Tag Archives: kanye west

The (Frustrating) Life of Pablo

“Name one genius that ain’t crazy.”

It’s finally happened. Kanye West has actually gone insane. His mind has always been in a perpetual state of motion, constantly redirecting his attention from music to art to fashion to Twitter and to God-knows what else. On his latest The Life of Pablo, Kanye’s ego has finally the better of him. The rollout for TLOP was an absolute shit show of empty promises and false starts (it still is). The album itself is an absolute mess. I’m not even confident it’s finished. In fact, I hope it really isn’t finished. If TLOP actually turns out to be an experiment on how the music media will seemingly eat up anything he shits out on both Tidal and Twitter, then I will certainly tip my “Yeezus” cap to him. Until then, I cannot sit here and defend this record.

Not that he needs me to. For all the shit Kanye West gets for is actions outside the studio (some of it deserved, most of it not), people tend to forget that he is a truly gifted musician. Kanye West is a man with a unique gift of musical knowledge and a golden touch for sampling and producing. He is a smart person brimming with ideas and enthusiasm, who can be as articulate as a professor when he wants to be. That’s why it’s frustrating that Kanye West would release such a deliberately half-hassed product, but I like to think he knows what he’s doing. It’s like Kanye knows that even if he farts in a microphone, critics will love it anyway. After listening to some of these lyrics, he did exactly that. He spewed a lot of that sort of crap on Yeezus, but at least on that record, the music had purpose and razor-sharp focus. Every word he spoke came across like an exorcising of demons, and we all bought it. On TLOP, the lyrics are cringe-worthy just for the sake of being cringe-worthy, and now I find myself wondering if everything that was said on Yeezus was just as cheap and insincere. As attention-getters, the X-rated lyrics work, but in the end, many of the songs suffer for the ignorance.

But it’s not just the lyrics that are way sub-par. The music, 90% of it not even produced by West himself, is consistently inconsistent and relentlessly frustrating. You keep waiting for songs like “FML” and “Highlights”, which have SO much potential, to become fully realized. Instead, they feel tossed aside from a man bored with his own creation.

Take the track “30 Hours” for example. Initially, it’s one of the best songs on the album, as Kanye raps like he’s still wearing pink polos over a beat that would fit right in on The College Dropout. It’s hard-hitting, direct, and damn good. That is, until it isn’t. Like a NJ Transit train headed to Penn Station, Kanye inexplicably stops. He just gives up on the song, turning a potential show-stopper into a glorified demo. Instead of finishing the song out, he blabbers on about bonus tracks, mumbles a barely conceived verse idea, and even answers his damn cell phone. He just leaves all of that in there! Critics will tell you this is art – the sound of a scatterbrained man at work – but I’m here to tell you this is bullshit. Any track that features Andre 3000 but doesn’t actually have Andre 3000 rapping (or doing anything, really) on the song is bullshit. The two rappers had a chance at a banger, but instead settled for an under-cooked piece of meat. It’s the story of this album, really. Kanye settles; he never attacks. And he wants Tidal users to pay $20 for this? Come on, man. Would you buy a car with no wheels for $50,000?

Now, that’s not to say that TLOP doesn’t have its moments of clarity. Like I said, it’s easy to forget that Kanye West is a gifted producer. The skeletal “Ultralight Beam” delivers on Kanye’s Twitter promise of this album being a “gospel album.” Ever the curator, Kanye lets the young Chance the Rapper steal the spotlight with the most captivating verse on a Kanye West album since Nicki Minaj’s ferocious debut on “Monsters”. The first true taste of TLOP back in January, “Real Friends,” is another understated but beautiful gem, with a moody, haunting piano setting the scene for Kanye to once again play the bad friend and even worse family member. It’s one of those songs that reminds you why you root for Kanye in the first place. The best song on TLOP by far is “No More Parties in LA,” and it’s one of the best songs of the year so far. It’s a perfect example of what makes Kanye West so great, and also what makes this album so frustration because of how it could’ve been so much more. Kanye, along with Kendrick Lamar(!), just let loose on this track. The three samples on here, including Junie Morrison’s “Suzie Thundertussy,” have no right being on the same track together, yet it sounds so seamless and captivating. It’s the most fully realized this album gets, and I can guarantee you’re going to be hearing a lot more of it blaring out of car stereos this summer.

I want to sit down with Kanye West. I want to tell him that he’s capable of so much more. We all know this, and I think he knows it too. So, why is he settling for this? I want to know why he isn’t pushing himself to be better, like all the greats. Or maybe he’s pushing to hard… no one man should have all that power, right? I’m not looking for the old Kanye; I’m just looking for a sign that the man is still willing to continue to push himself musically, and not merely settle. Give me a chance to interview him, to buy him a beer he desperately seems to need. I want to ask him all these things and more. He’d probably tell me to fuck off, and if he did, I’d be happy because at least that would mean the fire isn’t out.


Dream Collaborations

by Jeff Yerger

“Supergroups” are totally in right now… er, I mean “Collaborations” (sorry not sorry, Sammy Hagar). ”Collaborations” has become a more trendy thing to do these days, and everyone seems to be in on it. Broken Bells – the Shins’ James Mercer and Danger Mouse “not-a-side-project” side project – will be releasing a new album in February. Gnarles Barkley, another Danger Mouse outfit along with Cee-Lo Green, is rumored to be working on a new album for 2014. In 2013, while not grouching about Spotify, Radiohead dancer Thom Yorke, Radiohead producer Nigel Goldrich, and Red Hot Chili bassist Flea came together as Atoms for Peace to make some noise.  There was also St. Vincent and David Byrne (which sadly was not dubbed “St. David Byrne”), and even an Elvis Costello album with The Roots! Also, lest we forget, not long ago Metallica and Lou Reed did…something…together…which we shall not speak of ever again [shudders]. On top of all that, Daft Punk made 2013 the year of the dance by collaborating with… well, just about everybody.

When they click, big-name collaborations can be really cool, and within recent years, they’re becoming more popular. Why not continue the trend? It’s 2014 people! Let’s get together and feel alright, right? There are a lot of artists I’d like to see work together. Some seem feasible, others irrational, but hey, a guy can dream. One rule though: they must not suck. But let’s dream big anyway. Here are some collaborations I’d like to see in 2014.

The Edge & School of Seven Bells

With Benjamin Curtis’ passing, indie-pop truly lost on of its unsung guitar heroes. As legend has it, guitarist for Secret Machines (another underappreciated band from the early 00’s), Curtis introduced U2’s The Edge to a new fuzz pedal  for his guitar set up, which he then used religiously on 2009’s underrated No Line on the Horizon. I think it would be a fitting tribute if The Edge and School of Seven Bells singer/guitarist Alejandra Deheza recorded one of Curtis’ unfinished songs together, using the very technique Curtis taught the Edge.

Danny Brown & Purity Ring

Listeners got a brief taste of this collaboration on Brown’s latest album, Old, and I don’t know about you, but I want to hear more. Purity Ring have a unique, icy sound to them, which I think would work well in today’s hip-hop landscape. For whatever reason, the back and forth between Brown’s raspy delivery and Megan James’ auto-tuned coos meshed really well. Plus, both artists write really weird lyrics, which could make for a fascinating listen.

Paul McCartney & The Rolling Stones

Come on, you’re telling me you wouldn’t want to know what it would sound like if The Beatles and the Rolling Stones made a record together? They represent the two most important bands in rock and roll as we know it, and together, The Sir Paul Stones (wait, that doesn’t sound right… maybe The Rolling Pauls? Exile on Abbey Road?) would be an unstoppable behemoth capable of swallowing cities whole. Just think: Paul McCartney’s slinky bass lines intertwining with Keith Richard’s crispy riffs, while Mick Jagger rambles on about… I don’t know… how big his mouth is, or something. That would be enough to make a grown man cry.

Dave Grohl & Wavves

You wanna meet Dave Grohl? Well, how about playing in a band with him instead? To say the least, Grohl’s drumming prowess would be a MAJOR improvement for a Wavves band lacking in that department, and perhaps old man Dave would see something of his younger self in Wavves’ Nathan Williams. Together, they could record “The Dave Grohl EP” featuring the songs: “I Wanna Meet Dave Grohl (remix featuring Dave Grohl)”, “I Just Met Dave Grohl”, “I Made a Record With Dave Grohl)”, “Dave Grohl Where Are You Going (Don’t Leave Us)”, and “Dave Grohl Sonata in B minor”.

Deafheaven & Joy Formidable

Joy Formidable’s sophomore effort, Wolf’s Law, came across as tastefully bombastic without plunging into Muse territory. Yet, at times, it felt too overly calculated and orchestrated… if that makes any sense. For their next record, I’d like to see them bring the layered guitars to the forefront again and just make some beautiful noise without over-thinking it (think “Whirring” meets “The Leopard and the Lung”)… but that’s another discussion for another time (paging Steve Albini). Anyway, after listening to Deafheaven’s amazing Sunbather, it’s not hard to picture TJF’s Ritzy Bryan’s voice echoing over that mountainous cascade of guitars. Much like The Joy Formidable, Deafheaven aren’t afraid to contrast loud, heavy moments with beautiful, reflective ones, and I think Deafheaven would help The Joy Formidable get the maximum impact out of each. A Deafheaven/Joy Formidable record would probably be one of the loudest ever made, and it would be amazing.

Kanye West & Thom Yorke

Picture this: two of music’s most important artists under one roof, making music together, finding new sounds – new avenues, and pushing each other to the limit. I can just see Kanye rapping over a beat that’s so noticeably Kanye West but most definitely Radiohead/Yorke-ish. Yes, I can picture it, but I certainly can’t hear it, because it would be some sort of music we’ve never even heard yet, like trying to picture a new color (although, maybe this song could give you an idea). Hyperbole aside, if there is one thing these two men each know, it’s how to consistently make a brilliant album, one after another. It would HAVE to work, and it would almost be unfair to everyone else. They’re both musical geniuses in their own right. I just can’t see a project with these two heads failing (unless they still hate each other). Together they’d be “Thomye West.”

1st Annual “Sunday Best” Part Two: 2013 Album of the Year

Sunday Best Albums of 2013

Sunday Best Albums of 2013

by Jeff Yerger

And now, without further ado, here are your 25 Sunday Best Albums of 2013:

25       The Octopus Project – Fever Forms

Although Fever Forms is technically an electronic album, The Octopus Project prove here that they’re not interested in being a one-trick pony. KEY TRACKS: “Whitby”, “The Falls”

24       Free Energy – Love Sign

It’s not every day a band records a truly solid power-pop rock album that’s this fun. KEY TRACKS: “Dance All Night”, “Hold You Close”

23       Queens of the Stone Age – …Like Clockwork

Thanks to the return of Songs for the Deaf collaborator Dave Grohl on drums, Josh Homme and company found their edge again. KEY TRACKS: “Smooth Sailing”, “I Appear Missing”

22       Arcade Fire – Reflektor

Although I would’ve liked to hear more of ex-LCD Soundsystem frontman and producer James Murphy’s influence, Reflektor is still a refreshing turn of the chapter for a band looking for new musical avenues. KEY TRACKS: “We Exist”, “Here Comes the Nighttime”

21       Tegan and Sara – Heartthrob

Sister duo Tegan and Sara shamelessly shed their indie-folk skin for a dazzling pop gem of an album. KEY TRACKS: “Goodbye, Goodbye”, “I Was A Fool”

20       The Fratellis – We Need Medicine

Scottish rockers The Fratellis finally reunited after a lengthy hiatus and sound like they’re having fun again. Mon the Fratellis! KEY TRACKS: “Halloween Blues”, “Seven Nights, Seven Days”

19       Cut Copy – Free Your Mind

While we’re all talking about the dance-able albums of 2013 like Disclosure’s Settle or even Arcade Fire’s Reflektor, it’s easy to take Cut Copy for granted because they’ve been making solid records like these their whole career. Free Your Mind is certainly no exception. KEY TRACKS: “Take Me Higher”, “Walking in the Sky”

18       Paul McCartney – New

Macca, 71, returns with his best new release since 2005’s Chaos and Creation in the Backyard, and he doesn’t sound a day over Revolver. KEY TRACKS: “Early Days”, “I Can Bet”

17       Superchunk – I Hate Music

On I Hate Music, aging indie rockers Superchunk mourn the death of a best friend by truly celebrating his life and looking back at the good times, and it’s the best the band has sounded in decades. KEY TRACKS: “The Void”, “Breaking Down”

16       Joy Formidable – Wolf’s Law

The Joy Formidable reach for new and louder heights on one of the more solid rock albums of 2013. Sophomore slump? I don’t think so! KEY TRACKS: “The Leopard and the Lung,” “Cholla”

15       Danny Brown – Old

Probably the best true rap album of the year, Old is a quasi-concept album that sees Danny Brown teaming up with the likes of A$AP Rocky, Purity Ring, and Charli XCX as he tries to outrun the demons of his past. KEY TRACKS: “Torture”, “Dubstep”

14       Deafheaven – Sunbather

About two days ago, I had this list all ready to go, but then something screwed this whole thing up. No, not Beyonce. It was Deafheaven and their gorgeous new album Sunbather. Holy shit, what an album! I’m ashamed of myself for not picking up on this album sooner, for it would surely be in my Top 10. Sunbather is a pulverizing black metal album that really isn’t black metal at all. It would be an injustice to deem an album of beautiful post-rock/shoe-gaze sound-scapes, ringing guitars, and melodic interludes as black metal. Look, I’m not fan of black metal, but as a casual listener, if you can get past the shrieking vocals, there are so many beautiful and powerful moments on Sunbather that make this album well worth it. KEY TRACKS: “Dream House”/”Irresistible”, “The Pecan Tree”

13       Mikal Cronin – MCII

On MCII, songwriter Mikal Cronin truly stepped his game up. Along with some help from his friend Ty Segal, Cronin proves that a little songwriting ingenuity, as well as a catchy chorus or two, can go a long way. KEY TRACKS: “Shout It Out”, “Change”

12       Kurt Vile – Wakin On A Pretty Daze

I’m not sure it would be fair to call Kurt Vile’s approach “lazy,” but it’s definitely down to earth. Wakin On A Pretty Daze sees Vile taking his time and letting his phone buzz off the shelf while he finger-picks his guitar to the bone. Listening to this album, you’d think you were stoned too, but you never, as they say, touched the stuff, right? KEY TRACKS: “KV Crimes”, “Never Run Away”

11       My Bloody Valentine – mbv

How do you follow up a legendary, genre-defining album over 20 years after it was released (oh, and the album shouldn’t suck either)? Well, ask My Bloody Valentine, because they just did. M b v is a head-pounding album that uses and expands the band’s groundbreaking sound from 1991’s Loveless while avoiding living in the past. KEY TRACKS: “New You”, “Nothing Is”

10       Sleigh Bells – Bitter Rivals

After creating a beautiful racket on their debut album Sleigh Bells stumbled a bit with its follow-up, Reign of Terror. But on Bitter Rivals, the duo traded in their 80’s hair metal punch for lush R&B choruses and acoustic guitars, and it’s the best decision they ever made… other than sporting these jerseys.   KEY TRACKS: “Young Legends”, “Love Sick”

9          The Strokes – Comedown Machine

I’m not sure anybody expected The Strokes to release an album this year (or ever again, for that matter). Angles was so disjointed, and apparently the recording process wasn’t any better. So, forgive us if we’re a bit surprised about how solid Comedown Machine really is. For the first time since 2002, it sounds like the band actually had a unified vision, and while they won’t make another Is This It? or Room on Fire ever again, at least we know they’re still capable of being cool. KEY TRACKS: “Tap Out”, “Welcome to Japan”

8          Cults – Static

I feel like this album went a bit under the radar this year. Perhaps with all the big releases this year, Cults were overlooked. It’s unfortunate, because Static is truly a diamond in the rough. KEY TRACKS: “I Can Hardly Make You Mine”, “Keep Your Head Up”

7          Savages – Silence Yourself

Very few debut albums are as captivating as Silence Yourself. The ladies of Savages have created a monster whose bark is as badass as its bite, and this dark, rollicking album demands your undivided attention. You have been warned.  KEY TRACKS: “She Will”, “City’s Full”

6          Daft Punk – Random Access Memories

I originally had Random Access Memories at the top of my list back in the summer. I guess it was because I was enthralled with the sheer ridiculousness of this album; it’s just so much fun, how could anyone hate it? Daft Punk went all out with this one. It’s an expensive album, with expensive hired-gun musicians, and in turn, it’s the best-sounding album of the year. But after a few more months of listening, I realized the album’s ego is its only downfall. Other than that magical segue from “Touch” into “Get Lucky,” the sequencing here feels all wrong (i.e. tracks 2 – 4 go ballad-zany prog epic-ballad), and it’s sometimes hard to get through the mid-part of the album. I hope I’m not coming across as nit-picky here, but even the best of albums have their flaws. Make no mistake though, when this album is on, there’s nothing like it. KEY TRACKS not named “Get Lucky”: “Instant Crush”, “Doing It Right”

5          The National – Trouble Will Find Me

When the National walk into a room, they may not light it up, but on record, they’re as breathtaking as ever. Trouble Will Find Me is the quintessential National album that combines all of their strengths into one emotionally powerful force. I’m not sure how much more you could say about this band, which has grown consistently and humbly throughout the years. Like a fine wine, they seem to get better with age, which is appropriate, because I feel like you need to drink a glass of red wine while listening to Trouble Will Find Me. It’s a captivating album that doesn’t play AT you, it plays WITH you. KEY TRACKS: “I Should Live in Salt”, “Humiliation”

4          Arctic Monkeys – AM

The Arctic Monkeys have sure changed a lot since the days they were supposedly changing the face British guitar rock, and on the sexy AM, they have finally hit their stride.  Frontman Alex Turner’s songwriting is as clever as ever, and in turn, AM is a unique rock album that pleasantly blends the sounds of 60s and 70s rock and roll with hip-hop and R&B. Think Black Sabbath meets TLC, which hopefully doesn’t cause your head to explode. KEY TRACKS: “Do I Wanna Know?”, “Knee Socks”

3          Caitlin Rose – The Stand In

I’m not exactly sure when it started, but within the last, say, 4 years or so, Country Music has dramatically increased in popularity in the US. The genre has become the new Dave Matthews Band, for better or for worse. While I can certainly see its appeal to the average college students and post-college graduates of America (I mean, every song has at least one line about drinking beer in it), about 99% of it is extremely hokey. Well, here’s your 1%. Caitlin Rose has made a down-to-earth, roots-first country album in The Stand-In, although it would be a disservice to call this a true red, white, and blue Country album. Rose’s presence on here is absolutely captivating, as her voice fluctuates with ease from a soft coo to a clear, powerful force. She’ll slap you in the face if you do her wrong, but she’ll also light your cigarette and buy you a beer at the end of the night. She’ll be cruel, she’ll be a clown, but she’ll never be insincere. KEY TRACKS: “Only A Clown”, “When I’m Gone”

2          HAIM – Days Are Gone

Where do I even begin? Days Are Gone is one of the finest pop, rock, hip-hop, whatever-you-want-to-call-it albums of past year – hell, the last decade – and this band only seems to be getting started. It’s almost unfair how talented these ladies are, and I’m not just saying that simply because they play their own instruments. Taylor Swift plays a guitar, but that hardly takes talent. It’s the way the HAIM sisters push their abilities to the limit that makes this band so special. On Days Are Gone, although the sound is polished, nothing sounds over-produced or out of place. The band consistently stays in the pocket and plays with such a confidence, it belies their age. KEY TRACKS: “The Wire”, “If I Could Change Your Mind”

1          Kanye West – Yeezus


In a recent interview, rapper Danny Brown stated that one of his biggest musical influences is Radiohead’s Kid A. “I studied Kid A,” Brown told Pitchfork. Of course, we all know the story the album by now: Brit-rock pioneers follow up critically acclaimed rock album with a dividing, minimalistic electronic album. People hated Kid A upon its initial release, but looking back, it’s become one of those legendary albums that every band strives to make but few actually achieve (it took Trent Reznor 20 years to make his Kid A). Part of the reason Kid A was derided was because, frankly, it made us all look stupid. We thought we wanted another Ok Computer or The Bends, but it was Radiohead who had the last laugh.

On Kid A, Radiohead focused on exploring different landscapes and creating new musical textures with as little guitars as possible. As Danny Brown says, “it’s not so much about the lyrics as it is about the way the beats feel, so what drives this album is the production.” Radiohead rid themselves of their trademark guitar zaps and freakouts, and instead adopted a more cerebral aesthetic that wasn’t so immediate. The vocals, if they weren’t manipulated and distorted to sound like a buzzing fridge or detuned radio, were minimalistic at best, rendering most of Thom Yorke’s lyrics as afterthoughts.

The reason I bring up Danny Brown is because a) I never would’ve expected it, b) it turns out you actually can hear a lot of Kid A’s influence on the first side of Brown’s excellent new album Old, (the production, at times, can be very similar. However, Brown’s lyrics are too captivating to be pushed by the wayside, and therefore Old could never come close to Kid A’s mission by default), and c) Brown wasn’t the only rapper to follow Radiohead’s lead this year.

Kanye West, arguably hip hop’s answer to Radiohead, is having his Kid A moment, and once again he proves he’s in a WAY different class than Danny Brown and his peers. Yeezus, Kanye West’s 6th solo venture, is THE album of 2013. It’s the most beautiful, captivating, haunting, divisive, and scathing record of the year, and there is absolutely nothing else like it.

I wanted to hate this album, I really did. Upon its release in June, I just didn’t know what to make of it. For a minimalistic album inspired by a lamp, there was so much going on. I couldn’t handle it at the time, and in many ways, I still don’t understand it. It’s so abrasive, yet I can’t ignore it.

Like the giant in “The Green Mile,” Kanye West opens his mouth and lets all of his nagging demons run wild on Yeezus. It actually makes for a pretty frightening experience. He doesn’t hold back or hide behind any macho façade. Everything that was tormenting him is now tormenting you, and this album is so physical that it really makes you feel the pressure. The album begins with the electric one-two punch of “On Sight” (Ye’s best opener in his arsenal) and “Black Skinhead,” but then you’re immediately dropped into the depths of hell (leave it to Kanye to make the only song featuring God to sound the most demonic… no, seriously, he included God as a featured guest). It’s like a bad panic attack that leads up to a climax on the pounding lament “Blood on the Leaves.”

In my original review of the album, I gave Kanye a lot of flack for the sub-par lyrics on Yeezus, most of which he apparently wrote as an after thought during production. I still think they’re terrible and at times lazy (“Swaghili 101” coming to a college near you), but what I realize now is that the lyrics were never meant to be the main attraction. Like Radiohead on Kid A, Kanye makes sure the music and the production is the focal point here. Dark, icy synths and acidic beats permeate every space, and every once and a while, Kanye will tease a taste of light in the form of either Justin Vernon, a stunning digi-guitar on “Hold My Liquor”, or a gospel choir, but he won’t let you forget you’re in his dark twisted reality. By “Send It Up,” it all seems hopeless, until Charlie Wilson comes down from the heavens on “Bound 2” and cleanses you of your sins. It’s a beautiful moment on the album that can only be fully appreciated after surviving the 9-track panic attack before it.

Throughout his whole career, Kanye West has acted the underdog, always having to prove himself. He was challenged to make a solo hip-hop record, so he made three of them. He broke his jaw and had his mouth wired shut, so he made “Through the Wire.” A rap artist isn’t supposed to sing on a record, but Kanye West made “808s” anyway. Then people said he’d never recover after “Taylor Swift-gate,” so he made one of the greatest rap albums of all time(!), My Beautiful Dark Twisted Fantasy.  Finally, it is Yeezus who takes the wheel, on the first album where Kanye West has turned the tables and dared us.

As the late Lou Reed discussed in his essential review of Yeezus, you know that by naming his album “Yeezus” and defiantly stating, “I AM a God,” Kanye is just daring people to challenge him. He’s deliberately taunting his haters with an album so provocative and so puzzling, and this time, it’s Yeezus who will have the last laugh.

Blood Red Shoes announce new song scavenger hunt

by Jeff Yerger

So, you don’t want to pay for new music? Fine, well British rockers Blood Red Shoes are at least going to make you work for it.

On their website, the duo announced a worldwide scavenger hunt starting December 1st for 10 QR codes (guess I’ll have to re-download that app I deleted) hidden within to-be-announced cities. Once these codes have been found, a new Blood Red Shoes song will be revealed and presumably, a new album will be announced.

But wait, there’s more! The first person to find the code in each city will win two free tickets for life to any Blood Red Shoes show (say wha?!). That’s pretty sweet freakin’ deal, especially since they’re fantastic live.

I gotta hand it to Blood Red Shoes. This is a pretty unique marketing campaign in a business that’s just starting to think outside of the box with pre-release promotion (see: Daft Punk, Arcade Fire, Kanye West). I hope this works out for the band, and I’ll be sure to keep my eyes open.

Here’s the full announcement:

On December 1st we’ll hide 10 different QR codes in 10 cities across the world. Each QR code is a key which will unlock part of our new song, and the song will only be revealed once all 10 codes have been found. The first person to find the code in each city will win TWO FREE TICKETS FOR LIFE to any BRS club show, and your facebook name and photo will show up on the front of our website to prove you got there first.

Keep your eyes peeled over the next few days as we reveal all the cities, then on December 1st we’ll release a set of clues, and it’s over to you….

More info here: http://www.bloodredshoes.co.uk/faq.html

Random Playlist: 11/18/13

Here are five random songs we’ve been digging lately:

Cults – “I Can Hardly Make You Mine”

The Fratellis – “Halloween Blues”

Kanye West – “Hold My Liquor”

The Replacements – “Favorite Thing”

Rilo Kiley – “Portions for Foxes”