Hey Ocean! You're Awesome!

If I were to have the opportunity to interview Hey Ocean! personally, my list of questions would be extensive, albeit some trivial. I’d first inquire as to how imperative the exclamation point is to the band’s persona and how the trio arrived at the name. Second, I’d ask whether the fact that many of the band’s best tracks (in my opinion) favor the “water” motif is deliberate or merely coincidental. Finally, I’d probe as to how, after nine years, three albums, three EP’s, countless tours and yet almost no attention from the American media, the threesome has the stamina and fortitude to continue making such feel-good music.

Hey Ocean! is a Canadian indie rock and folk band from Vancouver. While two of the three members have been friends since childhood, it wasn’t until they met their bassist that they decided to form a band. Since 2005, the band has toured Canada widely, performing at music festivals from Calgary to Montreal. The group’s ethereal sound can be attributed to its sampling of different genres and incorporation of several instruments, including the flute. At times, the band’s sound reminds me of Sufjan Stevens (see “Islands”); at others, the female vocalist resonates a quirky pop a la Ingrid Michaelson. Regardless of the sound, I’m into it. And it couldn’t be more perfect for summer.

Here are my favorites, all off the band’s newest album IS, including a great cover of “Be My Baby.”

The Fault in Our Stars

If you're at all familiar with my blog, you've undoubtedly come to expect (and adore) both my side-splitting humor and my uncanny ability to constantly feature attractive band members (it's a talent, really). Thus, I feel it is my duty to caution you: this post is deep. Like, philosophical deep. And if you've read or seen "The Fault in Our Stars," you aren't the least surprised.

If you're at all familiar with me, you know how much I revere film scores and soundtracks. I've said time and time again that movies and television shows would be emotionless, nay, meaningless without  their accompanying music. And while I certainly appreciate a good score (such as that of The Words, Amelie, Coco Avant Chanel, Eternal Sunshine of the Spotless Mind, Atonement, etc.), nothing sends me soaring quite like that cinematic moment in which a character's plight connects so deeply with a singer's voice, as if those two people transcend their dimensions, if just for a moment. One artist, heard but not seen, expressing the pain of another, seen but not heard. In my opinion, it's the most powerful collaboration of media. I could go even deeper into this convention of a "collaboration" by elaborating on how we, ourselves, are collaborating with the artists we see and hear by contributing our own experiences to these evocations, therefore producing reactions that are a culmination of what we acquire and what we reflect... but I won't. 

On to the music. The soundtrack to "The Fault in Our Stars" does not disappoint. It features some of the gods and goddesses of today's indie/emo scene, including M83, Birdy, STRFKR, Grouplove, Lykke Li, Ray LaMontagne and Ed Sheeran. Here are my favorites from the film:

"Boom Clap" by Charli XCX (featured on the film's trailer)

"Simple As This" by Jake Bugg

"Not About Angels" by Birdy

"All of the Stars" by Ed Sheeran

"All I Want" by Kodaline

"Long Way Down" by Tom Odell

"Without Words" by Ray LaMontagne

"Wait" by M83

For more on the film, visit the official website at http://thefaultinourstarsmovie.com. 

As Seen on TV

"COME BACK" - David O'Dowda

There's something simultaneously intriguing and infuriating about a man of mystery like David O'Dowda. About all I know of him is that he is Irish, hails from Manchester, and is absolutely adorable. I became enraptured with his haunting voice when I first saw FX's promo for its new show "Tyrant," and was instantly reminded of that Bon Iver/ James Vincent McMorrow sound I so adore.

"THIS YEAR" - Cooper

If you've watched even a moment of E! programming this month (right...I haven't either), you're by now familiar with the new promo for "Keeping Up With The Kardashians." Cooper (short for Kate Cooper) is no newbie to the indie music scene. In fact, she fronted an Aussie band called Iron On since 2002, recently going solo and releasing several singles including "Flood" and "Heaviest of Weights."

"YOU & ME" (Flume Remix) - Disclosure ft. Eliza Doolittle

If you haven't seen the Lacoste ad entitled "The Big Leap" that features the Flume Remix of Disclosure's "You & Me" yet, do yourself a favor and do so immediately. You've already heard of Disclosure thanks to the band's now top 40 hit "Latch" featuring Sam Smith. And since Disclosure is an electronic music duo (comprised of two English brothers), the two have similarly enlisted Eliza Doolittle's vocals on this track.

GRAMMY'S 2014: Great Expectations

My mom once told me that, if I can't say anything nice, I shouldn't say anything at all. Luckily, my mother has grown to accept my outspoken nature, because I (unfortunately) have very few compliments to pay the Recording Academy, and whoever else is responsible for last night's slumber party. Which do you want first - the good news or the bad? Okay, fine. 

The good news. LL Cool J is somewhat amusing and totally endearing again (as opposed to last year's "funeral" fiasco). He's so endearing, in fact, that he can insult Taylor Swift and provoke a high-five rather than a Kacey Musgraves stare-down. Performance-wise, John Legend reminded us all why he's no "ordinary people" during his performance of "All of Me." Hands down, the best of the night. We were also reminded why Pink is not just a Covergirl, but Superwoman. Yes - completely lame that her team couldn't come up with a new concept from last year's show (or her tours, for that matter); but no less amazing to see her sing live (and so, so well) while hanging upside down from a bed sheet. To then watch her flow effortlessly into "Just Give Me A Reason" with Nate Ruess, hitting her notes with such precision and ease, makes me wonder whether she has bionic lungs. 

Keith Urban may be "a little bit country," and Gary Clark Jr. may be "a little bit rock and roll;" but they're both insanely talented guitar players. And if your ears and eyes didn't perk up during their solo, you're, well, a little bit stupid. Carole King and Sara Bareilles were also a perfect match, with their mash-up of King's "Beautiful" and Bareilles' "Brave." 

Now for the bad news. It's become obvious that the Grammy's are trying WAY too hard to pair artists and mix genres in hopes of fabricating a "Grammy moment" or "make history." Yet, that's exactly what the Academy is accomplishing - a fabrication. It is painfully forced and contrived, robbing viewers of the organic experience one desires from a live show. The quintessential illustration of this awkwardness was Miranda Lambert and Billie Joe Armstrong's homage to Phil Everly with "When Will I Be Loved." The harmonies were fine and the song is a classic, but it just didn't work. The same can be said for Chicago and Robin Thicke (although I liked each of their performances individually) and Metallica and Lang Lang. Alternatively, I was pleased with the collaboration between Imagine Dragons and Kendrick Lamar.

My biggest let-downs, by far, were Beyonce and Jay Z, and Lorde. Perhaps my great expectations are to blame. But what in the name of single ladies were Bey and her hub thinking by opening the show with "Drunk In Love?" Anything - I mean ANYTHING - would have been better than that, and I'm not even referring to the fact that they tried to procreate a sibling for Blue on national television. I suppose, in hindsight, it set the tone for a four-hour "What is going on?" moment. As for Lorde, meh. Epic disappointment. And while this is certainly not a fashion blog, I feel as though I'd lose credibility if I didn't at least acknowledge Katy Perry's witch costume. Did she buy it at Walgreen's? I mean, really. 

To end on a positive note, I'll say that I loved the Academy's use of amateur YouTube-esque covers to introduce nominees. I was also a huge fan of Kacey Musgraves, and it's not (entirely) because of her stank face. The most fun performance of the night was Pharell, Daft Punk and Stevie Wonder's rendition of "Get Lucky," despite its rocky start. Daft Punk's use of "Harder, Better, Faster, Stronger" and "Le Freak (Freak Out)" made the song even more infectious. It was the first time I saw everyone in the audience, old and young alike, get up on their feet and enjoy themselves. It even earned a peace sign from the ever-stylish Yoko Ono.

Grammy FUN.

I'll admit, I'm a sucker for sentiment. But when did opening monologues stop being funny? Understandably, LL Cool J had no opportunity for jokes at last year's ceremony, but spare us the sob story of your rise to the top and how we still don't know "the real you." Your "grammy" would be ashamed, and not just because of your insistence upon wearing paddy hats to possibly the biggest gig you've ever booked... twice. What I did find touching was his conclusion of the never-ending whitney-ism with the words  "And as your host, let me tell you all we are so happy to see you here." 

Are you listening, Rihanna? The 55th Annual Grammy Awards started off slow. Ed and Elton were all wrong for each other. Their harmonies were strange, their tones blended awkwardly and, at the risk of the glitter gods striking me for blasphemy, Elton added nothing to the otherwise "A-Team" performance. Also, is LL hard of hearing? It's SHEERAN, not Sharon. Jeez.

Now let's have some FUN. As a long-time fan of the boys (they're not actually a new artist, guys), I am always drawn to the quality and consistency of Nate Ruess' voice. I began to notice early on in the telecast that artists are trending away from the medleys that have dominated music award shows for the past decade and back toward showcasing their singing chops via one solid song. I'd just like to go on the record and say, I'm into it.

My favorites of the night? Miguel and Wiz Khalifa's collabo on "Adorn," although I'm still not sure if that was a performance or award presentation. Mumford and Sons (if you read my latest post, you know where this is going) were, at the risk of sounding ig'nant, amaze-balls. I'm obviously biased, but how could anyone with even a fractional use of their five senses find them to be anything but that? 

A question: If I direct HOV to "get out [his] seat," will he do it? Who said stars can't take direction!? So incredibly badass of Jay-Z, by the way, to hold on to his liquor for as long as he could before his presence in the performance proved absolutely necessary. Maybe it's some kind of badass-by-association, but JT has never looked better. Marriage clearly suits him (get it? "suits" him?). While he employed the high register and hip thrusts we all know and love, the strategic song duo served as a preview of his new album, making apparent his transition from pop to R&B. 

Other faves of mine include the Maroon 5/Alicia Keys live mash-up, the Bob Marley tribute (although Rihanna was obviously there for visual enhancement), the Lumineers and the In Memoriam rendition of "The Weight." It will surprise very few that I actually "yippee-d" aloud the moment i heard the first bar and spotted Zac Brown. That reaction was propelled by the great Mavis Staples and Brittany Howard (a-la Alabama Shakes). What a way to go...

While the tribute came in a close second, my absolute best performance of the night was, hands-down, Jack White. Thanks, Jack, for ditching Meg and going a few shades darker. Too far? My biggest disappointment of the night? Frank Ocean. Bombarded by the "is Frank Ocean overrated?" statuses this morning via social media, I stand by my man. You'd be nervous too making your Grammy debut amongst your idols and peers... and Chris Brown. You'll kill it next time, Forrest. 

Lovers of the Light

It's hard to imagine that, only three short years ago, Mumford and Sons was struggling to finance their own recordings, borrowing instruments if they could, trekking around small venues in the UK and US. Fast forward to Wednesday night, where even an inaudible word uttered under Marcus Mumford's breath could silence a crown of 18,000 hipsters. 

Admittedly nervous of the obvious challenges facing a predominantly bluegrass/folk band in such a massive space, it's the understatement of the century to say that I was pleasantly surprised. While the seating capacity is almost identical to New York City's famous MSG, I found the venue exceptionally and simultaneously awe-inspiring and intimate. On second thought, maybe that was just Marcus. Hmm. TBD. 

Similar to my views on the previews before a movie, I hate missing the opening acts. I've stumbled upon some amazing bands that way (I also feel badly for the openers playing to half empty stadiums). Last night's openers, however, felt no shortage of love from Mumford's loyal subjects, although my affection was less abundant. Having seen Ben Howard in the cozy Cake Shop-esque setting of New York's Webster Hall, I was equally concerned that his grandeur would be lost amongst the bright lights of Brooklyn. Au contraire mon ami. My only complaint was that his set was entirely too short, singing a few familiars to start, introducing one new song and finishing with fan-favorite "Only Love." While a cynic may be tempted to attribute Ben's spell upon the crowd to the state-of-the-art acoustics of the Barclays, I assure you The Felice Brothers dispelled that theory with the first strums of their guitars. Oh well. I was grateful for the opportunity to grab a square from L&B's and another Heineken. 

As one may expect, although the "everybody's doing it" mentality all but precludes my agitation for the practice, Mumford and Sons took the stage just after 10pm. Fine by me, as the proceeding 105 minutes were, well, life-changing. The band played "Babel," "I Will Wait" and "Lover of the Light" early on, bringing each of the 18,000 concert-goers to their leather-booted feet. Other notables include the instrumental leading up to "Thistle & Weeds," "Ghosts That We Knew," "Awake My Soul," "Below My Feet," and, of course, "Little Lion Man." When the boys were up, the energy was almost uncontainable. When they were down, you could hear a pin drop. Marcus Mumford exudes rock and roll stature in his every move -- rotating instruments with ease and pulling out his ear pieces in one swift, hasty movement just before reaching a song's poignant moment. Perhaps it is this almost supernatural command over the crowd that has managed to carry the boys from anonymity to the world's biggest selling rock band in record time. 

A final comment on the visuals. Even the most jaded New Yorker from Times Square would have been impressed with the lights strung across the stadium, changing color per song in perfect sync. The vibrant stage complimented the four stark, documentary-style black and white jumbo screens directly above it. The boys' seamless transition into a straight row by the end of almost every song illustrated a chilling "united we stand" motif. After all, the other boys deserve some face time too. 

The icing on the cake were Marcus' praises of New York crowds, admitting that he only has one friend in New York. I find that hard to believe, but on the off-chance that it's true (and that Marcus Mumford is reading), I know where they keep the good pizza. (Wink wink). Mumford and Sons is playing the Barclays again this coming Tuesday ... ya know, if you happen to have a first-born child to spare on a ticket. 

SON of Anarchy

Are you a "Sons of Anarchy" fan? Yeah, me neither. But I am a fan of the show's soundtracking. More accurately stated, I am OBSESSED with Joshua James. Combining elements of Bob, Amos and Ray (and bearing a strange resemblance to Jared Leto), Joshua personifies a manifestation of all my favorite men. His late 2012 release, From the Top of Willamette Mountain, provides an intense aural experience -- and his first single, "Queen of the City," is, well, nothing short of an "aur-gasm." 

Hardly a rookie, Utah's Joshua James has been at it for almost a decade, opening North American tours for notables like John Mayer, Ani DiFranco and Third Eye Blind, among others. While his first single exemplifies an edgier rock sound, the majority of the album builds upon the folky gospel vibe so prominent in his earlier work. Regardless of the genre, the content is always consistent: the stuff of great blues -- drinking, drugs and deities. My favorites on this album are too abundant to name. Do yourself a favor and just buy the entire album; it will be the best $9.99 you spend this year. If you're feeling particularly spendy, add his Build Me This (including "Coal War," below) to your cart. 

http://www.joshuajames.tv/