The next night, we saw him perform the same set at the Tweethouse meetup on the USS Midway. It was definitely nicer having a larger venue than the House of Blues, but the party itself was pretty lame and way too expensive (though I did see Tyrese Gibson and iJustine).

To see examples of his other work, check out the links below:

Old Spice Remix

Iron Man 2 Remix

This year, the tour features a main stage with the healiners Disturbed, Killswitch Engage, Lacuna Coil, and Chimaira. All of these bands put on one hell of a show, but what I loved the most wasn't the main stage, but the second stage featuring After the Burial, Born of Osiris, Crooked X, and Spineshank.

This portion of the show was essentially free, all you had to do was walk up past the swag booths and you were in the pits, right next to the parking lot outside. I will admit I've never really heard of most of the second stagers, but I really loved the show they put on. They were out there rocking for their fans. There was nothing fancy about their fold-out inflatable stage. It felt like the real deal, and they drew an intense crowd and Born of Osiris and Spineshank had amazing energy that really got the crowd moshing. Crooked X was just something else, though. This was the band that really impressed me. Crooked X is a band of 16-year-olds from Oklahoma, and they were not the openers. They all had great talent and energy.

Overall, the entire experience was great. The main stage had incredible energy, that was expected of 35 dollar show. Unfortunately I was only able to catch the tail end of Chimaira due to the long lines to get in after the second stage ended, but what I did catch was great. Next Lacuna Coil hit the stage, playing most of their hits, but in my opinion they weren't exactly all that special. Killswitch was up next. They got on stage and the crowd was chaos until their last song. Insanely intense energy, with a near-perfect setlist.

Next was, of course, Disturbed. I've seen Disturbed twice before, and I'm still unsure of which show I liked more, Music as a Weapon 3, or 4. Overall, I definitely enjoyed Music as a Weapon 4 more, mostly because of the outdoor second stage, but as far as Disturbed's performance, it was kind of weak compared to the incredible setlist and pyrotechnics from Music as a Weapon 3. The lack of fire aside, it still was an excellent show. One thing I must note, however, was that during Disturbed's show, David Draimen got out on stage and kind of explained what the tour was all about, about how we must all stick together in these times and keep ourselves away from other, less... well... ok let's just say it. To not listen to pop music.

Also, I'd like to note that I saw this show in Waterloo, IA. Second stage did not include Suicide Silence or Bury Your Dead. These two bands will be taking the place of Born of Osiris and After the Burial half way through the tour. I would definitely recommend going to this show if you are a fan of heavy metal and hard rock. I didn't know who any of the second stage bands were, but that ended up definitely being the part I enjoyed most.

Thrice released a pair of albums in 2007 and 2008 that comprise an anthology entitled The Alchemy Index. Four volumes split over two releases, the set is themed on the natural elements, with six-track set lists to reflect each. Might as well buy them both, thanks iTunes.

Vol 1 & 2 - Fire & Water

The abrasiveness of the fire theme is very apparent, almost to the extent that I don't want to listen to it. "Firebreather" begins the dichotomy of voal emphasis and heavy instruments, firing in short burts. "The Messenger" hints at an urban undertone that isn't present in much of Thrice's music. The last fire track, "The Flame Deluge" is just so noisy that you have no idea what you're listening to, but it dies down and leaves little evidence of what came before it. Over all, there are not enough vocals and too many mid-high levels that hurt to listen to. The water set is much more peacful. "Digital Sea" has more of that urban taste to it, but by the time it surfaces, the song is almost over. "Lost Continent" evokes a feeling of drifting away from something. This is probably the hardest set to describe. A lot of it just feels like one long track until it ends with "Kings Upon the Main", which reminds me of Silent Hill for some reason.

Vol 2 & 3 - Air & Earth

This set doesn't have as great a contrast as the first, but it's much more enjoyable. The mellowness of "Broken Lungs" and "Deadalus" make me feel like I've been listening to it for longer. This set is definitely more for driving around (I can't wait to get my car stereo working again). I wish water had been longer, but it has to match the track set. Earth begins with the catchy "Moving Mountains", which has the live performance thing really going on. This has to be the saddest theme of all, particularly relating earth with mortality in "Digging My Own Grave". It's not all sad; "The Earth Isn't Humming" is pretty funky and more of the instrumental melange that I prefer from Thrice, rather than the thrash of fire.

Overall, I really wish that Thrice had released this as one set. With the death of physical media removing track limitations, albums can be any size at this point. Might as well sell anything called "volumes" in collected anthologies... unless it's about the money! Oh well, $20 well spent.

I grew up listening to Tom Petty, Phil Collins, Brooks and Dunn, Garth Brooks and other late '80s music behemoths. I had Full Moon Fever and their Greatest Hits collection (ironically their greatest selling album), but never got a chance to listen to most of their music. I found Playback on Amazon at a reasonable price and even though it's old music, it's definitely a must-have for Petty fans.

This collection boasts a 6-CD (yes, Compat Disc) set with 92 tracks, ranging from Petty's immortal "Free Falling" to his lesser known "Mary Jane's Last Dance". It also includes a couple tracks featuring his pre- and post-Heartbreakers band, Mudcrutch. The discs seem to have themes, but I can't really make out what they are, but it really doesn't matter, since I ripped the tracks to my computer so I can shuffle them.

I know CDs are falling by the wayside, as are box collector's editions, but I still found this vital to keeping in touch with my roots.

I'm not always up to date with my favorite groups when they release a new album, so I didn't find this until several months after they released it. When I get a new album, I start it and listen to each track, but there is usually a time when I just skip to the next because I feel like I've heard all that the track has to offer already. This is not the case. No two tracks are alike and it's organized very well.

Die-hard Seether fans may say that this isn't as hard of an album as Disclaimer II, but there's still tracks like "FMLYHM" and "Fake It" that feel true to the spirit of the group. Listening to "Fallen" and "Walk Away From the Sun" may make you think that you're listening to Nickelback, but the anger and energy is distinct.

This album is great from beginning to end and is great for every rock/metal/grunge fan who just wants some easy listening.

If you like

• M.I.A.: Paper Planes
• New Young Pony Club: FAN
• No Doubt 
• Yeah Yeah Yeahs: Gold Lion

Get Santogold!!!!

At first listen the tracks seem like M.I.A., with its female lead and experimental sounds, but after listening to the album for the third time I find that the band Santogold has two distinct sounds.

A quick trip to Allmusic.com we find the band has two listed members John Hill and Santi White. I would say the band has John White and Santi White[M.I.A] and Santi White [No Doubts Gwen Stefani] . 

The tracks seem to fall in one of the two groups lead singers genres. This gives the album a great round about feel. Listeners can easily break up the 11 songs into 2 different playlist.

Santi White [MIA version]

• My Superman - very chill song, more of an after hours kinda song.
  
• Say Aha - MIA esk song, very catchy, favorite song.
  
• Shove It - MIA esk song
  
• StarStruck - Trip hop / Gorilliaz esk
  
• Unstoppable - MIA
• Creator - My least favorite track. Most like MIA less known tracks
  
• Anne - Trip hop / Gorillaz esk
  

Santi White [No Doubt]

• You'll Find A Way - Catchy, alt rockish
  
• L.E.S. Artist - If you had to make montage this would be song, deep song
  
• I'm a lady - Easy song, sounds like a chill New Young Pony Club
  
• Lights Out - Sounds like a 60s band made this song

This is a must have album, the beats are sweet, and I'm proud to admit that I have listened to the whole album at least 9 times in three days!

If you're familiar with TV On The Radio, you're probably well aware that they've had an issue with leaks.  Their last album, Return to Cookie Mountain, was leaked something like eight months in advance in a mislabeled, unordered, unmastered mess that ended up getting a lot of people excited for what ended up being one of the best albums of 2006.

Anyway, fast forward two years and here we are, nearly to the release and not a leak to be heard.  There have been a few people lucky enough to hear it early, and a few tracks (Golden Age and Dancing Choose) can be streamed from the splash page on their website.

Well as of yesterday, the album has leaked, so a lot of what I had written is out the window.   Anyway, I have now listened the album about a dozen time (all through the sounds systems of passing cars of course).  My impressions?  Amazing, and my guess was right, it is not a strict follow up to Return to Cookie Mountain.

That is pitfall for so many bands; you make a great album, how do you follow it?  If you try to stay with the same sound you run the risk of looking like a one trick pony or a pole imitation of your better work.  On the other hand. if you go looking for a new sound, you run the risk of loosing what drew people to you in the first place (I'm looking at you Clap Your Hands Say Yeah). 

But TV On The Radio already vary genres and sound so much, really the only ways that they could have screwed up were:

1. Song writing lobotomy
2. Replacing all the members
3. Another OK Calculator

The album starts off with Slipknot's signature noise track, which is followed by "Gematria (The Killing Name)", a track that feels inspired by Lamb of God (and is not the only one). Gracing every track is Joey Jordison's supersonic drum talent, something I've seen at a local concert when he played on a 90-degree rotating platform. Taylor's Stone Sour vocals, likely familiar to the larger mainstream audience, influences tracks like "Dead Memories". Taylor was quoted saying about the album that

It's going to rip your face off...I don't think the world will be ready for this album.

Unfortunately, I don't feel my face ripping off, nor was I completely unready for this album. Of all of Slipknot's albums, I still say the "hardest" is Iowa, because it was just so damn angry. Sure, the energy was enjoyable, but the lyrics weren't easily accessible. They avoided the deep meanings found in Slipknot and returned to them in Vol. 3, but All Hope leaves me confused. There are tracks like "Snuff" that make me think they should be on a (second) special edition of Come What(ever) May. That's not to say that I don't like it. Corey Taylor could read the phone book to me while Jim Root plucked strings at random and I would still listen to it, but I don't consider it "experimental" as I would "a mishmash of everything they've done before".

"Psychosocial", the album's second single (though first broadcast), shows that Taylor isn't relying on destroying his voice for his signature sound, but more blending the harmonic voice he's been developing since revitalizing Stone Sour in mainstream media. The drum solo is very unique and unexpected, but still incorporates sounds we've come to expect from the 'Knot. The music video was the first time I saw the new masks, which I'm not a fan of, especially Taylor's (my favorite is his Vol. 3).

What I appreciate about this album is that it was recorded in Iowa, but that doesn't mean a whole lot because it doesn't do much for local fans. In fact, what makes me mad is that the US is one of the last major countries to get the album (almost a week after Japan). What better to show your local fans you appreciate them than to let them have the album first? Unfortunately, Slipknot and Stone Sour are too big to play by their own rules and are subject to recording studio (martial) law.

The greatest surprise of the album is actually on the special edition. Three bonus tracks, "Child of Burning Time", "Vermilion Pt. 2 (Bloodstone Mix)" and "Til We Die" are eerily mainstream-friendly. When I saw there was another cut of "Vermilion", I thought, "Oh great, Terry Date's got a mix to part two." It's actually Taylor's vocals over piano. It's the most surprising thing I've heard from Slipknot, but I'm a little skeptical that they really care to have a track like that. I'm really starting to hate music studios double-dipping on the release date with the promise of a few extra tracks so consumers buy the more expensive copy. If the artist wanted their fans to hear the music, they'd put it on the original release. Releasing one a year later with live tracks is one thing, but I'm really disappointed with the music industry because of this.

If you couldn't tell from the name, Jakob is the son of legend Bob Dylan. Obviously, he's got big shoes to fill if he wants to live up to the family name. Don't worry, he does. When I listen to Jakob's music, I hear his father spirit, but I still know I'm listening to different music. The album starts off with the politically charged "Evil is Alive and Well" and "Valley of the Low Sun" that reminds me of the Vietnam-era voice in music. There's also tracks like "All Day and All Night" that relates to blue collar workers surviving off of long shifts of menial jobs.

At 10 tracks, it's a little shorter than I'd like for music like this. I could easily listen to this as I go to bed. That's not to say it's a sedative, but it is tranquil. God forbid I had someone in bed with me and we wanted some easy listening, this is something I'd choose. I would strongly recommend this to Wallflower and Bob Dylan fans alike, as well as anyone who wants music they don't have to think about, but can at any time.