And so ends the best sports weekend of the year... luckily, we got the added bonus of having an entire music tournament to talk about! If you haven't already done so, make sure you VOTE in the We Listen For You tournament. Our match-ups will look different because 1) we're giving you OUR picks and 2) we've altered the seedings so that they mimic the actual NCAA tournament seedings (something that the bracket-maker WLFY used wouldn't allow them to do). Because of that, the two brackets will look very different, but we didn't think it would be fair for a #1 seed to have to play a #5 seed in the second round (as opposed to the winner of the #8/#9 match-up). At the end of the tourney, we'll do a little comparison, admit our mistakes (or not) and explain why our picks are infinitely better than the general public's (which they probably aren't). The final bands making the Sweet 16:
(1) TV on the Radio vs. (9) Blitzen Trapper
Winner: (1) TV on the Radio
We rarely get comments at GSATW. Probably because people know that everything we say is right. However, when we moved TV on the Radio into the second round, someone mentioned that we made a mistake... that "you certainly know exactly what you're going to get" with TV on the Radio. I'm bad at understanding sarcasm through the interweb, so I'm assuming that "what you're going to get" is a fucking badass record and not some off-hand comment about them being predictable. It's a shame that "production quality" is synonymous with terms like "commercial" and "slick..." basically a death sentence for an indie rock album. Just because something sounds good doesn't mean that a band has sacrificed their musical integrity! Maybe it means they put more time and money (which they've earned putting out great albums and touring their asses off) into their work because they want better output. Dear Science, then, is not predictable and bland... it's a testament to what you can produce when you pour everything (talent, originality, effort, and yes... money) you have into something. Blitzen Trapper, while technically sound and incredibly fun to listen to, is outclassed at basically every turn. TVOTR in a landslide.
(4) Girl Talk vs. (5) Bon Iver
Winner: (5) Bon Iver
Girl Talk is the stage name of Gregg Gillis. I feel like I have a lot in common with Gregg. Gregg is from Pittsburgh. I have a friend named Greg from Pittsburgh. Gregg is/was a biomedical engineering. I majored in biomedical engineering. Gregg would leave work, fly from Pittsburgh to Miami, play a club show, fly back to Pittsburgh, and go to work the next morning. I leave work, sit on my couch, have a couple beers, play Wii MarioKart, then go to bed at 11. Tomato, tomahto. The point is, I like Girl Talk a lot, and I really respect the amount of effort it takes to sample and sequence all of the songs he puts together. But at the end of the day, Gillis cuts and pastes. Is that incredibly condescending and a gross oversimplification of what a Girl Talk album is? Absolutely. But I can't help it. Bon Iver is just the most recent beneficiary of my mash-up bias. Plus... For Emma, Forever Ago blew me away when I heard it, and his Blood Bank EP does nothing but whet my appetite for another full-length LP. This is what it'll feel like when my beloved Devils go down. Sad times.
(11) Joanna Newsom vs. (14) The Mae Shi
Winner: (11) Joanna Newsom
I need to write less. People are going to get bored, and this seems like a good time to exercise brevity. Joanna Newsom squeaked by in the first round on, let's face it, her past success. That's not to say she didn't deserve the win over Dan Deacon, but it still felt a little wrong. Luckily for her, I have very little invested in The Mae Shi. They're solid, and definitely a lot of fun, but they're prone to their indulgences (disclaimer: so is Joanna Newsom... see: Ys). But just one question... who else, in the realm of indie music, uses a harp as their central instrument? I'll give you a hint: it's not The Mae Shi. Seeing Newsom live is incredible... not only is she physically beautiful (sorry, I'm not sorry), but watching her hands deftly move up and down her harp while listening to her delicate vocal quiver is an experience you won't forget. I promise.
(2) Sufjan Stevens vs. (7) Antony and the Johnsons
Winner: (7) Antony and the Johnsons
Sufjan got through the first round on reputation alone. Period. I have to assume that he's writing new music, and if his contribution to Dark Was The Night is any indication, he's playing around with some new ideas. But I have to reiterate... Illinois came out in 2005. Avalanche (essentially all of his extra tracks from the Illinois recording sessions) and his Songs For Christmas box-set came out in 2006. And that's been it. Two years, no new proper album. Antony and the Johnsons, on the other hand, just released The Crying Light, an early favorite to be included in end-of-the-year Top 10 lists and a commendable progression from I Am A Bird Now. Antony Hegarty revels in the silence, and his voice alone should be considered an instrument on any song. Carefully chosen orchestral swells accent only the most important moments of The Crying Light, and whereas I Am A Bird Now allowed Antony to occasionally fall back on a number of guest artists, this album finds him on his own, comfortable with his sound. It's definitely an accomplishment... something Sufjan hasn't experienced for a minute.
Showing posts with label Second Round. Show all posts
Showing posts with label Second Round. Show all posts
Sunday, March 22, 2009
March Music Madness, Round 2 - LCD Soundsystem Region
Time to figure out who will be dancing with the Blue Devils in the Sweet 16! Today, the LCD Soundsystem and Wilco regions.
(1) Kanye West vs. (9) Beach House
Winner: (1) Kanye West
I watched "Role Models" last night, and good God I forgot how funny Jane Lynch is in that movie. In honor of her performance, this represents the "You Can't Bullshit and Bullshitter" match-up of the Second Round. As in, anyone who thinks Beach House can match up with Kanye is in all-out BS mode. Musically, Beach House likely draws the slight edge, but as a package, Kanye will roll through this round. We've already mentioned the change in style for 808s and Heartbreak, but we also have to consider Kanye's past, going as far back as a producer for Jay-Z's seminal album, The Blueprint. Even before getting behind the mic, West excelled at making beats and hooks, and being around one of the greatest rappers ever definitely contributed to his ability to successfully transition from soundboard to studio. Maybe I just don't have the patience for Beach House's critically-acclaimed Devotion, but when push comes to shove, I'd rather hear Kanye's auto-tuned conflict of bravado-meets-lonliness than Beach House's slow-burner.
(12) No Age vs. (13) The Cool Kids
Winner: (13) The Cool Kids
I really want The Cool Kids to get big. If the Beastie Boys were able to infiltrate pop culture and earn critical praise, then there's no reason why Mikey Rocks and Chuck Inglish should be unknown (the same could be said of Wale, who should've been included in this bracket simply because of the buzz he's generating right now). Will their style of late 80s/early 90s hip-hop fly in an era of "ring-tone rappers"? Can rappers be successful if they don't create songs simply for the purpose of starting a dance? Is the auto-tuner destined to stay, or will we see an eventual revolt against the electronic and a return to pure voices creating original raps? Will those raps, out of necessity, be about drugs and guns and gratuitous sex, or can they be funny... ironic... intelligent? Who knows, but I nominate The Cool Kids to be ambassadors for ushering in a cleansing of the hip-hop landscape and a movement towards a world that exists sans Soulja Boy. It's time.
(6) The Decemberists vs. (14) The Walkmen
Winner: (6) The Decemberists
Of all the albums I'm excited about coming out this year, The Decemberists' Hazards of Love has to rank near the very top. I have yet to be disappointed by any of their records, and each new volume provides a two-pronged experience... music and lyrics. I can go multiple listens without truly hearing what Colin Meloy is saying, and then all of a sudden it becomes apparent that I've been ignoring a tightly written story... usually one that would be equally at home in an AP English class as on my car stereo. Is there really an audience for a song entitled "Valerie Plame" (yes, that Valerie Plame)? Maybe not, but The Decemberists have never really cared about making contemporary albums. In fact, many of their early albums lean... maritime. Yeah, maritime. As in, boats, seas, knots, etc. But they're incredibly entertaining (and not as cringe-inducing as one would think upon hearing the term "concept album"). As long as they continue to create musically and lyrically hefty albums, they'll continue to advance.
(2) Yeah Yeah Yeahs vs. (10) Cut Copy
Winner: (2) Yeah Yeah Yeahs
This match-up hurts my heart. Every time I hear Cut Copy, I feel happy. Synths and drum kits and loops and wandering bass lines and whatnot... it's glorious dance music. "Out There On The Ice," "So Haunted," and "Hearts On Fire" were absolutely 3 of my favorite 20 songs from 2008. If you haven't heard them, DO IT NOW!! But It's Blitz!, the new Yeah Yeah Yeahs album, is sooooo good, I'm having trouble thinking of objective things to say about it. Karen O's voice is, for the most part, more restrained on this album than in the past... which makes her yelps and yips that much more goosebump-inducing when they do occur. This is looking like a serious contender for the overall title. Don't sleep on the Yeah Yeah Yeahs.
(1) Kanye West vs. (9) Beach House
Winner: (1) Kanye West
I watched "Role Models" last night, and good God I forgot how funny Jane Lynch is in that movie. In honor of her performance, this represents the "You Can't Bullshit and Bullshitter" match-up of the Second Round. As in, anyone who thinks Beach House can match up with Kanye is in all-out BS mode. Musically, Beach House likely draws the slight edge, but as a package, Kanye will roll through this round. We've already mentioned the change in style for 808s and Heartbreak, but we also have to consider Kanye's past, going as far back as a producer for Jay-Z's seminal album, The Blueprint. Even before getting behind the mic, West excelled at making beats and hooks, and being around one of the greatest rappers ever definitely contributed to his ability to successfully transition from soundboard to studio. Maybe I just don't have the patience for Beach House's critically-acclaimed Devotion, but when push comes to shove, I'd rather hear Kanye's auto-tuned conflict of bravado-meets-lonliness than Beach House's slow-burner.
(12) No Age vs. (13) The Cool Kids
Winner: (13) The Cool Kids
I really want The Cool Kids to get big. If the Beastie Boys were able to infiltrate pop culture and earn critical praise, then there's no reason why Mikey Rocks and Chuck Inglish should be unknown (the same could be said of Wale, who should've been included in this bracket simply because of the buzz he's generating right now). Will their style of late 80s/early 90s hip-hop fly in an era of "ring-tone rappers"? Can rappers be successful if they don't create songs simply for the purpose of starting a dance? Is the auto-tuner destined to stay, or will we see an eventual revolt against the electronic and a return to pure voices creating original raps? Will those raps, out of necessity, be about drugs and guns and gratuitous sex, or can they be funny... ironic... intelligent? Who knows, but I nominate The Cool Kids to be ambassadors for ushering in a cleansing of the hip-hop landscape and a movement towards a world that exists sans Soulja Boy. It's time.
(6) The Decemberists vs. (14) The Walkmen
Winner: (6) The Decemberists
Of all the albums I'm excited about coming out this year, The Decemberists' Hazards of Love has to rank near the very top. I have yet to be disappointed by any of their records, and each new volume provides a two-pronged experience... music and lyrics. I can go multiple listens without truly hearing what Colin Meloy is saying, and then all of a sudden it becomes apparent that I've been ignoring a tightly written story... usually one that would be equally at home in an AP English class as on my car stereo. Is there really an audience for a song entitled "Valerie Plame" (yes, that Valerie Plame)? Maybe not, but The Decemberists have never really cared about making contemporary albums. In fact, many of their early albums lean... maritime. Yeah, maritime. As in, boats, seas, knots, etc. But they're incredibly entertaining (and not as cringe-inducing as one would think upon hearing the term "concept album"). As long as they continue to create musically and lyrically hefty albums, they'll continue to advance.
(2) Yeah Yeah Yeahs vs. (10) Cut Copy
Winner: (2) Yeah Yeah Yeahs
This match-up hurts my heart. Every time I hear Cut Copy, I feel happy. Synths and drum kits and loops and wandering bass lines and whatnot... it's glorious dance music. "Out There On The Ice," "So Haunted," and "Hearts On Fire" were absolutely 3 of my favorite 20 songs from 2008. If you haven't heard them, DO IT NOW!! But It's Blitz!, the new Yeah Yeah Yeahs album, is sooooo good, I'm having trouble thinking of objective things to say about it. Karen O's voice is, for the most part, more restrained on this album than in the past... which makes her yelps and yips that much more goosebump-inducing when they do occur. This is looking like a serious contender for the overall title. Don't sleep on the Yeah Yeah Yeahs.
Saturday, March 21, 2009
March Music Madness, Round 2 - Flaming Lips Region
Time to analyze the bottom half of the bracket. The Flaming Lips region had a number of solid first round match-ups, and the second rounders are just as good, if not better.
(1) Fleet Foxes vs. (8) The Mountain Goats
Winner: (1) Fleet Foxes
Simply... The Mountain Goats have no mo'. John Darnielle and co. continue to make solid record after solid record, but honestly, a lot of it sounds the same. That's not to say that their output, most recently Heretic Pride, isn't worth listening to. It definitely is, and they have a pretty impressive track record. But you have to be in the right mood to listen to albums about child abuse (The Sunset Tree) and failed relationships (Get Lonely). Fleet Foxes burst on the scene this year with their Sun Giant EP clearing the way for Fleet Foxes to completely dominate the landscape. With an ethereal sound, Fleet Foxes offer deftly layered vocal arrangements on top of the expansive, open sound of their Pacific Northwest brethren. "Americana" might be an inaccurate description of the sound, but it sounds distinctly "American," and without question, it will be playing at some point on any extended road trip I have in the near-to-distant future.
(4) Beirut vs. (5) Wolf Parade
Winner: (4) Beirut
This was probably the easiest pick of the Round of 32 so far. I applaud what Wolf Parade are doing, but I have to reiterate how impressed I've been with Zach Condon and his bandmates in Beirut. They have managed to create a diverse discography that draws from a number of international sounds. It feels like I should be listening to Beirut on a gramophone, and their music has an overwhelming sense of antiquity, seemingly from a completely different time and place. And yet, it fits perfectly into our current musical landscape (especially if that landscape is "coffee shop"). For their most recent album, Beirut left the Eastern European influences at home and traveled south to Oaxaca, Mexico. As a result, March of the Zapotec sounds distinct from each of its predecssors. Probably the most exciting thing about Beirut is that Condon is only 23. How many more terrific albums are we in store for??
(3) Andrew Bird vs. (11) M.I.A.
Winner: (11) M.I.A.
I just changed my winner from Andrew Bird to M.I.A., and the reason is simple. Who else sounds like M.I.A.? Maybe Santogold a little bit, and Lil' Mama might be leaning in her direction, but both of those artists developed that sound after M.I.A. hit the scene. I've had quite a few discussions with people, most notably my brother, about whether M.I.A. is as good as everyone says she is. I was skeptical at first, but I'm coming around. That's not to say I can listen to either Arular or Kala all the way through, but both albums offer something that very few artists can these days: listenable experimental music. As opposed to The Fiery Furnaces, who lost in the first round of the tournament, M.I.A. (and producer Diplo) experiment with rhythm, sample, vocal inflection, sound, and probably a dozen other things over the course of an album. The success of those efforts are varied, but the resulting product is never boring. Andrew bird has a unique voice, but can easily be dropped into a genre. Try doing that with M.I.A. and you'll be left scratching your head.
(2) Of Montreal vs. (7) M. Ward
Winner: (7) M. Ward
This is really just an excuse to get Of Montreal out of the tournament. But let's sing a few praises for M. Ward, folksy guitar balladeer extraordinaire. From Transfiguration of Vincent to Transistor Radio to Post-War, M. Ward had about a 3 year streak of just top-notch output. He transitions seamlessly from honky-tonk romps to quiet, solitary love songs, and his seeming loud whisper of a voice fits both styles perfectly. Why his newest album, Hold Time, seems to be a drop in quality is hard to explain. Maybe he's more focused on side project She & Him. Maybe he's relying too much on a formula for his sound, not taking chances on different styles (although I'm not sure which direction he would go if he wanted to). Regardless, he's more enjoyable to listen to than Of Montreal. Contrary to the music elitist mindset, sometimes a guy with an acoustic guitar can be a good thing.
(1) Fleet Foxes vs. (8) The Mountain Goats
Winner: (1) Fleet Foxes
Simply... The Mountain Goats have no mo'. John Darnielle and co. continue to make solid record after solid record, but honestly, a lot of it sounds the same. That's not to say that their output, most recently Heretic Pride, isn't worth listening to. It definitely is, and they have a pretty impressive track record. But you have to be in the right mood to listen to albums about child abuse (The Sunset Tree) and failed relationships (Get Lonely). Fleet Foxes burst on the scene this year with their Sun Giant EP clearing the way for Fleet Foxes to completely dominate the landscape. With an ethereal sound, Fleet Foxes offer deftly layered vocal arrangements on top of the expansive, open sound of their Pacific Northwest brethren. "Americana" might be an inaccurate description of the sound, but it sounds distinctly "American," and without question, it will be playing at some point on any extended road trip I have in the near-to-distant future.
(4) Beirut vs. (5) Wolf Parade
Winner: (4) Beirut
This was probably the easiest pick of the Round of 32 so far. I applaud what Wolf Parade are doing, but I have to reiterate how impressed I've been with Zach Condon and his bandmates in Beirut. They have managed to create a diverse discography that draws from a number of international sounds. It feels like I should be listening to Beirut on a gramophone, and their music has an overwhelming sense of antiquity, seemingly from a completely different time and place. And yet, it fits perfectly into our current musical landscape (especially if that landscape is "coffee shop"). For their most recent album, Beirut left the Eastern European influences at home and traveled south to Oaxaca, Mexico. As a result, March of the Zapotec sounds distinct from each of its predecssors. Probably the most exciting thing about Beirut is that Condon is only 23. How many more terrific albums are we in store for??
(3) Andrew Bird vs. (11) M.I.A.
Winner: (11) M.I.A.
I just changed my winner from Andrew Bird to M.I.A., and the reason is simple. Who else sounds like M.I.A.? Maybe Santogold a little bit, and Lil' Mama might be leaning in her direction, but both of those artists developed that sound after M.I.A. hit the scene. I've had quite a few discussions with people, most notably my brother, about whether M.I.A. is as good as everyone says she is. I was skeptical at first, but I'm coming around. That's not to say I can listen to either Arular or Kala all the way through, but both albums offer something that very few artists can these days: listenable experimental music. As opposed to The Fiery Furnaces, who lost in the first round of the tournament, M.I.A. (and producer Diplo) experiment with rhythm, sample, vocal inflection, sound, and probably a dozen other things over the course of an album. The success of those efforts are varied, but the resulting product is never boring. Andrew bird has a unique voice, but can easily be dropped into a genre. Try doing that with M.I.A. and you'll be left scratching your head.
(2) Of Montreal vs. (7) M. Ward
Winner: (7) M. Ward
This is really just an excuse to get Of Montreal out of the tournament. But let's sing a few praises for M. Ward, folksy guitar balladeer extraordinaire. From Transfiguration of Vincent to Transistor Radio to Post-War, M. Ward had about a 3 year streak of just top-notch output. He transitions seamlessly from honky-tonk romps to quiet, solitary love songs, and his seeming loud whisper of a voice fits both styles perfectly. Why his newest album, Hold Time, seems to be a drop in quality is hard to explain. Maybe he's more focused on side project She & Him. Maybe he's relying too much on a formula for his sound, not taking chances on different styles (although I'm not sure which direction he would go if he wanted to). Regardless, he's more enjoyable to listen to than Of Montreal. Contrary to the music elitist mindset, sometimes a guy with an acoustic guitar can be a good thing.
March Music Madness, Round 2 - Radiohead Region
After a relatively predictable first round, can some lower seeds pull off upsets in the Round of 32? We'll be looking at the Radiohead and Flaming Lips regions today, and the LCD Soundsystem and Wilco regions tomorrow. Let's get into the match-ups:
(1) Animal Collective vs. (9) M83
Winner: (1) Animal Collective
Animal Collective is pretty far from aesthetically accessible. Although Merriweather Post Pavilion is undoubtedly their most immediate album, it still requires patience from the listener, as many of the songs develop and subtly change over repetitive loops and themes. M83's Saturdays = Youth would probably appeal to most people on some level. Weird/creepy soliloquies mid-song notwithstanding, the music is "pretty" in a very universal sense, and it sounds like it could be a soundtrack to a movie. If this were an actual tournament match-up, Animal Collective would be harder for the other team to figure out because they have a lot of different schemes and can play a number of different styles. M83 is easier to prepare for because you know what you're going to see, and although they're very good, their predictability is their Achilles heal.
(5) Deerhunter vs. (4) Franz Ferdinand
Winner: (4) Franz Ferdinand
I went back on forth on this match-up for a good 15 minutes, trying to decide which band was more deserving of advancing. Then I realized they were up against Animal Collective and figured it was time to just pick a band so I could put someone out of their misery. Franz Ferdinand got the nod because their recent release Tonight will put them in the running for Comeback Band of the Year. After their eponymous debut album rocketed them from clubs to stadiums, they quickly released You Could Have It So Much Better. "Sophomore slump" would probably have been too harsh, but it was still a drop when compared to the fire-hot Franz Ferdinand. It's been 3 years since YCHISMB, and the time has allowed Franz Ferdinand to focus on songwriting. There are no "Take Me Out"s on Tonight, but the album feels complete and cohesive. Although Deerhunter's Microcastle/Weird Era Cont. double album was excellent, I've got a soft spot for those Glaswegians. Besides, Animal Collective is waiting...
(3) Grizzly Bear vs (6) The National
Winner: (6) The National
I understand that Grizzly Bear is quite possibly the most blogged about band on the internets right now, and Veckatimest, their upcoming album, somehow manages to live up to all of the hype and early praise it's receiving. Those two things combined should project Grizzly Bear into the next round, and if this match-up happened 10 times, Grizzly Bear probably wins 7-8 of them. But today, Boxer is playing in the house as we're cleaning, and I can't help but think about how amazing that album was, from start to finish. And lest we forget, Aaron and Bryce Dessner (from The National) were primarily responsible for the Red Hot Organization's indie-rock All-Star compliation Dark Was The Night. Not only are The National a phenomenal band, but they care about battling HIV/AIDS. That's the kind of heart that pushes a team to an upset.
(2) Lil' Wayne vs. (7) Spoon
Winner: (2) Lil' Wayne
"What's Lil' Wayne up to today?" You could ask that question on a daily basis and legitimately get a different answer almost every time. Is he dropping another mixtape? What's all this about how he's making a rock album? Which new Top 20 song is he a part of? Didn't I see Katie Couric giving him the googly-eyes a month or so before the Grammy's? Tha Carter III was unquestionably one of the best albums of 2008 by any metric you care to use. The critics fawned over it, hailing Weezy as the best in the game right now (a claim he routinely makes himself). His album sold over 3 million copies, going triple platinum at a time when album sales are down. Put simply... when the predominantly white indie blogosphere can admit that a rapper has made one of the best albums of the year (and maybe the decade), something special is happening. I've got love for Spoon, but against Lil' Wayne... this year... it's not even close.
(1) Animal Collective vs. (9) M83
Winner: (1) Animal Collective
Animal Collective is pretty far from aesthetically accessible. Although Merriweather Post Pavilion is undoubtedly their most immediate album, it still requires patience from the listener, as many of the songs develop and subtly change over repetitive loops and themes. M83's Saturdays = Youth would probably appeal to most people on some level. Weird/creepy soliloquies mid-song notwithstanding, the music is "pretty" in a very universal sense, and it sounds like it could be a soundtrack to a movie. If this were an actual tournament match-up, Animal Collective would be harder for the other team to figure out because they have a lot of different schemes and can play a number of different styles. M83 is easier to prepare for because you know what you're going to see, and although they're very good, their predictability is their Achilles heal.
(5) Deerhunter vs. (4) Franz Ferdinand
Winner: (4) Franz Ferdinand
I went back on forth on this match-up for a good 15 minutes, trying to decide which band was more deserving of advancing. Then I realized they were up against Animal Collective and figured it was time to just pick a band so I could put someone out of their misery. Franz Ferdinand got the nod because their recent release Tonight will put them in the running for Comeback Band of the Year. After their eponymous debut album rocketed them from clubs to stadiums, they quickly released You Could Have It So Much Better. "Sophomore slump" would probably have been too harsh, but it was still a drop when compared to the fire-hot Franz Ferdinand. It's been 3 years since YCHISMB, and the time has allowed Franz Ferdinand to focus on songwriting. There are no "Take Me Out"s on Tonight, but the album feels complete and cohesive. Although Deerhunter's Microcastle/Weird Era Cont. double album was excellent, I've got a soft spot for those Glaswegians. Besides, Animal Collective is waiting...
(3) Grizzly Bear vs (6) The National
Winner: (6) The National
I understand that Grizzly Bear is quite possibly the most blogged about band on the internets right now, and Veckatimest, their upcoming album, somehow manages to live up to all of the hype and early praise it's receiving. Those two things combined should project Grizzly Bear into the next round, and if this match-up happened 10 times, Grizzly Bear probably wins 7-8 of them. But today, Boxer is playing in the house as we're cleaning, and I can't help but think about how amazing that album was, from start to finish. And lest we forget, Aaron and Bryce Dessner (from The National) were primarily responsible for the Red Hot Organization's indie-rock All-Star compliation Dark Was The Night. Not only are The National a phenomenal band, but they care about battling HIV/AIDS. That's the kind of heart that pushes a team to an upset.
(2) Lil' Wayne vs. (7) Spoon
Winner: (2) Lil' Wayne
"What's Lil' Wayne up to today?" You could ask that question on a daily basis and legitimately get a different answer almost every time. Is he dropping another mixtape? What's all this about how he's making a rock album? Which new Top 20 song is he a part of? Didn't I see Katie Couric giving him the googly-eyes a month or so before the Grammy's? Tha Carter III was unquestionably one of the best albums of 2008 by any metric you care to use. The critics fawned over it, hailing Weezy as the best in the game right now (a claim he routinely makes himself). His album sold over 3 million copies, going triple platinum at a time when album sales are down. Put simply... when the predominantly white indie blogosphere can admit that a rapper has made one of the best albums of the year (and maybe the decade), something special is happening. I've got love for Spoon, but against Lil' Wayne... this year... it's not even close.
Labels:
March Music Madness,
Radiohead Region,
Second Round
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