, not recommended for purchase: 157
Not good music: 65
Buys: 9

Possibles: Sidsel Endresen & Stan Westerhus, Boyd Rivers, Abdoulaye Alhassane Toure, Cryptopsy, Nick Waterhouse, Patterson Hood, Skyzoo,  Chris McGregor, Brother Ali (2009), Alvin Youngblood Hart, Bob Gluck Trio, Ether Net, Oddisee, Holly Williams, Matt Davis’ Aerial Photograph, Hollis Brown.

@@@ Incantation: Vanquish in Vengeance (Listenable, 2012).  I caught this thrash/shred fest on last week’s Aquarius Records weekly email.  The drummer is almost completely thrash with a dash of double thump on the kick drum and he locks in real tight with the guitar player who does some epic shredding, some ka-chunking and some riffing.  The singers is doing that low whooping howler monkey thing, which is a slight negative for me, but these guys bring the pain and share it with everybody.

@@@ Inter Arma: Sky Burial (Relapse, 2013) More doomy and dirgey than the Incantation record it’s also off last week’s Aquarius Records list.  Lots of midtempo ka-chunking and syrupy slow guitar riffage.  Drummer is more epic rock than thrash-tastic.  The second tune, ‘The Iron Gate’ opens with an extended acoustic guitar strum, some piano and some distant guitar wailing, making these guys a bit more mainstream.

@@@ Thalia Zedek Band: Via (Thrill Jockey, 2013).  Off of the All Music weekly email.  This alt-indie recording starts up with ‘Old Christmas Morning’ where Zedek comes off sounding like a female mid-career Bob Dylan, nasal and rough for the wear and tear.  A bit of Patti Smith as well.  The songs are downer-y and stripped down to create a sort of minimalist epic vibe.  There are no crunched out power chords or swinging to be had here.

@@@ Carbon Leaf: Ghost Dragon Attacks Castle (Constant Ivy Music, 2013).  I found this rock heavily influenced by Irish traditional music on the WRIR weekly email.  I’m prejudiced against this type of rock, I think it’s corny and overly dramatical.  I know that tons of folks love it so I’ll just post a clip and move on.

Active Music Listening Sunday March 24, 2013

YTD recordings listened to: 235
Good music, not recommended for purchase: 153
Not good music: 65
Buys: 9

Possibles: Sidsel Endresen & Stan Westerhus, Boyd Rivers, Abdoulaye Alhassane Toure, Cryptopsy, Nick Waterhouse, Patterson Hood, Skyzoo,  Chris McGregor, Brother Ali (2009), Alvin Youngblood Hart, Bob Gluck Trio, Ether Net, Oddisee, Holly Williams, Matt Davis’ Aerial Photograph, Hollis Brown.

@@@ Justin Timberlake: The 20/20 Experience (RCA, 2013).  You would have to be pretty close to comatose not to be see that Justin Timberlake is all up in the public space, as common as dog shit on the sidewalks of Brooklyn. I would say my macro statement regarding Timberlake’s music is that he stands to be the greatest beneficiary of Michael Jackson’s death.  He traffics in the same soft r&b/soul that Jackson went to the bank on.  And while Timberlake is certainly a hottie, he’s not the kind of gent who’s gonna say anything substantial.  He’s a male bimbo.  By the way, the first tune Pusher Love could have used at least three minutes off the top.  I’ve been waiting, like forever for this track to call it a day.  I skipped the big single ‘Suit and Tie’ as I saw him and the corporate dildo Jay-Z perform that light and fluffy biscuit on Saturday Night Live when it was on reruns.  The third tune, Don’t Hold the Wall, is very Jackson-esque but not nearly as musical as Jackson’s intricate pop, and twice as tedious.  And I was not a Michael Jackson fan.  When this recording started I thought it was better than I expected, but the record has turned into a pretty flat affair with predictable arrangements and Timberlake being at this point a pretty one dimensional musician.

@@@ Phosphorescent: Muchacho (Dead Oceans, 2013).  An electronica recording being marketed as alternative/indie that I found on the MOG new release page.  It’s a super slacker with hints of Zen.  With pieces of song titles including the words ‘the wounded master’ and ‘koan’ it wants to be more than a downtempo indie record where the guitars do appear in the third tune ‘Ride On/Right On’.  I do appreciate the violin that’s used in this context as that’s not a common thing to hear and if you’re into a stoner electronica indie thing, these guys will hook you up.

Active Music Listening Thursday March 21, 2013

YTD recordings listened to: 233
Good music, not recommended for purchase: 152
Not good music: 64
Buys: 9

Possibles: Sidsel Endresen & Stan Westerhus, Boyd Rivers, Abdoulaye Alhassane Toure, Cryptopsy, Nick Waterhouse, Patterson Hood, Skyzoo,  Chris McGregor, Brother Ali (2009), Alvin Youngblood Hart, Bob Gluck Trio, Ether Net, Oddisee, Holly Williams, Matt Davis’ Aerial Photograph, Hollis Brown.

@@@ James Falzone: Brooklyn lines…Chicago Spaces (Allos, 2012).  Chicago jazz tends to be a bit sweeter and more melodic than the New York City strain and this record is no exception.  The instrumentation is clarinet, vibes, bass, and drums.  Falzone, on clarinet, plays his ass off on this record, particularly on the second track ‘Ukrainian Village’ which is clipped below.  The record becomes sweeter as it moves on, but certainly not cloying  or cliche.  It’s a clarinet and vibes record, how rough can it get?  I really thought Falzone stole the session with the energy of his playing and that’s saying something as the rest of the ensemble is clearly working.

@@@ Adrian Younge Presents the Delfonics (EMI, 2013).  I heard a bit about this record on our local NPR station and I also saw it on the All Music weekly email.  Some intensely great sounds made their way on to this record, particularly on the bass and drum sounds foremost in my ears, but I did not get into the songs.  There was a tightness to the record and I didn’t super connect with the tunes.  They’re not bad, by any means and the project sounds like a labor of love, but some looser vibes and a more partyistic vibe would have helped me enjoy the record more.