Banging out this bad Larry before the big football game (uh, match?) between the home town team and an undefeated rival. This weekend was spent assembling my best-of discs, hopefully the few final touches will be applied tonight and shipping can commence in mid-December.
Algebra Is The Ultimate
Bad Lieutenant – I wonder if Werner Herzog paid a product placement fee to Sumner, Morris & crew to promote his new film? Well, the music sounds nothing like the amoral mayhem on the screen, and Bernard indulges in his lighter electronic side to make music for airport lounges and drugstores. Better than Pablo Cruise, I suppose.
Section 25 – Meanwhile in another abandoned part of the factory here’s some more 80’s electronic innovators gathering for a spin around the fountain. It tastes so much fresher, perhaps because we haven’t drank from this cup in a long while. The brainy subject matter alone gains it several points on the final exam.
Jookabox – Dropping the Grampall from the name suggested less barnyard influences and more stylized rock and electronics, and that’s basically what’s happened. Their former melding of hoedown and hellbound was far more urgent than this lethargic effort, which seems content to gaze at the blackness of its own navel.
The Black Drumset – I’m not one to turn down a date with a silent partner, especially if there’s a familiar mischievous look in the eye. A bit too fun for the coffeeshop but at the same time too unruly for hip car commercials, perhaps they’ll find some warm water in someone’s movie trailer.
Swimmers – These fine fellows are not merely treading water, but instead try to increase the turbulence by splashing as many keyboards and drumbeats in seriously syncopated fashion. No need to worry, there’s plenty of fun to be had as well.
Ad Frank and the Fast Easy Women – Yes, this is the same gent who honored the great Mark Eitzel with a song title reference on one of his previously bright but sarcastic efforts. This tune is all concept and execution, I’ve always had a thing for songs that give away the lyrics in the title but while it’s easy to envision it’s equally difficult to pull off.
Owen – A friend will not allow me to make any negative comments about anything Kinsella-related so I’ll just note that there’s always one super smooth song per release that goes down like tapioca pudding, and usually that song clocks in at 5+ minutes.
Dutchess and the Duke – This song was reserve purely for the reference to my astrological sign in the title, and it’s somewhat fitting in its own reserved and taciturn way. I just wish they were a bit meaner.
Monday, November 30, 2009
Monday, November 23, 2009
The zeal with which most people wanted to label my recent bout with sickness as H1N1 said much to me about the power of media to make a relatively mundane event become infused with fear. The warnings seem quite out of proportion with the actual threat, which is no less threatening than previous strains. We still have some extremely ominous Avian Flu public service announcements in rotation at the station, which now sound like either last year’s model or backing the wrong horse.
Bobby King Smile
Kerouac’s Big Sur – Any project that sets out to put the printed word to music and lyrics just seems doomed for failure to me. Adapting prose to the cadence and structure of music is not an easy task, even with the combined talents of Benjamin Gibbard and Jay Farrar I expected the results to be forced and listless. While there are no big victories to be found here, the fact that there are even small ones garners a bit of my respect.
Robert Francis – Quite a novel way to get signed to a major label record contract … work your way into a high-profile touring contract first. Never thought that would work, but I guess if you have friends in high place then perhaps some leverage may be found while opening for Wilco. Still seems like the cart is coming before the horse here.
Mark Kozelek - When the clever fun-loving independent music mavens I seem to hang around with run with glee towards and television show my immediate reaction is to turn the other way. So many times I’ve been severely disappointed … The Office, Flight of the Conchords, Venture Brothers. Therefore I won’t watch this supposedly subversive children’s show. Though hearing them mewl to the press about how they’re getting a raw deal from Nick because they won’t give up ownership of the show is tantamount to complaining about your major label record deal because they didn’t put enough into promo.
Kings of Convenience – More and more I’m impressed in how these tweedy youngsters can continue to mine material from the AM oldies radio station catalog. This album sounds like a string of programming on WJIB, complete with simple harmonies and delicate construction. And I didn’t even mention Simon & Garfunkel.
Lisa Germano – Every new creative effort that springs forth from Ms. Germano garners immediate respect in my camp, though that rarely translates into a purchase. Perhaps we just need our distance, or perhaps there’s just not enough friendly there for me to make a commitment. I’m never quite sure where the listener stands in her worldview, most likely likely because I doubt she is concerned with such details.
Simone White – Her first records was a lovely smash-up of a simple guitar style and wispy voiced lyrics, this one retains the charms and adds a few more instruments for good measure. Along with some very nice smelling cardboard enveloping the disc. So far she’s 2 for 2.
The Swell Season - Difficult not to cheer for this charming couple during their Oscar run, and I expected more of the same beguiling balance on this new musical entity. Instead why does it sound like an unfocused Frames record with an occasional female vocalist? They never do quite recapture even a portion of their previous magic.
The Lower 48 – Closing it out with a quick and simple ditty. Not much to say other than cute girls with glasses get special dispensation in these mixes.
Bobby King Smile
Kerouac’s Big Sur – Any project that sets out to put the printed word to music and lyrics just seems doomed for failure to me. Adapting prose to the cadence and structure of music is not an easy task, even with the combined talents of Benjamin Gibbard and Jay Farrar I expected the results to be forced and listless. While there are no big victories to be found here, the fact that there are even small ones garners a bit of my respect.
Robert Francis – Quite a novel way to get signed to a major label record contract … work your way into a high-profile touring contract first. Never thought that would work, but I guess if you have friends in high place then perhaps some leverage may be found while opening for Wilco. Still seems like the cart is coming before the horse here.
Mark Kozelek - When the clever fun-loving independent music mavens I seem to hang around with run with glee towards and television show my immediate reaction is to turn the other way. So many times I’ve been severely disappointed … The Office, Flight of the Conchords, Venture Brothers. Therefore I won’t watch this supposedly subversive children’s show. Though hearing them mewl to the press about how they’re getting a raw deal from Nick because they won’t give up ownership of the show is tantamount to complaining about your major label record deal because they didn’t put enough into promo.
Kings of Convenience – More and more I’m impressed in how these tweedy youngsters can continue to mine material from the AM oldies radio station catalog. This album sounds like a string of programming on WJIB, complete with simple harmonies and delicate construction. And I didn’t even mention Simon & Garfunkel.
Lisa Germano – Every new creative effort that springs forth from Ms. Germano garners immediate respect in my camp, though that rarely translates into a purchase. Perhaps we just need our distance, or perhaps there’s just not enough friendly there for me to make a commitment. I’m never quite sure where the listener stands in her worldview, most likely likely because I doubt she is concerned with such details.
Simone White – Her first records was a lovely smash-up of a simple guitar style and wispy voiced lyrics, this one retains the charms and adds a few more instruments for good measure. Along with some very nice smelling cardboard enveloping the disc. So far she’s 2 for 2.
The Swell Season - Difficult not to cheer for this charming couple during their Oscar run, and I expected more of the same beguiling balance on this new musical entity. Instead why does it sound like an unfocused Frames record with an occasional female vocalist? They never do quite recapture even a portion of their previous magic.
The Lower 48 – Closing it out with a quick and simple ditty. Not much to say other than cute girls with glasses get special dispensation in these mixes.
Wednesday, November 18, 2009
Firmly rooted in the past, the slow season for new releases is quickly drying my pool of new fodder for these mixes. No fear, I can keep the dredging equipment busy for at least a few more weeks, though my prediction is you’ll start to notice with this effort.
Fractals of Earth
Piano Magic – Bringing in former members of Dead Can Dance to participate on your new album either means you’re going through an unfortunate nostalgic streak or your target market has shifted to 35+ year old ex-goths. Either way, anything bearing the Piano Magic name on it deserves attention, regardless of the methods or level of desperation.
The Mary Onettes – My absolute favorite Swedish retro new wave rockers wander into another memorable group of romantic tunes that will keep you checking their lineage for that telltale stamp of British citizenship.
Bear In Heaven – Well not everyone needs to use their blazing synths for galloping stomps to the dancefloor, there were plenty of moody mid-tempo moments in Moog history worthy of evocation as well.
The Ghost Is Dancing – Hopefully not a Simple Minds reference in the title, because quite frankly they can’t possibly live up to it. Everything here feels a tick off, from the faux-stomping to the nasal vocals. A decent producer could perhaps tighten up their belts.
Karl Blau – And Karl Blau is not just a (more than) decent producer, he’s also a swell musician as well. Why he decided to meander into the realm of 80’s inspired sludge I’m not sure, but this effort is somewhat south of his most memorable moments.
The Invisible Kid – OK, those who felt like the last three track were a side-trip to purgatory … at least this tune has a beat. A bit too bland to really inspire a trip to the dance floor, but at least you’ll get to hone those “sorry I’m turning you down” skills.
Lovelock – There’s only one authentic 80’s moment available for your inspection tonight, and this one is worthy of the weight.
To Kill A Petty Bourgeoisie – For those who desire life-support beats, a torpid pace and heavy reverb on the vocals do we have a mix closer for you!
Fractals of Earth
Piano Magic – Bringing in former members of Dead Can Dance to participate on your new album either means you’re going through an unfortunate nostalgic streak or your target market has shifted to 35+ year old ex-goths. Either way, anything bearing the Piano Magic name on it deserves attention, regardless of the methods or level of desperation.
The Mary Onettes – My absolute favorite Swedish retro new wave rockers wander into another memorable group of romantic tunes that will keep you checking their lineage for that telltale stamp of British citizenship.
Bear In Heaven – Well not everyone needs to use their blazing synths for galloping stomps to the dancefloor, there were plenty of moody mid-tempo moments in Moog history worthy of evocation as well.
The Ghost Is Dancing – Hopefully not a Simple Minds reference in the title, because quite frankly they can’t possibly live up to it. Everything here feels a tick off, from the faux-stomping to the nasal vocals. A decent producer could perhaps tighten up their belts.
Karl Blau – And Karl Blau is not just a (more than) decent producer, he’s also a swell musician as well. Why he decided to meander into the realm of 80’s inspired sludge I’m not sure, but this effort is somewhat south of his most memorable moments.
The Invisible Kid – OK, those who felt like the last three track were a side-trip to purgatory … at least this tune has a beat. A bit too bland to really inspire a trip to the dance floor, but at least you’ll get to hone those “sorry I’m turning you down” skills.
Lovelock – There’s only one authentic 80’s moment available for your inspection tonight, and this one is worthy of the weight.
To Kill A Petty Bourgeoisie – For those who desire life-support beats, a torpid pace and heavy reverb on the vocals do we have a mix closer for you!
Friday, November 13, 2009
Been down for the count the past three days with a small grouping of symptoms that a hypochondriac would call H1N1 but I call a cold brought on by breathing too much leaf-dust as I was mulching up my yard in another fine New England autumnal rite of passage. Either way, spending the last three days in the same clothes is slightly liberating, though my cats now see me as nothing more than a rather large heating pad for their mid-day naps.
Nature Makes Us All Compete
Flaming Lips – If I had only one criticism of the previous few Flaming Lips records it would be the seeming self-satisfaction they have with creating a conjured sense of whimsy while providing little else to dig into beyond an impenetrable layer of production. The elements of that criticism are still present, but at least we have the concentrated effort of creating a song or two on this release, instead of a soundtrack for dancing teddy bears.
El Perro Del Mar – All things Swedish do not necessarily get an automatic pass here, and while her previous efforts have had songs worthy of praise the nuggets are buried a bit deeper on this new release. Which isn’t to insinuate this particular example of 1985 style portending doom leaves me cold, just that it has the intended effect.
Javelin – Fans of the Yello Magic Orchestra or the credits to Buckaroo Banzai will pleasantly appreciate the multi-layered synths that blend an appropriate level of hope and melancholy without forcing you to face that nostalgia complex it’s taken you 25 years to so carefully cultivate.
Neon Indian – Progenitors of the addled attention deficit style of electronic music, these songs seem to barely begin or coalesce before they suddenly disappear into another bleating track, BMSR style. This is easily the most cohesive one of the bunch.
Mum – Delicate and ornate without forming any fears of accidental breakage, Mum continue to craft their energetic solutions to life’s moments of ennui in hopes that their earworms produce an equally intricate reaction.
The Amazing – Side project from the most authentic retro 60’s psych-rock outfit to date (Dungen for those still flipping through their scorebooks), as you’d expect it sounds like a long lost but now re-issued side project from another time, gentler in scope and no less compelling in execution. I was gonna namedrop Balloon, but who the hell remembers them anyways?
Sweet Billy Pilgrim – Has nothing to do with Kurt Vonnegurt, nor the inoffensive folk-rock duo that released failed major label records in the mid-90’s. Instead it’s just proof that a well-executed cryptic spoken word piece will eventually find its way to the floor regardless of the worthiness of the rest of the release.
Bird Names – Playing caboose on this mix is as accurate a rendition of Don Van Vliet cacophony as I’ve heard since the last Old Time Relijun record. Odd and unpredictable in it’s construction, it still somehow transmits the sense that they know where they’re going and just enough planning has been done to reach the final destination, even if the path was not picked.
Nature Makes Us All Compete
Flaming Lips – If I had only one criticism of the previous few Flaming Lips records it would be the seeming self-satisfaction they have with creating a conjured sense of whimsy while providing little else to dig into beyond an impenetrable layer of production. The elements of that criticism are still present, but at least we have the concentrated effort of creating a song or two on this release, instead of a soundtrack for dancing teddy bears.
El Perro Del Mar – All things Swedish do not necessarily get an automatic pass here, and while her previous efforts have had songs worthy of praise the nuggets are buried a bit deeper on this new release. Which isn’t to insinuate this particular example of 1985 style portending doom leaves me cold, just that it has the intended effect.
Javelin – Fans of the Yello Magic Orchestra or the credits to Buckaroo Banzai will pleasantly appreciate the multi-layered synths that blend an appropriate level of hope and melancholy without forcing you to face that nostalgia complex it’s taken you 25 years to so carefully cultivate.
Neon Indian – Progenitors of the addled attention deficit style of electronic music, these songs seem to barely begin or coalesce before they suddenly disappear into another bleating track, BMSR style. This is easily the most cohesive one of the bunch.
Mum – Delicate and ornate without forming any fears of accidental breakage, Mum continue to craft their energetic solutions to life’s moments of ennui in hopes that their earworms produce an equally intricate reaction.
The Amazing – Side project from the most authentic retro 60’s psych-rock outfit to date (Dungen for those still flipping through their scorebooks), as you’d expect it sounds like a long lost but now re-issued side project from another time, gentler in scope and no less compelling in execution. I was gonna namedrop Balloon, but who the hell remembers them anyways?
Sweet Billy Pilgrim – Has nothing to do with Kurt Vonnegurt, nor the inoffensive folk-rock duo that released failed major label records in the mid-90’s. Instead it’s just proof that a well-executed cryptic spoken word piece will eventually find its way to the floor regardless of the worthiness of the rest of the release.
Bird Names – Playing caboose on this mix is as accurate a rendition of Don Van Vliet cacophony as I’ve heard since the last Old Time Relijun record. Odd and unpredictable in it’s construction, it still somehow transmits the sense that they know where they’re going and just enough planning has been done to reach the final destination, even if the path was not picked.
Sunday, November 08, 2009
Nothing mind-altering here, unless you disagree in which case I say enjoy the ride. There aren’t many dips but not too many rises either, just a solid entry into the post-collegiate pantheon of pop songs your boyfriend’s too distracted to care about.
Prettiest City
Lissy Trullie – She cuts quite a figure, but vocally there’s enough to make you question the gender for a syllable or four. Any song could really be lifted off this disc with a similar sonic result, the consistent pop-rock vibe it its hallmark and its curse.
Savoir Adore – When you run out things to say in a perfectly good pop song my recommendation is take a solo and return to the chorus. It worked countless times for the Raspberries. No Eric Carmen magic moments here but the dueling vocalists know when to take it up an octave.
Choo Choo La Rouge – Boston area band that specializes in no-nonsense catchy lo-fi tunes somewhere between Railroad Jerk and Bishop Allen. Recording these songs removes some of the live energy but at least provides something slake-worthy for those with a taste for the tonic.
Get Back Guinozzi – Worthy of inclusion on an early 80’s “unknown bands from Manchester” compilation even though they’re current-day and they’re not from Manchester. Still the bass guitar and reverb guitar solo with occasional synth splashes and yelping female vocals fit the template with eerie accuracy.
Headlights – Previous efforts provided commercial-worthy earworms that sadly never quite made it to ipod status though well justified their personal space requirements. This new release seems to find less in more layers as digging for nuggets costs enough calories to make you question the equation.
Two Hours Traffic – Canadian power-pop, need I say more? They don’t ache for Sloan level denim inspired rock flourish but keep it tempered and smooth like a shave with a new razor blade. If you prefer more stubble I can’t provide more direction beyond searching out songs of the producer.
The Drums – The coordinated attire and California beach setting on the cover of this EP suggest a Beach Boys fixation, but here it’s tempered by a strong helping of 80’s pop flavor. Perhaps it’s really Wham and Tommy Kirk beach flicks that really makes their spirits ache.
Why? – We’ll finish this off mix with an atypical track from a vague hip-hop artist doing the normal singing thing, though the litany of namedrops (from Jersey City to Matchbox cars to masturbating) give away the genesis of this artist’s true talents.
Prettiest City
Lissy Trullie – She cuts quite a figure, but vocally there’s enough to make you question the gender for a syllable or four. Any song could really be lifted off this disc with a similar sonic result, the consistent pop-rock vibe it its hallmark and its curse.
Savoir Adore – When you run out things to say in a perfectly good pop song my recommendation is take a solo and return to the chorus. It worked countless times for the Raspberries. No Eric Carmen magic moments here but the dueling vocalists know when to take it up an octave.
Choo Choo La Rouge – Boston area band that specializes in no-nonsense catchy lo-fi tunes somewhere between Railroad Jerk and Bishop Allen. Recording these songs removes some of the live energy but at least provides something slake-worthy for those with a taste for the tonic.
Get Back Guinozzi – Worthy of inclusion on an early 80’s “unknown bands from Manchester” compilation even though they’re current-day and they’re not from Manchester. Still the bass guitar and reverb guitar solo with occasional synth splashes and yelping female vocals fit the template with eerie accuracy.
Headlights – Previous efforts provided commercial-worthy earworms that sadly never quite made it to ipod status though well justified their personal space requirements. This new release seems to find less in more layers as digging for nuggets costs enough calories to make you question the equation.
Two Hours Traffic – Canadian power-pop, need I say more? They don’t ache for Sloan level denim inspired rock flourish but keep it tempered and smooth like a shave with a new razor blade. If you prefer more stubble I can’t provide more direction beyond searching out songs of the producer.
The Drums – The coordinated attire and California beach setting on the cover of this EP suggest a Beach Boys fixation, but here it’s tempered by a strong helping of 80’s pop flavor. Perhaps it’s really Wham and Tommy Kirk beach flicks that really makes their spirits ache.
Why? – We’ll finish this off mix with an atypical track from a vague hip-hop artist doing the normal singing thing, though the litany of namedrops (from Jersey City to Matchbox cars to masturbating) give away the genesis of this artist’s true talents.
Tuesday, November 03, 2009
It would be irresponsible (and slightly hypocritical) for me to not mention the upcoming fundraiser on behalf of my radio station WMBR (http://wmbr.org). The facility to donate will be available for a week starting on 11/5 and any donation directed to the Breakfast of Champions – Thursday will net a compilation courtesy of me. And now, back to the music.
Spot The Difference
Zero 7 – Recently I found myself hostage to an ardent Zero 7 fan nattering on about the 70’s prog-rock style storyline running through all of their albums. I silently nodded and wondered if I should counter with my theories on the subliminal lyrical thrust of “Wildfire.” Truthfully it would have been too much for a bloke excited about a four album cycle concerning a meet-up for a cup of coffee. That being said, this song dazzles.
Vitalic – For some all you have to do is combine the words “French” and “electro” and effusive praise will follow. Vitalic’s latest is far more normal than their previous release which intertwined a classical music jones with the dancefloor hits. Predictable and cynical, yet sometimes obvious trumps the more intricate plans and machinations.
Maps – ‘Bout time someone caught the peace train to the blissful mountaintop inhabited by M83’s mellifluous synths (and little else). Maps amps the energy by melding some beats with their beauty in hopes of cashing in for a glittering prize. If they could only trim some of the fat off their land …
Tegan and Sara – I’ve ignored these darlings of the college-age crowd as little more than indigo possessors of a few clunky synths but each subsequent album brings them closer to fine as they’ve motorvated from chick-flick soundtrack wannabes to palatable retro remainders.
Red Wire Black Wire - Don’t ask me which one to cut, my decision will likely grind this whole mix thing to a halt. So if I’m still a willing participant is the now dilapidated post-post punk revival who else is standing beside me – those who fondly remember the first wave or those still craving the halcyon days of early Interpol?
Schlachthofbronx – OK, it’s not exactly scatology on a Tittsworth level but instead an aural history of the rude gesture where perhaps the pictoral will do. Otherwise a passable and possible German or New York or both house (or, uh, grime?) track that delivers on its title promise with the basest of manners.
Silver Starling – If you don’t mind drinking from a muddy puddle this beverage could slake your thirst for a driving swath of controlled noise burbling below some liberally applied grating and grinding.
Rubik – Once again bringing up the rear is a tune I can’t justify reserving, so therefore we get this mélange of handclaps and prog rock tempo changes and faux-falsetto chorus and whatever other trend worth chasing which might bring a few glitter-faced girls to the show.
Spot The Difference
Zero 7 – Recently I found myself hostage to an ardent Zero 7 fan nattering on about the 70’s prog-rock style storyline running through all of their albums. I silently nodded and wondered if I should counter with my theories on the subliminal lyrical thrust of “Wildfire.” Truthfully it would have been too much for a bloke excited about a four album cycle concerning a meet-up for a cup of coffee. That being said, this song dazzles.
Vitalic – For some all you have to do is combine the words “French” and “electro” and effusive praise will follow. Vitalic’s latest is far more normal than their previous release which intertwined a classical music jones with the dancefloor hits. Predictable and cynical, yet sometimes obvious trumps the more intricate plans and machinations.
Maps – ‘Bout time someone caught the peace train to the blissful mountaintop inhabited by M83’s mellifluous synths (and little else). Maps amps the energy by melding some beats with their beauty in hopes of cashing in for a glittering prize. If they could only trim some of the fat off their land …
Tegan and Sara – I’ve ignored these darlings of the college-age crowd as little more than indigo possessors of a few clunky synths but each subsequent album brings them closer to fine as they’ve motorvated from chick-flick soundtrack wannabes to palatable retro remainders.
Red Wire Black Wire - Don’t ask me which one to cut, my decision will likely grind this whole mix thing to a halt. So if I’m still a willing participant is the now dilapidated post-post punk revival who else is standing beside me – those who fondly remember the first wave or those still craving the halcyon days of early Interpol?
Schlachthofbronx – OK, it’s not exactly scatology on a Tittsworth level but instead an aural history of the rude gesture where perhaps the pictoral will do. Otherwise a passable and possible German or New York or both house (or, uh, grime?) track that delivers on its title promise with the basest of manners.
Silver Starling – If you don’t mind drinking from a muddy puddle this beverage could slake your thirst for a driving swath of controlled noise burbling below some liberally applied grating and grinding.
Rubik – Once again bringing up the rear is a tune I can’t justify reserving, so therefore we get this mélange of handclaps and prog rock tempo changes and faux-falsetto chorus and whatever other trend worth chasing which might bring a few glitter-faced girls to the show.
Friday, October 30, 2009
Well, we have ½ old school style and ½ new school hopes mixing like an uncomfortable middle school dance on this mix. I blame Stacey Andersen for dragging me out on the floor then ditching me with some dude named Jason to dance out the rest of that Pet Shop Boys tune. Perhaps it was my velour shirt which fostered her abandonment issues …
On The Floor (Like A Dog)
Asteroids Galaxy Tour – The electro-themed cover and retro-80’s band name did not prepare me for this northern soul blast that echoes the best of Noonday Underground’s resuscitation attempts. While the vocals can’t quite measure up the enthusiasm buys back those style points.
The Heavy – Speaking of retro, they proved their 70’s soul allegiance on their last go-round and are here to back it up in world record style. This reggae infused effort still doesn’t replace Sean Bones in my heart, but would bump up with him nicely in any ipod mix trying to fool the casual partygoers.
Lake – Karl Blau’s amazing production job polishes this band’s rather reedy sound into something befitting an Al Stewart showcase, complete with delicious guitar licks and cult-style chanting of incomprehensible lyrics.
Echo & The Bunnymen – Not conscious that Echo is still taking complaints from anarchists all around the world? Well this title track hopefully changes that perception, though it likely won’t replace The Cutter in your personal top 10 list of Bunnymen tracks. Heck, it won’t replace With A Hip …
Tim Williams – Trolling the sea of sycophants angling for a possible Phoenix opening spot is this well-produced effort that puts the smooth in pop while still bringing the punch, well if only in the bassline.
Stars of Track and Field – Usually the “I forget what they sound like” track is reserved for the caboose, but instead we’ve moved it up to P6 given the sonic similarity to the previous track as they both hope some innocuous financial services firm is looking for a catchy commercial bed.
Slaraffenland – Stepping somewhat more south towards the arty types who still hope their efforts are friendly enough for Mercury Prize consideration, here’s a band whose lineage knocks them out of consideration though I’m sure their chilly homeland has plenty of other meaningless awards to consider.
Liam Finn + Eliza Jane – Liam Finn deserves a break in my ledger, as his slightly rootsy but supremely catch compositions always seem like superstars on first spin, only to wander back into the land of Pleasantville and positive opinions without any actual money exchanging hands.
On The Floor (Like A Dog)
Asteroids Galaxy Tour – The electro-themed cover and retro-80’s band name did not prepare me for this northern soul blast that echoes the best of Noonday Underground’s resuscitation attempts. While the vocals can’t quite measure up the enthusiasm buys back those style points.
The Heavy – Speaking of retro, they proved their 70’s soul allegiance on their last go-round and are here to back it up in world record style. This reggae infused effort still doesn’t replace Sean Bones in my heart, but would bump up with him nicely in any ipod mix trying to fool the casual partygoers.
Lake – Karl Blau’s amazing production job polishes this band’s rather reedy sound into something befitting an Al Stewart showcase, complete with delicious guitar licks and cult-style chanting of incomprehensible lyrics.
Echo & The Bunnymen – Not conscious that Echo is still taking complaints from anarchists all around the world? Well this title track hopefully changes that perception, though it likely won’t replace The Cutter in your personal top 10 list of Bunnymen tracks. Heck, it won’t replace With A Hip …
Tim Williams – Trolling the sea of sycophants angling for a possible Phoenix opening spot is this well-produced effort that puts the smooth in pop while still bringing the punch, well if only in the bassline.
Stars of Track and Field – Usually the “I forget what they sound like” track is reserved for the caboose, but instead we’ve moved it up to P6 given the sonic similarity to the previous track as they both hope some innocuous financial services firm is looking for a catchy commercial bed.
Slaraffenland – Stepping somewhat more south towards the arty types who still hope their efforts are friendly enough for Mercury Prize consideration, here’s a band whose lineage knocks them out of consideration though I’m sure their chilly homeland has plenty of other meaningless awards to consider.
Liam Finn + Eliza Jane – Liam Finn deserves a break in my ledger, as his slightly rootsy but supremely catch compositions always seem like superstars on first spin, only to wander back into the land of Pleasantville and positive opinions without any actual money exchanging hands.
Sunday, October 25, 2009
Those still having Steven Jesse Bernstein flashbacks are dutifully hiding any mix with my name on it from their parents. Those unfamiliar will just have to sate their need to know with this mostly wordless mix of recent releases.
No Need To Speak
Fuck Buttons – This somewhat slow building battle of electronic and electric style should not be construed as a sign of coherence for the rest of the disc, which explores a less regimented definition of tempo and clarity.
Rickard Jäverling – Those fond of the delicate Kozelek style guitar on display here will be pleased to learn that vocals do accompany more than half the tracks on this disc, I just settled for one that recalls Cabezon more than Summer Dress.
King Kong Ding Dong – Discs that arrive in screen-printed cardboard packaging usually suggest lo-fi indiepop or abrasive experiments, this one tries to find its niche in both courts but settles in with Slint style drumming (and geetars) with plenty of humming.
Boys Noize – Music for car commercials. Somehow it feels like a brawnier more brainless version of Justice, or basically it’s like comparing G.I. Joe to Transformers 2 – one of ‘em has to be better and you shouldn't try to compare them in the first place.
Emptyset – Those in the audience familiar with the painfully rhythmic Pan Sonic may find some familiarity exists in the works of Emptyset, though this composition is nowhere near as sparse as the namedrop suggests.
Sleep Whale – Don’t kill the whale, but for heaven’s sake do let it rest a bit. Another wordless one from an album that does have vocals and lyrics, even if they’re buried under several layers of reverb. Here comes that skyward explosions feeling again … all drums and string(s) and such.
Lusine – Finally a relatively normal electronic track, one worthy of a late night train trip or soundtrack for an airport. Well, an airport moving sidewalk perhaps, as the chaos that follows a last-minute gate change never does quite show up here.
Charly Antolini’s Power Dozen – It’s difficult to tell the hopelessly retro from the honestly retro these days, what with advances in art direction and recording studios and their ability to recreate the path with more than faux authenticity. I believe this is the real thing though … I think?
No Need To Speak
Fuck Buttons – This somewhat slow building battle of electronic and electric style should not be construed as a sign of coherence for the rest of the disc, which explores a less regimented definition of tempo and clarity.
Rickard Jäverling – Those fond of the delicate Kozelek style guitar on display here will be pleased to learn that vocals do accompany more than half the tracks on this disc, I just settled for one that recalls Cabezon more than Summer Dress.
King Kong Ding Dong – Discs that arrive in screen-printed cardboard packaging usually suggest lo-fi indiepop or abrasive experiments, this one tries to find its niche in both courts but settles in with Slint style drumming (and geetars) with plenty of humming.
Boys Noize – Music for car commercials. Somehow it feels like a brawnier more brainless version of Justice, or basically it’s like comparing G.I. Joe to Transformers 2 – one of ‘em has to be better and you shouldn't try to compare them in the first place.
Emptyset – Those in the audience familiar with the painfully rhythmic Pan Sonic may find some familiarity exists in the works of Emptyset, though this composition is nowhere near as sparse as the namedrop suggests.
Sleep Whale – Don’t kill the whale, but for heaven’s sake do let it rest a bit. Another wordless one from an album that does have vocals and lyrics, even if they’re buried under several layers of reverb. Here comes that skyward explosions feeling again … all drums and string(s) and such.
Lusine – Finally a relatively normal electronic track, one worthy of a late night train trip or soundtrack for an airport. Well, an airport moving sidewalk perhaps, as the chaos that follows a last-minute gate change never does quite show up here.
Charly Antolini’s Power Dozen – It’s difficult to tell the hopelessly retro from the honestly retro these days, what with advances in art direction and recording studios and their ability to recreate the path with more than faux authenticity. I believe this is the real thing though … I think?
Tuesday, October 20, 2009
Here’s another one of (mostly) guys and guitars scraping away at dull layers of desensitizing accrued through years of cynicism and regret. How ironic that those who would appreciate it the most are the least likely to find it. Or is that just a well-deserved conclusion to these stories?
Cruel and Constant
Vic Chesnutt – One of the more delightful moments of the Undertow Collective show in Boston was the on-stage banter between Mark Eitzel and Vic Chesnutt, two purveyors of broken promises who consistently find humor balled up in the shadowy corners of human existence. If that statement makes you metaphorically scratch your head, then I doubt you’ll understand Chesnutt’s meandering gut-punch almost worthy of Chocolate Genius’ “My Mom.”
Joel Plaskett – As one of the world’s most fervent Joel Plaskett fanboys I must admit the idea of releasing his Sandinista brought about ‘”is this a good idea” levels of hesitation. As you expect the conceptual side of it doesn’t hold up, the running time is far too long to sustain the interest of even his family members, and one song plucked from the field quickly restores my faith in the whole exercise.
Black Heart Procession – Don’t let me mislead you with this relatively tame track, there’s plenty of post-disaster disillusionment on their latest effort to satisfy the ardent fan. Though admittedly I kept hoping for that sprawling 7+ minute track that drags you through the filth of rain tarnished dirt roads, but it never quite arrived.
Exene Cervenka – I remember the unexpected joy of her late 80’s solo albums and the muted disappointment of mid 90’s follow-ups. Given this one’s on Bloodshot I knew to expect much more of the early 90’s faux-country and indeed it’s all inoffensive and uncomplicated beauty on display, better than a chick-flick soundtrack but nowhere near a day-after evidence envelope.
The Avett Brothers – You know how you get excited that your favorite (relatively) unknown band is finally getting that shot with the big name producer on a label with decent distribution? And you tell all your friends about how it’s the new pinnacle of the musical/emotional entanglement that’ll get even casual fans to speak in optimistic tones? Yet you know in your heart it has none of the spontaneous humour or emotion or risk-taking of their far superior unknown records? Yeah, I know that story too.
Simon Joyner – Our generation’s Townes Van Zandt continues to rake the leaves at a barren park the edge of a post-industrial Midwestern town, tidying a quiet plain that nobody wants to view anyways. A writer can do a lotta thinking about humanity in those moments, only a few people actually think to write ‘em down.
Redwood Red – Not quite sure where the label sampler came from (Germany?) but it has a hardened 70’s folk feel that eschews much of the unearned frivolity of the freak scene, leaving behind those who need to communicate beyond their daily grind and restless evenings.
Monsters of Folk – Two things nobody remembers about the Travelling Wilburys. 1) Everyone thought it was a stupid idea in the first place. 2) It was the second album (or, uh, third?) that proved the instincts behind #1 correct. Supergroup magic is incredibly difficult to capture, if you’re lucky you’ll get one decent song. Perhaps this is the one?
Cruel and Constant
Vic Chesnutt – One of the more delightful moments of the Undertow Collective show in Boston was the on-stage banter between Mark Eitzel and Vic Chesnutt, two purveyors of broken promises who consistently find humor balled up in the shadowy corners of human existence. If that statement makes you metaphorically scratch your head, then I doubt you’ll understand Chesnutt’s meandering gut-punch almost worthy of Chocolate Genius’ “My Mom.”
Joel Plaskett – As one of the world’s most fervent Joel Plaskett fanboys I must admit the idea of releasing his Sandinista brought about ‘”is this a good idea” levels of hesitation. As you expect the conceptual side of it doesn’t hold up, the running time is far too long to sustain the interest of even his family members, and one song plucked from the field quickly restores my faith in the whole exercise.
Black Heart Procession – Don’t let me mislead you with this relatively tame track, there’s plenty of post-disaster disillusionment on their latest effort to satisfy the ardent fan. Though admittedly I kept hoping for that sprawling 7+ minute track that drags you through the filth of rain tarnished dirt roads, but it never quite arrived.
Exene Cervenka – I remember the unexpected joy of her late 80’s solo albums and the muted disappointment of mid 90’s follow-ups. Given this one’s on Bloodshot I knew to expect much more of the early 90’s faux-country and indeed it’s all inoffensive and uncomplicated beauty on display, better than a chick-flick soundtrack but nowhere near a day-after evidence envelope.
The Avett Brothers – You know how you get excited that your favorite (relatively) unknown band is finally getting that shot with the big name producer on a label with decent distribution? And you tell all your friends about how it’s the new pinnacle of the musical/emotional entanglement that’ll get even casual fans to speak in optimistic tones? Yet you know in your heart it has none of the spontaneous humour or emotion or risk-taking of their far superior unknown records? Yeah, I know that story too.
Simon Joyner – Our generation’s Townes Van Zandt continues to rake the leaves at a barren park the edge of a post-industrial Midwestern town, tidying a quiet plain that nobody wants to view anyways. A writer can do a lotta thinking about humanity in those moments, only a few people actually think to write ‘em down.
Redwood Red – Not quite sure where the label sampler came from (Germany?) but it has a hardened 70’s folk feel that eschews much of the unearned frivolity of the freak scene, leaving behind those who need to communicate beyond their daily grind and restless evenings.
Monsters of Folk – Two things nobody remembers about the Travelling Wilburys. 1) Everyone thought it was a stupid idea in the first place. 2) It was the second album (or, uh, third?) that proved the instincts behind #1 correct. Supergroup magic is incredibly difficult to capture, if you’re lucky you’ll get one decent song. Perhaps this is the one?
Friday, October 16, 2009
Like a tin of supermarket sushi, this succulent batch of indie pop exceeds in its genre blandness, reworking familiar elements in familiar ways in the hope of finding a familiar endorphin rush of familiarity that breeds something more than contempt.
god's voice in the avenue
Thao With The Get Down Stay Down – More calculated than her whirlwind first effort, Thao has to actually break a sweat or two to forage for the cacophony that came so easily on her debut. That being sad it’s just as uneven, unfortunately the highs here can’t quick reach the same peak so attainable a year ago.
Via Tania - Through her breathy vocal delivery and snake-charmer backing Ms. Tania finds some rhythmically ethereal appeal in this rather simple offering. Indeed, the most shocking thing here is her 80’s style perm on the disc’s cover shot – by the way, did I ever tell you about the time my mother sent me down to the beauty parlor for the works? Oops, running out of space here …
Digits – Quite pleasantly living up to their name digits forges a synthetic path with restrained but movement friendly beats, heavily tweaked vocals, and overmodulation set to stun. If you prefer multiple synth solos in your retro-pop songs the key to your heart is contained within.
The Clientele – When the wind gets brisk and the collars turn upward it’s Clientele weather, and they continue to deserve their reputation for finding the emotional detachment with a warm creamy center, including horns and glistening Spanish guitars accentuating a longing that will likely never be sated.
Hornet Leg – The majority of this disc is dedicated to the raw garage punk cacophony that K records so mercilessly delivers in their normal junk-bin production style, though I’ve picked the one restrained morsel to be found in this heavily spiced meal. So pursue further at your peril!
The Fresh & Onlys – The rapid pace of these two concurrent releases makes me wonder if this crew is either ebulliently creative Pollard style or had a bit too much fun winnowing the track listing on the first disc. In any case consistency is their hallmark, as the retro 60’s garage vibe is just as evident and enjoyable on this fine follow-up.
The Rifles – Post-Revival-Post-Punk is likely passé by now but I had been predicting the revival for so long that I still find myself saving one song per release regardless of quality, especially if they so effectively work in heavy handclaps and a jangle worthy of the C-86 compilation.
Nudge – One day sonic archivists will wonder why some so doggedly captured the unfocused sounds of what seemed to be a basement band practice inside multiple cardboard sleeves seemingly intended for space-wasteful physical cataloging.
god's voice in the avenue
Thao With The Get Down Stay Down – More calculated than her whirlwind first effort, Thao has to actually break a sweat or two to forage for the cacophony that came so easily on her debut. That being sad it’s just as uneven, unfortunately the highs here can’t quick reach the same peak so attainable a year ago.
Via Tania - Through her breathy vocal delivery and snake-charmer backing Ms. Tania finds some rhythmically ethereal appeal in this rather simple offering. Indeed, the most shocking thing here is her 80’s style perm on the disc’s cover shot – by the way, did I ever tell you about the time my mother sent me down to the beauty parlor for the works? Oops, running out of space here …
Digits – Quite pleasantly living up to their name digits forges a synthetic path with restrained but movement friendly beats, heavily tweaked vocals, and overmodulation set to stun. If you prefer multiple synth solos in your retro-pop songs the key to your heart is contained within.
The Clientele – When the wind gets brisk and the collars turn upward it’s Clientele weather, and they continue to deserve their reputation for finding the emotional detachment with a warm creamy center, including horns and glistening Spanish guitars accentuating a longing that will likely never be sated.
Hornet Leg – The majority of this disc is dedicated to the raw garage punk cacophony that K records so mercilessly delivers in their normal junk-bin production style, though I’ve picked the one restrained morsel to be found in this heavily spiced meal. So pursue further at your peril!
The Fresh & Onlys – The rapid pace of these two concurrent releases makes me wonder if this crew is either ebulliently creative Pollard style or had a bit too much fun winnowing the track listing on the first disc. In any case consistency is their hallmark, as the retro 60’s garage vibe is just as evident and enjoyable on this fine follow-up.
The Rifles – Post-Revival-Post-Punk is likely passé by now but I had been predicting the revival for so long that I still find myself saving one song per release regardless of quality, especially if they so effectively work in heavy handclaps and a jangle worthy of the C-86 compilation.
Nudge – One day sonic archivists will wonder why some so doggedly captured the unfocused sounds of what seemed to be a basement band practice inside multiple cardboard sleeves seemingly intended for space-wasteful physical cataloging.
Sunday, October 11, 2009
I suppose everyone has influences, but Jesus couldn’t today’s artists And songwriters progress beyond Mary (not to mention peter or paul) and Chain together some moments of originality? Um, well, let me revise that opinion since flattery this sincere deserves positive recognition.
Everything Will Be OK
The Big Pink – This year’s Ned’s Atomic Dustbin? Their face-slapper of a debut hit me so immediately that it has made me doubt my normally reputable instincts for quality. It’s a decidedly British mélange of late 80’s and early 90’s influences that promises to either fade its colours or hold up to repeat washings.
The Raveonettes – A string of excellent efforts is a harbinger of quality as well, and The Raveonettes follow up last year’s big step upward with a level plane effort that deals you a pair of aces and promises several more are on the board.
Girls – Can’t quite fathom to furor around this pale effort at garage level feedback, though I have a feeling punchless production lets them down more than actual songcraft. There are too many murky moments to make much more than a watery bowl of oatmeal.
The Pains of Being Pure at Heart – Their new ep delivers on the promise of the album by simply repeating the formula of solid pop songs so obscured by Henry’s Dress level feedback that your sorrows are immediately drowned.
A Place to Bury Strangers – Nice to see these gentlemen move up to the higher profile assignment of Mute records and even nicer that they retain the momentum from their ear bleeding debut. A bit more catch as catch can on this new one as there are a few soft spots but certainly the price is justified.
Amusement Parks of Fire – Another much anticipated follow up on the horizon as their first keeps delivering who-was-that moments when stumbled upon during serendipitous shuffle moments. When I consistently guess their pedigree is ~20 years old than actual born-on date that’s impressive enough for me.
Atlas Sound – Deerhunter side project that takes a detour into Xiu Xiu land for some odd reason. Their first was a perfectly acceptable exploration of sound and style, but this new one seems to layer in a predictable air of uninspired freakiness that never coalesces into anything beyond torpor.
Vivian Girls – We’ll appropriately end this mix with The End, courtesy of an all-female outfit that seems unconcerned with style or fashion and instead stomps around the graveyard on a sunny day with the intensity of a grade school class trying to identify the oldest stone.
Everything Will Be OK
The Big Pink – This year’s Ned’s Atomic Dustbin? Their face-slapper of a debut hit me so immediately that it has made me doubt my normally reputable instincts for quality. It’s a decidedly British mélange of late 80’s and early 90’s influences that promises to either fade its colours or hold up to repeat washings.
The Raveonettes – A string of excellent efforts is a harbinger of quality as well, and The Raveonettes follow up last year’s big step upward with a level plane effort that deals you a pair of aces and promises several more are on the board.
Girls – Can’t quite fathom to furor around this pale effort at garage level feedback, though I have a feeling punchless production lets them down more than actual songcraft. There are too many murky moments to make much more than a watery bowl of oatmeal.
The Pains of Being Pure at Heart – Their new ep delivers on the promise of the album by simply repeating the formula of solid pop songs so obscured by Henry’s Dress level feedback that your sorrows are immediately drowned.
A Place to Bury Strangers – Nice to see these gentlemen move up to the higher profile assignment of Mute records and even nicer that they retain the momentum from their ear bleeding debut. A bit more catch as catch can on this new one as there are a few soft spots but certainly the price is justified.
Amusement Parks of Fire – Another much anticipated follow up on the horizon as their first keeps delivering who-was-that moments when stumbled upon during serendipitous shuffle moments. When I consistently guess their pedigree is ~20 years old than actual born-on date that’s impressive enough for me.
Atlas Sound – Deerhunter side project that takes a detour into Xiu Xiu land for some odd reason. Their first was a perfectly acceptable exploration of sound and style, but this new one seems to layer in a predictable air of uninspired freakiness that never coalesces into anything beyond torpor.
Vivian Girls – We’ll appropriately end this mix with The End, courtesy of an all-female outfit that seems unconcerned with style or fashion and instead stomps around the graveyard on a sunny day with the intensity of a grade school class trying to identify the oldest stone.
Tuesday, October 06, 2009
If you thought the last mix was sedate well, it wasn’t. But this one is, for the most part. Y’know I don’t think every song on every mix is brilliant, but at minimum they’re worth a critical assessment or two.
The Absence of Tenderness
David Sylvian – Landing somewhere between the full-on abstraction of Blemish and the more sultry song-oriented Nine Horses project, this teaming with the boys from Fennesz yields a field day of fractured fairy tails (or tales) that should please fans of either artist but doesn’t do much to combine their best elements beyond a cursory “Hey that’s David Sylvian singing over a Fennesz tune” recognition.
Grant-Lee Phillips – Speaking of former frontmen whose solo career has outlasted their more famous band tenure, here’s the former head of major label failures Grant Lee Buffalo. No, not Buffalo Tom … so wait, you’ve never heard of Grant Lee Buffalo? If you’re from the US I can’t say I blame you, check out their 1st album Fuzzy instead of this unfocused solo effort.
Richard Hawley – Ok you knew it was coming, and given the leadoff batter in this mix you knew it was coming very, very soon. The latest Hawley at least gets back some of the emotional focus left behind on Lady’s Bridge but doesn’t seek to do much more than wander around in a hazy fog bourne dusk of post-romantic failures.
Rose Melberg – Anything touching the legacy of The Softies (a band that truly embodied their name) always gets an immediate spin in my buffer, but this solo effort from half the band is as disappointing as anything either of them has released. Most of the tunes barely earn that designation, feeling more like demos that didn’t get proper warming in the studio’s toaster oven.
Anna Ternheim – I knew trouble was on the horizon when I first heard this release in Starbucks, and sure enough the Grey’s Anatomy crowd has gotten a hold of our promising Swedish transplant in hopes of luring housewives and hipsters to her troth. It’s not as terrible as that sounds, but nowhere near as positive as her stateside debut.
7 Worlds Collide – The Finn brothers try to load up their crowded house with relatives and collaborators from every continent, I think. Well, there’s some such lame concept at play which didn’t interest me enough to get through the press release. Just know that this song features Lisa Germano, and it’s better than the one where Johnny Marr lends vocals.
The Bats – These gentlemen feel like the Elvis Costello of the wave of quality New Zealand late 80’s/early 90’s exports in that they still have a well-deserved cache of goodwill thanks to their stellar early releases despite the fact that they’ve done little to entertain us in 15+ years.
The Clean – Staying back down below the equator to visit another former Flying Nun superstar effort, and luckily a far more entertaining one at that. Suffering from none of the slightness of their previous release, here they’ve made a good thing better by staying strong with a core of hazy jangle goodness throughout the whole enterprise.
The Absence of Tenderness
David Sylvian – Landing somewhere between the full-on abstraction of Blemish and the more sultry song-oriented Nine Horses project, this teaming with the boys from Fennesz yields a field day of fractured fairy tails (or tales) that should please fans of either artist but doesn’t do much to combine their best elements beyond a cursory “Hey that’s David Sylvian singing over a Fennesz tune” recognition.
Grant-Lee Phillips – Speaking of former frontmen whose solo career has outlasted their more famous band tenure, here’s the former head of major label failures Grant Lee Buffalo. No, not Buffalo Tom … so wait, you’ve never heard of Grant Lee Buffalo? If you’re from the US I can’t say I blame you, check out their 1st album Fuzzy instead of this unfocused solo effort.
Richard Hawley – Ok you knew it was coming, and given the leadoff batter in this mix you knew it was coming very, very soon. The latest Hawley at least gets back some of the emotional focus left behind on Lady’s Bridge but doesn’t seek to do much more than wander around in a hazy fog bourne dusk of post-romantic failures.
Rose Melberg – Anything touching the legacy of The Softies (a band that truly embodied their name) always gets an immediate spin in my buffer, but this solo effort from half the band is as disappointing as anything either of them has released. Most of the tunes barely earn that designation, feeling more like demos that didn’t get proper warming in the studio’s toaster oven.
Anna Ternheim – I knew trouble was on the horizon when I first heard this release in Starbucks, and sure enough the Grey’s Anatomy crowd has gotten a hold of our promising Swedish transplant in hopes of luring housewives and hipsters to her troth. It’s not as terrible as that sounds, but nowhere near as positive as her stateside debut.
7 Worlds Collide – The Finn brothers try to load up their crowded house with relatives and collaborators from every continent, I think. Well, there’s some such lame concept at play which didn’t interest me enough to get through the press release. Just know that this song features Lisa Germano, and it’s better than the one where Johnny Marr lends vocals.
The Bats – These gentlemen feel like the Elvis Costello of the wave of quality New Zealand late 80’s/early 90’s exports in that they still have a well-deserved cache of goodwill thanks to their stellar early releases despite the fact that they’ve done little to entertain us in 15+ years.
The Clean – Staying back down below the equator to visit another former Flying Nun superstar effort, and luckily a far more entertaining one at that. Suffering from none of the slightness of their previous release, here they’ve made a good thing better by staying strong with a core of hazy jangle goodness throughout the whole enterprise.
Friday, October 02, 2009
A largely synthetic offering that doesn’t rely on lyrical depth to get a directional proposal across your bow.
Flowing Forever
Tim & Puma Mimi – Japanese pop with a Euro twist sounds remarkably Japanese complete with attention deficit disorder vocal prowess and video game synths. I’ll take the title at face value and assume this song is about that moment when you enter a restaurant and realize the fish that are greeting could soon be on your plate.
Sissy Wish – Fulfilling this week’s Swedish requirement is this few-years-too-late import that didn’t have to be worth the wait but certainly fulfills that intention. The 60’s girl group overmod is entirely too authentic but the super-busy drummer gives away their true inspiration.
Air – They continue to do their best to embody the elements of their namesake that likely drew them international fame and fortune in the first place, though I wonder how anyone at all remembers they even existed despite always being around. I would have enjoyed some lighthearted patter somewhere late in the song.
Music Go Music – The myth of historical simplicity is reinforced by backwards looking musical confections like this offering. In truth time allows us an easier swipe at judging the relative merits of ABBA or Pilot, which makes retro-worshipping efforts somewhat of a cheat. When you already know what’s good, it’s easier to pick a starting point.
United State of Electronica – While not as delirious as their first effort, the suddenly shortened U.S.E. (do they have less members now?) still make copious use of the pitch correction technology at their disposal without forgetting that a bit of talentless rap can go a long way to building up billowing clouds of memory.
Eva and the Heartmaker – The whole exercise seems quite meticulously designed, and that’s just the packaging. Imagine the budget for the multiple clothing changes in one single CD booklet! I hope she rented that piano key necklace! Where do they find all these solidly colored walls?
Health – If ever a band name was a misnomer, this group seems determined to damage at least one internal organ of each listener, probably the pancreas. Rapidly forming squalls of dissonance mate with New Order-precise dance beats in an unholy cry for catharsis through unintended physical activity.
Signer – Bringing up the rear, once again some musical effort that arrived with little more than a press release, a naked disc and a google-proof name. At least this one seems like self-sabotage was the true intent, given the lack of puppy dog earnestness in the prose and the performance.
Flowing Forever
Tim & Puma Mimi – Japanese pop with a Euro twist sounds remarkably Japanese complete with attention deficit disorder vocal prowess and video game synths. I’ll take the title at face value and assume this song is about that moment when you enter a restaurant and realize the fish that are greeting could soon be on your plate.
Sissy Wish – Fulfilling this week’s Swedish requirement is this few-years-too-late import that didn’t have to be worth the wait but certainly fulfills that intention. The 60’s girl group overmod is entirely too authentic but the super-busy drummer gives away their true inspiration.
Air – They continue to do their best to embody the elements of their namesake that likely drew them international fame and fortune in the first place, though I wonder how anyone at all remembers they even existed despite always being around. I would have enjoyed some lighthearted patter somewhere late in the song.
Music Go Music – The myth of historical simplicity is reinforced by backwards looking musical confections like this offering. In truth time allows us an easier swipe at judging the relative merits of ABBA or Pilot, which makes retro-worshipping efforts somewhat of a cheat. When you already know what’s good, it’s easier to pick a starting point.
United State of Electronica – While not as delirious as their first effort, the suddenly shortened U.S.E. (do they have less members now?) still make copious use of the pitch correction technology at their disposal without forgetting that a bit of talentless rap can go a long way to building up billowing clouds of memory.
Eva and the Heartmaker – The whole exercise seems quite meticulously designed, and that’s just the packaging. Imagine the budget for the multiple clothing changes in one single CD booklet! I hope she rented that piano key necklace! Where do they find all these solidly colored walls?
Health – If ever a band name was a misnomer, this group seems determined to damage at least one internal organ of each listener, probably the pancreas. Rapidly forming squalls of dissonance mate with New Order-precise dance beats in an unholy cry for catharsis through unintended physical activity.
Signer – Bringing up the rear, once again some musical effort that arrived with little more than a press release, a naked disc and a google-proof name. At least this one seems like self-sabotage was the true intent, given the lack of puppy dog earnestness in the prose and the performance.
Friday, September 25, 2009
Some weeks these mixes just grow naturally from a single seed. Other times it feels like multiple puzzles were jumbled into the box. This mix certainly hews to the latter meme, though perhaps September can spawn one more monster before passing the baton.
Something I Couldn't Overlook
The XX – Originally I expected a full-on male/female indie dance record in true DFA/LCD copycat style, instead the beats are buried beneath silence as the two leads play meet coy for most of the disc, only occasionally stumblin’ in to something resembling a rhythm.
Zeep – I’ve gone from never hearing a cover of “Ghost Town” to stumbling across two in a few short months. This is by far the more original take of the two (first was a note-for-noter by The Aggrolites), a Brazilian influenced bossa nova swipe that’s not as interesting as the description promises.
Sally Shapiro – Sweden means superbly produced pop music to my candy coated ears, and Sally adds the extra sheen of disco dance with a 400 grit. She’s the type of girl you always thought was excessively friendly but never in the least considered dateable because that concept just didn’t apply.
Cobra Killer – Unlike these two ladies who are seemingly buying the drinks to seduce your alcohol addled morals with their potent garage raunch cum carefully crafted workouts that finds energy in all the right places.
Streightangular – Couldn’t quite get a grip on this band’s release as I flipped through genre exercise after genre exercise, only the low budget production values held consistent court. Of course that meant I was always one song away from finally finding filler from that one genre I needed.
Drummer – As a concept forming a band from four drummers seems awfully wasteful considering the premium placed on their talents. I bet it was all influenced by their girlfriends who were frankly sick and tired of bulky equipment hogging the hatch of the Civic, and especially being the last ones to leave load-out.
Orphins – Is it a punk band playing tropical or a world music devotee trying to rock it up a bunch? Or maybe the Navy steel drum band cutting loose during a paying gig at the Miller Beer factory (an actual experience of mine, mind you)? Whatever the genesis, don’t expect this tune to accuracy reflect any other slice of sonic output from this outfit’s garage.
Jupiter One – The rarest of instances in my mixes, the best track has been saved to last. Perhaps it’s because as I type this I still can’t come up with the final solution on the most compelling track from this power pop band who seems to take inspiration from 70’s era corporation construction methods for hit-making city dwellers.
And for you banjo lovers out there:
Theme Mix: Banjo
Something I Couldn't Overlook
The XX – Originally I expected a full-on male/female indie dance record in true DFA/LCD copycat style, instead the beats are buried beneath silence as the two leads play meet coy for most of the disc, only occasionally stumblin’ in to something resembling a rhythm.
Zeep – I’ve gone from never hearing a cover of “Ghost Town” to stumbling across two in a few short months. This is by far the more original take of the two (first was a note-for-noter by The Aggrolites), a Brazilian influenced bossa nova swipe that’s not as interesting as the description promises.
Sally Shapiro – Sweden means superbly produced pop music to my candy coated ears, and Sally adds the extra sheen of disco dance with a 400 grit. She’s the type of girl you always thought was excessively friendly but never in the least considered dateable because that concept just didn’t apply.
Cobra Killer – Unlike these two ladies who are seemingly buying the drinks to seduce your alcohol addled morals with their potent garage raunch cum carefully crafted workouts that finds energy in all the right places.
Streightangular – Couldn’t quite get a grip on this band’s release as I flipped through genre exercise after genre exercise, only the low budget production values held consistent court. Of course that meant I was always one song away from finally finding filler from that one genre I needed.
Drummer – As a concept forming a band from four drummers seems awfully wasteful considering the premium placed on their talents. I bet it was all influenced by their girlfriends who were frankly sick and tired of bulky equipment hogging the hatch of the Civic, and especially being the last ones to leave load-out.
Orphins – Is it a punk band playing tropical or a world music devotee trying to rock it up a bunch? Or maybe the Navy steel drum band cutting loose during a paying gig at the Miller Beer factory (an actual experience of mine, mind you)? Whatever the genesis, don’t expect this tune to accuracy reflect any other slice of sonic output from this outfit’s garage.
Jupiter One – The rarest of instances in my mixes, the best track has been saved to last. Perhaps it’s because as I type this I still can’t come up with the final solution on the most compelling track from this power pop band who seems to take inspiration from 70’s era corporation construction methods for hit-making city dwellers.
And for you banjo lovers out there:
Theme Mix: Banjo
Monday, September 21, 2009
No not-so-secretly embedded Richard Hawley tracks this time friends, though with his new release hitting the US shelves tomorrow odds are 1 in 6 that you might find him here next week. For some that’s akin to playing a game of roulette by yourself, a game that eventually you’re born to lose.
Tearing Up At 40s Love Songs
Scotland Yard Gospel Choir – If you find your memories of prime 90s Pulp are still juicy well this Choir would like you to get on board. They don’t disguise their intentions at all, from the telegraphed lyrics to the gasping vocals to the desperate situations set to catchy yet maudlin music.
Mark Mallman – This Minnesota viking sets his own musical course by slavishly following the footsteps of mid-American 80s mainstream rock (WMMR anyone?), at least until you start listening to the lyrics and begin wondering how much of his life’s course has been dedicated to self-sabotage.
Jay Reatard – Jay tries to play the slavish garage rock devotee card in his press clippings but he’s far too dedicated musically to compromise his chances of making a living at his muse. No need to worry friend, as long as you continue to tip your hat to 80’s Southern power pop there will be a devoted core following you to the implosion.
Plasticines – They’re French! They’re Female! They’re Legal! I would add They’re Good* but I suppose anyone sold by the combination of the first three exclamations doesn’t really need the fourth since that information is completely superfluous. *BTW – their first album was better …
The Hidden Cameras – One of these one per bands that challenges you to sift through the rubble on a quest to find the one insanely catchy song they program per disc, forgetting that this whole downloading thing can get you a Hidden Cameras greatest moments ep in about six clicks.
Robert Pollard – Now this man certainly knows what to do with a dedicated fanbase - continue pushing product and projects until even the most amorously amused adherents find a fickle bone in their buttocks and move along to the likes of the bands above this line.
David Bazan – Just because his lineage suggests simple joyously mopey moments doesn’t mean he will completely forsake an authentically inspired rock song or two on this new solo disc.
The Grates – Once again the final track is programmed with a band that has a female form whom I appreciate and wish to gaze upon longing, and therefore will get to google image while doing this ‘research.’ Truthfully I only need to cast a glance toward a poster in the basement of walker to be reminded of her most admirable talent.
Tearing Up At 40s Love Songs
Scotland Yard Gospel Choir – If you find your memories of prime 90s Pulp are still juicy well this Choir would like you to get on board. They don’t disguise their intentions at all, from the telegraphed lyrics to the gasping vocals to the desperate situations set to catchy yet maudlin music.
Mark Mallman – This Minnesota viking sets his own musical course by slavishly following the footsteps of mid-American 80s mainstream rock (WMMR anyone?), at least until you start listening to the lyrics and begin wondering how much of his life’s course has been dedicated to self-sabotage.
Jay Reatard – Jay tries to play the slavish garage rock devotee card in his press clippings but he’s far too dedicated musically to compromise his chances of making a living at his muse. No need to worry friend, as long as you continue to tip your hat to 80’s Southern power pop there will be a devoted core following you to the implosion.
Plasticines – They’re French! They’re Female! They’re Legal! I would add They’re Good* but I suppose anyone sold by the combination of the first three exclamations doesn’t really need the fourth since that information is completely superfluous. *BTW – their first album was better …
The Hidden Cameras – One of these one per bands that challenges you to sift through the rubble on a quest to find the one insanely catchy song they program per disc, forgetting that this whole downloading thing can get you a Hidden Cameras greatest moments ep in about six clicks.
Robert Pollard – Now this man certainly knows what to do with a dedicated fanbase - continue pushing product and projects until even the most amorously amused adherents find a fickle bone in their buttocks and move along to the likes of the bands above this line.
David Bazan – Just because his lineage suggests simple joyously mopey moments doesn’t mean he will completely forsake an authentically inspired rock song or two on this new solo disc.
The Grates – Once again the final track is programmed with a band that has a female form whom I appreciate and wish to gaze upon longing, and therefore will get to google image while doing this ‘research.’ Truthfully I only need to cast a glance toward a poster in the basement of walker to be reminded of her most admirable talent.
Wednesday, September 16, 2009
Fire up the ghost machine and lay back in a wood-paneled room cuz we’re going for a ride through a bookish quadrant of your musical memory. Music you’re supposed to say you get because you’re supposed to get it and god help us cuz we just might not be lying and actually do get it. That’s why you smoke clove cigarettes under the covers.
Grocery Stores In The Middle Of The Night
The Twilight Sad – Call it turnips since I like the texture, but I’m not sure about the taste. A sprawling accent addled tune carries the emotion with little to lyrically earn it unless you can decipher his aural hieroglyphics.
The National – A song from the Mark Mulcahy tribute to his now-passed wife finds the Brookyln cum Cincinnati troubadors foraging for sadness and light in a Polaris tune with all the appropriateness of drinking after the wake.
Mason Jennings – If you have a list of “what’s wrong with Richmond Fontaine” it might be worthwhile to apply those reasons to Mason Jennings as well. However, I think it’s the most vicious song on the disc, a gut-punch of scrappled memories from a leftover teenage experience complete with an unrelated chorus that only seems to make more sense as the song winds through the senseless events of a life set to random play.
Yo La Tengo – There’s maybe 3-4 YLT songs on their new record, the rest will make you appreciate the delicate retro-soul touches of Belle & Sebastian. I don’t blame them for attempting to worship their heroes of a past age, but it seems like a bit of a struggle to work up the energy for something that should be organic and fun. Like conception-oriented sex I suppose (I wouldn’t know).
Soulsavers – Here it is, the Richard Hawley track from the new Soulsavers release. Especially selected for those of you (like myself) who had no interest in this superstar laden project beyond his whiskey aged vocals. And as you fatalistically expected, it doesn’t really live up to those reduced expectations.
Dappled Cities – I won’t throw stones by calling this an elegantly overproduced impenetrable chocolate fortress, instead I’ll force a compliment by saying you’ll enjoy the overindulgence. Not as fun as their previous effort yet it finds a leaden charm of its own.
Sian Alice Group – The most cohesive song on the disc plays leadoff track, though as I cycle my way through the intended running order perhaps the skeletal song 7 would have been a better pick. Too late note, we’ll take the traditional path through moody meadow.
Nocturnes – Somehow the caboose on these trains always turns out to be a song I reserved for future listens yet somehow didn’t get around to enjoying for two months. Is it guilt that got me to program this unfocused tune? Or the excuse to grab another glimpse and make an informed hot-or-not decision on the singer? For everyone’s sake I’ll say it’s the guitar – I liked the guitar.
Grocery Stores In The Middle Of The Night
The Twilight Sad – Call it turnips since I like the texture, but I’m not sure about the taste. A sprawling accent addled tune carries the emotion with little to lyrically earn it unless you can decipher his aural hieroglyphics.
The National – A song from the Mark Mulcahy tribute to his now-passed wife finds the Brookyln cum Cincinnati troubadors foraging for sadness and light in a Polaris tune with all the appropriateness of drinking after the wake.
Mason Jennings – If you have a list of “what’s wrong with Richmond Fontaine” it might be worthwhile to apply those reasons to Mason Jennings as well. However, I think it’s the most vicious song on the disc, a gut-punch of scrappled memories from a leftover teenage experience complete with an unrelated chorus that only seems to make more sense as the song winds through the senseless events of a life set to random play.
Yo La Tengo – There’s maybe 3-4 YLT songs on their new record, the rest will make you appreciate the delicate retro-soul touches of Belle & Sebastian. I don’t blame them for attempting to worship their heroes of a past age, but it seems like a bit of a struggle to work up the energy for something that should be organic and fun. Like conception-oriented sex I suppose (I wouldn’t know).
Soulsavers – Here it is, the Richard Hawley track from the new Soulsavers release. Especially selected for those of you (like myself) who had no interest in this superstar laden project beyond his whiskey aged vocals. And as you fatalistically expected, it doesn’t really live up to those reduced expectations.
Dappled Cities – I won’t throw stones by calling this an elegantly overproduced impenetrable chocolate fortress, instead I’ll force a compliment by saying you’ll enjoy the overindulgence. Not as fun as their previous effort yet it finds a leaden charm of its own.
Sian Alice Group – The most cohesive song on the disc plays leadoff track, though as I cycle my way through the intended running order perhaps the skeletal song 7 would have been a better pick. Too late note, we’ll take the traditional path through moody meadow.
Nocturnes – Somehow the caboose on these trains always turns out to be a song I reserved for future listens yet somehow didn’t get around to enjoying for two months. Is it guilt that got me to program this unfocused tune? Or the excuse to grab another glimpse and make an informed hot-or-not decision on the singer? For everyone’s sake I’ll say it’s the guitar – I liked the guitar.
Friday, September 11, 2009
Haven’t focused on synthetic dance beats in awhile so here’s to emptying the reserve of hedonistic expression.
Honey Dipped Tennis Player
Simian Mobile Disco – While there’s nothing here as clever as “Hustler” from their prior effort, it’s still enjoyable. That enjoyment factor is largely based on who they’ve selected as the vocalist for a particular track (in this case Chris Keating from Yeasayer) or who they namedrop (in this case Mama Cass and Peter Tosh). Still, providing Jamie Lidell another avenue for his artistic output does hint at a lack of judgment.
Dyko – If mid-period Sisters of Mercy were sung in German. Or perhaps Lords of the New Church. Anyone remotely familiar with that brand of late 80’s goth (the clothes and attitude and basslines) will find this slightly nostalgic, as they don’t make ‘em like this anymore. Unless you’re on Metropolis.
Prodigy – A little late on this one, sorry chaps. So speaking of digging for gold, The Prodigy wander back to Out Of Space style manic cod reggae, which I thought was a Faint cover based on the title. Perhaps it’s just a tip o’ the hat, or slight misdirection. Either way, for those with a fondness for manic sped-up repetitive Jamaican samples it’s like mac and cheese.
Felix Da Housecat – So, to go for overt Prince namedrop or harmless S&M reference? They’re both contained within the new Felix album, which seems to base each track on some concept Felix finds humorous then drives it to dust by exploring little beyond the obvious.
Amanda Blank – Finally, a track that might hold up to multiple spins! Ok, I haven’t exactly raised expectations here and certainly Amanda Blank is anything but life changing, but slather on that Dr. Pepper lip gloss and pucker up for a candy kiss.
Streetlab – Every week we get at least one release like this: 1) Blank Slimline Case (problem: can’t read the spine), 2) Song titles only written on disc (problem: tough to figure out what song you’re playing w/o ejecting the disc) 3) White sticker label on name-brand CD-R (problem: trayless professional CD players won’t accept, or even worse won’t reject it). Despite those 3 strikes I still listened (and enjoyed).
Black Mold - One wouldn’t associate Chad VanGaalen with a funk/electronic influenced instrumental side project, but here it is.
Sweet Trip – We’ll leave the kids hanging out in the corner watching all the action unfold for the all-important final selection, a smooth pop track that recalls Swedish dance pop more than any of the electro predecessors available on this mix. Not much of a hurdle mind you …
Honey Dipped Tennis Player
Simian Mobile Disco – While there’s nothing here as clever as “Hustler” from their prior effort, it’s still enjoyable. That enjoyment factor is largely based on who they’ve selected as the vocalist for a particular track (in this case Chris Keating from Yeasayer) or who they namedrop (in this case Mama Cass and Peter Tosh). Still, providing Jamie Lidell another avenue for his artistic output does hint at a lack of judgment.
Dyko – If mid-period Sisters of Mercy were sung in German. Or perhaps Lords of the New Church. Anyone remotely familiar with that brand of late 80’s goth (the clothes and attitude and basslines) will find this slightly nostalgic, as they don’t make ‘em like this anymore. Unless you’re on Metropolis.
Prodigy – A little late on this one, sorry chaps. So speaking of digging for gold, The Prodigy wander back to Out Of Space style manic cod reggae, which I thought was a Faint cover based on the title. Perhaps it’s just a tip o’ the hat, or slight misdirection. Either way, for those with a fondness for manic sped-up repetitive Jamaican samples it’s like mac and cheese.
Felix Da Housecat – So, to go for overt Prince namedrop or harmless S&M reference? They’re both contained within the new Felix album, which seems to base each track on some concept Felix finds humorous then drives it to dust by exploring little beyond the obvious.
Amanda Blank – Finally, a track that might hold up to multiple spins! Ok, I haven’t exactly raised expectations here and certainly Amanda Blank is anything but life changing, but slather on that Dr. Pepper lip gloss and pucker up for a candy kiss.
Streetlab – Every week we get at least one release like this: 1) Blank Slimline Case (problem: can’t read the spine), 2) Song titles only written on disc (problem: tough to figure out what song you’re playing w/o ejecting the disc) 3) White sticker label on name-brand CD-R (problem: trayless professional CD players won’t accept, or even worse won’t reject it). Despite those 3 strikes I still listened (and enjoyed).
Black Mold - One wouldn’t associate Chad VanGaalen with a funk/electronic influenced instrumental side project, but here it is.
Sweet Trip – We’ll leave the kids hanging out in the corner watching all the action unfold for the all-important final selection, a smooth pop track that recalls Swedish dance pop more than any of the electro predecessors available on this mix. Not much of a hurdle mind you …
Sunday, September 06, 2009
Shouldn’t take long to dispatch these eight tracks into your collective memory banks, hopefully they stick around slightly longer than their collective slight running time(s).
Underwater Calling
Lhasa De Sela – Superbly thrilled to discover this smoky thrill amongst the callow AAA chaff in our new release bin, her voice has a knowing weariness with a smooth bite not unlike well-aged liquor complete with those all-important younger years spent fermenting in a wooden container. Possible EOY Top 10?
Meg Baird – From a new Judee Sill tribute compilation that steps above the banality of such efforts. We’ve all heard source material of this quality butchered before, but a handful of contributions from Ms. Sill’s all-too-small canon create delightful surprises, especially this horn-laden take on an early tune.
Yim Yames – Speaking of covers, here comes a My Morning Jacket member doffing his metaphoric cap to the most effective member of the Beatles with some simple basement takes of expected and unexpected selections.
Hope Sandoval & The Warm Inventions – Anyone hoping for a Mazzy Star redux will be just as sorely disappointed with this 2nd attempt at creating smoke before fire. I won’t excoriate her for an unwillingness to revise the gothy shoegaze meme, but I will excoriate her for the lack of anything interesting whatsoever …
Amy Millan – More effective is this Stars’ 2nd go around, which accentuates the down home vibe of her first effort with a more atmospheric vibe that slightly increases the venn diagram intersection between her solo and band careers. Those hoping for Elevator Love Letter Pt. 2 will still be left wanting, just not as much so.
Desolation Wilderness – Clientele Lite effort on the K label should hold over those of us anticipating the new record for another month, complete with foggy forest atmosphere and reverb’d vocals. OK so it doesn’t have the stunning guitar, but who else north of Nick Saloman does?
Travis Caudle – Reaching back to the nostalgia of melancholy commercial pop of the late 80’s/early 90’s, this gentlemen effectively washes his genes with wistful guitars and gruff but lovable vocals in hopes of getting the rise out of a listener or two.
Division Day – Saving that finish him blow for the anchor selection, these gents have tied a rope around their waist and are now searching for life inside your pancreas. While things are murky down there not all hope is lost for treasure can be found almost anywhere you look when you mic the drums way up front.
Underwater Calling
Lhasa De Sela – Superbly thrilled to discover this smoky thrill amongst the callow AAA chaff in our new release bin, her voice has a knowing weariness with a smooth bite not unlike well-aged liquor complete with those all-important younger years spent fermenting in a wooden container. Possible EOY Top 10?
Meg Baird – From a new Judee Sill tribute compilation that steps above the banality of such efforts. We’ve all heard source material of this quality butchered before, but a handful of contributions from Ms. Sill’s all-too-small canon create delightful surprises, especially this horn-laden take on an early tune.
Yim Yames – Speaking of covers, here comes a My Morning Jacket member doffing his metaphoric cap to the most effective member of the Beatles with some simple basement takes of expected and unexpected selections.
Hope Sandoval & The Warm Inventions – Anyone hoping for a Mazzy Star redux will be just as sorely disappointed with this 2nd attempt at creating smoke before fire. I won’t excoriate her for an unwillingness to revise the gothy shoegaze meme, but I will excoriate her for the lack of anything interesting whatsoever …
Amy Millan – More effective is this Stars’ 2nd go around, which accentuates the down home vibe of her first effort with a more atmospheric vibe that slightly increases the venn diagram intersection between her solo and band careers. Those hoping for Elevator Love Letter Pt. 2 will still be left wanting, just not as much so.
Desolation Wilderness – Clientele Lite effort on the K label should hold over those of us anticipating the new record for another month, complete with foggy forest atmosphere and reverb’d vocals. OK so it doesn’t have the stunning guitar, but who else north of Nick Saloman does?
Travis Caudle – Reaching back to the nostalgia of melancholy commercial pop of the late 80’s/early 90’s, this gentlemen effectively washes his genes with wistful guitars and gruff but lovable vocals in hopes of getting the rise out of a listener or two.
Division Day – Saving that finish him blow for the anchor selection, these gents have tied a rope around their waist and are now searching for life inside your pancreas. While things are murky down there not all hope is lost for treasure can be found almost anywhere you look when you mic the drums way up front.
Tuesday, September 01, 2009
Hello hello hi to you and y’all from sampler central as we roll out anther octofecta of mildly interesting tunes for those who don’t cotton to name brands
Scan The Skies
Fool’s Gold – Soooo … remember last week when I namedropped the Talking Heads album Naked? Just pretend you did. Well, the real Nothing But Flowers moment rises here with this LA area side project that pays homage to cod African world music with this sinuous selection.
Taken By Trees – Never really liked the voice of the lead singer of the Concretes, so transitioning it into a less poppy more moody atmosphere doesn’t sound like a recipe for addiction does it? Nah not really, though occasionally she skips out on the moody murk and finds a rhythm or two to proffer.
Early Day Miners – Quite simply the friendliest Early Day Miners record ever. Much like a terrier leaping at the door for your attention as opposed to the shy basset hound style of their previous efforts, this album wants to be liked Liked LIKED!!! It’ll make you wonder if their bunker of Quaaludes suddenly ran dry. Or perhaps we can blame it on a woman …
Dodos – Last year’s favorite fractured fairy tale felt no need for consistency in tone or execution, this year’s model flies the friendly skies with consistency as its hallmark. Not too shabby, but the highs and lows have been counterbalanced into a pleasant pop pot pie. Better than Modest Mouse if you really needed to ask.
Nurses – OTOH, here’s the uneven release of the bunch aiming for an earlier generation of indie movie engorgers complete with awkward stares and meet cute memes. Feels like a demo that tentatively fleshed itself out at about 3am with an energy drink infusion, can’t fault them for needing some extra liquid to wet the whistle.
Apricot Rail – This group is more Australia than trout for the song title of the week winner. Otherwise it refutes its expeditious intentions with a sly lazy soundtrack feel more worthy of Temporary Residence than Flying Nun … or uh should that be Candle? Don’t want to offend nobody down there?
Wye Oak – Izzit we or why before the oak? Regardless they’re at least more proficient than She & Him and probably a damn sight cuter too if they wouldn’t wear such baggy clothes and show some skin. Actually the guy looks like the tech manager at my office but at least the girl has the good sense to hang out at skee ball parlors and such.
Matthew Sweet & Susanna Hoffs – Their cover album exercises are rife with extremely clever choices and consequently doomed by mildly disappointing execution. Case in point, this largely unheralded genius slice of power pop surges in its original Todd Rundgren form, and therefore just about any cover version simply can’t match its infectious verve. But extra points for trying …
Scan The Skies
Fool’s Gold – Soooo … remember last week when I namedropped the Talking Heads album Naked? Just pretend you did. Well, the real Nothing But Flowers moment rises here with this LA area side project that pays homage to cod African world music with this sinuous selection.
Taken By Trees – Never really liked the voice of the lead singer of the Concretes, so transitioning it into a less poppy more moody atmosphere doesn’t sound like a recipe for addiction does it? Nah not really, though occasionally she skips out on the moody murk and finds a rhythm or two to proffer.
Early Day Miners – Quite simply the friendliest Early Day Miners record ever. Much like a terrier leaping at the door for your attention as opposed to the shy basset hound style of their previous efforts, this album wants to be liked Liked LIKED!!! It’ll make you wonder if their bunker of Quaaludes suddenly ran dry. Or perhaps we can blame it on a woman …
Dodos – Last year’s favorite fractured fairy tale felt no need for consistency in tone or execution, this year’s model flies the friendly skies with consistency as its hallmark. Not too shabby, but the highs and lows have been counterbalanced into a pleasant pop pot pie. Better than Modest Mouse if you really needed to ask.
Nurses – OTOH, here’s the uneven release of the bunch aiming for an earlier generation of indie movie engorgers complete with awkward stares and meet cute memes. Feels like a demo that tentatively fleshed itself out at about 3am with an energy drink infusion, can’t fault them for needing some extra liquid to wet the whistle.
Apricot Rail – This group is more Australia than trout for the song title of the week winner. Otherwise it refutes its expeditious intentions with a sly lazy soundtrack feel more worthy of Temporary Residence than Flying Nun … or uh should that be Candle? Don’t want to offend nobody down there?
Wye Oak – Izzit we or why before the oak? Regardless they’re at least more proficient than She & Him and probably a damn sight cuter too if they wouldn’t wear such baggy clothes and show some skin. Actually the guy looks like the tech manager at my office but at least the girl has the good sense to hang out at skee ball parlors and such.
Matthew Sweet & Susanna Hoffs – Their cover album exercises are rife with extremely clever choices and consequently doomed by mildly disappointing execution. Case in point, this largely unheralded genius slice of power pop surges in its original Todd Rundgren form, and therefore just about any cover version simply can’t match its infectious verve. But extra points for trying …
Thursday, August 27, 2009
Y’all aren’t an easy group to please so I’ve carefully brought together a mess of nattily dressed talents to woo you with a combination of name recognition and failure-ready descriptions. Feel free to refute my suppositions.
Dismiss Me With A Smile
Wild Beasts – With a band name like that you’d expect a group of greasy tattooed rockers, not this lot of Bronski Beat rejects with a lead singer that confidently jumps from high notes to low like some dude from Elbow. Jaunty, British, and up for immediate purchase when the release date rolls around.
Jack Penate – So the jaunty and British thing mentioned above translates here as well, with a disco bass for good measure. I found it to be quite ebullient in almost an African music kind of way, and not “Nothing But Flowers” (not that there’s anything wrong with Naked).
The Entrance Band – Bringing the proceedings to a screeching halt because how many us really enjoy energetic experiences anyway? Mewling vocals and 80’s guitar textures punctuate this slow building Baltimore area side project. Notice how I mention Baltimore once an update just to capture the attention of a certain listener?
Blue Roses – Already being feted as fantastic by those in the know, I continue to wait outside in a drizzle for the heater to kick in. Her voice takes that divisive Joanna Newsom style a step further to the left, mated with ‘authentic’ (read: reedy) production and period instruments that scream method over magic. Of course it’s all hidden and obscured on this somewhat palatable selection.
Joe Henry – OK, so I really enjoyed the early 90’s country version of Joe Henry and not the faux-meaningful aka impenetrable stuff from the mid-90’s. Good news is he’s coming down from that high solitude of the one-man mountain he perched hisself on, bad news is he stopped off to visit with Tom Waits. Still, any improvement should be noted in hopes of future gains.
Magnolia Electric Co. – The man is obsessed with Neil Young, we all certainly can observe that from his Songs: Ohia. At least it’s the good 70’s stuff, he hasn’t quite gotten to the Trans portion of the catalog yet. This one still has some fraying on the edge of the natty lapels, and that’s alright with me.
Samara Lubelski – Less is more when it comes to Ms. Lubelski, hushing her able vocals like Nico with proper training yet subtly layering in a wash a keyboards, backing vocals and bass to create a late night hey did the light behind that door just flicker mood.
Mew – Just because I feel like we should end with some production aided grandeur, here’s a band I’ve never gotten wandering into a moment I can relationally draw upon. Hopefully it’s not too Mars Volta nu-prog for y’all.
Dismiss Me With A Smile
Wild Beasts – With a band name like that you’d expect a group of greasy tattooed rockers, not this lot of Bronski Beat rejects with a lead singer that confidently jumps from high notes to low like some dude from Elbow. Jaunty, British, and up for immediate purchase when the release date rolls around.
Jack Penate – So the jaunty and British thing mentioned above translates here as well, with a disco bass for good measure. I found it to be quite ebullient in almost an African music kind of way, and not “Nothing But Flowers” (not that there’s anything wrong with Naked).
The Entrance Band – Bringing the proceedings to a screeching halt because how many us really enjoy energetic experiences anyway? Mewling vocals and 80’s guitar textures punctuate this slow building Baltimore area side project. Notice how I mention Baltimore once an update just to capture the attention of a certain listener?
Blue Roses – Already being feted as fantastic by those in the know, I continue to wait outside in a drizzle for the heater to kick in. Her voice takes that divisive Joanna Newsom style a step further to the left, mated with ‘authentic’ (read: reedy) production and period instruments that scream method over magic. Of course it’s all hidden and obscured on this somewhat palatable selection.
Joe Henry – OK, so I really enjoyed the early 90’s country version of Joe Henry and not the faux-meaningful aka impenetrable stuff from the mid-90’s. Good news is he’s coming down from that high solitude of the one-man mountain he perched hisself on, bad news is he stopped off to visit with Tom Waits. Still, any improvement should be noted in hopes of future gains.
Magnolia Electric Co. – The man is obsessed with Neil Young, we all certainly can observe that from his Songs: Ohia. At least it’s the good 70’s stuff, he hasn’t quite gotten to the Trans portion of the catalog yet. This one still has some fraying on the edge of the natty lapels, and that’s alright with me.
Samara Lubelski – Less is more when it comes to Ms. Lubelski, hushing her able vocals like Nico with proper training yet subtly layering in a wash a keyboards, backing vocals and bass to create a late night hey did the light behind that door just flicker mood.
Mew – Just because I feel like we should end with some production aided grandeur, here’s a band I’ve never gotten wandering into a moment I can relationally draw upon. Hopefully it’s not too Mars Volta nu-prog for y’all.
Saturday, August 22, 2009
Swinging by the indie pop clubhouse for a quick visit with some new releases, a few of the power pop kids snuck in to steal some lemonade but don’t mind them they’ll leave once we break out the violins and horns.
Do The Dog Paddle
Sondre Lerche – I never intend to enjoy a Sondre Lerche record, he seems so 80’s Paul McCartney square that my initial assumptions are always skewed WERS style (ie – unexpectedly hearing a good songs on a flavorless radio station) but this one deserves the attention of at least on Josh Rouse fan.
Montt Mardié –Montt’s releases distinguish themselves with their humour, often surrounding the awkward way his characters (or him?) try to navigate life and love across a pop-culture background. Unfortunately not much of that element can be found on this new one, though at least the sound and voice are still present.
Zeus – Plain ‘ol straight ahead power pop from the 70’s that quite effectively captures the vibe without feeling the need to New Pornographers it for the messenger bag crowd (of which I am one, prolly)
The Invisible Cities – Well, we certainly hope they don’t stay invisible given the charm and style on display in this tune which doesn’t quite live up to the explanatory promise of its title … but then again perhaps it does?
The Seldon Plan – The lady came from Baltimore, and so did this jaunty and overly simple tune that doesn’t hang out on the corner much more than it has to.
Cheap Trick – These kids certainly still got the power and have been plagued by the same problem throughout their career – finding someone that can accurately record their superb live sound. This record is as close to doing it right as they’ve been in 20 years.
God Help The Girl – Despite all the press to the contrary this sounds nothing like a Belle & Sebastian record to me. It does tries to studiously ape the 60’s without the requisite energy needed to pull it off nor the vocal talent to sell the concept. Can you tell I’m disappointed? Well, at least I wasn’t expecting that much …
The Postmarks – Now here’s your Belle & Sebastian fix, from this reliable NY based indie pop band that’s made a (likely non-paying) career out of simply orchestrated jubilance.
Do The Dog Paddle
Sondre Lerche – I never intend to enjoy a Sondre Lerche record, he seems so 80’s Paul McCartney square that my initial assumptions are always skewed WERS style (ie – unexpectedly hearing a good songs on a flavorless radio station) but this one deserves the attention of at least on Josh Rouse fan.
Montt Mardié –Montt’s releases distinguish themselves with their humour, often surrounding the awkward way his characters (or him?) try to navigate life and love across a pop-culture background. Unfortunately not much of that element can be found on this new one, though at least the sound and voice are still present.
Zeus – Plain ‘ol straight ahead power pop from the 70’s that quite effectively captures the vibe without feeling the need to New Pornographers it for the messenger bag crowd (of which I am one, prolly)
The Invisible Cities – Well, we certainly hope they don’t stay invisible given the charm and style on display in this tune which doesn’t quite live up to the explanatory promise of its title … but then again perhaps it does?
The Seldon Plan – The lady came from Baltimore, and so did this jaunty and overly simple tune that doesn’t hang out on the corner much more than it has to.
Cheap Trick – These kids certainly still got the power and have been plagued by the same problem throughout their career – finding someone that can accurately record their superb live sound. This record is as close to doing it right as they’ve been in 20 years.
God Help The Girl – Despite all the press to the contrary this sounds nothing like a Belle & Sebastian record to me. It does tries to studiously ape the 60’s without the requisite energy needed to pull it off nor the vocal talent to sell the concept. Can you tell I’m disappointed? Well, at least I wasn’t expecting that much …
The Postmarks – Now here’s your Belle & Sebastian fix, from this reliable NY based indie pop band that’s made a (likely non-paying) career out of simply orchestrated jubilance.
Sunday, August 16, 2009
A collection of recent releases coldly calculated to appeal to the smooth pop afficianado – a demographic unto itself!
Baby In The Back Seat
Reverie Sound Revue – Super peppy and tightly synchronized femme-voxed pop that recalls the heyday of Stereolab or Ivy or any other mid-90’s outfit that placed precedence on reverbed vocals and bass guitar.
Divisible – Another tune with the balance strongly set towards the rhythm section, much crisper jazz inflection in the female vocals but still a heavy emphasis on tight song construction with a slice of stop start perched on the rim.
Olivia Broadfield – She has a few too many miles on the clock (only a few, mind you) to be aiming for the Vagrant teen demographic but that doesn’t stop this gauzy glittery girl, uh woman, from spending her time investigating love and angst for the locker-opening crowd
The Golden Bloom – An extremely strong scent of Maritime or Minus the Bear or any other post-Promise Ring emo project that found the pop portion of genre much more exciting than the sturm and drang can be found here.
We Were Promised Jetpacks – My enthusiasm for this post-punk outfit is quite reserved, not because I’m so over the early 80’s revival but because the mewling vocals hint at something much more modern, an inevitable intrusion I suppose (years ago, I might have known).
Madness – Here it is, the best song off the new Madness album, accept no substitute. It has the horns, the piano, the loping pace, the audible sneer underneath a weighty sigh. Perhaps I shouldn’t place heavy expectation that Madness ’09 = Madness ’83 but quite frankly if they don’t deliver on that unwritten promise then there’s no need for another Madness album.
Throw Me The Statue – While the band’s name shows up early in Raiders of the Lost Ark, the song is not quite a face-melter but it generates as much cool as heat like the electric fans in a professor’s office, functionally brilliant.
Summer Cats – Return with me to the early 90’s indiepop landscape, where appearing in a VW commercial was the pinnacle of success. There’s quite a bit of that DNA inherent in this tune, which hits with the wicked force of a great Velocity Girl song (admittedly there weren’t many, and they weren’t very forceful).
Baby In The Back Seat
Reverie Sound Revue – Super peppy and tightly synchronized femme-voxed pop that recalls the heyday of Stereolab or Ivy or any other mid-90’s outfit that placed precedence on reverbed vocals and bass guitar.
Divisible – Another tune with the balance strongly set towards the rhythm section, much crisper jazz inflection in the female vocals but still a heavy emphasis on tight song construction with a slice of stop start perched on the rim.
Olivia Broadfield – She has a few too many miles on the clock (only a few, mind you) to be aiming for the Vagrant teen demographic but that doesn’t stop this gauzy glittery girl, uh woman, from spending her time investigating love and angst for the locker-opening crowd
The Golden Bloom – An extremely strong scent of Maritime or Minus the Bear or any other post-Promise Ring emo project that found the pop portion of genre much more exciting than the sturm and drang can be found here.
We Were Promised Jetpacks – My enthusiasm for this post-punk outfit is quite reserved, not because I’m so over the early 80’s revival but because the mewling vocals hint at something much more modern, an inevitable intrusion I suppose (years ago, I might have known).
Madness – Here it is, the best song off the new Madness album, accept no substitute. It has the horns, the piano, the loping pace, the audible sneer underneath a weighty sigh. Perhaps I shouldn’t place heavy expectation that Madness ’09 = Madness ’83 but quite frankly if they don’t deliver on that unwritten promise then there’s no need for another Madness album.
Throw Me The Statue – While the band’s name shows up early in Raiders of the Lost Ark, the song is not quite a face-melter but it generates as much cool as heat like the electric fans in a professor’s office, functionally brilliant.
Summer Cats – Return with me to the early 90’s indiepop landscape, where appearing in a VW commercial was the pinnacle of success. There’s quite a bit of that DNA inherent in this tune, which hits with the wicked force of a great Velocity Girl song (admittedly there weren’t many, and they weren’t very forceful).
Tuesday, August 11, 2009
Allow me to make a peace offering to the agitated, the anxious, the affable, the amphibious listeners of this blog with these eight songs from new releases that know how to craft tension and release, sometimes in the same song.
A Worthless Tourist
Amazing Baby - A lovely melding of glam styles with some textured guitar and perhaps even a bit of Spanish horns for a slice of fun that’s aiming for MGMT like success.
Foreign Born – Bit of a plodder here but it carries a punch worth waiting for in the chorus that can’t be denied as it earns a chance at the title fight.
Dinosaur Jr. – New album is actually carries some Sire-era polish despite still hanging on to the pre-Sebadoh lineup, one can’t deny this sprawling rocker earns its extended length.
Wussy – Former Ass Ponys members can barely seem to hang together in this rough late 80’s alterna-rocker but whenever they led the lady take the lead I find their songs undeniably addictive.
Phil & The Osophers – Former dumbest band name on the concert report winners prove they have to be better than anyone else for fear of being laughed out of the club upon introduction.
Cosmos – If the names Robert Pollard and Richard Davies stoke your excitement well it’s not exactly Cardinal-esque precision you’ll find on this full-length despite the evidence to the contrary presented here.
Malcolm Middleton – Must admit while it doesn’t fully remind me of Arab Strap it does carve a wave of its own out of its unpredictable tempo and boisterously british presence.
David Axelrod – Soundtrack instrumental that aims for an early 70’s sun and seashore vibe and hits the target with one hundred and EIGHTY like precision.
A Worthless Tourist
Amazing Baby - A lovely melding of glam styles with some textured guitar and perhaps even a bit of Spanish horns for a slice of fun that’s aiming for MGMT like success.
Foreign Born – Bit of a plodder here but it carries a punch worth waiting for in the chorus that can’t be denied as it earns a chance at the title fight.
Dinosaur Jr. – New album is actually carries some Sire-era polish despite still hanging on to the pre-Sebadoh lineup, one can’t deny this sprawling rocker earns its extended length.
Wussy – Former Ass Ponys members can barely seem to hang together in this rough late 80’s alterna-rocker but whenever they led the lady take the lead I find their songs undeniably addictive.
Phil & The Osophers – Former dumbest band name on the concert report winners prove they have to be better than anyone else for fear of being laughed out of the club upon introduction.
Cosmos – If the names Robert Pollard and Richard Davies stoke your excitement well it’s not exactly Cardinal-esque precision you’ll find on this full-length despite the evidence to the contrary presented here.
Malcolm Middleton – Must admit while it doesn’t fully remind me of Arab Strap it does carve a wave of its own out of its unpredictable tempo and boisterously british presence.
David Axelrod – Soundtrack instrumental that aims for an early 70’s sun and seashore vibe and hits the target with one hundred and EIGHTY like precision.
Thursday, August 06, 2009
8 more highly synthetic tracks more likely of interest to those stuck in 80’s new wave or 90’s dance club culture than anyone hanging out here with the punchbowl crowd.
The Sidewalks And The Sky
Patrick Wolf – His latest is adorned with a remodeled image worthy of A Flock of Seagulls member, and the music is equally authentic and inspiring new wave.
Romance – Another in a long line of gothy post-punk bands chasing after a golden ring that has long since tarnished, but I won’t complain until they are all uniformly terrible instead of intermittently so.
YACHT – The stutterstep pace would likely frustrate the faithful dancefloor denizens, but a building-crusher like Godzilla would find plenty of meaning in both the lyrics and the music.
Circle Vs. Square – If you still see a stack of quarters as an opportunity to hit the Galaga machine and not the washing machine, this faux arcade game tune will give rise to a smidge of nostalgia.
Grafton Primary – Now we’ve ventured into the serious electro dance territory, where the real goal is to become a soundtrack to a flashy luxury car commercial.
Kleerup featuring Lykke Li – Swedish dance means addictive fun in my dictionary and this album could be a top tenner, as it makes the electronic sound compulsively organic.
Penelope[s] – Wandering back towards a new wave and post-punk affectation, in both the vocals and the bassline I suppose it’s New Order meets Pet Shop Boys (or wasn’t that called Electronic?)
Silk Flowers – The most consciously lo-fi of the group and hence the most original in modifying the static form – which also translates to probably the least entertaining.
Thanks,
keith
The Sidewalks And The Sky
Patrick Wolf – His latest is adorned with a remodeled image worthy of A Flock of Seagulls member, and the music is equally authentic and inspiring new wave.
Romance – Another in a long line of gothy post-punk bands chasing after a golden ring that has long since tarnished, but I won’t complain until they are all uniformly terrible instead of intermittently so.
YACHT – The stutterstep pace would likely frustrate the faithful dancefloor denizens, but a building-crusher like Godzilla would find plenty of meaning in both the lyrics and the music.
Circle Vs. Square – If you still see a stack of quarters as an opportunity to hit the Galaga machine and not the washing machine, this faux arcade game tune will give rise to a smidge of nostalgia.
Grafton Primary – Now we’ve ventured into the serious electro dance territory, where the real goal is to become a soundtrack to a flashy luxury car commercial.
Kleerup featuring Lykke Li – Swedish dance means addictive fun in my dictionary and this album could be a top tenner, as it makes the electronic sound compulsively organic.
Penelope[s] – Wandering back towards a new wave and post-punk affectation, in both the vocals and the bassline I suppose it’s New Order meets Pet Shop Boys (or wasn’t that called Electronic?)
Silk Flowers – The most consciously lo-fi of the group and hence the most original in modifying the static form – which also translates to probably the least entertaining.
Thanks,
keith
Saturday, August 01, 2009
60% more than a handful of new tracks in the latest sampler revealing some music from fascinating new releases
Ripe Enough For The Terror
__________
Tafo (feat. Nahid Akhtar) – This came from a compilation of 60’s era soundtrack music from Pakistan, the manic energy of this guy’s stuttering vocals and the interplay with his hyperactive female counterpart is bewildering.
Generationals – Energetic retro-pop that bounces from garagey to bubblegum while spiking it with a slight twang.
Sean Bones – Lo-fi garagey reggae that retains an appropriate sense of enthusiasm while adding his own style to the stock memes of the genre.
The Aggrolites – Pretty much a note-for-note cover but when the original is that good there’s really no reason to mess with it (unless you’re getting paid to be on a soundtrack that is).
Brian Glaze – Former drummer of the Brian Jonestown Massacre does something that sounds nothing like the Massacre and everything like a home bedroom project which probably kept the neighbors up at night.
Eugene McGuinness – Kaleidoscopic Brit-pop that borrows from the 60’s through the 90’s with piano and guitar seemingly lifted from late-period Kinks.
My First Earthquake – Low budget new wave dance pop with hyperactive chanting about two subjects and nothing at the same time. If you’re a cleaning lady with a sexual hangup here’s a song for you.
Edward Sharpe & The Magnetic Zeros – Jangle-pop mated with crooner quality vocals and subject matter, at some times coming off slightly Beach Boys-ish at other times sounding like a summer day gone long.
Ripe Enough For The Terror
__________
Tafo (feat. Nahid Akhtar) – This came from a compilation of 60’s era soundtrack music from Pakistan, the manic energy of this guy’s stuttering vocals and the interplay with his hyperactive female counterpart is bewildering.
Generationals – Energetic retro-pop that bounces from garagey to bubblegum while spiking it with a slight twang.
Sean Bones – Lo-fi garagey reggae that retains an appropriate sense of enthusiasm while adding his own style to the stock memes of the genre.
The Aggrolites – Pretty much a note-for-note cover but when the original is that good there’s really no reason to mess with it (unless you’re getting paid to be on a soundtrack that is).
Brian Glaze – Former drummer of the Brian Jonestown Massacre does something that sounds nothing like the Massacre and everything like a home bedroom project which probably kept the neighbors up at night.
Eugene McGuinness – Kaleidoscopic Brit-pop that borrows from the 60’s through the 90’s with piano and guitar seemingly lifted from late-period Kinks.
My First Earthquake – Low budget new wave dance pop with hyperactive chanting about two subjects and nothing at the same time. If you’re a cleaning lady with a sexual hangup here’s a song for you.
Edward Sharpe & The Magnetic Zeros – Jangle-pop mated with crooner quality vocals and subject matter, at some times coming off slightly Beach Boys-ish at other times sounding like a summer day gone long.
Monday, July 27, 2009
Every five days I shine the spotlight on stellar tracks from new releases, this edition is a bit sedate but hopefully worthy.
Cursing At The Sky
Chain and the Gang – Ian Svenonius’ new thing didn’t impress me until I hit this song about an unlucky individual who happens across three people near death, each with an improbable story to divulge. The female backing vocals are critical.
Grizzly Bear – The latest big thing’s new thing didn’t impress me until I hit this song on my drivin’ around mix and said “Hey, that sounds good” without realizing it was Grizzly Bear. Powerfully loping with a rush and a push but the land is never really quite theirs.
The Binary Marketing Show – Definitely the discovery of this 8-pack for me, I paid it the ultimate dj compliment by sending them money for the full length. As unpredictable as a good Long Fin Killie record, but in a very different way.
City Center – Side project with Fred Thomas of SLGTM, but without the 60’s Brill building girl-group pop obsession. If that makes you pause and ask, “Hey if you take that away from SLGTM what’s left?” well here’s the answer.
Cass McCombs – Not quite as affecting as previous releases from Mr. McCombs but that by no means should be seen as a denigration of this aural carousel.
Broken Records – With a name like that I expected energetic punk, not this haunted fragment of a spider web filled with the remnants of survival stories gone awry.
Misty Roses – With a name like that I expected retro-folk Tim Hardin style, and for sure that’s what we get here with an eerily accurate Scott Walker early solo vibe as well. Doesn’t quite possess the grandeur, but doesn’t really try for it either and that makes it all the more authentic.
Mocky – I needed to provide you with some sort of fun now didn’t I? Whenever Gonzalez shows up somewhere other than on his own releases I pay attention, as his true value is almost always realized as a guest star.
Cursing At The Sky
Chain and the Gang – Ian Svenonius’ new thing didn’t impress me until I hit this song about an unlucky individual who happens across three people near death, each with an improbable story to divulge. The female backing vocals are critical.
Grizzly Bear – The latest big thing’s new thing didn’t impress me until I hit this song on my drivin’ around mix and said “Hey, that sounds good” without realizing it was Grizzly Bear. Powerfully loping with a rush and a push but the land is never really quite theirs.
The Binary Marketing Show – Definitely the discovery of this 8-pack for me, I paid it the ultimate dj compliment by sending them money for the full length. As unpredictable as a good Long Fin Killie record, but in a very different way.
City Center – Side project with Fred Thomas of SLGTM, but without the 60’s Brill building girl-group pop obsession. If that makes you pause and ask, “Hey if you take that away from SLGTM what’s left?” well here’s the answer.
Cass McCombs – Not quite as affecting as previous releases from Mr. McCombs but that by no means should be seen as a denigration of this aural carousel.
Broken Records – With a name like that I expected energetic punk, not this haunted fragment of a spider web filled with the remnants of survival stories gone awry.
Misty Roses – With a name like that I expected retro-folk Tim Hardin style, and for sure that’s what we get here with an eerily accurate Scott Walker early solo vibe as well. Doesn’t quite possess the grandeur, but doesn’t really try for it either and that makes it all the more authentic.
Mocky – I needed to provide you with some sort of fun now didn’t I? Whenever Gonzalez shows up somewhere other than on his own releases I pay attention, as his true value is almost always realized as a guest star.
Thursday, July 23, 2009
Another 8-pack of recent tunes for you to gnaw on – many post-punk influenced if you like labels.
Glitter Like Your Greed
Lilofee – Pulled off a label sampler, this song taunts the listener then provides a few more unsettling details before wandering into an investigation of the sexual mores of today’s youth.
Precinct – Retro Joy Division era rock with the authentic recorded-in-a-warehouse mixing, but don’t assume it adds up to unfriendly because this song has (hidden) hooks!
Tiny Masters of Today – One wonders how such an inconsequential little band of young-uns could attract the attention of a well-respected label, but at least they know how to have fun with a recording budget.
Flea Market Poets – The band name suggests English junk shop and for they most part they live up to the moniker, massaging equal parts enthusiasm and angst
The Legends – Sweden’s Labrador label is an immediate seal of quality in my household, so when these retro poppers put up another offering I immediately hit the download key.
Crocodiles – Can’t blame anyone for adoring Jesus & Mary Chain – though I always make sure to qualify that declaration with “What era?” Is it more Psychocandy or Honey’s Dead?
Post Honeymoon – Early Siouxsie is likely the pattern they intended to follow, but limited recording budgets let to a stripped down punky sound which quite frankly suits them well.
Kurt Von Stetten – Boston area photographer and skateboard punk puts together a musical entry that quite frankly deserves a more of a place at the early 90’s table, but takes a bow here instead.
Glitter Like Your Greed
Lilofee – Pulled off a label sampler, this song taunts the listener then provides a few more unsettling details before wandering into an investigation of the sexual mores of today’s youth.
Precinct – Retro Joy Division era rock with the authentic recorded-in-a-warehouse mixing, but don’t assume it adds up to unfriendly because this song has (hidden) hooks!
Tiny Masters of Today – One wonders how such an inconsequential little band of young-uns could attract the attention of a well-respected label, but at least they know how to have fun with a recording budget.
Flea Market Poets – The band name suggests English junk shop and for they most part they live up to the moniker, massaging equal parts enthusiasm and angst
The Legends – Sweden’s Labrador label is an immediate seal of quality in my household, so when these retro poppers put up another offering I immediately hit the download key.
Crocodiles – Can’t blame anyone for adoring Jesus & Mary Chain – though I always make sure to qualify that declaration with “What era?” Is it more Psychocandy or Honey’s Dead?
Post Honeymoon – Early Siouxsie is likely the pattern they intended to follow, but limited recording budgets let to a stripped down punky sound which quite frankly suits them well.
Kurt Von Stetten – Boston area photographer and skateboard punk puts together a musical entry that quite frankly deserves a more of a place at the early 90’s table, but takes a bow here instead.
Wednesday, July 15, 2009
Half these tracks are instrumental; I’ll let you decide which ones fit the definition!
Fishing In The Ocean
Ocote Soul Sounds – Latin flavored fun that doesn’t feel the need to be overtly authentic, sorta like a strip-mall Mexican restaurant. In Spanish!
Tortoise – Their most fun full-length in a very long time, I didn’t check my watch once during this track
Yppah – Melding of electronics and organics in a Boards of Canada like way, but far more interested in engaging the listener.
Jon Hopkins – The most overtly electronic offering in this 8-pack, yet still quite shifty.
Black Moth Super Rainbow – BSMR never leave the listener lacking a super tweaked psychedelic Nintendo sized sound track.
Peter Project – Rumours of Spider-Man’s involved are completed fabricated within the confines of this message.
Love Is Chemicals – 1/3 of the album’s span finds some super catchy guitar lick and repeats ad nauseum – I say kudos.
Miike Snow – Not a guy, but a Swedish duo. Regardless of the spelling issues, they don’t let their countrymen go to waste.
Thanks,
keith
Fishing In The Ocean
Ocote Soul Sounds – Latin flavored fun that doesn’t feel the need to be overtly authentic, sorta like a strip-mall Mexican restaurant. In Spanish!
Tortoise – Their most fun full-length in a very long time, I didn’t check my watch once during this track
Yppah – Melding of electronics and organics in a Boards of Canada like way, but far more interested in engaging the listener.
Jon Hopkins – The most overtly electronic offering in this 8-pack, yet still quite shifty.
Black Moth Super Rainbow – BSMR never leave the listener lacking a super tweaked psychedelic Nintendo sized sound track.
Peter Project – Rumours of Spider-Man’s involved are completed fabricated within the confines of this message.
Love Is Chemicals – 1/3 of the album’s span finds some super catchy guitar lick and repeats ad nauseum – I say kudos.
Miike Snow – Not a guy, but a Swedish duo. Regardless of the spelling issues, they don’t let their countrymen go to waste.
Thanks,
keith
Thursday, July 09, 2009
This latest sampler mix focuses on tunes visiting the dancier side of the equator.
A Line Around The Block
The Juan MacLean – Smart idea to feature guest singers on their latest one, the chef’s salad of femme vox add some meat to songs that might not stand well on their own.
Passion Pit – The hottest thing out of Boston since the Molasses Disaster. The mega-pitch shifted vocal moments could be called questionable, or they could totally sell you.
Pet Shop Boys – Can you believe their new one sounds just as vital now as it might’ve 25 years ago? This particular song would’ve been Top 20 easy back in 1984.
Tiga – Always inconsequential, always curious – there’s at least one song per Tiga record that worms its way into repeat play status
Thavius Beck – I’m still trying to source the mega tweaked sample at the center of this song – it sure sounds Simon LeBon-ish to me.
The Phenomenal Handclap Band – No handclaps, and they’re not really that phenomenal either. On the whole that is, in parts it can be quite fun. Like the Juan MacLean the guest vox are welcome, unlike the Juan MacLean they did not make many wise choices (present company excepted). Plus this song COUNTS!
VX-323 – A band that would have you believe the music and vocals are delivered by a sentient robot. Why it’s worried about real estate values I dunno.
Anthem In – This Kate Bush cover is not the best song on their new ep, just the most noteworthy.
A Line Around The Block
The Juan MacLean – Smart idea to feature guest singers on their latest one, the chef’s salad of femme vox add some meat to songs that might not stand well on their own.
Passion Pit – The hottest thing out of Boston since the Molasses Disaster. The mega-pitch shifted vocal moments could be called questionable, or they could totally sell you.
Pet Shop Boys – Can you believe their new one sounds just as vital now as it might’ve 25 years ago? This particular song would’ve been Top 20 easy back in 1984.
Tiga – Always inconsequential, always curious – there’s at least one song per Tiga record that worms its way into repeat play status
Thavius Beck – I’m still trying to source the mega tweaked sample at the center of this song – it sure sounds Simon LeBon-ish to me.
The Phenomenal Handclap Band – No handclaps, and they’re not really that phenomenal either. On the whole that is, in parts it can be quite fun. Like the Juan MacLean the guest vox are welcome, unlike the Juan MacLean they did not make many wise choices (present company excepted). Plus this song COUNTS!
VX-323 – A band that would have you believe the music and vocals are delivered by a sentient robot. Why it’s worried about real estate values I dunno.
Anthem In – This Kate Bush cover is not the best song on their new ep, just the most noteworthy.
Sunday, July 05, 2009
Picking up the 8tracks sampler habit again for those who want to peruse songs from new releases at their leisure:
A Miracle That's Over
Jeffrey Lewis & The Junkyard – casual Jonathan Richman-style introspection, which means not very deep yet entertaining
Eels – Personally not a big fan but this tune off their latest compelled a spin
St. Vincent – New album not as skeletal as the previous effort, putting a little more flesh behind the veil
Sean Walsh and the National Reserve – Rambling Ryan Adams style country-influenced rock, sans the gut punches
Slaraffenland – An a-ha cover, for those of you who find that prospect attractive
You Can Be A Wesley – First recorded output for a Boston-area band who generate some pop energy
Bibio – Inconsistent release goes from electronic trickery to 60’s era folk, this song lands somewhere inbetween
Headless Heroes – Covers project with Eddie Bezalel and Alela Diane at the helm, inviting other new folkies to help out
Thanks,
keith
A Miracle That's Over
Jeffrey Lewis & The Junkyard – casual Jonathan Richman-style introspection, which means not very deep yet entertaining
Eels – Personally not a big fan but this tune off their latest compelled a spin
St. Vincent – New album not as skeletal as the previous effort, putting a little more flesh behind the veil
Sean Walsh and the National Reserve – Rambling Ryan Adams style country-influenced rock, sans the gut punches
Slaraffenland – An a-ha cover, for those of you who find that prospect attractive
You Can Be A Wesley – First recorded output for a Boston-area band who generate some pop energy
Bibio – Inconsistent release goes from electronic trickery to 60’s era folk, this song lands somewhere inbetween
Headless Heroes – Covers project with Eddie Bezalel and Alela Diane at the helm, inviting other new folkies to help out
Thanks,
keith
Sunday, January 25, 2009
I am the laundry master of the house - all laundry duties are mine!
Turn Your Pockets Out
Serena-Maneesh / The Black Watch / A.C. Newman / Cut Off Your Hands / Kyle Andrews / Sparks / Metal Feathers / Travels
Turn Your Pockets Out
Serena-Maneesh / The Black Watch / A.C. Newman / Cut Off Your Hands / Kyle Andrews / Sparks / Metal Feathers / Travels
Thursday, January 15, 2009
I'll use the relative lack of new releases during the late December/early January timeframe as my built-in excuse for ignoring the mixes. Before this morning's show it looked like there was a healthy stack of potentially engaging releases just waiting to be checked in, so if I don't create another offering in ~5 days I'll have to get more creative in excuse-making.
The Truth Won't Make You Happy
Kaki King / The Ballet / Pavement / Fire On Fire / Bird By Snow / The Tallest Man on Earth / Sean Smith / Marion Maerz
The Truth Won't Make You Happy
Kaki King / The Ballet / Pavement / Fire On Fire / Bird By Snow / The Tallest Man on Earth / Sean Smith / Marion Maerz
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