2008 REVIEWS
2007 REVIEWS

06.29.09
The Bats
THE GUILTY OFFICE- (HIDDEN AGENDA)-One of New Zealand’s most beloved bands, The Bats, went on hiatus after the release of COUCHMASTER in 1995 (or maybe they just broke up?). Still it gave time for leader Robert Scott (also of The Clean) to work on solo stuff while the others raised families. They returned a few years ago with AT THE NATIONAL GRID (released here on magic Marker records) , a wonderful return to form and here they come again, on a new label, with another strong effort. THE GUILTY OFFICE is not their best record but is still very good and shows a band which has been the model of consistency since their inception (with the same 4 members). The first single, “Castle Lights” is a stunner with gentle, rolling melodies and bucolic strings added for perfect effect while “Satellites” is a classic in the truest Bats tradition (think DADDY’S HIGHWAY) and “Steppin’ Out” (not the Joe Jackson song) kicks up the tempo and scatters some dust. Yet another feather in the cap of a band that deserves every one of those feathers. www.parasol.com

06.29.09
The Besties
HOME FREE-(HUGPATCH)- The Besties seemingly popped out of nowhere in 2005 with the ep SINGER on the Skipping Stones label. Each of the 8 songs has the word song in the title (ie: “Prison Song”, “Western Song”, etc.). The ep was sturdy and the band seemed to bring back all of the best parts of indie pop that seemed to have vanished after its peak in the late 90’s/early 00’s. Marisa, Kelly and Ricky have returned for HOME FREE but have added Frank Korn on drums and the songs are just as scrumptious. “Right Band Wrong Song” starts things off on the right foot but the band really kicks into high gear on the curiously named “What Would Tim Armstrong Do?” (named, I’m guessing, for the Rancid leader) and “Helgafell” has some of those great, sorta-cheesy keyboards that I love so much and “Night Watch” adds some elements of folk and 60’s girl group pop for some gentle fun. Later on, “The Gothenburg Handhake” is no doubt about their time in Sweden (they played the Emmaboda festival last year) and the beginning guitar on “St. Francis” adds some bite to the proceedings. I would definitely call HOME FREE a strong outing. R.I.Y.L. Dreamdate, Cub, Tiger Trap, Vancougar, etc. www.hugpatch.com

06.29.09
Outrageous Cherry
UNIVERSAL MALCONTENTS- (BOMP/ALIVE)- In the Trouser Press Record Guide editor Ira Robbins calls Velvet Crush’s Ric Menck “one of pop’s truest believers, a brilliant pilgrim on a lifetime quest to understand and master the inscrutable fusion of allure, insight and energy that yields the most sublime melodic devotionals to the grand wizards of the two minute single.” Ok so that was a mouthful (and I agree with it) but I feel the same can also be said for Detroit songwriter and O.C. leader Matthew Smith. Through several records (and almost as many labels) Smith and his mop-topped pals searched the depths of their 60’s garage records, Motown records and flowery 70’s pop to come up with a sound that blends all 3 genres as good as I’ve heard. In addition to those influences there are some other namechecks on here and Smith doesn’t mind letting those influences shine through: early Stones, Bowie, T-Rex, etc. The record opens with the woozy grunt of “I Recognize Her” while tune three, seemingly a Stones homage, is “It’s Not Rock n” Roll (and I Don’t Like It)” has a cool foot-tapping groove from start to finish as does “The Song Belongs to Everyone” and the awesomely-titled “I Wouldn’t Treat My Enemies the Way You Treat Yourself.” Make sure you have plenty of time (8 minutes) to listen to the next to last tune, “Outsider”, which is the definition of a psychedelic tune. All in a day’s work for the mighty Outrageous Cherry. www.alivenergy.com

06.29.09
Poland
MOST OF THEM ARE CLOCKWORK- (SERIES TWO)-Series Two Records only pressed 300 copies of Most Of Them Are Clockwork. Here’s a suggestion: Track one down. For the second straight release, Poland has provided a highly listenable collection of coolest-kid-in-the-class (you know, the one who quietly sits in the back, waiting for school to end so he/she can get to band practice) songs. As with the brilliant Schoolboy Crush on Che Guevara, the Seattle outfit recalls the best of West Coast jazz, circa 1965, along with Burt Bacharach with a touch of British pop. A more modern point of reference might come from Ladybug Transistor (hey, what are these guys, as well as the Essex Green, doing these days?), circa Albemarle Sound (see King Mary, Clockwork’s gorgeous fifth track). Highlights from Clockwork include Finally September, a brilliant strings-filled backbeat-driven romp that sounds very Left Bankish, and Starling Street, with a haunting beginning that should hit an NPR newscast, as between-story filler, any day now. If there’s any quibble, it’s that singer Mark Romanowski’s voice might come off as a little too detached. If could have something to do with the mix: Vocals aren’t as up front as they probably should be. Still, he’s a nice singer who ultimately compliments the array of strings, xylophones, marimbas, and on and on. Here’s hoping he, and Poland, continue making beautiful music. www.myspace.com/seriestworecords ANDY GIEGERICH

06.22.09
Almost Charlie
THE PLURAL OF YES- (WORDS ON MUSIC)-This fine Minneapolis label has been around for quite some time and while they don’t release much what they DO release is usually a cut or two above and this Berlin, German band certainly is. The band was an odd pairing as German singer/guitarist Dirk Homuth answered an ad from American lyricist Charlie Mason. Mason had some lyrics but he just needed the songs and that is where Homuth came in. The arrangements are obviously indebted to 60’s pop and the songs waver between haunting folkier numbers and more mid-tempo stuff that recalls The Beatles at their bounciest. Songs that fall into the former category include opener “Everyone Deserves to Love”, “So Far and Yet So Near” and “Will You Still be Here” while the more Beatle-esque stuff includes terrific cuts like “Leaving Is Easy”, “The Monster and Frankenstein” , “In Another Life’ and a few others. Then there is the very Nick Drake influenced, string-soaked, closing title track which closes the record perfectly. Here’s to hoping Mr. Mason has a notebook full of lyrics and that Homuth is itching to put them to songs for a PLURAL OF YES Part 2! www.words-on-music.com

06.22.09
God Help The Girl
S/T-(MATADOR)- So you’ve been waiting three year s for the new Belle and Sebastian? Well, keep waiting. Is God Help the Girl a band, an album, or a movie? Well, possibly all three. It’s guided by Stuart Murdoch’s obsession with female voices, but many other B&S members are here as well. (Stuart does sing on my favorite tracks, “Pretty Eve in the Tub” and “Hiding Neath My Umbrella,” but this wasn’t the plan.) This feminine difference covers all of the female vocal styles of the past with heavy string and piano filled, soaring melodies that have “digital Dolby surround sound” written all over them. In other words, these songs will make a great soundtrack to the movie. Throw in a traditional jazz instrumental, “A Unified Theory,” and a suspense filled, string instrumental,” The Music Room Window,” and you have it. However, most of the tracks are sung by newcomer, Catherine Ireton, who delivers a strong, vibrant sound. Gone is the subtle, raspy whisper of Isobel Campbell of days past. Other guest vocalists include Brittany Stallings, Celia Garcia, Alex Klobouk, Dina Bankole, Smoosh’s Asya, and The Divine Comedy’s Neil Hannon. Two Life Pursuit throwaways are reworked and given new life, “Act of the Apostle II” and “Funny Little Frog” with the second song being the second single of this project. (The b-side, “Mary’s Market,” a non-album track sung by Stuart, is definitely worth tracking down.) The first single, “Come Monday Night,” captured my immediate attention. I personally would skip the “French” intro, but the remainder has me singing along complete with its “baby you will sleep much better, maybe you will sleep much better” ending. I’m guessing this project might be just what Stuart needed to deal with his recording contract. www.matadorrecords.com ERIC EGGLESON

06.22.09
The Isles
TROIKA- (SELF RELEASED)- New York’s Isles’ third release starts off with “Justine,” a track that could have easily been written by Marshall Crenshaw. Remember him? Me neither, but the comparisons stop there. The next track, “Lately,” reveals the true influence of this band, The Smiths. With its Morrissey-ish, dead pan, whiny vocals and Marr’s jangly guitar, The Isles deliver finely crafted pop that I bet sounds better live. By far one of the best, and longest, tracks is “There’s No Heaven.” (Most of their songs clock in around two minutes.) Here’s a bouncy, jangly guitar pop song with David Byrne-ish vocals that ends with upbeat blistering guitar chords. Troika ends with a somber ballad, “Over & Under,” that brings Kitchens of Distinction to mind, mainly because of the vocals. As for the influences listed on their myspace: Guided by Voices, The Zombies, and Motown; I’m not seeing it. But if you like any of the bands I mentioned above, The Isles are right up your alley. ERIC EGGLESON www.myspace/theisles

06.22.09
Socialist Leisure Party
TACTICAL POP! FOR COFFEE CADETS- (SHELFLIFE)-Andy Hitchcock made his fame and fortune while recording with his band Action Painting on the much vaunted Sarah Records label. When the band ended Hitchcock needed a 2nd act but wasn’t sure what to do, it was here that he reappeared as Andy Putitdown and began pissing people off on the indiepop list. On the list Hitchcock’s rants were often so vile that he was asked to never come back but he did time and time again. His final insult, which mentioned Harvey Williams and a cat proved too much and he left the pop list for good. For his 3rd act he’s gathered up his Action Paining bandmate Kevin House and two other chaps and have released this terrific 8 song record (6 songs on the cd and 2 on the 7” which all comes together in another one of Shelflife’s amazing packages (colorful 7” gatefold sleeve with the cd stuck to a spindle). Influenced by early 80’s Scotland (Orange Juice, Josef K,) plus other oddball stuff (Monochrome Set, etc) each of these 8 songs takes on a life of its own. Opener “Scented Crowbar” sounds like a lost classic from the 80’s that you’ve heard before (except you haven’t) while “No Tattoos” crackle with the kind of energy and excitement not hear since the earliest days of the Wedding Present. Elsewhere, “Down with the Kids” has a punk sneer out on outside while not forgetting the melody (with Andy spitting “You’re so criminally young!”). The punk-pop spirit continues until the end and what you’re left with is another winner from the Shelflife stable. www.shelflife.com

06.15.09
Sir Richard Bishop
THE FREAK OF ARABY- (DRAG CITY)-“The Freak of Araby” by Sir Richard Bishop is a magical record. A mix of originals, covers and a “Taqasim” (an improvisation within a set musical structure) that all share a similar exploratory nature and continue SRB’s journey to exist in a land where music has meaning beyond time. There is much virtuosity and a mastery of a variety of musical genres, the main being Lebanese, but also a gentle cross into improv/psych, early 60’s guitar heroes (Chet Atkins, the Ventures), 80’s era Marc Ribot, and Django Reinhardt. The music is produced with bracing clarity and honesty. The musical ideas are experimental and challenging to a western mind-set, yet its warmth and detail give insight into these ideas and make this a welcoming trip into distant cultures, imagined or real. There are gems in this record - “Taqasim for Omar” is a beautiful solo guitar improvisation, an offering of reverence to Omar Khorshid (of Belly Dance with Omar Khorshid and His Magic Guitar, 1974, where another version of track 4, Solenzara can be found). “Barbary”, an SRB composition championing the guitar and the inherent funk of non-western rhythms. “Essaouira” rules in that spaghetti western, Marc Ribot style. The album’s closers, “Sidi Mansour” and “Blood-Stained Sands” are epic, and overtly eastern while referencing a 60’s R & B rave up, Syd Barrett slide guitar, and 80’s Muzlimgauze. Quietly. Except for “Blood-Stained Sands”. Pick it up. www.dragcity.com BRIAN EMERY

06.15.09
Los Straitjackets
THE FURTHER ADVENTURES OF..-(YEP ROCK)- I will say one thing, these Nashville, TN-based masked surf marauders can certainly put a package together. This one is a fold-out digipack that has a comic on the inner sleeve a well some cool baseball-style cards on each member. Very cool and the band continues on in their quest for the perfect surf song. With two guitarists like Danny Amis (ex-Raybeats) and Eddie Angel their interplay is near perfect and together they speak many languages. Opening cut “Cal-Speed” has that smooooooth sound and sounds like it could have been on the soundtrack to ENDLESS SUMMER while “Challenger ‘64” sounds like pure Ventures. On other, more rockin’tunes like “Blowout” , “Teen Beast” and “Sasquatch” the band sounds as if they put the pedal a bit more to the metal and enjoyed the sound of the twin carbs and posi rear. There you have it, 13 original, instrumental songs, most co-written by all 4 band members and like all L.S.J. records, it smokes. Summer’s here! www.yeproc.com

06.15.09
The Sand Pebbles
A THOUSAND WILD FLOWERS- (DOUBLE FEATURE)- This is the first release on the new label begun by Dean Wareham and Britta Phillipps of Luna fame and after you hear the record you’ll notice there are at least some similarities to Luna. The band hails from Melbourne, Australia, took their name from an old Steve McQueen movie and has been around for at least a decade (I remember hearing at least one of their releases on the Camera Obscura label in the early 00’s. This record is a 13 song best of comp that features 10 songs then 3 bonus cuts (2 of which are live and one being an obscure 13th Floor Elevators cover) and the band calls their sound “flower punk”, which I love. Opening cut “The Day Summer Fell” sounds like it could be a PENTHOUSE outtake with some killer slithery lead guitar, handclap and drums that sound like bongos (but in a good way) while “Wild Season” adds some guitar grit to the proceedings and tune number three, “Red, Orange , Purple, Blue” will definitely get the band some “psychedelic’ tags. Elsewhere “Kitten Heels” is a killer driving pop tune with some fantastic horn work and “Future Proofed’ is a bit more new wavey (“inspired by the Human League”, says the liners). The comp is seriously solid and a perfect beginning for the Double Feature label. What’s next? www.myspace.com/doublefeaturerecords

06.15.09
Vetiver
TIGHT KNIT- (SUB POP)-As of this writing, my favorite record of 2009. Tight Knit combines Andy Cabic’s true understanding of late 60’s/early 70’s folk, pop, and psychedelia, and couples to his most consistent songwriting to date. Tricky, intelligent songs with a butter warm veneer. The music veers from unquestionably classic (“Rolling Sea”, “At Forest Edge”), to simple pop gems (“Everyday”, “On the Other Side”), to some amazing dreamy psych numbers (“Down from Above”, “Strictly Rule”, “At Forest Edge”(again)). On the dark side, I don’t gel with “Another Reason to Go”…keyboard wah envelope filters remind me of Edie Brickell and put me in a late 70’s Dead return mindset, both a turn off…I guess I need to evolve. That said, they make up for it with “Strictly Rule” and “At Forest Edge”, the albums closers. Looking at their recent releases there are no real surprises here, but the way the majority of these songs stick have me enjoying this record right now(!) and I leave each listening session with serious enthusiasm for the next release. Can someone please tell me how Cabic manages to channel both traditional and second wave psych (Rain Parade, Opal) so authentically? Enjoying this record, and sincerely looking forward to what Cabic has to offer as we all gracefully age. www.subpop.com BRIAN EMERY

06.08.09
Camera Obscura
MY MAUDLIN CAREER- (4AD)-It’s hard to believe that this Scottish band have been around for 13 years but indeed they have. While they seem to have shed their Belle & Sebastian Jr. tag, it still pops up in every review (including mine) but with their superb take on northern soul and girl groups of the 1960’s the band, led by Traceyanne Campbell, seems to have gone in a different direction than Stuart Murdoch and company as these are more wall of sound in their delivery. These 11 songs seems to pick up right where 2006’s superb LET’S GET OUT OF THIS COUNTRY left off as the swirling opener (and single) “French Navy” indicates with blaring horns, soothing keys and Campbell’s cooing/pleading vocals. On “The Sweetest Thing: the opening doo wop vocals give way to a soaring string section and yet another perfect melody. From there the songs alternate between mid-tempo janglers soaked in melody and more pensive, snail-paced ones that the band seems to like to play live. Not sure why they placed the knockout “Honey in the Sun” as the last song but it could have easily been the opener (and a single, if it’s not already). Like the three previous full-lengths this is already on the short list to make my top 10 of 2009. www.4ad.com

06.08.09
Dear Nora
THREE STATES: RARITIES 1997-2007-(MAGIC MARKER)- I feel like I missed the boat on the early, golden years of Magic Marker Records. By the time I moved here in the summer of 2002 Boy Crazy had broken up, Kissing Book had already changed the lineup several times (from the classic band that made the terrific debut) and Dear Nora’s Katy Davidson had already split for the Bay Area (or was close to it). The Magic Marker label has stayed remarkably consistent over the years and while I still enjoy their releases I wish I would have been here for those early days and a big part is Dear Nora. This 2 cd 57 songs disc unearths every single, comp track, unreleased song, b-side and demo that Katy ,I think, has ever recorded (this includes covers by Bob Dylan, The Zombies and Missy Elliott). Still, for such a hodge podge collection the songwriting is consistently good throughout and originals like (the previously unreleased) “Second Guess” and “The World is Falling Down” , the playful “Up on the Roof”, the reverb-heavy “I Don’t Know What To Say” show a songwriter coming into her own. Disc two offers more tunes including those from the split 7” they did with Mates of State and plenty more tracks from compilations too. In these trying times you want bang for your buck and this delivers time and time again. www.magicmarkerrecords.com

06.08.09
Dreamdate
PATIENCE- (SKYWRITING)- This is the first I’d heard of this Oakland, California trio though they have at least a previous full-lengths and a 7” as well (and maybe more?). I loved the only other release on Skywriting Records (Cloetta Paris cd) so I figured this might be up my alley and what do you know, it’s a fantastic little record. The band is led by the Yea-Ming Chen (guitars/vocals) and Anna Hilburg (bass/vocals), two best friends who sound like they have been playing together for years (and probably finish each other’s sentences too). Upon first listen I immediately began thinking of the defunct Vancouver, BC trio Cub (who I booked a few times in the mid 90’s in Santa Rosa, Calif at Café This) so no surprise that they do a Cub cover on here (“Go Fish”). The record varies nicely from the jangly, lo-fi pop of the opener “How Low Are You?” to the dreamy acoustic tune “Tour Song” (where they drop the f-bomb) to “Have I Told You?” which starts off all Tiger Trap on us but then the guitars kick in and it gets all Versus on our ass. That’s just the first three songs and the songs are a nice mix of those styles and I can always appreciate a band who don’t go for sameyness and instead can mix it up. This is one of those records that any music fan would have a hard time not liking. www.skywritingrecords.com

06.08.09
The Silent Boys
PROGRESSION 1986-1991- (WALRUS)-I had no idea that Virginian Wallace Dietz (who IS The Silent Boys) has been perfecting his craft for over two decades. I first heard about the band from the indiepop list and Wallace was nice enough to send me a few of his previous releases (them being 2007’s ONE STEP CLOSER, 2006’s WISHING WELL EYES and 2004’s, BEAUTY TIPS). This, as the title implies, is an odds and sods collection spanning those 5 years in the late 80’s and into the 90’s. There’s 23 songs in all and there’s some interesting liners where Wallace describes the comings and goings of his life when the songs were recorded. The songs definitely sound of time, a handful of the tracks, like “Scream” and “Plastic Cowboy” sound like they could have been recorded for the Factory label (some Joy Division influence there an even a big New Order influence on the opening cut, “Band from Heaven”) while others are janglier and bear more of a Feelies influences (“See You Later”, “I Wanted To See You”, etc.) and plenty of C86 and Sarah Records moments creep in as well. The band is more than the sum of its influences, however, and if you like any or all of the bands mentioned here then this will be a most pleasant surprise. www.silentboys.com

06.01.09
A.M. Vibe
CAPRICORNO- (PLANTING SEEDS)-This San Diego band has been around for a while now and includes former Red Dye No. 5 vocalist, Lisah Nicholson (who also added guest vocals to a Honeyrider song or two back in the day). I remember hearing a previous record by them but not liking it as much as I like CAPRICORNO. This is driving, catchy dream pop that wavers between upbeat n’ catchy indie pop like Velocity Girl and moodier, shoegazier tracks “Don’t Wanna Stay” and “Lullabye.” I prefer the former but the band excels at both. Then, towards the end of the record they toss in some lovely acoustic tracks, “Black Dogs” and “Sea Song” (both of which are in the Juliana Hatfield vein) Really glad to see that Nicholson and her cronies have carried on as this is a band that definitely needs more attention than they are getting. www.plantingseedsrecords.com

06.01.09
The Atlantic Manor
ON THE WRONG SIDE OF SATURDAY NIGHT-(DO TOO)- Florida introvert Rick Sell has been creating downcast rock for the past several years (his debut was released in 2001) and each record has been better than the one before it. The guy hails from Miami, FL but I’m guessing doesn’t spend his day shirtless on the beach (more likely with a shirt on in his basement). With record titles like FAILING BY THE SECOND, THE HATE WE GET GOING and SNEAKING UP ON THE DEATH SCENE you’re not going to be getting any kind of flowery pop here but if you dig early Neil Young or Smog then this will endear itself into your hermetic heart. My faves here are “A Pause Before Dust” (w/ some gorgeous piano playing) and the gentle “Town and Country” (I’m guessing those titles go with the songs I like but I could be wrong as the songs are not listed on the back cover). Dive head first into the Atlantic Manor…misery never sounded so beautiful. www.theatlanticmanor.com

06.01.09
Liechtenstein
SURVIVAL STRATEGIES IN A MODERN WORLD- (SLUMBERLAND)- Another ace in the Slumberland deck comes in the form of 3 women from Gothenburg, Sweden who offer up 9 songs in less than 25 minutes. Renee, Naemi and Elin first appeared with a single in 2007 and then another one last year so this is their debut full-length and the 9 cuts on here waver between moody, murky, bass-heavy tunes with eerie vocals that sound like an early 80’s Rough Trade band (“All at Once”, “White Dress” ) and other more bubblegummy tunes with cooing harmonies and fuzzy guitars that bring to mind The Shop Assistants, Aislers Set and Tallulah Gosh (“Postcard”, “By Staying Here (We Will Slowly Disappear)”, “Roses in the Park”, “Reflections”, etc.). The thing is , though it is reminiscent of several past bands Liechtenstein add a unique and fresh twist to the proceedings so it doesn’t sound derivative but more like 3 women who want to join the ranks of those that came before them and I must day, they do a damn good job of it. www.slumberlandrecords.com

06.01.09
Something Fierce
THERE ARE NO ANSWERS- (SELF RELEASED)-This Houston, TX trio released this one on their own but Dirtnap records is doing the vinyl and will be releasing the bands next record as well. Dirtnap seems like a perfect home for these guys as their ultra-catchy tunes remind me of the more classic bands that Dirtnap has released (Briefs, Marked Men, The Minds, etc.). “Aliens” is a great way to start a record off all meaty guitars and hooks galore, same thing with tune two, “Teenage Ruins.” Same with tune number three, “Second Son” and well, I could go on and on but I think you get the picture. I also really like the way the band reels the songs off one right after another, in high energy fashion which really reminds me of the Marked Men as well. 12 songs in all and there’s more hooks here than Heather Locklear’s closet (ok, was that really bad?). The best thing here is that Steven, Nikki Sevven and Andrew , who not only know their punk history very well, but it seem like they all have a really good sense of humor as well. As much as I like their original songs I think an all covers record might not be a bad idea In the future. No problem here Houston. www.somethingfiercemusic.com

05.25.09
Bricolage
S/T- (SLUMBERLAND)-…and the revitilazation of the Slumberland label continues with this Glasgow 4-some who do the city damn proud. I’ll bet even an old codger like Alan Horne would approve as this bunch. And speaking of old Glaswegians, they got none other than Altered Images guitarist Stephen Lironi to produce and not sure what he fed these guys in the studio but the songs crackle and pop and the band’s tunes fit in nicely between those of the old school (Aztec Camera, Orange Juice, etc) and the newer/recent breed of movers and shakers (Franz Ferdinand, Libertines, etc.). “Bayonets” opens things nicely with a distant drum, then a strum of guitar, a rumble of a bass and finally those yearning vocals and the cut is a winner. Speaking of Mr. Horse, “Footsteps” sounds like a single he might have released back in yee olde early 80’s as it has an extra little bounce to its step. “A Terrible Souvenir” has that classic “Be My Baby” opening drumbeat then kicks into a classic pop tune with chugging guitars, obedient rhythms and some well-placed horns. All 12 of these songs are worth your time and these guys look young enough to have quite a promising career in front of them. www.slumberlandrecords.com

05.25.09
The Jesus Lizard
INCH-(TOUCH & GO)- After waiting these agonizing months, April 18th finally arrived. Record Store Day. The crown jewel of the day (though there were many worthy slabs) has to be the Jesus Lizard's Inch set of 9 7"s released on Touch & Go. Limited to 2000 hand numbered and assembled by Corey Rusk himself pieces, this literally flew off shelves and for good reason. Reason #1: The remastering by Bob Weston. Holy shit! These songs sound vibrant and new as if it were 1992 all over again. I have the original copies of all of these 7"s and it shows what can be done when in the hands of a competent engineer. Reason #2: The packaging. Arriving in fold up shower curtain(?), this is a throwback to the 80's and in my opinion couldn't have turned out better. Should the rumors be true and T&G truly will stop making music, God forbid, this is one hell of a way to go out. www.tgrec.com
KIP KELGARD

05.25.09
Starflyer 59
DIAL M- (TOOTH & NAIL)- With 10 albums under his belt, Jason Martin (leader, singer, and producer) of Starflyer 59 ventures in to new ground. This is my first exposure to Starflyer 59 and it only makes me want to check out his other releases. (The Minor Keys Ep includes a few acoustic versions along with a cover of The Church’s “Under the Milky Way”) His band’s label, Tooth and Nail, has been a leader in positive rocking music for years. I understand this outing is a more personal one involving the loss of his father. Anytime an artist can dedicate his craft to a loved one means a stronger mission or vision is at stake. By far, the standout track is “M23,” not to be confused with the band M83. A beautiful, haunting melody that sticks with you throughout the day, wanting more , until you have to crank it up again to enjoy its brilliance. With “M23,” synthesizers abound with solid beats and Richard Butler (minus the raspiness), monotone vocals. In fact, imagine the Psychedelic Furs meeting Modest Mouse and Interpol and then you are close to Starflyer 59. Other favorites include, “Taxi,”“Who Said It’s Easy,” and “Altercation.” His dedication to his father, “Mr. Martin” is a beautiful, electric piano-driven ballad complete with strings, acoustic guitar and the chirping of birds. I’m certain his dad is smiling in heaven. Gratefully, Jason’s loss is our gain. www.toothandnail.com
ERIC EGGLESON

05.25.09
The Tomorrows
JUPITER OPTIMUS MAXIMUS- (KOOL KAT)-This is a few of the guys who were in the Vancouver, BC band The Roswells. That band released a fine power pop record a decade or so ago and then vanished. Two of the main songwriters from that band, Marc Stewart and Scott Fletcher, are in this quartet who wear suits on the cover and of course have similarities to Ringo’s old band (can’t remember their name) but I also hear some fine Rasberries crunch on here as well the string-bending sounds of more current acts like Chewy Marble and Teenage Fanclub (some Velvet Crush too) a few of the bands on the Rainbow Quartz label . “Effortless Lee” is a terrific opener while “Love is Dead” sounds like prime Cheap Trick and would be perfect to play either air guitar or air drums to. “Such a Shame” is classic jangle pop and there’s plenty of other winners here. A few of the tunes go one for a bit too long but that’s really a minor quibble here as this is still well worth picking up. www.koolkatmusik.com

05.18.09
Casiotone For The Painfully Alone
VS. CHILDREN- (TOMLAB)-Owen Ashworth’s fifth release starts off with a rising, short instrumental evoking what might sound like a spiritual or religious side to his music. A number of song titles express this also like “Tom Justice, The Choir Boy Robber, Apprehended at Ace Hardware in Libertyville, IL,” which discusses Tom’s situation through prayer and sinfulness with a beat box and piano and organ. “Optimist Vs. The Silent Alarm (When The Saints Go Marching In)” is a bouncy piano-driven anecdote complete with “Hallelujahs” that does end with a church organ playing that old, familiar hymn. “Traveling Salesman’s Young Wife Home Alone on Christmas in Montpelier, VT” is a somber, depressing piano ballad that features a washboard beat for rhythm, but picks up later with a soaring, roller skating rink organ. Another track, “Harsh The Herald Angels Sing” is a heart-felt regret to overdrinking, over-smoking, and overdoing it period. These extremely long song titles, along with the occasional issues of spirituality, bring Sufjan Stevens to mind; but the comparison stops there. Imagine piano, minimal guitar, various organs, a raspy, male storyteller with a gorgeous sounding female backing up and you have Casiotone for the Painfully Alone. I just wonder how he is able to create this sound live. www.tomlab.com ERIC EGGLESON

05.18.09
The Legends
OVER AND OVER-(LABRADOR)- As if the Acid House Kings and Club 8 didn’t keep Johan Angergard busy enough he still has the Legends (I guess he has another band, Pallers, but I have never heard them before). This is record #4 and while each one has staked a different sound they all have their moments of brilliance and OVEER AND OVER is no exception. This one was , as it says, “recorded in a decrepit basement in South-Central Stockholm” (something tells me it’s the same as South-Central LA, but what do I know), the album goes from the dark, pounding opener (ala Frausdots) “You Won” while then ripping right into the records first single, “Seconds Away.” On this song Johan lays his guitar down and replaces it with a dentist’s drill set on stun. Yes, in much the same fashion that MBV made pure noise beautiful to listen to Mr. Angergard does the same thing on this first single as he does not forget the lovely melodies that lay underneath the mounds of soot. Apparently the song was triggered by a series of panic attacks and that tune, along with other noisy ones on the record, were a form of therapy for Johan (a few other songs on the record are in much the same fashion: “Always the Same”, “Recife”, “Over and Over”, etc.). Elsewhere he bring sunny pop to the table in the form of the awesome “Monday to Saturday” and doesn’t let the fans of his gentle, bucolic pop songs (ala Club 8) down with the gorgeous “Heartbeats.” If you’re an Angergard fan like I am you will not be let down at all by OVER AND OVER and the thought of them possibly coming to the States for some gigs has me quite excited. www.labrador.se

05.18.09
Mazes
S/T- (PARASOL)- The leaders of Mazes, Edward Anderson and Caroline Donovan, are also in a band called 1900’s (who also have records out on Parasol) but while that band goes for a more ambitious pop sound , in Mazes they trim it down , if just a bit, keep the delicious harmonies and go to town (an add pal Charles D’Autremont to finish out the trio). Apparently these 11 songs were recorded “in various studios, bedrooms and basements over the past few years” and they call it “mid-fi” , not lo-fi but the songs are real relaxed and very easy to like. Opening cut “Manual Systems” gives me that same sort of warm feeling I got when first listening to bands like The Bats, Essex Green, Honeybunch and the like with its bittersweet melodies. Their voices blend perfectly on the folky “Things I Threw in the Well” and the bouncy pop number “Love to Lay” is sure to be a fan favorite (it already is in this household). Honestly, if you’ve read this far and like what you’ve read give this neat little record a chance. I’m glad I did. www.parasol.com

05.18.09
The Sleepover Disaster
HOVER- (DEVIL IN THE WOODS)-Fresno, CA’s the Sleepover Disaster have been at it for nearly a decade and have released at least three other records to very little acclaim (on their own Overcast Records) . Now they’ve been signed to small California indie Devil in the Woods (who awoke after a long absence from releasing records….check out their 1998 release by Dumptruck. TERMINAL. One of the band’s best!). Only 9 songs here but the trio of Luke Giffin (vocals/guitar), Eric Peters (bass/backing vocals) and Vince Corsaro (drums) don’t waste a minute of time or space on HOVER. From the driving, gorgeous opener “Friend” with its heaping waves of distortion (like the best Ride song) right into the more sweeping “Code Breaker” (with guitars that sound almost operatic) which then dives right into the slashing searing “Funnel Cloud” the band proves , beyond A shadow of a doubt that they belong! And if you want a competent, confident vocalist, in much the same vein as Shields, Masters, Bell and the like then look no further than Giffen who commands any room that the cd is being played in while the rhythm section doesn’t let up for a second. If you have a passing interest in shoegaze or are just a fan of well written rock music played with guts, determination and intelligence then HOVER is a must play. Now, if the band would only make good on their long-overdue trip to Pacific Northwest for some shows. www.devilinthewoodsrecords.com

05.11.09
Roxy Epoxy And The Rebounds
BANDAIDS ON BULLET HOLES- (METROPOLIS)-I have to say that when Roxy Epoxy first told me that when her band, The Epoxies had broken up, I was mightily bummed. That Portland band had become pretty legendary to me for some incredible live shows as well as 2 full-lengths (one amazing, one merely good) and two strong eps. Vocalist Roxy has returned with a new band and a slightly different sound and 12 fine songs. The record took me a little while longer to get into than the Epoxies records, the hooks aren’t as immediate and the overall sound is darker but after several plays the songs began to stick and hooks that were previously buried (or seemed so) were rising to the surface. The record opens with the moody “Walls” and then rips right into the moodier/darker “New Way” (akin to early Siouxsie and the Banshees) which goes from a slow beginning into a driving rhythm. Elsewhere “The Twist” is a high-octane punky new wave song that is not totally unlike The Epoxies (as is “Fun”) and “Svengali” keeps the rhythms moving and adds some phasey synth work. Do not miss the final two songs as Roxy has tucked two of the record’s best songs at the end, the Siousxie-ish “Unnamed” and the straight-up paranoid punk track, “Watch Me” (with a guitar lead that sounds like it was lifted off an early Damned record). Really glad to see Roxy has moved forward and taken a chance on trying something new. It was a courageous move for her and has paid off in spades. www.metropolisrecords.com

05.11.09
The Vaselines
ENTER THE VASELINES 2CD-(SUB POP)- I first heard (and loved) this pervy Scottish band when they were on the flipside to a live Beat Happening tape (before Mr. Cobain started yapping about them, thank you very much) and was overjoyed when Sub Pop released that WAY OF THE VASELINES comp back in the 90s. The core of the band was Eugene Kelly and Frances McKee, a wry couple who were like the indie rock version of …oh, I dunno, maybe George and Gracie? They never had played any gigs in America so I was even more stoked when the band appeared at last year’s Sub Pop 20 Fest. (with a few Belle & Sebastian members in tow) and put on a rousing performance. This basically collects everything the band ever did. This includes the band’s 2 eps and one full-length on disc one while disc 2 compiles 3 demos, 5 songs from a live date in Bristol, England and 9 more live songs from a gig in London (from that K Records tape, if I’m not mistaken….been a while since I have listened to that, must go find it now ). It’s a nifty package with a fold-out digipack with new artwork (a smashing photo of Eugene and Frances, both looking a bit dour, against a lovely, upbeat, green backdrop) that also includes a 24-page booklet with band photos, liners, pics of the original record covers and the like. The music was a tawdry mix of crackling guitars, cardboard, galloping drums, nasally vocals and a sound that wasn’t unlike their heroes, The Pastels. You don’t want to miss instant classics like “Dying For It”, “Son of a Gun” (on the live version of this song from the Bristol gig Eugene announces the title of the song as “Up Your Arse”) , “Rory Rides me Raw”, “The Day I Was a Horse” (at the London gig they play this one twice as Eugene mentions drummer Charlie having “cancer of the drumsticks” , a joke I remember from the live K Records tape) and plenty of others. After the band called it a day Eugene went on to form Captain America which evolved into Eugenius. He even released a terrific solo record a few years ago but The Vaselines is where he and Frances belong. As the risk of sounding too kiss assey in this review I’ll sum it up by saying get everything with their name on it (including, ok especially, this….duh) and do not miss ‘em this coming Wednesday at Doug Fir Lounge here in Portland (You’ll be excused if you’re on your deathbed) . www.subpop.com

05.11.09
Yahowa 13
SONIC PORTATION- (PROPHASE MUSIC/MVD)- So you can now find Yahowa 13 albums at Best Buy. Who’d a thunk. Father Yod apparently died in ’75 in a hang gliding crash on the coast of in Makapu’u, Oahu, Hawaii. And, it may have been for the band’s better…Yod was obviously a charismatic with a vision, and listening to his recordings, he tends to remind me of distant relatives stepping above their used car salesman roots who happened to dip deeply in to the Owsley. Dangerous from a personal perspective, but great to experience through our rose colored glasses. I believe this incarnation of YaHoWa 13 delivers the spirit of Yod’s teachings, which is cool, without Yod’s personality, which will remain questionable. The various snippets I have in my collection of Father Yod music are authentic in spirit but limited in trip versatility. They don’t take you much beyond the historical picture of the Source Family. Sonic Portation shows the band members, without Father, have evolved in their musicianship, specifically from an improvisational perspective. Djin (guitar and erstwhile ringleader) is a virtuoso of raga style guitar. Many would-be kraut rock guitar slingers would give up their early Guru Guru albums to capture the tone dished out on Sonic Portation. Djin’s guitar sounds like a thunk stoned version of Arto Lindsay hanging with Lee Ranaldo’s fun city like tendencies. Octavius is an amazing drummer, he gets the tribal, which is somewhat expected, but drives it like a fine metronome, which isn’t so expected. Sunflower IS the bass, authentically pushing the songs to Yod-approved heights. Free is the word here. Highlights abound within each song, provided you’ve got the wherewithal to stick with it in its entirety. From a song stand out point, Rockers, song 3, “Yod Hey Vua Hey Tetractys” will do it for you. For the rest, the songs remain engaging spiritual jams. Not quite on the level of my current fave, Phil Pearlman, but deeply resounding nonetheless. www.mvdvisual.com BRIAN EMERY

05.11.09
V/A
SPEED DATING- (NO. 6)-If you don’t know the name Terry Tolkin then you know some of the work he has done over the years in the music industry : A & R man for Caroline Records, Touch & Go Record employee ( the GOD’S FAVORITE DOG comp was his baby and be brought the Butthole Surfers to the label) ), Rough Trade Records , 99 Records clerk and, of course, A & R man for Elektra Records (he brought Luna, Afghan Whigs and Stereolab to the label among others). In his spare time he had his own little label, one called No. 6 , and he released a bevy of 7”s on the label and this 2 cd comp compiles every one of them. 36 songs in all and what you have on SPEED DATING is pure magic. Disc one opens with Ornament who I think is Greg Dulli and Scrawl’s Marcy Mays) doing the Afghan Whigs “Tonight” while song two is them doing a cover of “Will You Still Love me Tomorrow?” (with Marcy singing lead). The next 9 songs are the Dwarves in all of their psychotic glory from the “Lucifer’s Crank” 7” , charging ahead with some of their best material (including “Free Cocaine” and “Nobody Likes Me”). Elsewhere on disc one is a few songs from Dean Wareham (including an early version of “Anesthesia”), Philly industrial rockers King Carcass and one of Bob Bert’s many bands ,Bewitched. Disc two begins with the all female band Ford (once, in the early 90’s, caught them play a house party at the home of the Blackjack Records guys in Guerneville, CA) as well as songs by Tindersticks (I had no idea they had released something on No. 6), Cagney & Lacey (Dean Wareham and his ex-wife), Unrest (two versions of “Winona Ryder”) and others by Glue, Pork and Vegetarian Meat. Now that all of the 7” s are compiled let’s hope that Terry decides to reissue some of the great full-lengths that No. 6 released (Crystalized Movements, Jennyanykind, Jule Brown, etc.). Be seeing you…. www.teenbeat.net

05.04.09
The 88
NOT ONLY...BUT ALSO- (ISLAND)-Well, they got their record deal. A few years back this L.A. trio, led by main songwriter Keith Slettehdahl, seemingly had songs on every tv show, movie and commercial you could think of but couldn’t get arrested as far as label interest was concerned. Well here they are, after two solid records, with record #3 and it’s an overflow of flashy production (at least in part by Kenneth “Babyface” Edmonds) and some seriously good songs. The opener “Go Go Go” is all punchy Cheap Tricks chords and some hooks to die for as is the hooky “I’m Nothing” and the bouncy, piano pop of “Coming Home” (which has apparently been featured on like 200 tv shows or something…it really is a great song ) and “Love You Anytime” is solid as well. “No One Here’ is a ballad that goes a bit too much on the syrupy side and “Like You Do”, where the band briefly forgets they aren’t Parliament Funkadelic, is really the only bad song on the record, otherwise most of this is terrific. When the band sticks to what they do best: writing catchy, punchy pop songs they’re tough to beat. www.the88.net

05.04.09
Cloetta Paris
SECRET EYES-(SKYWRITING)- Housed in a pink and white checkered digipak sleeve comes this cool synth-pop duo from Sweden. I was tipped off to this by Ed from Shelflife Records and while the band is from another country the label is a local one here in Portland. The vocals are from a woman named Cloetta Paris while the music is played by Clive Reynolds (aka Roger Gunnarson who was previously in Nixon , among other Swedish pop bands) and it’s super catchy, dancey synth pop with hooks to die for and Cloetta’s cool yet vulnerable vocals iced over the tunes. The opening cut “Did We Collide?” is a would be dance hit, that is, if dance fans has any brains while the title track is nearly as good. “Breakdown” speeds it up a bit and adds in these robotic (male) vocals in the middle of the song. “Beat Street” sounds like it could have been off the Magnetic Fields classic, HOLIDAY and the band tosses in a synthed-up cover of E.L.O’s “So Serious.” Suffice it to say if you dig the sounds of anything Mr. Stephin Merritt has done or masters like St. Etienne or the Pet Shop Boys then you’ll have a new favorite record. www.skywritingrecords.com

05.04.09
Jason Isbell And The 400 Unit
S/T- (LIGHTNING ROD)- Thank God for Jason Isbell! A recent live show at Portland’s Doug Fir proved this band to be a well oiled, great sounding touring group supporting Isbell’s second solo effort since departing the Drive-By Truckers. The 400 Unit, named after a mental treatment facility in Florence, Alabama, features five guys coming together to produce and record eleven well written, memorable songs. The record opens with “Seven Mile Island”, open tuned resonator guitar, skiffle hi-hat and Jason’s soulful southern vocal. “Sunstroke” is written with minor key passion, Small Faces-like organ fills, highlighting the band’s ability to play softly then swell to a powerful climax. Track three shows of their hard pop, driving edge, while “Cigarettes and Wine” is a stand-out track of blues waltz about broken romance. “The Blue” features Jason’s Gibson guitar and click drum track, nice vocal harmony at the chorus, all coming together blending into a warm sensitive track fading out with a lone drum. “No Choice in the Matter” again shows the band in their blues vibe loaded with horns and soul keyboard. One of my favorites is “Soldiers Get Strange”, a track about soldiers returning from Iraq and Afghanistan. This cut got me back into what southern rock is about, G, F and C chords all the way! The final cut “The Last Song I Will Write” may have the best feel of any track on the disc, warm, rich and epic. I love bassist Jimbo Hart’s fat bass, a band member Jason has known since he was sixteen from school marching band. Interestingly, the last half of this song climaxes into a powerful collage of rock melodies woven together to end a great album. Notice how this half of the song is the same chord progression as track six “Coda” - they must have liked it so much they wanted it to stand as it’s own track. This band revitalized my appreciation for southern rock bands - Jason wanted this record to be known as a band record, something they all did together as an inclusive project. On record and live, this band is a great representation of the future of southern rock in America! www.lightningrodrecords.com GREG SOCOLOFSKY

05.04.09
Wild Light
ADULT NIGHTS- (STAR TIMES)-Though the band hails from New Hampshire a few of these guys were boarding school pals of Arcade Fire’s Win Butler and at least one member of Wild Light was an early member of A.F. (these guys have also toured with Arcade Fire too). Having said that the band’s don’t sound too much alike as Wild Light goes for a Golden State feel with creamy harmonies and puchy pop songs (ala Rooney) but songs titles like “California on My Mind” (with the chorus of “Fuck today, fuck San Francisco, fuck California”) , “Canyon City” and “Surf Generation” show where their heard are at. They get a bit tender on the anthem to their home state, “New Hampshire” while the previously mentioned, trippy “Surf Generation” adds some cool sleigh bells. “Future Towns” has a jangliness akin to early REM and “My Father was a Horse’ has some anthemic woo-hoos to open the song and then rips into a driving pop song. While the band aren’t breaking down any doors for originality they have given us a baker’s dozen here with 13 well-written catchy songs and while ADULT NIGHTS is definitely a good record I have a feeling this band could scale much grander heights in the not-so-distant future. www.startimeintl.com

04.27.09
Charley Dush
SEPTEMBER'S SUN- (CFD)-I have been a fan of this Twin Cities musician since his debut cd came out in 2001. This is record number four and each one has improved upon the one previous so simple math will tell you this is his best. He has assembled a terrific cast of Mpls musicians all over the record and it fits nicely in the Americana category (with some add power pop moments as well). Opening cut “Whiskey Mama” features, in addition to Dush on vocals and acoustic guitar, some piano, mandolin, fiddle, banjo (the two previous instruments played by Ex-Son Volt guy Dave Boquist…not sure why he isn’t in Son Volt anymore but Jay Farrar should do himself a big favor and get him back) and it all adds up to a hooky, cry-in-your-beer kinda tune while “Drug Test Blues” amps things up a bit and goes for more of a Blasters feel. Track number three completes the trifecta and has some perfect fiddle and mandolin. That is just the first there tunes and there’s 9 more (“Come in from the Cold” is another standout track) and if you’re keeping score there’s also members of the Jayhawks and Honeydogs who play on this as well. A guy with this much talents definitely needs more fans so this is your chance to become one. www.charleydush.com

04.27.09
Obits
I BLAME YOU-(SUB POP)- I first heard of the Obits when they were a surprise guest at the Sub Pop 20th Anniversary Festival in June, 2008. I was intrigued upon learning that Rick Froberg (Pitchfork, Drive Like Jehu, Hot Snakes) was in the band. Maybe it was the outdoor venue, maybe it was the July sun, but the underwhelming performance that day could not have prepared me for I Blame You, their first album on Sub Pop. This has to be the most melodic recording Mr. Froberg has put out to date. From the moment I put the record on it felt like a natural progression through DLJ, through Hot Snakes and now with this we are seeing a songwriter truly show the wisdom of his 41 years. From the opener, Widow of My Dreams, through the final track, Back and Forth, I Blame You will go down as one of the finest albums of the year. Rick Froberg has genuinely shown us what most stars of his generation are hesitant or afraid to; growth. www.subpop.com KIP KELGARD

04.27.09
Reigning Sound
LIVE AT GONER RECORDS- (GONER)- As the story goes, after the Reigning Sound had played a sweaty, stompin’ gig on a Saturday night at a local Memphis club they decided to do another one the following day at Memphis’ best record shop. The date was 6/6/05 and it sounds like the handful of folks who were there were treated to an epic 16 songs set complete with many of the band’s best songs. It originally was released in late 2005 (as a CDR benefit cd to raise money for Hurricane Katrina victims) and was then released officially in January 2006 on vinyl only. Here we are a few years later and the official cd release comes out and, like all R.S. records, it is well worth hearing. The sound quality is good and Greg Cartwright and Co. toss in a few covers (most notably, “Tennessee” by Carl Perkins and an amazing version of “Black Sheep” by Sam the Sham) and smokin’ originals like “Time Bomb High School” (off of their 2002 cd of the same name) , “We Repel (Each Other)”, “Reptile Style”, the tender “What Could I Do?” and plenty more. Cartwright is able to hit that sweet spot where so many styles of music converge that you’re not sure what exactly to call it, it’s kinda garagey, it has some serious pop hooks, a bit o’ country, a dash of rhythm and blues and a whole lotta soul. He doesn’t get nearly the amount of respect he deserves so here’s hoping LIVE AT GONER RECORDS will change that, even if just a little. www.goner-records.com

04.27.09
The Soundtrack Of Our Lives
COMMUNION- (YEP ROC)-Communion is a two CD, 24 song release that according to leader, Ebbot Lundberg, is a song for every hour of the day, but when does the day begin? “Babel On” has a building, driving beginning to represent the sunrise of a new day. Even with 30 songs to choose from, this release features the first cover they have ever put out, Nick Drake’s “Fly.” Don’t expect the melancholy jangle of Nick; TSOOL adds a kick of rousing rock to it. After ”Fly,” “Pictures of Youth” begins as a soft, mellow, organ droning ballad that builds and peaks and then drops you back down to your initial state. “Just a Brother” is another standout track. This is the TSOOL we have come to love, jangly, borderline prog rock, with its lyrics of hope, “What can we do to get along? If we can’t find love anywhere under the sun?” The second half of the day begins with “Everything Beautiful Must Die” which sounds like a droning, sleep deprived, depression-filled outlook with organ and slide guitar. “Lost Prophets in Vain” brings back the punch in their music with its crunchy, rockin’ guitar melody and sing-along lyrics. “The Passover” states “don’t worry, stop, hurry, get on with your life.” An acoustic guitar, bongo beat anthem ending with beautiful harmony-filled vocal rounds that could easily be played over the closing credits of a romantic comedy. The day has ended, but TSOOL are back. Hopefully they will return to the US for a longer stay than their six stop visit. While waiting four years to follow up their successful Origins Vol. 1, I tracked down the import only, also two CD, 32 track compilation of rarities/b-sides called A Present from the Past. This, by the way, is a great journey of the band’s history up to Communion. www.yeproc.com ERIC EGGLESON

04.20.09
Joe E.
LOVE GOT IN MY WAY- (EABLA)-When I found out that the folks behind this record were none other than Brandan Kearney and Gregg Turkington I knew it was going to be good. Brandan used to run the Nuf Sed label in San Francisco while Turkington was at the helm of the Amarillo label in S.F. as well. While both produced it the (new) label is Kearney’s and this is his first release (and he is now based here in Portland). Basically Joe E. is Joe E. Neubauer, a Florida construction worker in the 60’s and 70’s who had a booming voice (occasionally bringing to mind Scott Walker) and the drive to be famous. Basically, a Ft. Lauderdale, FL based label, SRS International Recordings charged Joe a hefty fee and provided him with a band and songs too. After he recorded the record it was released and seemed to be doing fairly well. One day he showed up at the SRS. office, to get more info on his upcoming tour of the U.K., only to find the place empty and the label owners nowhere to be found. He was crushed and even more so when he found his master tapes in a nearby dumpster! Anyway, it has taken over 3 decades but here it is, reissued in all its glory with a fantastic, informative 16 page booklet. Of the 11 songs my favorites are the snappier, upbeat ones like “Thinkin About Me, Thinkin’ About You”, “Mother Nature” and “Live It Like It Is” but there is honestly not a bad song in the bunch. The string arrangements are gorgeous and Joe’s vocals have some serious range (I was not kidding about the Scott Walker comparisons). If you’re thinkin’ a redneck Tom Jones with a bad suntan and too much chest hair you’d be wrong, these songs are truly worth hearing. www.eabla.com

04.20.09
Fucked Up
THE CHEMISTRY OF COMMON LIFE-(MATADOR)- Ok, I completely missed the boat on this Toronto bunch (band members: Pink Eyes, 10,000 Marbles, Gulag, Young Governor,. Mustard Gas and Mr. Joe) who formed in 2002. This is their 2nd proper album (they have plenty of releases though) and I have to say, as an old hardcore fan, this is incredible. In much the same way that Union Carbide Productions debut, IN THE AIR TONIGHT, first lit my stove back in the mid-80’s and then Turbonegro’s ASS COBRA did decade later this bunch, led by the very large Pink Eyes, just rip from start to finish but this is no generic h/c blueprint, this band adds keyboards, a flute and plenty of subtleties that will begin to sink in after a few listens (the record was described as “lush” by one reviewer and I can’t say I disagree) . The first two songs, “Son the Father” and “Magic Word” both rush out of the gate like a rabid pitbull (well, “Son the Father” does so after a 90 second intro) while tune three, “Golden Seal” is odd experimental pop with twisting keyboards. The searing guitars on “Days of Last” reminded me of 80’s Ohio band Sister Ray while the , umm, shoegazey “No Epiphany” adds Pink Eyes guttural growl atop the hazy guitars and “Black Albino Bones” just gallops from start to finish. The rest of the record is no letdown at all and I’ve heard live they have to be seen to be believed. . If you like what you’ve read so far and don’t have this record stop what you’re doing and go out and buy it. NOW. Pink Eyes commands you. www.matadorrecords.com

04.20.09
The Music Tapes
MUSIC TAPES FOR CLOUDS AND VOLCANOES- (MERGE)- With The Television Tells Us, former Neutral Milk Hotel multi-instrumentalist Julian Koster made several statements. One of them was that compact disc packaging design shouldn’t be limited to one-dimensional artwork: The pop-up collage remains a classic of the form. The other big statement, one borrowing from schools that include a weird hybrid of John Cage and Jandek, was that music didn’t necessarily have to be tonal, organized or remotely cohesive to be interesting. The record consisted of several mini symphonies that required repeated listenings to absorb. (Alas, I didn’t really have the time, and haven’t put it on in years, although I do occasionally play with the pop-up CD cover, also available in its LP form.) Which didn’t prevent me from picking up Clouds and Tornadoes. And, surprise! Koster has, as he did with Chocolate USA, again begun creating more traditional song structures, in terms of rhythms and pop trickery. The landscape remains the same: Music Tapes employ Koster’s musical saw as the primary driving instrument, and while the device lacks in dynamic range, it’s as soulful, in Koster’s hands, as, say, Sly Stone’s organ. The standout songs are “Majesty,” which recalls the finest of the Elephant 6 late-1990s tunesmithing, and Nimbus Stratus Sirus (Mr. Piano’s Majestic Haircut), which melds the Beach Boys spirit with Neutral Milk’s more arty tendencies. This record is, at about 28 minutes long, compact yet memorable. It’s not the definitive Elephant 6 record — let’s face it, In the Aeroplane Over the Sea could become the collective’s Dark Side of the Moon, purchased and digested to long after its initial release — but it’s still a very nice step in Koster’s distinguished and intriguing career. www.mergerecords.com ANDY GIEGERICH

04.20.09
Still Flyin
NEVER GOING TO TOUCH THE GROUND- (ERNEST JENNING)-I must say, I have never been a big reggae fan, I own Bob Marley’s LEGEND cd, a few burned cds my pal Chris has made for me and I did see one kickass gig a decade or so ago by Toots and the Maytalls. Oh, plus my Bad Brains cds but I fast forwards past the reggae songs. Not sure if San Francisco’s Still Flyin’, a musical collective of nearly 20 people led by Athens, GA transplant Sean Rawls (which includes a few Aislers Set members, among others) want be labeled as a reggae band, party band is more like it those they came up with the term HAMMJAMM. There is , however, a nice mix of reggae, rock steady and straight up indie pop on NEVER GONNA TOUCH THE GROUND and it all totally works and adds up to one of my most listened to records of the year, so far. The record starts off with the title track in which Rawls begins, after a dubby intro, by singing “Your arms are sweaty, so fuck the stress” which curves its way into a singalong with the song title being repeated over and over while some sweet melodies back it up. “Follow the Itinerary” starts with the opening chant of “Wuh-oh-oh” and continues through most of the song til it leads to another killer chorus. Track three, “Forever Dude” jumps it up a bit and kicks into a cool rock steady beat with danceable horns and bouncy rhythms. Not all of the songs hit the mark, a few doze off into never never land (“Act of Jamming”, “Haunted Houses”) but heck, most of this is a blast. It’s easy to get wrapped up in this band’s intoxicating tunes and I can’t wait ‘til their party bus rolls into Portland and I can finally see them live. www.ernestjenning.com

04.13.09
The Bye Bye Blackbirds
HOUSES AND HOMES- (AMERICAN DUST)-This one is a bit of an older one, being released late last year but I just recently got around to listening to it and I’m glad I did. This is terrific guitar pop in the Yo la Tengo/Teenage Fan Club vein from Oakland, CA and why they’re not bigger than they are I have no idea. The songwriting is strong and having an opening cut go one for 5 minutes would normally send me reaching for the fast forward button but not this one: “The Ghosts are Alright” is pure Byrdsy bliss and worth hearing all 5 minutes and change. . They tone it down a bit on the wispier “Shed the Skin” (which reminded me a bit of Elliott Smith) while then channeling classic 80’s Aussie/Kiwi pop on “In Stereo.” The band has enough good taste to mention bands like Sneaky Feelings, Buffalo Springfield and The Reigning Sound as influences in their press kit. I’m really bummed it took me so long to finally put this in the cd player but with so much other stuff around, I’m glad I gave it a chance. Can’t wait to hear their next one. www.americandust.net

04.13.09
Justin Townes Earle
MIDNIGHT AT THE MOVIES- BLOODSHOT)- You know him as the son of rebel country rabble rouser Steve Earle but on this, his sophomore effort, Justin Townes Earle seems more willing to sing about love and life than any sort of political agenda and it pays off in spades as Earle has unleashed a terrific record here. With a crack musical cast (including his live sideman Cory Younts who adds banjo, mandolin, harmonica, piano, etc.) the songs range from the slow-as-molasses opening title track (a bit reminiscent of early American Music Club) to the barroom honky tonk of “What I Mean to You” to the quick banjo pickin’ of the stellar “They Killed John Henry.” Elsewhere he does serious justice to the Replacements “Can’t Hardly Wait” while he channels the ghost of Gram Parsons on “Poor Fool” and gets caught up on the railroad tracks on “Halfway to Jackson.” Whether you care for his old man or not doesn’t matter, Earle has made his own record here and one listen to these 12 tracks you can’t help but notice the man has some serious talent. www.bloodshotrecords.com

04.13.09
Greater California
ALL THE COLORS- (SUBTITLED AUDIO)- Was really happy to see this 3rd long-player by this Long Beach, CA bunch come into the po box as I wasn’t sure if they had packed it in or not. I booked them once in Santa Rosa, CA about a decade ago and leaders Terry and Kari Prine were real nice folks who put on a fine live show. They got a different producer this time (Mike Kamoo did the first 2 records) in Isaiah Ikey Owens but luckily he kept all the same gorgeous subtleties of the first 2 records. Think The Zombies, American Analog Set, The Kingsbury Manx, The Byrds and even a hint of Beach Boys too. The bouncy, opening title track is a good indication of where they are at while track two, “Them The Downs” adds a bit more grit to the proceedings and by track three, “Five Sense”, they are adding some McGuinn-isms and sounding at the top of their game. My favorite stuff they do is on a tunes like “The Foolish Son” where they dig up some cool 60’s melodies ala The Association or Zombies but add enough u-turns to keep it interesting. I’d like to say I think it will be this record that will break them but I have a feeling these guys will continue to be a well-kept secret until the indie kids start to wise up. www.myspace.com/greatercalifornia

04.13.09
Dent May & His Magnificent Ukulele
THE GOOD FEELING MUSIC OF...- (PAW TRACKS)-Dent May and his band, the Magnificent Ukulele are one of those bands that I saw live before I had ever heard them on record. They opened for someone, I can’t remember who, but they won my heart over with those superb songs and playful stage presence. He, Dent, looked like Chris MacFarlane (man behinds the awesome Indiepages website) but hailing from Mississippi he had a slight drawl in his voice and sounded to me like if Jens Lekman hailed from the American south instead of Sweden or perhaps a poor man’s Jonathan Richman (actually a mixture of the two). Yes, Dent played a magnificent uke while the rest of the band followed his every move and really brought the tunes to life. Songs like “God Loves You, Michael Chang”, “College Town Boy”, ”You Can’t Force a Dance Party” might be overly precious if, well, if they weren’t so darn good. He adds plenty of humor in his lyrics (as if those previously mentioned song titles weren’t a tip off) and the music itself? Well, to me it goes down like a tall glass of sweet tea I used to drink at my grandma’s house (in the American south, Georgia to be exact). www.paw-tracks.com

04.06.09
The Gaslight Anthem
THE '59 SOUND- (SIDEONEDUMMY)-Second record (first I’ve heard, though) from these emo punks from New Jersey who seem to hit nail that sweet spot where the fist-pumping hope of a Bruce Springsteen meets the high-energy melody of a Social Distortion into a batch of terrific songs. Yeah, you’ve probably really about it by now: overproduced, vocals mixed way high, forced emotion , lyrical clichés, blah blah blah …just put it on and try and take it off. Do not lump these guys in with bands like New Found Glory or Good Charlotte as they’re so much better than that crap. I don’t mind vocalist Brian Fallon’s voice up in the mix ‘cos I like his pipes as it’s got the right amount of grit mixed in with the soaring harmonies. The record opens with the galloping “Great Expectations” which rips right into the searing title track (one of the best songs I heard all of last year) and 2 songs later is “High Lonesome”, which seems to be yet another song about dying friend (seems to be a theme here). “Miles Davis & the Cool” and “The Patient Ferris Wheel” are two more winners (the former reminded me of Mike Ness and Co.) in a record full of them. A few of the tunes plod along, the clumsy “Old White Lincoln” comes to mind but heck, most of this is great. It really is. www.sideonedummy.com

04.06.09
Ideal Free Distribution
THEN WE WERE OLDER- (COLOR WHEEL)- Lots of talk these days about the end of the album, in terms of music being presented as song cycles or multi-part components. I’m honestly not sure if that means artists will issue one song at a time, or over how long that would be, or whether the form will break down completely in favor of quick-shot singles. Maybe it’s even been that way for a while. I recently came to the iPod world and after resisting devising an electronic playlist for a few months, can now appreciate the beauty of easily drafting an mix barrage consisting of favored songs off various records. And, what the hell, I haven’t listened to commercial radio since 1987, so if the more popular artists want to peddle their wares in bite sizes rather than formatted thematical chunks, fine with me. It actually might be a good point of demarcation: Many might base their buying habits based on whether an artist is capable of issuing any type of multi-song formats, or collections, or, yeah, what we used to call “albums.” Whatever, with Then We Were Older, Ideal Free Distribution has made an album, a remarkable set of pop tunes that harken to Flying Nun’s late-80s/early-90s lineup as well as to, especially in the vocals department, Apples in Stereo. Fitting since Robert Schneider, the head Apple, discovered the group in his adopted Louisville hometown. It’s an album that flows effortlessly from one gem to another. Even the middle, typically a repository during the CD age for the songs not quite good enough for a record’s beginning or daring enough for the
end, features the winning William Buss, a tale of a mother’s boy that’s at once catchy and mildly depressing. The fourth song, Turn To Find You, beautifully displays Tony Miller’s tenor (a bit Thom Yorke-ish), which, throughout the record, meshes well with the array of acoustic guitars, marimbas and sleigh bells that give this record a keen post-British Invasion feel. www.idealfreedistribution.com ANDY GIEGERICH

04.06.09
Daniel Martin Moore
STRAY AGE- (SUB POP)- As the story goes apparently this Kentuckian was signed by Sub Pop label on the strength of an unsolicited 4 song demo. They got it, liked it and last October released it. This isn’t, however, some bedroom folkie. No, in 2007 Moore flew to LA and at least part of this record was co-produced by Joe Chiccarelli, who you may know from working withU2 and The Shins. I mean, this kind of quiet folk, akin to Nick Drake or the stuff Mojave 3 leader Neil Halstead is doing these days, sure doesn’t sound L.A. produced. Moore’s songs excel in their graceful, understated beauty. Listen to the gorgeous “That’ll be the Plan” or the haunting “Who Knows Where the Time Goes” and bask in Moore’s delicate voice. There’s also some lovely piano (courtesy of Moore’s brother, Earl) and exquisite violin (by Ms. Petra Haden) which only adds to the superb songwriting. It’s not anything you haven’t heard before but Moore simply does it really, really well. www.subpop.com

04.06.09
Royksöpp
JUNIOR- (ASTRAL WERKS)-I thought it would be pretty hard to top the last Royksopp release, The Understanding. But the Norwegian duo have met my every expectation with their latest album, Junior. Its dance-y of course, but with just a tinge of darkness that makes the songs interesting on many levels. We get to hear Karen Dreijer (The Knife, Fever Ray) making another stunning vocal appearance on 2 songs, as well as guest singers Lykke Li, Anneli Drecker, and Swedish pop sensation Robyn. The songs are as varied as the vocals, going from the bouncy, brilliant "Happy Up Here" to the more serious, string-laden "Roykopp Forever." This band has just got it right- dance music with pop sensibilities and amazing voices. I can't wait to hear the counterpart album, Senior, to be released later this year. www.astralwerks.com LAURA WATLING

03.30.09
Isobel Campbell & Mark Lanegan
SUNDAY AT DEVIL DIRT- (FONTANA)-I know I’m not the first one to day this (an won’t be the last) but geez what an odd pairing this is. The twee temptress formerly of Belle & Sebastian and the gravelly dude who used to be in the Screaming Trees. The thing is their first record totally worked and so does this sophomore effort. Basically the songs are mostly slow n’ steady, a little like the old Lee Hazelwood and Nancy Sinatra records of the 60’s except Lanegan has a voice more like Tom Waits (or Nick Cave) and the yin and yang of their voices is quite chilling (in the best way possible). I love the should-be-on-a-western-soundtrack vibe of “The Raven” and “Who Built the Road” (both complete with eerie strings…the latter with some of Isobel;’ best vocals on the record). “Back Burner” is mostly all Lanegan and it sounds like what you’d hear in the mountains of Taos, NM on a full moon night. “The Flame that Burns” is a tweaked waltz and one of the most upbeat songs on the record and “Shotgun Blues’ sounds like a broken down jalopy. It must be mentioned that Isobel wrote, produced and arranged the record and if you want to try something a bit different on then SUNDAY AT DEVIL DIRT will definitely scratch that itch. www.v2music.com

03.30.09
Hello Seashore
HOY A LAS OCHO- (MAGIC MARKER)- You don’t hear about a lot of bands coming from Mexico (or at least I don’t) but Magic Marker took a gamble and have released this , the 2nd record, by this pop trio from Mexico City. The band is the trio of Oro de Neta (synths, piano, bass), Bonnz (drums) and Vanil LA Face (vocals) Their debut, AND THE JELLYFISH PARADE, was released in 2006 and the Mexican version of this record came out in 2007. The record consists of 11 songs of sweet, sweet indiepop. Vocalist Vanilla face goes back and forth between singing in English and Spanish and while I prefer the former the latter is fine as I can brush up on my Spanish. Her voice is completely infectious and on several of the songs you hear a toy piano (one of my favorite instruments) which only add to the playfulness. A few of my favorite songs on here include the bouncy “Ok!...Lobster”, the super melodic “The Island Trip”, the dreamy “Won’t Say Anything” and plenty of others. 11 songs in all (this includes 4 bonus tracks) be the first on your block to discover this ebullient bunch. www.magicmarkerrecords.com

03.30.09
Middle States
HAPPY FUN PARTY- (EFFEN)- When a band that rocks hails from Minneapolis you’re supposed to say how influenced by The Replacements, Husker Du or Soul Asylum (I swear, S.A. used to be a great band) they are and in the case of this Twin Cities band, led by Wes Morden, there is a bit of ‘Placemats influence but I hear more GBV, a bit of New Pornographers , a dash of Big Star and even some early Who as well (check out “No Curse No Drunk No Fight”). I also dig when they slow the tempo down a bit, like on the terrific “Straight to the All or None” and Morden digs deep for the vocals. “Thought Control” kicks it into high gear from the start while Morden’s guitar partner, Ben Glaros, adds some meat to the proceedings and the rhythm section of Peter Fleming on bass and Craig Gallas just pounds. If you’re reads this far and are still interested then go ahead and drop your hard-earned dough on HAPPY FUN PARTY. Well done gents. www.myspace.com/middlestates

03.30.09
Tennis Courts
DIG THE NEW SOUNDS OF- (SWEET SCIENCE)-Nice, it seemed like just as I was ready to put the previous Tennis Courts cd to bed out comes another one. This Chicago band is led by the elusive Wes Hollywood who was in a band known as the Wes Hollywood Show who I must admit, I’d never heard but that previous T.C. disc from 2007 was a sweet jolt in the vein of other Illinois brethren like Cheap Trick and Material Issue. Hollywood has no lack of hooks hidden in that (very large) duffel bag of his and the guitars go crunch too. Opener “Forever True” is a driving opener with cascading vocals and melodic guitars while “Swimming Pool” states “all I want is a swimming pool” (me too) is hooky as all get out and “Love I the Light” employs some well-placed keyboards. If Elvis Costello wasn’t so busy hanging out with folks like Robert DeNiro he would go back to his roots and take these guys out on tour with him (and have Gentlemen Jesse as the openers) and give these guys the fanbase they deserve. www.thetenniscourts.net

03.23.09
The Black Watch
AFTER THE GOLD ROOM EP- (ESKIMO)-Two decades on and this Los Angeles institution, led by the elusive John Andrew Frederick (a professor by day), is still going strong. This ep has 6 songs (2 of the remixes from last year’s ICING THE SNOW QUEEN full length) and the songs mostly fall into that buzzing pop territory with plenty of melodic feedback (if you dig MBV or Jesus and Mary Chain, and I know you do). My fave songs are the squealing opener “Strawberry Girl”, the bouncy pop number “One for the Republicans” and the closing acoustic tune, ”When Lauren First Opened.” If you’re jut dipping your feet in this is a good place as any to start. www.myspace.com/theblackwatch

03.23.09
Mascot
ART PROJECT- (RED PANDA)- Though sporadic, the catalog of Mascott (aka Kendall Jane Meade) more than makes up for its occasional-ness by being so strong. The ep (1998’s ELECTRIC POEMS) and the full-length (2000’S FOLLOW THE SOUND) were both on the Le Grand Magistery label while 2004’s full-length, DREAMER’S BOOK was the first release on her own Red Panda Records imprint. Now comes ART PROJECT, released last year and it’s 9 songs of enchanting beauty. You’ll hear the strum of an acoustic guitar her, gentle keyboard line there, some sophisticated strings at times but for me the real strength here is Meade’s magical vocals. You hear it on the opener, “Live Again” when she begins the “la la la la la la” (hitting a higher pitch on the last la) and again on the near-perfect pop-folk “4th of July.” The songwriting quality does not let up as the record is full of quaint pop tunes like those and then, on the record’s closing tune “Wildwood Flower” Meade breaks out the banjo and just then you realize you’d like to hear a whole record full of her doing country songs. We have a serious low-key talent here folks. www.redpandarecords.com

03.23.09
Jonathan Rundman
INSOMNIACCOMPLISHMENTS- (SALT LADY)- Talented yet unknown Mpls songwriter (who has a ton of records out) in the Marshall Crenshaw/Alex Chilton vein . Apparently he titled this 2008 record after recently becoming a father and to getting much sleep (I know the feeling Jonathan!). At 18 songs it’s bit much to take (I’m into the less is more credo) but the songwriting stays strong throughout and you gotta hear terrific tunes like “Imperfection”, “New Eyes” and “”Dialysis Carpool” and plenty more. While you’re at it also pick up his BEST OF cd released in 2007which grabs 20 of his best songs from his records. www.jonathanrundman.com

03.23.09
Sagittarius
THE BLUE MARBLE- (SUNDAZED)-Sagittarius pitted the talents of Beach Boys producer Gary Usher with The Millennium’s Curt Boettcher and their psychedelic soft pop was among the best of the genre. On this sophomore record, originally issued on Together Records in 1969, as Usher is quoted in the liners, he was experimenting with the Moog quite a lot and with several different keyboards so the final product here is different than their fantastic debut, Present Tense but apparently it was much closer to what Usher originally wanted to accomplish with Sagittarius. The record opens inexplicably, with a trippy Beach Boys cover of “In My Room” and then drips into a Boettcher composition, the harpsichord-heavy “From You Unto Us” and onto the gentle, soaring “Will You Ever See Me?” Elsewhere, the title track, written by Usher and ( Millennium member) Lee Mallory, is one of the most poignant and beautiful songs on the record. A few of the songs dissolve into their own ambitions like the quirky “Lend Me a Smile” and the hippy dippy “I Sing My Song.” Of the four bonus tracks one is a Harry Nilsson cover while two others are mono single versions of “In My Room” and “I Can Still See Your Face.” While not the masterstroke that Present Tense was, The Blue Marble is still a welcome addition to the collection of any fan of psychedelic pop. www.sundazed.com

03.09.09
Cause Co-Motion
IT'S TIME- (SLUMBERLAND)-Nice to see Slumberland come back in a big way with the trifecta of Brooklyn, NY bands in Pains of Being Pure at Heart, Crystal Stilts and this bunch. This is a collection of singles from 2005-’08 and these 14 tunes zip by in 21 minutes but it’s all great fun. If you like the short, shambling, frantic tunes of the early Television Personalities or Comet Gain (14 Iced Bears too) then this will be right up your boulevard (‘cos an alley is not big enough). One listen to the fantastic opener, “Only Fades’ Away” and you’ll know whether you like it or not, youpre either with us or against us (as Dubya once said…’cept he wasn’t talking about Cause Co-Motion!). “Baby Don’t Do It” has one of those great one not guitar solos while “Take a Look” add some fuzz pedal fuzziness and a giant mound of reverb. I honestly don’t think there is s single song on here that I don’t like and even though it is a collection of singles it sounds remarkably cohesive, like all the songs were recorded at the same time. Plus, the booklet contains reproductions of all of the 7” sleeves. Phil Knight has one of these, you should DO IT too. www.slumberlandrecords.com

03.09.09
Sally Crewe & The Sudden Moves
YOUR NEAREST EXIT MAY BE BEHIND YOU- (8-TRACK MIND)- Sally Crewe landed in Austin Texas a few years back, coming from her native U.K . After a strong debut, (2003’s awesomely named Drive It Like You Stole It) she came back strong with a fuller sound (including keyboards) on her 2005 sophomore effort, Shortly After Take Off. On record number three she goes for a more stripped down sound and with a terrific, obedient rhythm section (including Dumptruck’s George Duron on drums and Matt Babb on bass…ummm…is Dumptruck still around?) who seem to be able to do whatever it is she asks (“Ummm, can you guys play “No Dancing” backwards in 3-4 time?” , “Why, of course Sally”) they pump out twelve winners on here. The record starts off strong with cool, jittery energy of the title track and while the next couple of tunes were decent –to-good it’s on song number 4, “Sleepyhead” where Crewe and company reel off a clutch of superb tunes. That song could/should be the single while the next cut “How Can People Wear That Stuff”, has an opening guitar riff worthy of anything off Vs. and “Looks Fast For a Reason”, arguably the record’s best song, has some to-die-for hooks and shows Sally stretching her vocals chords to full effect. The second half of the record is just as durable so remember, the next time you’re in the record store THIS is the kinds stuff you’re supposed to take a chance on and buy. Buy this. www.thesuddenmoves.com

03.09.09
Neil Halstead
OH! MIGHTY ENGINE- (BRUSHFIRE)- Six years after the debut solo album of Neil Halstead, which I played to death by the way, I began searching the Internet to find out what he was up to. Yes, he’s still in Mojave 3, but I was shocked to see he was touring as the opening slot for Jack Johnson of all people. Not that I have anything against JJ, I just couldn’t believe Neil was opening for him. Upon further research, Neil has left 4AD (dropped?) and with his new label Brushfire Records he is still performing his melancholy folk the same as usual-or is he? The CD starts off with the title track and no new ground is broken here except maybe that this CD is more stripped down than the other, more straight out acoustic guitar. He still pays his dues to Nick Drake with songs like “Little Twig,” “No Mercy For The Muse,” and even “Paint A Face” with its repetitive guitar picking and subtle piano touch sounds like a Drake outtake. The highlight of this release is “Witless Or Wise” with its heart-filled melody, mysterious lyrics, and the occasional pedal steel guitar. Another standout is the droning beauty with added synth beats in “Always The Good.” I couldn’t help feeling that I’ve heard these songs before. I kept checking song titles-maybe b-sides to a Cdsingle? But “Baby, I Grew You A Beard” appears to be a direct lift of “Hi-Lo And Inbetween.” Luckily it’s one of my favorites from Sleeping on Roads. Oh, and guess who owns Brushfire? Jack Johnson. It’s all becoming clearer now. www.brushfirerecords.com ERIC EGGLESON

03.09.09
AC Newman
GET GUILTY- (MATADOR)-Another year, another solid release from indie-rock's favorite Canuck, and Juno award winner, Newman. Lemme tell you, this man knows how to write a great pop song - end of story. "Get Guilty" is Newman's second solo outing away from his 'day-job' in the much beloved New Pornographers, and while it differs slightly from his debut and the New Pornos records, his songwriting is fairly unmistakable. Side one of "Get Guilty" is a logical progression from 2004's "the Slow Wonder," minus the cellos, whereas the tracks on side two could easily be mistaken for New Pornos B-sides - substituting some acoustic guitars for the usual, rampant keyboard antics. Certain tunes like "The Palace at 4 am," "Prophets," and "All of my days..." are immediately catchy and great, while others like "The Heartbreak Rides," "Thunderbolts," and the album's opener are more 'growers' that sneak up on you unsuspectingly. Either way, the hooks abound, the lyrics are clever and intelligent and the gang vocal harmonies are in full effect - all of which sound terrific. Rarely can a songwriter / band draw from so many different styles and eras and be able to blend it all together cohesively. AC Newman seems to be able to do that without any trouble at all. If you've enjoyed any of his previous work, from Zumpano onward, this record will definitely not disappoint. If you're new to the fold, it's not a bad place to start either. Well done once again. www.matadorrecords.com JEREMY GRITES

03.02.09
The Handsome Family
HONEY MOON- (CARROT TOP)- While I must admit I have not kept up with the comings and goings of the Handsome Family (married couple Brett and Renie Sparks) the few records I do have by them are fantastic and on this, record #8, they do not disappoint. This record was written to celebrate their 20 years of marriage and as someone who has been married for not even half that long