97 posts tagged “minneapolis”

Trying to find quality music in today’s market is similar to trying to find real food at an all-you-can-eat buffet:  plenty to choose from but curiously homogenous, like the tapioca is the same color and consistency as the blue cheese dressing.  HOT bands scrounge for retro hooks that they can polish up with a slick coating of synth, while the kids eagerly line up, mouths open.  Nobody really cares that band Y is basically the same as last year’s band X, right down to the ethnic bass player.  It’s all about excess and intrigue: do it big or do it in a way that hasn’t been done before (or do it in a way that hides the fact that it’s been done before).  Naturally, this is any combination of MGMT, Dirty Projectors, Phoenix, Grizzly Bear, et al (think Pitchfork “seal of approval”); or, closer to home, electro-rock wunderkinds Solid Gold (who cried about their lack of fame like little bitches).  Amidst the fleeting charm, occasionally one stumbles across a band that feels new, despite an adherence to classic formulas.  These bands may value tradition over innovation, but boy do they smell like fresh leafy greens. Even if you’ve never heard of them.

Minneapolis duo Bella Ruse self-classify their sound as “indie folk jazz,” but when Joseph Barker plugs in his electric, as on opener “Push On,” the result doesn’t quite fit the categorization.  The sparse, moody guitar and Kay Gillette’s intimate vocals would be as appropriate for a sparse, moody Jim Jarmusch film as for a smoke-filled jazz club.  While “Push On” is Bella Ruse’s standout track, the rest of the EP is quietly pleasing.  “J’ai Presque Peur” is a smooth Pinot Noir toast to Edith Piaf and “Heart of Everyone” jangles along nicely.  When Norah Jones released her debut, I remember being underwhelmed at first, certain that her foray into “jazz” was one clarinet short of Lite FM.  However, after a few listens, I warmed up a bit, mostly because beneath the soccer mom ear-bait, I could detect the slightest shade of melancholy, and this interested me.  Bella Ruse is interesting in a comparable way (they had me at “kind of sad”).  Gillette’s voice calms rather than excites and sure, “Hold Me Close” would probably excite a Meg Ryan character (when she realizes that the Tom Hanks character is The One*); still, revisit “Push On” and convince me there isn’t a little Scout Niblett/Chan Marshall angst beneath the romantic sentiments. 

In his track notes, Barker admits that “Push On” was not an immediate favorite.  In fact, it took Gillette’s persistence and encouragement from fans to convince him that the song had a place on the EP.  Although this baffles me, I also kind of get it.  “Push On” is Bella Ruse’s “Hide and Seek”:  a stand alone track that deviates from an otherwise comfortable style.  There’s a reason why I’ve listened to the song a total of 27 times since I received the EP, except the ‘reason’ is actually a sensation—a slight tingling, milder than goosebumps but equally elusive.  My request for the band is simple: more, please.  More blood, sweat, tears, booze, ultra-lights, magic fairy dust or WHATEVER combination birthed this beauty.  More Pinot Noir, too.

Besides their debut EP, Bella Ruse has also released ‘Twas a Bella Ruse Christmas, a 4-song compilation of Christmas favorites.  Both albums can be purchased digitally at http://bellaruse.bandcamp.com.  For more information visit the band’s official website or e-stalk the pair on Facebook and Myspace.

*Sadly, my Nora Ephron references are dated.  Help.

It seems to me that Harper Simon tries his best to not be associated with his father, going so far as saying that he didn't learn how to play music from his dad. Even the way he dresses, the type of music he's making (note: not acoustic harmonizing folk, but more like alt-country). It's a shame really, Simon sings just like his dad on the acoustic songs, and I wish he would sing more folk. I suppose he's got to find his own calling, right?

Harper Simon singing "A Message to You, Rudy"

Most of the set for Simon was pretty mellow. The most rockiest song was a song I wasn't familiar with. I thought I heard that the song was written by "Tom Berlin Verlaine" (edit: see updated message below), but I could be wrong. Shortly after "Berkeley Girl", the guitar tuner guy came on stage to switch electric with an acoustic guitar.

Songs range from borderline country music to Dylan-type folk. The later is especially true when one of the band member breaks out the harmonica.

They ended their set with "Wishes and Stars", my favorite song from Harper that I've heard. Instead of doing that fake-leaving-the-stage, they just stayed on stage and played some encores. The last song is a cover of "A Message to You, Rudy", who you & I probably know as a ska song by the Specials (but it's originally by Dandy Livingstone).

So this was the last night of their national tour. It sounds like they've been very tired, some even looked relieved, but they were certainly very happy to be playing in front of an audience. The band admitted that this was one of the better crowds, considering that they've played a few shows to "five people".

Trivia: Touring drummer Russell Simins, best known for being in Jon Spencer Blues Explosion, is from Minnesota.

UPDATED 11/26/2009 19:42:54:

ArtsOrbit wrote: Nov 24, 2009 9:59 PM

@weheartmusic H. Simon's reference was to Tom Verlaine: the song was Television's "See No Evil." Agreed that H.S. is best with folk music!

Cory Chisel said it best last night at First Ave: "We bring you the sad songs, while Brendan brings the rock and roll."   This was a good team-up of music, as the two bands complimented each other.

Cory Chisel and Adriel Harris

Chisel has a few fans in the audience, someone shouted it that they're from Appleton West, which I actually have no idea where that is. I mentally picture northern Minnesota as that was what Chisel said he was from originally.

I thought the best song on the live set was "Born Again". Highlight from the show was when Adriel Harris, remove herself from the keyboard to sing a duet with Chisel.

Brendan Benson Setlist

I think most people know Brendan Benson because he's a member of Jack White's The Raconteurs, but the truth is, he's been releasing music way back in 1996. I thought the best song live was "Cold Hands (Warm Heart)" and "Feel Like Taking You Home".

Surprisingly it was revealed that their current live drummer, Travis (replacing their regular drummer Brad) was a quick learner on tour. I couldn't tell if he messed up, it all sounded in rhythm.

The highlight from the show was at the last encore, where Chisel shows up to help sing their cover of Tom Petty's "American Girl". What's funny is that they printed the lyrics for Benson as he's confessed he doesn't know the song that well.

PS, See the smoke around Benson's head?  Yep, he lite and smoked a cigarette on "American Girl".  Maybe someone should have told him that Minneapolis has a non-smoking policy.

I arrived late to the Triple Rock, in Minneapolis, so I had already missed some of Surfer Blood (myspace / twitter). However, I did get the gist of the band, who seems like they are going to be a hot new buzz band - like Vampire Weekend. Highlight of their set was the last song, in which the guitarist brought the solo drum into the audience as everyone on stage went monkeys. (Sort of feels orchestrated to me, like they didn't really put much effort in trashing their equipments). The audience seem to welcome Blood Surfer, so it's all good.

Art Brut

Loads of Art Brut fans were in the audience that night. You can tell by all the t-shirt and their eagerness of being in front and center. When the band came on, doing "Formed a Band", which singer Eddie Argos turns to the audience and said, "you ought to try it, it's brilliant!"

Eddie looks like a guy that doesn't take himself too seriously. He seems to like to drink a lot and talk a lot (but with his thick British accent, it's not like we could understand half what was said). He seems to swagger on stage a lot, often using his left arm to illustrate the songs.

There wasn't enough room on stage for Argos to do his infamous microphone skip, but he did manage to sing half of "DC Comics" by the bar section. Speaking of which, I think it's cool that Argos is a huge DC fan - since UK comics are usually, you know, 2000 AD/Judge Dredd sort. During the song, Argos spouted out what I hear as "Christian Bale", "Booster Gold" (if I can remember, I think he was basically a janitor from the future with future tech and a Legionaires flight ring), and something about "Metropolis".

Setlist

As you can see from the setlist, they did a mix of new and old songs. The setlist also doesn't reflect what was played, for instance, I know "The Passenger" was played well after "DC Comics". I suppose the setlist was more of a rough guideline than actual instructions.... which actually fits the way Art Brut operate.

The thing about "The Passenger", from their latest album Art Brut vs Satan, is that it got this great introduction. Eddie explained how he thought the Iggy Pop song was about taking the subway, "Iggy doesn't seem to me to be the driving sort." It wasn't until later did he discovered that Iggy's song was about taking heroin in back of a limo with David Bowie. Too funny.

Oh the other thing, the way Eddie sings, if you can call it singing, is quite interesting. It's more like rambling, it definitely feels at time like The Fall - only with a lot heavier backing band.

The band left and came back with three encores. I thought I heard Eddie saying "we don't normally do this", which may have been said in an ironic kind of way. I really couldn't tell, all I know is that the encores were met by the fans' demands.

Art Brut's funk sole brother         2 comments

PS, They only had T-Shirts and CDs for sale at the merch table. I was hoping to see some of their awesome shoes. It's £20 online, which is about $40 USD, but totally worth it if you are a massive Art Brut fan. Get those shoes, and also their latest album, Art Brut vs Satan, at the usual online stores.

J. Tillman @ The Music Box Theatre, Minneapolis, MN 11.6.09
+ abridged album review

J Tillman ♥ Music Box

Despite his minor fame with unpopular, critically-ignored Fleet Foxes, Josh Tillman has been active in the music scene since 2004.  This past September he released Year in the Kingdom, a 9-track odyssey through stoic mountain towns by way of moderate folk sensitivity.  Merely 28, Tillman evokes an image of timeless worldly servitude that befits his preferred musical genre but also confuses.  He acts the part in person—bearded, casually nondescript, a man of few words; yet once he hits that first note, it’s obvious there’s something judicious beneath the weathered layers.  For one, the quality of his voice is beautiful.  There is simply no masculine way to describe it.  The probability that Tillman drinks and indulges like a big boy is high, but you wouldn’t know by listening to him sing.  Perhaps the impressive facial shrub is actually a clever disguise, masking a sweet, even-tempered fellow who rescues kitties and bakes things for charity.  Doubtful, but my point being Tillman’s ambiguity—it’s equally believable that he wandered into town from the wide blue yonder as it is that he stumbled on stage from the local, artist-packed watering hole.

Year in the Kingdom remembers a simpler era that Tillman was not alive to experience.  Softer tracks cite 60s folk influences like Joni Mitchell, had Mitchell penned her songs in a humble log cabin, without basic comforts save for canned beans and a faithful canine companion.  The sparse “Age of Man” is a few twangs/few stringed instruments short of Americana territory, while “Though I Have Wronged You” reminds us that Tillman isn’t seriously concerned by FF comparisons.  At times matter-of-factly somber (“There is No Good in Me”), the album lulls its listeners into a false feeling of peace (albeit reflective, disquieting peace) that does not prepare the ears for the sheer force of Tillman’s live rocking.

Kingdom-the-album clashed awesomely with Friday night’s show at the Music Box Theatre in Minneapolis.  I now have a physical point of reference for the expression “it blew my mind,” as I’m pretty sure I lost a piece of my skull when Tillman blew my mind.  Similar to the structure of the studio tracks—gentle start, build-up, full instrumental progression—the show began as one would expect had they listened to Kingdom:  Tillman + band = traditional 3-dimensional engagement.  Then, maybe a third of the way into the set, all hell broke loose.  Cue roar of full instrumental capacity, skin-tingling whine of amped slide guitar, psychedelic transformation, and crazy apeshit thrashing.  On top of everything unholy, we, the audience, bore witness to grown men playing plastic recorders and finger cymbals. Surely I wasn’t the only one to lose some head mass by the end of the night.

Cerebral hemorrhage notwithstanding, strong tracks like “Though I Have Wronged You” sounded ridiculously swollen with intensity and deliberate flair.  Not showy, per se; rather, phrenic but perverted by foggy invention.  It was like walking into the Louvre for the first time—extraordinary but strangely unfocused, as if the senses were forced into overdrive.  Had I lapped a taste of Tillman’s sweat*, the experience would’ve been complete.  Unfortunately, there was no exchange of bodily fluids; there wasn’t even an encore (a mumbled “thanks” and the musicians made their hasty exit).  It didn’t matter.  How do you follow an act like yourself?

J Tillman ♥ Music Box, Minneapolis (11/06/09)

A few random thoughts without homes:  in high school, Tillman visited Crown, a conservative Christian college in St. Bonifacius, MN; Miracle Whip is the default condiment of Fargo, ND, this according to the band; Josh’s younger brother, Zach, opened the show and also played bass for the elder Tillman’s set.

J. Tillman is currently on tour in support of Year in the Kingdom.  Upcoming shows include stops in Chicago and New York.  For more information or to listen to select tracks, visit his Myspace at http://www.myspace.com/jtillman. 

* I’m not a creeper, promise.

Crypticon 2009 was a bit disappointing, compared to last year. As with last year's cancellation of Tom Savini, this year it's Charles Band. What upset me was that Band's disinvolvement wasn't even mentioned anywhere on their website. As of this writing, their website still lists Band as a guest: "6:00pm Charles Band and his Full Moon Road Show in the Music Room 2nd Floor."

This year, the merchandise room was reduced to a size of a large bedroom, so you walk in and out in about a minute. I did manage to pick up some stuff, but they weren't cheap. Celebrities prints are costs anywhere from $20-40, we weren't allowed to take pictures (if you did purchase a print, then taking pictures would cost an extra $5). Last year, most of the nicer stars let us take pictures for free.

As for merch, the usual bootlegs, toys, horror t-shirts were there, but because of the smaller room - it feels like there weren't a lot of choices. Some commonly seen t-shirts were Nightbreed and Hellraiser, which I thought were cool, since I have always thought Clive Barker is genius. 

Also, this year they had music as part of the show. The person that was supposed to give me a pass to the music area was not at the ticketbooth and I didn't feel like paying extra to see music. Besides, all of the bands seems to be either punk or metal, not really my cup of tea, so I didn't bother to make much effort in getting the pass. 

Anyway, since Charles Band wasn't there, his Q&A was replaced with Linnea Quigley and Don Calfa (both actors appeared in Return of the Living Dead). If I had known, I would've rewatched the film to refreshed my memory. But it would seem even the stars had some trouble remembering what happened on set. 

Still, some interesting stories came out of it. 

First of all, they paid George Romero a million dollars to use the name "Of The Living Dead".  Romero's third sequel, Day of the Dead came out a year later, but was not as successful as Return. 

My favorite was when Calfa said one of the star wanted him to punch him for real, so he gave two hard slap. What's funny was that as he was telling the story, his hand gestured the slap and the next thing you knew: he had hit the microphone in front of him! Way to each that mic a lesson.

With the disappointing cancellation, incorrect/false information (is updating a website too much to ask?), the smaller space, and expensive admission ($30 at the door) - this will be the last year that my group will attend.

Patience Hodgson, from the Grates, tells me for Halloween, she dressed up as a cowgirl. She went into a store and saw a guy working there, all decked out in a cowboy outfit. She complimented how great his costume was, only to realized that it was how he's normally dressed. That's Texas for you.

That's the kind of weird stories you hear from her, even on stage, they're referencing strange things like trying to hi-fi-ing the "fat guy with the beret" or asking if there were any vikings in the audience. But before I get to all those crazy details from the 7th Street Entry last night - opening up for them was Zoo Animal (official / myspace). I had seen singer Holly Newsom before, but as a soloist. This time, she's doing Zoo Animal songs, not just her solo material.

Holly made some jokes, like how 'grate' the Grates should be to noticing that They Might Be Giants were playing next door and how "we might be miniatures". Most of the audience that showed up early, I think showed up because of Zoo Animal and possibly Ice Palace.

Unfortunately, at the last minute, Ice Palace canceled (I am told the singer was sick), they were replaced by Story of the Sea (official / myspace). Bassist John admitted that they only had a five hours notice. Despite the feedback and false starts, I thought they held up pretty well all things considering.

I will say that they seem older, for the kind of crowd that was there last night. Their music sounds like classic progressive rock. I don't know any of their songs, but I did like the song that had something to do with eyes and being gone. 

The Grates came on with full energy with their often-intro song "Trampoline". Yes, Patience does do that weird rabbit hopping dance, as seen on their Til Death Do Us Party: Live At The Forum DVD. Patience is now a blonde, dressed in a gymnastic outfit.... making her look even more child-like than ever. Which may sound quite weird to hear her talk about wanting a baby of her own (I thought to myself, well there's always cloning...)

Other things I learned from Patience: if you eat enough of your hair, you'll have to take a pill to poop out the hair. Hence "hair butt". Fist-bumping, she tells us is called "boning". She likes to climb onto things, or jump into the audience and singing... while using a twirling baton. Fun to watch, but they also require audience interaction.

"It was this big!"

I thought the highlight of their set was either "Howl" or "19-20-20". I'm not that familar with their new material, but I did recognize their single, "Burn Bridges", from the setlist.

If you are looking for a good time or see cuteness in action, check out Brisbane's export, The Grates touring through your area. They are quite approachable, so please have a friendly chat with them after the show. Their lastest album is called Teeth Lost, Hearts Won, which if you get it on vinyl, will come with a bonus CD. I might also suggest checking out their debut album, which four singles from that album made it onto Triple J Hottest 100. I'm sure Sally will keep us informed of the 2010's Hottest 100.

The Grates - Trampoline

 11/04/2009 04:57:32 ♥ vu () ♥ thegrates.com ♥ myspace.com/thegrates 

Lynhurst has the notable distinction of being the closest band to ever live by me. 

When the Big Chief, Vu, showed me their CD, my first reaction was, “I know these guys.”  And after seeing their picture on the inlay of the CD jacket, my second reaction was, “Wow, they have really grown.”

Let me explain.  I have always felt the role of proud, unrelated relative to this brothers-sister trio for over the years I’ve had the opportunity to watch them play at all the south Minneapolis hotspots like Minnehaha Falls, Betsy’s Back Porch and Famous Dave’s.

No matter how young they look, these musicians are already seasoned professionals.  Matt and Jake were regularly performing gigs before reaching their teens and Mari, the youngest, wasn’t too long to follow.  What amazed me watching them play at such a young age is how comfortable and confident they looked on stage.  Their debut album is no different.

The press promotion states that Field Day is the combination of The Carpenters meeting The Cardigans.  Some reviews I have read have labeled it as Radio Disney.  I would have to say with Mari’s nuanced voice and Matt and Jake’s robust sound, they have created something in between.  It's fun, well played rock ‘n roll.  “Kiss Me Now” is definitely the radio friendly hit, but I found myself liking all the songs on the CD.  In fact, I was surprised how long I kept the CD in the player of my car as I drove through the streets of Uptown, around Lake Harriet, past Java Jacks on my way home.

 

-Dave

I’m not going to blame my lack of updates on the swine flu.  That would be wrong, sleazy, and downright unconstitutional.

Now that I got that off my chest, I’m happy to report that my cleaning ventures have been particularly fruitful.  No, I didn’t find that copy of Tremors II: Aftershocks that you claim I never returned (let it go, bro).  I did, however, dig up the following dusty gems:

Wheat – White Ink Black Ink

Americans like short things:  lines, books, hair, conversations, etc.  Sometimes even using full sentences takes too long; it’s why we invented Twitter.  Thankfully, there is a band called Wheat.  Not only is their name economical, but more than half of White Ink Black Ink is under the four minute mark.  You just can’t argue with odds like those.  Each track loyally embraces the simplicities of song craft and the complexities of song experience; meaning, the album will probably appeal to those of us that appreciate music straight up, minus additives like weird stupid metaphors and lengthy experimental escapades.  Of course there are flaws to this logic, the most obvious being 2009’s love affair with electro beats and dance-driven, overproduced indiepop.  The kids want to move and while White Ink has no shortage of catchy hooks and gung ho knocks, the resulting mood does not exactly inspire bods to hula, which is basically a compliment but commercially a loss.  At its best, the album sounds vaguely like the byproduct of a musical three-way:  the cool nonchalance of slacker rock + timeless anthemic sway + a dash of requisite “indie” flair (the indefinable “all spice”).  Suggested tracks:  the first half of the album.
Website / Myspace

UltraChorus – Ultra-Def

Speaking of electro beats:  Minneapolis electronica duo UltraChorus recently released Ultra-Def, a brain cell-shattering smattering of slick robot grooves.  This ain’t music for your grandma (unless grandma gets her freak on).  As I mentioned in my review of Words Kept Talking (7” single), being an electro-lovin’ musician in Minnesota is akin to being a minority in Minnesota:  you’re in the minority.  UltraChorus may very well be a shining fiber optic star in a universe of bland, denim-encased chunks of coal, and the world…of Minnesotans might never know.  Such a shame because Ultra-Def is solid material.  It pumps you up, but not in a Jock Jams sort of way, and warms the innards without leaving a metallic aftertaste.  A distinct rhythmic base connects each track without distorting identity; this attention to continuity gives us simpletons something to hold on to, a sort of symbolic Roller Coaster lap bar.  Suggested tracks:  “Words Kept Talking,” “Houseparty 5” and the super-mixed-everything-but-the-kitchen-sink “Yucatan Peninsula.”
Website / Myspace

Kordan – Fantasy Nation

Wow, Arthur Eisele (Kordan) sure knows how to befuddle a critic.  Is Fantasy Nation a concept album?  Or is it dreamy electro-pop disguised as a concept album?  Maybe it’s a soundtrack to a film not yet written:  something Japanese but inspired by French New Wave—a love story, perhaps, set in the stylish future, where the girls look like Francoise Hardy and the boys busy their arms with battered anthologies of 19^th century existentialism.  Something like that.  Honestly, the effort required to simplify Fantasy Nation­—to break it down, if you will—seems pointless, irreverent even.  The album succeeds as a fluid movement, a continuous aural flow.  What it isn’t (and, incidentally, what may hinder mainstream marketing) is track-driven.  Sure, I’ve picked a favorite (the wispy, Gainsbourg/Birkin-esque “Slouchy Girl”) but that’s just personal preference and an ear for melancholy vocals.  As an objective writer, I’d advise readers to avoid listening to Fantasy on shuffle mode; fight the urge to single-song download, readers (you wouldn’t treat In the Aeroplane over the Sea in such a defiling manner, would you?).  Suggested tracks:  listen to the whole damn EP (EP = short and sweet).
Website / Myspace

There are a lot of opinions about Har Mar Superstar, but there is one observation that is universal: He’s comfortable in his skin. And if you’ve seen him perform, you’ve seen just about every inch of that skin and aren’t likely to forget it. The Minnesota-born musician (and more recently actor/writer) has most recently based himself in Los Angeles and can teach Southern California a great deal about confident self-body image. Dancing onstage in his tighty-whiteys, his sweaty jiggling Homer Simpson physique on full display, one can’t help but feel in awe of his presence. Also; more or less revolted.

Har Mar Superstar is Sean Tillman - long known in the Minneapolis-St Paul area for his work with bands Calvin Krime and Sean Na Na - who nearly a decade ago decided to test his R&B chops and began performing under his current moniker (named after St. Paul’s Har Mar Mall), to the simultaneous delight and disgust of crowds across the upper-Midwest.

There’s no doubt Har Mar has vocal talent. At times evoking Prince or Stevie Wonder, it’s easy to forget you’re listening to a chubby Minnesotan with a year-round February tan and hair that sticks out, well, everywhere. Audiences don’t always get it, admittedly. He’s garnered a love-hate relationship with crowds in recent years as an opening act for groups like the Strokes, Yeah Yeah Yeahs, and the Red Hot Chili Peppers. I’ve witnessed nothing but warm reception in his appearances (in the Twin Cities), but can understand the average Australian Chili Peppers fan anticipating Anthony Kiedis dancing around in a diaper having difficulty welcoming a similar level of exposure from Har Mar Superstar. Thankfully, Har Mar is showing that you don’t have to be poster-perfect to make it in music - or in Hollywood. He made a cameo appearance as “Dancin’ Rick” in the otherwise forgettable Starsky and Hutch movie, and now appears in Drew Barrymore’s “Whip It”, where he befriended Juno’s Ellen Page and Arrested Development’s Alia Shawkat (the former told a story on the Tonight Show a few weeks ago about the three of them vacationing in Amsterdam and the latter appears in Har Mar’s video for “Tall Boy”). The three of them are apparently now developing an HBO comedy called “Stitch N’ Bitch.”

The aforementioned “Tall Boy” track was originally written by Har Mar for Brittany Spears, but, perhaps not shockingly, it was rejected by her handlers. Presumably, they didn’t care for her being associated with blue collar drinking metaphors. Because, you know, she’s such a classy lady. Instead, Har Mar performs it himself, lyrically unaltered, as the first single from his Dark Touches album. The song is actually pretty impressive, I thoroughly enjoy the rhythmic can-opening noises which cause me to feel a strange (and otherwise unprecedented) desire to crack a 24 oz. PBR. The video is quite entertaining as well, featuring Eva Mendes and a sort of Daft Punk-reminiscent space-suited android Har Mar Superstar displaying just a hint of his ample robo-gut.

Dark Touches - his fourth full-length release and first in five years - is overall a pleasant surprise. There’s a certain something on offer here that was perhaps lacking in his previous releases. Maybe it takes a turn toward mainstream pop, but more than that I would say it possesses a certain level of consistent listenability that had always been sadly missing. And while I would have long classified myself as a fan, I would say that only now has he released an album that will enable him to cross the line from novelty act to legitimate entertainment. His trademark absurd (and invariably sexually explicit) lyrical turns of phrase are evident as always - my favorite is “Game Night” (featuring P.O.S and Adam Green) an electro-hip-hop ditty which rattles off various family board games and associated thuggish taunts “Gonna slay your crew in a game of Taboo” and “I got all the railroads. Crushing you.” And the title of the seventh track; “Gangsters Want to Cuddle Me” I think says it all.

Regardless of your feelings about lewd under-groomed chubby Minnesota R&B personalities who are gifted with buttery smooth voices, flawless dance moves and astronomical self-esteem, you’re going to be seeing a lot more of Har Mar Superstar. For those not faint of heart, search him on YouTube and sample his appearances in the “Crappy Holidays” short videos or check him out on Late Night with Jimmy Fallon October 26th. There's nothing quite like seeing him live, however, in all his glistening near-nude splendor. I recommend practicing your "horrified delight" expression in the mirror beforehand.

Tall Boy (feat. P.O.S and Adam Green)