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alt–J  |   Apocalyptica  |   Cage the Elephant  |   Foster the People  |   Jake Roche  |   Linkin Park  |   Silversun Pickups  |   TV on the Radio  |  




Lit on the Flash live at Hampton Beach, NH Jake Roche broke into the music scene right out of high school playing guitar in the Universal Records band, Jeremiah Freed. When the band members eventually went their separate ways, Jake produced the solo album Just Survivin’. He then went on to front his own band, Lit on the Flash. Their music was fantastic! The passion, the hooks, and the edge were all so vivid that even the first listen was like sticking my finger in an outlet. - I was jolted! I couldn’t tear myself away. The songs, ‘Going to Jail,’ ‘Way Beyond,’ and ‘Social Vampire’ were electrifying!
Two songs ‘My Baby’ and ‘Black Triangle Blues’ from the second recording were so well written that both could be hits.
The album, Revolution Time, is reminiscent of Just Survivin’, in that it is a smooth combination of acoustic and electric guitars and lyrics that seek to stir up those who are politically inclined.

Jake’s got a knack for writing a hook that doesn’t tire you, and his prowess on guitar is something I can hear again and again. The musicianship on this album, with the new members of Lit on the Flash, is superior to prior works: where the other players were really good, the new ones are great - solid and skilled. Kerry Ryan’s fluid drumming and Matter Reignkin’s interesting bass lines add intelligence to an already respectable work. The album is beautifully produced and layered and can be played at any volume. One listen and you’ll find yourself remembering the melodies and wanting to hear it all again.

cover art Lit on the Flash Every album, that I know of, that the members of Lit on the Flash made was recorded in a professional studio except for the last eponymous album, released in July of 2012. It is an outstanding achievement in recording and production.1   Perhaps, because they were afforded the freedom to record on their own without influences from outside engineers and producers, the trio of Lit on the Flash were able to take the time to satisfy their own ideas of perfection. And they hit every nail on the head. The instrumentation is layered with exquisite distinction, yet each entity embraces its position in the solid formation of the songs. The musicianship is superb. Jake plays every imaginable sound that can be coaxed out of a guitar with skill that rivals any of the world’s top guitarists. Kerry’s dynamic drumming is exact, intricate, and interesting. The lines produced by Matter’s bass add clear, agile, flowing dimension. There’s never been a question that Jake knows how to write really good lyrics with catchy hooks. But, unlike the other recordings, which leaned toward a more simplistic style of production, the vocals here played a more musical role, and the listener might not catch all of the words the first time through, which is just fantastic, because each time you go back to listen you hear more of the nuances that make this album the triumph that it is.
As of this year, lucky New Englanders get to catch Jake doing acoustic gigs.

Jake is a Good Man. It’s okay with me if he "passes the genes on down."    -AEL


(Lit on the Flash did a monumenotus cover tribute to Nirvana's entire Nevermind album. This last video was the encore.)

1 Grammy verbiage intentional

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Ladies and Gentlemen - Linkin Park!

Linkin Park live in Irvine, CA, -Mike Shinoda (l), Chester Bennington (r) photo by Sunnie LaPan

It was an acquired taste for me. I’m not really into rap/hip-hop or singers screaming with the pain of swallowed sulfuric acid. But, I’m here to tell you that Linkin Park ROCKS!! Artistry, poignant lyrics, intelligence and passion characterize the albums and videos of this band who embraces the world. Simple, catchy hooks played by keyboard or affected guitar, backed by an impelling rhythm section, support melodies and harmonies sung by the two vocalists, Chester Bennington and Mike Shinoda.

I didn’t pay attention to the first album, Hybrid Theory, because it was too heavy (in terms of metal) for me at the time, even though I could have heard In the End whenever I turned on the radio. Now that I’ve acquired the taste, I like nearly every song on the album.

Linkin Park live in Irvine, CA,  photo by Sunnie LaPan

The second release, Meteora, grabbed me by the throat and the heart - I had to listen to Easier to Run three or four times a day. Linkin Park’s lyrics zero in on the human condition and give expression to things that many of us would like to say, but few can find the words for.

On the third album, Minutes to Midnight, Linkin Park’s interest in humanity and philanthropy was presented in a less harsh manner than prior works.They didn’t merely sympathize with the victims of Hurricane Katrina, but suffered with them and with those of us who felt the embarrassment and futility of being affiliated with the political administrator’s follies of that four-year era.

I’ve listened to a lot of music and have spent years considering favorite albums and songs. As it stands now, my opinion is that Linkin Park’s fourth album, A Thousand Suns, is the best piece ever recorded. Released in 2010, it is an anti-hate statement that should be played from beginning to end without interruption. It’s melodic, technological, and brilliant. Musical innovations flow alongside clips of compelling speeches. One of my favorite songs - and that changes from time to time - is Blackout, throughout which Chester does some major cathartic screaming. A Thousand Suns is not fluffy stuff - you have to delve into it to catch it all. For example, there’s a little piece called Jornada del Muerto (Spanish for ‘journey of the dead’) which is the name of the area of desert in New Mexico where the atomic bomb was tested. Mike sings it in Japanese.

With their fifth studio album, Living Things, Linkin Park takes elements from their previous albums but still manages to move forward musically. Songs like ‘Victimized’ are reminiscent of an older, harder Linkin Park, while ‘Castle of Glass’ is closer to their new musical feel. Overall, the music combines to create an album that is electric, exciting and catchy.

Linkin Park - (left to right) Joe Hahn, Brad Delson, Mike Shinoda, Rob Bourdon, Chester Bennington, Dave ‘Phoenix’ Farrell -  photo by Sunnie LaPan

There is nothing more exhilarating than attending a Linkin Park concert. (We’ve traveled from Arizona to Colorado and twice to California to see them.) Every band member gives an all-out performance to a crowd who sings along with hits Breaking the Habit, Bleed it Out, Numb, Somewhere I Belong, Waiting for the End and usually more than a dozen others. I do love Linkin Park!   -AEL

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Silversun Pickups

Brian Aubert  - Silversun Pickups live in Tempe, AZ, photo by Sunnie LaPan
The band, the Silversun Pickups, is much like cilantro - either you love it or it tastes like soapsuds. Not that the Silversun Pickups music is at all bubbly. It’s dense; the lyrics intricate, allusive and image conjuring (e.g. ‘when bobby pins held angel wings.’1) You feel like you’re ‘sucking in a smoke screen’2 when you listen. The guitar is clean and fuzzy. (or is it a keyboard?) The vocals smolder in androgyny because, in many cases, the male guitarist’s lead vocals are blended with the female bass player’s. The drumming cuts through the haze with crisp precision. The riffs are tailored to entice you into their lair and chain you to their walls. At first listen, simple-minded people, like me, know they’re listening to something special, but can’t begin to grasp the depth of the EP, Pikul, and the three full albums, Carnavas, Swoon, and Neck of the Woods. I get snagged listening to a particular facet of the music, like the drumming that runs into the verse on ‘Well Thought Out Twinkles,’ and Nikki Monninger’s hypnotic bass line on ‘Growing Old is Getting Old.’

Nikki Monninger - Silversun Pickups live in Tempe, AZ photo by Sunnie LaPan

One of my favorite songs is ‘Catch & Release’ on the Swoon album. It’s about the evolution of a relationship. Brian Aubert, a wild-eyed elf, knows how to say something effectively in as few words as possible. The act of falling in love starts with ‘just get excited ’cause you’re giving in’ followed by the catch: ‘the wind in your hair now feels differently.’ The feeling blossoms and eventually dies: ‘who knows why the engine’s blown.’ The release is painful: ‘hope it’s truly worth truly worth the parting.’ And then, feelings of astonishment emerge: ‘can’t believe the lure was enough.’ This ardent lyrical content is accompanied by gorgeous, crying violin-like tones that build in intensity through the song, overlaid by simple, yet clearly-defined rhythm and a compelling guitar chord progression.

Christopher Guanlao - Silversun Pickups live in Tempe, AZ photo by Sunnie LaPan

The Silversun Pickups reproduce the songs on their albums perfectly in concert. There are only four people on stage, whose personalities seem to correlate with the characteristics of the music - the eccentric guitarist/vocalist, the animated showman drummer, the classy bassist, and the regular-Joe, stoic keyboard player. I’ve been dazzled by the live show on more than one occasion, and have been ‘fooled by the notion that the sums don‘t add up at all.’3    - AEL

1 from ‘Future Foe Scenarios’
2 from ‘Little Lover’s So Polite’
3 from ‘Three Seed’

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Cage the Elephant

There we were, standing front and center at the Marquee Theater in Tempe, Arizona. This spot‐ leaning on the metal fence, looking up at the stage, in this particular venue‐ is my favorite spot in the entire world, and we’ve been known to stand outside the theater for hours in order to get it. We didn’t have to stand outside for very long this night, though‐ we didn’t know the band well. We were tired‐ two nights before, we’d seen the White Rabbits, and the night before that, Hockey. And I didn’t feel well. So we hadn’t arrived early, but there wasn’t a line when we got there, and we got our spot. And I was pleased, if not any more excited than usual for the evening.

And then the lights went out, and I swear, I could feel the electricity on my skin. It sounds ridiculous to say that, but that energy ran through me like a bolt, and you could feel it go through the entire crowd.

And Cage the Elephant walked out on the stage. Brad Shultz (l) and Daniel Tichenor(r) of Cage the Elephant - photo by Sunnie LaPan

The next afternoon we cleared our schedules and drove two hours down to Tucson, and later, two hours back, to see them play again.

Matt Schultz - Cage the Elephant

That first show was December 8, 2009. I’d listened to their album, the only one they had out at the time, but hadn’t really paid it too much attention‐ I liked their singles ‘Ain’t No Rest for the Wicked’ and ‘Back Against the Wall,’ but I wasn’t really expecting… well, anything from their live show. Going to concerts was just what we did, and still do‐ we go to see every band we can. And I thought Cage the Elephant might be good. But I never expected what I got‐ easily the most exciting, momentous, incredible, stunning, perfect, thrilling show I’ve probably ever seen.

Since that night in December of ‘09, to today as I write this article (April 4, 2015), we’ve seen Cage the Elephant 10 or 11 more times‐ we can never decide because we can’t remember how many times we saw them again at the Marquee. We’ve seen them in three different states in seven different venues. We’ve seen many, many other amazing bands in that time, too‐ the Foo Fighters, Placebo, Linkin Park, SSPU, alt‐J, Conor Oberst, Incubus, Beck, STP‐ incredible bands that I consider myself lucky to have been able to see play. But there’s never been anything like a Cage the Elephant concert. And no matter how many times we see them, Cage the Elephant is never boring. No matter how well we know the songs‐ and at this point, we know them through and through‐ the shows are never predictable.

Cage the Elephant live in Irvine, CA,  Lincoln Parrish(l), Jared Champion(r) photo by Sunnie LaPan The members of Cage the Elephant are excellent musicians. They have great stage presence‐ kind of. Jared Champion, the drummer (oh my god, this drummer!) and Daniel Tichenor, the bass player, are actually kind of shy. And Brad and Matt Schultz, guitarist and singer, respectively, are a bit… odd. (They’re very nice. We’ve talked to Brad‐ he’s so polite and sweet‐ and the other guys are always great with crowds and just seem like such decent people. Even their roadie, Jordan, is not only the most competent roadie I’ve ever seen, but is a truly nice guy.) Cage the Elephant in general is a bit odd. But they create incredible, raw, honest, bizarre, hard, touching songs‐ sometimes a song of theirs is all of these things at once. And sometimes you wonder how they get away with singing and playing what they do, because it’s so… not what you’d expect from anyone at all. Their albums are a weird blend of tender and frighteningly violent, old and new influences, and they really sound like no one else I’ve ever, ever heard.

I love their music. Their songs… well, they speak to me in a way no one else manages to do in quite the same way. There have been long, frequent periods of time when, no matter what other albums are out at the time, I’ve had to listen to Cage the Elephant‐ an entire album, not a song or two‐ at least once a day. And the times between those periods of Cage the Elephant obsession are pretty short. The music they make, makes me feel good. It makes me feel alive.

Cage the Elephant live in Irvine, CA, (left to right) Brad Shultz, Matt Shultz, Daniel Tichenor - photo by Sunnie LaPan Sometimes the songs are simple. Sometimes they’re complex. Sometimes they sound like a mess but they aren’t. Matt is an incredible lyricist‐ he conveys complex, deep ideas in ways that are accessible, and at the same time, he’s able to string words together so that they fit, like puzzle pieces. They sound good piled together, like each word was meant to be next to the one before it. The guitars are raw, distinctive, sometimes sharp but sometimes sweet and lovely. The drumming… Jared Champion is just one of my favorite people. He keeps beautiful time, all the time. He’s a genius at creating unique patterns. His playing always flows, and is always flawless. He knows when to go crazy behind the kit, and he can do it well, but he also knows when to slow down, mellow out, pull himself back. He’s the backbone of the band and it’s obvious.

But there’s something about a Cage the Elephant concert that goes above and completely beyond their studio music. It’s weird to say, but I think Cage the Elephant is probably the most professional band I’ve ever seen, for all their craziness, for all the complete, nearly uncontrolled rawness of their music. All the times we’ve seen them live, all the times we’ve seen them play on this or that TV show, all the times I’ve watched a live performance on YouTube, I’ve never seen them make a mistake. Ever. So yes, Matt Shultz is a crazy, wild, energetic mess of music on stage, and it makes you want to be wild while you’re watching him. And yes, you can tell how much the rest of the band are pouring themselves into each song, even when they’re a bit too nervous or shy to show it. But when Cage the Elephant is on stage, and you’re in front of them… there’s something more going on there. Something bigger and greater that they create out of thin air, just by doing exactly what they do. Maybe it’s the way they structure their set or the excellent dynamics in the songs, or how much they obviously love what they’re doing, but I think what happens is that something else gets created in that moment, and when you see them live, you can feel it, and it’s better than any other feeling.

The last time we saw Cage the Elephant, two teen girls stood behind us, and they were friendly and we ended up chatting with them before the show started. And after, we two halves of HfC both told each other we were sure those girls had had no idea what they were in for. A Cage the Elephant concert is… different. It’s a mad crush. It feels dangerous, (although I’ve never been scared at one of their shows like I have at some other concerts‐ whenever Matt or Brad stage dive, and they will, they’re exceptionally careful about where they land, where they go, who’s in front of them, and they’re always very conscious of exactly what they’re doing.) A Cage the Elephant show makes you want to lose yourself. It makes you want to be wild. It puts your mind in another state. Sometimes it almost feels like too much, like you might explode because of all the energy and the craziness. And we said that those poor girls, who we saw getting Security to fish them out of the crowd half way through the show, had no idea what they were in for. You can describe a concert to someone, you can know Cage the Elephant’s music, but you don’t really know what it’s like to be there, seeing them, until you are. You go to a Cage the Elephant show, and either you have the time of your life and nothing else ever quite measures up, or you’re afraid to ever go to another concert again.

Brad Schultz - Cage the Elephant

For me, nothing else has ever quite measured up. When they do ‘Sabertooth Tiger’ at the end of the show, and there’s that long pause before Matt screams into the microphone… Ugh. I scream and throw myself around, sometimes so hard I’ve been afraid I was going to pitch over the seats in front of me. And in that moment, I wouldn’t mind, because I’m not even in my body. And it feels so, so good.

Cage the Elephant means kind of a lot to me. The truth is, that first night when we went to see them, when we didn’t even really know who they were, I was… not a happy person. I’d had a shitty year that I was still trying to drag myself out of. I was aimless. I was a drummer, but I didn’t even really want to listen to music anymore. I was doing a lot of things, including absorbing songs and playing drums, more because it was what I was supposed to, in my mind, than because I actually wanted to. But I wasn’t enjoying myself. I wasn’t happy.

Cage the Elephant woke me up. They didn’t teach me anything new or give me any big revelations or even show me anything I hadn’t seen before. They just came along and physically yanked me out of the slump I’d been in for months and months. Literally. Matt Shultz jumped off the stage and stood in front of me and clamped his hand down on my shoulder and shook me while he sang at me.

I don’t think I’ve ever been the same.   -SEL

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Apocalyptica in Colorado- (l-r) Mikko, Perttu, Eicca, Paavo - photo by Sunnie LaPan

Eicca in Tempe Arizona - photo by Sunnie LaPan Eicca in Tempe Arizona - photo by Sunnie LaPan Eicca in Tempe Arizona - photo by Sunnie LaPan

Classical music met heavy metal when Apocalyptica was formed. It happened when four superb cello players from Finland got together to study and reproduce the intricacies of the metal band, Metallica.
Three years later the elegantly arranged first Apocalyptica album Apocalyptica Plays Metallica by Four Cellos was released. Since then, that album and seven more have sold millions of copies worldwide.

Pertuu in Tempe Arizona - photos by Sunnie LaPan

The lineup of band members has changed slightly over time, and currently consists of three amazing cello players (Eicca Toppinen, Paavo Lotjonen, and Perttu Kivilaasko) and a killer drummer (Mikko Siren). There have been a couple dozen guest recording and touring vocalists. Mikko in Tempe Arizona - photo by Sunnie LaPan

Apocalyptica ballad

The most recent addition of guest singer Franky Perez for the Shadowmaker album adds even more drama and consistency to the live show.

Paavo in Tempe Arizona - photos by Sunnie LaPan

But, chances are that we might never have known about Apocalyptica before 2007 had someone not brought the news of this band back to us from Europe. Ever on the quest for great new music, we listened. And we were enamored. Finally, more of America began to notice after the release of the 6th album, Worlds Collide, which featured a couple of songs (‘I Don’t Care’ and ‘I’m Not Jesus’) that got played on the radio.

Apocalyptica in Tempe- photo by Sunnie LaPan

Fortunately for us, the success of those two singles gave Apocalyptica the opportunity to tour the United States. We saw them three times in 2008. What a thrill! They put on a fantastically unique show – no opening band was necessary. They played everything with stunning passion - from their own compositions to metal covers to Edvard Greig’s classic ‘In the Hall of the Mountain King.’ Every time we’ve seen them Eicca Toppinen breaks a string at some point during the set. They are so very skilled that while he changes his string someone else covers his part, but not for long. It only takes him about 30 seconds to replace and tune. I couldn’t believe my eyes the first time I saw this feat.

One other unusual thing I'd like to mention is that while Apocalyptica fans are extraordinately passionate, they are a considerate bunch. Unlike other rockin' shows, I'm not afraid at an Apocalyptica concert about getting surfed over, injured or just having to struggle to keep my place. I don't expect to go home with goo in my hair or beer in my shoe. Pretty much, the worst thing that happens is that you get stuck next to a guy woefully singing "Bittersweet" loudly and out-of-tune.

It doesn’t hurt that the band members of Apocalyptica are among the most gorgeous specimens of human physique in the music world. Each has a distinct appearance and personality and they are manly, sexy and beautiful. When we met them in Colorado Springs they were gracious, friendly, humorous, and charming.
It would have been easy to make a gushing fool of myself. -AEL

Eicca and Paavo in Tempe Arizona - photo by Sunnie LaPan

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Foster the People

Foster the People live in Irvine, CA.   Mark Foster is on the left. - photo by Sunnie LaPan

One listen to the synthetic keyboard tones that Foster the People produces, and you feel as though you already know the songs. The upbeat construction of the choruses and verses gives way to surprising lyrical edge. I find myself happily singing along to ‘I took a sip of something poison’1 and ‘you better run, better run, outrun my gun.’2  

I get the feeling that Mark Foster spent a good portion of the last few years holed up in his studio putting songs together. The first Foster the People album Torches is aptly named, as it took off like wildfire. Within a few months of its release, it had already scored chart positions for two songs, and a major auto manufacturer was using another of its songs in commercials. Every track is listenable and infectious. They put on a great live show, too!     - AEL

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TV on the Radio

TV On The Radio "Oh come around - Inform our future youth - Summon from the sky"1

I bought the TV on the Radio album Return to Cookie Mountain sound unheard, on the recommendation of Brian Molko, singer extraordinaire of the band Placebo. Right away I was smote with the audacity that a rock band would open an album with a song that sounded like a funeral dirge from New Orleans, complete with French horns and the implications of a full band of laid-back disorganization. But, rather quickly I came to realize that TV on the Radio has sophisticated style. These musicians are a cohesive group of talent that’s intricately detailed and punctuated with lyrics like "My clone wears a brown shirt and I seduce him when there’s no one around. ... on a bed of nails."2 TV On The Radio

Fooled again, this time by the basic beat that starts the next song, the multi-layered excellence can be heard over and over without boredom setting in, because there’s so much to notice. Each song on the album is different from the last, yet each retains the characteristic hooks and distinctions that make TV on the Radio great.

The next album I bought was Dear Science. It’s really good, too. But, this time around the songs have so much individual flavor that a person might not recognize the band as TV on the Radio from song to song. Melodies sing and harmonize with edge. Percussion sparkles with definition and punch. (The song ‘DLZ’ from this album added intensity and release to an episode of Breaking Bad.)

Gerard Smith
The more recent album Nine Types of Light was made into a full length artistic video. Tragically, during the making of this album, TV on the Radio’s fantastic bass player fought a battle with cancer, which he lost at age 36.

Nonetheless, the band’s artsy production prevailed, and we looked forward to their ability to move forth from this blow. And they did! The album Seeds is fantastic!

Give them a listen. TV on the Radio is ‘Gonna teach you tricks that’ll blow your mind.’3     - AEL

1from the song Hours
2 from the song I Was a Lover
3 from the song Wolf Like Me


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alt –J

Joe of alt-J photo by Ann LaPan

Spray this into your eyes.

Joe and Gus of alt-J photo by Sunnie LaPan
I stumbled upon alt-J shortly after their first album, An Awesome Wave, was released. Their sound was innovative, fresh, and intelligent. I liked the song Breezeblocks, but I didn’t really pay attention to the lyrics until the video came out. Then, I’ll admit, it was so creepy, it scared me off. So, it was a good half year, until we heard the band on the radio again, that we decided to look at them a little more deeply (without being held under water with cinder blocks.) Fortunately, the first track I heard was Taro, an amazing song based on the true love story of two war photographers. I have never heard a song that even comes close to approximating the uniqueness, raw splendor, and brutal reality of this song. I fell right in love with it, and after three listens, had to walk around the house shaking my head and holding my face on. That was it. I’m now an obsessive, crazed alt-J fan.

Tile seeking
Gus of alt-J photo by Ann LaPan

Alt-J is a daring band. They do things that sound good — no matter what tradition dictates. They leave parts out if they think that will enhance the sound. It’s kind of like a gourmet dinner — delectably dressed morsels of sensory delight are offered up with exactly enough spice and time to savor the taste between each bite. And even though the songs are catchy and hook deeply, it takes more than one satisfying listen to assimilate the album and to realize the perfection of what you’re ingesting.

“The nights of all my youth pressed into one glass of water”2

The band originally consisted of four members: Joe Newman, the lyricist, singer and guitar player; Gus Unger-Hamilton the keyboard player, vocal harmonizer, and spokesman for the band; Thom Green, the drummer; and Gwil Sainsbury, the player of bass, percussion, and guitar, who left the band before the second album was made.

Joe’s vocals are gritty and haunting, but when blended with Gus’ clear harmonies a dimension is created that is not typical in modern music. The guitar and keyboard tracks add balance, structure and flavor.

drums alt-J photo by Sunnie LaPan Let’s talk about Thom, the drummer. Have you ever seen a drum set on a stage to be played for a rock concert that has no cymbals? I mean seriously, no crash, no ride. (What would Terry Bozzio think?) Thom is an artistic, genius player. His kit is rounded out with cowbells, tambourine, bongos and electronic drums. In keeping with the band’s personality, he is conscious of every single sound that his drum set makes. He plays dynamic, well thought-out, precise, patterns. It’s elegant musicianship.

When I heard that Gwil had left, I was afraid for the band because his personality, instrumentation and techniques seemed to be meshed into the fabric of the band’s structure. But, the three remaining members produced a second album that rang true to the band’s character. “This Is All Yours“ is another musical masterpiece.

Joe Newman alt-J photo by Sunnie LaPan

“Unpin your butterflies, Russia”3

I’m far from knowledgeable about what goes on in Joe’s mind when he is writing lyrics. If sex and drugs are the meat of Rock ’n’ Roll, then alt-J fits the genre. The lyrical content, at times, is crass, bold, raw, cutting, and rude; but quite often compassionate, intense, poignant, and packed with double entendres. (They even caught the ear of master lyricist, Conor Oberst, who has a guest vocal on the second album.) And there’s usually a story involved. Considering this glaring exposure of Joe’s inner thoughts and heart, it’s almost surprising that he’s so very shy in public. The tête à tête interviews are usually Gus’s domain. (Pardon my French – I’ve been listening to too much alt-J.)

“I lack the zest of a lemon, looking forward, unless I have a woman pushing me.”4

We’ve seen alt-J live only four times, and each time we had to travel all day to get to the concert venue. It was worth it. The last time three times we saw them, they played almost all of both their albums. We stood at the stage – we’re front row gals at SRO concerts – The time before last we were within touching distance of the drum riser. We couldn’t often tear our eyes away from Thom’s perfect performance.

Could my prose get any more purple? Probably – as long as alt-J keeps making this quality music, I’ll continue to effervesce.     - AEL

1from the song The Gospel of John Hurt
2 from the song Ms
3 from the song Nara
4 from the song Pusher


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