Here's lead singer Kylee Swenson onstage proving backup vocals for Jesus & Mary Chain at SXSW 2012:
They don't sound much like Jesus & Mary Chain, but it's obvious the Reid brothers know good vocals when they hear them. Available now at iTunes, physical copies available April 24. You can preorder at their website:
We haven't posted about the Allah-Las since, well, Tuesday, which I think is admirable restraint. However, we can't ignore their new video for the title track of the their EP, "Tell Me".
If the world of pop music were fair, Europe, the new sophomore LP from London-based foursome Allo Darlin' will make them famous. Of course, the world of pop music isn't characterized by fairness, so we'll just do our best to tell you why this album should soar. Allo Darlin' produces the intelligent brand of indie pop which is the trademark of bands such as The Lucksmiths, the Go-Betweens, Belle & Sebastian and Camera Obscura. Moreover, frontwoman and songwriter Elizabeth Morris possesses a rare, crystalline voice reminiscent of Tracyanne Campbell of Camera Obscura, Harriet Wheeler of The Sundays and Wendy Morgan of the Popguns. I can think of no better introduction to the music than to introduce you to the sweet, jangly deliciousness of "Capricornia", which I consider one of the best pop songs of the year so far.
Europe delivers a collection of upbeat melodies, wistful and literate songs and excellent musicianship and vocals. This is at the top of the twee side of indie pop. So if -- like me -- you relish that sound, this album should be on your list.
Allo Darlin originally was the solo project of native Australian Elizabeth Morris, who moved to London in 2005. Additional members were added in 2009 and 2010, bringing the project to its current lineup of Morris (songwriting, vocals, uke and guitar), Paul Rains (guitars, lapsteel, vocals), Bill Botting (bass and vocals), and Mikey Collins (drums and vocals). The band's debut album was deservedly well received, but everything about this album -- including the songwriting and performances -- is a step up.
"Tallulah" is a track on which Morris goes back to her roots--just a girl and her uke:
First Aid Kit (who we recently reviewed here) appeared on Conan recently, performing "Emmylou":
No studio tricks, no overdubs, just great vocal harmonies and a real feel for the song. Not hard to see what all the fuss is about.
They are on tour - Coachella this weekend (no, no HoloGram Parsons, sorry) and then back to Europe to finish up, including several dates opening for Jack White.
Brother Dege is Legg Dege, a Louisana native who I might compliment by calling him the resonator/slide guitar playing version of Warren Haynes, has an album coming out later this year. For now, he's made available a free download of the song "Wehyah" which will be on that album. Click here to download "Wehyah".
Here's some more of his music - you might already be familiar (Mike Rowe's a fan):
Avid readers of my 2011 year end list may recall (assuming both of you remain in alive and in sound mind) that I didn't include any singles or EPs. I'm announcing that my 2012 list likely will include at least one EP. Sure, it only comprises four tracks, but I figure that if the EP is played three times in a row the listener gets 12 tracks (I'm relying on the accounting department for the math here--I was a history major), and I've never been able to play the Tell Me (What's On Your Mind) EP by Allah-Las fewer than three times in a row. Try a live version of the title track --
This music isn't fuzzed out indie hipster reinvention of '60s psychedelic and British Invasion; this sounds like the best distillation of the real thing. Trust me, I know the era well, and Tell Me (What's On Your Mind) fits like my old 501s.* The EP consists of three tracks with vocals, and a surfy instrumental titled "Sacred Sands".
"The Long Journey" --
Allah-Las are Miles, Pendrum, Spencer and Matt. The EP is released today by Pres Records. I checked and it is available on Amazon.
Catamaran
*Editor's Note: The fit of Rocksteady74's '60s 501s is used for artistic purposes and should not be confused with a factual statement regarding whether Rocksteady74's 501s still fit, and certainly shouldn't be taken as an assertion that there is anything artistic about Rocksteady74's appearance in said garment.
The delightfully named Buckfast Bottles in the Rain by The Just Joans is a concept album. Thematically, the album is about a teenage boy living in a small town and dreaming of a more exciting life, and follows him through his college years to the point where he realizes some of the charms of his earlier life. Musically, the album is a pop album that straddles folk, indie pop and even music hall, all delivered with a thick Scottish accent. Here is one of my favorite tracks, "Five Beer Bottles":
The band is from Motherwell, UK (Scotland) and is named after a column in a Scottish newspaper. There currently are five members -- David, Katie, Chris, Allan, Doog, and Fraser -- although many of the songs were crafted more than five years ago when the band was just David and Chris.
Here is the charming "What Do We Do Now?" --
The 11 tracks on Buckfast Bottles in the Rain tell classic coming of age stories with the author's own idiosyncratic twist laid out on a beautiful musical tapestry. This is a very nice album to spend some time with, perhaps with up to five bottles of beer. It is released today by weePOP! Records.
For our US readers, Buckfast is a sweet, fortified wine with a high alcohol and caffeine content. Its reputation in Scotland is similar to that of Thunderbird or MD 20/20 in the states, and is thought by many to be the choice of drink for underage drinkers and those prone to anti-social behavior.
Here's a video Crocodiles have released to accompany the track "Sunday (Psychic Conversation #9) from their upcoming album Endless Flowers:
This is a terrific song - among all the elements you have to have to play noise pop like this well, the Crocodiles have them all: a propulsive drummer, hypnotic harmony vocals and noisy, jangly guitars. Really looking forward to this record, due for a June 5 release on Frenchkiss Records. Previously, we posted about the upcoming album, a teaser video the band has released and a free download of this song. Here's a link to the post.
I recently shared some tracks from Glasgow's Father Sculptor, and they deservedly proved quite popular with the readers of these pages. For those of us with good taste, today is a happy day because the group has officially self-released the Ember / Blue single.
I think this is one of the more promising debut singles of the year. It is comprised of two tracks. "Ember", is an achingly beautiful song that begins as a chamber pop piece and ends as a soaring anthem. "Blue" is a taut, jangly song built on an insistent rhythm and commanding baritone vocals, and I expect that New Order would be proud to have it on their resume. And the generous Father Sculptor has made the single available for free download at their Bandcamp page, so it seems to me that there isn't much of a decision for you to make.
I'll also note that the cover art for this release, and the other recordings on the group's Bandcamp page, is really good as well.
For me, the main unresolved question is the identity of the players. I spend a lot of time listening to music from bands that are just finding their way and, despite not internet or live presence until recently, this band is well past the newborn stage. Yet their website shares no personal details apart for what you can glean from the photographs--a fondness for a bit of beverage and a spot of cross-dressing (their may be a link to the beverage consumption). I asked my friend Johnny, for whom I sometimes play my new music when he popped in last weekend if he could link Father Sculptor with any of the Scottish groups I'd covered in the past. But all Johnny wanted to do was talk about his year in Portugal. So, no solution from Johnny, and he drank my beer.
The Cast of Cheers is an Irish math-rock band playing a frenetic, skittering brand of music. They've got an album, Family, coming out in June, having already released a few songs. Here's a lead track, "Animals":
And here's an earlier song, "Family" - released back in January as a 7" single:
Tu Fawning is a Portland-based group - Corrina Repp, Liza Rietz, Toussaint Perrault, Joe Haegee - playing beautiful, majestic, icy rock music in the vein of Sigur Ros, but with Repp's clear strong vocals front and center. They've got an album, A Monument, due out in May.
Here's a video for the song "Anchor":
You can download a copy of "Anchor" at this link, courtesy of their label City Slang Records. What I've heard so far sounds good - I'm looking forward to hearing the rest of this record.
Leigh Marble is a Portland-based singer/songwriter who will release on April 24 his third album Where The Knives Meet Between The Rows, an intimate, very emotional collection of songs written through a very challenging period of Marble's life. On songs like "Walk" and "Holden", the emotion is right on the surface, and on songs like the gentle, dirge-like "Evil" and the longer "Nail", the emotion informs the entire track.
Click here for a download of "Walk" the opening track - a slow building, country-tinged track that revives, for me, memories of the great Joe Ely... another sharp observer of the human condition and the triumphs and tragedies that make up a life.
"Jackrabbit" (download available here) is a masterpiece, a full-bodied country rock ode to hangers-on, or as Marble introduces the song "strippers and politicians". Your choice, I suppose. The song starts in a bit of a minimalist vein, like "Walk" with a quicker tempo, but in the chorus it really gets going as Marble sings over the top of a rollicking drumbeat, keyboards and guitars in full roar:
"Who's bought out shares of your loyalty
Let's follow the dollar and see
Who's waiting in the wings to collect
As their demands get more direct?"
Here's a video of a recent performance of "Pony":
Well-written and extremely well-played, this album is out April 24 on Laughing Stock Records. On this record he has help from Erin McKeown, and local Portland musicians Jesse Emerson (Amelia, The Decemberists), Matt Harmon & Kali Giaritta (of The Ascetic Junkies), and Rachel Taylor-Brown.
Chicago-area recording engineer Shimby McCreery has a passion for, and demonstrable skill at, recording live music. His "Live at the Empty Bottle" series is well worth checking out--follow the links at the Bandcamp page for this session or the "Main Bandcamp" link near the end of this post. The session presented here is the February 6, 2012, gig by Chicago band Bare Mutants, a band that also appeared on these pages a few months ago. And don't be surprised if this isn't the last time they are mentioned here.
Shimby gives you a full 37 minute set, so enjoy the concert!
Bare Mutants are Jered (guitar,vocals), Seth (bass), Pete (drums), Leslie (organ), and Jeanine (vocals, percussion).
As the readers of this blog know, we really like championing bands that turn us on, and we can be somewhat insistent about it. We don't care whether the labels, radio stations or advertiser-funded press agree with us. One of the bands I've written about at least twice before in San Francisco's PreTeen. Their Keep It Nice EP from 2011 still is available free. Of course, because I told you to download it free last year, I expect you all did. If you didn't, you are unlikely to get credit from this course.
However, today's post is about the band's latest release, Squeeze -- eleven songs of endearing, loose, lo-fi guitar pop that I think is among the best non-chemical mood enhancers available today. For me, the music on Squeeze straddles garage, indie guitar pop and dream pop. The songs are well crafted to hook you in, capture your attention, and end long before their welcome is worn out.
Here are a few tracks to demonstrate the quality of the album, but the entire LP can be streamed below, and can be downloaded FREE at the Bandcamp link. By the way, as a listening tip I find that PreTeen's songs sound best with the volume turned up. The vocals are more accessible and since the music isn't abrasive, the listener is enveloped in the wonderful lo-fi fuzz.
Otis Clay was born in Mississippi in 1942, moved to Chicago as a young man and resides there to to this day. He had some minor hits, and then became a reliable club performer, and later an effective community activist on Chicago's West side.
The vocal on "That's How It Is" is a favorite of mine. Hard to believe this 1967 song is not better known:
Love the name of the record label - "One-derful! Records". With that name, too bad it didn't become a major force like Stax or Motown.
Our post regarding FIDLAR's "No Waves/No Ass" single a few weeks ago received an enthusiastic response, so we assume that the assembled masses who forgo food to pay the cable bill so they can continue to read the blog in these tough economic times will joyously celebrate at the news that the Mom + Pop label released the band's Don't Try EP earlier this week. The EP features four tracks, "No Waves", "No Ass", "Black Out Stout", and "Got No Money".
Here is a live version of the great third track of the EP, "Black Out Stout" --
To remind you of the great punk/surf this band generates, here is an embed of the EP's first two tracks from the March single:
FIDLAR is Brandon, Max, Zac, and Elvis, and they are based in Los Angeles. I think that without FIDLAR, life is more than a little more boring. And for you lucky Midwesterners, FIDLAR will be playing Lollapallooza on August 4.
For a bit of fun, here is a little tour video of the gang --
Yes, children, before Pink Floyd was the Pink Floyd of the The Wall and The Dark Side of the Moon, Pink Floyd was fronted by a genius madman by the name of Syd Barrett. And just so you know where I stand with respect to Mr. Barrett, I listen to a compilation of Syd Barrett's solo work and the Pink Floyd album he created, The Piper at the Gates of Dawn, far more often than I listen to the post-Barrett Pink Floyd output. Some of you linear thinkers may be wondering why I'm blathering about my quirky devotion to Barrett's music in a post allegedly dedicated to one Jeff Beam. Well, the answer to that admittedly relevant question is that Jeff Beam creates the kind of quirky, jangly, psychedelic folkish rock that Syd did so well (and Robyn Hitchcock still does).
Jeff has released a nine-track LP titled Be Your Own Mirror. It is available as a name-your-price digital download, or a minimum $5 CD or cassette tape. You can stream it here and judge for yourself, but I think it is really good stuff.
Jeff lives in Portland, Maine, to which he moved from Brooklyn. This month he is touring in the Northeast United States. He also plays in a Portland group called Milkman's Union.
The very nice track "Now" from Jeff's LP is available as an EP with a few non-album tracks (including a cover of Ray Davies' "Phenomenal Cat"). Here is the link to the Now EP --
I noticed a common element in live Sly Stone videos while selecting clips in honor of Sly Stone's birthday. In each of the videos, Sly sported a runny nose worthy of former Notre Dame football coach Charlie Weis
Sly Stone sported a shiny upper lip on a number of performances throughout the 70's.
The sheen was the direct result of massive cocaine ingestion. As I watched more clips, I realized the tell tale sign was a constant.
Shortly after Sly's B'day I was checking out clips of Merle Haggard. As I am wont to do, I became distracted by performances by George Jones. In addition to being, perhaps, the finest country singer of all time, George was renowned for his battles with the bottle, Tammy Wynette and prescription drugs. George's drug of choice were black beauties -pharmaceutical amphetamine (aka speed). Strictly speaking, a black beauty was a tablet of Biphetamine, manufactured by Strasenburgh Labs before finally being pulled from the market in 1998. Black beauties allowed George to engage in the buzz maintenance required by prodigious alcohol consumption and nightly performances on the Country & Western Circuit.
Check out George's eyes in this clip. The man is wired for sound. The same look I used to see in tweaking truckers and bikers in my bartending days. I am sure he had to fight turning three minute songs into two minute ditties.
Other notable examples of video intoxication are Sid Vicious
Shane McGowan pushed the edge of the alkie envelope while performing with the Pogues.
During my years as a bartender I witnessed far too many substance fueled crash and burns. The blues greats were particularly susceptible. However, folkies were every bit as susceptible - John Fahey and Phil Ochs were two notable disasters I witnessed.
San Francisco garage rocker Ty Segall and Los Angeles' White Fence (Tim Presley) have recorded a joint LP entitled Hair, which will be out soon on Drag City Records. We'll review that album closer to its release date, but meantime we wanted to share with you this live recording of album track "Scissor People". You may note that their buddy Mikal Cronin helps them out in the session. As you can hear, this is a fruitful collaboration. By the way, the recording is part of the Room 205 series sponsored by Incase. The videos in the Room 205 series are always excellent and we highly recommend them.
One of the most anticipated releases of the year so far in my neck of the woods is the new album from Durham, NC's Red Collar -- Welcome Home -- due out on 12 June. The band has built a rabid following based on their incendiary live shows and their two excellent releases -- 2007's The Hands Up EP and 2009's Pilgrim. I've seen a lot of Fugazi comparisons on the web, but my own sense is that while there's a definite Dischord Records vibe (both musically and politically), I hear more of an Americana-inflected Jawbox, or even Burning Airlines influence in there. They've posted a terrific new song called "American Me" over on Alternative Press. Go have a listen and then put this record on your half-Christmas list. Heck, you know it's going to be great just from the album cover.
After DIY-ing it all this time, they've just hooked up with the excellent Tiny Engines label for this one. Tiny Engines is home to a bushel basket of great bands, including one of my favorites from last year, Philadelphia's Restorations who'll be playing at the Red Collar release show (also with Cleveland's Signals Midwest and Durham's Maple Stave)on 19 May at Motorco in Durham. That's too good a lineup to miss, so I plan not to.
I suppose, that, having read two full paragraphs of my turbid prose (yes, turbid with a "b"), you think you deserve something. I'd tend to agree, so here's a nice concert video of a great older Red Collar tune, "Used Guitars".
The sudden rise of the Alabama Shakes is quite a story. A year ago the band was working day jobs in Athens, Alabama, playing to crowds of 20-30 people, and self-financing their first recording with no record label or other support.
Fast forward to this week - Boys and Girls was released yesterday by ATO Records following a good old fashioned major label bidding war, the band got an excellent feature story in the Sunday New York Times, has two sold out shows in New York City, an appearance on David Letterman, and then embarks on an almost completely sold out tour that will take them to Canada, Europe, the UK and various US cities.
So why all the buzz? It's not complicated. Brittany Howard has got it. This 23 year old is blessed with a killer voice that naturally combines soul, blues and rock'n'roll. She plays guitar like her life's on the line. Somehow a young woman who was delivering mail a few months ago is now earning comparisons to Janis Joplin and Bettye LaVette. Yes, that is sort of ridiculous, but she's damn good!
In an age of Auto-Tune, ProTools, American Idol, and a maximum of 150 characters, people are starving for something genuine and lasting, and Brittany Howard and The Alabama Shakes are, as a Southern friend of mine likes to say, as real as a heart attack.
And sometimes a new band takes off because of a great song, and for the Alabama Shakes that song is "Hold On", which sounds like nothing else except just what you've been waiting for. It literally leaps out of your iPod or car radio, a young band busting out and just grabbing it, like the White Stripes on "Seven Nation Army" or Pearl Jam's "Jeremy".
Howard sounds like such an old soul, right at the onset of "Hold On" (lead track on the CD) -
Bless my heart
bless my soul
didn't think I'd make it
to 22 years old
There is something completely timeless about Howard's voice, her writing, and the band's playing. It has no self-conscious retro feel, instead coming across completely instinctual and deeply passionate. What I like best about Boys and Girls is its greasy sound and rough edges. This vibe of 'let's just play and not over think this' comes through especially well on "Hold On" but also the album's 3rd song, "Hang Loose", a terrific rock'n'roll song that wouldn't seem out of place in a Bruce Springsteen live set.
The band has far more in common with say the Drive-By Truckers and old Rolling Stones records than any slick neo-soul of today. Boys and Girls hisses, crackles and rocks, while wearing its Southern working class hero heart on its sleeve, as here on "Rise to the Sun" with its garage rock feel:
Brittany Howard and Heath Fogg both play guitar with real feeling without ever overdoing it, while the rhythm section of bassist Zac Cockrell and drummer Steve Jackson play like old pros with a groove that would make them proud just west of Athens Alabama down Hwy 72 in Muscle Shoals. Add the tasty piano and keyboards and all it's all there - the rock and the roll.
They can slow it down too. One of the highlights here is the title track "Boys & Girls" a ballad that recalls the Memphis soul sound and even Bob Dylan's "Every Grain of Sand". Howard's fine writing skills avoid the typical cliches, as demonstrated on this title track, where she laments the loss of a super tight childhood friendship, their platonic relationship sacrificed to the complications and outside pressures of adolescence. A good song topic, real stuff, Howard not looking over anyone's shoulder or dressing up in someone else's clothes.
The band has the confidence and the right instinct to keep things economical, the 11 songs here clocking in at 39 minutes, though still finding room to kick things into a higher gear at the end of cuts like "Be Mine" that have a Southern rock jam band spirit without the guitar cliches. Here's a live video of "Be Mine" from our friends here in Portland at KINK radio:
You need to be as true to the feel and the real as the Alabama Shakes themselves and go buy this one at your local independent record store.
And let's not forget that our fearless leader here at WYMA, John Hyland, tipped our readers off to the Alabama Shakes on October 18, 2011, which probably seems like a lifetime ago to the young folks in this band given the deserved but truly crazy turns turns in their world during the past few months.
My advice? Get on this bandwagon now while there is still a little room.
The Stammer is a Philadelphia-based postpunk band - incorporating psych, garage and some great guitar lines. Like the pace, the drumming, noisy keyboards and the layered guitars. First song, "Follow the Leader", is a quick trip - 2:16 to be exact, and a good taste of what they're up to. You can download and check it out for yourself:
You know what occurred to me? If you, like me, ever wished the Walkmen would pick up the pace a little bit sometimes, check this out. Feels like the drummer's driving the car, and I like it.
Star Anna is a very talented local (i.e. Washington state) musician who possesses one of the most wonderfully heartache-drenched voices in indie music today. We covered her strong 2011 release here, as well as her concert at Seattle's Neptune Theatre in November. The album and concert were with the full band, known as Star Anna and the Laughing Dogs, but today we have an interesting live video of her solo session at the Roastery at Caffe Mela in Wenatchee, Washington. I think it is a wonderful display of Star's vocal talents.
I Love You, It's Cool, by Brooklyn's Bear In Heaven, seems to me to be a very specific type of electro-pop. It is as characterized at least as much by its warmth and sensuality as it is its shoegaze density and rhythmic danceability. And yes, that is a lot of textures to absorb in ten pieces of pop music. But all credit to Bear In Heaven, they make it work. Here is a single from the album, "Reflection of You" --
My current favorite from the album is "Cool Light" --
I hear a bit of Depeche Mode in this album, but I Love You, It's Cool is more lush, more intimate, and distinctly more layered and vivid. It represents excellent pop/rock craftsmanship and is likely be find its way to many summer soundtracks, on the beach and in the club.
Bear In Heaven is Jon Philpot, Joe Stickney, and Adam Wills. I Love You, It's Cool is out now on Hometapes / Dead Oceans Records
Hoboken, NJ-based rock band The Nico Blues sounds like they're having a great time on their new EP Die Happy. Released in February on their own label, Tiny Giant Records, it contains enough high-energy guitar-based rock songs to keep you nodding and tapping along from beginning to end. They've got a terrific rock sound, kind of punk, a little psych, a touch of garage, kind of glam, and definitely melodic.
They have enough confidence that you'll like it, they are currently making it available on Bandcamp for "pay what you want".
Here's a 2011 video for "Living Proof":
Check out their website for more info on their music, live shows, etc.
You know what really fills out the day as winter slides into spring? For one thing, great indie pop with jangly and chiming guitars and top quality female vocals. But who would provide that, you ask? Today's answer is Sacramento's Baby Grand. You may not be familiar with the band, but after listening to the music, you will want more. They have been around, with various line-ups, for years, and their recently released LP, Arts & Leisure, out now on Test Pattern Records, is their fourth album since 2002.
For me, the discernible influences for Baby Grand are Camera Obscura (especially the tone and phrasing of the vocals) and Belle & Sebastian (with respect to the careful orchestration of the songs). Take the album's second song, "My Song 15", for a little test drive. The official video delightfully contrasts the sweet sound with a car chase from and old movie.
The primary vocalist is Gerri White, who also plays acoustic guitar. The remainder of Baby Grand is Tim White (drums), Cory Vick (guitar), Leon Levy (bass), Christina Maradik (viola, percussion, vocals), and Jeannette Faith (Rhodes piano).
My current favorite song on the album is "Fool for Your Love", a live version of which is below --
Baby Grand is an assured band with a broad palette, encompassing folk, 60s girl-groups, and orchestral pop. If you're like me, you'll find a lot of delights in Arts & Leisure.
I'll close with a live version of album track "I'll Say Goodbye" --
Since it is Easter morning, we'll bring you something a bit different--perhaps quite different. Mai Mai is the project of Sean Morin, a Portland, Maine musician who combines chamber music and popular forms of music. I'm not going to tackle dissecting it, but as the musician who recommended it to me suggested, there is a lot of "ear candy" here. So all of us here are WYMA virtual headquarters hope you enjoy the holiday, and invite you to let Mai Mai be part of you soundtrack.
Have been spending some time listening to No Witch, The Cave Singers' February release - a fine psychedelic rock record from this Seattle-based band which also features well-placed blues licks, and gospel tinges in the vocal choruses. Here's a free download of "Swim Club".
Here's the video for "Black Leaf" - really like the guitars on this one:
Turns out they're going to be in Nashville April 17 - my thought is that this music - a very good rock trio with strong blues and psych elements - will translate well to a live setting. Last time they were in Nashville, they opened for Fleet Foxes at the Ryman. This time, they're headlining at The High Watt (part of the Mercy Lounge complex downtown) and you can click here to buy advance tickets.
Here are the rest of their April dates, in case you're reading this in, say, Montana, through the magic of the interwebs.
04/09/12 Pullman, WA - The BellTower w/ House of Ghosts
04/10/12 Missoula, MT - The Badlander w/ Butter
04/11/12 Bozeman, MT - The Filling Station w/ The Getting Up Early Boys 04/13/12 Minneapolis, MN - 7th Street Entry w/ Buffalo Buffalo Buffalo 04/14/12 Milwaukee, WI - Cactus Club w/ Absolutely, Greatest Lakes, Icarus Himself & Slow Walker
04/15/12 Chicago, IL - Schubas
04/16/12 Louisville, KY - Zanzabar w/ Whistle Peak
04/17/12 Nashville, TN - The High Watt w/ Madi Diaz
04/18/12 St. Louis, MO - The Gramaphone w/ Bo & The Locomotive
04/20/12 Denver, CO - Larimer Lounge w/ The Outfit
04/21/12 Salt Lake City, UT - Kilby Court
I like the Crocodiles a lot - wrote about them in the early days of WYMA, and it turns out they've got an album coming out in June. Check out this infomercial:
Free download of "Sunday (Psychic Conversation #9) here via RCRD LBL.
Sounds great, heavy on the psych, punk and pop...
They're touring, too - if you see them, let us know what you think of the new stuff.
APR. 11 BROOKLYN, NY GLASSLANDS
APR. 12 NEW YORK, NY MERCURY LOUNGE
JUN. 10 DALLAS, TX HOUSE OF BLUES*
JUN. 11 AUSTIN, TX STUBB'S (outdoors)*
JUN. 13 SAN DIEGO, CA HOUSE OF BLUES*
JUN. 15 LOS ANGELES, CA HOLLYWOOD PALLADIUM*
JUN. 16 SAN FRANCISCO, CA WARFIELD THEATRE*
JUN. 17 PORTLAND, OR ROSELAND THEATRE*
JUN. 18 SEATTLE, WA SHOWBOX AT THE MARKET*
JUN. 19 VANCOUVER, BC MALKIN BOWL AT STANLEY PARK*
Detective is a very new Los Angeles based rock band featuring James Greer (Guided By Voices) and Guylaine Vivarat (Useless Keys, Tennis System), as well as Rory Modica (Useless Keys).
I like the guitars, especially the sort of suspension in "Monochrome Girl"... and the jangle, plus the ethereal female lead vocal on "Rhodesian Man".
You can pre-order a limited edition vinyl (with download included) at their Bandcamp site.
While you're at it, check out their February EP Very Fallen World.
Does that intro to "Rally Point" remind you of anything?
Finally, I will take this opportunity to share with you Mr. Greer's website. He's an excellent writer, which is plenty enough reason to bookmark and read the thing. But he will also occasionally pull out a memory or MP3 from his days as part of Guided by Voices. And you can also follow him on Twitter.
The Violitionist Sessions are conducted in Denton, Texas. The format is three songs, and three questions for the artist(s). The session we're bringing to you this morning is San Francisco-based garage pop artist (and Ty Segall collaborator) Mikal Cronin. For this session, Cronin is on acoustic guitar, and he is joined by Ty Segall (acoustic guitar), Emily Rose Epstein (drums), and Chad Z (bass). We've brought you the concert in two ways: You can listen to the embedded player below; or you can watch the videos of the three songs. Note that the session is available for free download. If you click on the link to the session near the bottom of the post, you can read the questions and answers.
"Get Along"
"Am I Wrong"
"Situation"
The webpage for Violitionist describes it's mission as follows:
The Violitionist Sessions are 3 questions and 3 songs with bands from Denton and passing through Denton, Texas. The sessions are all recorded live in a living room with no overdubs and no fancy tricks. The goal is to document a moment in time. This is what happened in Denton, Texas.
It sounds cool to When You Motor Away, and we hope you enjoy it.
I suppose "folk/punk" can set you up for disappointment, but give a listen to this Canadian singer/songwriter, Eamon McGrath, who clearly has a lot to say and a desire not to be pigeonholed in one "genre". The common thread is his songcraft and his strong, ragged, affecting voice.
Here's a video of him playing "Machine Gun Cowboy" live:
I dig the feedback. The vocals are good, the band is good, lots of emotion there, but it's the feedback on the guitars that puts it over the top for me. I'm looking forward to hearing more from him.
What did you do on March 31? Many of you probably don't remember--it was almost a week ago. Apparently, for at least part of the day, Adrian Pillado of California group Sea Lions stayed home. But he managed to record this cool "Love Song", and he has shared it with all of us.
If you want a bit more background on the Sea Lions, we posted this profile of them early in March.
I'm making a note to myself to be a bit more productive this Saturday. I'm feeling like a slacker.
It has been posited that music often reflects certain regional characteristics. Such would explain the somewhat dusty, country-infused rock of the south, the sunny, blissed-out indie of California, and the murky grunge of the rainy Pacific Northwest. If that theory is valid, then working on reverse from the music on My Head Is An Animal by Of Monsters and Men, Iceland is a wonderfully different and magical place. A place of diverse elements of equal influence, such as fire and ice, seas and mountains, that are accepted rather than resolved. Reflecting their place of origin, the album's 12 songs range between alternative folk rock and anthemic indie pop, loud and soft, happy and melancholy. And all of it sounds somewhat familiar but also somewhat delightfully new. The familiar is the swelling sonic wave of Arcade Fire, the energy of Edward Sharpe and The Magnetic Zeros, the intricate quirkiness of The Magnetic Fields and the delicacy of Fleet Foxes. What seems new is the way the band stitches it together to make a statement that seems uniquely their own. The female/male vocal interplay, rustic instrumentation, soft/loud dynamic and melancholy lyrics set off by joyous melodies aren't new inventions, but it all sounds organic, fresh, unforced and utterly sincere on My Head Is An Animal.
Here is the wonderful song (and subject of this excellent video), "Little Talks" -- "Little Talks"
Of Monsters and Men is based in Reykjavík, Iceland, and its members are Nanna Bryndís Hilmarsdóttir, Ragnar þórhallsson, Brynjar Leifsson, Arnar Rósenkranz Hilmarsson, Kristján Páll Kristjánsson, and Árni Guðjónsson. My Head Is An Animal is their first LP, and is released on Universal/Republic. However, the band already has gained quite a following. Favorites of the staff at taste-makers KEXP, and fresh off SXSW shows, the band commenced a massive 31 show tour of North America and Europe on March 20. As of this post, twenty-two of those shows already are sold out.
"King and Lionheart" begins as a simple folk song, but around the 1:37 mark it takes off for the clouds and takes you for a ride you won't forget --
My aim in this blog is to search for music that speaks to me and share it with readers who share my tastes and perhaps don't have the time or inclination to search themselves. I do not intentionally set out looking for "the next big thing". But I also can't ignore the possibility that Of Monsters and Men is the next big thing. And even if they aren't, they are great fun, and very, very good. The opening track of the album is "Dirty Paws" --
The Spinners, one of the most beloved of all the soul music vocal groups, have been recording and touring for 50 years. They hail from Detroit, started their career with Motown, and were known in Europe as the Detroit Spinners to avoid confusion with a British folk group.
But their zenith occurred in the 70's when they recorded in Philadelphia for Atlantic Records, and were produced by Thom Bell.
Here's "I'll Be Around" from 1972:
So many songs either feature someone who moans that their life is over because their girl/boy left them, or else we find the dumpee bitterly telling the dumper what a giant mistake they made. But in "I'll Be Around", co-written by Thom Bell, silky smooth lead singer Bobby Smith not only keeps his cool, but takes the high road, "bows out gracefully," but lets her know that if she changes her mind she can come back - "I'll be around." Good strategy my man.
"I'll Be Around" was the first in a mid-career string of mega-hits for the Spinners: "Could It Be I'm Falling in Love", "One of a Kind (Love Affair)", "Mighty Love", "Then Came You", "Games People Play" and "The Rubberband Man".
Honeydrum has been one of my favorite lo-fi indie bands for over a year now. The quality digital and tape releases from the New Jersey group is among the best ear candy of its type, and their self-made videos are a visual treat. Honeydrum is releasing a new four-song 7" on AMDISCS in the middle of April called Stranger Calls. It will be paired with an EP on CD titled Do U Party and the two releases will only be available as a set. The songs are short in duration but long on pleasure, and have a nostalgia-inducing radio quality. It is a bit dream pop, a bit garage and a bit new wave. The stuff is great, and I'm not aware of anyone else doing what they are doing.
For a taste of the tunes, here is the concise pleasure of B-side, "Suddenly Heaven"
Honeydrum also is releasing a tape titled When the Young Are Gone, which is a compilation including many of the tracks they have released in the past year. It is available at the "Store" link below.
Weighing in at the noise end of power pop, or perhaps the pop end of noise rock, York, UK's Fawn Spots are an exciting duo. Their fine Gravelines EP was released in February of this year.
Fawn Spots is Lee Bowden and Jonathan Meager, and apparently, they've only been a band for a bit over a year. Their music may remind you of Fugazi, Husker Du, No Age, Crocodiles and Japandroids, but even if it doesn't, I think you'll agree that the music is irresistible. There is a lot of potential here, and I'm going to keep an eye, and an ear, on it.
Rocksteady74 favorite The Raveonettes are releasing a four-song EP Into the Night later this month. While waiting (impatiently) for that, we can enjoy the title track. Note that you can enter your email address to receive a free download of the song.
Conduits is an Omaha-based rock band with a full, expansive sound - shimmering guitars and slow-burning rhythm section fronted by haunting female vocals, in a style they don't mind referring to as "shoegaze" even though there's more than one style going on here.
They released their self-titled debut on March 20 (our review from January, along with a link to download album track "Top Of The Hill" is here) and they've released a new video for album track "Last Dirge":
This is one of the best albums I've heard this year - highly recommended.
Washington, DC's Dot Dash released Spark>Flame>Ember>Ash, an album the we liked quite a bit last fall (December review). The foursome of Terry Banks, Bill Crandall, Hunter Bennett, and Danny Ingram has just released a video for album track "Learn How to Fly". And if you like the track, you can download it free at the Soundcloud link below. Enjoy, and if you like this punky jangle and power pop, check out the album. The label is Canada's The Beautiful Music, and I've linked to their website at the end of this post.
The video:
You can download the track at this Soundcloud link:
As a reminder of the quality of Spark>Flame>Ember>Ash, here is another track, "There and Back Again Lane" --
I feel comfortable predicting that Fireworks of the Sea EP may be one of the most interesting three-track EPs you will hear this year. On it, Los Angeles band White Arrows pumps out their, lo-fi, electronic, psychedelic, world beat soul that they call "tropical crunk". That may sound confusing, it may sound interesting, and it may sound interestingly confusing. To sort it out, try the title track--
The front man for White Arrows is Californian Mickey Church. Mickey and his brother Henry were encouraged to be musical by their father, who had an interest in African percussion. Mickey moved to New York and earned a started the band in New York degree at NYU in shamanistic ritual. Perhaps due in part to his studies, he experimented with music that blurred lines. He recorded some demos and moved back to California. Somewhere along that timeline, White Arrows were born. The current members, in addition to Mickey, are Juice (J.P. Caballero, Mickey and Henry's half-brother), Henry Church, Steven Vernet, and Andrew Naeve.
The second track is "Coming or Going" --
Tropical crunk translates to psychedelic dance music to my ears. And it sounds very good. Put it on for the party.
The wonderfully named Hipster Death Squad has appeared on this pages several times. Most of the previous versions have been exceptionally well-crafted electo-pop. However, the current offering from Mr. Glucki is delightful acoustic pop. Note that the second song uses the old Herman's Hermits Song, "Mrs Brown You Have A Lovely Daughter", as a launching pad. Really good stuff, and you can't get a better bargain than free.
Anyone who has followed the career of Glasgow's Laz (Lawrence) McCluskey knows he is a master guitar pop craftsman. For both his Bubblegum Lemonade project and our current focus, Strawberry Whiplash, he creates hook-filled melodies embellished by the jangle and fuzz of his guitar. And with Strawberry Whiplash, we get the added treat of Sandra's pitch perfect vocal delivery. Building on their foundation of three singles since 2008, Laz and Sandra have just released their first full length album -- Hits in the Car on Matinée Recordings.
The album comprises 13 tracks, arranged along the concept of the life of a relationship from the original pickup (the 59 seconds of "Do You Crash Here Often") to the final kiss-off (the touching "First Light of Dawn"). While a concept album is an ambitious task, especially for a debut, the duo are fully up to the challenge. Heard as a concept or as single tracks, you will be charmed and entertained. The songs are concise pop nuggets -- only one exceeds three minutes -- and they echo the influences of The Jesus and Mary Chain, The Shop Assistants, The Primitives and Phil Spector produced girl groups. "Picture Perfect" appears when the subject relationship still is on track:
Here is the breezy "Looking Out for Summer". Things still appear to be fine at this point.
One of the lovers appears to be infused with a touch of paranoia in track 7, "What Do They Say About Me?"
"Stop, Look And Listen" falls closer to the disintegration of the relationship, and was featured in our January profile of the group.
And as things slide further towards breakup, Laz and Sandra hit us with this glorious tumult of fuzzy guitars, reminiscent of their Glasgow forebears The Shop Assistants: "It Came To Nothing" --
Hits in the Car is the real deal--no poses or pretenses--just expertly crafted and delivered noise pop that exists for the right reason: They like to perform it and we like to hear it. Fortunately, unlike the relationship at the core of the album, you'll be able to listen to the songs over and over.
Shall I rave about the perfection of album opener "Obvious #1"? Or the slightly more perfect perfection of closer "Chief Meteorologist"? Or the fun to be had savoring the wordplay in title track "Mouseman Cloud"? I urge you to listen for yourself and just try to pick a favorite. That's part of the fun of a new Pollard album like his current release Mouseman Cloud - trying to pick a favorite. It changes, you see.
"Obvious #1" is a fully realized pop/rock gem with one of the best vocals he's tracked in some time, and it was the track released in advance of the album (we posted it here). But it's nearly surpassed, on repeated listens, by the immediately following "Picnic Drums" - it's got multiple changes and an irresistible chorus to close out the song. "Mouseman Cloud" is another song with the trademark Pollard changes - I count 6 changes and the song is only 1:29! And go figure the lyrics - here's a representative couplet:
"Picture the oyster dip
Squeal for the oxygen drip"
"Dr. Time" is power pop at its best, tension release on the guitar lines, crashing drums racing along and a bombastic vocal in Bob's fake British accent - in a little less than a minute.
There's "Human Zoo", another power pop gem in 0:48, and "Bats Flew Up" which veers into glam territory. You get the idea - it's all here and it's all well done.
Often, reviewers will make note of the volume of Pollard's musical output, and make vapid statements to the effect that he needs an editor or should somehow pare it down. I get it, I do. But, unburdened by the shackles of "impartiality" (as though such a thing were possible in matters of musical taste), I would like to say for the record that the world owes him a debt of gratitude for taking the time to craft great records like this as often as he does. It is a lot to take in, but in my experience even the songs that don't grab me on first listen will come back and smack me later. Just listen to "Smacks of Euphoria" which on first listen sounds a little unfocused and meandering. But listen again, and pay attention to the gorgeous guitar line over the end of the song. And stick around for what is now my favorite song on the album: "Science Magazine" - it's just beautiful, as good a pop/rock song as you'll hear this year... or until he releases his next record, I suppose.
