The late-October update debuting later than I thought it would, as I ended up spending Saturday ensuring our fundraising data entry efforts will be more accurate than last year and Sunday making and assembling the batch of 2007 samplers for those who pledged during the show (or directed their web donation to bocthurs). Hopefully the double-disc set will more than make up for my tardiness!

Lightspeed Champion - "Xanadu"
In preparation for the year-end covers show I've been studiously accumulating candidates, including this far too reverential cover by a Test-Icicles member. The chimey chimes and insistent replication of the source material's backing vocals reveal a lack of the imagination needed to pull off material of this cheese level. The non-cover cuts are similarly faux-fragile with overly earnest vocals.

Winter Flowers - "Live To Tell"
From the new Madonna tribute Through The Wilderness which allows faux-folk bands to take on Madonna's best with lackluster results. Predictably none of the acts excavate the delicious gooey center of the originals, this one was selected from the bunch for its doubling of the original running length with two loping guitar solos and the doubled female vocals that most effectively evoke the early 70's.

Coheed and Cambria - "The Running Free"
This was the other half of the new music challenge posed to Christopher Vyce during the 11/1 fundraising show trope of "which song should I play?" He picked Freezepop for those not taking copious notes at home. I would have gladly accepted the new single by these incomprehensible prog-rockers, as they manage one super-catchy Rush ripoff per record. Does anyone really slavishly listen to each of their impenetrable sci-fi concept records attempting to divine wisdom from lazy drivel? Wait, don't answer that one.

Tokyo Music Club - "Box"
Leadoff track from a new ep by this non-Japanese band ... if you guessed Canadian give yourself a cred checkmark. While attempting to muster up a rocker, it betrays their emopowerpop notions behind jumpy guitar hooks and spoken backing vocals seemingly lifted from another song. Just can't bring myself to pull the trigger.

Anna Ternheim - "Today Is A Good Day"
The breathless press material that escorted this ep into the station touted her hitmaking status in Sweden, a sure sign of pandering to the bocthurs deejay if you ask me. This has more of a non-USA worshipping Broadcast feel to it in the both the beatific vocals and the glistening jangle of the instruments. However the backing vocals betray a friendlier sensibility and the rest of the disc tries for mystic moodiness with less success. Enough of an appetite whetter to earn a spin on 10/26.

The Whiles - "Spanish Steps"
A band from Columbus OH that S2C Patrick didn't try to sell me, that alone should have been sufficient warning. The type of vocally challenged pop that never wafts beyond a single harmonious key. At first its intentions seem rather twee with a sparse backing but slowly the guitar intrudes with some James-style muscle until eventually bursting into dual solo strutting with a freaky synth break in the bridge to provide some spice. Regardless of how pretty the portrait has been painted before with colors more vivid than these men can muster.

Serpent Rainbow - "Our Escape"
Quite simply the only song I could stomach on this release, but well deserving of attention nonetheless. In the midst of some unfocused supersoft sub Damon & Naomi rambling is this Felt-like meanderfest that is at least smart enough to let the introspective guitar take a primary spot in the recording process instead of burying it beneath layers of haze. Much appreciated, friends.

Frightened Rabbit - "Music Now"
Well there was the year of the Wolf band and I think Horse had a good six month or so run and of course Black never goes out of style but here we witness the dawn of the age of the Rabbit band. If you surmised Rabbit bands as a collective sound like meek-but-shaggy-bangs-combed-over-their-eyes-with-striped-shirts-staring-up-from-their-guitars-in-the-hope-of-catching-a-swoony-girl's-eye then you've got Frightened Rabbit by the ears. The total lyrical substance of this song announces "This is music now" and I'm still doubting if I should double back for confirmation.

White Rabbits - "The Plot"
Doing a far better job of providing the new genre of rabbit music with a reasonable reputation is White Rabbits, who have the sense to mate jumpy guitars and catchy whoa-ah-oh-ah-oh-ah-ohs together into an infectious paste that won't quite wash off in warm water. These gentlemen are worthy of the doubleback for this song alone, which surfaced on WMBR airwaves 11/8. I'm still a little hesistant to provide a enthusiastic thumbs up vote based on the previous rabbit experience but we've come a long way baby.

Last Days - "Two Halves Of A Line"
This instrumental band favors pictures of abandoned rowboats on frozen lakes with leafless trees suffering in the background. Concert report fodder on 10/26, chilly electronic blurbs are punctuated by a haze of drone and plainly repetitive guitar with a few unexpected piano baubles and tempo shifts for flavor. It gives me chapped lips just listening to it.

Club 8 - "When I Come Around"
Quite pleased to announce this Swedish indiepop concern continue to provide high quality hummable pop with inoffensively produced midtempo tones that smooth over all rough edges with a layer of delicious white frosting. There are no overt dance beats or bleating vocals, just a persistent pace and smoothly engaging execution across the musical and vocal landscape that play like a happy counterpart to a Trembling Blue Stars triphop effort. Spun on 10/26.

The Brother Kite - "Half Century"
The hit from this Providence RI's otherwise superfluous new ep which distills their infectious brand of shoegazer pop through a turkey baster full of joy. If you crave the shimmering overdubbed vocals and verses that mimic a choral chanting of Beach Boys praise this one song will compel you to plunk down some cash for the chance to claim ownership of an instant classic. It's not an undiscovered early Teenage Fanclub classic circa Catholic Education but with no foreknowledge you could probably be convinced of such stellar lies about its lineage. Played on 11/8, you'll probably hear it again.

The Beautiful Girls - "Generals"
Generally a flaccid and lackluster record but splash a sub-Police reggae beat with some spikey new wave guitars and I'm predictably swayed to spin. Still I made sure to bury my guilty pleasure spin on an unplanned JDDCE sub session sometime around 10/20. They really don't do much with the promising start but relatively effective distillations of nostalgia is obviously enough for me these days.

Ravens & Chimes - "General Lafayette! You Are Not Allowed"
Mating the impenetrable title of a Decemberists song with the choppy piano-driven sweep of an Arcade Fire tune the fake ending on this one embarrased me during the 11/8 spin and eroded any good will I had for these competent NYC copiers of the latest indie music trends. Truthfully if this record had been released under the Neon Bible moniker I would've bought it, but then again my ears aren't very sharp. And considering the passel submissions by bands with 8+ members that arrive at our studios monthly anything that can step beyond hopelessly muddled execution and murky production wins an a-ok from me.

Saturday Looks Good To Me - "Edison Girls"
Just when I've started to become addicted to the Fred Thomas helmed tracks on the previous SLGTM records he comes along and puts out a relatively polished collection of songs that steps away from his frenzied lo-fi channeling of 60's soul. As previous efforts pop up randomly thanks to my mp3 player dousing me in endorphins, this new effort removes the imperfections with sonic care and consequently drowns my excitement levels in unfortunate "that was nice"isms.

Digital Leather - "Fancy Lad"
Knowing my addiction to new new wave leaves me helpless to bands of this ilk, I surprised myself by staying away from this Tucson group's last record while the rest of our dj population fawned. Removing the subversive dance elements of The Faint with overmodulated synths and a dirty mouth, this band accurately answers the question "what if OMD started out as punks?" Damn if they don't make those synth lines catch hold, though the lyrics are best left ignored.

Loney, Dear - "Le Fever"
Speaking of resisting uncontrollable addictions, here's a Swedish band that actually doesn't impress me! Loney Dear are the rare Swedish confection that barely meets the one-song-per-record requirement to get mentioned in this blog, and this overlong fey pop song barely makes an impression.

Euros Childs - "Horse Riding"
Gorky's alums gather together to temper their psych-prog urges while pushing the fader up on the English pop and glam aspects of their former band. These songs are short and sharp, earning the type of initial interest that predictably wanes upon repeated exposure. For enthusiasts of the genre only, played on 10/25 but not likely to see the light of day again.

Sic Alps - "Bells (With Temelo & Distortion)"
I remember this band as a freaky art-punk burst of hammer & sickle pain, but the home-burned disc they dropped off to promote a recent show displays unforeseen range. The title is more of an accurate description than the promise of a song, as it takes less than 100 seconds for the elements to present themselves and subsequently resolve what little mystery there was.

The Go - "Refrain"
I believe this is the same Detroit based retro 60's psych-blues band that featured the talents of Jack White on a Sub Pop release before the Stripes found fame. Truthfully I enjoyed this new release of theirs more, as it plays up the pop aspects of their influences while still retaining the authentic 60's garage sound. Vascillating between Moody and Move-y the tunes are of consistent quality and will certainly please those who appreciate (not so) obscure references.

Hundred Air - "All The Lights Are On"
Can't claim this NC area pop group are particularly inspired to venture beyond the jangle pop made famous decades early in approximately the same region. At the same time they're not intense enough to rank as slavish copiers either, those hoping for an enjoyable Let's Active swipe or two are likely to leave disappointed as well. Nondescript college basement shows await.

Here's a belated mid-October update, I should catch up with the latest releases sometime this week.

Sally Shapiro - "Hold Me So Tight"
Blonde and Swedish isn't what I'd expect from someone with the last name Shapiro, but other than that there are few surprises here. The album is called Disco Romance and indeed it's pure dance music, more early 90's Italio than late 70's American but still absolutely clubworthy. If you fondly remember Waltz For Debbie this will migrate to the top of your stacks. Played on 10/18/07.

The Scotland Yard Gospel Choir - "Then And Not A Moment Before"
Bloodshot Records is not the label I'd expect for this jumpy indiepop outfit as they have little in common with their labelmates. There is some light slide guitar, otherwise this is pure late 80's janglepop complete with peppy horns. Y'know, the type resurrected in the late 90's by Swedes and Scots alike. Played on 10/18.

Pre - "Greasers"
Noisy stop-start mayhem in the style of Melt-Banana complete with high-pitched wailing and screaming from a fashion-challenged lead singer who (at least) visually compares favorably to YYY's Karen O. The type of band where the shorter the song the better the song ... anything beyond 3 minutes seems like a prog rock epic in comparison. Played during a JDDCE fill-in on 10/20.

AA Bondy - "No Man Shall"
Lo-key alt-country that worked better for my ears when more backing instruments were added to the mix. Regardless, there's a smoothness to the execution which seems to ache for The River scene, where I would appreciate a little more fuzz in the amps.

Southeast Engine - "Quit While You're Ahead"
Energetic rock that unfortunately puts it somewhere between the BoC and LRC demographic here at WMBR, consequently insuring it was ignored by our dj's. The vocals have a processed sing-along appeal while musically the guitars build solidly if not memorably to a crashing chorus. Like the Medonza Line in their most upbeat and blandest moments.

Shipwreck - "Kiss In The Dark"
There are always a few releases that test my snap judgment about their worthiness, this is one of them. Upon first listen I went with my customary "if it has any potential whatsoever, save it" rule only to realize later there was no potential. Deep throated lead singer attempts to transmit emotion across late 80's UK guitar soundscapes and comes up well short of The National standard.

Aarktica - "Seventy Jane"
On the other side of the street here's a release I keep meaning to air but haven't yet pushed play for OTA. Deliciously patient moody rock that uses the heavy bass/distorted guitar/deep voice pattern with a frog-in-a-frying-pan build until the wave finally culminates creeping up on the listener by crashing with choral certainty.

Plumerai - "Avernal"
Local Boston band that does a reasonable job of recreating the mid-period vibe of Concrete Blonde complete with expressively deep female vocals and moody rock accompaniment that scrapes the sides of the goth genre while adding a touch of dark Americana. Impressively sprawling with flow that certainly pays off for listeners with a bit of patience. Played during A Distored Reality fill-in on 10/10.

Citay - "On The Wings"
This early 70's inspired tune was initially considered 'too long' to play by this host, but repeated exposure swayed me to spin it on 10/25. A lovely country/folk-rock sun-dappled early FM radio tune with impressively meticulous guitar work that consistently impresses across its 7+ minute frame. If I could convince the Pontoon Palace to give a listen it certainly would fit in with Rich's musical sensibilities.

Jimmy Eat World - "Here It Goes"
Another step backwards from the earnest connection forged by Bleed American. The hit-making pressure of Interscope seems to weigh heavily on this forced arena-rock effort, their previously effortless ability to connect with the emotional state of their audience has completely abandonded them, morphing into forced chant-along catchiness. So sad, so sad.

Holy Fuck - "Lovely Allen"
Instrumental band from Nova Scotia that appropriately builds urgent bass-driven efforts that feel much longer than their tidy song lengths due to the casual build-and-flow of multiple organic and electronic instruments working together in an animated fashion. Spun on 10/11, after which it promptly disappeared from our shelves (sob).

Prints - "I Wanna Know"
Pinback side project follows a similar strict punchy rhythmic template but with a reduced tempo and a late 70's funk feel, nevermind the occasional appearance of a prog-rock style vocal. Good groove-along-while-driving-in-the-car music.

The Most Serene Republic - "Why So Looking Back"
Repesentitive of the "too much is too much" musical school, as of late I've been hearing bands enamored with bands like Broken Social Scene that seem to think "if we have 24 tracks, let's include 24 instruments!" The result may be fitfully captivating but rest assured the moment will pass in seconds as another sparkly bell or a 2nd piano or a 3rd backing vocals forces its way into the song.

Samara Lubelski - "Parallel Suns"
Another solo release from the MV & EE member is more focused in Edith Frost style pop and less folky that the previous release. Everything but the vocals has a sparkly folk-psych pop energy, as Samara is still relatively laid back and obscured in her execution.

Monster Bobby - "Beyond The Reach Of Arms"
The actual musical genius behind the pop confection that is The Pipettes, this release sonically has little to do with 60's girl groups. His limited vocal pallette certainly demostrates why he stays behind the scenes in his more popular incarnation, though it's certainly not without charm. These songs are short bursts of energy seemingly inspired by anything from new wave energy to anarchic fuzzpop, rarely settling into a predictable groove. Played to close the 10/18 show.

Dri - "You Know I Tried"
The separate efforts of the now dispersed Anniversary have disappointed, including this solo effort by Adrianne. The production effort adds a mannish quality to her voice and the ebullient glitchpop on this particular song gets too gummy and glossy for me on the other songs contianed by her new release. Played on 10/25.

Maritime - "Pearl"
A slight sonic tweak to the formula forged by this post-Promise Ring effort. Nothing major, just a little more space in the production that allows the guitar to get a bit of grit and provides some space for the rhythm section to work their propulsive magic. In other words, its the slightly chunky peanut butter, not the previously super-smooth version. Still just as tasty though, for those willing to approach the gates of emo-pop (where we can hang out with the Weakerthans) without actually having to go through.

The Clientele - "Your Song"
A very short ditty from the soundtrack album Songs For The Bigtop. Devon Reed's new musical includes a baker's dozen of songs penned by himself, but he intelligently sought indie rock stalwarts like Tullycraft, Damien Jurado, Eleventh Dream Day and many more to put them to music. This is the Clientele's rather brief offering, spun on 10/11.

Freezepop - "Do You Like Boys?"
Another fine new wavey dancepop effort from our local treasure, played on 11/1. Their charm has not dimished, neither has their ability to match the efforts of historical markers like Depeche Mode or Yaz.

With the flip of the calendar into October I'm shocked that the record companies have basically turned off the spigot of new releases. This is a fantastic opportunity to sweep in an catch the attention of our now oversaturated ears after the September onslaught, but very few are taking avantage of the space.

She Wants Revenge - "She Will Always Be A Broken Girl"
They've improved on their sophomore release, even if it's only from embarrasing sub-Interpol knockoffs to passable Depeche Mode homages. Put it in the guilty pleasure column, the lyrics shallowly crave connections with depressed teens but hit the requirements set forth by "Blasphemous Rumours" so a passing grade will be assigned. Played a different song 10/11/07, because I have a friend in Joanie.

Tarentel - "Mirrors, Gardens"
As far as I can tell it's a CD release of a vinyl-only offering from a few years ago. Concert report music on 10/4/07. Lively experimental opuses mixed in with noise, the type that needs severe studio tweaking to accomplish and illegal stimulus aids to appreciate. Though truthfully I enjoyed it without any help, the compositions are impressive in their friendly unpredictability.

Susanna Wallumrød - "Born In The Desert"
Susanna steps away from the Magic Orchestra for a solo release that actually has much more clarity than the previous release. Her voice is upfront and the instruments distinct, instead of the previous wash of sonorous wallpaper. No change in the pace, it is still glacial but nowhere near as ominous. Played this during the A Distorted Reality fill-in on 10/10/07.

Robert Wyatt - "Just As You Are"
A new song cycle in three parts from Robert that expands from the personal to the political, I plucked this one from the early third. A duet of sorts as female vocal companion Monica Vasconcelos handles the first part of the tune with Robert's fragile vocals embellishing the second part. There's a litany of musical all-stars on this disc, from Paul Weller to Brian Eno to Phil Manzanera. None of them overwhelm the songs, which shamble along as an invitation to prospective listeners who enjoy layers of detail. Played on 10/11/07.

PJ Harvey -"Grow Grow Grow"
This is Polly's most sedate album since Is This Desire, and truthfully if her name wasn't on the cover it could be passed off as someone else's work. This one doesn't rely on much musical punch, favoring arrangements with an ebb and flow to their slow pace while Polly's seemingly disguised voice (has she ever floated this high in the register?) gasps across the expansive landscape. It's a change, can't say it's a favorable one though.

Picastro - "Car Sleep"
Toronto area combo farm similar land as Shannon Wright, with deep female vocals across loose arrangements placing drums forward and guitars in back, with strings adding the flavor. The songs often feel as if they are frayed at the edges, close to unraveling their structure yet somehow reaching a conclusion. This is one of the tighter efforts at a tidy 2+ minutes, played during that 10/10/07 fill-in.

Doveman - "Sunrise"
We're seemingly stuck in an introspective corner of our musical pallette, as this is another barely-there construction of strummed guitars and hushed vocals (male this time) with a few drums and horns punctuating the mix occasionally. Spun on 10/11/07. There are a mix of instrumental interludes between many of the songs to slow down the proceedings even more, so don't even attempt to scale this mountain unless the first sentence sounds remotely appetizing.

Chuck Prophet - "Would You Love Me"
Atmospheric country rock by former Green on Red member, released on Yep Roc. At times it reminds me of Lee Hazlewood in both his (lack of traditional) vocal prowess and ability to craft a setting and characters in song. Nice mix of guitars providing the backing with some other interesting elements such as choral backing vocals (perhaps sampled?) and harmonica. Spun during the 10/10/07 fill-in.

Richard Hawley - "Roll River Roll"
His last record in 2005 was my pick for the year, so it's correct to assume this new one was highly anticipated in my household. When early reviews dismissed it as 'more of the same' I was a bit puzzled, as that was certain my hope. And indeed the formula of smoothly deep Scott Walkerish vocals and sumptuous 60's style balladry is still well in play. However, this release doesn't wrap the listener into a velvet-encrusted version of time and place as his last one did, instead just efficiently aping his heroes. Still worthy of purchase and repeat listens, but I just can't smell the cigar smoke and taste the scotch on this release like I did with the previous one. Played on 10/4/07.

Ice Palace - "She Holds Hands"
This one pulls quite obviously from The National's playbook, with its simple guitar structure, gruff vocals and repeated chorus that adds a few more elements to the mix. It paints an inconclusive picture of the title character, providing just enough information to make you ask "what was that about again?" Musically it doesn't quite build that punch The National have and the faster songs struggle to find some musical character. But this particular selection was worthy of spinning of 10/4/07.

Phosphorescent - "The Waves At Night"
An on-the-border selection which made it to the airwaves 10/11/07. Contains the loping funeral gait of a mid-period Low song with vocals that drawl out every syllable in some sort of haunted chorus. Effective in its intentions though a whole album of this style can be tough to cut.

Band of Horses - "No One's Gonna Love You"
While airing this on 10/4/07 I was both repulsed and enthralled with it's accurate 1975 vibe. The flute-like keyboards really sell it, as well as the unabashedly positive romantic message that blots out any possibility of relationship failure. Of course this is a new century so post-chorus the negative elements do emerge (creepy stalker alert perhaps?). Should have been a top 10 hit 30+ years ago and a school slow dance staple.

Carol Bui - "Rockville"
A historical memory combined with a character study about a neighbor's Luka-like existence steps just over the earnest line. There's enough in this Come-like negative rocker to win my admiration but probably not enough to actually spin it OTA.

Sunset Rubdown - "Winger/Wicked Things"
Swan Lake still remains the pinnacle of Spencer Krug's musical output to my ears, while Frog Eyes is the nadir. That leaves this somewhere in the middle, with much more cohesive structure than his main band but nowhere near the emotional impact of the Dan Bejar pairing in the side project. The songs march along in a Flaming Lips alternate universive of keyboard cacophony and awkward vocal skills punctuated by occasional guitar solos. The calliope is burning down and this is the band playing in the background.

Bad Dream Fancy Dress - "Curry Crazy"
Nabbed this one from a disc Mark Robinson donated to the station during a music purge. Female duo with indiepop icon Simon Fisher Turner providing the backing, which has that energetic barely-together feel of garage indiepop of the era. Competency seems to be the main sticking point as the female leads are fairly incapable of adding a convincing vocal presence, yet do so through their naive efforts.

The Big Lie - "I'm Going To Ruin Her"
If you still miss the earnest power-pop vibes of early 90's Jellyfish here's an accurate reproduction for you, Canadian style. Has those drippy Zander-esque vocals with the Queen style backing in the chorus and vague psych-pop touches to an otherwise straight ahead rock effort complete with overt guitar solo. Played on 10/4/07.

The Resonars - "Places You Have Been"
The arrival of a new Resonars record is always reason for rejoicing, as they do the most accurate knock-off of Move & Byrds style 60's rock available today. This one doesn't disappont, as the sound regresses quite nicely back to their pinnacle release Bright And Dark with harmony backing vocals, strong drumming (oh those drumbreaks) and jangly guitars captured in true mono style. The second half of the record lags in the energy department as the melodies strain for catchiness, but side A is certainly prime material. Played on 10/4/07.

Motion City Soundtrack - "Hello Helicopter"
Don't worry, you haven't missed much if you skipped by this one while glancing at Target's new release section. I happen to have a weakness for well-executed emo and this certainly fits the description. To my ears the enthusiasm is natural and not forced and the guitars are appropriately brawny without overloading the rest of the package. Credit Eli Janney of Girls Against Boys at the production board for hitting the right mix and the band for the relatively restrained execution. The closing song on 10/4/07.

Enon - "Sabina"
This is about as close as Enon has come to making a Brainiac record as John Schmersal seems to take up much more of center stage on this release. Vocally he's in front of the mike on over half of the tracks and his trademarked guitar squall is much more evident, sacrificing much of their pop charm and Toko Yasuda's plaintive vocals. This takes much more of a rock path and while LRC djs should be pleased I can't rank it up there amongst my favorite output by this band. Played on 10/4/07.

Kenna - "Sun Red Sky Blue"
Ethopian vocalist who has the luck of working with the Neptunes on his retro new-wave projects. His first record has a lofty place in my mind as a dance-pop classic, so I knew this one would start out at a comparative disadvantage. That prediction certainly has borne fruit, I can't find anything that matches the urgent addictiveness of the best cuts on his previous record. Still there are some fun songs present, including this one which was played on 10/11/07.

Dethklok - "The Lost Vikings"
I'm unfamiliar with the Adult Swim cartoon about this death metal band, but the disc is littered with well-written gems that parody the genre while providing musical backing that puts it near the top of the quality heap. This particular song about a band of marauding vikings who get lost on the way to a battle has some fantastic guitar work and could easily be mistaken for a serious effort if the lyrics aren't carefully studies. The closing song from 10/11/07.

Thought I'd get to this late September round-up last Sunday, instead it's been delayed to now with another early October disc (hopefully) close behind.

The Cells - "Drag It On"
Solid powerpop tune with excessive repetition of the chorus "and on and on and on and on and on." The album as a whole gets a bit Weezer-ish in its production but this one sublimates the whiny boy vocals enough to earn a spin on 9/27/07.

Axe Riverboy - "Carry On"
Xavier from Tahiti 80's solo side project is about as Sloan as you can get without actually being Canadian. If this was a Sloan album it would slot into the bottom 1/4 of their output, reasonably fun power pop songs with enough poptactular choruses and goofy guitar hooks to provide a diversion during the morning commute, but nothing overly sticky. Played on 10/4/07.

Rockfour - "No Worries"
Israeli pop band that fondly updates late 60's jangle pop with a few 70's touches, this one stands out for its ELO-ish chorus. Sure to find friends amongst the older dj demographic down at WMBR, of which we have more than a few. Nothing radically entertaining as Apples in Stereo but it doesn't sycophantically display its influences either. If you enjoy this sort of racket you will likely enjoy. Spun on 10/4/07.

Rogue Wave - "Lake Michigan"
Almost missed the new release from this NoCal combo as they sent it in a slim cardboard case, probably why it has effectively hidden in our new rack for the past few weeks. This release steps away from the rougher garage pop production of the previous record, instead opting for Matt Pond/Pernice Bros levels of lushness. Like their previous sound I found the songs fitfully interesting but probably won't spin anything beyond this one cut on 9/27/07.

The Blank Tapes - "We Can Still Be Friends"
Anytime an unknown band sends along a new release filled with 25+ songs it can be a bit intimidating. How's a dj supposed to suss out the gems? Luckily the pattern is pretty similar amongst tracks here, its Kinks style pop with equal parts jangle and emotion. Some slow, some fast, given the sheer number of songs it does get a bit samey after awhile. But if Davies & Co are your idols perhaps that will be just alright with you.

Robert Pollard - "Current Desperation (Angels Speak of Nothing)"
I can understand why some have given up on Robert Pollard as a viable source of new thrills, the sheer number of songs he's created during his various incarnations makes me wonder if there are any more gems to be found. On this double album one platter is rough garage band pop rock, the other tones down the amps and ladles more emotion in the lyrics. Couldn't really identify any home runs here, though admittedly my attention span waned after a few handfuls.

Old Time Relijun - "Veleno Mortale"
Our generation's greatest Van Vliet knockoffs are back with another release full of harsh stop/start jolts and jerky rhythms backing hoarse vocals. This particular song is in Italian and sprawls across 5+ minutes of manic tourette's style songcraft.

Signal To Trust - "The Herald"
My first spin identified this band as a reasonable attempt to capture Polvo's harsh vibe with a few less ruffled feathers. A second spin refutes that impression, as the hard stop tempo and metallic guitar I thought I heard aren't as apparent. Reasonable enough stuff that may fall between the LRC and BoC sweet spots.

Moving Units - "Paper Hearts"
I remember this group sounding much more punk on their previous efforts, then again when a band jumps labels to Metropolis there better be some overtures to the goth audience. Which means this new Moving Units lp is solidly in the post-Interpol camp, certainly better than that aforementioned band's previous two releases but not compelling enough to put it on the air (yet).

Charmparticles - "Gold Plated Shot"
Their previous album might have been the pinnacle for this pleasant early 90's shoegazer pop influenced band. The female leads are much clearer amongst the clouds of glossy guitar pop and given their relative strength (or lack thereof) I can't say it's a decision I support. Perhaps it's just a little too reminiscent of the type of major-label knockoff shoegaze that dotted the landscape of the early 90's, either way my neurons aren't firing like they were for the previous release.

Brazzaville - "Jesse James"
On the other side of the coin, here's a band I've casually dismissed in the past which now offers a new set of tunes which cross my wires. These are still light pop songs with a vague world influence, perhaps the extra space in the arrangements is aligning better with my tastes. This song takes a Smiths-like lyrical tone, offering details and emotions without revealing too much of the plot. He wants to die like Jesse James, I prefer Doc Holliday's fate myself. Played on 10/4/07.

Damon and Naomi - "Stars Never Fade"
The duo split vocal duties on this new record while Michio Kurihara provides the Wayne-style guitar freakouts and Bhob Rainey the special sauce that makes it so breathtaking. My preference is for the Naomi tracks as she works comfortably within her limited vocal range, moaning and groaning sentiments that can only be construed as quite sad (sans lyrical interpretation), Played on 9/27/07.

Morning Recordings - "We Loved The City Years"
Chicago band that wears the lineage very well. While they're Codiene slow they're not Codiene harsh, the Coctails minus the jazz spirit would be a better characterization. Sparse yet effective songs that stretch out and wait, if you prefer the downtempo vibe there are some delicacies worth sampling on this disc. Played the song on 9/27/07.

Cass McCombs - "Morning Shadows"
Latest Domino release from Cass promises a higher profile for this delicate singer and player. Usually I have no trouble finding the hit(s) on Cass's records but this one proved a bit more difficult as the tone has shifted more towards acoustic numbers with minor tempo changes. While certainly nice I couldn't find anything particularly bracing or enchanting, and chose this tune on 10/4/07.

Iron and Wine - "Boy With a Coin"
Well, the Simon & Garfunkel period of this band seems like it's over and done. Don't confuse that with a drop in quality though, as this infectious handclap driven selection definitely retains an Iron and Wine feel wrapped in restrained enthusiasm. The quotient of simple plucked guitar and harmony vocals songs is way down, but I'm more than fine with that decision as the production balances all elements quite nicely, uniting both the folk and pop lovers of the world. Played this on 10/4/07.

Alberta Cross - "Lucy Rider"
Woe is the fate of Alberta Cross, who are from London not the western provinces as you might expect. They're signed to Fiction which currently employs hitmakers like Snow Patrol and the Maccabees, certainly you'd think the label is looking for more commercial bounty. However this release is not very glossy, in fact it wouldn't sound out of place on a nondescript US regional independent label with its indy rock vibe of verse-memorable chorus-verse and off-key vocals. Hope they survive the ride!

Bevel - "Since The World"
Side project from a member of Drunk and Manischevitz that proudly displays why the lead singer doesn't pull those duties in his other bands. Still, he does carry an awkward David Sylvian vibe sans the smooth release behind some clever guitar work. If you can handle the odd vocals there's plenty to enjoy on this new Contraphonic release. Played on 10/4/07.

Steve Goldberg and the Arch Enemies - "Julia"
Just haven't been able to find time for this twee-pop nerd love song, which mentions D&D amongst the proposed activities our heroic singer offers the object of his affection. Cute, with all the positive and negative connatations of that word in effect.

Jens Lekman - "The Opposite of Hallelujah"
Still trying to suss out why the full-lengths provided by Jens just don't thrill me as much as the ep's. Perhaps it is just a matter of focus, when given a consideration set of four songs it's much easier to find the lyrical gem. If more time is all I need to unearth the "Maple Leaves" on this new one then it's time worth spending. As it is I played this song about his sister on 10/4/07, I think Evan of A Distorted Reality made a better song choice the day before.

The Pipettes - "Baby, Just Be Yourself"
Grabbed one of the two tracks on the (finally!) US release of their debut, since I (and probably you) already have the import version. It was a top 10 album for me last year and my opinion has not wavered, I adore this girl group trio who take 60's pop tropes and update the subject matter for current day mores. Played one of the other tracks leadoff on 10/4/07.

Fire Engines - "Hungry Beat"
Title track of the reissue from Acute. One of those "thank you for finally making this available again" moments.

Another September update, we are going for a record four this month! Hopefully tomorrow I can supply another.

Skallander - "Misery"
Swedish acoustic duo channeling a folk pop vibe from the early 70's with some lovely guitar strumming and nice harmony from the occasional backing vocals. Rather depressing in lyrical tone but uplifting it its aural beauty with a fall-day-in-the-woods feel. Aired on 9/20/07.

Jose Gonzalez - "Cycling Trivialities"
Speaking of channeling early 70's folk-rock, here we have a new release from this Swedish troubador that doesn't really catch fire for me until the back half. My favorite tune clocks in at over 8 minutes so I played a much shorter cut on 9/27/07. Another example of delicately lovely guitarwork, though on the early tracks he takes too slavish of a Nick Drake path for my tastes. The later tracks add more low-end punch and other satisfying elements. I was hoping for at least one Mark Kozelek knock-off (he does a strong impersonation of the SF singer) but it's not to be found here, as his vocals have more of a harmonized doubled shine and less of a guttural growl.

Spider - "Don't Be Afraid, I've Just Come To Say Goodbye"
While we're hunting in this section of the folky woods let's look in on this female fronted duo. Not the most expressive singer, she still can work in emotion with the help of an occasional keyboard or horn or flute along with the required acoustic guitar strumming. The songs build their elements effectively and she doesn't oversing her lines, instead quietly revealing her central points and earning your attention.

Carolyn Mark - "The 1 That Got Away (With It)"
When I first heard this song on Doug's Lost Highway program (Saturday 8am to 10am) I was certain its origin had to be from the 50's. But no, it an original Carolyn composition from her new record, melding traditional country elements of heartbreak with a yearning for behavior that exlies her to the wrong side of the tracks. Her voice isn't quite up to the material but the extra points doled out for the songwriting more than overcome that observation. Played on 9/27/07, and you can always request more from Doug!

Two Gallants - "The Deader"
Another new release which closes the books on 2007 for this SF duo with punchy alt-country inspired tunes. The very upfront drums and howling vocals are the distinguishing elements of any Two Gallants song and both are present in this composition. The lyrics are just as bitter, though I find this release the least bracing of their canon. Truthfully they're good for one immense song a record and perhaps I just didn't spend enough time trying to unearth it on this one.

Johnossi - "Glory Days to Come"
Swedish two-piece that owes quite a bit to the White Stripes, but at least dials it back to the early days rather than trying to follow a crooked path. The Swedes are very talented at assimilation and this record is no different, while still being a step away from putting any kind of original spin on the formula. The guitar is more of an urgent jangle than a bluesy burst but the drums are just as robotic and the chorus here is very effective.

The Good Life - "Playing Dumb"
Cursive side-project that angles more towards pop than the awkward emo reputation of the source band. And like Cursive there are a few good stalks of wheat amongst some chaff here, such as this gentle exercise that doesn't feel the need to layer on false bravado in the form of amped up instruments. Instead they allow each element to comfortably add to the song without carrying it away.

The Trolleyvox - "I Call On You"
You'll rarely hear me dismiss a band attempting to capture the early 90's major-label jangle sound, especially one like Philly's The Trolleyvox which has done it so successfully in the past. But their new double-disc is perhaps too much of a good thing, as extra production sours what once sounded so true. They try for an amped updating of 60's harmonizing with 90's guitar solos but instead it comes off like a cake full of frosting. The first bite may be tasty, but there's no way I can digest the whole thing.

Georgie James - "Comfortable Headphones"
Discussed an ep by this band during a March update, now here's the full-length courtesy of Saddle Creek. The album provides better context for their New Pornographers style power pop, and maybe I'm just more open to the sound now that the NP's disappointing release has surfaced. There's no one emotionally riotous cut on the record, but it is very ebulliantly executed with plenty of strong tones both vocally and sonically. Not sure if more spins would further my appreciation, but I did play a song from the ep on 9/27/07.

Shocking Pinks - "Emily"
So Shocking Blue have a female singer while Shocking Pinks have a male singer? What gives with the gender reversal? And why it is so difficult to find anything about this band on google? Someone wrote a book called Shocking Pink which confuses my efforts, or maybe I just have the band name wrong. In any case there's about 3 words to the lyrics of this song and the major one is right there in the title. Bass heavy pop heavily informed by new wave era Cure or Wire.

Firefox AK - "Cardiac Arrest"
Great to see this album being released in the states on Minty Fresh. I've had the Swedish import for about a year now and am enamored with this female vocalist and the catchy electronic beats that back her in an exuberant 80's dance fashion. She does a fantastic job kicking her voice up or down an octave at just the right time during a song, punctuating a line with the perfect amount of emotion. Played a cut on 9/20/07. Great fun yet very affecting as well.

Bella - "For The Last Time"
Simple female fronted pop tunes with insistent percussion and very little variation in the theme. Sounds like something Josie & the Pussycats would do if they still existed. Listening to it twice definitely reveals the limitations of their vocal prowess, they even struggle to convincingly place superfluous "hoo" sounds in the chorus. Supermarket soundsystem fodder.

Les Savy Fav - "Patty Lee"
New one from these NYC (weren't they originally from RI?) 80's post-punk revivalists has found favor with just about everyone down at WMBR. Pretty much what you'd expect from LSF with spindly guitars and shouted vocals working across a heavy drumbeat. This one is packaged tighter with more sonic variety from song to song meaning there's something for everyone. Closed the 9/20/07 show with this song.

Mobius Band - "Leave The Keys In The Door"
A much fuller sound from this formerly local band (also now migrated to NYC) which makes me nostalgic for their more electronic based past. The simple charm of their previous songs has been replaced, no space is provided for rest or relaxation. Instead every crevice is filled with extra extra guitar, drum fills, or whatever burst of energy they can cram in lengthwise. Played on 9/27/07.

Stars - "The Ghost of Genova Heights"
The negative pre-release vibe for the new Stars has been justified, as this effort pales in comparison to the restrained brilliance of the recent release by the Memphis side-project. The Smiths cap-tips are just a bit too slavish, the smirks a bit too knowing, the lyrics missing the emotional connections so effortlessly formed on previous releases. Sonically it sweats from the effort expended worshipping late-80s UK alterna-pop and is too busy for its own good.

His Name Is Alive - "Oh Miss Flower"
Another left turn from Warn Defever, as if we should expect anything less. No retro-soul to be found here, this fits solidly in the current crop of pop bands that utilize late 80's metrics to calibrate their sound to today's teenaged emotional register.

Kevin Drew - "Big Love"
The first of the Broken Social Scene side projects, I hesitate to say it sounds like a proper BSS release but even a perusal of the liner notes provides evidence in support of that conclusion as most of the principles are here. Overall Drew's more experimental leanings towards strange tempo shifts and pauses take center stage with no one vocalist dominating any tune yet everything still participating in full. Perhaps it's a bumpier ride because of the delibate lack of friendly structure but it's still very identifiably rooted with BSS style.

Mum - "Blessed Brambles"
The leadoff track of the new Mum record, which contains all the required elements of a quality Mum effort. Glitchy beats, halting dual vocals, horns & strings & plenty of plucked things - they are all present. It all gets a bit too pale & precious song after song after song though if you love the vibe then they certainly deliver. I can take only so many cutesy chimes and blessed burbly baubles before my cynic meter hits full.

Attrition - "You Will Remember Nothing"
Perhaps to drown my cuteness overload from the previous release here's a re-issue of the 3rd album by the arty goth project Attrition. Spoken male-female vocals behind clattering drums and a collection of malevolent odd sonic bits create a haunted house vibe, as you never know what's around the corner.

Akron/Family - "Crickets"
I adore songs with crickets (look for a future first hour theme), so this was a natural for 9/27/07. Never thought of Andrew Weiss as having a signature sound as a producer but this album offers some evidence that the laid-back jubilation present in Ween's releases may be in good part to Weiss' light touch. Akron/Family have never sounded happier, and while I dislike the omnipresent choral touches that create a woodsy Polyphonic Spree feel I must admit they certainly sound joyous without a hint of pretense. This song is one of the few straight faux-folk tunes on the disc, and while several other songs were tempting their 7+ minute length scared me away.

This has been the most prolific September for new releases since I started doing this in 1990, every day it seems like 20-25 more discs arrive at our studios. Bad timing on my part as the past two weekends were taken out by family responsibilities and next week will be taken up with work. As it is I'm about 50 releases behind, and that's after the batch below. Sorry for the perfunctory write-ups.

Japancakes - "Heaven or Las Vegas"
Cover of the late period Cocteau Twins song by Darla's instrumental stalwarts Japancakes, with a slide guitar subbing for Liz's vocals. It's a reasonably accurate knockoff, as for the rest of the new lp those predisposed to their florid but laid-back tones will not be disappointed. Played on 9/10/07.

M83 - "My Own Strange Path"
A new digital only album from M83 with ~90% instrumental tracks. These are nowhere near as dynamic as the instrumentals on their proper records or even the Purple Confusion side project. Instead the recipe is more of a slow building hold-one-tone-and-milk-it, still identifiably M83 but not exactly dynamic. For completists only. Played on 9/20/07.

Submerged - "Predator"
Track from the new Little Darla #25 compilation, a NYC electronic band melding samples with electronic and organic elements.

Sigmatropic - "Crack in the Back"
Greek collective that reminds me of the Golden Palominos in structure, with a central figure utilizing a stable yet rotating cast of musicians and singers to add life to his creations. This tune with its expressive female vocals and a synthesized reggae backbeat was spun on 9/10/07.

moi Caprice - "Tonight Might Prove To Be Your Only Chance"
This Copenhagen based band has a very mid-80's sound with an insistent bassline and splashes of synth behind some rather fatalistically lovelorn lyrics. Has that UK sheen from the time that Echo et al did so well. Played on 9/10/07.

Greg Summerlin - "Shine on Where You Want"
Seamlessly poppy song with a choppy guitar and vocals that fall somewhere between Allen Clapp and Bernard Sumner, but with more confidence. This is the most motivating song on his new release with a big chorus and splashes of New Order influence in an otherwise non-dance environment. Played on 9/10/07.

The Mabuses - "Dark Star"
Everything about this album says 'British pop' and the mixture of restrained harmonized vocals and busy splashes of multiple elements (listen for the horns, strings, extra guitars, etc) remind me of Nonsuch era XTC, Colin's songs more than Andy's. Given that description the album does slip into a certain preciousness that comes when the band gets so impressed with the production elements that they lose sight of the songs. Played on 9/27/07.

Land of Ill Earthquakes - "Acres of Fakes"
Another one off Little Darla #25. Pure indiepop with a Saturday Looks Good to Me lo-fi feel. This is low tempo with all the elements of 60's pop from shuffling drums and tambourines to echoed vocals. The bleating horn in the wordless chorus and off-kilter vocals give it that not-quite professional (but still endearing) sheen that SLGtM does so well.

Sea Wolf - "The Cold, The Dark and The Silence"
A new full length from this LA band uses a room full of instruments as punctuating elements in their songs. Despite the crowded house the lp retains a very simple and laid-back feel, with slickly executed choruses that stick firmly to the frontal lobes and verses that serve as pathways to the endorphin rush. Respectable certainly, but not the type of thing I'd whirl myself into a fervor over.

Gravenhurst - "Farewell, Farewell"
They use a rumbling bassline and gentle cacophony of feedback to create a disturbing backbone to otherwise restrained songs. An occasional unexpected break in the beat or burst of foreground noise will add an Arab Strap touch into the song, though they have nowhere near the punch (or foul mouth) of that band. Played on 9/20/07.

Testa Rosa - "Arms of a Tree"
Milwaukee area trio crafting lovely little songs that feel like they're teleported from an early 90's release. Slightly melancholy female vocals play across lockstep drumming and lush guitars with a few other elements popping in the mix. Most of the charm lies in the lead singer's effective use of tone to trasmit the restrained disdain. Played on 9/10/07.

Nord Express - "Crazy"
New collection from this Baltimore band covering the 95-05 period with unreleased tracks, ep cuts and the like.

Sam Amidon - "Saro"
Probably my favorite pick from this batch, Sam's voice has an uncanny resemblance to Damien Jurado but his songs have a simple orchestrated feel that Damien eschewed a long time ago. For this album he's carefully selected a collection of public domain tunes which in his hands barely betray their origins, they sound as fresh as a composition composed today. If you're a fan of Damien, or of hollow-voiced simple guitar tunes with pretty horn/string accompaniment, do yourself a favor and take a listen through his website. Played on 9/20/07.

The Mekons - "White Stone Door"
They continue to confound expectations 20+ years into their existince, as this album has neither a punk or country feel to it. Instead it's carefully constructed tunes with plenty of space that remind me more of the Talking Heads during an experimental moment than anything the Mekons have done before. I guess the idea was to keep these songs more organic, if so the goal was definitely achieved. Played on 9/10/07.

The Mohawk Lodge - "Why Would You?"
Takes one step away from the Mountain Goats vibe of the first album by adding more elements, obscuring the acoustic country roots of these songs. This one's a cleverly written bit of sarcasm questioning why anyone would support their (or anyone else's) artistic endeavors that perfectly treads the line between humour and justifiable crankiness. Played on 9/10/07.

Sleeping States - "I Wonder"
Probably the most cohesive song on this experimentally inspired release. The balance of the cuts are delicately fractured faux-folk songs with warbly vocals (both male and female) than lurch and sputter without sacrificing much charm. This one at least has a consistent drumbeat. Spun on 9/20/07.

The Revisions - "On The Lam"
Treading the line between rock and mod with some very lo-fi execution. Has the thick bass and expressive Weller-esque vocals of the Jam without any extra elements clouding their basic structure.

Dana Gillespie - "You Just Gotta Know My Mind"
Both Rich of the Pontoon Palace and myself were impressed with the liner notes on this Rev-ola reissue, especially the pictures. Pushing aside the visual stimulation these are late 60's/early 70's pop efforts from a singer who built a much stronger reputation for her blues vocals.

Plasticines - "Loser"
French female pop-punk with very basic elements and execution. Some high jangle in the guitar is the only distinguishing element, there's no punch in either the drums or bass. While nice, it isn't very memorable. Played on 9/10/07.

A Place To Bury Strangers - "I Know I'll See You"
Effective melding of Jesus & Mary Chain style feedback with more traditional goth-rock structure including heavily reverb on the drums and vocals and a constantly flowing presence from the low bass. Some shoegazer elements intrude on other songs but the main intent is upbeat dark rock from 15-20 years ago, the kind that doesn't get called 'goth' anymore. Played on 9/20/07.

Tel Aviv - "Clipper Ships"
An unfortunate google-proof name from this Arkansas band with both a vocalist and keyboardist unafraid to take center stage in their compositions. Along with the basic elements of a rhythm section these songs have a quickly-recorded feel but are punctuated by the energy of the principal players. Aired this on 9/20/07.

Lebanon - "Buried in the Avenue"
Another google-proof bandname for the providers of the concert report music on 9/10/07. Math rock for those who don't mind the term.

Early September means the new releases are starting to arrive in a flurry ... I already feel far, far behind as there are at least 30 unlistened discs sitting in the new rack for me tomorrow morning.

Simian Mobile Disco - "Hustler"
The full-length from the band whose promo ep I discussed back in late July. My opinion hasn’t changed much, it’s tangentially related to the Daft Punk school of dance as the full-length is much friendlier with less emphasis on guitar or gritty beats and more playful with sharp electronics. This song lyrically is a defense of stealing records, I note I play it only for entertainment purposes and do not advocate the actions of the protagonist. Spun on 9/6/07.

Tunng - "Hands"
Only found a handful (haw-haw) of tracks on the new Tunng that excited me, though this particular selection is worthy of repeat spins. Lyrically it ruminates on the difference between death and the daily routine that is living, offering some life-goes-on moments in the face of death. The unanswered questions it offers all depend on the listener’s point-of-view, as we all find ways of casually dealing with the constant spectre of death while meandering towards our own end. This is all offered in the off-kilter words upon words folk style of Tunng, played on 9/6/07.

Taken By Trees - "Julia"
I always thought the lead singer was by far the weakest part of the Concretes’ package. So when she (Victoria Bergsman to properly introduce her by name) quit the band to take her own crack at Feist’s delicate audience I didn't anticipate genius. Also much like the Concretes there are a song or two on this release worth considering despite her weak attempts at carrying a tune. The mandatory ingredient for success is a requirement of a very limited vocal range, which this track does. Second requirement is she actually sticks to the plan, which she does.

Emma Pollock - "Paper and Glue"
Just when you thought the world was safe from the now-defunct Delgados, here comes a solo release from that band’s frontwoman. It could almost accurately be marketed as release from her former band - in tone, not personnel. If anything differentiates it, the production would take most of the blame. In my ledger it’s filed under "a bit too glossy." That’s to be expected from 4AD, and truthfully it won’t obscure any enjoyment of the disc for those late-period Delgados fans who are reading along. If you’re an early-period fan waiting for the return of the punk style, keep waiting. This is sumptuously poppy and effortlessly captivating. Spun on 9/6/07.

Matt Pond PA - "The Crush"
The truth is most MPPA albums do not impress me upon first listen. Only through repeated exposure are their charms subsequently revealed, resulting in multiple appearances on my year-end top 10 lists. So it should be no surprise that the story may be repeated here, as I’m not too sure about this latest MPPA release. The punchier production and increased instrumentation, especially the multiple strings, create a bigness that robs many of these efforts of their spontaneous charm. It’s like looking at a flower vs. a photoshopped portrait … the tweaked effort may contain more colors and sharper clarity but its attempt at perfection misses the point. All we really wanted was the pretty flower. Played on 9/6/07.

The Weakerthans - "Sun In An Empty Room"
I felt the Weakerthans played away from some of Left & Leaving's urgent punk strengths on Reconstruction Site, instead focusing on a more laid back DCfC style of smooth pop with more emphasis on nerdy vocals. This one moves in the same circles, so if you liked that last one you’ll probably be obsessing over a handful of songs on this new one. Not that I’m claiming Reunion Tour is a loser, just that it’s rather vanilla for me. Not French Vanilla either, which is my favourite Brigham's flavor. Played this tune on 8/30/07.

Via Audio - "Developing Active People"
This duet contains just enough soft rock goodness (check out the brightly wandering guitar and background vocal touches) to distract from the underwritten lyrics ("if you park your car close to the curb no-one will have to swerve" - I sure hope that isn’t a euphemism). Unfortunately the balance of the disc doesn’t carry the serve, usually requiring too much of the lead vocalist without much assistance from the capable bandmates.

Little Name - "This Was Your Place of Birth"
This is pure late-90’s indie-pop, with a simple strumming structure and awkwardly low male vocals. The inoffensive drums and slight wash of Felt-ish synths increase the sunny day factor. Has a late 60’s formulaic structure with much of the punch removed in a slightly melancholy delivery. Haven’t heard something this pure in awhile, played on 8/30/07.

The Pearlfishers - "Womack and Womack"
What a wonderful surprise to find the latest Marina release residing on our new rack, and we didn’t even have to pay for it! The Pearlfishers took 6 years off, not that anyone out there noticed. Luckily the time off was well spent copiously studying the complete works of Prefab Sprout, down to the northern soul references in the title of this tune. Quite sincerely someone could claim this was the comeback album post-Jordan circa 1993 or so and I’d believe the Paddy lineage 100%. In this case that’s as sincere and honest a compliment as I can offer this album. A must play (on 9/6/07) and a must-purchase when it’s officially released in late September.

Shout Out Louds - "Time Left For Love"
When I originally commented on their ep I accused Merge of trying to concoct some special ¾ Destroyer / ¼ Spoon hybrid formula with this band. Unfortunately the full-length doesn’t offer much more than that wan hope. It’s the kind of record I’d expect to show up on Epic after they contract one of their in-house producers to concoct a band that sounds like it’ll hit "that college market demographic." In other words, it’s a vague imitation of a certain sound with little else worthy of attention beyond the art direction.

Film School - "Two Kinds"
The new Film School is only a slight departure from their previous effort, and while there’s less emphasis on psychedelic and shoegazer rock here it still roams familiar territory. If anything it simply suffers from the sophomore slump of not-as-good songs, as they probably used up all their best ideas last year and then picked through the remnants for the follow-up. Eventually I found one song worth playing on 9/6/07.

Electro Group - Bikini States"
The Electro Group continue to explore their love of early to mid 90s shoegazer rock in this sharp follow-up to their debut disc. While most of the recent adherents to the genre stick with the mellifluous flowing tones of the Slowdive variety, Electro Group have not forgotten that there were plenty of pure noise / rock bands like Medicine and Drop Nineteens that had their own distinct version of the feedback sound. And that’s exactly what we get here, a distinct take from a well-done group. Played on 9/6/07/

The Go! Team - "Keys to the City"
If it works, why mess with it? Far too many outfits go for the abrupt left turn after a mind-blowing release, I guess to prove they’re diverse. Instead they end up abandoning the attributes that made them unique. No worries of that with the new Go! Team record, it could be accurately described as Thunder Lightning Strike part 2. To my ears the cheerleader rapping, horn blowing and booty shaking are all just as bracingly effective, which is a definite appendage up factor. A few songs incorporate some more traditional vocals for an almost twee-pop feel, and those work equally as well. Played this on 8/30/07, you’ll be hearing some more from it soon.

Meneguar - "Living In The White"
This is about as heavy as I can stand the attention-deficit style of punk rock, which is to say not very. The changes here are sharp and energetic, the vocals barking and nasal, but it’s still friendly in a frenetic way. This is not punk of 77, it’s punk of 97 which means it’s all skinny armed drums and fury. Still, I liked it enough to spin this one on 9/6/07.

Charlemagne - "You Are My Diary"
This is a rather nondescript release on a small label that offers a consistently enjoyable palette of indie-rock. Review copies will probably end up in cut-out bins around the country where it’ll go for $3 (or these days, a handful of your emusic download credits). Take away points for the diary reference in your title, add them back for the country-pop vibe plunked in between a few more classically (classic = early 90’s that is) indie-rock tunes.

True West - "Throw Away The Key"
Odd how this re-issue of an 80’s off-kilter Dream Syndicate / Television hybrid style country-rock outfit shows up on noise label Atavistic. In any case it’s a reissue of a few of their releases which are very much of their time with awkward vocals and solidly brawny yet still tuneful backing that’s produced with trebly guitar and drums and vocalist way up front. I’m always a sucker for nostalgia, even if I wasn’t conscious of them the first time around.

Hell on Wheels - "Gone Too Far"
Darla stuck this exclusive track from this Swedish band on their new label sampler. Not typically Swedish sounding in their vocals which are delightfully off kilter or their music which doesn’t try to sand off the rough edges to a glossy sheen (just listen to the doubled guitar solo on this one). I greatly enjoyed their album from late last year, it’ll probably end up on my year-end best of if I squint past the self-imposed date requirement.

Liars - "Sailing To Byzantium"
By far the most boring song on the new Liars records, which is probably why it appeals to me the most. Still trying to come up with a way to accurately identify this band OTA beyond spelling the name L-I-A-R-S or saying "the New York Liars" to avoid the confusion with the L-Y-R-E-S. In any case this one is slow and menacing which certainly distinguishes itself from the attention deficit disorder rock on the rest of the record.

Deer Tick - "Dirty Dishes"
A mostly ragged alt-country album with some pop leanings, this song is the most polished nugget in the pan. Normally I’ll reserve anything that catches my ear, this one sat on the line of "should I or shouldn’t I" for a long while before I finally decided that, if I can’t make up my mind then obviously I should keep it for further exploration. Still haven’t quite sussed out an opinion, which means it likely won’t get played.

Carpet Care - "Getting Older"
Well, I can at least relate to the title. This song was on a rather nondescript label sampler of some west coast regional music collective I had never heard of, most of the time these laudable efforts don’t yield anything playable. But amongst the ineptly recorded genre exercises is this languid slide-guitar and piano exercise with yearning vocals that effectively evokes a late summer evening reflection on the title.

Revolving Paint Dream - "Fever Mountain"
A new collection of rarities by this 80’s version of a 60’s throwback band, think of the Paisley Underground sound but English and therefore much more influenced by the sharp jangle of C-86 than Roback’s guitar ministrations. Admittedly this tune is one of the more torpid entries, still not sure why I selected it instead of an upbeat brother (or sister as some of the songs have female vocals). Played on 8/30/07.

Patrick Park - "Here We Are"
Our music director Patrick (of Subject 2 Change fame) sometimes attempts to predict which discs will receive only one solitary spin thanks to my half-hearted enthusiasm (and everyone else’s lack thereof). Patrick Park is a perfect example of this type of effort, a smoothly produced pop disc with slightly sad vocals and just enough production and jangle to keep everyone else away. Not quite commercial enough for the River, but far too pleasant for anyone else’s consumption. That being said, I still haven’t played this yet.