The Poor Ditching Boy

Day 3 - The Posies

2010-12-06T13:36:00.003-06:00

The Posies, at the height of their early 90s commercial appeal, were one of those bands that I always kind of considered a fine power pop outfit (Who doesn’t like “Dream All Day” or “Solar Sister?”) and nothing more until hearing Ken Stringfellow’s 2001 album, Touched, followed by Jon Auer’s 2006 album, Songs From The Year Of Our Demise, at which point I realized the error of my previously held belief. The Posies’ latest full-length and first in five years, Blood/Candy, is easily their best album out of a twenty-one year recording career…by miles. I love it when a band that I’ve continuously taken for granted over the course of their lifespan comes out and belatedly “WOWS” me with a new recording and boy, oh boy does Blood/Candy wow.

Drawing from such 60s/70s classics like the Beach Boys' Pet Sounds (1966), Love’s Forever Changes (1967) and Big Star’s #1 Record/Radio City (1972-74) as well as more contemporary works like R.E.M.’s Life’s Rich Pageant (1986) and Matthew Sweet’s Girlfriend (1991), Blood/Candy is a perfect tapestry of everything Stringfellow and Auer have accomplished musically, on both their solo releases and as the Posies. The perfect crunch of pop tunes like "The Glitter Prize" and "So Caroline" are magnified in their intensity when surrounded by the majestic baroque grandeur of "For the Ashes" and "Accidental Architecture." With a sound this lush and this deep, it’s no wonder that this album sits squarely amongst my Top 5 favorite new releases for the year. Believe me; you will be missing out on something really special if you don’t hear this album.

The Posies “She’s Coming Down Again!” (mp3)

(from the Rykodisc CD, Blood/Candy, 2010)

Day 2 - Fixed Up

2010-12-02T09:08:00.005-06:00

Many years ago, I received in the mail an awesome compilation titled The Violence Inherent in the System that contained 22 killer European garage and punk rock tracks that were compiled by the ever resourceful Steve Gardner of NKVD Records. It’s certainly one of the better compilations that I’ve ever heard and the last I checked Steve was all but giving them away (although in some cases he was doing that as well).

Anyways, out of all the bands contained on the comp., the ones I gravitated towards the most were put out by a French label called Closer Records, a label of which the internet provides precious little information although over the years I’ve been able to obtain some of their record (e.g., Scuba Drivers, Chameleons Day, City Kids). One of their releases and bands I only recently discovered earlier this year was Fixed Up and their absolutely stunner Vital Hours LP.

This power trio plays a mix of 60s RnB and 70s punk with an underlying swing of rockabilly to their songs, miming a fair bit from pub-rock bands like Eddie & The Hot Rods and Dr. Feelgood. There also seems to be an allegiance to the 80s Aussie Rock scene and bands like the Sunnyboys and the Stems which is probably no great stretch as Radio Birdman’s Rob Younger produced a fair bit of Fixed Up’s material, Vital Hours included. This probably explains why the album is meant to be played LOUD which I did all throughout this past summer.

The Vital Hours LP was given the…ahem…expanded treatment a couple of years ago by the folks over at…ahem…Sons of the Dolls by tacking on all of the non-album tracks released around the same time, this song included. While guitarist Francois Lebas’ power chords gives the song its thrust, the real melody that’ll have you humming comes from Mephisto’s intricate basslines. The female backing vocals only add to the fun.

Fixed Up “Who Is Innocent” (mp3)

(from the Closer Records via Sons of the Dolls blog LP, Vital Hours (Expanded), 1987 (2008)

Day 1 - The Carson Mcullers

2010-12-01T12:48:00.005-06:00

In an effort to jump-start the idle activity this blog has seen in recent months, I thought it might be kind of fun to count down daily to Christmas Day some of my favorite musical discoveries that were made throughout 2010 in lieu of doing any kind of “best-of” list. Let’s face it, many of these lists all look the same and since I also discovered a fair number of not-so-current acts in an effort to round out my constantly growing collection, I though it might be worthwhile to include some of those as well. That being said, I have no illusion that I’ll actually get through each and every one of the next 25 days but it’ll be fun to give it a whirl.

The Carson Mcullers, named after the early-to-mid-20th Century author and playwright, are a Chicago collective who specialize in grandiose rock akin to Catherine Wheel’s 1997 LP, Adam & Eve, as well as what The Verve and Spiritualize did throughout their careers; shoegazing without really shoegazing. That being said, these guys come off as being not-so-crisp sounding as those aforementioned groups as there’s a grungier, swamp-sounding element to their music that suggests some 60s Byrds/Pink Floyd/Neil Young inspired folk and psychedelic roots as well. Suffice to say, there’s a lot going on with there latest album, For Esme (see songs such as “10 Best Things,” “Brother” and “Cub Scout”), that I’m still trying to wrap my brain around as I’ve only had it for a couple of weeks but so far this is one of the more inspired new releases I’ve heard this year.

The Carson Mcullers “Tom Jones” (mp3)

(from the Rainy Day Collective CD, For Esme, 2010)

This Is Pop!

2010-08-27T10:19:00.004-05:00

I think as far as the majority of those who are actually aware of them, XTC is a “love ‘em” or “hate ‘em” type of band with very few people in-between. Arguments range anywhere from production that comes off as being too slick to just what the hell Andy Partridge and Colin Moulding are going on and singing about, a trait that I’ve always found endearing as it lead to a certain amount of mystery and cache over the song’s subject matter. The fact that the band drew heavily from the mid-to-late 60s British psychedelic and freak-beat scene as well as the pastoral sounds of mid-period Beatles while forging ahead towards something akin to original endear them to a whole army of dedicated followers.

It’s almost as if the band took every nuance and idea from the Penny Lane/Strawberry Fields Forever double A-side and built an entire career from, all the while never repeating themselves from album to album. They come from an England that is almost extinct as it is here in the States of small town living where contemporaries such as Ray Davies, Richard Thompson and Martin Newell reside.

That being said, it’s an obvious sad fact that a majority of XTC’s fans, myself included, have never seen the band perform live which is both a blessing and a curse. A blessing because over the course of the 20 plus years when the band was releasing albums, XTC managed to keep an aura of mystery over both themselves and their songs intact but a curse because said aura has a tendency to lead to a rabid fan base who not only collect everything the band ever released but who desperately want to see renditions of these songs performed in a live setting.

The Transistor Blast box set, which compiles the band’s BBC Sessions as well as two full concerts from 1978 and 1980, probably rectifies this problem as adequately as possible. I recently ripped the contents to my iPod after having not listened to it in years and was reminded of what a wonderful collection it is, well worth dropping the cash on. The set contains songs that not only match but exceed the performances of those found on the original albums. My only complaint is that the BBC studio sessions found on Discs 1 and 2 aren’t chronologically listed making the band’s evolution difficult to follow but the beauty of iTunes and the iPod in general easily rectifies this.

HIGHLY RECOMMENDED!

XTC - "Jason & The Argonauts" (Live @ BBC) (mp3)

http://www.ezarchive.com/original/wmlkoch/XTCJasonandtheArgonauts.mp3

XTC - "You're The Wish You Are I Had" (Live @ BBC) (mp3)

http://www.ezarchive.com/original/wmlkoch/XTCYouretheWishYouAreIHad.mp3

(from the TVT 4CD Boxset, Transistor Blast: Best of the BBC Sessions, 1998)

Welcome To Hell

2010-07-30T08:56:00.002-05:00

I’ve been going back and blasting the hell out of these guys through the trellises’ speakers for the past several weeks now. Every once in a while you just want some good ole’ fashioned “balls-to-the-wall” rock ‘n’ roll that you can get your fingernails dirty to and these guys have it in spades. The Hellacopters’ earlier albums straddled that fine line between arena-styled metal that veered precariously close to being posture driven and Detroit-fury styled punk which was probably just as equally posture driven. If anything, they remind one of the Dictators: equal parts metal, punk and pop and thus probably bugging the crap out of anyone who happened to be a fan of any of those genres by putting them in the position of forming their own opinion on the group’s validity.

The music itself is derivative as all hell but it rocks the house while simultaneously being a whole lot of fun. Their first three records, Supershitty To The Max (1996), Payin’ The Dues (1997) and Grande Rock (1999), are where it’s at before the band moved on in a more overtly metal direction where they remained before calling it a day in 2007.

RECOMMENDED!

The Hellacopters – “Hey!” (mp3)

(from the Sub Pop CD, Payin’ The Dues, 1997)

Hey, Cana-duh?!?!

2010-07-29T08:24:00.003-05:00

While I’m not one to jump up and down and clap my hands ecstatically when presented with the idea of bands re-recording their earlier work, at the same time I can’t claim that it’s a prospect that completely turns me off either dependent on the situation. In the case of Vancouver’s The Subhumans, taking their debut album, Incorrect Thoughts, plus an EPs worth of extra songs written at the same time for another spin in the studio and releasing it as Same Thoughts Different Day is completely and without a doubt warranted.

While most pundits of the late 70s/early 80s punk movement rate Incorrect Thoughts as one of the greatest punk LPs ever, for years its been widely unavailable and going for what many consider a small mint as far as records go. After the band reformed and started releasing new material in 2005, the prospect of re-releasing their earlier records was planned and, in the case of Incorrect Thoughts, scrapped due to legal issues over the original masters. The only reasonable course of action at this point for the band and their fans was to go back into the studio and re-record the entire album using modern day recording techniques.

Having never heard the original recording of these songs until last night, I’m in the unique (although not uncommon based on the original’s availability) situation of hearing Same Thoughts Different Day with completely fresh and unbiased ears and the idea that Incorrect Thoughts could be any more ferocious, sizzling and downright extraordinary is an opinion I find incomprehensible. I would have no problem placing Same Thoughts Different Day alongside other personal punk favorites like The Clash’s Give ‘Em Enough Rope and The Saints’ (I’m) Stranded as well as more contemporary records such as Leatherface’s Mush and Jawbox’s For Your Own Special Sweetheart. Catchy yet raw at the same time, this album absolutely smokes.

HIGHLY, HIGHLY RECOMMENDED!!!

The Subhumans – “The Scheme” (mp3)

(from the Alternative Tentacles LP, Same Thoughts Different Day, 2010)

Better Than This...

2010-07-28T08:35:00.004-05:00

No new musical territory being discovered on this one but if you like Sell Out-era The Who…if you like The Kink Kontroversy-styled Kinks…if you like The Jam’s best album, The Modern World as well as lesser known groups who play in a similar vein like The Attack, The Move, The Jolt and The Chords then there’s no way you don’t end up liking something about the Len Price 3’s third album, Pictures. While I enjoyed this Medway, U.K. trio’s previous albums, it all seemed to come together this time around with Pictures’ driving energy and catchy hooks. This album rips and slashes in all of the right places and after listening to it for the better part of two months, I find it hard to believe that something else will come out during the remainder of this year and knock it off of my Top 5 Best Of list for 2010.

HIGHLY RECOMMENDED!

The Len Price 3 – “I Don’t Believe You” (mp3)

(from the Wicked Cool Records CD, Pictures, 2010)

So Let's Just Stay Here...

2010-05-19T13:51:00.004-05:00

The spectacular weather us Chicagoans currently have going for ourselves until at least next Tuesday, as well as the fact that I’ve been on my annual late-Spring, early-Summer Flying Nun Records kick, seemed like nice motivation to break out this one from Andrew Brough’s post-Straitjacket Fits outfit, Bike. Their debut full-length, Take In The Sun, was all this unassuming band left behind which is a huge shame as nowhere could it be suggested that Brough was finished making quality, swirling guitar-styled pop music not unlike what the Velvet Crush did.

One of the only complaints regarding the record is that, unlike the gorgeous compositions that he penned for Straitjacket Fits (e.g., “Down In Splendour,” “Sparkle That Shines”) which only seemed to benefit from Shayne Carter’s more bitingly aggressive material, is that the overall feel of what’s found on Take In The Sun comes off as a little "same-y" from one song to the next. That being said, if this type of late 60s sunshine-flavored rock that stops just short of becoming overbearing glossy pop is your thing, then one would be well-advised to immediately head straight towards this album.

RECOMMENDED!!!

Bike – “Take In The Sun” (mp3)

(from the March Records/IODA CD, Take In The Sun, 1999)

I'm On A Blood Buzz...Yes I am...

2010-05-12T15:01:00.005-05:00

At the expense of running with the majority, you can chalk me up as yet another who really, really enjoys the National’s new album, High Violet. It’s like this epic, solid record that comes off like what records used to be; the kind where you sit in-front of the stereo pouring over the sleeve and its linear notes while the vinyl itself spins on the turn-table. The National’s music as a whole has a very classic rock feel to it; music that reminds one of Dylan’s Blood on the Tracks, the Stones’ Let It Bleed and Van Morrisson’s Astral Weeks. Music that’s void of any trends or clichés and thus not dooming it as a byproduct of its time for future generations.

That being said, many critics (and there are many) are bemoaning the fact that High Violet doesn’t display any type of great artistic leap forward and that the band are almost in fear of treading water. And while I can agree with the opinions that the distance from Alligator to Boxer to High Violet isn’t necessarily far and strenuous, in the case of the National and their music, I’m not really too terribly bothered with such concerns as there are just some bands whom you prefer to remain consistent at the expense of any album-to-album diversity. I’m ok with the path the National are choosing to tread.

HIGHLY RECOMMENDED!!!

This is a review only as there are already plenty of mp3s floating around that place we know as the world-wide-web.

The Joke's On You

2010-05-05T09:29:00.003-05:00

An album that’s sure to get lost amongst the excitement of yesterday’s highly anticipated release of Broken Social Scene’s Forgiveness Rock Record and the New Pornographers’ Together is the just as anticipated for ourselves release of the second full-length album, Aquatic, from Lancaster, PA’s Highspire. You’re probably not gonna read about this one on Pitchfork, no.

The band’s previous album, Your Everything, was not only one hell of a hot record that faithfully mined the swirling atmospheric rock of such dreampop/shoegaze bands like Ride and Swervedriver, but it also was one of our surprise favorites of 2003 that came out of nowhere. And while the new album shares the same qualities as its predecessor, many of the compositions contained within come off as being, dare I say, more lush and prettier in sound.

Highspire are still just as influenced by groups such as The Pale Saints and Chapterhouse as the previously blogged about The Sleepover Disaster. However, the latter tends to acknowledge their love of some of the more hard-hitting acts from the early 90s shoegazer scene while Highspire walks the more precarious line paved by groups such as My Bloody Valentine and Slowdive as does other current groups like Airiel and Pia Fraus; bands who didn’t, and don’t, make the distinction between melody and feedback quite so obvious.

That being said, Highspire still has a little bit of early Swervedriver in them but their rock is a lot more subtle than that Oxford, England powerhouse. That being said, I can’t see anyone who’s a fan of any of those aforementioned bands not liking this; one of the best dreampop/shoegaze influenced bands currently going.

RECOMMENDED!

Highspire – “Dusted” (mp3)

(from the Reverse Reverb CD, Aquatic, 2010)

Make You Sing

2010-04-29T11:30:00.006-05:00

Holy shit, does this one take me back to 1992 but in oh-so many good ways. Many people fail to remember that concurrent to the rise here in the States of Nirvana and grunge in general, many of the early 90s greatest guitar records came out from bands on the other side of the Atlantic.

Think about it: Ride’s Nowhere was released in 1990 and the following year, 1991, saw the release of the mighty Swervedriver’s Raise, My Bloody Valentine’s immortal Loveless, Chapterhouse’s Whirlpool and Breathless’ Between Happiness & Heartache as well as Kitchen of Distinction’s phenomenal Strange Free World.

Things got even better in 1992 when we got Catherine Wheel’s “best-album-of-the-year” Ferment along with the Pale Saints’ In Ribbons followed in 1993 by Adorable’s terrific Against Perfection as well as another “best-album-of-the-year” for Swervedriver’s Mezcal Head. And, without mentioning the House of Love’s self-titled Butterfly album, Slowdive’s Just For A Day as well as Spooky by Lush, these are really just the tip of the iceberg as far as the U.K. is concerned.

Anyways, Fresno, California’s Sleepover Disaster and their most recent album, Hover, share qualities with each and every one of the records listed above as well as some others not named. While many albums nowadays that contain the “shoegaze” moniker in their descriptions name check many of the artists listed above, more often than not the same melodies that wash over the listener found in those above records are completely absent from today’s band of shoegaze artists who opt for feedback for the sake of generating feedback.

And while the Sleepover Disaster are able to produce high-volume decibel levels that stand shoulder-to-shoulder with any of the genre’s heaviest hitters, they never lose site of those warm melodies and choruses that make songs like Adorable’s "Sunshine Smile" or Swervedriver’s "Duel" as special as they truly are.

Anyone that is a fan of any one of these albums needs to own this record as it easily sits admirably, head-held-high, alongside any one of them. If I had taken the advice of my musical brethren over at the Big Takeover, who did and always have championed all of the acts named above, then this album easily would have made my Top 10 of 2009.

HIGHLY RECOMMENDED!!!

The Sleepover Disaster – Funnel Cloud (mp3)

(from the Devil In The Woods CD, Hover, 2009)

C'mon, Lets Do The Method

2010-04-28T09:55:00.003-05:00

Treading the same “postpunk/powerpop/messthetics” water as our friends over at Hyped2Death Records, Washington D.C.’s Acute Records released earlier last month the 1980-81 recorded output of Athens, GA’s much loved and underappreciated Method Actors whom some guy named Peter Buck states as “a kind of secret history of the Athens’ scene.” This Is Still It compiles the band’s early singles as well as selected tracks from their full-length double LP, Little Figures.

No amount of accolades could properly lay tribute to the amount of influence David Gamble and Vic Varney had on future bands who chose, and still choose, to present their music via the simplistic setting of a guitar and drum-kit only.

That being said, the thing that really gets me is just how powerful the Method Actors sounded with hook-after-hook-after-hook-laden songs consisting of staccato-style guitar playing the occasional slashes and drums that came off like a hurricane, no doubt due to the size of David Gamble (pictured above) who probably towered over any size drum-kit put in front of him. But the band also had a funky side not unlike anything Gang of Four did, whom the Method Actors would probably compare the closest to should one be looking for immediate comparisons.

Go here to listen to arguably the Method Actors’s greatest song, the herky-jerky twist of “Do The Method,” a song that was my only impression of the band for many years before finally receiving This Is Still It in the mail last week. Words alone cannot say how HIGHLY RECOMMENDED this compilation truly is!!!

(from the Acute Records CD, This Is Still It, 2010)

All I Ever Wanted To See...

2010-04-22T13:29:00.006-05:00

I went and saw Echo & the Bunnymen last night here in Chicago and afterwards I walked away kinda wishing I hadn’t. What’s the saying, fool me once shame on you, fool me twice shame on me? This was the second time I’d seen them play since they reformed in the late 90s and this gig was only slightly better than the last time. And while I didn’t start this site to slag anyone off (a task I consider far easier than writing about how or why you actually love something), let’s just say that while I’ll never stop playing my Echo & The Bunnymen records, I don’t foresee continuing to hand over my hard-earned cash to a group who permeate a noticeable disinterest towards performing live.

Better to spend that aforementioned hard earned cash on another thirty-plus year old group, namely The Church who, on a spur-of-the-moment decision, I went and saw last week with probably the same crowd as last night’s Bunnymen gig. This show was not only 180 degrees different and better that last night’s lackluster one, but the band themselves seemed one-hundred percent genuinely thankful for their fans who have and did come out to see them play as part of their 30th Anniversary An Intimate Space tour.

This is a band who not only are making some of the most creative and innovative (not to mention gorgeous) atmospheric guitar music of their long career, but who are also doing exactly what they want to be doing both musically and professionally. And for those of you whose only familiarity with The Church come from either 1988’s Starfish or any of the other equally wonderful albums that preceded it, I charge you to go and listen to any of the records they’ve released since 1998’s Hologram of Baal right up to last years incredible Untitled #23. And while the mold isn’t necessarily be broken and made anew with any of these releases, what you do find is a band artistically reinvested after having spent most of the 90s unsure of both themselves and their craft.

The Church – Anchorage (mp3)

(from the eMusic download, Untitled #23, Second Motion Records, 2009)

Currently Making Me Swoon...

2010-04-01T13:16:00.006-05:00

...is the electro-jangle pop of Here We Go Magic's "Collector," the first pre-release track from the band's upcoming second album, Pigeons, which will see the light of day on June 8th via a release from Secretly Canadian.

This is a terrific song that more than adequately channels the glorious weather Chicago is currently experiencing on this fine April Fool's Day. It's as if someone like the Feelies or the Bongos or Speed The Plough found themselves locked in a recording studio with, say, Kraftwerk or LCD Soundsystem. Much better than "Drunk Girls," the pre-release from the upcoming album from aforementioned blogger-favorites, LCD Soundsystem.

It's amazing how an album that wasn't really on one's radar can subsequently skyrocket to "much anticiapted" after hearing one song; I had this same reaction several weeks ago when listening to Broken Social Scene's awesome, "World Sick," which will show up on the band's upcoming Forgiveness Rock Record out May 4th.

Here We Go Magic - Collector (mp3)

(from the upcoming Secretly Canadian LP, Pigoens, 2010)

Never Give Up Hope

2010-03-09T09:42:00.007-06:00

After a 6-year hiatus, Sunderland, U.K.’s favorite band, Leatherface, return with a brand new full-length, The Stormy Petrel, that mixes all of frontman Frankie Stubb’s favorite styles of punk, hardcore and folk music into one delicious package. And while the new album, the first to be released on the band’s own Big Ugly Fish Recordings label, will probably be seen as more of a down-tempo effort than 2000’s incredible Horsebox, there are a lot more hooks and melodies present than there were on 2004’s rather disappointing Dog Disco; an album that overall came off as flat. With The Stormy Petrel, the bite and slashing guitar parts are still present as well as Frankie’s guttural impassioned vocals and the production on this album is both crystal clear and absolutely amazing.

If anything, I suppose one could call The Stormy Petrel a more inviting and almost soothing melodic punk rock album; qualities that really haven’t been present in any Leatherface album before. Where previous albums have immediately pummeled the listener over the head from the get-go, this time around there’s almost more of a balance in place in which the band are aware that it’s been 18 years since the release of Mush (one of the greatest punk albums of all time) and that things sometimes have to change in order for both the artist and listener to gain a new perspective on the music. If anything, comforting is probably the best word to use when describing The Stormy Petrel.

With new releases from both Leatherface and Ted Leo & The Pharmacists, whose new album arrives today, March 2010 is gonna be a good month for late 70s U.K. inspired styles of punk. If only more bands would release music like this. HIGHLY RECOMMENDED!

Leatherface - "Never Say Goodbye" (mp3)

Leatherface – “Belly Dancing Stoat” (mp3)

(from the Big Ugly Fish Recordings CD, The Stormy Petrel, 2010)

I'm In Heaven Again...

2010-03-05T10:29:00.005-06:00

The cover of the Lizard Train’s 1987 mini-LP, Thirteen Hour Daydream, as well as a cursory spin of the first track, "Seventh Heaven," would suggest a nice collection of flower-pop type tracks contained within. Not so. Many distinctive styles come into play throughout the span of this record, ranging from introspective, melodic pop to downright, almost violent, catharsis; most evident by guitarist and lead vocalist Chris Willard whose style goes from sweet to snarling in a heartbeat.

And while the band did fit in nicely with the then crop of seemingly endless Australian rock acts of the time who channeled The MC5 and Stooges via Radio Birdman and the Saints (e.g., Died Pretty, feedtime, Exploding White Mice), the Lizard Train were able to adequately carve out a niche of their own which sustained them through several EPs and a couple of LPs. A stunner of a record that's well worth tracking down.

The Lizard Train – “Seventh Heaven” (mp3)

(from the Greasy Pop mini-LP, Thirteen Hour Daydream, 1987)

Looking Back: The Saints "A Little Madness to Be Free"

2010-03-04T11:06:00.004-06:00

While I’ll always adore the Saints’ debut album, (I’m) Stranded, and in particular the title track it spawned (one of the top 25 singles of all time), it was the band’s 1978 follow-up, Eternally Yours, which proved to be the Saints’ true masterpiece. Adopting a more R&B approach to the music which incorporated elements of jazz by way of an infused brass section, Chris Bailey would further utilize and hone this approach on subsequent Saints’ records following the departure of founding members Ed Kuepper (guitar) and Ivor Hay (drums), culminating with the band’s 1984 album, A Little Madness to Be Free.

Anyone who had been following the career trajectory of the Saints with each of their releases since Eternally Yours would probably view A Little Madness to Be Free as the obvious conclusion for Bailey’s vision up to that time. It’s a perfect melodic pop record that harkens back to the days of Abbey Road and Let It Bleed; for a time when pop records didn’t entirely consists of bleeps and bloops that, arguably, lack real fire and any type of emotion. A Little Madness to Be Free permeates feelings and requires devout attention.

You can tell that Bailey had some money to spend on this record as many of the songs contain carefully constructed layers of string and brass arrangements as well as tasteful hints of Caribbean steel drums; all of which sound huge and absolutely gorgeous. That being said, nothing on this album would work if it weren’t for Bailey’s voice, one of the best ever in rock, and the incredible performance he gives. While the punk band that was is nowhere to be seen on this album, the same energy and power the music displays is just as evident as it was on those first two albums.

The Saints – Ghost Ships (mp3)

The Saints - Wrapped Up & Blue (b-side to Ghost Ships) (mp3)

(from the Cadiz 4-CD Box set, A Little Madness to Be Free (Disc 3), 2006)

Looking Back (in brief): The Chills "Submarine Bells"

2010-03-01T15:20:00.005-06:00

Go here on eMusic to read an article from one of our favorite music writers regarding our absolute favorite album of the 90s and then, while you happen to be over there, go here to download it.

Twenty years and it still sounds as good as ever.

New Music Friday

2010-02-26T09:35:00.005-06:00

Here are a couple of new songs for your weekend listening pleasure.

Following in the footsteps of early 90s UK bands such as Mega City 4, China Drum and Ash who in turn followed the trail blazed by late 70s groups like the Buzzcocks, Vibrators and Adverts, comes the Nottingham foursome, Lovvers, who will be bringing their take on the raw-garage meets pop-punk genre to the west coast before settling in Austin for South by Southwest this March. Taken from their late 2009 debut full-length, OCD Go Go Go Girls, the album’s title track just plain rips for those with an admiration for the bands named above. That being said, the vocals probably could have been brought up a bit in the mix but overall this is a terrific song.

Lovvers – “OCD Go Go Girls” (mp3)

(from the Wichita Records CD, OCD Go Go Go Girls, 2009)

And if the next epic of a song is even a half-way decent representation of what the Red Sparowes upcoming third album, The Fear Is Excruciating, But Therein Lies The Answer, will sound like then I can already tell you that it’ll find a comfortable place on my Top 10 Albums of 2010 list next December. Coming off as the soundtrack to some spaghetti-styled western movie, the Red Sparowes seem to have crafted an album that sits squarely between the landscape ambience of Explosions In the Sky and the sludge-metal drone of Pelican. I anticipate a future dilemma as the band will be playing at the Lincoln Hall here in Chicago on April 21st, the same night as Echo & the Bunnymen who will be holding court over at the Metro. Grrrr…

Red Sparowes – “Giving Birth To Imagined Saviors” (MP3)

(from the upcoming Sargent House CD, The Fear Is Excruciating, But Therein Lies The Answer, 2010)

Destructive Atmospherics

2010-02-25T10:21:00.004-06:00

Oh my, is this band really good. Being touted as Chicago’s very own shoegaze collective, Apteka creates intense dream pop atmospherics that permeate in a wall of swirling guitars which somehow manage an ethereal quality while simultaneously smashing you over the head. Our friends at Crash-Avenue were kind enough to send us both the band’s previously released EP, which is stunningly-great, as well as their equally-as-stunning current 45, Traitors. I was totally unprepared to be bowled over the way I was after hitting play.

There are hints of Ride and My Bloody Valentine in the music, sure, but there also seems to be more of a slight bluesy quality to the guitars which drone on in a way that’s almost akin to what Spaceman 3 and first EP/A Storm In Heaven-era Verve were trying to accomplish. The music builds up a towering wall of guitars before subsequently tearing it all down with a force so destructive that you almost can’t believe it remains as subtle as it is. This is really heavy stuff that has an early 90s nostalgia to it that surprisingly comes off as fresh; I can’t believe I haven’t discovered these guys until now. Both of these releases are incredible and I can’t recommend either of them, especially the EP, enough. Stunning!

Apteka – “Aragon Sound” (mp3)

(from the self-released 45, Traitors, 2010)

Apteka – “The Sheet” (mp3)

Apteka - "Indigenous" (mp3)

(from the self-released EP, Tour, 2009)

If You Want Me

2010-02-24T11:03:00.004-06:00

In an attempt to climb back on the blogging horse, I must admit my confusion regarding today’s announcement that Chapterhouse will be playing at the Lincoln Hall here in Chicago on May 5th as the band will be in the midst of a Japan/U.S. tour. Basically, what my confusion boils down to is why?

Not why as in why would the band get back together? That’s easy to answer as the band members probably have all kinds of bills and mortgages to pay as well as various adult responsibilities. No, it’s more that Chapterhouse isn’t necessarily the first band to spring to mind when thinking about which shoegaze-era group will reform. Not that I’m complaining or anything but I hadn’t really considered there being much demand for a group that not only didn’t release a whole lot of material but one who also kind of played second fiddle back in the day to groups such as Ride, My Bloody Valentine and, arguably, the Pale Saints.

Whatever the case may be, here’s hoping they play a fair bit of their debut album, Whirlpool, which not only is seen as one of the high points of the shoegaze era but whose company I have enjoyed many times over the years as well. The guitars found on the single, "Pearl", swirl and wash all around while listening to it and "Breather", one of my top 10 tracks from that era, still remains a monster of a song that all but jumps right out of the speakers.

Chapterhouse – Breather (mp3)

(from the Cherry Red Records CD, Whirlpool, 1991)

Monday Memories

2010-01-25T13:53:00.002-06:00

Matthew Berlyant over at the Big Takeover reminded me of this criminally overlooked record as I was reading through his list of Top Ten Albums of the Decade (2000 – 2009). Released and purchased as an import in the waning days of 2000, Idlewild’s 100 Broken Windows is one of those albums which, upon its releases, took over the stereo and received countless playing time from yours-truly as I pretty much went completely ga-ga over it while simultaneously annoying the complete s#%t out of my roommates.

This record has everything I like about rock music: big guitar hooks, fat melodies, and soaring choruses wrapped up in a clean sounding, precise production that never once sounds contrived or uniform to any specific genre. Mix in the fact that vocalist Roddy Woomble is 100% dedicated to the lyrics of each and every song makes this album easily one of the best from the past 10 years. It really is a phenomenal pop rock album that, for the first half of the decade, was listened to incessantly. That being said, subsequent records the band released never quite managed to capture the same overall magic as one will find on 100 Broken Windows although little bits and pieces would continue to be found right up to the release of their latest album, last year’s Post Electric Blues.

I remember dragging some coworkers to see the band perform to a relatively sparse crowd at the Double Door sometime in March of 2001 while Idlewild were in the midst of their first US tour and they went down like gangbusters to those of us lucky enough to have been there. I say lucky because, to my knowledge, Chicago hasn’t seen a hair or heard a peep of this Scottish-quintet since. I specifically remember, like all bands whom I’m incredibly excited to finally be seeing live, moving up to the front of the stage and pumping my fists and dancing around like a lunatic while simultaneously shouting out the lyrics to this song.

Idlewild – “Actually It’s Darkness” (mp3)

(from the Capitol CD, 100 Broken Windows, 2000)

Never Been

2010-01-07T11:21:00.005-06:00

It’s hard to believe, after twenty-five years, eight full-length albums, three 7” singles and one 10” EP, that this Lincoln, NE threesome not only still exists yet have somehow managed to sound as stimulating as they did on their debut single, the utterly fantastic "Autocrat / It’s A Lie" 7-inch released in 1985. For Against still remain completely devoted to the post-punk / Factory Records aesthetic which has impacted their trademark sound of weaving, yet jagged, feedback and guitar stabs backed by hypnotically transcendent basslines and drums.

Honest to goodness, this is a band that, when all the overlooked American groups of the past 25, 50, 100 years are one day reviewed and pondered upon, will be acknowledged as being as great as their present day rabid fan base proclaim them to be. You will not find many groups whose careers have been as consistently high caliber-sounding with nary a bad release, regardless of format. How someone with a love of brooding, atmospheric guitar music akin to the Comast Angels or Echo & The Bunneymen doesn't own, much less be informed of, anything by For Against is beyond me.

Accolades and fawning aside, I’m proud to say that For Against’s latest full-length, Never Been, can proudly sit on the shelf next to the band’s previous seven albums without a hint of shame. For Against continues to display the depth of their sonic palate by taking their inspirations of Joy Division and early Cure and putting a new spin on the music by adding elaborately lush piano-based compositions invoked with warm melodies, all the while retaining as they always have the atmosphere of middle-America that is found on all of their releases.

Some bands merely mimic their contemporaries that came before them; For Against continues to look for new and exciting ways that can only expand upon their music. And if you’re unfamiliar with any of the band’s releases, line up each of the album’s names on a wall, put a blindfold on before throwing a dart and purchase the album on which it lands…

For Against – Sameness (mp3)

For Against – Antidote (mp3)

(from the Words On Music CD, Never Been, 2009)

Note: Never Been just missed out on my Top 10 of 2009 only because I had just received the album prior to posting my list. That being said, I could easily recommend it in place of any of the aforementioned albums.

Hatcham Social

2010-01-04T13:44:00.003-06:00

One of the things I love most about those first couple of days at the beginning of each and every new year, as I’m bandying about on the internet, is reading all of the best-of lists and discovering records I happened to have missed out on upon their initial release the year prior. This is one such album. Hatcham Social’s debut full-length, You Dig the Tunnel, I’ll Hide the Soul acts as a really nice yang to the ying found on the Wild Beasts’ Two Dancers, talked about on these pages a couple of weeks ago.

The same influences of Orange Juice, The Smiths and Josef K as well as slight nods towards The Jesus & Mary Chain are all still evident save for singer/guitarist Toby Kidd’s more conventional singing style. That, and all of the songs on You Dig the Tunnel, I’ll Hide the Soul sound absolute and complete in that the band seemed to know exactly what they wanted when recording them.

That being said, where the Wild Beasts’ took a more reserved approach with the recording and production of Two Dancers, Hatcham Social goes for broke with their hook-laden and incredibly catchy indie guitar pop reminiscent of that coming out of the UK in the mid-80s. The album doesn’t necessarily hit you over the head but its certainly not subtle, either. And at just over 32-minutes, it never once feels like it has overstayed its welcome.

My recommendation: Burn It with an option to Buy.

Hatcham Social – “So So Happy Making” (mp3)

Hatcham Social – “Sidewalk” (mp3)

(from the Fierce Panda CD, You Dig The Tunnel, I’ll Hide The Soul, 2009)

Top 10 Albums of 2009

2009-12-31T10:43:00.025-06:00

A quick Top 10 Albums of 2009 list. These are the records out of all the records I heard this year that I can without a doubt recommend you to spend your hard-earned dollars or downloads on. In no discernable order except that in which the date of which they were released.

The Pains of Being Pure At Heart – s/t (Slumberland Records)
Painfully entertaining record that faithfully mines for all those wonderful treasures buried almost 25 years ago by such acts as The Pastels, Close Lobsters and the Wedding Present.

Tommy Keene – In the Late Bright (Second Motion Records)
Just another wonderful album in a 25 year long line of wonderful albums that remain criminally overlooked to this day.

Vee Dee – Public Mental Health System (Criminal IQ Records)
These Chicago rockers worship in the same way as the Original Sins did at the altars of garage rock, psychedelia and, at times, classic heavy metal. Shades of the 13th Floor Elevators, Sun Ra and early Black Sabbath/Hawkwind all abound.

The Decemberists – The Hazards of Love (Capital Records)
Many of their fans seem to be split right down the middle in regards to the Decemberists’ latest offering, with some bombasting it as a complete bore and others reveling in its remarkable beauty and wit. I fall in the latter. The Hazards of Love takes everything that folk acts such as Fairport Convention did so well and successfully adds the bottom heavy drone found in the genre of heavy metal.

Bob Mould – Life & Times (Anit Records)
I said it 7 months ago and it still holds true today; Life & Times is Bob’s best solo album since 1989’s Workbook, only being succeeded in the interim by Sugar’s Copper Blue and Beaster.

David Kilgour & Sam Hunt – Falling Debris (Arch Hill Records)
Every once in awhile an album of immense beauty falls into your lap. David Kilgour has long penned some of my favorite musical moments found on this earth but this time he does it to the lyrics penned by poet Sam Hunt thus making the ingredients found on this record completely inseparable, not to mention irresistable.

Polvo – In Prism (Merge Records)
This is the comeback album that came out of nowhere. One would have a very strong argument if they were to state that In Prism far surpasses most of the band’s mid-90s output.

Wild Beasts – Two Dancers (Domino Records)
Another WTF!?!? moment that occurred when first listening to the Wild Beasts’ Two Dancers. I have no idea where this came from but Two Dancers is a streamlined, minimal produced and eccentrically charming indie pop record likened to acts such as The Smiths and Orange Juice.

Baroness – Blue Record (Relapse Records)
In no way did I think, after hearing Baroness’ Red Album 9 months ago, that the band would be able to craft something superior. The Blue Record doesn’t quite surpass its predecessor but it certainly stands shoulder-to-shoulder with it and with anything else I heard this year.

Pelican – What We All Come To Need (Southern Lord Records)
As hinted at on their previous albums, City of Echoes and The Fire In Our Throats, Pelican continue to move outward and away from their lumbering drone-metal origins, crafting an album that is one of, at many times, immense beauty.

And last, but certainly not least, a happy new year to all of you and well wishes for an even brighter 2010.

Hooting & Howling

2009-12-15T14:05:00.004-06:00

First off, let me state that the Wild Beasts and their sophomore album, Two Dancers, was nowhere near becoming a blip on my radar for releases to look out for in 2009. Their debut album, Limbo, Panto, revealed that, if anything, the Leeds, UK-based quartet were an eccentric bunch that were capable of crafting some catchy hooks and witty, Morrissey inspired lyrics but overall fell a bit short of becoming anything memorable. If anything, the album displayed promise that the band might offer more in the future. Two Dancers and its boisterous production completely wipes away any preconceived prejudices one may have against the band, to the point where a reexamination of any past efforts may be in order.

While the band still comes off as an infused-hybrid of many conventional early-to-mid-80s UK indie-pop bands who exhibit a daringly original vocal-style (e.g., Affectionate Punch-era Associates, The Smiths), Two Dancers does exhibit a change in direction that comes off as one infused with confidence and a patient direction for which the album’s compositions need to go and not a change that is born out of a need to bolster sales. One almost gets the sense that the album wasn’t really labored over endlessly; as all of the songs sound complete and exactly the way the band intended them to be. The songs are all sung with the same shrill, almost slightly-overbearing falsetto backed by chiming, jangly guitars with a production that seems to make everything absolutely flourish and shimmer; in a way that almost makes the tracks jump right out of the speakers. For me, this is a Top-5 album for 2009 and HIGHLY RECOMMENDED.

The Wild Beasts – “All The Kings Men” (mp3)

The Wild Beasts - "Hooting & Howling" (mp3)

(from the Domino LP, Two Dancers, 2009)

What We All Come To Need

2009-12-11T10:08:00.004-06:00

Having only discovered Pelican within the past year, I’m super-excited for the band’s hometown show tonight over at the Empty Bottle. For several years now, since probably from around the time of their second full-length album’s (2005’s The Fire In Our Throats Will Beckon The Thaw) release, I’ve curiously read the accolades the band has received for their recorded efforts but have only just recently taken the plunge into their music.

I suppose metal might be a starting point when describing the band’s aggressive riff-laden style but I just can’t help but feel that that’s an unfair comparison as the music itself is almost too pristine-sounding to be categorized along the likes of Baroness or Mastodon. That being said, it doesn’t exactly fit comfortably next to the post-punk leanings of Shellac or many of the other Touch & Go groups either. To quote guitarist Trevor de Brauw, “It's developed from something that's not just feeling loud but seeming loud. It's not so much about the actual volume.” Fair enough.

The band’s new album, What We All Come To Need, is a beauty. Easily their best recorded effort and that’s actually saying something because I really love its predecessor, City Of Echoes, despite drummer Larry Herweg’s almost too hard-hitting sound. More effort seems to have been put into the recording of the new album because the sound is absolutely terrific; I’m eagerly anticipating its vinyl release next month although I’m sad to report that I missed out on Kuma’s Corner’s October special, the Pelican Burger. A kobe beef patty with pan seared scallops and lardons, in a garlic white wine sauce on top of a parmesan crisp, and served with white wine-garlic aioli…oh my.

Pelican – “Glimmer” (mp3)

Pelican - "Specks Of Light" (mp3)

(from the Southern Lord download, What We All Come To Need, 2009)

Friday Mix: November 27, 2009

2009-11-27T10:19:00.010-06:00

In the hopes of jumpstarting the activity on this blog from a painfully irregular basis (no new posts since the beginning of October?!?!) to a semi-painfully irregular basis, I’ve decided to post, each and every Friday, a 10-song mix containing new and old favorites that I’ve been listening to and enjoying throughout the week.

While this doesn’t necesarily mean that I’ll stop doing expanded reviews in the future of releases which I feel warrant mention, it does mean that I’d like to reroute the ongoing direction of the blog in the hopes of providing some type of regular content. I still love listening to and sharing music that I feel should be heard by the masses but the reality of the situation is that I just don’t currently have the time needed to provide some type of in-depth, or in my case shallow, analysis in an expanded form.

Therefore, I felt that maybe a weekly mix was the way to go. And while I originally wanted to provide the mix in a zip-file and avoid posting each song under a separate mp3 link so as all ten songs would hopefully be heard in the order provided, I’m still debeating over which online storage site to use. In the meantime, enjoy these mp3s of current favorites, each of which is a terrific song.

1. "Swim (To Reach The End)," Surfer Blood (from the upcoming 2010 CD, Astro Coast)
2. "Walkabout (feat. Noah Lennox)," Atlas Sound (from the 2009 download, Logos)
3. "The Other Man," Sloan (from the 2005 CD, A-Sides Win: Singles 1992-2005)
4. "Beggars Bowl," Polvo (from the 2009 LP, In Prism)
5. "New York Romance Blues," Pray TV (from the 1996 CD, Westonia)
6. "Drive Me Down," The Velvet Crush (from the 1991 CD, In the Presence of Greatness)
7. "Island, IS," Volcano Choir (from the 2009 download, Jagjaguwar)
8. "Are You Really On Drugs?," The Clean (from the 2009 CD, Mister Pop)
9. "Today and Tomorrow," Tommy Keene (from the 1996 CD, Ten Years After)

10. "Ghosts of American Astronauts," The Mekons (from the 1988 LP, So Good It Hurts)

The Rest: Everyone All At Once

2009-10-09T11:06:00.004-05:00

First off, let me get this out of the way: Ontario, Canada’s The Rest and their latest full-length, Everyone All At Once, are not the second coming to The Arcade Fire’s Funeral and frankly, it’s a bit of disservice to call it that based on what The Rest have accomplished with this album. While both bands share a certain desperation found in their music as well as a penchant for being Canadians in a multi-member (i.e., more than four people) group, the similarities kind of end there. You will not find any immediate choruses backed by frantic hooks that urge you to sing and dance in any situation of your choosing, no, but rather a wide array of subtle influences that require absolute attention upon listening.

Financed from making their own beer which in turn was sold at their own self-promoted shows, Everyone All At Once was written and recorded over a period of two-years in various locales of isolation which probably explains the atmosphere the album permeates. While it garnered a North American release last spring on Auteur Recordings, I’m glad I’m hearing this for the first time as we prepare to move into autumn’s twilight.

Like leaves on a tree during this time of the year, Everyone All At Once is a colorful palette of sounds that nod slightly to 60s folk as well as the grandiose pop of Ocean Rain-era Echo & the Bunneymen and the tranquil soundscapes of Talk Talk’s Spirit of Eden. You also get hints from the multitude of singles produced by Sarah Records’ artists (i.e., The Harvest Ministers “You Do My World the World of Good”) and dreampop acts that followed while simultaneously treading a path used by more current contemporaries such as Grizzly Bear and Sigur Ros. The gorgeous harmonies flow and crash like waves against a rocky shore situated between sincere bouts of contemplation and sighs over lost loves and missed opportunities.

No doubt these ramblings come off as pretentious but that is usually what comes when describing a great album that sounds immediately familiar yet painfully difficult to articulate with just comparisons. Everyone All At Once will not be for the masses, but rather a small group of devoted fans looking for something that hinges a bit more on introspection. This is a special record that’ll probably reveal something new with each and every listen for years after you first hear it.

The Rest – “Walk On Water (Auspicious Beginnings)” (mp3)

(from the Auteur Recordings download, Everyone All At Once, 2009)

The band are gearing up for a trip to the UK where they've just been signed to Someting In Construction Records who have kindly provided us with a copy of the W.O.W. EP (which can be had HERE) in anticipation of Everyone All At Once's UK release on October 12th.

Make Me Another Boilermaker

2009-10-07T14:06:00.004-05:00

Not much can be said by yours-truly in regards to the legacy that The Jesus Lizard left behind that hasn’t already been stated by others not only more eloquently but probably a whole lot better as well. That being said, I did want to add a few words in the form of nostalgia as yesterday finally saw the release of the band’s entire Touch & Go catalog from the early 90s with each album, Pure (1989), Head (1990), Goat (1991), Liar (1992) and Down (1994), getting the remaster treatment as well as an upscale makeover by way of linear notes, recollections, photos, etc.

I got to The Jesus Lizard just a bit too late as the twilight of their career was beginning with the release of their major label debut, Shot (1996); the first step in the band’s ill-fated relationship with Capitol Records. However, I’d previously heard that it was the time associated with Touch & Go Records of which the band were most notoriously known, both musically and as a live act. As part of a stockpile of cassette tapes bought during the summer of 1997 previously related here, both Goat and Down became big staples of my collection only because they, like the rest of the band’s Touch & Go material, continue to reveal new aspects of the music with each and every listen all these years later.

This was a terrific band who, despite incorporating the seeds planted decades earlier by the likes of The Sonics, Led Zeppelin and the Stooges into their style, developed a unique sound that can only be described as their own. They almost seem to have been one of those groups where not only did you know that you were hearing something really special but that you’d probably never hear another group like them ever again. The musicianship on these records is both top-notch and devastatingly original while David Yow still remains one of the pinnacles of all-time greatest front-men ever.

Picking a track is next to impossible, especially since these remastered versions sound so delicious to one’s ears but this one has always been a favorite. I kid you not: any rock fan should do themselves a favor and add these albums to their collection, especially Goat, Liar and Down. These are records that I’ll always adore.

The Jesus Lizard – “Monkey Trick” (mp3)

(from the Touch & Go LP, Goat, 2009 reissue)

Happy Hollows: Spells

2009-10-06T14:05:00.003-05:00

This one showed up in my inbox last night and ever since I’ve been playing it to death and subsequently becoming a bit smitten with The Happy Hollows’ infectious brand of pop punk meets art-rock. The Los Angeles Times hit it on the head when they described the group’s sound as a “pugilistic mix of stinging guitars, turbulent rhythms, and shouted vocals.” The obvious names of The Breeders and P.J. Harvey are dropped in many of the reviews but I also hear lots of late 70s UK punk in the music a’la The Adverts or The Slits as well as the howls of anguish that made Marcy Mays of Scrawl so engaging. Overall, there’s just something really genuine about this band and what it is they’re striving to achieve.

Incidentally enough, The Happy Hollows debut full-length, Spells, hit both stores and online vendors today with the obligatory East Coast tour to take place this October; no doubt in the hopes of taking advantage of the CMJ New Music Marathon showcase. The song “High Wire” is the single but out of the three tracks sent to me, the album’s opener, “Faces” with its driving buzz-saw guitar riff gets the slight nod followed in close second by “Monster Room.” Stream the full album or select songs here.

The Happy Hollows – “Faces” (mp3)

(from the TuneCore CD, Spells, 2009)

These Girls Fall Like Dominos

2009-09-24T10:28:00.004-05:00

This is a ridiculously big sounding album, big in the same way that a whole lot of records from the mid-90s Britpop era sounded; i.e., slightly pretentious, overflowing with confidence and more often than not catchy as hell. Listening to The Big Pink’s debut, A Brief History of Love, I get the impression that my brain is telling me that perhaps I shouldn’t like this as much as my tapping foot does.

Had this one been released before the summer season, A Brief History of Love probably would have raced up my own personal top summer-albums chart. With densely layered guitars and electronics, many of the ingredients were there from the get go for this one to be a grand slam of summer pop music fun. However, with the pending twilight of the autumn season fast approaching, A Brief History of Love’s flaws become a bit more apparent in that The Big Pink scatter themselves and their influences a bit too thin. Just when you’re settling into one particular groove, the record goes and turns 180 degrees in a different direction, giving the listener little time to catch up and reacquaint themselves with their surroundings.

While the band is completely dedicated to their craft, it inevitably can become a bit too much when dealing with a smorgasbord of waaayyy too many ideas. Seriously, it’s all there: the psychedelic leanings associated with acid house from the late 80s (Frisk), the fuzz-laden guitars of the early 90s (Crystal Visions) as well as the call and response anthems that made Britpop so much fun (Dominos) for a short amount of time. And if one doesn’t think of later-era Verve when listening to Love In Vain then there must be something seriously wrong with my memory. I suppose if anything, A Brief History of Love would have been a stellar 7-song EP

That being said, this is in no way derivative towards the overall entertainment factor derived from many of the songs found on the record as there’s plenty to shake your head and dance to. It’s just that A Brief History Of Love isn’t as consistent as many of us hoped it would be after hearing Dominos for the first time.

The Big Pink – “At War With the Sun” (mp3)

(from the eMusic download, A Brief History Of Love, 2009)

Higher Than The Stars

2009-09-23T11:00:00.003-05:00

While they’ve already been the curators of one of this years more talked about albums; jumping from 300 + capacity venues to a prime afternoon slot at this year’s Pitchfork Music Festival all within the span of 5 months, its nice to see that The Pains Of Being Pure At Heart aren’t coasting on the runaway success of their debut album by giving us some brand new material.

The Higher than the Stars EP consists of four brand new songs that lean not as heavily on the early 90s showgazer influence that was found a’plenty on their debut. Instead, the band broadens the twee, pop sound earlier explored on the song, "A Teenager In Love" from the debut; giving the EP more of balance between the ultra-fuzz sounds of My Bloody Valentine and the chiming guitars and dance beat of St. Etienne, adequately displayed on the song below. A solid EP that gives a perfect taste of the sound the POBPAH strive continuously to achieve.

The Pains Of Being Pure At Heart – “Falling Over” (mp3)

(from the Slumberland 12”, Higher Than The Stars, 2009)

Monogold: We Animals

2009-08-20T09:51:00.005-05:00

One of the more buzzed about bands from the latter half of 2007 was Yeasayer, whose reverence to such Brian Eno produced works Remain In Light from the Talking Heads as well as Eno’s own My Life In The Bush Of Ghosts sounds like a win-win to this writer. However, the reality was that, besides the excellent single “2080,” Yeasayer’s debut All Hours Cymbal didn’t leave much of an impression on me. And while I did manage to warm up a little bit to the band after their performance from earlier this summer at the Pitchfork Music Festival, I still felt an overall sense that I was watching Rick Astley front the Talking Heads.

Monogold, like Yeasayer, also hail from Brooklyn, NY which might make a bit of sense as they seem to have taken a cue from Yeasayer’s “2080” and ran with it. Their new EP, We Animals, is one of the more pleasant surprises I’ve received in my inbox from any band for quite some time. With lots of crisp instrumentation that seems to float along while backed by a slight funk sound, the music almost lulls one into a dreamlike trance or sway. More often that not, music such as this can fall into the trap of becoming unfocused but Monogold manage to keep their eye on the finish line until the conclusion of each and every song. And while I wouldn’t normally go for falsetto vocal-stylings, the effect only adds to the atmospheric like state the band conjure; it’s the type of music that appeals to my dreampop sensibilities (i.e., Cocteau Twins) without actually being dreampop. Overall, We Animals is a wonderful EP that actually manages to keep me grasping for what it actually sounds like. RECOMMENDED.

Check out the band’s website here where We Animals will hopefully by available from sometime in September. Look for the band to hopefully perform live sometime this autumn.

Monogold – “Traps/Offerings” (mp3)

(from the self-released EP, We Animals, 2009)

My Merge Day Five: Overview

2009-07-31T09:16:00.002-05:00

Back in May, Ms. DB and I took a two-week long vacation over in Italy. This trip was easily the best vacation that I’ve ever been on and for those of you who have never been, I highly recommend trying it on for size. We kept commenting that if we ever won the Lotto big that the first place we’d look into buying real estate was somewhere in Tuscany. Absolutely beautiful.

In any case, because we knew that we’d be traveling around the Tuscan region via automobile for the better part of a week as well as not being sure of what, exactly, the status of Italian radio stations were, I figured it’d be best to load up on various compilation CDs that we could throw into the player and let run while taking in the sights.

One of those compilations was the 2009 Merge Records Sampler which I received this past April in my bag of goodies from Laurie’s Planet of Sound on Record Store Day. The compilation itself is a pretty nice overview of the Merge Records “sound” and it pretty much became the theme CD of our trip; I know that I lost count as to how many times we actually listened to it but it was a lot. So much that I have many different memories to choose from when hearing any particular song from it and probably always will.

I’m a tad embarrassed to admit that Spoon has been a recent discovery of mine. Despite having bought A Series Of Sneaks upon its release in ’98 as well as seeing the band on the Kill The Moonlight tour, I never really took the time to listen and get in to any of the other material until taking a chance several months ago on the Girls Can Tell record. My goodness it’s terrific and it quickly turned me into a Spoon convert. "The Underdog," from 2007's Ga Ga Ga Ga Ga, shows up on the Merge Sampler, quickly became Ms. DB’s favorite’s to bop along to while coasting through the countryside.

My two favorites from the trip were from some of Merge’s more recent releases: Telekinesis’ "Coast Of California" from their self-titled debut as well as the Broken West’s "Perfect Games" which came out on last year’s Now Or Heaven album. Both of these records showcase a wonderful collection of roll down the car windows type of summer power pop.

And for those of you completely unfamiliar of the type of records Merge has put out over the years, I recommend going out and picking up their 5th, 10th and 15th Anniversary compilations, Rows Of Teeth, Oh, Merge and Old Enough 2 Know Better as well as the three volumes of their Survive & Advance series. All of these will set you back about $35 and I couldn’t think of a better way to spend the money.

Spoon – “The Underdog” (mp3)

Telekinesis – “Coast Of California” (mp3)

Broken West – “Perfect Games” (mp3)

(from the Merge Records CD, 2009 Merge Records Sampler, 2009)

My Merge Day Four: I Stare At Maps All Day, A Charade In The Sunset…

2009-07-30T09:39:00.002-05:00

One of the few indulgences that my friends and I like to treat ourselves to every once in awhile is the old boy’s road trip to a nearby city/town in the hopes of taking in some live music and drinking silly amounts of beer. It’s one of those male bonding things; the likes of which don’t happen quite as often as they did, say, 10 years ago yet which we do still manage to find time for here and there. One of our favorite, overnight destinations is Kalamazoo, MI where we’ll hit up the Bells Brewery for beer, dinner and perhaps a bit of tomfoolery before heading across the street to the Kraftbrau Brewery for even more beer and whatever act we’ve driven all those miles to see.

Such is what Joel, Brian, Shane and I were up to when we made the trek over to Kalamazoo on a snowy, Friday night in February 2007 to see Camera Obscura wow the hipster Western Michigan and Kalamazoo College crowd. And while Camera Obscura were the main draw, I imagine more than a few people in the audience walked away equally, if not more, impressed with the Essex Green, whose cute boy-girl harmonies and jangly strummed guitar chords probably wipes them off the “cool” map immediately. However, since I’m old enough to not care about such things, I found them simply charming and thought those harmonies were just as good as anything Lee Hazelwood and Nancy Sinatra ever did.

Their 2006 album, Cannibal Sea, is smart and catchy indie-pop, the type Merge Records has effortlessly churned out all these years. It still has a regular home on our CD player. I remember the four of us listening to the album over and over on the way back to Chicago the morning after the show; all the while driving through a blinding snowstorm and simultaneously praying that Brian could make out some semblance of a road. Yes, I can remember all of this yet still have trouble with certain people’s birthdays and other notable dates.

Essex Green – “Penny & Jack” (mp3)

(from the Merge CD, Cannibal Sea, 2006)

P.S. Sadly, it’s been brought to my attention that Kraftbrau is no longer situated right across the street from Bell’s, a bummer as the convenience factor in terms of proximity was a plus.

My Merge Day Three: Then I'll Dig A Tunnel From My Window To Yours...

2009-07-29T09:44:00.006-05:00

A bit of hand-wringing occurred on whether or not I’d indulge myself with a post centered around the band that gave Merge their highest Billboard placement; it almost seems redundant after the amount of media coverage the Arcade Fire has garnered since the 2004 pandemonium-spreading release of their debut album, Funeral. But again, it’s all about the memories my friends, and this release has a fair amount of them so here goes.

Spring 2004: We start to hear wide-spread rumors and tales about this mystical band called the Arcade Fire who’ll come and save us from musical purgatory. Being both skeptical and having conflicting Friday night obligations, we pass when given an opportunity to see the band perform at Chicago’s Open End Gallery on June 18, 2004, a decision we’ll come to regret.

September 14, 2004: Merge releases the Arcade Fire’s debut album, Funeral, thinking that perhaps it’ll sell maybe 4,000 – 5,000 copies. At the same time, a review of the album appears on Pitchfork’s website containing terms such as “empowering positivity” and “anthemic momentum.” The album receives a 9.7 out of 10.0 and suddenly 40,000 – 50,000 copies are in demand. We luck out by scoring a copy that day from Evil Clown Records (R.I.P.).

Much excitement is had on the way home as we can’t quite get the CD in the player fast enough. With the disappointing thoughts that were the Star Wars prequels still fresh in our minds, we hold off on the subdued excitement we’re feeling as the album plays; aware of the fact that sometimes the mind tries to convince us that things really are a lot better than the crap that our ears are actually hearing. We’re relieved that Funeral does not fall prey to this although we’re still not sure we’d rate it as a near perfect album. We continue to listen.

November 25, 2004: By this point, Funeral has really kicked in and the album is in complete over-rotation in the CD player. We have tickets to go see the band perform at the Logan Square Auditorium. However, as the day of the show is on Thanksgiving, a day where we normally over-indulge with the spirits and such, the tickets go unused. Another decision we’ll regret as it’ll be almost 8 months later on July 24, 2005 before we finally get a chance to see Arcade Fire with about 15,000 of our closest friends. While the Arcade Fire blow us all away into sweet oblivion, a nasty sunburn is had as payment for indulging the temptation of taking my shirt off on a smoldering 100 + degree afternoon in Chicago’s Grant Park.

Shortly after, a show at the Riviera is announced for September 28, 2005. Due to our slacking nature, tickets are missed out on by a mile. We tell ourselves that another show will be announced. Obviously another show is never announced. Shane procures the services of some schmuck on Craigslist who’ll sell us two tickets for $60 apiece. Like two equally big schmucks, we pay the price after my repeated assurances that the show will be worth it. It is…even though I never was able to identify the other schmuck who threw ice cubes at the back of my head.

That being said, the songs from Funeral are taken to another level; in fact, to this day I can’t listen to Funeral without remembering the overwhelming sense of excitement that pulsated through the crowd in anticipation as well as that 1 + year long personal journey I went through with the band. Within that time frame, I fell out of a 2 year relationship, had a summer of nothing but fun before subsequently going out and falling back in love, which I still am to this day so alls well that ends well. Obviously Funeral wasn’t the cause for any of that but it still was great to have that record along for the ride.

Arcade Fire – “Wake Up” (mp3)

(from the Merge Records CD, Funeral, 2004)

P.S. Has anyone seen the trailer for “Where The Wild Things Are” that has this song playing over it? Freaking adorable…

My Merge Day Two: Umbrella Wars

2009-07-28T10:01:00.004-05:00

As I stated yesterday, it’s not always about the overall consistency but rather the 11 or so year old memories evoked from going back and listening to a particular piece of music. While I’ve always enjoyed listening to Spent’s Merge releases, the music in general isn’t something that ever would’ve gotten the mainstream all worked up over as Merge still hadn’t quite branched out enough by signing non-Superchunk-esque sounding bands. And without the Buzzcock-influenced punk to their pop, Spent just came off a bit too much like Superchunk’s timid little brother.

But there are memories associated with this one. For example: it’s January 1998. After reading a review a couple of days earlier, I went out and picked up a copy of Spent’s Umbrella Wars EP, released a couple of months earlier, while heading over to a friend’s place to hang out before going over to the Metro to see Hum. While amicably chatting away and drinking beer, I get up and put on Umbrella Wars whose clunky yet jangly sounding hooks and ridiculous lyrics charm me right away. Meanwhile, my friends all kind of have a “yeah, this is ok” tone which sounds suspiciously like they’ll never bother to go out and listen to Spent ever again.

This was probably the first time I realized that my friends wouldn’t always agree with some of my band-related choices and vice-versa. And that’s ok, really, because I can’t imagine what it would be like not having anything to debate/frustrate over via our musical preferences (i.e., Sloan, Frank Black vs. Pixies, etc.). "Umbrella Wars," however, still manages to charm my socks off to this day.

Spent – “Umbrella Wars” (mp3)

(from the Merge EP, Umbrella Wars, 1997)

My Merge Part One: I Don't Remember This Too Well...

2009-07-27T10:02:00.010-05:00

While the overall consistency and quality of much loved releases is usually reason enough for one to remain overtly loyal to a particular label over the years, I also find that how a record label's catalog fits into whatever period of my life and the overall feelings and memories evoked play an even larger role in how the label’s overall quality will be judged in the grand scheme of things.

Therefore, in the aftermath of their 5-day 20th Anniversary celebration, I figured now would be a pretty good time to talk about some of the extraordinary records Merge Records has released over the years and how they fit into my own personal life’s setlist. For the most part, Merge Records has always been a consistent pressence throughout my life as a music fan and even if Laura Ballance and Mac Mc Caughan hadn’t created the wonderful body of work they put out as members of Superchunk, they still would’ve sealed their indefinite place in rock history for the overall diverse catalog of music they released as co-founders of Merge Records. In many ways, the sound of Merge's catalog is the sound of my own record collection.

And while it does seem like a bit of cliché to namedrop Superchunk and their album Foolish as one of those special records, it was in my case the first Merge release that I ever heard. I was already well acquainted with both No Pocky For Kitty and On The Mouth (both albums Superchunk had previously released when they were signed to Matador Records) when I bought their fourth full-length, Foolish, from Beautiful Day Records (R.I.P.) in downtown LaGrange the summer before my junior year of college, a couple of months after it had been released.

Upon my return to school that fall, Foolish, as well as Sebadoh’s Bakesale, Bee Thousand by Guided By Voices as well as Sugar’s File Under: Easy Listening pretty much became the soundtrack to first couple of months of our fall semester, all albums we listened to over and over and over. It was a wonderful period of my life that I remember fondly, a period that remains my favorite from my college years as both new friendships were made and existing ones were altogether sealed, all while records like this played in the background.

Superchunk – “Why Do You Have To Put A Date On Everything” (mp3)

(from the Merge Records CD, Foolish, 1994)

Let Me Walk With You Cuz It’s Breaking My Heart

2009-07-23T07:52:00.004-05:00

1989 saw the release of several fine records, each of which hold a very special place on my record shelves; the Pixies’ Doolittle, Automatic by the Jesus & Mary Chain, the Stone Roses self-titled debut, Privilege by the Television Personalities as well as Bob Mould’s first solo effort, Workbook. Pere Ubu’s Cloudland is another one that could be added to that list.

Rewind to the summer of 1997. I’m in the midst of unhappily traveling (i.e., driving) around between Des Moines, IA and Boston, MA for work-related purposes. Since CD players weren’t automatically assumed in all rental cars, a majority of the vehicles I’m driving contain a tape deck only. Loads of cassettes are packed for the 12 + hours I’m spending each and every day in the car. I have an off-day in Boston that is spent mulling around Cambridge Square. I stop into Newbury Comics and load up on ridiculously underpriced cassettes. Cloudland is one of them. What follows is me listening to this album over and over and over for the next year.

Fast-forward to the summer of 2009. I hadn’t listened to Cloudland in anything resembling a constant rotation for the past ten years as cassettes have become all but extinct unless you happen to be driving around in my mother’s 1998 Camry. I’m flipping through the vinyl racks of the CHIRP Record Fair at this year’s Pitchfork Music Festival and stumble across that familiar cover. Ecstatic elation occurs and Cloudland has once again become a regular fixation on the Ditching Boy trellises’ sound system.

While a majority of Pere Ubu’s catalog has always been unsettlingly weird if not downright subversive, Cloudland remains one of the band’s few efforts at constructing a traditional rock album. Where prior song topics have focused on urban decay and social infrastructure, Cloudland goes in the opposite direction by filling up an album full of pop-oriented love songs. Greg Kot described it as the “industrial-strength equivalent of a classic Beach Boys album from musicians more familiar with factory than surf;” an apt comparison since Cloudland retains the classic Pere Ubu-vibe while simultaneously being an immediately enjoyable album.

Pere Ubu – “Waiting For Mary” (mp3)

(from the Fontana LP, Cloudland, 1989)

Reverb Delay Drums Heavy Tremolo Feedback Guitars Repitition

2009-07-22T09:24:00.003-05:00

Once again, another Pitchfork Music Festival has come and gone. And while every year fans are treated to that one band it would best behoove them to see (i.e., The Jesus Lizard) as well as current blogosphere favorites (i.e., The Pains Of Being Pure At Heart), attendees are also treated to a sprinkling of “up and coming” groups that sometimes gives us, the music fanatic, something to very much look forward to in the hopes of achieving a brighter future.

And while I wouldn’t call their particular brand of post-punk minimalism bright, Chicago’s Disappears do fit the latter category as far as giving the fanatic something to look forward to. For the past several years, singer/guitarist Brian Case has handled rhythm guitar duties for the currently-on-hiatus The Ponys before stepping up and handling the lead vocals for Disappears, which started out as a side project with former BOAS drummer Graeme Gibson.

Described in many circles as “space rock,” our ears actually hear a bit more of the minimalist styling’s of post-punk groups such as Joy Division and Flying Nun stalwarts, The Chills as well as the mid-70s work of Rocket From The Tombs. Like those groups, Disappears has no problem laying off the feedback to let the songs develop a sort of dream-like trance before ultimately barraging the listener with a wall of distortion that never once comes off as noise for the sake of noise.

The band currently has two wonderfully produced self-released 45s available which can also be had via download here but if one really wants to pick up on the glorious sound the band achieves then the 45s are the way to go. And if you somehow managed to wrong yourself by missing their Pitchfork set, they’ll be opening up for the Obits this coming Saturday (7/25/09) at the Empty Bottle here in Chicago.

Disappears – “Hearing Things” (mp3)

(from the self released 45, Needs, 2009)

Let Me Flow Into The Ocean, Let Me Get Back To The Sea...

2009-07-01T15:53:00.011-05:00

While the Who By Numbers LP remains my favorite collection of Who songs, its predecessor, Quadrophenia, is the one that strikes the emotional chord and which demonstrates perfectly what The Who were all about and why many devotees of the group adore them the way they do. Regarded as his classic ode to teenage angst and disaffected youth, Pete Townshend has often praised the record as not only the best music he ever wrote but the best album he’ll ever write. I know I spent many hours as a teenager, headphones firmly in place, trying, and at times succeeding, to relate to the emotional themes that permeate throughout the album’s 80 + minute storyline.

But the fact that the record goes out of its way to also paint a picture of what early 1960s English society was really like propels Quadrophenia into the stratosphere of greatness, making it one of the “classic” rock albums. I imagine one would be better served by listening to Quadrophenia to get an idea of life in swinging-sixties London than, say, watching an Austin Powers film. I couldn’t relate to The Who’s story of the “deaf, dumb and blind kid” but as a teenager, I could find something to latch onto with Quadrophenia and perhaps a bit of solace.

I was reminded of the record by two stories today: the first being a well-written piece on the possible origins of Quadrophenia’s lead character, Jimmy, as he relates to a certain 1964 news story; a story the author concludes Townshend undoubtedly heard and stored away for future reference. The second was this: a story that all too well paints the angst and disillusionment a teen suffers by the rest of society due to being different and the sad consequences that can painfully result.

The Who – “Cut My Hair” (mp3)

(from the Polydor LP, Quadrophenia, 1973)

Some Strange Music Draws Me In...

2009-06-30T08:57:00.003-05:00

We had a terrific time last night at the Pritzker Pavilion in Chicago’s Millennium Park for their New Music Monday series; watching the Feelies “wow” an audience of several thousand with their herky-jerk rhythms and soaring choruses that somehow still manage to sound relevant after all the years they’ve been away. I was just a tad too young to have seen them live in their late 80s heyday so last night’s performance was really something special for yours truly; especially after having enjoyed their records for the past fifteen or so years and always imagining that they must have been a pretty searing live unit.

And last night’s show pretty much confirmed this belief due to, after having remained seated for a majority of the show, several twenty-somethings rushed the stage, frantically pogoing to the set’s closer, “Crazy Rhythms,” until a free-for-all ensued with a majority of the pavilion’s attendees following suit and bouncing away to an encore of R.E.M.’s “Carnival of Sorts,” the Feelies own “Fa Ce-La” and “What Goes On” by the Velvet Underground before things got closed out with the Rolling Stones’ “Paint It Black.” Being a bit renowned for their covers versions, I was kinda hoping that the band would pull out this one; their wonderful version of Patti Smith’s “Dancing Barefoot” as it couldn’t have been more appropriate.

Feelies (The) – “Dancing Barefoot” (mp3)

(from the Coyote promo 12”, Away, 1988)

R.I.P. Sky Saxon (1946 - 2009)

2009-06-25T14:42:00.005-05:00

A sad day indeed for those of us who bow at the altar of Nugget’s styled garage rock; convinced to this day that bands like Sky Saxon’s fronted, The Seeds, were the real anti-establishment of the 60s than rather, say, the Stones or the Beatles. Described as “weird psychotic blues highlighting Sky’s demented vocal sermonizing,” albums such as The Seeds and A Web of Sounds were huge templates for not only the 70s punk explosion but for much of rock music as well.

"Pushin' Too Hard" is the closest the band came to a national hit, which it was, and was/is forever immortalized on the original Nuggets compilation LP; sitting snuggly between the Shadows of Knight's "Oh Yeah" and the Barbarians' "Moulty." R.I.P. Sky and long may you cavestomp your way through the eternal dance halls in the sky.

The Seeds – “Pushin’ Too Hard” (mp3)

(from the GNP Crescendo Records LP, The Seeds, 1966)

Sky Saxon (1946 - 2009)

There's Just The One and Only Special You...

2009-06-18T08:54:00.003-05:00

Though they were virtually ignored (no doubt due to the fact that they hailed from northern England) at the initial onset of the C86 and Twee scenes in the mid-80s, the indie-pop group Friends have soldiered on for almost 25 years; bypassing many of the acts who first made their name by showing up on the famed C86 cassette compilation all those years ago. I always kinda develop a bit of a soft spot for groups like this only because what, besides sheer passion and love, could make a group continue to put out records (and nine very fine records plus six singles and one best of, at that) on a seemingly regular basis for the past twenty-plus years while receiving very little in the way of commercial success and recognition?

And though 2002's Best of Friends adequately chronicled the band’s first six albums, it wasn’t until the release of last year’s Single Friends that all of the group’s singles were compiled all together in one complete package thus displaying their subsequent development as a group. This is indie-guitar pop at its best; the kind that have made current blogger faves’ The Pains Of Being Pure At Heart as well Cats On Fire such a success due no doubt to the shimmering pop chords perfected on by groups such as Friends. And this isn’t even a case of Single Friends being a posthumous release as Friends, now based in London, will release their tenth full length album later on this year. HIGHLY RECOMMENDED!

Friends – “You’ll Never See That Summertime Again” (mp3)

(from the Summerhouse Records CD, Single Friends, 2008)

(SHELFLIFE Records is) Down With The Kids

2009-06-08T16:08:00.002-05:00

One of my all time favorite pop songs is Action Painting!’s, “These Things Happen” which clocked in at #28 on the discography of Sarah Records releases. It’s a lovelorn yet very breezy single well-worth seeking out whose heights were sadly, after an exhaustive eBay search of further Action Painting! releases, not to be replicated. That being said, I clutched that 45-inch slab of perfect pop closely to my chest and walked away heartbroken for many, many, many years until being reminded recently thanks to an email from my good friend Matthew Bice of SHELFLIFE Records.

Thanks to Matt’s email, it turns out that Action Painting! singer/guitarist Andy Hitchcock and bassist Kevin House have been busy the past couple of years getting a new project, dubbed Socialist Leisure Party, off the ground which has thus culminated in the release of Tactical POP! for Coffee Cadets, one of SHELFLIFE Records’ beautifully packaged 1000 Series of indie pop releases which we like to call, “da-bomb.” Great stuff that doesn’t stray to far from what labels like Sarah Records as well as Factory Records would’ve put out back in their heyday, a philosophy that SHELFLIFE adamantly attempts to adhere to with all of their releases. Here’s today’s appropriately titled track that perfectly summarizes what you’ll find contained within the rest of Tactical POP!. RECOMMENDED!

Socialist Leisure Party – “Mondayland” (mp3)

(from the SHELFLIFE Records CD/45, Tactical POP! for Coffee Cadets, 2009)

Currently Making Me Bounce Up and Down In My Seat...

2009-06-05T10:53:00.003-05:00

…is the new, FREE online EP, Oja Kodar, from Chicago’s The Fake Fictions who I was alerted to by a blurb in this week’s Reader. Peppy, bouncy boy meets girl meets pop meets garage rock that owes more than a few debts to bands like The Clean and The Verlaines, whose "Pyromaniac" is covered on the new EP. After you enchant yourself over and over with my pick below, go here to grab the EP (I mentioned it was FREE, right?) as well as other mp3 goodies.

Fake Fictions – “Complete Debauchery” (mp3)

(from the Comptroller Records EP, Oja Kodar, 2009)

The Path Of Least Resistance

2009-06-05T09:23:00.003-05:00

And now for something a little more angular-sounding; the debut album from The Poison Arrows, First Class, And Forever, is probably something of a must for fans of what could be termed the “Chicago Sound.” The band definitely seems to come from a place that favors some of the more classic Chicago punk groups such as Big Black, The Jesus Lizard and The Effigies but there’s also a fair bit of the alt-rock scene from the mid-90s as well with nods towards Silkworm and Girls Against Boys. Music with a bit of a rhythm-heavy sound as the bass lines taking center stage by acting as the foundation that will hold all the guitar melodies and hooks together.

If there any complaints, I suppose that it would be that things perhaps slowly start to digress as the band starts to wind things up on the last couple of songs mainly being that they’re things the album has already covered in its first half. It’s that certain feeling of, “Didn’t we just do this?” That being said, there are still plenty of things I love about this record; mainly being just how well all of the compositions are written with never a wasted space thus making it very easy to be taken with First Class, And Forever only because I think it indicates what could be an exciting career for this Chicago trio. RECOMMENDED.

The Poison Arrows – “Total Beverage” (mp3)

(from the File 13 LP/CD, First Class, And Forever, 2009)

Side Note: WOW! A post every day this week! I have absolutely no idea what prompted this bout of enthusiasm so enjoy it while you can; maybe it’ll carry over into next week.

Lift The Hazy Window For A Moment...

2009-06-04T14:40:00.006-05:00

I realize that I just did a rather lengthy posting about Bob Mould but I wanted to elaborate a bit more on his latest solo offering, Life And Times, than the confines of the “Currently Listening To” section of the page would allow. Only because, after spending the better part of a month with the album, I can say with all certainty that, next to the immortal Workbook, Life And Times is Bob’s best solo album to date and one of the best records out of any of his projects, Husker Du and Sugar included.

And I think the reason for that is because, to my ears, all of the material in one way or another faithfully represents each and every aspect of Bob’s musical career and not just Workbook the way many reviews would lead you to believe. I’m also of the opinion that many of the tracks also manage to make the listener anticipate just what it is Bob might do in the future. Hence the title, Life And Times.

Make no mistake, this album takes time. Outside some of the more up tempo rock songs, the album as a whole isn’t gonna jump right out the speakers like Copper Blue did or make the listener go, “What the f%&k?!?!” the way Workbook, after the blitzkrieg attack of Husker Du, did before that. No, if anything, I’d probably compare Life And Times to a soufflé; you don’t want to open the oven door too early or it might fall. You have to give it time to rise and then settle.

One of the other reasons I really like Life And Times is that it doesn’t take itself too seriously as far as the recording and production go. I know that home recording for a musician must be a godsend (lord knows I’d love to work from home a bit here and a bit there when the motivation struck me) but lately, many of Bob’s solo records have come off as a bit too stiff in that they almost sounded too pristine and perfect. There just seemed to be very little room for mistakes which makes me love the fact that he released Life And Times the way he did; warts and all. You can even tell that most of this stuff wasn't labored over endlessly which is a good thing.

There are many songs one could be steered towards; the album’s gorgeous title-track, "The Breach" with it’s breathy vocals, the Husker Du/Sugar-influenced "MM 17," "Wasted World" and "Spiraling Down" as well as the rather wordy "I’m Sorry, Baby, But You Can’t Stand In My Light Anymore." I also would suggest that the song presented below isn’t what one would call a complete representation of the album nor is it an instant pop classic, no. "Lifetime" is a moody little piece with a Twin Peaks-vibe to it that’s probably best played on a brisk fall or winter night, sitting by the window as you gaze upon the late night sky while lamenting over time spent and lost with the ones you love. It also just might be Bob’s most heartbreaking vocal performance ever. HIGHLY, HIGHLY RECOMMENDED!

Bob Mould – “Lifetime” (mp3)

(from the ANTI- Records LP, Life And Times, 2009)

Taking Over The Night & Day...

2009-06-03T08:22:00.006-05:00

The new Isis record, Wavering Radiant, is what the kids nowadays like to call “THE MOTHER-F&%KING S#%T!” Yes…this album is really, really good, it really, really rocks and as far as progressive metal albums go (a term I use pretty loosely based on my previously displayed bout of ignorance on the genre), it just might beat out Mastodon’s Crack The Skye later on this year in our Top 10 Favorite Albums of 2009 list that we sometimes like to contemplate a mere 7 months in advance.

Anther reason that I have to use the progressive metal tag loosely is that Isis seems to be deliberately skipping around the pedestals of different genres, opting instead to draw from a variety of influences. While the band cites post-rock groups like The Swans and The Melvins, there are also a whole lot of melodic, atmospheric and almost shoegazery riffs abound in all of the songs; each of which still manages to sit deftly in the “sludge" and "drone-oriented" rock categories. It’d be like if Motorhead, instead of using thrash after thrash after thrash chords in each and every song, opted instead to occasionally incorporate some of those gorgeous chord progressions that Pink Floyd’s Dave Gilmour used to favor a’la “Comfortably Numb” giving many of the songs a rather epic feel to them. Gruff yet absolutely soaring at the same time.

The thing that also gets me is that, for an album with a whole plethora of production techniques as well as unexpected bouts of post-rock trippiness, Wavering Radiant never seems to tire nor bore either itself or the listener; it’s just fun to listen to. This is a big sounding, summer rock record with big-a$$ power chords that should, like Crack The Skye, be totally accessible to fans of all kinds of rock genres. And the vinyl, which I just received in the mail earlier this week, is an absolute thing of beauty. HIGHLY, HIGHLY RECOMMENED!!

Isis – “20 Minutes/40 Years” (mp3)

(from the Ipecac Recordings LP, Wavering Radiant, 2009)

eMusic and Sony, Sittin' In A Tree...

2009-06-02T10:23:00.008-05:00

So eMusic has finally managed to go out and snag its first big major label fish. And in many ways, they don’t get much bigger than Sony Music Entertainment. That is correct, starting sometime in July, eMusic subscribers will have access to artists from all of the Sony labels that will include Columbia, Epic, Jive and RCA, if one were to count the “big boys” so to speak, which will cover music that is two years old or older.

According to a press announcement from eMusic, this expansion will add nearly 200,000 tracks to the catalog that’ll give people like you and me the ability to download songs from heavy rollers such as Bruce Springsteen, Michael Jackson, and Miles Davis as well as The Clash and Simon & Garfunkel. All (or most) of your favorite indie artists will still be present; however, groups such as Deerhunter, The Cleaners From Venus and F&%ked Up will now be hobnobbing with acts like the Dixie Chicks, Billy Joel and Yo-Yo Ma. And I’m fine with this, really, as I get the same thing when I walk into Reckless Records here in Chicago and see sleeves for all of that stuff.

My problem with this whole “deal” is the, in their words, “slight” pricing structure change to eMusic’s subscription plans which, for the company’s previous “eMusic plus” tier of 50 downloads for $14.99 per month, dropped 30% from the original number of downloads to 35 while increasing just over 6% from the original price to $15.98. Huh? It gets worse: previously I paid $95.90 per year for 480 tracks (40 tracks per month) which came out to approximately 20 cents per song. Not bad, right? However, eMusic has just informed me that come July 24 my plan will be altered to $95.90 per 180 days for 210 tracks (or $191.80 per year for 420 tracks) which comes out to approximately 46 cents per song. You mean double the price for less number of songs? Really? Double huh??

Now, while I can’t get anything near the 480 tracks per year that I previously got, I could get the same above-mentioned 420 track annual plan for $171.99 but that’s still 41 cents per song, an increase of 21 cents from my original plan that even has someone like me balking a bit at. It’s also worth mentioning that eMusic failed to point out this positive, to-my-wallet, alternative but that’s neither here nor there; they’re a business and the bottom line is they want to make money which is fair enough as it’s up to me, the consumer, to find out how I want to spend my dollars. But as a consumer, I also remember where my dollars stopped going in the early 2000s when prices for new CDs started hitting the $18.98 mark for major label releases, an increase one can’t help but notice the similarities to with eMusic’s newly announced pricing options.

It is also worth noting that eMusic was sorry to retire my current plan but they were confident that I’d find even more music to love amongst the many new additions to their catalog. Maybe, but maybe not as a lot of those catalog additions will be stuff I either already own or wouldn’t want to own. I have those old Byrds’ records on vinyl but that didn’t stop me from buying a couple of the remastered versions that Sony reissued in the late 90s as well as the whole Clash catalog that was rereleased in 2000 as well as the Sex Pistols and Miles Davis. And stuff like Kings of Leon or Alicia Keys doesn’t do it for me. So, for an old timer like me, much of this is too little too late.

Which, as far as the old timer comment goes, brings me to this: why couldn’t eMusic in their relatively reasonable goal to add more major label talent to their roster structure a deal for past long-term, and may I add loyal, subscribers that somewhat resembles something akin to their current plan without trying to royally screw them in the checkbook? For a company that grew 40% in 2008 with revenue of $70 million, this “date” with Sony seems a bit extreme.

I’ll be curious to see how these changes affect eMusic’s current number of subscribers; truthfully, I anticipate a drop in numbers as people will start to seriously check out the competition which might leave eMusic the unenviable task of having to rebuild a core group of subscriptions. Not necessarily a problem one wants when getting into bed with a partner who only cares about the bottom underlying value of who it is that they’re getting into bed with.

As one can imagine, there's been a bit of backlash which can be read about here and here.

Famous Last Words...Again...

2009-06-01T14:39:00.003-05:00

Several weeks ago we were treated to some new material from Pitchfork favorites, Deerhunter, whose 5-song EP, Rainwater Cassette Exchange, saw a digital download release on places such as eMusic. The EP will also be given a physical CDEP release on June 9 followed by a vinyl version two weeks later on June 23.

And while fans of the group are already more than aware of front man Brandon Cox’s rather prolific output of new material from frequent time to frequent time, due to the quality of the material I can’t help but wonder if this EP is in anticipation of this rather intriguing bit of news. I’m curious how this schtick will play out and where pray tell it’ll be, should a Chicago date occur…

Here’s my favorite track from the new EP, which gets a, to quote Sound Opinions, “BUY IT” rating once the vinyl is released as I’m a total sucker for that kind of thing.

Deerhunter – “Disappearing Ink” (mp3)

(from the Kranky Records mp3 EP, Rainwater Cassette Exchange, 2009)

You Always Keep Your Fish Eyes Open...

2009-05-06T15:23:00.004-05:00

Silkworm are one of those bands whose members I really, really feel like I owe an apology to. Despite having been a loyal Chicago-area music fan along with having seen their name up on various marquees and within the pages of the Chicago Reader during the second half of their existence, I never actually got around to listening to any of their releases until the aftermath of their very sad and very tragic demise.

What makes it even more sad for myself, after having immersed myself within the wonders of records such as In The West, Firewater and Developer for the past 3 or so years now, is that this is a band who would’ve been big favorites of both my friends and I during not only our college years but the subsequent nine or so years of tom foolery that followed when Silkworm were a regularly scheduled Chicago-area feature. If only…

However, the perseverance of Tim Midgett and Andy Cohen gave those of us who procrastinate on discovering the joys of a good thing reason to celebrate when they joined forces with Chris Manfrin (formerly of Seam) and Brian Orchard (formerly of .22) to form Bottomless Pit in 2007. That being said, it was a good year and a half before I let a friend of mine actually drag me out to see them perform live; I mentioned I had a tendency to procrastinate, right?

They have two releases out: the wonderful Hammer of the Gods full-length as well as the equally wonderful Congress EP. Both albums aren’t so much a direct continuation of Midgett and Cohen’s previous group but rather a more refined one; the moody post-punk styled influences are still there but the ratio between the louder and quieter moments aren’t as out of whack as some of the Silkworm material that tended to lean a bit more towards abrasiveness even when they were attempting pretty. Bottomless Pit keep things a bit more reserved by playing their hand closer to their chest; not giving the listener a hint of what’s to come until its actually befallen us. HIGHLY RECOMMENDED!

Bottomless Pit – “Red Pen” (mp3)

(from the Comedy Minus One LP/CD EP, Congress, 2008)

Going To A Garden Party...

2009-04-24T10:05:00.007-05:00

We had a terrific time at the Tommy Keene show last night; my memories of earlier gigs of his must have been unfairly tainted because I don’t ever remember him and his band sounding as great as they did last night at the Hideout. Every song played, each of which could have been culled from my own personal playlist of favorite Tommy Keene moments, just seemed to explode from the stage.

And while I’m sure it’s a cliché to say so at this point in his career, I just can’t believe that Tommy Keene isn’t more of a household name amongst people who fancy themselves as lovers of 60s/70s-inspired rock with an indie flare; especially those who kneel at the altar of groups such as The Replacements and Big Star. If the Chicago Cubs' Len Kasper can be a fan, then you can too. Read more of my previous laments here.

And last but certainly not least: a big shout-out to this guy for making the trek downtown and staying out not only well past his own bedtime, but mine as well. I think I caught him snoozing only once but give the guy a break; he’s a dad of two…

Tommy Keene – “Realize Your Mind” (mp3)

(from the Second Motion Records CD, In The Late Bright, 2009)

Shades Of Darkened Skies

2009-04-03T14:51:00.000-05:00

I’ll be the first to admit that metal isn’t really my thing. I can appreciate it for what it is as well as the deep love many respected individuals have for it but as for myself, it just never clicked with me, outside a few exceptions, no doubt due to the barrage of what was passed off as metal in the mainstream media in the mid to late 80s with more than a fair amount of it being really, really bad. I guess most of if just seemed to lack the melodic intimacy that I was looking for and only coming off as abrasive for the sake of being abrasive. With that in mind, it comes as a bit of a surprise that I’ve been enjoying Mastodon’s new album, Crack The Skye, as much as I have.

Now, I by no means qualify as even an amateur fan on the art form but it doesn’t take a deep rooted knowledge of the genre to see that these guys are really talented. The compositions are very well arranged, the playing tight and the music absolutely rocks in both a melodic and, dare I say, atmospheric sense. That being said, I can’t help but have a, and I hate to use this phrase, “guilty pleasure” vibe coming off of it but that could more than likely be a result of my absolute ignorance and insecurity on the subject. Obviously, if you like something you like it so sometimes it just helps to go with it but I’d be curious to hear a more qualified opinion on the matter. All in all, I can’t help but feel like this one has a nice crossover appeal for fans of punk and garage rock.

Mastodon – “Divinations” (mp3)

(from the Reprise CD, Crack The Skye, 2009)

Pharoah's Return

2009-04-02T13:12:00.006-05:00

Oh my…this album is really, really good. This is one of those records where you can tell that the band members are all probably really serious vinyl hounds as I hear numerous genres of which Vee Dee are tipping their hat to. Shades of 60s garage and psychedelia along with 70s punk are a ‘plenty, sure, but I’m also hearing serious nods to free form jazz as well in that the members are allowing themselves to stretch well beyond the 3-minute mark usually found in most forms of garage and punk rock.

And the guitar leads all throughout are crazy good; think Live at Leeds-era Who where Townshend was really coming into his own as a player. I'm also hearing Rollins-era Black Flag meets the first Misfits album as well as the Cramps. Overall, there’s just something really great about hearing a group discover their identity not only as players but as a band who evolves into something more than the constraints found in their initial inception would allow. Simply aces and as far as I’m concerned, this is the album-of-the-year so far to beat. HIGHLY RECOMMENDED!

Vee Dee - "Out Of My Skin" (mp3)

Vee Dee - “Into The Void” (mp3)

(from the Criminal IQ Records LP/CD, Public Mental Health System, 2009)

Winter, In My Heart...It Never Stops...It Never Stops

2009-04-01T15:42:00.004-05:00

Forgive me, Deerhunter, for I feel as if I may have sinned. For several years now, ever since the release of your second full-length album, Cryptograms, I’ve kinda pooh-pahed you for no other reason besides the fact that it just seemed liker there were bands sprouting up all over the place with some form of the pronunciation “deer” in their name. It just all got to be a bit confusing and difficult to keep track of who was actually who; much less who sounded like what, which led to me just throw up my hands and surrender. I see now the error of my ways.

About a month ago I was killing time in Reckless Records’ downtown Chicago locale, scanning the descriptions of the albums up on the listening station, when I came across Deerhunter’s third full-length, Microcastle, which came out this past October. Bands such as Ride, Jesus & Mary Chain and Stone Roses as well as “late 90’s indie rock” contained within the description piqued my curiosity so I gave it a cursory spin. Songs like “Intro,” “Agoraphobia” and “Never Stops” pretty much sealed the deal right then and there so later on that night after getting home from work, I was plopping the needle down on the vinyl; something I’ve hence done pretty much every day since.

Microcastle has been one of the more rewarding slow-growers in recent memory; the type of record that has you liking a little bit more of it after each listen until you eventually think the whole thing is absolutely brilliant. In fact, just last week I was telling some music-minded comrades that it was “very worth hearing.” Now, I can’t help but feel that it’s almost essential to hear; it’s grown on me that much. And while I can’t say I agree with the Reckless clerk’s band comparisons, I suppose that it does get the point across. Personally, I would’ve name checked groups such as Bowie, Brian Eno, Magazine, Echo & The Bunneymen and My Bloody Valentine as well as genres such as “post-punk” and “ambient” music but maybe we’re just talking apples & oranges, right?

Deerhunter – “Nothing Ever Happened” (mp3)

(from the Kranky LP, Microcastle, 2008)

It's All Coming Back...In A Way...

2009-03-30T15:03:00.009-05:00

I actually came to love Husker Du in retrospect; not really being moved by them as others who claim they were upon first hearing the Husker’s explosive, no holds barred take on 60s psychedelia meets 70s punk. The Minneapolis, MN trio had already been broken up for several years when, on a warm summer night while climbing into a friend’s jeep for an evening of absolutely nothing at all, an impressionable high-school student from suburban Chicago first heard playing through the car’s tape deck Bob Mould’s famous scream that sounded nothing short of extreme agony with a bit of torture thrown in for good measure. At the time, I was already familiar with REM and a little bit of the Smiths but this was coming off as something completely different.

“Who’s this?” I asked my buddy as we ambled our way down Willow Springs Rd with the windows rolled down, arms hanging out. “Husker Du,” he reponded as I sat and curiously listened to a guitar sound that I thought, at the time, could have only been produced by no less than an army of guitarists; the same reaction I would have a couple of years later when hearing Richard Thompson play for the first time. Long story short: I was intrigued but not quite hooked, an act which would came via the dubbed tape’s flip-side on which my friend had copied Mould’s debut solo album, Workbook.

To say it was love upon first hearing might be a tad hyperbolic but there was a definite sense that I was listening to something a bit more seeming to the familiar sounds of the 60s yet which sounded compellingly different at the same time. The beautiful acoustic guitars, mandolin and cello were presented in stark contrast to Mould’s fiery electric guitar playing and howl that seemed to present a wonderful tapestry of all the things I absolutely loved about not only rock ‘n roll, but music in general. It was almost as if Mould had tapped into a subconscious, dream-like state; that place where perhaps the best songs always seem to come from. All in all, Workbook just seemed like not only an easier, but more natural way into the world that Husker Du and their contemporaries (i.e., the Replacements, Minutemen, Pixies) inhabited.

I was reminded of all of this while sitting in the audience of Chicago’s Old Town School of Folk Music last night during Bob Mould’s performance, at which point between songs Bob thanked the show’s sponsor, WXRT, for championing Workbook upon its release 20 years earlier right before proceeding to launch into a core group of songs from the album. And for just a moment, I once again felt like that sixteen year old kid sitting in his friend’s car, oblivious to the whole wide world that lay outside those rolled down windows. "I'll make across the wall, I'll tumble down the wall..." Workbook is one of those special records that easily sits in my Top 10 list of desert island discs that all us music obsessives keep should the need arise in such an unlikely event.

Bob Mould – “Dreaming, I Am” (mp3)

(from the Virgin Records CD, Workbook, 1989)

Lift My Head, I'm Still Yawning

2009-03-19T10:04:00.005-05:00

I frustratingly woke up at 2:30 in the morning last night, lying wide awake with this uncontrollable, albeit odd, urge to listen to Revolver. I hadn’t heard it in years so, after eventually falling back asleep, first thing I did this morning was get up, rip the disc to iTunes and throw it on to the iPod. A couple of things occurred to me while listening to it on this morning’s EL ride:

1) It’s the perfect album to listen to on the way into work; at least for me and my 45-minute door-to-door commute. In fact, clocking in at a little over 35 minutes, Revolver might be the perfect length for any rock album which would all be for naught if it wasn’t for the songs which leads me to my next point.

2) It’s better than Sgt. Pepper’s, a congregation of belief that I’ve always belonged to. Don’t get me wrong, that album had to be made for the obvious of reasons but there is some, dare I say, filler on Sgt. Pepper's. I mean, “Good Morning Good Morning” as well as old Georgie’s “Within You Without You?” Yikes! Revolver suffers from none of this; in fact I probably could’ve posted any song from the album without having any misgivings (yes, even “Yellow Submarine”).

3) Each song has its own place to breathe without overcrowding the space of the songs the come both before and after, thus letting the personality of each track shine through. It also seemed to be the first time the Beatles were starting to write songs that didn’t owe a complete debt to American blues and R ‘n B. They were still trying their hand at folk via what Dylan was doing as seen on Rubber Soul but some of Revolver’s songs (i.e., “She Said She Said,” “And Your Bird Can Sing”) were taking more of a modern rock approach with the music not being as “beat” influenced as seen on previous albums.

I’m not one to suggest that this was the high mark of the Beatles career as I think that any part of their catalog has its own charms but, for a band who I consider made pretty pedestrian sounding albums, Revolver is the one record of theirs that I enjoy completely all the way through and is most certainly a desert-island disc for yours-truly. It still remains the one album that, as a whole, helped shaped my listening tastes and what it is that I actually like about pop music.

The Beatles – “She Said She Said” (mp3)

(from the Capitol CD, Revolver, 1990)

A Harpooned Dodger Who Can't, Won't Be Tamed

2009-03-13T13:02:00.002-05:00

Not sure if it’s something in the air or what but I’ve been mainly listening to the following albums for the better part of a week now: the Beau Brummels’ Bradley’s Barn, Van Morrison’s Astral Weeks, Bob Dylan’s Blood On The Tracks and Neil Young’s wonderful oddities collection, American Stars ‘N Bars; an album that gets an unwarranted bad rap as far as I’m concerned.

This might very well be one of my favorite Neil Young song; his otherworldly brilliant ode to a fish in migration searching for love. I think the reason I like this track so much is that it’s really unlike any of his other solo acoustic songs; the vocals are more mumbly than usual, the lyrics are a bit on the bizarre side and the guitar melody is simple yet absolutely gorgeous. It even sounds like its being sung from somewhere deep underwater.

Neil Young – “Will To Love” (mp3)

(from the Reprise LP, American Stars ‘N Bars, 1977)

Save This Harmony

2009-02-18T09:10:00.004-06:00

To normally suggest that “so and so” hasn’t broken any new ground on “such and such” album would probably be a bit disheartening to both “so and so” and those listening to “such and such” album. However, in the case of Tommy Keene and his new album, In The Late Bright, it’s a comfort to know that after almost 30 plus years in the biz, he’s still penning gorgeous pop songs that rely more on a mix of melancholic nostalgia than that of his contemporaries. Such as the feeling one sometimes gets where they can’t help but believe that, after years of change and discourse, they can, indeed, sometimes go home. This one, a melodic mid-tempo rocker, is my current favorite but, like all of Tommy Keene’s records, will more that likely change in a day or two or three…

Tommy Keene – “A Secret Life Of Stories” (mp3)

(from the Second Motion Records CD, In The Late Bright, 2009)

Currently Making Me Sway...

2009-02-11T12:46:00.003-06:00

…is the title-track from the upcoming Camera Obscura album, My Maudlin Career, which will hit stores at the end of April. While nothing about the song screams “single,” there is something utterly charming and wispful about it all the same. More of a slow-grower rather than an instant pop classic.

Camera Obscura – “My Maudlin Career” (mp3)

(from the upcoming 4AD CD, My Maudlin Career, 2009)

By Morning Light

2009-02-06T10:04:00.003-06:00

I was dismayed upon hearing last year that Page France frontman, Michael Nau had more or less stated that he would only be concentrating for the foreseeable future on his other outfit, the Cotton Jones Basket Ride. However, dismay has turned to joyful glee upon sitting down and listening to the band’s debut full-length, Paranoid Cocoon; an album that as slowly been shaping up to be an early 2009 favorite.

This track might be my favorite, a track that doesn’t really rush to get anywhere fast but which takes you someplace, somewhere all the same. The accompanying guitar lead can only be described as a feeling of writhing with a loved one on the dewey grass of a vast meadow with the sounds of a rolling creek piercing the silence which surrounds you.

Cotton Jones – “Some Strange Rain” (mp3)

(from the Suicide Squeeze Records CD, Paranoid Cocoon, 2009)

I Was Falling, You Were Calling...

2009-01-30T09:36:00.001-06:00

I was listening to this track on my way into work this morning and started wondering why I haven’t thrown it up on the site yet. First heard on the Flying Nun compilation, Pink Flying Saucers Over The Southern Alps; a compilation that, along with other FN comps, In Love With These Times as well as Getting Older, struck the dawning realization on me that there was more to the label than just say, The Chills.

Having already solidified his reputation as one of New Zealand’s most admired songwriters while fronting The Clean in the 80s, David Kilgour started off the 90s by releasing his first solo record, Here Come The Cars; a record that was critically lauded and from which "Uplift" first appeared on. A great song that seems to pay tribute to the stylings of Lou Reed or the Zombies, "Uplift" lazily strums along, all the while threatening to boil over, which it does on several occasions in quick bouts of feedback. Its one of those few songs that I can listen to over and over as it almost seems to hint at something more comforting out there, somewhere…

David Kilgour – “Uplift” (mp3)

(from the Flying Nun CD, Pink Flying Saucers Over The Southern Alps, 1991)

You Never Were A Contender...

2009-01-26T10:04:00.003-06:00

The past several weeks have seen indie kids going completely gaga* over the new Animal Collective album with, somewhat, good reason as is it, from what I’ve heard, the band’s most accessible album from start to finish. However, thoughts amid the Ditching Boy trellises are that we’re more gaga over the impending debut album from C-86 reverists, The Pains Of Being Pure At Heart. Let me count the ways:

They mine a personal favorite scene that still manages to produce some of the more delightful pop music ever since its inception some 25 years ago with, arguably, the release of the Smiths’ “Hand In Glove” single.
They haven’t written a bad song yet which, out of four singles, an EP and one upcoming full length, is kinda saying something.
They’re totally cute which, in this day and age when each member of every “it” band looks like they haven’t bathed, much less shaved, in years, probably wipes them off of the cool radar immediately.
They display nifty boy-girl harmonies that, amid the noisy distortion of early Jesus & Mary Chain/Ride meets the jangle pop of the Pastels/Wedding Present, sounds pretty great and is a formula always bound to make me swoon.
They use keyboards which, in this case, only adds to the atmospherics and provide ample reason to sway, if not dance, in conjunction with some of the more insanely catchy guitar riffs they have going for themselves.

The Pains Of Being Pure At Heart – “Everything With You” (mp3)

(from the Slumberland Records CD, The Pains Of Being Pure At Heart, 2009)

*to foolishly dote, often times without any rational reason.

And now...

2009-01-20T13:05:00.007-06:00

...on to something completely different. Full sentences, policies I agree with (to an extent) and absolutely awful music should Ashford & Simpson's remake of their '84 hit, "Solid (As A Rock)" now titled "Solid (As Barack)" be an indication of. I kid you not. Go get it on iTunes and God bless America...

Mona Lisa Overdrive

2009-01-15T09:18:00.003-06:00

A conversation with Curt over at Power Pop Overdose regarding the joys of Iowa City’s, the Dangtrippers, reminded me of the positive virtues of guitarist Doug Roberson’s follow-up group, Head Candy, whom he formed with the Hollowmen’s Mike Sangster. Unfortunate names aside, Head Candy had just one sole effort, Starcaster, released shortly after the ‘trippers’ demise in the early ‘90s. Starting where the Dangtrippers left off, the group showcased a nice blend of R.E.M./dB’s inspired jangle pop but the material perhaps hints more at the neo-psychedelia of Television as well as the Soft Boys.

Head Candy – “In The Night Kitchen” (mp3)

(from the Hollywood Records CD, Starcaster, 1991)

He Was Not A Number...

2009-01-14T14:02:00.006-06:00

In lieu of raising our glasses in means of a toast, here's the Times' silly ode to one Patrick McGoohan. May he rest in peace...

The Times "I Helped Patrick McGoohan Escape" (mp3)

(from the Whaam! LP, Pop Goes Art!, 1982)

Sometimes I Get The Feeling That This Really Never Was My Home

2009-01-14T13:28:00.000-06:00

I cautiously jumped on the Parts & Labor bandwagon in late 2007 after hearing the mind-splittingly glorious "Fractured Skies" from the band’s 2007 album, Mapmaker. And when I say cautiously, I mean as something to perhaps keep a trained-ear on as I wasn’t completely sold on the band’s chaotic, psychedelic-inspired rock. That being said, bits and pieces of Mapmaker eventually did manage to worm their way into my subconscious, unrelentingly so, and anticipation was slowly built for the band’s third full-length, Receivers, which dropped this past October.

Gone is the boxed-in desperation found on Parts & Labor's earlier efforts and in its place one finds a newfound sense of openness and space in both the compositions and the atmosphere they manage to create. Where the band perhaps seemed to favor the frantic, post-punk sound of Wire’s Pink Flag on their earlier albums, they’ve now gone a step further by taking the polished, restrained sound of 154 era-Wire and adding dashes of early Pink Floyd with touches of Brian Eno, giving Receivers a more overall cohesive sound. It’s a record made by a band beginning to realize the full-range of possibilities available to them. HIGHLY RECOMMENDED.

Parts & Labor – “Nowhere Nigh” (mp3)

(from the Jagjaguwar CD, Receivers, 2008)

Long May You Strut...All The Way To Cleveland...

2009-01-02T09:54:00.009-06:00

Female (and more than likely some male; DeRo's included) hearts a'flutter and break all across Wrigleyville at the thought of no longer seeing one of the Cubs most popular players of 2008 strut his way around the bases of the friendly confines.

What Kind Of Other People?

2008-12-29T11:02:00.003-06:00

I couldn’t let 2008 get away without at least making mention of the American Princes album, Other People; an album that was actually released last spring and which seems to have all but gone unnoticed on the “best-of-the-year” lists throughout the blogging community. A solid indie powerpop record that doesn’t necessarily try to reinvent the wheel but rather just give it a little bit of a tweak here and there. If anything, it tends to remind me of a not-so-straight-forward version of the Broken West album, Now Or Heaven, also released this year. However, in this case, the American Princes’ pop is just a bit more rougher around the edges but enjoyable all the same.

American Princes – “Gravel” (mp3)

(from the Yep Roc CD, Other People, 2008)

A Merry Christmas To All, and To All A Good Night...

2008-12-24T09:23:00.004-06:00

I never quite feel right letting the holiday season pass us by, and Christmas day in particular, without posting this little gem from Martin Newell. And while this track is the only song found on The Greatest Living Englishman that references Christmas, there’s just something about this 1993 opus that screams holiday season to me. Probably because I tend to associate the holidays with what can only be described as traditional English countryside living. You know, things like carolers, bread pudding and a warm fire all the while surrounded by friends and family.

Along with Richard Thompson, Andy Partridge and Robyn Hitchcock as well as Richard Hawley, no one quite describes this type of lifestyle to me the way Martin Newell does.

Martin Newell – “Christmas In Suburbia” (mp3)

(from the Cherry Red CD, The Greatest Living Englishman, 1993)

Yes...Let's Make It Magic...

2008-12-23T09:28:00.002-06:00

I’m not sure if this should be labeled as a Christmas song per say only because it’s one part of a larger opus that Steve Mitchell of the Pooh Sticks fame collaborated on with one Michael van der Woude in 1996. Going under the moniker International Language, the duo released just one album, Where The Bands Are, which was a bit of a concept piece that explored fandomania within pop culture. I love this record; a wonderful collection of indiepop tunes that are perfect to listen to should one find themselves taking rather long drives through the countryside.

Steve is also involved with the wonderful 45 Revolutions blog, a blog that I can only imagine delves into what would seem to be Steve’s rather extensive collection of punk, power-pop and new wave titles that those of us here at the Ditching Boy Trellises can only dream of having.

International Language – “Christmas Will Be Magic Again” (mp3)

(from the Sympathy For The Record Industry CD, Where The Bands Are, 1996)

Top Ten Favorite Songs (Plus One) of 2008

2008-12-22T10:04:00.002-06:00

I opted for something a bit different this year and decided to post my Top Ten Favorite Songs (Plus One) of 2008 rather than albums mainly due to the fact that I just haven’t listened to enough new records to make any type of reasonable “best-of” list. In fact, I probably spent more time and money securing and listening to powerpop, punk and new wave albums from the late 70s, early 80s that I hadn't gotten around to hearing rather than any new fads currently gripping the imagination of all the cool kids. However, here are some particular tracks that did manage to make their way through the synapses to much enjoyment of yours-truly by managing to strike that special chord.

David Byrne & Brian Eno – “Strange Overtones”. This one was love at first hearing that, incidentally enough, was at the beginning of David Byrne’s set of the Chicago stop of his Songs Of David Byrne & Brian Eno Tour. Not only does this song make your sway have an overtly romantic vibe to it but the chorus is so darn catchy whereas it almost does annoy that person over “in the next apartment.” A wonderfully poignant moment from two geniuses who already possess an incredible body of work.

The Damned – “Diamonds”. So, Who’s Paranoid?, and this track in particular, is one of those rare moments where a group seen by some as being past their prime makes, upon hearing it, those same people go out and start buying stock in the band all over again. And while this record’s greatest moments aren’t necessarily regulated to this track, “Diamonds” does encompass everything we’ve always loved from these lovable, goofball punks over the years. It’s by far The Damned’s best album start-to-finish in a good long while.

School Of Seven Bells – “Half Asleep”. While I was never one to pay much notice to Benjamin Curtis’ previous outfit, Secret Machines, I did stand up at rapt attention upon hearing “Half Asleep” from his new band, School Of Seven Bells. What you have are very pop-oriented vocals from Claudia and Alejandra Deheza of On! Air! Library! backed by Curtis’ dreamy, atmospheric guitars. If your vision of the afterlife is perhaps one of walking through a gentle snowfall at dusk than this is probably the soundtrack you’d hear playing in the background.

Cut Copy – “Lights & Music”. While it was criminally ignored by just about everyone else, Cut Copy’s second album, In Ghost Colours, and this song in particular, were our own personal anthems all summer long. While not as guitar heavy as its predecessor, In Ghost Colours is more in tune with such 80s electro-pop acts like Electronic and the Pet Shop Boys while simultaneously giving nods to the Cure and Depeche Mode at the same time.

Chairlift – “Bruises”. Replacing the Icicles’ “La Ti Da” from 2007, “Bruises” has now officially become everyone’s favorite pop song heard this year in a commercial. We know we like it our household; it’s the type of song that has a little bit of something for everyone to enjoy, not unlike Feist’s “I Feel It All” which is another one we like to walk around humming to ourselves when we aren’t muttering in exasperation to all of life’s trivial problems.

Darker My Love – “Two Ways Out”. This seems to be a case where an album’s lead single not only blows away, but completely annihilates anything else found on the record. I’m not sure if the band felt the need to not recreate the same sense of structure and atmosphere but nothing else found on their album 2 contains the same type of hooks that “Two Ways Out” has. One of the most perfect rock songs released this year.

Poni Hoax – “Crash Pad Driver”. I eagerly awaited Poni Hoax’s follow-up to 2006’s self-titled full length and while Images Of Sigrid doesn’t quite match the heights set forth by its predecessor, this song itself is a knock out. It has just about every type of musical genre that I love; lots of indie, post and art-rock along with dance and electronic elements that manage to pay appropriate homage to that time in the late 70s when both music and art successfully merged to create something truly unique.

Northern Portrait – “Crazy”. Readers of these pages are already boringly aware of my love for this song. It’s everything you ever loved about mid-80s C86 styled indie-pop. The concept itself could be a bit of a disaster as it maybe veers a tad too close to Morrissey & Marr but the fact that Northern Portrait are 100% dedicated to their influences make “Crazy” one of the standout songs of the year. Their follow-up single, “I Give You Two Second To Entertain Me,” would probably be just as good if the bar hadn’t already been set so high with this one.

Hercules & Love Affair – “Blind”. Another summer anthem. This one has a bit more of a lounge atmosphere to it that I find quite relaxing. While containing a hefty mix of classic 70s underground disco incluences, this one’s success also come from the pristine production tactics taken by the DFA Records crew that have all the kid’s head’s a’pumping.

Vampire Weekend – “Cape Cod Kwassa Kwassa”. Even after hearing it on their debut album last January, I knew then as I do know that this one would more than likely be on this list. You wanna know why? Those simple guitar chords, pure and simple. Perfectly hummable with just the right amount of precussion to back it giving the song a simple yet effective quirkiness. Being someone who likes to whistle, this one has never been far from my lips.

Death Cab For Cutie – “I Will Possess Your Heart”. While I’ve never found their live shows to be appealing, Death Cab For Cutie’s recorded efforts have always managed to hit a right chord with me. This was one of the rare (and I do mean rare) occassions where I was able to accurately predict just how big a band was going to become. However, over the years I’ve started to say to myself that perhaps I’m over Death Cab and that maybe their records no longer hold the same allure for me as their earlier efforts did. But then they go and release something like this and I go back and question whether or not everything I thought I ever knew about this band were actually true.

Mmm-mmmmm....

2008-12-05T10:35:00.003-06:00

Pure, unadulterated fun, the Yum Yums 1998 album, Sweet As Candy, is all about the perfect 3-minute pop song. All of the clichés are here folks: powerchord crunches, sunny “you-better-have-blinders-on” harmonies and the too-many-times-to-count use of the word, “baby” in almost all of the songs. If this album weren’t so damned perfect it would almost be laughable in its blatancy. But perfect it is and definitely one to seek out; it doesn’t get much better than this. HIGHLY RECOMMENDED!

Yum Yums “Miss You Baby” (mp3)

(from the 1+2 Records CD, Sweet As Candy, 1998)

Currently Making Me Swoon...

2008-12-04T09:58:00.006-06:00

...is the holiday-themed single of David Gedge from the Wedding Present doing what he does best...croon. It's a nice little sing-a-long affair in which Mr. Gedge shares the vocal duties with American songstress, Simone White. I think the reason I like this so much is that, besides the lyrics, the music itself doesn't take an overtly holiday vibe outside of the occassional sleigh-bell.

Find it here.

Also, Bill Janovitz of Buffalo Tom-fame is helping us while away the winter hours by posting a cover of some of his favorite songs on his website once-a-week. Great pick for the first one; maybe my all-time favorite 'Mats' tune.

Go here.

My Kind Of Thanks...

2008-12-01T18:49:00.005-06:00

I ended up capping off the holiday weekend with a boy's afternoon out drinking with some old friends at one of Chicago's many taverns followed by a nice meal at one of Chicago's many more Mexian restaurants. A fun afternoon/early evening with good friends that got me thinking about the long holiday weekend and what it all means in general. I love Thanksgiving. Not only do I love the food but I love the family time because it isn't time spent debating all day over how little you spent on Aunt Marge's scarf or whatnot in some misguided sense of guilt.

However, truth be told, I can't help but feel like the day itself seems to nowadays be more known as that little thing inbetween Black-Wednesday and Black-Friday when idiots prepare to run around in the hopes of getting their hands on a half-priced Blu-ray player or some other inane piece of technology that will more than likely be obsolete in a couple of years. I know I sound like an old man but I don't care; Thanksgiving rocks and I wish people would spend more time focused on that and not some bargain they may get on an item that, more often than not, is only for them anyways.

So, as a way to give thanks to some buds who favor this kind of thing and for taking the time to get together for a laugh, here's one from Perigueux, France's The Scuba Drivers who showcase a nice blend of pop and punk all together joined by a whole bunch of fat hooks. They put out a great mini-LP on Spliff Records, the home of many great French bands such as The Ambulances and Chameleon's Day. In fact, anthing with the Spliff label is probably more than well-worth owning. Oh...and I don't have an Aunt Marge for those of you who were wondering.

The Scuba Drivers "All Around" (mp3)

(from the Spliff Records mini-LP, Welcome To Hard Times, 1989)

But I Love That Dirty Water...

2008-11-25T08:51:00.001-06:00

Let’s hopscotch over Norway and the Norwegian Sea to Iceland and Reykjavik in particular. By the time these guys hit North American shores in 2003, all kinds of great bands had already come out of that neck of the world, many of whom had toured the States by that point and had made a bit of a splash.

Shallow-ists will probably (or maybe already have) dismiss Singapore Sling as Jesus & Mary Chain/My Bloody Valentine wannabes due to Henrik Bjornsson sounding like a dead ringer for Jim Reid. However, that’s like people saying Gene sounded like the Smiths or that Interpol sounds like Joy Division due to each one’s respective singer sounding like the others when the two bands don’t sound anything alike save for mood.

Complaints like that are really too bad because out of the many noise-rockers that I’ve heard, Singapore Sling were/are one of the more successful to mine 60s era garage, Nuggets-styled fuzz rock that has a surf element to it. And yes, I would’ve said that even before I knew that they had covered the Standells’ immortal, “Dirty Water” which totally smokes due to the Singapore’s complete reworking. But in the case of these guys and their material, it’s all due to the fact that I can hear everything. Meaning, they don’t drown everything out in a feedback-induced drone just for the sack of drowning things out. Nothing is overproduced and it all has a purpose that truthfully isn’t something you come across everyday.

Singapore Sling “Listen” (mp3)

(from the Stinky Records CD, The Curse Of, 2003)

Let Me Tell You About Sweden...

2008-11-24T09:11:00.000-06:00

After having promoted “down-under” for several posts now, let’s move north (albeit half-way around the world) to the Scandinavian Peninsula, namely Sweden, where, after a modest garage-revival scene in the 80s, loads of great bands in the mid-90s began taking their love of 60s Nuggets and combining it with elements of hard rock, punk and pop. Sometime around the turn of the century, more financing for these bands occurred and the next thing I knew was that it felt like a mini-Swedish invasion going on throughout the CD racks here in the States. The real surprise was that, besides the obvious duds, there was also real substance to a fair number of these groups.

Which brings us to the Twelve Caesars (later becoming Caesars Palace followed by the Caesars and subsequently scoring a hit via an iTunes commercial) who, if anything, err on the side of pop with nice touches of fuzz and a tasteful farfisa whine. I’ve always been pretty appreciative of what these guys were trying to do with their grimy yet sophisticated take on 60s garage stompers and none of their material exemplifies this more than their 1998 album, Youth Is Wasted On The Young. Love it, love it, love it and its HIGHLY RECOMMENDED to you as well.

The Twelve Caesars “My Abduction Love” (mp3)

(from the Minty Fresh CD, Youth Is Wasted On The Young, 1998)

Hmmm...

2008-11-21T16:01:00.008-06:00

...I take it everyone must have read Peter Holsapple's Measure For Measure blog post entitled Anatomy Of A Flop? I mean, based on the number of downloads I've had all week for "Love Is For Lovers" and all. And for those of you who haven't yet downloaded it yet:

The dB's "Love Is For Lovers" (mp3)

(from the Bearsville LP, Like This, 1984)

Thanks to this guy for bringing it to my attention earlier in the week; a good article so maybe I'll have some additional thoughts on it sometime next week. In the meantime, make yourselves useful by checking out some of the other tunes I've recently posted.

This Ain't No Karmic Flop!!!

2008-11-21T09:48:00.000-06:00

Awesome mid-90s Aussie power pop. This is one of those CDs where, despite having enjoyed it for over ten years now, I’ve never taken the time to go and find anything else the band may have released. Even manages to display a wonderful kaleidoscope of sounds that results in a colorful reflection of 60s British Invasion, a’la the Kinks, as well as a little 70s glam but with enough of a modern touch so as the music doesn’t come off as overly retro.

For a three-piece band, I’ve always felt that this was a pretty rocking album myself with a fair number of hooks and power-chords to keep any type of listener engaged without things becoming repetitive. I believe a couple of EPs followed but whether or not the band ever recorded another full-length is beyond me. A quick eBay search revealed that someone is currently unloading copies of Less Is More for about $4 (shipping included). HIGHLY RECOMMENDED!

Even “Dear Morris” (mp3)

(from the Rubber Records CD, Less Is More, 1996)

Guaranteed To Make You Arm Hairs Stand On End...

2008-11-20T08:55:00.008-06:00

One of the more interesting debates to come up on places like the Divine Rites and/or the Big Takeover newsgroup sites is whom do you think is better: Radio Birdman or the New Christs?

For those unaware, subsequent to the posthumous release of Radio Birdman’s second album, 1981’s Living Eyes (released long after the band’s 1978 demise), lead singer Rob Younger was approached about putting together a new band to support Iggy Pop on an Australian tour. The “Born Out Of Time” and “Like A Curse” singles were released shortly after and Younger has basically kept the New Christs’ name going in various incarnations ever since, releasing what I consider to be some of the finest hook-laden rock music ever committed to tape.

And while the New Christs have always been a more hard-edged, blues-based band similar to Vol. 4-era Black Sabbath, each of their releases has never been anything less than explosive by successfully channeling the sheer aggression of proto Detroit rock via the MC5. Younger has always had an eye (and resources) for putting together only the most accomplished players to back his vision of heartbreak and rage which is evident throughout each of the band’s releases, most of which don’t have the same musicians appearing more than once.

“Only A Hole” is a fair representation of what you’ll find should one peruse the NC’s discography, all of which is HIGHLY RECOMMENDED with 1989’s Distemper being my favorite although some consider 2002's We Got This! to be one of the best releases so far this decade. Huge power-chords alternating with chiming choruses, each fighting for their own space but never sounding drowned out by the other. And while Younger’s lyrics aren’t at their most ferocious in this particular example, he still manages to sound totally committed to the music.

New Christs “Only A Hole” (mp3)

(from the Citadel CD, Woe Betide, 1993)

It Didn't Come from eMusic But You Sure Can Find It There...

2008-11-19T12:25:00.000-06:00

(from the Hot Records CD, ….Sofa, 1993)

Time to get this thing started back up again as I’ve been delinquent waaayyy too long. I wish I had some type of adequate excuse but the truth of the matter is that I just haven’t really been too inspired to write about anything new hence my spending more time discovering overlooked gems and listening to old favorites.

Hailing from Sydney, Australia, The Celibate Rifles were one of the first bands to emerge from the post Saints/Radio Birdman era with influences stemming from the Stooges and Blue Oyster Cult. Discovered during the Spaceman In A Satin Suit-era (1994), The Rifles are one of my all-time favorite “rock” bands and they’re actually coming up on their thirtieth anniversary. And while their output of new recordings has slowed a bit, they still appear to be tearing it up live. I suppose if anything they’re more of a “part-time” band at this moment rather than a “full-time” one which, after thirty years and 15 or so albums, one can hardly be blamed for.

Here’s one of my favorite tracks, from Blind Ear (1989) which is actually the album of theirs that first gained the band notice here in the States. First time listeners would probably be well-served in picking up ....Sofa, an adequate sampler of the first half of the band's career in which "Electravision Mantra" shows up on as well. In any case, I love how epic this one sounds; a real powerful piece of music that always gets my feet tapping and head bobbing.

Celibate Rifles “Electravision Mantra” (mp3)

100 Years & Counting...

2008-10-06T08:42:00.006-05:00

Cubs fans gathered outside Wrigley Field first thing Sunday morning and demanded to know how a team that won 97 games in the regular season managed to get swept in the first round of the playoffs for the second year in a row.

That, and I think they were all hoping to get their hands on the entire infield for botching routine groundballs in Game 2. However, here's a story that actually does manage to put it all into perspective for those of us ambling around in a zombie-like daze this morning.

I Need A Pick-Me Up! Ahhh, This Should Do The Trick...

2008-10-03T10:13:00.003-05:00

(from the Citadel CD, The Best Of The…Hard-Ons!, 1999)

Feeling glum today, no doubt brought on by the embarrassing 0 – 2 hole that the Cubs have dug themselves in. How I long for the glory days of 2003 when the Cubs could actually win a playoff game. Times like these call for desperate measures to raise one’s optimism hence one from Australia’s, the Hard-Ons, a band that I’ve often heard being referred to as garage-metal whatever that is.

Recording for the Waterfront label for a majority of their career, the Hard-Ons were quite the international-relations department, featuring an Indian drummer, an Oriental bassist and a white Australian on guitar. Their music was a great blend of one half pop/rock and the other half thrash/punk. I suppose if anything that they were a more thrashier-sounding Ramones in the same way that the Eastern Dark were but the big attraction for me was that the lead vocalist, drummer Keish, actually sings the songs as opposed to shouting his way through them. Production seems to vary from album to album but the band’s later material seems to favor cleaner-sounding melodies with lots of great hooks. That, and all of the covers to their albums and singles were just darling.

Hards-Ons “Just Being With You” (mp3)

Really?!?!

2008-10-02T10:44:00.006-05:00

(from the Sub Pop CD, The Essential Radio Birdman, 2001)

Embarrassing moment of the day: While driving over to the Empty Bottle for last night’s Wedding Present show (who, BTW, have no business putting on performances as terrific as last night’s was. Is there really such a thing as a bad Weddoes’ show?), Joel had the car radio tuned in to 88.7 WLUW and a familiar tune that I just couldn’t place but knew I’d heard before came on.

Upon it’s completion, the DJ informed those of us listening that the song was “Hand Of Law” by Radio Birdman which showed up on The Essential Radio Birdman compilation put on by Sup Pop several years ago, a fact that led those of us whose partners/wives feel that there is, indeed, a thing as having too many records, to at one point throughout our musical listening pursuits exclaim, “Wait a minute…I have that!!!” But this happens to all of us, right? Right?!?!

Radio Birdman "Hand Of Law" (mp3)

A Snapshot of Northern Portrait

2008-09-02T12:54:00.002-05:00

(from the Matinee EP, Napoleon Sweetheart, 2008)

I’ve been feeling poorly the past several days due to a very unexpected and most unwelcome cold that I woke up with first thing Saturday morning. Happy Labor Day weekend, right? Big plans were cancelled and precious time was squandered on the couch watching a little bit of this and a little bit of that. Ho-hum.

That being said, my dampened spirits did manage to brighten a bit due to the arrival of the new Northern Portrait EP, Napoleon Sweetheart, on Matinee Recordings. This Copenhagen threesome has been penning my favorite breezy pop songs all year now and this EP is no different. Here’s the tune that Matinee seems to be providing, a swift example of what else you may find on Napoleon Sweetheart along with the band’s earlier EP, The Fallen Aristocracy, both of which are HIGHLY RECOMMENDED.

Northern Portrait “I Give You Two Seconds To Entertain Me” (mp3)

Egads!!! It's Leatherface!!!

2008-08-27T13:39:00.003-05:00

(from the Fire Records reissue CD, Mush, 2002)

O’ Leatherface, wherefore art thou? It’s been nigh on 4 or so years since last we spoke in the wake of your disappointing 2004 album, Dog Disco; an album that was only bound to disappoint under the weight of lofty expectations set upon by your terrific comeback album, Horsebox (2000). But just to remind us, here's a huuuggge favorite taken from your immortal album, Mush (1992), an album that first garnered you all kinds of comparisons such as “a cross between Husker Du and Motorhead” due to Frankie Stubb’s raspy vocals.

I remember seeing a dynamite, not to mention memorable, gig of yours at the Empty Bottle in April of 2001 with Small Brown Bike and Hot Water Music where Frankie threw himself into this song, literally, by singing it splayed out on his back. Please come and do that again. It made me smile.

Leatherface “Springtime” (mp3)

Fringe

2008-08-22T13:29:00.004-05:00

I’m usually not one to get too excited and do the Curley-Stooge dance over television shows that haven’t even aired yet. If anything, I’m usually the guy who comes in a season late. I mean, I figure that between all of the music I want to hear, the films that I want to see and books that I’m unlikely to read, there really isn’t too much time for me to get excited over a television series that hasn’t even started yet.

However, I always seem to make an exception when it comes to TV-J.J. Abrams. Movie-J.J. Abrams…not so much but TV-J.J. Abrams we like very much. He just always seems to have a knack for coming up with a television series that I find appealing; stuff with a weird flair and overall narrative arc that’s interlocked by a set of smaller stories. And the characters are usually so well written in that each one’s traits (both good and bad) more often than not garners some type of reaction from yours-truly upon viewing.

So yeah…I’m pretty excited to view his latest offering, Fringe, when it airs on Sept. 9th. And while doing some online research of the show and what it's all going to be about, I stumbled upon some interesting sites here and here that may be fun for those of you who share my exact same excitement.

I promise that I’ll get back to the music on Monday and leave any future pop-culture editorials to this guy.

McCain Watch: "Seven...I Think."

2008-08-22T08:35:00.007-05:00

I gather that all my readers who peruse these pages from time to time know how many houses they own? I mean, I hope that most Americans could answer that question quite easily.

However, John "I'm-So-In-Touch-With-The-Common-American" McCain (who's also quite the wall hangings hog...geez) couldn't remember yesterday when asked by reporters. Really?!?! He paused and said, "I think—I'll have my staff get back to you." The correct answer, John, is at least seven.

Now, I know the Big O has his own real estate issues to deal with but hey, who in Chicago doesn't?

Thirty Thousand Feet Over What?!?!

2008-08-21T14:40:00.005-05:00

(from the Polydor LP, Thirty Thousand Feet Over China, 1981)

One of the great hit singles of the early 80s that nowadays seems to have been all but forgotten save for some stray compilation appearances here and there. Seen by many as a one-hit wonder, the Passions’ "I’m In Love With A German Film Star" jumped to #25 in the UK Singles chart which, in turn, prompted the band’s second album, Thirty Thousand Feet Over China, to #92 in the album charts.

I love the echo-technique, mainly provided by guitarist Clive Timperley, as it sort of lends a certain type of spaciness to the song and the record in general. And while “I’m In Love…” is indeed a classic track, the whole of Thirty Thousand…(which had been out-of-print for years until Cherry Red Records had it reissued a month ago) is equally great as evident on “Strange Affair” and “The Square.” It's also one of my favrite album covers. A HIGHLY RECOMMENDED "dreay-night" sort of album that probably played a fair hand in influencing groups such as the Sundays who were nowhere near as complex as The Passions.

The Passions “I’m In Love With A German Film Star” (mp3)

Reissued Hitchcock

2008-08-20T13:41:00.004-05:00

(from the Glass Fish LP, Element Of Light, 1986)

Round Two of Robyn Hitchcock’s reissue campaign saw yesterday’s re-release of my favorite album of his, Element Of Light. While Robyn’s cryptic lyrics are still present all throughout, none of Element Of Light’s songs ever sound misplaced or half-thought out, citing the album by many next to myself as one of Hitchcock’s finest moments.

Personally, the thing I love most about this record is how effortlessly it glides from whimsical pop to psychedelic guitar rock with what one can only call a subtle, yet confident, grace. Think the Beatles’ Rubber Soul/Revolver-era and you’ll probably get the picture. "Airscape" probably exemplifies this thought the best; it’s a lovely jangle-ballad with just the right amount of psychedelia to it, giving the song an almost dream-like atmosphere to it. HIGHLY RECOMMENDED.

Robyn Hitchcock “Airscape” (mp3)

Count 3 Including the Count Fives

2008-08-19T11:09:00.006-05:00

(from the Double Shot LP, Psychotic Reaction, 1966)

Huge 60s garage-rock find (at least as far as our household is concerned) on Saturday while perusing the recently arrived used vinyl racks at the shop on our way home from breakfast. First I came across a copy of the Count Five’s lone full-length, Psychotic Reaction. Then I thumbed upon the Standells’ Hot Ones! album (a collection of covers performed by the band) before finally ending up with Chicago’s own Shadows of Knight and their debut LP, Gloria.

By the time I got to the Shadows’ album I thought that I was at least officially in dreamland, if not suffering some strange after-effects of the previous night’s joy and merriment. All three albums were in decent condition with the brunt of the wear on the sleeves while the vinyl themselves only suffered from minimal scrapes; not bad for a bunch of 40 plus year old records. Suffice to say, I could barely contain my excitement on the walk home in the gorgeous summer weather with my step containing perhaps an extra skip or two.

Count Five “Psychotic Reaction” (mp3)

Edwyn Collins Is 50 Shades Of Blue

2008-08-17T17:56:00.000-05:00

(from the Setanta LP, Hope & Despair, 1989)

While still on the road to recovery after suffering a major cerebral hemorrhage in early 2005, Edwyn Collins has recently begun performing live again in support of his latest album, Home Again, which was recorded shortly before his illness. I haven’t had a chance to hear it yet (save for one song which I enjoyed) thinking that a) we’ll see a North American release in the not too distant future and/or b) it’ll show up sometime in the not too distant future on eMusic which, so far, it hasn’t.

In the meantime, here’s one from Hope & Despair, Edwyn Collins first solo LP, which, in and of itself, is a terrific little album that probably continues to be overshadowed by Gorgeous George (1994) more than it should be.

Edwyn Collins “50 Shades Of Blue” (mp3)

Permafrost

2008-08-11T15:09:00.003-05:00

(from the Emperor Norton CD, In Harm’s Way, 1997)

Bought sometime during the period surrounding its release circa 1997 at which point the lone album from Boston’s Permafrost had already been relegated to the penny bin. And while In Harm’s Way is a pretty decent piece of indie guitar rock music worth the penny you’d spend for a copy on Amazon that also got a lot of personal home rotation, it’s also hard for me to proclaim that there’s anything exceptionally inspiring or original to be found on the album that couldn’t be heard on say, a Pixies album.

Except for this song; there’s something heartbreakingly wonderful in singer Ad Frank’s weary-whined vocal delivery that I can’t quite place yet which seems oh so familiar at the same time. Much like one of your favorite Mark Eitzel songs perhaps? And if “Sequin…” doesn’t quite convince, then maybe “The One On The Floor” will help you decide.

Permafrost “Sequin In Your Dress” (mp3)

Permafrost “The One On The Floor” (mp3)

Go get...

2008-08-08T11:31:00.002-05:00

...your Funky Friday dance moves on here. Phoning-It-In Industries has posted two great tracks for you to shake your thing to on the dancefloor.

Doug Derek & The Hoax

2008-08-06T10:36:00.002-05:00

(from the Rave Up/Backstreet Records LP, Who The Hell Is Doug Derek?, 2008)

I’ve derived a fair amount of fun from the Hyped2Death website and its releases over the past several years. Messthetics, Teenline, Homework-guru Chuck Warner has a knack for getting some poor, unsuspecting dolt to fork over a wad of cash based on his descriptions alone. You can honestly tell that he has a deep love for the music that he’s gone about championing. That, along with the fact that the music itself is so darn good, makes it hard to regret a single note (or cent) of it.

However, such devotion to a label can only lead to an eventual depletion of its resources. Therefore, Chuck has been kind enough to point us towards alternate destinations for music that has that late 70s, early 80s DIY feel to it and Rave Up Records definitely rises to the occasion. Goodness…I was like a kid in a candy store trying to decide which release to sample first but I think this should prove to be a good jumping off point for those of you who are curious enough.

Doug Derek & The Hoax manages to sit pretty squarely between the 70s pop of the Raspberries/Tweeds and the early 80s rock of Cheap Trick. Looking at the album cover, I'm still not sure which one is Doug but I do know that the music is very American sounding and would no doubt fit quite comfortably next to anything from the Yellow Pills or Hyped2Death’s Teenline compilations. But those harmonies…oh, those glorious harmonies.

Doug Derek & The Hoax “Bobby’s Gotta Get Back To Boston” (mp3)

Breck & Scott "Let Me Know"

2008-08-05T11:18:00.002-05:00

(from the Hyped2Death CD, Dream You Away)

I haven’t been able to stop playing this one for several days now. An absolute beauty of a melancholic pop song; much like any other found on this album of perfect guitar pop that encompasses all kinds of different rock formula stylings from former members of Milwaukee’s, the Shivers.

After playing sporadically with LA-based the Wigs for a spell of about a year following the Shiver’s demise, Scott Krueger returned to Milwaukee and re-teamed with his former bandmate, Breck Burns. A series of recordings made on weekends from '82-'88 under the name Breck & Scott followed, which are lovingly collected for the first time by Chuck Warner on Hyped2Death’s wonderful, Dream You Away, of which shades of Chris Stamey and Tommy Keene abound.

Breck & Scott “Let Me Know” (mp3)

Beat Music

2008-07-24T14:11:00.004-05:00

(from the Ripete LP, Beat Music, 1982)

Quick post but I did want to comment that the Pitchfork Festival took place last weekend here in Chicago. While I wasn’t able to get over there on either Saturday or Sunday for the day-long festivities, we did make it for the shows on Friday night. Quick recap: Mission Of Burma = rock, Sebadoh = frustration and Public Enemy = dance. So, that along with the fact that I was able to strike gold a couple times while scouring the used vinyl bins resulted in a pretty successful evening.

Here’s one from one such golden nugget. Per the band, the Spongetones wanted to make something that sounded like a 1963 British Invasion record. Sure, the group comes off as a pretty blatant Beatles rip-off band but the fact that they did it so well makes it easy to not only overlook, but downright ignore such criticisms. And really, if it’s a genre that I ultimately appreciate and love then what the heck do I care if it was recorded forty plus, twenty plus or even zero plus years ago? A good song is a good song, right?

Spongetones “Here I Go Again” (mp3)

In The Presence Of Greatness

2008-07-23T10:16:00.005-05:00

(from the Action Musik CD, In The Presence of Greatness, 2001)

One of my favorite records from my college days is the Velvet Crush’s sophmore effort, Teenage Symphonies To God. With some glorious production work from Mitch Easter, Teenage Symphonies... is still seen by many to be the Velvet Crush’s defining statement even years after the band has continued to release records that define the true meaning of pop. With lots of jangly (not to mention crunchy) guitars, beautiful harmonies and catchy hooks, it really did have everything that I was kinda looking for at the time of its release and it still holds a pretty special place in my heart all these years later.

Funny enough (especially after praise like that), it wasn’t until many years removed from college that I finally got around to hearing their debut album, In the Presence of Greatness, via Pual Chastain and Ric Menck’s Action Musik label and dare I say I almost like it more than Teenage Symphonies... Stewart Mason of All Music Guide stated that it "sounds like Big Star’s #1 Record updated for a new decade" and I’d say that that’s a pretty fair assessment. Years later, it still baffles me that the band didn’t make more of a splash than they ultimately did.

Velvet Crush “Drive Me Down” (mp3)