2009 REVIEWS
2008 REVIEWS
2007 REVIEWS

12.27.10
Twink The Wonder Kid
MATT OVERHUS’S NIGHT ON ROCK MOUNTAIN-(KING BEAGLE)-You ever see a record or CD and take one look at the artwork or band's name and just know you're gonna dig it ? Well, here's one for you :Twink the Wonder Kid's new release " Matt Overhus's Night on Rock Mountain " ( King Beagle). This is snack rock for middle aged kids who can't seem to let go of their Stooges records .The song titles kind of give away what's comin on this release . The band cuts up on tracks like " Cute as a White Baby " " Russell's Being Weird on the Mattress Again" and "Butt Ugliest One in the Band " This album is full of protopunk/powerpop that acknowleges it's debt to the hard chargin MC5 . TWK's handsome frontman Dick Rossetti hams it up on this record almost as much as in the band's famous live sets. If you look these guys up in the rock and roll dictionary it will read like this :Twink the Wonder Kid = Neo-Luddites playing pre-ringtone styled riff rock for minions in their own peer group. www.twinktwk.com DANIEL CRAIG

12.27.10
Tamaryn
THE WAVES-(MEXICAN SUMMER)- The Best Coast cd got me interested in this label and it looks they have released a whole bushel of stuff lately, much of which I need to check out. Apparently this band had a bunch o’ eps and singles out but this is the first I’ve heard of them. It is made up of New Zealand born Tamaryn (who was living in NYC) and San Franciscan Rex John Shelverton (Vue, etc.). They moved to San Francsico to make beautiful music together and well, they’ve done it! They hit that sacred mark right where shoegaze, dream pop and gorgeous noise all collide, then spark and finally get comfy. Think Mazzy Star meets Beach House meets Flying Saucer Attack and you’ll be in the ballpark. Opening cut “The Waves” didn’t do it for me but the next several cuts more than make up for it. “Choirs of Winter” cascades like the prettiest waterfall ever while “Love Fade” is a hushed, drugged fantasy set to music and “Sandstone” has one of those sunshower guitar sounds ala Cocteau Twins (or A Sunny Day in Glasgow) that creates a dizzying effect (in the best way possible). One or two other cuts took side trips to dullsville (“Haze Interior”, etc.) but the winners on here more than make up for it. Anxious to see what the band’s next move it. www.mexicansummer.com

12.27.10
Wild Nothing
GOLDEN HAZE ep-(CAPTURED TRACKS)- If you didn’t think that Jack Tatum could do it (do what? top his terrific full-length, GEMINI) well, he did it, or at least equaled it. This 6-song ep feature 3 songs from the EVERTIDE erp (which I had not heard) and 3 new ones. He is still able to marry all of those U.K. influence (Field Mice, The Cure, etc.) into one gorgeous ball o’ song. The title track is top-flite jangle while the moodier “Quiet Hours” takes it down a notch and “Take Me In” is pure New Order. Later on the driving “Your Rabbit Feet” adds a bit of muscle to the proceedings and the two final songs, “Asleep” and “Vultures Like Lovers” both fit the mood as well. This guy Tatum knows what he likes and knows how to go about getting it. Also, it seems like this sorta of moody jangle pop is actually getting some notice which is great because music like this (other than the usual big names) NEVER used to get notice. Maybe the kids DO know what’s up these day? The thing Tatum remembers is the strength of the song. At times the songs drift off a bit, but never too far off track. This is great. www.capturedtracks.com

12.27.10
V/A
BUBBLEGUM MUSIC IS THE NAKED TRUTH- (REV-OLA)- A couple of years ago, the lovely and talented Kim Cooper wrote an excellent little expose of the Bubblegum genre, entitled "Bubblegum Music is the Naked Truth." (Highly recommended by Dagger!) That book took its title from a seminal compilation by Buddha Records, which collected some of its biggest sellers in one handy place. Rev-Ola has reissued said compilation, and it's a mighty fine little nugget of psychedelic pop! Buddha virtually cornered the market on the bubblegum genre, as there are a number of wonderful, certifiable pop hits on here ("Yummy Yummy Yummy," "Chewy Chewy," "Green Tambourine") as well as other classics by Lemon Pipers, 1910 Fruitgum Co., The Ohio Express and Shadows of Knight. As this is a reissue, the original album (minus two songs due to licensing issues) is expanded by b-sides and other notable singles by the acts on the original compilation. And as for that title...the liner notes reveal that there indeed was a dark side to the bubblegum music scene. Stories include small garage bands signing contracts, changing their name, and put on the touring circuit...all the while a studio band is recording songs, releasing them, and not telling the touring band about it, as well as the tales of dissatisfaction of musicians being treated as expendable, as the brand name meant more to Bogart, and bubblegum Svengalis Jerry Kazenetz and Jeff Katz. Still, even if the band's name might not remain the same, the songs that these "bands" (no matter who they may have been) produced were so timeless that they still resonate today. Get the Cooper book, get this compilation, and enjoy one of the more unusual musical chapters in rock history! www.cherryred.co.uk/revola JOSEPH KYLE

12.20.10
The Fresh And Onlys
PLAY IT STRANGE-(IN THE RED)-Missed the boat on this San Francisco band, apparently at it since 2004. They seem to be in good company these days with what else is happening in the city , musically speaking (see The Mantles, Thee Oh Sees, etc.) and this is full-length number three (GREY-EYED GIRLS was their 2nd as they had an earlier one on John Dwyers label). GREY-EYED GIRLS was a nice into but this is where the band really comes into their own. How to describe this bunch is easy: take a pinch of your fave psych band (Love), a dash o’ 60’s garage (The Sonics?) and then some 80’s jangle and a hint of what made the paisley underground so special and bam, you’ve got one terrific band who can write honest to god songs (imagine that). Opener “Summer of Love” is not forgettable but so low-key you might miss it but the next tune, “Waterfall” is the album’s masterpiece (and the best song I’ve heard by these guys yet), just over 3-minutes of reverby surf/twang guitar, shuffling rhythm and echo, lots of echo. Song of the year? Maybe. “Until the End of Time” is close runner up and nearly as perfect: more of that guitar, killer whirring organ and Tim Cohen’s perfect-for-the-music vocals (a bit of a deep drawl). Other highlights include the happily bashing “Tropical Island Suite”, the surf thump of “All Shook Up”, etc. Ok, I’ve just described the first five songs and PLAY IT STRANGE just keeps going (11 songs in all at nearly 37 minutes). With investors being frightened by the market out there The Fresh and Onlys are one of the few safe investments out there. One of 2010’s best. www.intheredrecords.com

12.20.10
Happydeadmen
ELEVEN POP SONGS-(FRACTION DISCS)- This Swedish institution started in the late 80’s and were a big influence on the Swedish pop sound that we all know and love today (Acid House Kings, etc.). I’m not sure how active they are today but I do know that guitarist Magnus Karlsson is in The Charade with folks from The Shermans. This is their debut and it was originally released in 1990 on the Ceilidh label (CEI 017) and Fraction Discs decided to do a 20th anniversary reissue of it and they deserve a round of applause for that. The band, at the time, were influenced by the UK jangle pop sounds of bands like The Smiths (of course) and The Razorcuts, among others. The record was recorded quickly, in four days, and after listening to it you’ll see why it made an impact on its home country and beyond. The breezy “The Age of Chivalry’ is a terrific opener, jangly guitars and a snappy beat while the more power-poppin’ “Emilia” shows of vocalist Jon Hedin’s pipes (“whoah oh oh oh”). Elsewhere you have the terrific “Silent Sigh City” (originally released as a single in 1989 and probably the band’s most enduring song), the dreamy “In Memory of Broken Hearts” and the zippier “Heaven No!” (another classic). A long-awaited reissue (in my house, anyway) and while there are no bonus tracks (fine with me) there is a nice booklet with liners from Ceilidh founder Ola Hermanson as well as another Swedish legend Johan Angergard. A much needed reissue. www.fractiondiscs.se

12.20.10
The Orb Featuring David Gilmour
METALLIC SPHERES-(COLUMBIA)- Two decades ago, KLF mastermind Jimmy Cauty teamed up with Alex Paterson, and formed The Orb. Twenty years ago, in 1990, the two split, due to business issues. At the time, The Orb had an album scheduled for release, but after the split, Cauty removed Paterson's contributions, and released it under the name "Space." It's an extremely obscure treasure, but one worth seeking out. This little bit of trivia is important, because twenty years later, The Orb's Alex Paterson has teamed up with David Gilmour of Pink Floyd fame, and has released a record called Metallic Spheres. In its own odd way, Metallic Spheres is a follow-up to Space, with many of the elements in place: dark, deep trance, a little rhythm here, a little atmosphere there. Like the later edition of the Space record, the songs on Metallic Spheres has been mixed into two mega-mixed "sides," one entitled Metallic and the other Spheres. It's a nice effect, one that makes the songs utterly blissful. Oh yeah, and then there's that whole Pink Floyd thing. David Gilmour's contributions fit in quite well with Paterson's compositional ethos. He takes a vocal turn or two throughout both sides, and it's easy to tell what musical parts are his, as his moments turn away from the ambient house Paterson is known for, and sound a bit more traditional "rock," not unlike his solo album About Face and his 1980s Pink Floyd album A Momentary Lapse of Reason. This Orb/Floyd collaboration is one that has been a long-time coming, and is worth every second of its 49 minutes. www.columbiarecords.com JOSEPH KYLE

12.20.10
Clive Wright
TAQSIM TO ANTILA- (DARLA)- I'm a big fan of instrumental music, but I am also aware of its limitations. One of the biggest criticisms is that it sounds same-y, or sounds like some dude pressing "hold" on a keyboard with delay, and calling this little revolutionary act "art." While there are certain truths to be found in that, when one finds an artist who really knows their stuff, one clings on to them. One such fellow is Clive Wright, a musician who in recent years has become known from a series of collaborations with master composer HAROLD BUDD. Taqsim to Antila is an album taken from a live performance held in the Mojave desert, with visuals presented by a local astronautical organization. The results, however, are stupendous. While it'd be great to see this live, I am most content, as the album contains six songs, with five that go well over the ten minute mark. But what more can I say about such music? I can't, really. Taqsim to Antila's gentle, simple music has proven to be one of the most beautiful, most restful albums of 2010. It is a gentle swim in the calm cerebral waters of the mind and it is no insult to its greatness for me to say that I cannot listen to the entire album without falling asleep. A quiet masterpiece, this. www.darla.com JOSEPH KYLE

12.13.10
The Black Angels
PHOSPHENE DREAM-(BLUE HORIZON VENTURES)-Okay, so it’s less of a drone-fest than those lavished on the first two albums. The Angels still nail the 1969 ambience better than most of their nouveau psych contemp’s. For instance, Thee Oh Sees throw late ‘60s influences, including Mod and just plain ripping beats (Yardbirds) into the mixer with an ear to some of the kickin-est punk and post-punk that followed, some of which also harkened back to early psych. The Angels feel more purist psychedelic, which seems somehow oxymoronic. Wasn’t it all about a good old freak-out, i.e., at least two kids at the love-in are having bad trips, someone’s dancing naked, and Robert Crumb’s sitting in the corner, quietly poking fun at the whole spectacle? Sometimes the way hippie kids and grand-kids are intent on recreating a phenomenon that can’t be recreated (since all original scenes themselves spring from particular environments and cultural syntheses) makes me wonder if the generation that originally boogied to jump and swing was just as bemused by the attempts of groups like The Stray Cats or Squirrel Nut Zippers (not the best examples, maybe, but you get the point. I hope). Anyway, it can also be argued that certain musical forms are classics, and what the new psychedelic bands are about, whether or not it’s intentional, is making the genre into a classic category, nu? So it’s becoming less of an oddity and more and more a hotbed of talent that increasingly demands more discerning assessments. Vocally, Black Angels have a nicer sound than most others I’ve heard, save perhaps Asteroid No. 4. Most of the tunes on Phosphene Dream sound like they could have come from the kind of bands that remained local phenomena, only being preserved via Nuggets and Pebbles comps. “Sunday Afternoon” rocks nicely; “River of Blood” feels rather like Jim Morrison & Co., and if standout “Entrance Song” went a little more nuts (the Angels don’t, really, but they have some serious Southern-feeling fervor) it would be up there with Ty Segall and Thee Oh Sees for top garage/psych kudos (for creating younger or even multi-generational freak-outs). Despite its unrequited-love topic, “Telephone” is almost fun: certainly we can imagine a few Go-Go-booted princesses in cages. This band has to be a good time live, where I suspect it’s at its very best. www.theblackangels.com MARY LEARY

12.13.10
Donovan Quinn & The 13th Month
YOUR WICKED MAN-(SHRIMPER)- OK, this record is good news for a few different reasons. For one it is one of the dudes from the Skygreen Leopards whom I really like and also because it is released on the famed Shrimper label. Do you remember Shrimper? They were doing the cassette revolution was before it was cool (and also released some vinyl and cds too). I thought that label was long gone as I had not heard anything for years (then again maybe I wasn’t paying attention). Anyway, if they ever did go anywhere they are back and this is a terrific release. It is the second record under this moniker and he created it with Jason Quever (the guy from Papercuts who seems to be working on a lot of good records these days). I guess you could call if folk pop but there is bits of toasty psychedelia throughout, at times , reminding me of Tim Bracey’s efforts on Mendoza Line records (and a wearier Dylan, too). Even though the record’s tone perfectly fits the mood of these gray December days it is also uplifting in a way that’s warm and familiar. I’ve listened to the record countless times and each song is its own individual nugget of beauty. “Winter in a Rented Room”, “Mom’s House”, “Your Wicked Man”, “April Tenth”, and on and on and on (side note: that organ on “Street Fighting Girls” REALLY reminded me of something off the latest Clean record, MISTER POP). This should be in your collection, really. www.midheaven.com

12.13.10
Sorrows
BAD TIMES GOOD TIMES-(BOMP)- Not to be confused with the old band The Sorrows but who am I kiddin’, I hadn’t heard of either before this cd popped into my po box. This band was a late 70’s NYC pop band (a few guys were in a band called the Poppees who had some stuff out on Bomp back in the day) who could write great tunes. It’s kind of amazing, just when you think that everything from those days has been unearthed well, out comes ANOTHER great band (that I had not heard nor even heard of). I’m sure folks like Ric Menck and Suzy Shaw have been digging them for years and well, now you and I can too. Apparently the band (led by main songwriters Arthur Alexander and Jett Harris) released 2 records for a CBS affiliate that sank without a trace so the songs on BAD TIMES GOOD TIMES are , from what I understand, different versions, demos, and a few live cuts (though one review I read said that all of the songs from their debut , TEENAGE HEARTBREAK, are included here). Ok, onto the songs…..most of them are terrific! Hook-filled, mid-tempo cuts with killer harmonies, energy, excitement, just all-around strong songwriting. There’s a strong Beatles influence here as well as Buddy Holly and other 50’s/60’s masters (ie: Chuck Berry, etc…check out “That’s Your Problem”). Honestly, there’s too many great songs on here to name but start with the title track, “Teenage Heartbreak”, “She Comes and Goes”, “Can’t Go Back”, etc. you’ll be hooked. Guaranteed! www.bomp.com

12.13.10
John Tavener
THE WHALE/ CELTIC REQUIEM- (APPLE)- Okay, this is the weirdest, darkest record released on THE BEATLES' Apple Records label. Weirder than those Yoko Ono albums, weirder than the Radha Krishna Temple record of holy chants, and weirder than that novelty David Peel album, too. John Tavener is a modern composer of classical music, and his reputation is such that in the decades since these two limited-release albums, he has become a well-known and highly regarded composer, and even was Knighted in 2000 for his contributions to the British musical legacy! The Beatle that took Tavener under his wing surprisingly was not John Lennon, but Ringo Starr, who found "The Whale" to be a unique musical experience--he even participates vocally on it. The story is that of the Biblical story of Jonah, and is...dark. Very, very dark. It's disturbing, too--for those who scare easy, you don't want to listen to it in the dark! In spite of its crepuscular nature, The Whale is a very compelling listen. The same can be said about Celtic Requiem, his second release for the label. It's actually darker than The Whale--and the children's choir that appears throughout makes it even MORE ominous. Two other pieces are found on Celtic Requeim, and would make up Tavener's next major work, Ultimos Ritos, (or "Last Rites'). Both pieces were excellent starts for a young man's career, even if his label associations didn't help much. Both albums were released in small quantities worldwide, with Celtic Requiem only released in Europe--and both are the rarest Apple album releases. Not for the faint of heart, or those who have no passion for experimental music or modern classical. (Fun fact: Ringo loved The Whale so much that in 1977 he would reissue the 1969 Apple recording on his own short-lived Ring O'records) www.applerecords.com JOSEPH KYLE

12.06.10
Clare And The Reasons
ARROW-(FROGSTAND)-Bittersweet banjo plucks, with Clare’s slightly melancholic delivery, seem destined for a romantic comedy soundtrack, especially if the programmer isn’t sick of little-girl vocals. With a slightly lower pitch and less exacting preciousness, Clare could practically stand in for A. Camp. At times the Cardigans feel like an influence: Olivier Manchon’s sensitive mixing helps paint the grey and blue-toned watercolors encouraging winter afternoon ruminations. Slightly surreal elements, including orchestration that swells airily into a sphere beyond that of Nilsson, makes sense in light of Van Dyke Parks’s contributions to the unit’s debut, The Movie. (Readers should know that I’ve been known to snort impatiently, or just feel vaguely bored and depressed by VDP; master of sonic curlicues and flourishes.) This sort of lovely, emotional, at times cinematic approach will charm and impress some; to others it may often feel over-arching, as when a prominently circling organ distracts from the repetitive “You’ve Got Time” vocal. As so often seems the case with artists staring into the mirror of audience and/or critical acclaim, form can subsume substance – in other words, all this orchestration can seem annoyingly self-indulgent without serious compositional chops. “Perdue a Paris” makes me want to wash Clare’s mouth out with soap manufactured by Pink Martini, whose easy sophistication and charm reveals how often Arrow feels much too forced -- much too much. Interestingly, when interpreting Phil Collins’s “That’s All,” Clare & co. handily grab the meat of the thing, actually improving on the original (which may not be saying that much, but still…). There are other tolerable patches in this rainy garden: “Kyoto Nights” burns with the hungry melancholy that could sway a listener wary of this much yin element. And if you’re going to go all VD Parks-ish, opener “All The Wine” nails the ambience with a song that could easily pass for one of his. Still, praying for an end to the gentle plucks and whispers of way too much “nice kid” (for lack of a better handle) or “nice young adult” fluff, I am: It’s enough to make me yearn for a stronger music industry, that helps musicians reign in excesses, write great songs; s…t or get off the damned pot. I mean, lapsing into Yoda-talk I am, and that’s not something to be encouraged. www.claremuldaur.com MARY LEARY

12.06.10
John Wesley Coleman
BAD LADY GOES TO JAIL-(GONER)- Apparently this Austin, TX yokel, also a member of The Golden Boys, is some sort of renaissance man who not only does music but also creates art, makes films and even does a bit of stand up comedy. First off, we need that guy in Portland. I never heard his debut (STEAL MY MIND) but after hearing this one now I’m dying to hear it (or dying for it as The Vaselines once said). The record starts off with a bang, the bent Stonesy title track with some rollicking piano and follows it up with the equally rousing “Fields of Love.” Tune #3, “Lazy Baby” is probably the one that gets them on the dance floor and “Ooh basketball’ sounds like Lou Reed minus the prima donnaishness these days. “Get High Babe” sounds like his take on The Stooges while “Go Baby Go” could be him aping Roy Orbison. Ok, that’s the first half of the record and the 2nd half, which is very good but not quite as perfect as the first half, has a song called “Christians Drive Like Shit.” Umm…need I say more? Apparently there is a Nikki Sudden cover on here but heck if I know which song it I (and I’m a Nikki Sudden fan). If he ever makes it to Portland (he probably already has) I’m taking his car keys to make sure he never leaves. Sorry J.W.C., your ass is mine. www.goner-records.com

12.06.10
Giant Sand
BLURRY BLUE MOUNTAIN-(FIRE)- Giant Sand's latest masterpiece, comes on the heels of the band's twenty-fifth year. While the lineups have changed, the hazy psych-rock-a-billy that informed their formative years has grown into something quite different. But has it? I would say that Howe Gelb is still the same, but his muse has matured into a beautiful, lush technicolor dream. Not unlike the Flaming Lips--even though they sound a hell of a lot different now than they did before, you can find hints of what they would become in their earliest recordings, and vice versa. The Johnny Cash-like "Ride the Rail" could easily have been found on "Valley of Rain," and yet it doesn't sound out of place next to the jazzy "Chunk of Coal" and "Fields of Green," songs that are more nuanced and sophisticated than that of their earlier years. The constant, of course, is Howe Gelb; his voice is an intoxicating treat; a bit Leonard Cohen, a little Kurt Wagner, but one that is all his own. His backing band is also tight, and their slightly trippy yet lush arrangements fit his distinctive voice quite well. Giant Sand is one of those rare groups that will satisfy its longtime audience, yet friendly enough to be a good introduction for those not familiar. No surprises here...just another great Giant Sand album! www.firerecords.com JOSEPH KYLE

12.06.10
The Hush Now
SHIVER ME STARSHIPS- (SELF RELEASED)- The Hush Now is a Boston-based band who , though they have released two fine full-lengths (and a few eps too) have kept a low profile. They are one of those bands who are hard to pin down, I first read about them on a power pop site a few years back and at times get lumped in with the shoegaze crowd (there are elements of that) and then , of course, if all else fails, you can dub them as basic “indie rock’ and hope no one asks you more specific questions about them. The truth is they are all of those things and more. Just a good pop/rock band that sure deserves more attention than they normally get. This new ep , again, self released by the band, has 6 varied tunes and it well worth hearing. Opening cut, “The Other Ones” has a bit of a Cure mixed with The Rosebuds, in other words ringing guitar, driving low-end and nasally yet likeable vocals while “Big Awesome” has a nice quiet/loud aesthetic and when the big guitar hook comes it it’s fist pumpin’ time. “Daedalus Bound” is bouncier and a real hand-clapper while “For What It’s Worth” (not a Buffalo Springfield cover) was the slow, arty tune (meh) and “Vietnam Giraffe” is definitely the hooky, almost danceable single (again, in The Cure vein). Closing cut “Pure Gold” was moodier but with robust guitar lines and a perfect end to the ep. If you’ve yet to hear this band this is a perfect place to start. www.thehushnow.com

11.29.10
Desertshore
DRIFTING YOUR MAJESTY-(CALO VERDE)-Okay, so this San Francisco duo takes their name from NICO's haunting third album, and the cover is nice and depressing, almost Black Metal in nature, and that Phil Carney has played in Mark Kozelek's two bands, RED HOUSE PAINTERS and SUN KIL MOON (as well as the beautifully moody INDIAN BINGO), and that the album has been released on Kozelek's record label--think it might be a dark, moody, gloomy record? Well, yes to the first, kinda-sorta on the second, and not really on the third. Carney is joined by Chris Connolly (not the guy from REVOLTING COCKS/MINISTRY, like I initially though--his name is spelled differently), who is a distinguished, classically trained pianist. While songs like "The Town Alight," "Jordan Heavyhand," and the title track will make you think, "okay, Mark's gonna come in here in just any moment now," for the most part the music doesn't owe too much to his main gig. Instead, Drifting Your Majesty is the sound of two men following a road less traveled, through moody, introspective instrumentals that remind of Doug McComb's solo project BROKEBACK, Bruce Lichter's SCENIC, and even a little bit of LANTERNA. In other words, Drifting Your Majesty is an album of beautifully composed instrumental music by two masters of the craft. Don't miss the beautiful "Sixteen Drawers," and the Harold Budd-like moments of "Deep Forest Echoes" are a definite highlight of this quiet, beautiful album. www.caloverderecords.com JOSEPH KYLE

11.29.10
William Duke
THE SUNRISE AND THE NIGHT-(KOOL KAT)- The Kool Kat label doesn’t garner a lot of attention (at least not outside the tight-knit power pop circles) but they always quietly release a steady stream of fine pop records, including The Britannicas, Frank Royster and this California native, William Duke, being better than fine. Excellent they are! This guy is a San Franciscan and I’ve read that he also plays (or played?) in DAGGER faves the Bye Bye Blackbirds as well. THE SUNRISE AND THE NIGHT is a baker’s dozen of some heartfelt pop music regarding the beginning and ending of some relationships in Duke’s life. The record opens with the gentle acoustic “It’s Only the Beginning” while on “The Great Escape” (not a Chills cover) he uses that same acoustic guitar but the vibe is a bit more upbeat. Both “The Canyon” and “30th Avenue Entrance to the Park” reminded me of the fantastic Wilco side project, The Autumn Defense (and in turn, David Gates and Bread) and don’t miss other charmers like “The Impending Happiness”, “Pacifica” and “Sacrificial Light.” Also, not sure if the label has any left but some copies of this came with a 20-song bonus disc of outtakes and alternate versions of songs from this record (I got a promo so mine did not have it). Regardless, the proper record is the one you need. www.koolkatmusik.com

11.29.10
Liz Janes
SAY GOODBYE-(ASTHMATIC KITTY)- In one of the shockers of the year, Liz Janes, who had previously released some pretty good acoustic folk-experimental records, transforms herself into a chanteuse. It wasn't expected...but it's a change I appreciate! The opening "I Don't Believe" pretty much encompasses my feelings when I put this record on--because, well, the Bacharach-like arrangement instantly won me over. Sure, she had hinted at this on previous record, but not to the extent found here. She's going for a late 60s/early 70s vibe, and it works. There's a little soul, a little folk, a little pop in her voice--comparisons to The Carpenters and Carol King are not unreasonable, especially on the simple, quiet moments of "Bitty Thing" and "Who Will Take Care." The gorgeous "Trees" will show you that the spirit of Karen lives on in her song. And, thankfully, the album is short; this sort of sound could grow monotonous, but in this reserved, restrained manner, the album never overstays its welcome, and I've found myself hitting repeat after closer "Time & Space." A gorgeous little record for the winter months. www.asthmatickitty.com JOSEPH KYLE

11.29.10
Old 97's
THE GRAND THEATRE VOLUME 1- (NEW WEST)- These Dallas, TX (well, originally from Dallas, only 2 of them live there now) cowpokes have been recording great records since the mid-90’s. They are the Eddie Murray of the indie rock scene. Murray was the Baltimore Oriole who for over 2 decades consistently hit .285, and was guaranteed to knock out 25 hrs and knock in 100 rbi, in other words, Mr. Consistency, just like the Old 97’s. This is their best out of the three they have made for the New West label, the other two (DRAG IT UP and BLAME IT ON GRAVITY) weren’t bad but didn’t quite muster the gusto like their Bloodshot and Elektra stuff did (their 1997 Elektra debut, TOO FAR TO CARE, is their masterpiece) . This record opens with the decent, chunky title track but then kicks into the nimble “Every Night I Friday Night (without you)” and a classic in the Old 97’s tradition in “The Magician.” Elsewhere “You Were Born to be in battle” Shows a strong Johnny Cash influence (which has always been there, by the way) while their remake/rewrite of Dylan’s “Desolation Row” into their own “Champaign, Illinois” is pure genius. Don’t miss other solid and then some tunes like “The Dance Class”, “A State of Texas”, “Please Hold on While the Train is Moving” and the slower, prettier “You Smoke Too Much.” A return to form? Not really , just another terrific record in a career full of them. www.newwestrecords.com

11.22.10
The Brother Kite
ISOLATION-(CLAIRERECORDS)-Though this low-key band has been around for nearly a decade they are low on the radar. Let me correct that, they are NOT low on my radar because I love their music but I’m always surprised that so few pop fans know who they are. Still the Providence, RI band, led by main songwriter Patrick Boutwell. All things considered they have not been super prolific as this is only their 3rd full-length since they formed in 2002 and while this is not as good as their brilliant previous record (2006’s WAITING FOR THE TIME TO BE RIGHT) it still is a very good record. They usually get lumped in with the shoegazey bands and while they have elements of that genre, they are more than that, more atmospheric, more hooky and, at times, even folky. This opens with the slowly unfolding “Martyr for the Cause” which drifts into another one being the title track. Tune number three is the catchy single (or it should be) called “The Scene is Changing” as is the terrific “Clearly” and the grand, slow-building “Not Good Enough.” While listening to this record I thought that many of these songs remind me of a bit of Band of Horses minus the dusty feel. It’s like you’ve heard it before, you know the sound, you know you like it but have a hard time defining what it is or how to describe it to people when they ask what it sounds like. This band , Boutwell and his whole cast, have so many strengths: harmonies, melodies, etc. etc. Despite my previous comment, give this band and this record a chance. Yes, if I HAD to recommend only one I would day their previous record, but I don’t want at all to take away from the strength of ISOLATION. www.clairecords.com

11.22.10
Jefferson Airplane
RETURN TO THE MATRIX 02/01/68 (COLLECTOR’S CHOICE) and also WE HAVE IGNITION: LIVE AT THE FILLMORE 11/25/66 & 11/27/66-(Collector's Choice)- Jefferson Airplane fans come in many forms; those who prefer their early electric-folk-blues excursions (such as the song “It’s Not Secret”), the classic mid-period psychedelic madness that put them on the map (“White Rabbit,” “3/5ths of a Mile in 10 Seconds,” “The Ballad of You and Me and Pooneil”) and the later political era reflected in albums like Volunteers and songs like “Up Against the Wall.” Sadly in 2010, most of the Airplane’s great legacy is over-shadowed by the later period “Starship,” which gave us crap like “We Built This City on Rock n Roll” or mildly interesting stuff like the pop hit “Jane.” So what am I trying to say?

Basically that this fat stack of previously unreleased Airplane live recordings from the Collector’s Choice label (there are two other releases besides the ones mentioned above that document two historic shows from the fall of 1966) will sadly not pick up any new fans along the way. For the hard-core fan, you’ve heard some of these recordings on low-fi cassettes for decades, but now you’ve got them direct from the master tapes and they sound wonderful – so you know you need them. For the casual fan, I’m gonna say, you must pick up the 1968 Matrix show, as it’s the Airplane at their creative peak.

So while I listen to these discs (some 6 hours of 1966-68) Airplane, I applaud the band and the label for getting these discs out, and I pity the ignorant people who will let their bias towards the 1980’s “Starship” keep them from hearing some of the best 1960’s psychedelic rock to ever come out Haight-Ashbury. For my money, the Matrix show has the best sound and the best performances – but I would also strongly suggest We Have Ignition: Live at The Fillmore 11/25/66 & 11/27/66, a double CD set that reveal songs you probably haven’t heard live before; “JPP McStep B. Blues” (written by Moby Grape’s Skip Spence), Paul Kantner’s “DCBA-25” and Jorma Kaukonen’s “In the Morning” – and also what made San Francisco in 1968 so wonderful; long winded mind-expanding jams like nearly 10 minutes of “The Other Side of Life” (written by folk legend Fred Neil) or 7 minutes of Donovan’s “Fat Angel.” If you’ve made it this far in the review, you’ll be especially excited to know that the other two releases document original lead singer Signe Anderson’s final show with the band; Live at the Fillmore 10/15/66 and Grace Slick’s debut, the very next night 10/16/66 on the same Fillmore stage. Needless to say, they reveal a period of transition with Airplane originals mixed with covers like “Tobacco Road,” “High Flying Bird,” and a version of Leiber & Stoller’s standard; “Kansas City” – which most readers will remember as being done by The Beatles amongst others. Well, The Beatles never vamped on it for 7 minutes like the Airplane did. www.ccmusic.com PAT THOMAS

11.22.10
The Puddle
PLAYBOYS IN THE BUSH-(FISHRIDER)- In the history of bands on the New Zealand’s Flying Nun label go you have the ones everyone knows like The Chills , The Clean, The Bats, The Verlaine and many others (let’s not leave out the brilliant Able Tasmans and Look Blue Go Purple) . Despite releasing three full-lengths on the F.N. label between 1986 and1993 The Puddle have kept a rather low profile over the years. Then the band didn’t record anything for nearly a decade and then you have the recently released PLAYBOYS IN THE BUSH, which was recorded before the comeback records (2007’s NO LOVE-NO HATE and 2009’s THE SHAKESPEARE MONKEY). Confused? Me too but that is probably the way leader George Henderson likes it. You see, The Puddle could be considered a pop band but that is in the loosest sense of the word, I mean, the songs have beginnings and ends and sometimes even verses and choruses too but they like to meander more and are at times, psychedelic. The real secret to these tunes though is Henderson’s wiry, wandering guitar work which is stellar on a lot of these tunes (slightly reminiscent of the more off-kilter D. Kilgour stuff). A few personal faves on this one were the gorgeous, rolling “Purple Horse”, the sorta rockabilly “Rainbow Bridge Airlines”, the 9-minute epic “Valhalla”, the hooky, driving “Sleepy People (remember dreams)” , the snappy “Wise Dolls” and plenty more. Not sure if this will be distributed domestically or not but definitely drop a line to the Fishrider label. You’ll be glad you did. www.indiepages.com/fishrider

11.22.10
Surf City
KUDOS- (FIRE)- New Zealand's Surf City appeared a couple years back as Kill Surf City, which, if you know where that title comes from, should tell you all you need to know about the band's sound. Much like that fuzzed-out band (Jesus & Mary Chain, if you don't know, gentle reader), Surf City's initial records blended that noisy JAMC racket with a healthy dose of surf guitar (natch!). For their debut album, Kudos, they've shaken off a bit of that garage-rock racket for a dose of something a bit slower and a bit more psychedelic. Don't worry, though; they still keep songs rather short, but those three to four minute nuggets pack a harder punch than previously explored. There's still element of that Reid-brothers style, too, especially on "CIA" and "Autumn," but the crash-pop of "See How the Sun" and the pop sweetness of "Teacher" break up any potential monotony of sound. Then there's the (wait for it!) goth-surf-garage jam "Icy Lakes," (think Joy Division meets Stereolab, especially with a bass line straight out of "Love Will Tear Us Apart") which raves on for a good seven blissful minutes! Even though the band's sound reminds you of England in the 1980s and early 90s, their sound is fuzzy enough to stay true to their New Zealand roots. A promising debut, this! www.firerecords.com JOSEPH KYLE

11.15.10
The Autumn Defense
ONCE AROUND-(YEP ROC)-For this duo, John Stirratt and Pat Sansone, their main concern may be Wilco (their day job) but please forgive me for saying I like this side project a whole lot better than their main concern. I have been a fan since I first heard their terrific 2001 debut, THE GREEN HOUR. With ONCE AROUND, their 4th record overall and 1st for Yep Roc (the 1st and 3rd records were on their own Broadmoor Records while their 2nd (and best) record, CIRCLES, was on Portland’s own Arena Rock) these two seem to be doing what they do best, harmonizing, strumming their acoustic guitars and creating gentle pop straight off an AM radio station from the 1970s . You don’t believe me? I compared that aformentioned 2nd effort to the music of David Gates (Bread) and on ONCE AROUND , not much has changed. Check out cuts like the gorgeous “Allow Me” , the strummy “Tell me What You Want” and the moody, haunting “The Rift.” All are top notch and as good as anything the band has done previously. A few tunes, like the six and a half minute title track head to snoozeville for a bit but then you have a rare upbeat one like the superb “The Swallows of London Town” and the melodic, pretty “Step Easy” I hope these two don’t plan on hanging it up anytime soon. www.yeproc.com

11.15.10
The Salteens
GREY EYES-(BOOMPA)- Whenever I want to bum out over the demise of terrific Canadian low-key pop band The Heavy Blinkers, well, I can always get cheered back up by putting on one of my records by another superb Canadian orchestral pop band, The Salteens. The band is led by a guy named Scott Walker (no, not that one) who seems to be one hell of a talent. It has been 7 years since their last (sophomore ) effort, LET GO OF YOUR BAD DAYS and if you’re wondering if it was worth the wait. Yes, yes it was. While that record reveled in more basic indie pop (as good as it was) Walker and company studied their Beach Boys and Zombies records more carefully and it really paid off as the arrangements on here are really sparkling. You hear trumpets, flugelhorns and cellos too from this cast of thousands (actually the record names 11 players) and cuts like the opener “Last Train From London”, the magnificent “You’re Taking All of This Too Far” and the upbeat, galloping “Go On” are too good for words. And let’s not forget the marching band swagger of the great “You Stayed Up with the Lights On” or the closing, downbeat “Don’t Break My Heart’ and you have one of the best records of 2010. www.boompa.ca

11.15.10
Small Sins
POT CALLS KETTLE BLACK-(SELF RELEASED)- Canadian musician Thomas D'arcy, and since 2006 he has released a handful of excellent, low-key records. under the guise of Small Sins. Their previous two records were released via electronica-based pop label Astralwerks, but Pot Calls Kettle Black is the band's first as a self-released act. Musically speaking, the album's slick pop production (courtesy of Tortoise's John McEntire) is of a style not unlike former label-mates Phoenix. For this album, though, the songs have a more cohesive band sound, and doesn't feel as one-man-bedroom-y like their previous two albums. "Why Don't You Believe Me?" is the real winner here; it's got a catchy chorus, a jittery jaunt, and a melody that will leave you hitting repeat. Elsewhere, the band mellows on a Postal Service style vibe on "My Dear" and "Never Again," and even explores a bit of hip-hop with "Deja Vu," that makes me think that this is what Hot Hot Heat should have done years ago. Pot Calls Kettle Black is a pretty (and pretty enjoyable) pop album that doesn't overstay its welcome or bore its listeners. www.smallsinsmusic.com JOSEPH KYLE

11.15.10
Violens
AMORAL- (FRIENDLY FIRE)- This much-hyped NYC trio (now a quartet, I believe) are sort of all over the map here on their sophomore effort and they slap together a ton of influences but somehow AMORAL works, most of the time anyway. The band, led by multi-instrumentalist Jorge Elbrecht, synth player Iddo Arad and guitarist Myles Matheny (they had a rhythm section on their debut but those guys are no longer in the band). Opening cut “The Dawn of Your Happiness Rising” mixes dreamy vocals with some Marr-esque guitar and crashing noises all over the place while “Full Collision” has more of that terrific Brit pop guitar and vocals that sound right off a Pale Fountains record and “Acid Reign” is another scattershot pop tune , one of the best on here, that mixes a few different genres but again, ends up working. At times I think maybe the band attempts to be too eclectic (the press sheet claims the band evokes “blistering guitar textures of Crass and Minor Threat” but trust, I don’t hear any of that) as tunes like “It Couldn’t be Perceived” takes off but lands almost immediately and “Until It’s Unlit” was a bore. Still, they have more tricks up their sleeve, the billowy “Trance Like Turn” is pure beauty and “Another Strike Restrained” opens with slappy drums and some beautiful melodic synth work and dives in with both hands. While the record is spotty at times , most of AMORAL is sturdy , unique pop, one I was pleasantly surprised in hearing. www.friendlyfirerecordings.com

11.15.10
Weezer
PINKERTON (REISSUE)- (GEFFEN/UME)- Like old whores and rapscallions, if your band lasts long enough, even your worst-selling albums become respectable. Such is the case with Pinkerton, Weezer's underrated follow-up to their highly successful (and near-perfect) debut album. a record so unsurprisingly misaligned, the only surprise was that the band's hiatus between it and their Green album was only five years. It should have been a career-ender, as most alt-rock follow-ups to multi-platinum sellers were in the 1990s. But the funny thing about Pinkerton...it was pretty good. In fact, it was really good. so it is no surprise, then, that 14 years later, it's reissued in a two-cd deluxe edition. And, wah-ho, the expanded edition proves that, even though the record sales might have not met expectations, Weezer definitely were at the top of their game. Of course, a caveat: as this was the last vestiges of record-label greed and the singles chart--especially for Europe--much of the bonus material is superfluous, loaded down with live tracks and radio recordings of album cuts. Like "The Good Life?" There are five versions of it here. Dig "Pink Triangle?" There are five versions of it, too! Got that? Ten of the 35 songs found here are the same thing. There are plenty of other repeats of other songs, too (four "El Scorcho," and two of "Butterfly," "Tired of Sex," and "Why Bother?") but that's only to prove a point: the band were proud of these songs, and even though the collection is marred by repetition, there are some excellent moments found buried here. Like "I Just Threw Out the Love of My Dreams," a b-side that features vocals from Rachel Haden of that dog. and the Rentals, and sounds like a mixture of both bands. Then there's the raw outtake "You Won't Get With Me Tonight," one of the only traces of the band's intended follow-up to the Blue album's success, a vaguely explained concept album, Songs from the Black Hole. "You Won't"... is more in tune with the sound of the band's first album, as is "Getting Up and Leaving," another hold-over from the band's preliminary post-Blue album sessions. Okay, so the original album is an underrated portrait of a band being itself, its leader obsessing about his fame, failing commercially for it, and practically breaking up because of it. The original lineup fractured permanently after its release, and whether they've fully recovered from its failure is left to the listener. This particular reissue of Pinkerton could have been better organized and edited, but it's not without its charm. Just make sure you hear the first ten tracks on disc one--they're the killer among the filler. www.geffen.com JOSEPH KYLE

11.15.10
V/A
MOJO PROUDLY PRESENTS LET IT BE: REVISITED--(MOJO)-Revered British music magazine Mojo has a reputation of including excellent compilations and samplers with each issue, and as they are limited-edition items, they're not worthy of review. October's edition is different, in that it is being issued on vinyl, and as a stand-alone release. It is one of Mojo's wonderful "albums re-imagined" themes, with covers by artists of renown and up-and-coming acts. For the 40th anniversary of the Beatles' swansong, the editors compiled a rather unique cast--and in so doing, have created one of the best tribute albums I've heard. The closest connecting factor is that many of these artists are "singer-songwriter" types, running from legends such as Judy Collins, Beth Orton, Dr. Feelgood's Wilko Johnson, and Dr Hook vocalist Dennis Locorriere. to more contemporary acts such as Phosphorescent, Besnard Lakes, The Jim Jones Revue, and James Apollo. Highlights include Dagger favorite John Grant's mellow take on "Two Of Us," British newcomer C.W. Stoneking's traditional take on "Maggie Mae," Phosphorescent's beautiful version of "Across the Universe," and, perhaps the best song here is Amorphous Androgynous's ten minute psych-folk reworking of "Let it Be." The only moment that might be a slip-up is Beth Orton's take on "I Me Mine," simply because she doesn't come across as bitter or as angry as Harrison did. Having 11 out of 12 winners ain't bad, and this is a loving, superb tribute to an under-appreciated record. Definitely seek it out! www.mojo4music.com JOSEPH KYLE

11.9.10
Bobby Bare Jr.
A STORM, A TREE, MY MOTHER’S HEAD-(THIRTY TIGERS)- Bobby Bare, Jr has had a pretty good solo career, releasing albums full of sad songs and funny songs, often within the context of same song. Considering his inspirations and his environment growing up, it's not surprising that he has this ability to merge the two. His latest record, A Storm, A Tree, My Mother's Head, is not only his most polished record to date, it's easily his most straight-up melancholy. Of course, he's had a lot of things happen to him since 2006's The Longest Meow: a divorce, kids, and the freaky story that inspired the album's title, wherein a tree crashed through his parents' home and onto his mother. There's humor to be found, but it's extremely subtle; at times, it feels forced. As a guy who's had his run of bad luck, I must admit that I've had a hard time warming up to this album over the past few months. Musically, it's excellent; his arrangements fall squarely into the 70s-style he's been known for, but lyrically, it's a dark record. He hints at Nashville past, such as the "Rocky Top Tennessee" melody found on "One Of Us Has Got To Go," or the "Theme from Midnight Cowboy" referencing "Don't Go to Chattanooga." I also dug the soulfulness of "Summer of '93," which is perhaps his most soulful moment on record to date. If the songs on A Storm, A Tree, My Mother's Head represent a form of musical healing, so be it; is it easy listening? No. Take it in small doses; I don't want to say I dislike this record, because up to this point I've loved everything Bare, Jr, has released, and musically, he's at the top of his game, with some of his best arrangements to date. But if you're expecting the sad songs to make you smile, you're gonna have to look elsewhere. www.thirtytigers.com JOSEPH KYLE

11.9.10
Keith Canisius
THIS TIME IT’S OUR HIGH-(DARLA)- Danish shoegazer Keith Canisius returns with his third album of delightful, spaced-out dream pop. Unlike his previous records, he is stretching out the blissful parts, going for a pop sensibility that sounds mellow, yet should be played loud, to achieve full bliss-out effect. He has a unique voice, one that's often blended with multi-tracking effects, and often buried in reverb and sheer sheets of melodic noise, such as on the title track and "Inner Blue, Outer Red." Occasionally, on songs like "Gentle Guys" and "First Tambourine Love," he eschews the noisy parts, going for a straight-up pop sound, one that's not shoegazing inasmuch as it is 80s synth-pop. He's listed Simple Minds as an influence, and it's not hard to see, either. If you liked his previous solo albums, you might miss some of the quiet, gentler moments--previous album Waves was extremely mellow--but you'll soon get over that, because This Time It's Our High is equally engaging. www.darla.com JOSEPH KYLE

11.9.10
The Jigsaw Seen
BANANAS FOSTER-(VIBRO-PHONIC)- This low-key LA band led by vocalist Dennis Davison and multi-instrumentalist Jonathan Lea have been at it for over 2 decades (started in 1989) but geez they are so unknown it’s criminal (think another LA pop combo, The Black Watch). I’m not sure how many records they have out but they’ve got plenty and I have several, but I must say, that this, BANANAS FOSTER is their best yet. The record I straight out of 1968 and if Love’s FOREVR CHANGES is among your faves then this will sit nicely with you. It doesn’t sound a lot like that record but it has a similar spirit and The Jigsaw Seen’s trippy, baroque pop is in the same ballpark and BANANAS FOSTER is definitely their most ambitious record yet. The record opens with the drum heavy “Bertha Brilliance” then drifts into the melodic “David Hart’s Name of Song” right into the gorgeous Zombies-esque pop of “Melancholy Morning.” Elsewhere you have the trippy “Choregraphy Killed the Cat”, the grimier, blasting “Where the Action Isn’t” and the gentle closer “Jubliee.” That this I their first record of original material in a decade had those of us who are fans hoping for a stellar record full of ambitious pop songs and yes, we were not disappointed. Amazing package too with perfect yellow and blue cardboard sleeve, fold-out poster and a recipe card for ,you got it, Bananas Foster! www.vibro-phonic.com

11.9.10
Dylan LeBlanc
PAUPERS FIELD- (ROUGH TRADE)- This Louisiana native, the son of Muscle Shoals session man James LeBlanc, sounds older and wiser than his 20 year would show (I think he was 19 when he recorded this). Still, hanging around with his old man I’m sure some of that wisdom had to rub off on the younger LeBlanc so it is not too surprising the amount of beauty and wisdom these 12 songs carry. Most of the tempos are slow and there is, naturally, a crying pedal steel on nearly every song but LeBlanc’s subtle melodies burrow their way into your cranium and his sad, soulful voice carries a lot of weight. Though at his age he hasn’t lived the several lives lived in these songs he sure SOUNDS like he has and for me, that’s good enough. Melodic, gentle beauties like “If Time Was for Wasting”, “If the Creek Doesn’t Rise” (which Emmylou Harris adds her pipes to) and the Parsons-ish “Tuesday Night Rain” prove the kid has talent while, at times, some of the songs seem to nearly drift away. Still, if he’s anything like Justin Townes Earle (or Patterson Hood) then give him a few records and all the kinks should be worked out and he should be living up to all kinds of promise. In the meantime , though, PAUPERS FIELD , which, honestly, doesn’t have a lot of kinks, will do just fine. www.roughtraderecords.com

11.9.10
Lifeguards
PRODUCT HEAD/ NAUGHT WINDSOR- (SERIOUS BUSINESS)- It's no secret that Bob Pollard's muse was forged during the era we know now as "classic rock," but his latest single, by his group Lifeguards, really hints at this. The two songs here are the most Stones-like that I've ever heard from Pollard and bandmate Doug Gillard. "Product Head" is built on a rift that sounds a lot like "Street Fighting Man" and "Gimme Shelter." The B-side, "Naught Windsor" is a late 70s-era style instrumental boogie, with a slightly disco rhythm (!!) that reminds me of "Miss You" and, oddly, Animotion's 80s hit, ' "My Obsession." Has Gillard a sweet-tooth for 80s synth-pop? Who knows...but this single is the promised hint at a new album, to be released in February. These two songs are catchy and killer, and promise great things! www.seriousbusinessrecords.com JOSEPH KYLE

11.9.10
Love As Laughter
4 SONG EP-(SELF RELEASED)-Sam Jayne's been making music as Love as Laughter for nearly fifteen years, incorporating all kinds of sounds and styles--from lo-fi, 4-track cassette noise, to straight-up Rolling Stones-style rock, and, more recently, a mellow, hippie-rock. Their newest record since 2008's Holy, this four-song EP finds Jayne in an unusually soulful mood. The opening "When I Met Tomorrow" is a bit of a shock; it's a pop number, with a surprisingly excellent falsetto. Sure, Jayne's got soul, but never has he sounded so soulful. "Monique" continues this trend; a straight-up rock ballad, with him pleading to a woman who he just can't live without. But Jayne's smart, and doesn't wear out the style; he knows he's a rocker at heart, and the final two tracks, "Timers" and "The One Around for Years" both bring back that style he's excelled at ever since 1998's USA #1. Can't wait to hear a full-length from this current incarnation of his ever-wonderful band! www.loveaslaughter.com JOSEPH KYLE

11.9.10
Miss Chain & The Broken Heels
ON A BITTERSWEET RIDE-(SONIC JETT)- Don’t think that we Americans are the only ones who have a lock on bouncy, organ-led garage pop. This quartet hails from Italy and on this, their debut record, they keep things fun and simple with melodic guitars, a chugging farfisa and the adorable vocals of one Astrid Dante (the guitarist/organ player goes by the name Disaster Silva and the rhythm section is rounded out by brothers Franz and Bruno Barcella). They sound like a heady brew of 60’s girl group, 70’s power pop and the garage sounds that those 80’s bands were doing when they thought they were straight outta the 60’s. Think The Archies meets The Pandoras meets The Kinks meets The Seeds meets Ronettes meets…well, you get the picture. 12 songs, not a bummer in the bunch. Plop the needle down on monsters like “Flamingo”, “Old Man’, “Beginning of the End” and do not, DO NOT miss “Rollercoaster.” Weeeeee! www.myspace.com/sonicjettrecords

11.2.10
The Black
SUN IN THE DAY MOON AT NIGHT--(MOON RECORDS)- Don’t worry, I had never heard of them either. Seems like unless you’re from the Lone Star State (that’d be Texas) then you’re not likely to have heard of this snappy quartet even though they have been at it for nearly a decade and have released a previous full-length, an ep and single. At least one of the guys on the band was from …And You Will Know Us By the Trail of the Dead and two other s guys (the rhythm section) were in Voxtrot (rip). They crank up the reverb and offer up a nice mix of styles and tempos on here and it all doesn’t take up too much if your time (a little over 30 minutes). Opening cut “Freeway (exiled)” thunders out of the gate with snarl and lots of bite while the Dylan/Parsons-ish “Now I Am Here” makes good use of the harmonica and is one of the finest cuts on here. “Death’s Bell” sounds like something off an early Old 97’s record and “Throwing Away” is a nice, mid-tempo pop tune (again, more harmonica). They save the best for last, the shuffling, swinging “Sun in the Day” and afterwards The Black are off into that warm Texas night, never to be heard from again (ok, maybe in a few years, if we’re lucky). www.theblackmusic.com

11.2.10
Justin Townes Earle
HARLEM RIVER BLUES-(BLOODSHOT)- On record #3 the son of country master Steve Earle seems to be carving out his own niche in the alt country world as he continues to step out from the shadow of his famous dad (truth be told, even from his debut, he has never sounded that much like his dad) In other words, J.T. Earle proved himself on his previous record, the strong MIDNIGHT AT THE MOVIES, but HARLEM RIVER BLUES is even better. I’m not even sure if there is a Harlem River (there is) but Earles make it sounds as if it’s down in Appalachia and not in the middle of the biggest city in the country. Opening title track is his best song yet, a rousing rockabilly gospel pop tune all rolled up into one with a chorus of soul singers and a snapping backbeat. Seriously the price of the record is worth it for that tune alone, but there’s plenty more gems on here. You have the bass-heavy rockabilly number “Move Over Mama” and the slowly meandering railroad tune, “Workin’ for the MTA” (a little Murry Hammond-ish) Elsewhere “Wanderin’” shows a love of Woody Guthrie and the gorgeous “Christchurch Woman” is a heartfelt love song with appropriate horns. One of the best things about Earle is that he doesn’t wear out his welcome, he knows that less is more which is why these 11 songs clock in at barely over a half hour and amazingly, he just keeps getting better. ww.bloodwshotrecords.com

11.2.10
Great Lakes
WAYS OF ESCAPE- (ORANGE TWIN)- This talented, low-key bands from Athens, GA , whose debut came out a decade ago on the Kindercore label (and had the Elephant 6 logo on as well) consisted of buddies Ben Crum and Dan Donahue but the band now has been whittled down to just Ben Crum. Well, let me correct that, he has a host of his friends playing on the record (including Mr. Joe McGinty) but Donahue is gone (though he does contribute lyrics to one song) so, like all of the other Great Lakes records is Crum and friends (a few of the Of Montreal folks help out here). WAYS OF ESCAPE is a nice mix of mellow folk tunes (including a cover of John Prine’s “Sour Grapes”) and more wigged-out, Crazy Horse-esque guitar workouts. Crum proves on here that he is adept at both. In the former’s corner you have subtle gems like opener “Easy Life”, “Summer Fruit” and the pedal-steel soaked “A Good Day to Die”) while in the latter group you have the excellent, epic “Guitar Brother” (some real meaty guitar on this one), “Chosen Enemy”, and “Sorrow and Woe.” Even when the guitars are kicking into overdrive it is Crum’s restrained vocals that keep it all in perspective. The guy is a real talent that has yet to tap his well of great songs. In other words as strong a record as WAYS OF ESCAPE is I think he has an even better one in him. Can’t wait to hear THAT, but in the meantime, WAYS OF ESCAPE will do just fine. www.orangetwin.com

11.2.10
KC Accidental
CAPTURED ANTHEMS FOR AN EMPTY BATHTUB & ANTHEMS FOR THE COULD’VE BEEN PILLS- (ARTS & CRAFTS)- In the late 1990s, Kevin Drew and Charles Spearin headed up a bedroom project called K.C. Accidental. The duo released two albums of material, 1998's Captured Anthems for an Empty Bathtub, and 2000's Anthems for the Could've Been Pills, before disbanding. Drew and many of the friends who helped out on Could've Been Pills regrouped as Broken Social Scene, who would release their debut album, Feel Good Lost, shortly afterwards. Stylistically, K.C. Accidental provides hints about was to come, but it also sounds very much of its era. Captured Anthems... is more diverse in its sound, with explorations into post-rock ("Save the Last Breath"), noise ("Nancy and the Girdle Boy") and even jungle ("Anorexic He-Man"). The album is pretty, but it's not particularly compelling. 2000's Anthmes for the Could've Been Pills fares better; it's a bit more cohesive in its sound, and it's obvious that Drew's ideas were starting to formulate into what he would soon accomplish. Drew's pop sensibility is starting to mature; "Ruined in '84" and "Them (Pop Song #3333)" would not sound out of place on You Forgot it In People, while "Residential Love Song" shows Drew and Spearin experimenting with different musical flourishes (especially banjo) that would soon prove so rewarding with BSS. All in all, this 2-CD set is an enjoyable collection, and a lovely precursor as to what was soon to come. www.arts-crafts.ca JOSEPH KYLE

11.2.10
Of Montreal
FALSE PRIEST-(POLYVINYL)-Of Montreal has been around for so long that it’s possible the band’s current primary fan base — disaffected college students? Unemployed recent college grads? newly minted university professors? — has never heard The Gay Parade. Of Montreal’s 1999 classic song cycle confirmed that band leader Kevin Barnes was more than just a one-off pop songwriter: He was, and is, an extraordinary lyricist and storyteller with an ear for the hook and a flair for the surprising and adventurous. The Gay Parade was the Village Green Preservation Society to Neutral Milk Hotel’s In the Aeroplane Over the Sea’s Sgt. Pepper (to torture the metaphor, Olivia Tremor Control’s Dusk At Cubist Castle offered tinges of Forever Changes while the Apples in Stereo’s Fun Trick Noisemaker was the collective’s Pet Sounds. There, it’s out of my system now.) I still get goosebumps when the townspeople finally find Nickee Coco sleeping in the invisible tree. Over the years, Barnes has transformed into Of Montreal into a sometimes-strange theatrical groove project that lays down R&B licks and beats under Barnes’ confessions. False Priest does all of that but takes matters up a notch: It’s Of Montreal’s best record in years primarily because Barnes again seems focused on crafting cohesive songs, full of actual music even though the bombast and unfailingly honest story lines and themes remain. There are hints of late-period Roxy Music, mid- to late-period Kate Bush and, sweet mother-of-God, the great Marvin Gaye in here. Oh, yeah, lots of Sly and the Family Stone, too. Famine Affair is likely Barnes’s nod to There’s A Riot Goin’ On, as he implores someone or something that they or it are a “bad thing, you’re a horrible thing.” Like Riot, it’s chilling. The best songs are the opener I Feel Ya’ Strutter, which sounds like the token soul contribution to an early 70s K-Tel compilation; Sex Karma, which I wish Marvin Gaye could hear (there are about a million other reasons I wish Marvin Gaye was alive); Casualty of You, built around a sensational piano line; and the closer You Do Mutilate? which nicely bookends Strutter. The record — I wrote this review based on several listens of the vinyl version, played at a low volume through the small speaker of a Numark PT-01 DJ turntable; it could sound very different loud — raises three questions. 1. What audience is Of Montreal targeting? Glam kids? Listeners who wish Glee were darker? 2. Is it a mirage that a band this good is also so successful? 3. Should we care? Shouldn’t we just sit back and wait for what’s next? There is of course no answer to any of those three questions. Perhaps it’s best to just grant Barnes a request he makes in another of False Priest’ great numbers: “Don’t treat me like a tourist,” he asks. Indeed, we’ll all be better off if he navigates whatever musical landscape he explores at his own pace. www.polyvinylrecords.com ANDY GIEGERICH

11.2.10
Bobby Rydell
THE GREAT ONES / AT THE COPA-(COLLECTORS CHOICE)- These Rydell records are kind of funny because they’re all over the place and it’s actually a bit of a shame. The producers for Cameo records were obviously trying to please everyone with the song choices and arrangements they gave to Rydell. Remember, it’s still pretty much Elvis’ world in 1961, so a lot of the songs have a nice R&B backbeat that works well with Rydell’s performances. However, the label/ producers always spoil it with ridiculous, over-the-top horn and string sections, and tons of doo-wop-y background singing which always annoys me. It’s plain to see that Cameo was trying to make Rydell a hit with the teenagers, as well as the older set that was still buying all of the rat-pack’s records and it just ends up sounding weird. Rydell is certainly good, but he’s not Sinatra, Elvis or Dean Martin. To the engineer’s credit though, the recordings sound great and Rydell’s voice and enthusiasm actually carry them through. In listening to the live tracks from the Copa you realize that he is a tireless performer as well. He and the band hardly take a breath in between songs – even when they are 15 minute-long medleys! I have to be honest, of the stuff from this time period, this is not my favorite, but it certainly isn’t bad. It’s actually a very interesting window on that period’s music scene and what was “popular” for a year or so before the Beach Boys and the Beatles changed everything, forever. www.ccmusic.com JEREMY GRITES

10.25.10
Belle & Sebastian
WRITE ABOUT LOVE-(MATADOR)- I have considered Belle and Sebastian to be my favorite band this last decade or so (actually longer, since I first heard SINISTER when it first came out in either late 1996 or early 1997) and I am very critical of their records. Having said that, I had loved all of them prior to their last one, the lackluster THE LIFE PURSUIT (yes, even the much maligned, by everyone but me, FOLD YOUR HANDS CHILD…..which is one of my faves) . Regarding THE LIFE PURSUIT, even that record has grown on me a bit as some of the songs I didn’t like upon the first listen have slotted themselves into my mind. I liked the God Help the Girl record (basically a B & S record) even less. For WRITE ABOUT LOVE, their first record in nearly 5 years the band dropped the funkiness that permeated THE LIFE PURSUIT and gone back to what they do best: creating warm, sophisticated orchestrated pop. The songwriting isn’t as strong as their best but it is still good and many of these songs are growing on me. This record, again produced by Tony Hofer (who did TLP) is crisp and tight but not glossy and still offers the bands takes on sultry soul (“Little Lou, Ugly Jack, Prophet John”, which is a duet with Norah Jones), swinging 60’s London (“I Want the World to Stop”), tips to Motown (“I Didn’t See It Coming”), new wavey pop (“Come on Sister”), classic pop (the title track) and, of course, an excellent Stevie Jackson song (“I’m Not Living in the Real World”). It’s great to see the band back on track and the live show I saw last week, probably the best live gig I saw in all of 2010, shows they can still deliver the goods on stage. www.matadorrecords.com

10.25.10
Chubby Checker
IT’S PONY TIME / LET’S TWIST AGAIN-(COLLECTORS CHOICE)- I have been a fan of what have come to be known as “oldies” from back in the garage-sale record-shopping days of my youth, and I’ve recently started rediscovering a lot of it. The cleaned up, re-mastered versions of many of those old records are pretty amazing and this double album comp of Chubby Checker’s is definitely one of them. It would be hard to find a better example of pure, fun R&B dance music anywhere. I know it might not be as cool as saying you only like the stuff on Nuggets or Teenage Shutdown comps, but the fact is – these records are really good and they sound great! I had no idea that Checker hailed from South Philly and often played sock-hops etc at the Jersey shore! (One such dance was actually recorded in the home- town of our esteemed editor and released right after these albums came out!) Anyway, the point is that, like the Supremes, the Marvelettes, Booker T or Martha & the Vandellas, if you put this record ON eventually everyone is going to start dancing and having fun. Case closed. www.ccmusic.com JEREMY GRITES

10.25.10
Nobunny
FIRST BLOOD- (GONER)- Matador Records’ Gerard Cosloy had mentioned this band on his Facebook page and I had not heard them (him) before. I then went out to the box of promos and realized I had their latest disc. Popped it in and what do you know, this guy can write a terrific garage pop song. I don’t know much about the guy who calls himself Nobunny ‘cept that he wears a pretty garish bunny mask, doesn’t mention his real name anywhere (but it’s Justin Champlin) and basically played just about everything on the record (11 songs in just under 25 minutes). Oh and the fact that the guy writes some of the best bent pop since the late Jay Reatard (who he dedicates the record too as well as Alex Chilton). The record opens with the hooky “Ain’t It a Shame” (with cool backing vocals) and zips right into the soon-to-be-classic ditty “(Do the) Fuck Yourself.” The mid-tempo “Blow Dumb” sounds like a lost Kinks tune done up all pretty and “Gone for Good” adds a bit more bite to the proceedings. Ok I’ve just described the first four songs on the record and am not going to go any further. If you’ve read this far and haven’t heard Nobunny then do yourself a favor and pick up FIRST BLOOD. It’ll win you friends and influence people way more than that Dale Carnegie book. www.goner-records.com

10.25.10
Mavis Staples
YOU ARE NOT ALONE- (ANTI)- One of the really wonderful musical trends over the last few years is that of young, hip artists polishing up the fading stars of truly talented musicians from a generation ago. Some wonderful examples: Rick Rubin's rescue of Johnny Cash, Donovan, and Neil Diamond, Jack White's Loretta Lynn and Wanda Jackson collaborations, Jon Spenser's R.L. Burnside work, Patterson Hood with Bettye LaVette and Booker T. Jones. Wilco's Jeff Tweedy has helped revise Charlie Louvin's career, and has now done the same with soul singer Mavis Staples, producing, writing, and arranging her latest album, You Are Not Alone. As odd as it may have seemed when announced, the collaboration is quite perfect. Tweedy's arrangements are respectful to her reputation, but are also contemporary. Case in point: the traditional gospel song "In Christ There Is No East or West," which Tweedy turns into a lovely, 70s Southern California soft-rocker. Heck, Tweedy's "Only the Lord Knows" sounds like it should be (and maybe it was intended to be) a Wilco number! There are upbeat numbers ("We're Gonna Make It") as well as slower, sadder numbers ("You Are Not Alone,") but all in all the vibe on You Are Not Alone is very, very...mellow. And those arrangements, with tight musicianship, gorgeous Muscle Shoals-style soulful melodies, and featuring backing vocals from Chicago staples Nora O'Connor and Kelly Hogan, You Are Not Alone succeeds on pretty much every level. Easily a contender for one of the best albums of the year! www.antirecords.com JOSEPH KYLE

10.25.10
Suuns
ZEROES QC.-(SECRETLY CANADIAN)- I'm writing this review after only one listen, and I think its best to do so, as you soon shall see. I swear, listening to the first few seconds of Suuns' debut album, Zeroes QC, I though I was about to hear a cover of Nine Inch Nails' "Closer," but what started off as a possible industrial song, turned into a rather trippy garage-rock number, after a rather surprising and unexpected jolt. Suuns is a band that does not pledge allegiance to any one style, and Zeroes QC could generously be called "diverse." My first introduction (as I am sure what was most others, too) was "Arena," which was a pretty and interesting electronica number with a touch of disco flare. I'm sure, however, that no one loving that song would be prepared for such things as the, oh, I don't know, the scat-singing children's song "Up By The Nursery," the thrash-out of "Marauder," the funk jamming of "Sweet Nothing," or the very loose-sounding "Organ Blues." Normally, a record that travels all over the map like this would be easy to dismiss, but Zeroes QC is different. If I analyzed it too much, I might say this record is crap. Instead, I'm going to state what I feel after that first listen, because I think music like this is all about FEELING, and not MEANING. But going on first impressions, there's just something charming about a band willing to try everything they can. It won't work over the long haul, and at barely thirty minutes, the band is smart not to allow the record to meander, Still can't tell you which of these styles represent the true Suuns, but when the music is this compelling, I guess it doesn't matter. They have a number of paths they could follow, and if the songs found here are representative of that, then many of those directions could provide for satisfying full-length follow-ups. www.secretlycanadian.com JOSEPH KYLE

10.25.10
The Young Evils
ENCHANTED CHAPEL-(SELF RELEASED)- (Seattle) are Mackenzie Mercer & Troy Nelson with Cody Hurd and Barrett Jones. Their debut album "Enchanted Chapel" is ten tracks of quirky folk pop that is catchy, thoughtful and just plain fun. There is an easy flow to this record and the whimsical sound of these tunes was polished by producer Jones ( Nirvana- The Melvins). Nelson wrote the songs and he proves to be a nimble lyricist . He and Mercer handle the lead vocals sung in tandem . At times he sounds a bit like Chris Difford and for her part a more carefree Emma Pollock or Lois/Tiger Trap. Put together they call to mind The Magnetic Fields or Jared Mees & the Grown Children. The catchy hooks and wordplay on this effort are captivating and encourages listeners to kick back and sing along ! - The Carpenters for cool kids ! www.myspace.com/theyoungevils DANIEL CRAIG

10.18.10
Dag Nasty
DAG WITH SHAWN-(DISCHORD)- Shawn Brown, who later went on to be in Swiz, was not the best singer for Dag Nasty but he was the first and he deserves some credit for being that. These 9 songs were recorded on Halloween Day in 1985. Apparently 4 of these tunes were going to be released as a 7” on Dischord, but shortly thereafter Dave Smalley replaced Brown as singer ,these songs were re-recorded as the band’s debut, CAN I SAY and the rest is history. If you have CAN I SAY (and if you don’t then you really ought to) then the songs will be familiar to you , they are all here: “Under Your Influence”, “Circles”, “Justification”, “Can I Say”, “I’ve Heard” and more. Musically these versions are searing just like you’d expect, Brian Baker’s guitar slices deep while the rhythm section of Colin Sears on drums and Roger Marbury on bass are simply relentless. Brown isn’t a BAD vocalist but he is flat at times and slurs the words together too often (unlike Smalley who enunciated perfectly). Still, despite that if you’re a Dag Nasty completist (like me) then this will be a worthy addition to your collection as the songs still sound great. Note: These songs were originally released as a collection on Selfless Records in 1991 but I’m not sure if that was an authorized release or not so it’s good to see it back where it belongs, on Dischord. www.dischord.com

10.18.10
Elvyn
THE DECLINED-(SELF RELEASED)- This is one of the more enigmatic records I’ve listened to in years. In a good way, that is. Because the band relies on simple song structures and even-simpler lyrics about simple topics (found love, lost love, desired love), I really want to hate it. Yet the record, a straight-ahead power-pop issue reminiscent of the Posies, is likable at its core and endearing at its very best. The secret lies in the halting hooks delivered by Ryan Beerman (who also plays lead guitar, a neat trick employed by few bands this side of the Apples in Stereo). Beerman’s outstanding voice, a low-tenor/high baritone, never wavers, holding its own alongside the band’s at-times attacking guitars and dead-on harmonies. The Decline does, indeed, decline a bit after the first half — making it like an LP dominated by Side One — but the first four songs are nonetheless especially strong. Special honors goes to “Lotta Lies,” with a beautiful guitar riff from REM’s Reckoning-era playbook, and “Don’t Leave, Don’t Go,” which, if there’s any pop justice, would be widely covered by some major-label artist who could make this band a mint. www.elvynmusic.blogspot.com ANDY GIEGERICH

10.18.10
Owen Pallett
A SWEDISH LOVE STORY ep- (DOMINO)- Owen Pallett follows up his solo debut Heartland with this four-song pop nugget. There's a definite 80s pop vibe going on here, not unlike the great sounds heard from Sire/Warner Brothers catalogue. On this EP, he's broken away from the novel violin experimental sounds of Final Fantasy--a band I never really cared for, honestly--and he's moved away from the more epic, dramatic numbers of Heartland. Gone too is the heavily baroque tendencies, and these four songs are rather straightforward. The subtle dance groove of "A Man With No Ankles" is quite satisfying; the jaunty "Scandal at the Parkade" will put a smile on your face, and closer "Don't Stop" should have been a college radio hit 25 years ago. "Honor the Dead, Or Else" is the only weak spot, because it lacks the initial flare of the other three songs, but I have to admit it finally grew on me. Still, A Swedish Love Story an interesting portrait of a talented man's growing song-writing skills, and I can't say I didn't enjoy the time spent listening to it. www.dominorecordco.com JOSEPH KYLE

10.18.10
The Moondoggies
TIDELANDS- (HARDLY ART)- Ya know, I was totally attracted to the idea of Seattle's Moondoggies based upon lead single "It's a Shame, It's a Pity." It's a catchy country-rocker with drop-dead gorgeous harmonies that remind me a bit of Crosby, Stills, and Nash. So I expected some mellow rock. What I did not expect, however, was the discovery that Tidelands, Moondoggies' sophomore album, would be less like Deja Vu, and more like Stills-Young Band, the brief, 1976 diversion for the two bandmates that produced the wonderful "Long May You Run." Their self-titled album was an attempt for the two legends to make a "contemporary" rock-record. Tidelands is a similar beast; it too mixes more "contemporary" folk-rock sounds, while blending elements of the past. Instead of floating alongside the Eagles, Jackson Browne, or Poco, Tidelands could fit easily in between Fleet Foxes, My Morning Jacket, or Band of Horses, without really breaking much of a sweat--or sounding too derivative. Kevin Murphy, lead singer, has a heartbreakingly beautiful voice; he can hit those hight notes, and can also sound slickly sweet. The other 'doggies ain't bad, either; they can produce a tight arrangement. The aforementioned "It's a Shame, It's a Pity" is a head-turner that demands to be turned up loud, "Lead Me On" makes me want to drive on an interstate, "Uncertain" makes me think of a beaten-up jukebox in a truck-stop, "Down the Well" sounds like a great tune to hear at your local bar, but the moment where all of these elements come together wonderfully is "We Can't All Be Blessed," a Muscle Shoals, gospel-style ballad that builds up, and crescendos into a blissful moment of harmonies that would make Dan Penn and Luther Dixon smile. It's a perfect album-closer...except it's not. That honor goes to "A Lot of People on My Mind," a beautiful number that's just Murphy and his guitar. It's a double-combo closing punch that makes me come back for more. Get the feeling I really, REALLY love Tidelands? You should. One of the highlights of 2010 for me! www.hardlyart.com JOSEPH KYLE

10.18.10
Roy Orbison
THE LAST CONCERT: DECEMBER 4, 1988-(EAGLE RECORDS)- It’s hard to argue with the incredible voice, let alone Orbison’s rather moody, always impressive songwriting. This recording of his last show in Akron, Ohio has been the subject of rumors for many years. Whether or not it’s worth the wait is debated by fans. Yes, the back-up singers are too high in the mix at times; and one detects some of the exhaustion leading to Orbison’s death two days later. The orchestration is rather like that of Elvis’s comeback show: perhaps a bit sweet and heavy-handed for purist rockers. Decades of performing experience and showmanship are revealed in the way Orbison works with these elements rather than fighting them. On “Blue Bayou,” his subtle call-and-response with the backup singers has a wonderful tone; you feel like you’re crouched at the side of the stage. And it’s hard to resist the charms of Orbison throwing down a few casual “hiccups” on “Dream Baby.” “Crying” would ring too much of “adult easy listening” if the compositions weren’t so eerily magical. TLC is a must-have for Orbison lovers and a mini-education for anyone who doesn’t know about his influence on The Beatles as well as Merseybeat in general, and popular songwriting. www.royorbison.com MARY LEARY

10.18.10
The Posies
BLOOD/CANDY-(RYKODISC)- The Posies are one of those bands that , over the years, I tried to get into and always heard that I should hear them, but nothing I heard ever really resonated with me …until this terrific record. Granted, even those older records that I “didn’t get into” I probably didn’t give a fair shake to for whatever reason. Well, regardless, now that this record has stuck in my craw so happily I am going to go back and absorb some of the band’s past (my pal says DEAR 23 is the one to have). With BLOOD/CANDY, the band’s 7th full-length’s overall and first release in 5 years it seems like the band is more of an occasional concerns these days as the main guy, Ken Stringfellow and Jon Auer both are busy doing solo work as well as , until his sad, untimely death, backing up Alex Chilton in Big Star, which was something they’d done for nearly two decades. So who knows, maybe The Posies WILL be more of a full-time concern now. On to the songs, the record opens with the statement-making, punchy Plastic Paperbacks” (with help from, Strangler Hugh Cornwall) while the soaring ‘The Glitter Prize’ (featuring Letter to Cleo’s Kay Hanley on harmonies) is one of the best songs on here as is the Beach Boys-esque “So Caroline”. A few of the songs, like the ambitious “License to Hide” change gears often but never seem to lose focus. The rest of the record is packed with fine songs with only a few missteps (“Accidental Architecture” is one) and if you can call it a comeback, well, this is one hell of one. www.rykodisc.com

10.11.10
Brent Amaker And The Rodeo
PLEASE STAND BY-(SPARK AND SHINE)- Please Stand By the third release and their first for NW label Spark & Shine , Brent Amaker and The Rodeo drag you into their unhinged take on western music. BAR does goth/cow/punk in a way that fans of traditional country western can sink their teeth into while leaving plenty of room for people who enjoy the punkwave/distorted elements of the songs themes. " Johnny's Theme " sounds like something from an 80's B movie soundtrack with it's chuggin Telecaster and showcases the tasty chops of lead guitarist Steve "Tiny Dancer" Davis. Potential chart-topper "Break My Broken Heart" is musically reminiscent of the "Roadrunner Theme" as Amaker croons in his whiskey baritone "You can't break my broken heart because i got burned before you came along" "U.S.A." is ironically accented with mariachi trumpets and "Hammer Hits the Nail" sounds like a follow up to " I'm the Man who Writes the Country Hits" from their 2009 release "Howdy Do" . At times Amaker sounds like Stephen Merritt, Junior Brown and Crash Test Dummies all rolled into one. These guys do cowboy music far too well to be considered gimmick and their songs sarcastic themes and punk influence are so present that they can't be considered straight western either. In the end, this gives them a very broad appeal. Late night T.V. get ready for a visit from Brent Amakers kick ass rodeo ! www.sparkandshinerecords.com DANIEL CRAIG

10.11.10
Elf Power
S/T-(ORANGE TWIN)- The most consistent band to emerge from the Elephant 6 collective, Elf Power has again unveiled a record that’s lush, thought-provoking, alluring and boundary-pushing. The self-titled 11th full-length release neatly showcases Andrew Rieger’s songwriting chops and ability to write heartfelt lyrics without treading into schmaltzy ground. On this song cycle, Rieger is singing for two: Elf Power is dedicated to Vic Chesnutt, the Athens, Ga. scene’s human rallying point who committed suicide late last year. (Elf Power and Chesnutt recorded the excellent Dark Developments) with Chesnutt in 2008.) At times, particularly in the opener “The Taking Under,” Rieger’s voice conveys the sadness he feels for his lost friend. That’s not to say it’s a downbeat record: Elf Power simply seems a bit more focused. Yet that sense of organization doesn’t come at the expense of whimsy. “Ghost of John” features a neat mix of xylophone and fuzzed-out guitar. “The Concrete and the Walls” offers a jagged guitar run and riff that leads to more patented Rieger hooks. “Goldmine in the Sun,” the standard EP pop song on this offering — there’s one on each of the group’s last several records — reliably delivers the listenable goods as well. Elf Power isn't hurt at all by contributions by several Elephant 6 collective members, such as Will Cullen Hart, Bill Doss, Heather McIntosh and now-regular Elf Power drummer Eric Harris. Again, it’s tough writing about Elf Power because the outfit is simply incapable of releasing anything less than solid and honest music. They’re good when they’re up, they’re good when they’re introspective. Let’s just finally cut the crap and give one of America’s best bands its due. www.orangetwin.com ANDY GIEGERICH

10.11.10
Stephanie Finch And The Company Men
CRY TOMORROW- (BELLE SOUND)- San Francisco roots rocker Stephanie Finch combines some first rate songwriting with her alluring voice to cook up a fine batch of songs on her release " Cry Tomorrow" . Finch sings in a very charming,unaffected tone and never gets in the way of the songs structures or production. " Tina Goodbye" & Don't Back Out Now " are both hits that feature cool guitar work from producer-husband, Chuck Prophet ." She's the One" , apparently a cover of a Randy Newman song is a playful sing along and her excellent cover of " Sensitive Boys" ( Escovedo/Prophet) seems tailor made for her serene vocal quality. Songs like " Transmission" and "Wandering Son " put the songwriting front and center ( she co-penned both with friend Randall Homan). Both tunes have a righteous 60's vinyl atmosphere to them. The album also features indie champs Kelley Stoltz and Rusty Miller as the other two/thirds of her band The Company Men which includes Prophet. Overall this is a fine collection of realized songs that leave you wanting another " piece of cherry apple pie" - Stephanie Finch dresses cool ! www.bellesound.com DANIEL CRAIG

10.11.10
Mice Parade
WHAT IT MEANS TO BE LEFT-HANDED- (DOMINO)- Adam Pierce's long-running experimental world-music band returns after a few years of silence, and the results are...as to be expected. He blends unique instruments, lovely vocals, and rhythms from most every continent on earth, and mixes up a wonderful melange. What it Means to be Left-Handed is no exception, though he has spiced up his style by using an unlikely tool: brevity. His previous records often had long songs, often burying good songs by either overwhelming them by going on too long, or weighing down an album with too many ideas. Songs here are shorter, and the album runs a little over a half-hour, though with a baker's dozen of songs, the whole affair never feels too brief. It's instantly apparent from the opening track "Kupanda" that the time off hadn't diminished any of their quality; its rhythms make me want to drink fair-trade coffee in Austin, Texas. Caroline Lufkin's voice is still the chillingly beautiful secret weapon, especially on "Do Your Eyes See Sparkles" and the plodding-rock of "Mary Anne." Pierce himself is in strong vocal form; he sounds particularly confident on the folk-rock of "Couches and Carpets" and the uncharacteristically harsh "Mallo Cup," which sounds surprisingly like an amalgam of Dinosaur Jr and Sebadoh! What it Means to be Left-Handed is a nice return after a hiatus, and still holds Mice Parade's proud, excellent reputation up to standard. www.fat-cat.co.uk JOSEPH KYLE

10.11.10
The Pickups
FINALLY…THE PICKUPS-(SELF-RELEASED)- Wow…this is terrific! Some nice chap from, Wellington, New Zealand, William Daymond, the leader of this band was nice enough to send m a copy of his band which I had never heard if. Seems like ever since the Flying Nun label disappeared it has been harder to hear about what is going on down there. I will say this, if the F.N. label was still around this bunch would most definitely be signed to it. Basically the band has been around for the better part of a decade , gigging, etc but this I their debut release and it is basically career retrospective as well as a debut 24 songs including the regular tune are some demos, outtakes and live cuts. There’s definitely a 60’s pop influence (Beatles, Byrds, etc.) as well as some of what made that island (2 islands, actually) so special back in those late 1980s (some Chills/Bats/Clean jangle on here too). Check out ace cuts like “Lightbulb”, the swift “Lions &Tigers”, the Crystallized Movements-ish “(Did I Do) Something Wrong?”, the loping “Find a Way” and plenty more. If you’ve read this far then please, by all means, send Mr. Daymond some of your money for this. You won’t be disappointed. www.myspace.com/thepickupsnz

10.11.10
Sex Robots
NIGHTMOVES-(ROADHOUSE TUNES)- Man, I must admit, I’m not sure what’s going on in St Louis since Drunks with Guns broke up (ok, so that was years ago), Bunnygrunt seems to be on hiatus and Prisonshake has been inactive. Luckily to keep me in the loop is Mario Viele, the leader of the Roadhouse Tunes label as well as this St. Louie band of guys with lots o energy AND guitars. What else do you do when those two things converge in your life? Why, you form a band called the Sex Robots. The songs come at you rapid fire, there’s only 10 of them but that’s fine by me. “Boy Dynamite” starts things off in dynamic fashion with a gnarly 3-chord guitar slice while “Cold, Cold Heart” slows it down just a bit and adds some cool melody then “Think I’m in Love” cranks it up to nearly h/c speed but again, these guys can write a mighty fine pop tune with hooks a plenty. On side 2 (ok, this is a cd) you get “In Your Arms”, “Lola is a Brat” (yes, big Ramones influence here) and ,of course, the heartfelt chestnut, “She Wants to Kill me.” All in a day’s work for the Sex Robots. www.roadhousetunes.com

10.4.10
Centro-matic
SOUTH SAN GABRIEL- EYAS-(SELF-RELEASED)- Several years ago, Denton, Texas's prolific poet Will Johnson's band Centro-Matic made a record called South San Gabriel Songs/Music--a record that eschewed the rockier elements of previous records. Centro-matic has had a stronger following in Europe, and upon that album's release, something different happened--it was credited to "South San Gabriel." Since then, the band has explored this element over two very fine records, while the Centro-matic side slowly morphed to the point where the difference has become negligible: the last album released was a two-cd set entitled Duel Hawks, with one album from each. Surprisingly, Johnson hasn't been nearly as prolific as years past, and his first new record in about two years is Eyas, also a split record between the two forces--this time, a split EP--and at this point, the two groups really are fungible. Though these seven songs are from the same sessions as Dual Hawks, they are anything but throwaways. The four songs Centro-matic over are definitely mellower than previous work; the use of a string section on "Christmas '83" being the shock of the record; only on "No They Ain't Mine" do the "rock" elements come out, and even then, it's restrained. The three South San Gabriel songs are deeply lush; the piano and pedal steel guitar combine wonderfully to make a melancholy, tear-in-your-beer atmosphere. They close with an eight-minute weepy country cover of "All Night Long" (yes, The Commodores) that is mellow, slightly stoned, mostly instrumental, and isn't nearly as scary as it may seem. In the description of the record, it states "This EP serves as an apt farewell to that phase of our bands, leading us down a new path toward a handful of new releases over the next little while." If this is a farewell to one or both of these projects, Eyas is a fine, lovely closer. If not--it's simply affirmation of what we know and love about Will Johnson's muse. www.centro-matic.com JOSEPH KYLE

10.4.10
The Daysleepers
WAVES OF CREATION: REMIXES, B-SIDES AND DEMOS-(SELF-RELEASED)- The on-again, off-again love affair with dreampop continues on. I've always found the scene to be rather dicey, in the sense that one or two bands will come along, make impressive music, which then will prompt tons of mediocre imitations, which then makes it hard for innovators to come along again. But such is not the case with New York dream-poppers The Daysleepers. They released a wonderful album two years ago, Drowned in a Sea of Sound, but, like most other bands of the genre, they quietly...disappeared. Until recently, of course, when they released Waves of Creation: Remixes, B-Sides and Demos. Though a short mini-album, this little record is a welcome reminder of what made their debut album so appealing. Dreamy vocals, heavenly melodies, and hazy, slightly stoned arrangements drenched in reverb...all are par for the course. Two remixes here are okay, but I prefer the original versions. The demos are the highlight here; you see a band clearly striving to create a dark, hazy atmosphere--and doing so in rough form, the songs sound even more compelling. While I like the final versions of "Lovesparkles" and "Mesmerize," I really dig the rougher versions more, and if "Alone in the Universe" is any indication, their new record should prove to be even more thrilling. Bring it on! www.thedaysleepers.com JOSEPH KYLE

10.4.10
Eternal Summers
SILVER- (KANINE RECORDS)- For moments, the clipped girl-chant and staccato, snare-based percussion take me back to hearing the Slits at some nightclub; maybe the 9:30 in Washington. Then the band’s love of melody yanks the sound back to the present – or to some punk dream place where all the dirty reverb, wannabe and/or actual ‘60s Pop, and emotion-driven, DIY sounds you’ve ever heard live. For once, one of those goofy Myspace descriptions makes sense – this is “dream punk” if anything is. In a video on the duo’s blog, Daniel says, “Punk’s definitely an influence on me and Nicole. I think that comes across when we play.” After a pause, she responds, “Definitely. Like more and more, actually. And it’s weird, like getting older—whatever—‘older’—but you’d think it would be the opposite, like we’d get mellower, or—but I think I’m more into punk now than when I first was into punk!” before breaking into a joyful chortle, with Daniel trailing, “Me, too.”The exchange would strike me as hilariously “Spinal Tap” if I didn’t know where these guys are comin’ from - “great minds think alike,” eh? Or so it can seem when I’m in the grip of a really good reverb vibe; feelin’ no pain. An initial run through Silver can elicit simplistic assessments, like “Here’s something to help Best Coast and Dum-Dum lovers feed their addiction,” or “Eternal Summers shows how anyone with a good compositional sense can make a band if they’re willing to bang on a drum kit and strum a guitar (along with mastering a couple of effects).” And that’s the essence of Punk – which wasn’t so much about mosh pits or skinheads or Mohawks, or even about playing fast, as it was about bucking prevalent tastes, and the music industry, to build bands out of creativity and desire (The Talking Heads, Feelies, Ramones, and Violent Femmes are all examples). Eternal Summers make me want to hear that shivery reverb/melody/harmony thing live, where I know these songs will reveal color and tone variations. Some of the tracks wander a bit too much, and Nicole’s voice occasionally gets rather grating. But this is primarily a tasty piece of work, one I hope will be followed by more lo-fi splendor. Highlights include “Silver,” “Disciplinarian,” “I Know Now,” “Dye,” and the marvelously moody “World’s Away.” www.myspace.com/eternalsummers MARY LEARY

10.4.10
Fucked Up
YEAR OF THE OX 12”-(MERGE)- A two-song twelve-inch single released on Merge, as part of the band's ongoing Zodiac series. Being my first introduction to the band, I have to say that I find Year of the Ox to be an oddly compelling, uniquely interesting record. Yeah, it's a hardcore record, but it's extremely catchy and surprisingly melodic. I have no idea what lead singer Pink Eyes is going on about, but he does so with a style that blends wonderfully with the music and noise around him. The title track is a 13-minute rant that I actually found quite enjoyable; Pink Eyes's shouting lines that are...well..two syllables long! It might seem monotonous in description, but in execution, it's a wonderful blast of punk fury. B-side "Solomons's Song" is an 11-minute long number, with plenty of saxophone, grinding guitar, and slightly ominous nighttime atmospherics; it feels like the soundtrack to a Saturday night out. Pink Eyes's screaming is equally contagious, and he sounds a lot like Archers of Loaf's Eric Bachmann. Best of all is how it suddenly changes its focus halfway through, and becomes a face-melting jam. All-in-all, a nice introduction to this band (for me), and probably an enjoyable release for those already in love with the band. www.mergerecords.com JOSEPH KYLE

10.4.10
The Joy Formidible
A BALLOON CALLED MOANING-(BLACK BELL)- This London via Wales trio have certainly been getting their fair share of hype the last year or so and helping to push them along is one of them members of Passion Pit, whose label this is. Vocalist Ritzy and bassist Rhydian were previously in a band called Sidecar Kisses and when that imploded they formed T.J.F. in 2007. The 8 songs on A BALLOON CALLED MOANING make a big, buzzing racket and while at times the tunes get caught up in their own swirly mess , most of the songs on here could be buzz band hits. Namely soaring opener “The Greatest Light is the Greatest Shade’ and the stomping, bashing “Cradle”, the first two songs on here (and both singles) . Tune three, “Austere’ (another single) slows it down and creeps it out with cackling bird-like vocals and a nimble low-end rumble while elsewhere, the stomping “Whirring”, vocalist Ritzy (a woman, by the way) shows off her confident pipes. A BALLOON CALLED MOANING is a nice way to start off a career and while there are a few bumps along the way on this 8-song record, most of it is solid to excellent. I predict big things. www.blackbellrecords.com

10.4.10
The Literary Greats
OCEAN, MEET THE VALLEY-(SELF-RELEASED)- Wow, where’d this bunch come from?!! Well, Houston, TX actually and this is the quintet’s 2nd record (debut was in 2007) and while I never heard that I want to now after hearing this fantastic roots rock record. Initial listens brought up the early Wilco stuff (vocalist even sounds a bit like Tweedy and a bit like Cracker’s David Lowery , as well) but in the guitars there is a dash of Pixies too (also, recent comers Dawes as well). Leader Brandon Elam is a serious talent folks and OCEAN MEET THE VALLEY is filled with hooks and heart. Opener “That Mountain Yonder” is an unfolding rocker with Elam trading vocals with other guitarist Taylor Lee and the guitars have a nice amount of grit while “Show Me the Coast” is moodier, prettier and “Oh Abilene” cranks the tempo and adds a dash or two of fun. Towards the end “Ruby Sapphire” trots close to the finish line while closer “Hill Country Queen” end it all with some Flying Burrito Brothers class. Speaking of class, this bunch has it in spades and if you’re wondering, yes, it’s well worth your hard-earned money. www.theliterarygreats.com

9.27.10
Kathryn Calder
ARE YOU MY MOTHER?-(FILE UNDER MUSIC)- Canadian Kathryn Calder had been honing her craft with some high school pals in Immaculate Machine before getting the call from her uncle, Carl Newman to join the New Pornographers (ok, I’m sure it didn’t happen exactly like that but you get my drift). At first it seemed like maybe she was just taking Neko’s place on tour when Ms. Case had other commitments but it seems Calder has become a much more important part of the New Pornos puzzle. In her time off from that band she at home taking care of her ill mother (who died, sadly, before the record was released) hence the title. ARE YOU MY MOTHER? Finds Calder wavering between gentle, folky numbers and more bouncy, almost experimental pop. In the former category you have cuts like “Low” and “Arrow” while in the latter there’s cuts like the swirling “Castor and Pollux”, the jittery “Follow Me Up into the Hills” and the jangly, up-with-the-people vibe of “If You Only Knew.” Calder who gets help from some of her New Pornos bandmates, has a keen pop sensibility and the fact that parts of the record seem so off the cuff gives it most of its strength. She understands that a whole is greater than the sum of its parts (even if the parts here are some excellent musicians in their own right). Nothing, not one note on this record feels forced , in fact, it all feels just right. www.fileundermusic.com

9.27.10
Futurebirds
HAMPTON’S LULLABY-(AUTUMNTONE)- Wow, this is good…no, I mean REALLY good. Had never heard of this Athens, GA bunch before but this plopped into my lap (ok, more like my po box) and I put it in on a whim after I saw the RIYL mentioning Drive By Truckers, My Morning Jacket and REM (RECKONING era) and it is all that and more. There’s 6 of ‘em in the band , a few of em wear beards and baseball caps so they got the look down but seriously, they harmonize the crap out of these songs and that pedal steel player deserves some kind of medal of honor (or at least a Big Gulp next time you see him) and the guitars, oh, the guitars, occasionally drip with prettiness like MMJ and other times exploding like Crazy Horse on a bender. And it all is caked in just the right amount of fuzz ‘n reverb. And let me tell you, I LOVE reverb. Several of these 11 tunes are straight-up epics! Give a listen to tunes like “There is No Place for This To Go” , the amazing “APO” , the ripping “Yur Not Ded”, and “Sam Jones” too. I’m not gonna say everything on here was great but the ratio is definitely tilted toward the really good side. These guys just have it. If Patterson Hood is smart (which I know he is) he will take these cats out on tour with him (he’s probably already done it) but in the meantime pick up HAMPTON’S LULLABY or else. www.autumntone.com

9.27.10
Junip
FIELDS (DELUXE EDITION)- (MUTE)- Jose Gonzales is known for his masterful use of the solo guitar, with comparisons to Elliott Smith being not inappropriate. If such is the case, then Junip should probably be comparable to Heatmiser, Smith's band before he became known as a solo act. Actually, that's not a bad comparison, because the music found on Fields, Junip's debut album, is like Gonzales's solo work, but with a different, fuller sound, in only the way a band can do. I hesitate to say the sounds on Fields are radically different, because on songs like "Without You" and "Don't Let it Pass," he's doing what he's known best for--low, sad folk numbers with simple arrangements. But that's not totally true of the Junip sound, as on other numbers, like on "Rope and Summit" and "Always," the band comes up with a slightly psychedelic, slightly soulful sound that reminds me not only of greats such as Luna and Stereolab, but also, in its own way, like the early 70s albums like Bill Withers. Gonzales is also in fine form, his voice still a strong point, but with the backing band of keyboardist Tobias Winterkorn and drummer Elias Araya, his singing obtains a multicolored shade not previously known. I do look forward to hearing more from this excellent group. Additionally, I would advise the listener to seek out the 3-CD box set version of Fields, as it features the band's debut EP, Black Refuge, from 2005, a rare single, "Chickens," and their EP, Rope and Summit, which was released earlier this year. Black Refuge is paradoxically a bit more hard-edged, yet more lush, than Fields, and features an excellent cover of Springsteen's "The Ghost of Tom Joad." "Chickens" is a transitional record, with Junip's overall sound starting to come into fruition. Rope and Summit is also a good little record, with one of the band's trippiest numbers, "At the Door," being a wonderful highlight. Seek this version out: it's a nice collection, and does not cost much more than the regular version. www.mute.com JOSEPH KYLE

9.27.10
Nada Surf
IF I HAD A HI-FI-(MARDEV)-Had heard about this one for quite some time and in the hands of pros like Nada Surf, I knew an all-covers record would be interesting if not completely great undertaking and most of this is completely great. With the classic songs on their last 3 or 4 records I knew Matthew Caws and company had good taste in music and it shows on IF I HAD A HI-FI. It opens with a cover of Bill Fox’s “Electrocution” which oddly I could not find on either of his 2 solo records I have or the one Mice cd that Scat released a few years back. Still, a great song . Up next is a Depeche Mode song, “Enjoy the Silence”, which I had not previously heard before but Nada’s version is excellent, melodic and soaring and up in the 3rd batter position is a breezy cover of one of my favorite Go-Betweens songs, “Love Goes On!” (from 16 LOVERS LANE). “Janine” is a gentle acoustic song originally done by avant gardist Arthur Russell and “You Were So Warm” was an old Dwight Twilley tune revered by power-poppers the world over. Later on the band tackles cuts by The Moody Blues, Spoon, Kate Bush and even one by Caw’s sister’s band, The Silly Pillows, a low-key but excellent pop band who have several cds out (most on Germany’s Perfect Pop label, of which I have three). For all the folks who groan at the thought of an all-covers record by one of their favorite bands I, on the contrary, look forward to what a favorite band can do with , in some cases, some of my favorite songs (and in other cases, I can have some new music to explore, like, in this case, that Depeche Mode song). Good going guys! www.nadasurf.com

9.27.10
Dax Riggs
SAY GOODNIGHT TO THE WORLD-(FAT POSSUM)- With titles like “Sleeping with the Witch” and “I hear Satan,” you could almost call this Hoofgaze music. Okay, that (may) be my last joke; I just get a little twitchy around devil-worship. Not that that’s necessarily what Riggs is doing – he’s just seems to find graveyards, gallows, and at least imagining a dance with Mr. D. as titillating as some find a perfect chocolate mousse or titty-bar. In any case, he’s spookier than fellow Louisianan Dan Sartain -- when all’s sung ‘n’ done, Sartain’s more grits ‘n’ gravy, rock ‘n’ roll basic. With Riggs you want to settle in with a case o’ cocktails or joints (the sober version might include crouching in the attic of an old house with a cup of particularly bitter herbal tea and just one candle on, at four a.m.) for some chain-clankin’, scary clown-shoe-shufflin’ immersions in the cleverly conceived, Jim-Morrison-channeling “You Were Born to be My Gallows” and a pretty harrowing version of “Heartbreak Hotel.” (Anyone want some primal therapy with that martini?) Notably, “See You All in Hell or New Orleans” throws down a rather lovely slice of haunting blues. Just when you’ve settled into a pleasantly dark trance, Riggs busts out with a full-on rocker like “Let Me Be Your Cigarette” or “Gravedirt on My Blue Suede Shoes,” which sounds like Sartain with a dirtier/more dissonant mix. No one need consult the Tarot to unveil which tracks are likely to be my keepers. www.myspace.com/daxriggs MARY LEARY

9.27.10
Weezer
HURLEY-(EPITAPH)- In one of the year's biggest shockers--I bought a Weezer album. I checked out the first single from the album, "Memories," and was pleasantly surprised at how not sucky it was. I also figured their jump from the majors to Epitaph would also yield something better than their previous output. Said suspicions were correct! Hurley is the sound of a leaner, tighter Weezer, one that is more in touch with the elements that made its debut such a winner: harmonies, fun lyrics that have MEANING, and catchy melodies that make you want to pop your baby and your babies into the car, roll the windows down, and just cruise. That's what Hurley is, from beginning to end--a good-time rollick in straight-up radio rock. It's not punk, nor is it pop, nor is it a blend of either. This sound is something that can best be described as "Weezer." From the pulsing driving beat in "Smart Girls" (sadly NOT a cover of Brian Wilson's infamous rap song), to the drenched-in-gorgeous-harmonies, air-drumming inspiring "Run Away," This is a band just being itself, and it WORKS. Not everything is gold; most notably "Where's My Sex," which is fun, but it's kind of dumb, and "Trainwrecks" is probably more autobiographical than anyone will admit to. Then again, the whole record has a subtle autobiographical theme going on; that they use the star of "Lost" makes me think that they've realized they were off the rails for a few years, and are now "found." The most puzzling part is wondering why the band issued two versions of this record; the deluxe version adds four songs to Hurley, and making this decision even more puzzling is that three of them are the album's best. The first is the almost-twee, touchingly sweet "All My Friends are Insects," which clocks in at less than two minutes, but is easily one of the band's better numbers. "I Want to Be Something," an acoustic demo, continues the autobiographical bent found throughout, and a full-band version could easily be a good follow-up single. But the biggest surprise is a live cover of Coldplay's "Viva la Vida," which is, amazingly both a sincere take, and wonderfully fitting for the whole "memories" vibe going on. Thus, I say put your money in the "deluxe version," you won't regret a thing. A wonderful comeback; may this trend of quality Weezer albums continue! www.epitaph.com JOSEPH KYLE

9.20.10
Eluvium
LEAVES ECLIPSE THE LIGHT-(TEMPORARY RESIDENCE)- Matthew Cooper's project as Eluvium has produced some grand, beautiful instrumental music. This year's album Similes was no exception. To remind us of this brilliant album, Temporary Residence has released Leaves Eclipse the Light, a nifty little three-song EP that builds upon Cooper's reputation as a master composer of gentle ambient music. The opening title track is also the gorgeous opener for Similes, an unhurried blast of quiet, lackadaisical melody that simply glides over the ears like a morning fog. Next up is the ten-minute epic "A Life In Tides Less Current," and the evocation of water fits, as this number sounds like sailboats on a gentle lake. He takes his time in building up the drone, and the rewards for the listener are tenfold. The final track is a Four Tet remix of "The Motion Makes me Last," and Kieran Hebden's quiet heartbeat pulse fits rather nicely with Cooper's gentle melodies. A nice little diversion for those familiar with Eluvium's greatness, and an all-around enjoyable twenty-four minutes! www.temporaryresidence.com JOSEPH KYLE

9.20.10
Darren Hanlon
I WILL LOVE AT YOU ALL-(YEP ROC)- This is the low-key Aussie’s 4th record in as many labels. The only other one I have is his fine debut from 2002, HELLO STRANGER (released here on the Drive-In label). I think I first heard his name from The Lucksmiths (who I believe he played with for a short time). It was smart on the solid label Yep Roc’s side to sign this unknown gem as I WILL LOVE YOU ALL is a terrific record with sneaky melodies and clever turns of phrase (aren’t all the Aussies good at that?). The record was recorded in Portland at Type Foundry by Mr. Adam Selzer who sure has been making a name for himself in our fair city and he did a wonderful job on this one. Opener “Butterfly Bones” was an ok opener but up next is the terrific, slinky “Modern History” and that follow with the best song on the record (and one of Hanlon’s best songs ever) the nearly 6-minute break-up epic “Scenes from a Separation” which makes the painful act of breaking up seem almost nonchalant. “All These Things” has some great clinky guitar (and male/female call and response vocals) that reminded me of a Robert Forster record (no doubt, one of Hanlon’s heroes) and let’s not forget the downbeat, folk of “Folk Insomnia” or the chugging, Modern Lovers-ish “Buy me Presents.” With an all-star Portland cast including Rachel Blumberg, Cory Gray (Hanlon’s right-hand man) and Shelly Short it’s time for this guy to come out o the Bush Leagues and into the Majors. Nice. www.yeproc.com

9.20.10
Duncan Maitland
LULLABIES FOR THE 21ST CENTURY- (INDIGO OCTAGON)- On "Lullabies for the 21st Century" Dublin, Ireland's indie vet Duncan Maitland grabs the reigns from artists like Jellyfish and XTC to further the pop stylings of 60's classics Pet Sounds and Rubber Soul. If you are a fan of that golden era you will enjoy this record as Maitland clearly establishes himself as its new torchbearer. He navigates this steep musical terrain in fresh way and is an obvious student of its subtleties. "Your Century" starts the album with a hint of twang and lush harmonies. "Terry the Toad" is a radio-ready number that is reminiscent of XTC & Squeeze. "Handbirds" is a sonically beautiful little song that finds Maitland with descriptive pen in hand. About halfway through the album the power pop hit " Horror Stories" sizzles with its esoteric lyrics and Lennonesque vocals. Stellar production and bright vocals are at the forefront of this record but Maitland's songwriting is top notch. Just when it seemed like the indie pop world had been reduced to the three minute download along comes Duncan Maitland with one of the best full length records i have heard in a long time! www.myspace.com/duncanmaitland MARKA LYDEN

9.20.10
The Orlons
THE WAH WATUSI / SOUTH STREET-(COLLECTORS CHOICE)-Another dose of 50’s Philly soul/R&B originally from the Cameo label, now re-issued on Collector’s Choice. The Orlons were a fairly good vocal group culled from the deep well of talent at Philadelphia’s Overbrook High School, and while they had some success, I don’t believe these recordings stand up as well as some of the other CC reissues. One problem is the production, which isn’t nearly as good as it was for other Cameo stars like the aforementioned Chubby Checker or Bobby Rydell. The other problem is the kitch-y / annoying fad of using a low vocal ‘trick’ on every other song. Think of ‘Why’s everybody always pickin on me,’ part in the song “Charlie Brown,” and you’ll get what I mean. (A whole album of that? No, thanks.) There are certainly some good tracks in here as well as some different takes on songs that were already hits for other people, but generally it’s a bit weak. However, it should be noted that the cover art/photo for the South Street lp is completely awesome! www.collectorschoicemusic.com JEREMY GRITES

9.20.10
Laetitia Sadler
THE TRIP-(DRAG CITY)- It's been a while since last we heard the wonderful voice of Laetitia Sadier, lead singer for the currently-on-hiatus Stereolab, as well as the occasional project Monade. The Trip is the first record under Sadier's name, but, really...there's not a lot of variation between the music found here, and the music she's made for the past two decades. The Trip comes in the wake of some personal tragedies, and there's a bit of a melancholy vibe to some of these songs--a grey cloud for the otherwise silver lining that is this brief album, especially with the piano jazz torch songs of "Statues Can Bend" and "Summertime"--but for the most part, listeners know exactly what they're going to get, and Sadier is certainly providing it. Highlights include the opening "One Million Year Trip," and the pretty (and pretty straightforward) disco of "Un Soir, Un Chien," which, I swear, could possibly be a Bee Gees cover! The only complaint to be had with this record is its brevity--it's thirty-four minutes, but with a number of seconds-long interludes, it feels even briefer--but that's a minor complaint. A wonderful, enjoyable Autumn record! www.dragcity.com JOSEPH KYLE

9.20.10
The Thermals
PERSONAL LIFE-(KILL ROCK STARS)- After enjoying this bands first three records I completely missed record #4 (their first for KRS after the first 3 being on Sub Pop) but after reading a few mediocre reviews of it, it seems like it would have been the one to miss. Well, whatever it was they lost on said record (NOW WE CAN SEE) they gained back on PERSONAL LIFE. A few of the interviews in local papers I’ve seen with singer/guitarist Hutch Harris it seems that the lyrics on here have taken on a more personal slant (hence the title) and as far as guitars go, well Harris has come up with some of his tastiest (yet simplest) licks yet and the whole record, while not quite on par with their superb debut, is really strong from start to finish. On “I’m Gonna Change Your Life” Harris, whose vocals are unmistakable, nasally yet fierce, leads the march with grinding guitars while the rhythm section of mainstay Kathy Foster and (new?) drummer Westin Glass ride alongside and it’s a nice way to begin a record. “I Don’t Believe You” is one of the best songs they have written yet , catchier than psoriasis as is the terrific “Not Like Any Other Feeling” (again, with Harris’ simple yet totally effective guitar work). On “Alone, A Fool” they tackle new territory with a slower, moodier cut that features an occasional bass drum slam throughout while on the following tune, “Your Love is So Strong” , they change gears, turn the amps back up and go back to another Thermals anthem (plenty of “whoah way oh’s”). Producer Chris Walla did a great job by keeping it simple and it’s nice to see the band back in fine form and after last week’s live show I can safely say that they band can still bring it live as well. www.killrockstars.com

9.13.10
The Atlantic Manor
THE WORLD BENEATH THE WORLD IS BRIGHTENING-(DO IT TOO)- Wow, this guy is going to be catching up with Jandek pretty soon. This guy is Rick Sell, a Floridian who records under the name The Atlantic Manor. I believe this is his 11th record in the last decade (his debut came out tin 2000). And actually the Jandek tag isn’t so far off, Sell records, what he calls, outsider music. This is spare folk and not the kind of stuff that will make you feel all warm and fuzzy inside though at times Sell’s haunting sonic portraits are beautiful. The songs are languid and in addition to Jandek reminded me a bit of Neil Young’s more spare material and even Smog (now recording under his name, Bill Callahan). On “Falling by the Second”, the 3rd song, you finally get to hear Sell’s vocals and he sings in a whispered drawl while the drums (by Ariel Herrera) and the occasional piano/keyboards (by Bob Platt) add some life to the proceedings. “DeathCrown’ perks things up a bit while the lovely “Apple Dreams” weaves a beautiful tapestry of voice and guitar to tape. For Sell to continue to release these records on his own dime shows the mind and heart of a true artist. www.theatlanticmanor.com

9.13.10
The Estranged
THE SUBLIMINAL MAN-(DIRTNAP)- I’m not able to keep up with the Portland (post)punk scene as much as I use to so I can always be sure that Ken Dirtnap will release several records per year to keep me in the loop. I enjoyed this band’s debut from a few years ago (STATIC THOUGHTS on Dirtnap as well) and this sophomore effort is just as good, if not better. They play moody, spare music with some really cool sinister sounding guitar (think The Wipers) while the rhythm section keeps it simple yet inventive and the doomy vocals are perfectly in line. Some of it reminded me, musically and even a bit vocally too, of The Cure if they had had more of a punk edge. The opening title track was a monster as was “Testify”,. “Perfection” and their take on The Fly’s tune (UK band from 1978) “Love and a Molotov Cocktail.” The tempos don’t vary too much but the songs keep chugging along and that’s what I keep coming back to. The guitarist, who is truly talented, doesn’t mind experimenting with unique fretboard runs and wiry leads while the drummer plays to his strengths. Sounds like we have another local band here that I need to make it a point to see live. www.dirtnaprecs.com

9.13.10
Electric Sunset
S/T- (K)- Electric Sunset is the new project of Nic Zwart, formerly of Desolation: Wilderness. After a relocation down the coast, and after dissolving that project, he's returned with a project that doesn't sound that terribly different. While the promo material suggests this project has more "rock and roll swagger," I take exception with that, (especially with that affable, likable cover photo), because this self-titled debut is still bathed in the hazy, smokey reverb and noise as his previous work. I will say that the lyrics are a bit clearer, and there's a bit more of a reliance upon melody, especially on lovely numbers such as "Morning City' and "Here Comes Midnight." Then again, he does have a tendency to get all blissed-out throughout the record. I would have no problem calling this "shoegazer unplugged," because that's exactly what this record is: were he to have a full band, this music would be LOUD, and I bet the soft, pretty songs really DO get loud in the live setting. Thankfully, Zwart keeps it brief; at only 30 minutes, the record ends before the musical style gets boring or repetitive. A nice, somewhat inauspicious debut; will be interested to hear what Electric Sunset will sound like after some maturation! www.krecs.com JOSEPH KYLE

9.13.10
Brad Laner
NATURAL SELECTIONS-(HOMETAPES)-Brad Laner's made a lot of interesting, unique music over the past twenty-five years, but it's been rare for him to make them under his name; 2008's Neighbor Singing was his first record to appear under his name. Natural Selections continues in that vein, with impeccably written pop songs Where his debut was warm, fuzzy, and loving, Natural Selections is a bit more detailed; the wonderful harmonies of album opener "Eyes Close" make you think you're getting into a hazy Beach Boys-styled record. But things switch up with the next song "Throat," which retains the wonderfully warm vocal harmonics of the opener, but adds a slinky dance beat, complete with handclaps. "Lancaster" turns *again* into a mellow number, but with a jazzier accompaniment, which changes up immediately with the catchy "Crawl Back In." Get the point? He's not sitting still; he's experimenting and making music that doesn't stay static. Of course, this can be a bold gambit, but Laner, being a masterful, experienced musician, can pull off these wonderful and sudden switches without sounding forced; as the title suggests, these selections all sound natural. Natural Selections is a fun record, a proud follow-up to an already strong debut, and an all-around nice, enjoyable listening experience. www.home-tapes.com JOSEPH KYLE

9.13.10
The Sadies
DARKER CIRCLES-(YEP ROC)- For years the Sadies have been cranking out great album after great album and touring non-stop. They’ve backed everyone from Jon Langford to Neko Case and Andre Williams to John Doe and their skills are now so finely honed that they are practically masters – not to mention National heroes in their native Canada. Over the years their songs have stretched out in length as well as depth and style, and while they are still always ready to throw down a smokin’ twang-fest, their newer songs are a different kind of craft. They are perhaps more polished and reserved, but are also (as the album title suggests) a bit darker and more brooding which prevents anyone from suggesting that they’re selling out. (They absolutely are not.) To me, the Sadies have become what the Byrds could’ve become after Sweetheart of the Rodeo, but never quite got there. They write solid songs rooted in American country and blues that then touch upon everything from psychedelia to surf music and from garage-rock to folk-rock. The Good Brothers’ harmonies intertwine nearly as well as their amazing guitar parts do and each song instantly creates its own atmosphere and images. In these days of lap-top duos and infinite Pro Tools tracks, the Sadies stand apart. They are a real band, that can really play and they are not to be missed. www.yeproc.com JEREMY GRITES

9.13.10
Seinking Ships
MUSEUM QUALITY CAPTURE-(S-CURVE)- I think I had heard about this record coming out a few years ago (on Wishingtree, maybe?) anyway, Seinking Ships is the long-awaited collaboration between Oregon’s own (and Cardinal maestro) Eric Matthews and a Cleveland, Ohio musician named Christopher Seink , who apparently has several records out as well but I have never heard of them. In addition to that core duo they are also joined by none other than Miki Berenyi (of Lush fame) on 3 songs. The song are lush (ha ha ), pleasant musical landscapes with Seink handling synth and electric guitar and Matthews handling everything else (a bevy of instruments including piano, mini-Moog, melodic, to name but a few) and while the two recorded their own parts in their separate locales it sounds amazingly cohesive. Opening Cut “One Day Forever” is a perfect melding of dreamy keyboards and laid-back horns while the strings come in (as does Miki) on the gorgeous “We Will Drink Wine” and the nearly as good “Digging Her Own Hole.” On “Savalas Street” those horns are unmistakable Matthews and “The Crisis” rocks out about as much as these guys do with a bit of frenzied guitar. When I had first heard about this project a few years back I wasn’t sure what to expect (Matthews is still releasing solo records as well) but these two truly seem like they’re on to something and let’s hope another long-distance recording is in the works. www.s-curverecords.com

9.3.10
Bill Baird
SILENCE!-(AUTOBUS)- Austin, Texas has its share of musical geniuses, talented performers, and just out-and-out oddballs. One of the latest, and certainly most impressive, geniuses to be found in Austin is Bill Baird. He was a member of mid-decade loved-by-bloggers The Sound Team, which broke up a few years back. Since then, he's operated as {{{Sunset}}}, and in so doing has released records, albums, and cassettes that could be lo-fi bedroom recordings, long, ambient tracks, psych-rockers, or just about anything the man wants to release. He is a master of the studio, and his records are testaments to his expertise. He released Silence! a few years ago, on limited edition vinyl. It's now been reissued on CD, and rightly so! Unlike his band work, this is straight up ambient work; dark, haunting, ice-cold instrumentals that remind me of the catalogue of Brian Eno, as well as the compositional style of former Austinites Stars of the Lid. The music is slow, glacially-paced, but never to boredom; other than the opening twelve-minute "Sow Implosion," none of the songs stretch over the six minute mark; if anything, Baird has the ability to make a two minute song, such as "Softly" and "Rain on the Window" seem like something three times its length. There's an interesting cover of Philip Glass's "Koyaanisqatsi," too, only without the haunting chants. My favorite, though, is the gentle "Surfing," which is the sound of one piano put through 24 stereo delays. It's beautiful and thought-provoking, as well as HIGHLY narcotic. Same too for "Rain on the Window" which Baird states was "originally a hip-hop track" that he removed the hip-hop from. It is, as he states, something much better. All in all a quiet, beautiful collection from this up-and-coming studio wizard. http://www.autobusrecs.com/ JOSEPH KYLE

9.3.10
Best Coast
CRAZY FOR YOU-(MEXICAN SUMMER)- By now, I’m sure this record has been totally over-hyped, and Pitchfork probably liked it which means the band will be on the cover of Spin any day now… Well anyway, I caught wind of this California boy/girl combo about a year ago, managed to track down their Black Iris single, “When I’m With You,” and totally loved it. This debut full-length offering from BC picks up right where that single left off and sets out running. It’s brimming with two-something-minute pop songs of unrequited love and lusting adorned with fuzzed out guitars and Bethany Cosentino’s dreamy, reverby vocals. It’s certainly not the first time a band has bridged the gap between 60’s girl group R&B and the haze of 80’s British alternative / shoegaze groups, but BC do a really good job of it. The songs are short and punchy, the melodies and harmonies stick to your ribs and no one can resist a cute blonde girl playing a Fender Jaguar. It’s also like a hipster fantasy record come to life – the girls will all identify with Bethany’s longings/feelings and the boys will all wish the album had been written about them. If it sounds like I’m dissing them, I’m not – I love this thing and can’t stop playing it. Also, for the completists out there, the cd version includes the A-side of the Black Iris single that I mentioned earlier. Worth a listen. www.mexicansummer.com JEREMY GRITES

9.3.10
Bloodfeathers
GOODNESS GRACIOUS- (PHILEBRITY)- Well, hallelujah! Rock-n-Roll music is back ladies and gentlemen and Philadelphia’s Bloodfeathers are here to give testimony. A veritable Philly super-group comprised of members from the A Sides, Mazarin, Aspera Ad Astra, Pink Skull, the Big Jangle etc., the ‘Feathers manage to condense the last 50 years of rock music into a cohesive, raucous, and FUN 11 song album complete with stellar harmonies, an abundance of guitar heroics and even a baritone sax. I swear, every track on this sophomore outing absolutely kills, and their quest to bring dancing back to rock-n-roll is in full swing. They swagger like the ‘Stones, harmonize like the Everlys, pick like Bo Diddley and shout like Little Richard. Make no mistake though, the songs pay homage to, but also put new spins on old-school rock-n-roll and these guys give it everything they’ve got. In short: the Bloodfeathers are the real deal. Stand-out album tracks like “Don’t Know You at All,” “Sugar in Bed,” “Caterpillar,” and “The Same Mad Part,” shine on the juicy, heavyweight vinyl version of Goodness Gracious and they’re a total blast when they’re played live. This record has been in heavy rotation at my house ever since it came out and it should not be missed. So, if you enjoy music, I suggest you go get one of these immediately.www.bloodfeathers.com JEREMY GRITES

9.3.10
Tommy James And The Shondells
GETTIN' TOGETHER-(COLLECTORS CHOICE)-Earlier this year Collector’s Choice reissued several of Tommy James and the Shondells records. A few were pretty good and a few downright bad (that western one). The sticker on the front of this one stated it was their “sunshine pop classic” so I was intrigued. I had never heard of this record before but then again, aside from a few of their hits, I knew very little about the band. Well, upon one listen you can see how it would fit in with the other purveyors of sunshine pop of the day: Jan & Dean, Free Design, etc. The record was produced by Bo Gentry and Ritchie Cordell and while I can’t say it’s in the pantheon of greatest sunshine pop records ever it is still a strong record with some superb melodies. Clocking in at under 30 minutes, these 12 short songs are big on melody as tracks like “There’s So Much Love All Around Me’, “Love’s Closin’ in on Me”, “Sometimes I’m Up (Sometimes I’m Down)” (which has the brief intro of guy running some steps then panting out, “side two” are all charmers. Don’t forget the ace title track (which hit #22 on the charts in the U.S. in 1967) and the slightly more rockin’ (well, for these guys) “You Better Watch Out.” A real pleasant way to spend 30 minutes of your life. www.collectorschoicemusic.com

9.3.10
Magic Kids
MEMPHIS-(TRUE PANTHER SOUNDS)- Wow, their “Hey Boy” 7” from last year gave us a hint that these guys were destined for bigger things but this debut full-length by these Memphis young ‘uns was beyond my wildest dreams. This is a sophisticated pop record that is , well, fun! The sound is pure pop and not in an ironic sense either, the strings sweep, the horns blast and the melodies, well, you won’t be able to get them out of your head. Think 60’s Beach Boys mixed with the current sounds of both Belle & Sebastian (their ambition) and the Apples in Stereo (their sense of fun). The record begins with the superb three-song punch with “Phone”, “Candy” and “Superball.” Next up is a heart-breaking, slower cut “Hideout” (because these guys are no one trick pony), then the unfolding “Summer”, the excellent single “Hey Boy” (you’ll think this song came right off an AM radio playlist from 1965) and the awesome “Good to Be.” Ok, there’s four more songs and they all need to be heard as well, but I’ll stop gushing here. Suffice it to say if you like your pop with a good dose of ebullience then have I got the record for you. It is, simply put, one of the most rousing debut record’s I’ve ever heard. Magic is right. www.truepanther.com

9.3.10
Tears Run Rings
DISTANCE-(CLAIRE)- The history of this west coast band (members scattered up and down the left coast) runs deep as three-fourths of the band was in Southern California dreampoppers The Autocollants. Those three, Laura Watling, Ed Mazzucco and Dwayne Palasek who along with San Franciscan Matthew Bice, make up Tears Run Rings. This record starts off where their previous record (2008’s ALWAYS ,SOMETIMES, SELDOM, NEVER) left off, literally, as that record ended with “Happiness 2” and DISTANCE begin with the beautiful, sweeping grandeur of “Happiness 3” The sound is hazy guitars, wooshing synths and gauzy male/female vocals. DISTANCE pays at least a bit of a debt to the band’s UK heroes (Pale Saints, Slowdive, etc.) but trust me, this is no slavish imitation. This is the best batch of songs the band has written yet: “Forgotten” is a dreamy cloud raiser (as is “Inertia”), while “Reunion” kicks it up a notch with a more upbeat backbeat and as something you can dance to (think New Order). Later on “Divided” is a dreamy twinkler (sung by Watling) and the awesome “Forever” is the most straight-ahead rocker on here with a captivating rhythm and killer, phased-out guitars. The 10-song set comes to a close with the ethereal “Happiness 4” first waking up , then emitting showers of sparks and finally turning the lights out and going to bed, after being tucked in, of course. Goodnight and sweet dreams. www.clairecords.com

8.30.10
Clubfeet
GOLD ON GOLD--(PLANT MUSIC)- Was a time I would have been embarrassed to like anything so grounded in drum machine settings. But for at least a couple decades (? - not really my scene – but I have friends…) it’s been called Club, not Disco – and then there are Raves… At some point, at least in some quarters, it became, if not cooler, at least okay to like Dance/Trance/Club. Any-jig, Clubfeet is so good at generating these beats that it’s hard to sit still, especially during “D.I.E. Yuppie Scum,” “Edge of Extremes,” “Last Words,” and the “Pull It Together”. One track, “Teenage Suicide (Don’t Do It)” comes off as kind of silly -- somehow the genre doesn’t quite fit (picture a guy and gal; or guy and guy, edging closer on the dance floor, flirting, and you’ll see what I mean). Several tracks just provide nice background sounds – nothing wrong in that. Others, like “Fall From Up Here,” would fit under the “dream pop” umbrella if they employed more “rock” instruments and/or sounded denser. But this is nicely spaced-out, and pleasantly spacey; occasionally evoking a bit of Pink Floyd. Sebastian Cohen, Monty Cooper, and Yves Roberts create icing-luscious harmonies. On “Edge of Extremes” they even remind me of Wings. And, if this matters to people who like this sort of thing (which in this case seems to include me), these Aussies aren’t just programming/mixing digital files. No; Sebastian plays double guitars (gotta see that); Monty fingers the synthesizer and operates the smoke machine (these guys are really growin’ on me), and Yves attends to the bass and “details.” They’ve provided a great starting point for the Club/casual Electronica initiate and a fix for aficianados. On this balmy summer night, it’s just the ticket. www.plantmusic.com MARY LEARY

8.30.10
Concrete Blonde
BLOODLETTING (20th Anniversary Expanded Edition)-(SHOUT FACTORY)- I'll admit it, I'm a sucker for music from my youth. One example is that of Concrete Blonde. Back in 1990, they made a major splash with a song called "Joey," a song written as a lament to an alcoholic lover (fun fact: it was written about the late Marc Moreland, guitarist of Wall of Voodoo, who had been Johnette Napolitano's boyfriend). The song became a hit, was played on the radio constantly, and, thanks to having been called "Joey" as a child, it was one that really stuck to my heart. Getting the album it came from, Bloodletting, was a wonderful revelation. It was a weird amalgam of the dark, 4AD and Goth-ish type music I loved, the alternative rock that would soon become big, and, surprisingly, equal parts blues rock and pop music. The title song kicked off Bloodletting, and contained all the elements that made Concrete Blonde wonderful: death, the supernatural, sex, gothic imagery, and the wonderful vocals of Ms. Napolitano. Throughout the record, there would be laments about lost and fading love ("Caroline," "Joey"), longing ("Days and Days," "Lullabye"), death ("Tomorrow, Wendy, "Darkening of the Light"), and even self-reliance ("I Don't Need a Hero"). Twenty years later, the album's been remastered, with a handful of b-sides added to the record. Of these bonus tracks, two stand out; the first, a wonderful cover of Jimi Hendrix's "Little Wing," and the long-lost "Joey" b-side, "I Want You," a song I've personally wanted to have on CD, as I listened to it as much as the A-side. I used to play that cassette single daily. Better still, the music still sounds fresh; a lot of the pre-alternative "college rock" music like this didn't age well. Luckily, Bloodletting did; it's a beautiful record, easily the highlight of Concrete Blonde's career, both creatively and commercially. www.shoutfactory.com JOSEPH KYLE

8.30.10
Grand Lake
BLOOD SEA DREAM- (HIPPIES ARE DEAD)- Contemporary Westerners are a pretty jaded bunch. Environmental and human tragedies are so common that one tends to pick and choose where to place one’s sympathies, with the likeliest candidates usually chosen per physical proximity and preexisting ties – i.e., I’m more likely to empathize with someone hobbled by cancer, a natural disaster, or a sudden family break-up if I’ve known them for some time, or they’re close to someone I’ve known for some time. So it’s surprising when I’m moved by the break-up revealing itself through Blood Sea Dream. Emo doesn’t tend to be my thing, and “dream pop,” which threatens to manifest per the album title, can be a catch-all for indulgent meanderings that often fall short of Progressive musicianship and compositional standards while being too drawn-out and serious for Pop. Yet even the first track, which sounds more than the others like that s—t I find so annoying, and which by name alone (“It Takes a Horse to Light a House”) runs a serious risk of pretention, engages me with deep, sincere feeling. Indeed, the pain coursing through BSD could be unbearable if the song-craft weren’t so mature; realized with sensual textures and mesmerizing dynamics. Nearly everything after the opener rises miles above the usual “Indie” acoustic/electric mush, especially ““Black Cloud,” “My Father as a Forest Full of Trees,” “Spark,” and “Oedipus Hex (Hwy. 1 North).” The sublime, single-note guitar on “Our Divorce” could be an advertisement for the thing – don’t tell the lawyers. www.hippiesaredeadrecords.com MARY LEARY

8.30.10
Landing On The Moon
WE MAKE HISTORY NOW-(YOUNG LOVE)-John Klemmensen’s vocals paint the first impression. I’m thinking, “Much too bleaty-goat/Adam Duritz.” But that only lasts for about four bars – then the clickity-clackity drum/guitar/bass kicks in, Klemmensen’s line resolutions start reminding me of Captain Beefheart, there are these interesting little rivulets of dissonance in the guitars, and I’m drawn in by the honesty: (“And it was there—there—I was a little late/I tried and I tried to make it okay,” and “I can’t hesitate – that’s what I always do.”) The song’s about awakening to the fragility of life and love, and by the time it’s escalated into an urgent plea, the delivery seems quite apt. From there, this almost-a-musical (as in the kind with acting weaving between song-and-dance numbers) format just gets better. Klemmensen trades vocal leads with keyboardist Megan L. Morgan, who has one of the purest, least-affected vocals I’ve heard in contemporary music. So it doesn’t matter so much that second track, “Hit The Road,” is relatively undistinguished; there’s a narrative of sorts going on here. LOTM muses on the fragility of romantic relationships, and the earth’s environment and future, in a way that’s fresh and engaging. The verses on the third track, “October,” presented again by Morgan, are a lovely magnet. Yes, songs like “Big E” will appeal mostly to lovers of mid-tempo emo - it’s good mid-tempo emo!. Standouts include the sophisticated dynamics of “Where Have We Gone?” which I would love to hear on the radio (okay, I’m an idealist), “October,” the classic Cardigans feel of “Letter,” and the gorgeous shimmer of “Holding Back.” The sincerity and earnestness with which these guys approach music-making is disarming: Is everyone in Omaha like this? www.youngloverecords.com MARY LEARY

8.30.10
Megafaun
HERETOFORE-(HOMETAPES)- When I scanned the onesheet for Heretofore, Megafaun's new mini-album, I saw a word that instantly sent a shiver down my spine: Phish. Call it my prurient interest in dignity, but I was nervous. Were these guys, who had impressed with last year's Gather, Form and Fly, gone all hippie jam band? It took all of two seconds into the album-opening title track to realize, no, these guys hadn't gone all boring on the world. Instead, what we have here is thirty-eight minutes of laid back, slightly psychedelic, rootsy country folk/rock, music clearly rooted in tradition but owing no direct inspiration to one particular group or artist. And, ya know, it sounds real good. The Phish-compared "Carolina Days" is rather a mid-tempo rave up about living a good life, while "Eagle" and "Volunteers" sound like songs you'd want to hear at a lazy Sunday afternoon cookout by a lake in the hills of Northern Arkansas. Of course, these guys have an experimental side, as witnessed by the thirteen-minute jazzy improvised instrumental, "Comprovisation for Connor Pass," which is an interesting aside from the rest of the record; normally, I would say it seems out of place, but this distinctive change in style works. Overall, Heretofore is a nice, pleasant little record; it establishes a nice connection to their previous work, while expanding on the promise of those earlier records. A fun little late-summer/early-fall record. And it doesn't really sound like Phish! www.home-tapes.com JOSEPH KYLE

8.30.10
Quakers On Probation
EVERY LIVING THING-(SELF RELEASED)- Of all places ,this terrific father/son duo f Daniel Craig(s) hails from Yakima, WA. They are joined by an interesting group of musicians whose names have passed by me over the years including Wrecking Crew drummer Larry Knetchel (who has played with the Beach Boys among others and who passed away during the session for this record) as well as Portland musician Colin Spring and another longtime indie musician Graig Markel. They call what they do “twangle pop” and that fits the music. The songs are breezy, the hooks plentiful and the melodies spot on. Opening cut “Pay it Forward’” was certainly a nice way to open a record with some grit added to the pop while “Your Favorite Song” makes good use of the pedal steel and has a nice melody throughout (as does the cloppity clop of “Sun Country Inn”). There are plenty of quality songs on here but my pick to click is “Marysville.” They even add, as a bonus track, a cover of Sammy Johns 70’s radio hit “Chevy Van” (which Joe Pernice covered on his latest record). The whole record was a pleasant surprise to say the least. Do not miss this one. www.quakersonprobation.com

8.23.10
Chris Brokaw And Geoff Farina
THE ANGEL’S MESSAGE TO ME--(CAPITAN)- These two, while not being household names or anything have both certainly carved out a niche in the indie scene with some terrific bands. Chris Brokaw has been a favorite of mine since the earliest days of Codeine but he didn’t stop there, from there he played guitar in Matador Records favorites (well, favorites of mine) Come and then went on to join the Kadane Brothers (ex-Bedhead) in the New Year (he also released a terrific solo record called INCREDIBLE LOVE on Gerard Cosloy’s other label, 12XU, in 2006). He has been in other bands as well but those are the higher profile ones .Bostonian Geoff Farina was in both Karate and the Secret Stars. I’m not sure if they’ve collaborated before but these 12 cover songs convey and easy balance and would think these two have been playing together for decades. Both sing and playing acoustic guitar (Brokaw adds electric guitar, organ and marxophone…..umm…wikipedia tells me it is a fretless zither). This is a fine batch of cover songs, mostly old standards or traditional, Tunes include “In the Evening” (by Leroy Carr) which is done beautifully with the two acoustic guitars melding perfectly (same with “Make me a Pallet on Your Floor”) while “Ginseng Blues (by The Kentucky Ramblers) updates a traditional tune with the chorus of “You can read my mind” and some ace whistling. “Oh Death” sounds like a tune Will Oldham should cover and “Stagger Lee” tells the story about a bully over a bed of bluesy folk guitar. THE ANGEL’S MESSAGE TO ME is a heartfelt, beautiful collection of tunes by two old friends who I hope have plenty more up their sleeves. www.chrisbrokaw.com

8.23.10
The Gaslight Anthem
AMERICAN SLANG-(SIDE ONE DUMMY)- This record came out two months ago and I wanted to review it sooner but it didn’t immediately grab me like their previous one did THE ’59 SOUND). I wanted to write the band off as trying too hard to go for that elusive gold ring but I couldn’t because their songs are too good. The 10 songs on here took a little longer to stick in my noggin’ but once they did I’ve had a hard time getting them out. They, (ok, they being vocalist/guitarist Brian Fallon) are trying to channel The Boss at every turn with his bellowing soulful vocals and songs about working class heroes from the ‘burbs of New Jersey or that big city across the river (“Boxer”, “The Queen of Lower Chelsea”, “Bring It On”, etc.) but it doesn’t matter because the hooks are too classic to simply write off. My personal favorites are the driving upbeat rockers (“Stay Lucky”, “The Spirit of jazz”, etc.) but even the more anthemic mid-tempo ones have the same kind of lasting power, if not more. The street corner doo wop of “The Diamond Street Church Choir” adds some Springsteen soul to some Billy Joel goofiness but again, coming out of the mouth of Fallon and his trusty cohorts even that one is hard to hate. A mighty nice roll these guys are on. www.sideonedummy.com

8.23.10
Leatherface
THE STORMY PETREL- (NO IDEA)- Hard to believe it but these Sunderland, UK punks have been at it for two decades now. If I’m not mistaken I believe this is their first record since 2004’s DOG DISCO (on the BYO label) but while that and the record before it (2000’s HORSEBOX) were merely good , THE STORMY PETREL finds them back at the top of their game. Vocalist/guitarist Frankie Stubbs still sounds like UK version of Bob Mould pouring his guts out on every song while the return of guitarist Dickie Hammond is certainly welcome and he and Stubbs guitars mix n’ match perfectly and sound like old friends (the guitars, that is) while the rhythm section pummels. Opener “God id Dead” is less melody and more philosophy but the raging “My World’s End” and the super-melodic “Never Say Goodbye” are among the band’s best ever as is the bouncy “Another Dance.” You want more? Check out the fierce “Diego Garcia”, the shredded guitar of “Monkfish” and the rip-roaring “Disgrace.” It seems like it’s been so long that Stubbs and Hammond had this monster they needed to unleash and , well, they did. No more of those extended breaks, ok? www.noidearecords.com

8.23.10
Seth Swirsky
WATERCOLOR DAY-(SELF RELEASED)-This California pop maven released a solid 204 solo record (INSTANT PLEASURE) but it was 2007’s release of his project the Red Button, the duo he did with pal Mike Ruekberg ,that caught everyone’s attention with a batch of 11 fantastic (and very Beatles influenced) songs. Instead of channeling our pals from Liverpool on this 18 song/ 43 minute record he goes more for the musicians that plied their trade right tin Swirsky’s backyard, yup, California. The opening title track adds some pedal steel while the classic “Summer in her Hair” is pure Beach Boys (as is the bouncy “Matchbook Cover”) and the breezy “Distracted” adds some Herb Albert horns to the equation with some classic results. “Movie Set” has some gorgeous strings and is another stunner as is the PET SOUNDS-ish “She’s Doing Fine.” It’s obvious here that Swirsky is aping his heroes here but instead of recording some derivative dreck, Swirsky has one again written a superb batch of songs that stand up to any band currently working in this medium today. If you didn’t think he could top the Red Button record well, think again. www.watercolorday.com

8.23.10
Wavves
KING OF THE BEACH-(FAT POSSUM)- Ok, I missed the boat on this guy. I kept reading the name but never bothered to check it out then once I actually read a review I was curious enough to give it a listen,. Wavves is Nathan Williams (apparently named for his fear of the ocean, now I would NOT have predicted that as the guy appears to be a surfer kid) a 20-something from San Diego who records under that summer moniker. Apparently he has two other records out (his previous one was also on Fat Possum) and this one is hi-fi compared to those lo-fi ones (?!!). I was initially reminded of fuzzed out 90’s pop bands like further and Honeyrider (“King of the Beach”) but there is a bit more going on here: some oddball beatbox numbers (“Idiot”), a few punk blasts (“Baseball Cards”, ala Green Day) and plenty of Beach Boys woo-hoos usually buried underneath a mound of soot (“When Will You Come”, “Take on the World”, etc.). You’d think these songs would’ve hit me immediately but they didn’t, my initial thought was “overrated” but after several listens I think Williams is onto something here. You might want to hate him for all those smug publicity photos but the lyrics are self-deprecating enough where it’s obvious the guy has plenty of self hate. He’s not tackling a new genre here or anything but he’s updating what has been done in a new and exciting way. www.fatpossum.com

8.23.10
V/A
SING ME TO SLEEP-INDIE LULLABIES-(AMERICAN LAUNDROMAT)- This Connecticut label always seems to be doing records which benefit some type of charity which is always a good thing, This particular one is one for the Valerie Fund which benefits kids with cancer and rare blood disorders. Basically it has many of today’s most popular indie bands tackling other bands songs and the results are wonderful. It opens with Canada’s Star taking on a Smiths b-side “Asleep” while next up is Jenny Owens Young doing a spare acoustic one of my favorite Red House Painter tunes in “Have You Forgotten and tune number three is the Real Tuesday Weld doing the Malvina Reynolds chestnut “Little Boxes” with some slippery kookiness added. Elsewhere Seattle faves Telekinesis doing the ELO classic “Can’t Get It out of My Head” and Dean & Britta try on the Jack Early tune “Making Me Smile” and do it more than justice. Mojave 3’s Neil Halstead offers up Kate Bush’s “Cloudbusting” and Papercuts take an AOR turn doing Don Henley’s “Boys of the Summer.” There’s plenty of other terrific cuts from The Cocktails, the (previously unheard) Leisure Society, Portland’s Laura Gibson, Say Hi (doing a quiet version of the Violent Femmes classic “Kiss Off”) and plenty of others. Well worth the money, this. www.alr-music.com

8.16.10
The Acorn
NO GHOST-(BELLA UNION)- Yesterday I was watching a “Classic Albums” DVD in which Black Sabbath’s Bill Ward attributed some of Paranoid’s cachet to how closely that line-up listened to each other (and it feels safe to assume this will be the only Acorn review to reference BS). Despite my tendency to nod out to a lot of “Indie” next-big-snores, the characteristic noted by Ward is, currently, nearly a norm in such circles. The Acorn’s a good example – seems every note, volume shift, and tempo change has been examined as minutely as an embroidery stitch. TA’s main scribe/chanter, Rolf Klausener (try saying that seven times in a row after a coupla brewskis) has a really nice voice – in a world of nice voices, his is clear and pure as a bayou that’s somehow eluded the BP spill. Kinda like distant, mostly-Canadian ancestors The Band, TA makes sounds that could nestle into the “Americana” niche. And gotta hand these guys some “originality” kudos: Jeff Debutte’s and Klausener’s soft wails ring with just enough whininess to evoke Bobcat Goldthwait on “On The Line” before throwing down the ambitious collage of the next track, “Bobcat Goldwraith.” Yeah, you read that right – and are unlikely to read it again, any time soon. Sweet, bright guitars, with some piano chords, provide the calling card of “Cobbled from Dust” before building to a dissonance-spiked mosh pit. “Misplaced” retreats to the first gear of single drumbeats/tambourine shakes, barely-there guitar murmurs, and Klausener’s narrative. But it’s on tracks like “Made the Law” that I want to be invited to the cabin in the woods where TA’s stirring a beautifully pastoral cauldron before wailing like classic Crazy Horse. A recommendation? Hard to say – depends on how much you crave a country sojourn (No Ghost was recorded deep in the woods of Northern Quebec -- you can feel the wind rustling through the leaves); along with your ability to track gently organic twists and turns: From the sweetly pastoral (“Slippery When Wet” could run with the fleetest foxes) to the born-too-late-to-be-Neil Young hoedowns. I’m already loading a knapsack. www.bellaunion.com MARY LEARY

8.16.10
Tommy Keene
YOU HEAR ME; A RETROSPECTIVE 1983-2009-(SECOND MOTION)- Tommy Keene has probably been called underrated so many times that he’s probably sick of it but as talented a songwriter as he is, the guy is probably modest to a fault (and I thought that before reading Matt Hickey’s liner notes). He understands and accepts his place in the music world and thus will have 100 times more respect than the Matchbox 20’s singers of the world (ok, bad contrast, I know) The guy has been producing quality pop music for nearly three decades and for every person who is a fan of his music there are 99 others who say “Tommy Who?” But still, fans in the know know who he is as do musicians you have heard of who he’s recorded with (Jeff Tweedy and Robert Pollard just to name two). His career was revived once in the mid-90’s by Matador and now it appears Second Motion has (smartly) picked up the ball and are running with it. YOU HEAR ME is a 2-cd/ 41-song retrospective from his years of service. Most of disc one focuses on the early years including his two Geffen Records (SONGS FROM THE FILM and BASED ON HAPPY TIMES) while disc 2 covers the 90’s and beyond. Check out the passionate cuts like “Back to Zero Now”, “Baby Face”, “Places That Are Gone”, “Driving into the Sun” and plenty of others. If you’re a fan you already have this but if you’re a newcomer or just plain curious then this is a perfect place to start. It’s all here for you on a proverbial silver platter. If you’re looking for flash then please keep moving but if you are after a consistently talented songwriter (think of him as the Eddie Murray or Brooks Robinson of the music biz) who writes with pure passion then look no further. www.secondmotionrecords.com

8.16.10
Mates Of State
CRUSHES: THE COVERS MIXTAPE- (SELF RELEASED)- This was certainly a pleasant surprise. I do wish bands did more cover though I don’t necessarily want to see more all covers record (having said that though I do want to hear the latest one from Nada Surf). This CT. duo (husband/wife) of Jason and Kori have been around for over a decade now and honestly I have enjoyed their past few records more than their first few (some friends don’t agree). This record has a real melodic, synth-pop sound and they pick an interesting choice of covers. The record begins with a terrific reworking of Girls song “Laura” done OMD style while song number two is a Mars Volta song. I personally don’t like the band but they’ve done some interesting things with their tune “Son Et Lumiere” (like add some cool horns). Next up is one of my favorite Belle & Sebastian songs, “Sleep the Clock Around” which doesn’t sound too completely different than the original. Later on we hear a superb version of the Dear Nora song “Rollercoaster” (off their debut full-length, WE’LL HAVE A TIME) plus other covers by Tom Waits, Nick Cave, Fleetwood Mac, Daniel Johnson and others. I’d say worth the price of admission for the Girls and Belle and Sebastian covers, but solid all the way around and I do think it’s time for another tour. www.matesofstate.com

8.16.10
Nixon's Head
ENEMIES LIST-(GROOVE DISQUES)-Geez, speaking of obscure (see Tommy Keene review above) this Philadelphia institution have been making music nearly as long and are even more under the radar than Mr. Keene (if you can believe that). I know I caught this band a few times at Philly’s fabled South Street club JC Dobbs back in the late 80’s so it’s always a pleasure to see one of their cds come in the mail (and guitarist Jim Slade is still the main songwriter) . Not sure what # record this is but while the band still recalls crunchy 60’s Kinks, on this record they get a bit heavier and in these 11 songs. I hear elements of Blue Cheer, the MC5, Moby Grape, and Arthur Lee and Love in addition to their usual Beatles and Byrds influence . The terrific opener “Done Dealin” is a perfect out-of-the-gate stomper as is the heavier “Never Been Down” and the driving, female-sung “The Witness” (featuring The Photo Band’s Art DiFuria on lead guitar, he is another old Philly guy who I caught back in the day in a little known band called Tons of Nuns). The jangly, melodic “English Envy” closes out side one and side two, with six more wired n’ wooly tunes, is just as strong. For a band this good to be so obscure is criminal but that’s ok, ENEMIE’S LIST is well worth your hard-earned money. www.groovedisques.com

8.16.10
Perfume Genius
LEARNING-(MATADOR)- Wow, what an unbelievably sad, beautiful, moving record. I’m assuming this is a debut as I have never heard of this guy before and I don’t know, it just kinda sounds like a debut. Not that he sounds like a beginner, in fact, he sounds like an old soul to be honest but I do think he is younger than his years. The band is essentially the work on one guy, Mike Hadreas. A Seattle native who sounds like he locked himself in his bedroom and sang all of his demons away. The first song, the title track, is basically Hadreas’ shakey voice and a faint piano. The second song, “Lookout , Lookout” is basically the same thing but with eerier lyrics (“Lookout, lookout, there are murders about”). My personal favorite is song number three, “Mr. Peterson” which has the same basic foundation as the other songs but with a bit more melody (It’s the single) and more story-like lyrics (“He let me smoke weed in his truck” and “He made me a tape of Joy Division, he told me there was part of him missing”). A few other haunting gems include “Perry”, “Gay Angels”, “Write to Your Brother” and , well, all of them really. The whole record is unique and spellbinding in its own way and it’s shorttoo as these 10 songs float by in under 29 minutes. The few photos I’ve seen of Hadreas shows an androgynous sort who seems broken but LEARNING is a cathartic affair indeed. We can only hope Hadreas feels the urge to record again and again but until then let’s cherish this powerful, low-key beauty of a record. www.matadorrecords.com

8.16.10
Versus
ON THE ONES AND THREES-(MERGE)- It’s hard to believe that it has been a decade since the last Versus record. I don’t think this band ever really broke up but more like went on an extra-long hiatus. Anyway, the core of the band (vocalist/guitarist Richard Baluyut, his brother Ed on drums and bassist Fontaine Toups) got together and record this record and while not a great record it is solid record with a few great songs. The tunes seem a bit restrained with little of the guitar rage that filled records like LET’S ELECTRIFY or SECRET SWINGERS, which isn’t necessarily a bad thing. “Invincible Hero” is a decent opener with some guitar grit but the real surprise comes next on “Nu Skin” where the band shows the unique shifts between heavy and light that they perfected over a decade ago (some terrific harmonies between Richard and Fontaine as well). “Gone to Earth” is a slithery pop tune with Richard’s subdued vocals (Fontaine comes in on this one too to add some beauty) and “Cicada” shows some o the days of yore with that patented ringing guitar meanwhile tracks like “Pink Valhalla” and “Into Blue” were a bit lackluster. Still, if they have another record up their sleeve then I wouldn’t count them out yet, plus I have plenty of room in my collection for more Versus (and if not I’ll MAKE room). www.mergerecords.com

8.09.10
Cats On Fire
DEALING IN ANTIQUES-(MATINEE)- I have thoroughly enjoyed this Finnish 4-piece , first 2 records so was genuinely surprised to see they had a new record out. This 20 song collection is actually a collection of singles, rarities and the like (basically everything they have recorded that was not on their first two records). One listen and the band’s charisma and panache’ will shine on through. . Leader/vocalist/main songwriter Mattias Bjorkas has been accused of sounding like a certain 80’s UK band (Smifs) and while that is true to an extent, Bjorkas’ voice is deeper and richer and the crack musical cast behind him compliment his vocals perfectly (I also hear bits of Orange Juice and The Wedding Present too, among others). The record begins with the a White Town cover (remember them? C.O.F. cover “Your Woman”) in fact, surprisingly, it’s the only cover on the whole record. Not necessarily a bad rendition but not the strongest way to start the record off but they more than make up for it on the next song , and the next one an next one and…well, you get the picture. They offer a different version of their terrific “Higher Grounds” , “Never Land Here” is confident while “Something Happened” is more minimal but just as enjoyable. The shuffling “Solid Work” was a unique pop tune as was “Don’t Say It Could Be Worse.” It’s a terrific collection and if you’re of the belief that nobody writes ‘em like they used to then give this band your immediate attention. www.indiepages.com/matinee

8.09.10
The Goodnight Loving
THE GOODNIGHT LOVING SUPPER CLUB-(DIRTNAP)- These blokes hail from the working class town of Milwaukee, WI and have a few mighty fine records out on the Dusty Medical label but am glad they are on our own Dirtnap label. At least one, maybe two of the members are in the Sub Pop band Jaill and they get lumped in with the garage scene quite a bit and while their music does have elements of garage they also add liberal doses of country & western, power pop and even some folk as well. This is their 4th full-length and most definitely their best. The record begins with “Ain’t it Weird?’ a sort of side-ways hoedown that’s sounds a bit tipsy so the sonic shuffle of the catchy-as-all-get-out “The Pan” (about the life of a fish). They crank up the organ on the anthemic “Earworm” and get down and dirty on the murky “Candy Store.” These guys, like the Black Lips, understand the true essence of rock and roll and are more than happy to show you how it’s done. If you don’t go along for the ride it’s gonna be a boring Saturday night, I guarantee it. www.dirtnaprecs.com

8.09.10
Jaill
THAT’S HOW WE BURN- (SUB POP)- This Wisconsin band who share a few members with The Goodnight Loving (see above) released a terrific debut last year THERE’S NO SKY (OH MY MY ) on Burger Records and then got a 2 record deal with Sub Pop, not bad fellas. I’ll say right off the bat that I do like their debut a smidge more than this but smidge means that this is a strong record in its own right. It’s kind of hard to categorize the band. The band add some wiry n’ weird guitar work melded to a hyperactive rhythm section and a vocalist set on spazz (or maybe stun?) at times, other times he approaches a croon or a soar. The best examples of this are on the zippy, superb “Everyone’s Hip” (“She’s My Baby” could be described as such as well) , the more mid-tempo, grinding “On the Beat”, the poppy “Demon” and the wildly rousing “How’s the Grave.” Right out of the gate this previously unknown bad has released two solid (and then some) records. Not sure if it’s something in the water in Wisconsin but I wanna hear more (and hopefully visit the cheese state one of these years). www.subpop.com

8.09.10
The Mynabirds
WHAT WE LOSE IN THE FIRE WE GAIN IN THE FLOOD-(SADDLE CREEK)-OK, so I was late getting’ to this band (what else is new) but then saw a preview of their Portland gig a few weeks back. I didn’t make the gig but the review was interesting enough where I needed to hear the record. Clueless me, I was waiting around for the next Georgie James record only to find out that they disbanded and Laura Burhenn, one half of that duo, had a new band The Mynabirds and already had a new record out recorded in Southern Oregon with Richard Swift. The name was taken from an old band that two old Canadians, Rick James and Neil Young had formed back in the 60’s. Where Georgie James took elements of 60’s pop music (think Kinks) The Mynabirds looks to torchier subjects like Dusty Springfield and Bobbie Gentry with a heady brew of soul and gospel as well as a few more rockin’ moments tossed in (“Let the Record Go”). And what a brew it is, who knew that Burhenn had a set of pipes like that?! My god that girl can sing! Listen to gorgeous swayers like the brilliant “Numbers Don’t Lie”, the amazing “LA Rain” and terrific “Ways of Looking” as well as plenty of others. One of the most beautiful records you’ll hear all year, DO NOT miss this one. www.saddle-creek.com

8.09.10
Ty Segall
MELTED-(GONER RECORDS)- Dang, Y'all's, this is what psych rock was, shall and always will be. The opening track from Mr. Segalls new album is a blistering guitar mess with distorted vocals and an incredibly catchy, wonderful chorus. All of the songs on this album(with the exception of "Mike D's Coke", featuring Mike Donovan of Sic Alps, which seems like a bad inside joke to me) are beyond reproach. Track 2, "Caesar", is great acoustic psych with an appearance by John Dwyer(Thee Oh Sees) on flute(?). The third song, "Girlfriend", is garage psych done at a very high level. The same can be said for the remaining tracks. "Sad Fuzz" is so sweet it could rot my remaining teeth, the title track has more echo than I previously thought a band could get away with, "Imaginary Person" somehow throws some new wave into the mix and it is amazing how well it works, "My Sunshie", "Bees" and "Mrs." are all equally exciting as well. The closer, "Alone", features acoustic guitar plucking and strumming as well as an electric solo that easily could have been found on Neil Young's Everybody Knows This Is Nowhere album 40 years after the fact. The album finishes as strong as it started and that's saying something. Very good. Thank you Mr. Segall. www.goner-records.com KIP KELGARD

8.09.10
The Shimmies
TO ALL BELOVED ENEMIES-(SELF RELEASED)- If you like layer upon audio layer, building to emotional cacophonies before subsiding into valleys of evocative shoe-gaze, you might want to check this Chico, California posse. Along with its thinking man’s headbanging skills, the band’s growing buzz can be traced to: (1) the addition of Jack Gingerich’s expressive kit banging, and (2) a noticeable surge in growth from previous album, Frogtown (which may be connected with #1). Tinkly little guitars shifting to ferociously buzzing rushes; percussive explosions, and quavery, grunge-seeded vocals: It’s all here for lovers of Foo Fighters, Elliott Smith, Buckfast Superbee, and Radiohead. “The Mountains Are Steep The Mountains Are Cold” (the video of which is called “The Mountains Are Cold The Mountains Are Steep”) is a good example - but, hey, guys, either get your adjectives in line or pass one of those doobies this way, eh? www.theshimmies.com MARY LEARY

8.02.10
Beach Fossils
S/T-(CAPTURED TRACKS)- This band is (was) essentially the brainchild of one Dustin Payseur. A North Carolina native who landed in Brooklyn, NY armed with his guitar, a Tascam 4-track and, possibly, a few Felt records. Signed to the label-of-the-moment Captured Tracks, first came the Daydream/Deseret Sand 7” in 2009 and now, this the band’s debut full-length. Payseur record most of this by himself but had some help on a few tunes (he has a full band now) . In addition to the previously mentioned Felt I hear alight echoes of The Clientele and Galaxie 500 as well (Payseur also said he was influenced by free jazz and McCarthy, Tim Gane’s band before Stereolab while recording). One listen to unforgettable cuts like “Vacation” (with a great guitar riff throughout), “Youth” or the single cut (included here) “”Daydream” (more of that hazy/silky guitar) will make you an instant fan. This record belongs in every pop fan’s collection and after the live show I saw last week they put on one heck of a show on stage as well. Do not miss. www.capturedtracks.com

8.02.10
Fuck Knights/G-Biz
SPLITT 12"-(IONIK RECORDS)- In my experience a split record of any kind generally has a photo of one band on one side and the other band on the other side. The cover of this 12" 45, containing 2 songs each(one live track, one studio track each) by Minneapolis bands Fuck Knights and G-Biz shows a different photo of the same five dudes on both sides. I find this troubling and deceptive. Fuck Knights studio track "i/Primitive" Is fuzzed out rock with distinct touches of punk and garage that mid song breaks down into good old R&B almost reminiscent of early Stones' records. The record could stand alone on just this one song. Unfortunately, it has to because the rest of the record is totally useless. Fuck Knights live track "Teenage Wasteland"(not the The Who classic) is one of the worst recordings ever put to vinyl(yes, I have heard "Still Life"). I very well may have enjoyed a studio recording of this song. I guess I'll never know. G-Biz "Don't Wanna Live". I liked this better when it was called The Butthole Surfers. More like Mike Patton covering the BH Surfers. Very disappointing. The live track, "Tired Of Being Poor" was recorded at the same show as the Fuck Knights offering. This must have been one of the worst shows in the history of shows. Hopefully Fuck Knights will release records to a broader audience, allowing for better production and recording methods. At the same time, hopefully G-Biz dies in a fucking riding lawnmower accident. www.ionikrecords.com KIP KELGARD

8.02.10
Jeremy Jay
SPLASH- (K)- I first gave this K records ambassador of cool a chance on his previous record, 2009’s SLOW DANCE (still have yet to hear his debut) and really enjoyed what I’d heard.. On this, his third record, Jay has up and moved to London from L.A. and it’s no surprise, that with his new locale, he still has that cigarette-dangling, icy cool and luckily for us, a fine batch of songs to go along with it. Clocking in at just under 27 minutes, these 9 songs was no time in planting their gooey little melodies into your noggin. Opening cut , “As You Look Over the City”, actually rocks a bit (for Jeremy) with some tasty guitar grit while my personal favorite, “Just Dial My Number” is a finger-snappin’ synth-pop tune that could/should be a dance hit (and just might be in his new home). On the amazing title track he speeds up the tempo and gets a bit Ian Curtis on us in the vocal department but keep the song moving with an unbeatable hook. A few merely average tunes follow-up and then the record comes to a grinding halt with a few more choice tunes (“This is Our Time” and “Why is This Feeling So Strong?”, reminding me a bit of Bill “Smog” Callahan on that song). From far, far away (if you’re in this part of the world) Jeremy wants to give you his heart. Please accept graciously. www.krecs.com

8.02.10
Locksley
BE IN LOVE-(FEATURE)-These 4 clean-cut dudes , like the band The 88, have songs on all kinds of tv shows and movies but hardly anyone has heard of them. BE IN LOVE might change all of that. They hail from Wisconsin now call BKNY home and on this, their sophomore record, they toss out every roc/pop cliché with lots of ooh ooh ooh’s, hand claps, snappin’ fingers and more hooks than you can shake a stick at. In other words, you might want to hate this record but it’s nearly impossible as the hooks are too irresistible. You want proof? Check out “The Whip”, “Days of Youth”, “21st Century” or “Love You Too” (Beatles reference?). Ok, so not a ton of substance here but honestly, who needs substance when you’re too busy bouncing up and down? www.locksley.com

8.02.10
Phosphorescent
HERE’S TO TAKING IT EASY-(DEAD OCEANS)- Full-length #5 from NYC-via-Athens, GA musician Matthew Houck and this is his first real record with a band and it’s terrific. Houck is obviously influenced by 70’s bands, namely The Eagles and The Band (as well as plenty of those Laurel Canyon cats we’ve heard so much about over the years and current alt-country guys like Dawes and the Fruit Bats) and HERE’S TO… is a rousing affair that harkens back to a time when musicians would gather in the living room and jam for hours (or days) based on a mutual respect for each other. The songs are breezy, catchy and beautiful. This one can be (and should be) put on and played from start to finish. The opening cut, “It’s hard to be Humble (When You’re from Alabama)” has a pop swagger and bounce to it unlike the rest of the record, which is a more laid-back affair with breezy harmonies atop strummy acoustic tunes (the best example being “Nothing Was Stolen (Love Me Foolishly)” and “The Mermaid Parade”). It’s always a major plus when a songwriter can sing straight from his heart and still write terrific pop songs. Matthew Houck is one of those rare birds so please don’t take him for granted. www.deadoceans.com

8.02.10
Thee Oh Sees
WARM SLIME-(IN THE RED)- Warm Slime got pumped out just about a year after Help – apparently, as in classic horror movies, it doesn’t matter how much ya scream – the creepy-crawly ooze is still comin’ to get ya. Since the monster comin’ through this window’s some of the most rabid rawk being emitted on the planet – well, we’re sorry for Thee Oh Sees, but, like the figures jumpin’ around the Flamin’ Groovies’ Supersnazz cover (one with a bucket of fire in its fist; another hoisting a stick of dynamite), we, the insatiable head-wagging groovers, are jazzed --color that super-jazzed. Warm Slime captures Thee Oh Sees’ ecstatic thump-n-jangle even better than Help. The easy star’s the title cut. It employs a frequent John Dwyer (Thee Oh Sees’ chief pants-on-fire instigator; a knob-twirlin’ guitar smacker & shriek emitter if ever ya saw one) technique: Taking several elements (garage, mod, etc.) that are true rawkers meat ‘n’ potatoes & reworking so as to recreate the same hit we got from the originals – while feeling fresh as a newborn rug rat. “Slime” manages to blend the Blues Magoos’ manic “Tobacco Road” pitch with Sly & the Family Stones’ “Hot Fun in the Summertime” and the Yardbirds circa “Hot House of Omagarishid” and Over Under Sideways Down.” If that doesn’t sound like the best time you can have legally, I truly pity you. On the other hand, Oh Sees visits are already getting ridiculously jammed-up, so, hey, more for us. Although, gotta admit, for crowded shows, they’re an incredible kick. Everyone’s so goddamned happy at getting a huge dose of what our hungry blood craves, ‘n’ so amazed at the band’s indefatigable zeal; along with its unerring dynamic intuition… can’t imagine a more joyful near-mosh pit in heaven. The album’s other gotta-gotta rave-ups include “I Was Denied” and a three-alarm-fire, “Castiatic Tackle” – that one’s blasting holes in my speakers right now, ‘n’, sweartogod, there was no recourse – minute it slammed on, I morphed into classic headbanger mode: the smile-sneer; the insistently jerkin’ head. www.intheredrecords.com MARY LEARY

7.26.10
Aviation Blondes
EDGE OF FOREVER-(GET HIP)- A bit of a left turn for the normally garage rock-ed Get Hip label (who have been doing their thing for 2 decades and very well, I might add). The record has a mod cover with lots of red, white and blue, arrows, circles, etc but the band goes in a more power pop direction with forays into heavier stuff (listen to the guitar lead at the end of “Catch and Release”). The vocals by Lexi Roberts usually soar and the tunes, written mostly by guitarist Steve Morrison. Then you have a tune like “Don’t Look Down” , with its breezy horns, reminded me of an Ivy track (the male-sung “Duet by Myself” was a cool pop tune too). Only 7 songs here but I hope we hear more from this bunch and kudos to the band for not being afraid to try different styles and not writing a bunch of songs that would have fit into the Garage Rock 101 class. www.gethip.com

7.26.10
Bonnie Prince Billy & The Cairo Gang
THE WONDER SHOW OF THE WORLD-(DRAG CITY)- I must admit I like Will Oldham’s earlier stuff under the Palace and Palace Bros. moniker (or the records under his own name) more than the BPB stuff but I do like the BPB stuff as well (MASTER AND EVERYONE is my personal favorite). On this one Oldham is joined by The Cairo Gang featuring guitarist Emmett Kelly (who has played with Will before) and Shahzad Ismaily on bass. The sound, for me, is a bit too laid back. The guitar playing is loose and languid and the players seem to know each other’s next move, it’s just the songs I’m having a problem with. Nothing awful here just a bit too meandering though, to be fair, I did really like “With Cornstalks or Among Them” and “Go Folks, Go.” Many have said it’s Oldham’s most austere record and that may be true (in a career full of austere records) but at this point it’s his previous stuff (I still reach for DAYS IN THE WAKE or even MASTER AND EVERYONE) I will grab when looking for my Oldham fix. www.dragcity.com

7.26.10
Carissa's Weird
THEY’LL ONLY MISS YOU WHEN YOU LEAVE: SONGS 1996-2003- (HARDLY ART)- Anyone who’s logged substantial hours in the Pacific Northwest knows the answers to parades of monotonously dark days: 1) Leave. 2) Abandon yourself to pot after pot of tea before curling up with a good book or album, sinking into the pleasures of grey nuances and trees that never seem to stop crying. The sun has an odd way of appearing through the clouds before sunset, making the sky reveal patches of breathtaking color. Of course, there’s a third option, around which Peet’s, Starbucks, et al, have capitalized: If you’re in Bellingham, Seattle or Portland, throw on a hoodie , scurry to a coffeehouse, and puncture all that yin with caffeine and warm bodies. The third option doesn’t seem to have been available and/or favored by the six members of Seattle-based Carissa’s Wierd. Instead, this posthumous retrospective evokes teenagers or young adults stuck in rural or suburban dwellings where gloom-soaked isolation can open the door to insanity. CW’s music isn’t really wierd – it’s mildly offbeat, with occasional quirkiness; like a cloudier, more troubled Innocence Mission. To the novice, the subdued duets of Jenn Ghetto and Mat Brooke can initially resemble vocals by Modest Mouse, a group that, perhaps not incidentally, started resisting men in white coats in Issaquah, Washington around the same time. But CW threw way more space between notes and emotions. It was also fairly digressive (for post-post-punk/folk-rock/whatever) for its sensitive marriage of violin and cello with electric instruments. CW benefited from the freedom of post-punk inheritors, especially the “It sucks in the suburbs, so damn the torpedoes” variety, like Camper Van B. and Beat Happening - it’s in the “whatever instrument works here” intuition, and casual shifts from brooding to more rocking beats, as on “Die.” The themes tend to uncoil from entrapment and/or longing for its alternative. That CW wrests so much from the same-old affirms prolific songwriting and collaborative oomph. Of this compilation’s 16 tracks, the ones I’m squirreling onto my own CW/Innocence Mission/Eliza Carthy/Pink Floyd/Thinking Fellers mix include “Die,” “The Color that Your Eyes Changed with the Color of Your Hair,” “Ignorant Piece of Shit,” and “One Night Stand.” Especially essential: the symphonic majesty of “”Sympathy Bush,” the brilliantly intense “So You Wanna Be a Superhero,” and the beautifully devastating “Brooke Daniels’ Tiny Broken Fingers.” “All Apologies and Smiles, Yours Truely, Ugly Valentine” sounds like it could have been inspired by one of those sublime, misty-sunny Northwest sunsets. And I really like the quiet, piano-dotted interludes on the title track. www.hardlyart.com MARY LEARY

7.26.10
Adam Franklin And The Bolts Of Melody
I COULD SLEEP FOR A THOUSAND YEARS-(SECOND MOTION)-This is the former Swervedriver frontman’s 3rd record released under his own name and his first going back to that noisier style of music, which suits him perfectly. After his well-known band broke up he released a few record s under the name Toshack Highway which was more electronic-based and less guitar (he also has (had?) a project with Interpol’s Sam Fogarino called Magnetic Morning which I have yet to hear but have read good things). Anyway, I COULD SLEEP FOR A THOUSAND YEARS sees Franklin doing what he does best, creating shearing melodic guitar rock. Not as slicing as the Swervedriver material, no, this is a bit more laid back and melodic but no less quality. Opening cut “Yesterday has Gone Forever” is a near-perfect, noisy pop tune. While you’re at it don’t miss other chargers like “Sinking Ships’ and I’ll be Your Mechanic.” But don’t think Franklin and company are all bluster, cuts like “Mary Gunn” and “Guernica” show that they are able to turn the amps down from time to time as well. Whether you were an old Swervedriver fan or if you’re newcomer looking for some ace tunes, I COULD SLEEP FOR A THOUSAND YEARS will fit the bill. www.secondmotionrecords.com

7.26.10
The Loons
RED DISSOLVING RAYS OF LIGHT-(BOMP)- “The Loons are having a guitar orgy – everyone’s invited!” *** “It’s 1967—No, 1966! It’s the Loons!” *** are just a couple headlines that occur as I nod my head along with the band’s latest. But we don’t use headlines at Dagger – nope, our benevolent CEO likes simple, streamlined review formats. Jeez, I’m already kinda strapped – the musicologist & Garage queen in me both want to do a cartwheel over the absolutely fitting marriage of the new Loons full-length with Bomp! Records. Adding to this embarrassment of riches, guitarist/writer/lead vox Mike Stax edits one of the world’s best ‘60s/retro ‘zines, Ugly Things. For those of us into all of the above, the smile on the happy-face doesn’t’ get much bigger. So it’s a good thing the album matches my enthusiasm. ‘Stead of looking like any sort of grand ole retirees, The Loons are holding steady as masters of pop psychedelia with a crisp beat (Thirteenth Floor Elevators, Electric Prunes, Blues Magoos, etc.) the recreation of which is now spreading like a wildfire among mostly younger contenders. Indeed, there’s a groundbreaking resurgence, mostly centered around San Francisco, resulting in new ways of blending these beats with other rock-fanatic elements (the Cramps, lots of new wave, Sonic Youth, the Pixies) in a race to be the most insanely off-the-chain, barely-controlled chaos. Yup, pretty amazing sounds have been emanating from Thee Oh Sees, Ty Segal, Golden Triangle, Leon and his Fiction, and a few others. First time I saw the Loons, I think around ’96, I was initially a bit intimidated by the crowd’s studiedly retro duds and mannerisms (coming from NYC and Washington, D.C., I was used to bohos who were less fixed in their styles and attitudes, who casually mixed retro with whatever). I was relieved to find that, unlike San Diego’s retro jazz scenesters, the ‘60s lovers weren’t afraid to show emotion and shake it when called for – that show was fun! Seeing the Loons is like walking into the kind of record store so bursting with certifiable coolness, there’s a possibility the clerks will be snotty -- to stroll out, an hour or so later, still chuckling over the quips you traded with someone else who sits around comparing the merits of Move and Nazz bootlegs. Good stuff. Good people. Nice vibe. RDROL rox like crazee. The compelling progressions on “Diamonds, Garbage & Gold,” “I Wanna Get You,” and the title track could easily go head to head with Pebbles’s best. Stax (whose impassioned vocals marry Richard Hell, Thurston Moore, Mick Jagger and Cyril Jordan) is a purist. His need for guitars that jangle, ring and buzz; a throbbing rhythm section, and concise tunes, has miraculous shelf life – probably ‘cause he and the other Loons are about breathing this stuff – to them, it’s not history. After giving this a few spins, I’m pretty convinced I could skip to the corner diner for a $3 burger/fry/Nehi special. www.bomp.com MARY LEARY

7.26.10
Truman Peyote/Many Mansions
PEACED TOGETHER/ SPLIT 12"-(WHITEHAUS FAMILY RECORDS)- This record sucks. Here's why: Truman Peyote is a dance/drone/electronic duo who probably couldn't get their own Grandmother's to come to their shows. The four tracks on their side of the record go from strangely relaxing("Numbjob") to absolute vomit inducing crap("Sidewalk Sludge(Airbud)"). The highlight of the EP is "Magentadoor II" which actually has a driven bassline and vocals that you really can dance to. Many Mansions is a solo project of dance/island/pop music. While 3 of the 4 tracks are literally unlistenable, the opener "Mind Island" shows serious potential for a reggae style artist. Though not typically the style of music that I enjoy, it somehow works for me. This is all rendered pointless once you find out that Many Mansions is the stage name of one Shane M. Donnelly, a whiter than white dude appropriating the blackest of black music. Kind of reminds me of Cocorosie on the level of racism disguised as arthouse chic. Absolute shit. www.whitehausfamilyrecord.com KIP KELGARD

7.19.10
The Well Wishers
POST MODERN ROMANTIC-(SELF RELEASED)- Among certain power poppers the leader for this band, Jeff Shelton, is a god among men. For the past decade with his previous band the Spinning Jennies and now this current combo, Shelton and his crew (on here basically he and drummer Nick Laquintano) have been consistently cranking out quality power pop with more hooks than your grandfather’s tackle box and harmonies straight off a Cheap Trick record (they get a lot of Posies comparisons but I think they sound more like The Lolas). POST MODERN ROMANTIC is no different, 11 tunes, each vying for your attention with those tasty guitar licks. First cut “Run Away” is superb power pop as is the next cut, “Hanging On” (don’t let those opening hard-rock opening chords scare you away) and cut #3 , “All For Nothing” too. They slow it down a bit on more mid-tempo cuts like “Someone Else” and “Consequence of Love” but the songwriting is still good. Honestly, there’s no filler on here and near the end they even toss in a Nils cover (“Fountains”). Now that’s good taste! www.myspace.com/thewellwishers

7.19.10
Chain And The Gang
(I'VE GOT PRIVILEGE c/w DETROIT MUSIC-(K)- Ian Svenonius has been making politically charged soul-inspired rock for two decades, and, Chain and the Gang's music isn't terribly different from the Make-Up. They recently released their debut album, Down With Liberty...Up With Chains, which I haven't heard, but this recent single captures in two songs the best of Svenonius. The A-side is a slow-burner, with Ian taking his voice into a down-and-dirty, funky place, with a song about (I'm assuming) white privilege. The B-Side, "Detroit Music," extolls the virtue of Detroit's historical musical scene, with a boy/girl vocal exchange and call-and-response singing that explains how Detroit music is made. These two songs aren't really unsurprising, but they're good, and make me want to check out that full-length! www.krecs.com JOSEPH KYLE

7.19.10
The Contrast
GOD OF MALFUNCTION-(WICKED COOL)- Between 2000 and 2007 this highly underrated band from Peterborough, England, led by the elusive David Reid, released 5 records for the Rainbow Quartz label. All of them low-key (in their own way) and, I dunno, maybe because there wasn’t much variation between the records or maybe because the band name doesn’t scream out, “Hey, pay attention to us!” but, well, the band definitely deserved more respect than they received. On this, their first true full-length for the Wicked Cool label (after 2008’s introductory compilation called PERFECT DISGUISE: INTRODUCING THE CONTRAST) the band sound revitalized and I feel comfortable saying that this is the band’s best record yet. “Underground Ghosts” was a pleasant way to open a record: nice mid-tempo song in the Elvis Costello vein but then they crank up the organ on the exceptional “Coming Back to Life” and the Rockpile-ish “Take Me Apart.” They add some beats on “I Am an Alien” and pure McGuinn jangle on “Gone Forever.” I have just described the first 6 tunes and there are 6 more, most of which are just as good. Maybe something has been added to the water in Peterborough, I dunno. This is terrific. www.wickedcoolrecords.com

7.19.10
Fjord Rowboat
UNDER THE COVER OF BRIGHTNESS- (SELF RELEASED)- I’m not sure why this Canadian bunch (they hail from Toronto) aren’t brought up more in shoegaze and dream pop conversations but maybe this 2nd record will be the one that does the trick. I do remember hearing their debut, SAVED THE COMPLIMENTS FOR MORNING (from 2007) but don’t remember being that impressed but UNDER THE COVER OF BRIGHTNESS made me stand up and take notice. They come crashing out of the gate with three superb tunes. The moody opener, “Even You Out” which then rips into the MBV-ish “Underwater Hero” which buries you in the squall of noisy guitars and then, pure melody. By cut three, “We Are on Time”, which was a good mix of the first two songs, you are hooked. Some other gems are the Echo and the Bunymen-ish “The Only Ones”, the slowly unfolding “Outta My Control” and the driving “When I Speak of Violence.” A few of the tunes were just ok (“Cotton Wood Glacier”, “We Both Know”) but most of UNDER THE COVER OF BRIGHTNESS is a strong sophomore effort and can safely say that these guys certainly deserve the comparisons they have been getting. www.fjordrowboat.com

7.19.10
Foals
TOTAL LIFE FOREVER-(SUB POP)-The first cool thing: cover art of several divers in the deep blue sea. (Btw, what’s not to like about the environmental/finger-friendly trend of paper/cardboard packaging? SubPop’s among the concerns that have been pumping out these texturally-tempting covers for awhile). Whether or not this relates to Futurology (leader/vocalist/guitarist Yannis Phillipakisis’s interest), Foals seems to be saying: Life and/or love are deep, oft- treacherous seas, with infinite possibilities. Foals has so effectively honed its attack that much of this ambitious opus hits its marks. We can feel the depths of hope, destruction, infatuation and betrayal. Yannis’s tenor pokes out of the often dense (still, to these ears) mix with a new urgency not entirely unlike Robert Smith’s. Something that hasn’t changed: these former math rockers are restless as young horses. It’s a testament to the band’s growing cohesion that, for all the rhythms taken, the album works as a unified piece. The title cut cavorts with textures and kinetic tilts. “After Glow” breathes wistfully before upping the dance beats. A wisely-chosen single, “Miami” hits an infectious groove and texture, holding forth like the Talking Heads circa “Girlfriend is Better.” In fact, I wonder where Foals would be without a surfeit of hormones and guitar effects, especially those of the latter pioneered, or borrowed from forms like Soukous, by Robert Fripp, David Byrne, Jerry Harrison, and Johnny Marr. At least half of TLF would make a killer soundtrack for a road trip, especially the kind where you can gun it up to at least 70, mile after mile. www.subpop.com MARY LEARY

7.19.10
Mas Rapido!
DUMB IS KING!-(PARASOL)- Frank Bednash and Donna Esposito have been making music together for nearly three decades. They began in 1983 and then formed Cowboy and Spingirl (god I hated that name) for part of the 80’s and early 90’s when the band evolved into Toothpaste 2000 (that name is not much better). Eventually, in the early 2000’s (and most likely with a different drummer) they released a record as Mas Rapido! (ok, now that’s a band name I can live with). DUMB IS KING is record #3 from these guys and on most of these songs they happily bash away like a 80’s garage band doing the 60’s garage band thing mixed with youthful spunky energy (minus the youth). Most of the songs are good but they are both too long and there are too many of them here. At 16 songs and an hour long it’s too much. This is the kind of record you want to come in, knock you around for 25-30 minutes and then leave you stunned, dazed and smiling for a while. Highlights include the rousing “She Doesn’t Care About Me”, the jangly (Donna sung) “Not Normal” and the shuffling “Feelings.” Play to your strengths kids, you definitely got them. www.parasol.com

7.19.10
The Well Wishers
POST MODERN ROMANTIC-(SELF RELEASED)- Among certain power poppers the leader for this band, Jeff Shelton, is a god among men. For the past decade with his previous band the Spinning Jennies and now this current combo, Shelton and his crew (on here basically he and drummer Nick Laquintano) have been consistently cranking out quality power pop with more hooks than your grandfather’s tackle box and harmonies straight off a Cheap Trick record (they get a lot of Posies comparisons but I think they sound more like The Lolas). POST MODERN ROMANTIC is no different, 11 tunes, each vying for your attention with those tasty guitar licks. First cut “Run Away” is superb power pop as is the next cut, “Hanging On” (don’t let those opening hard-rock opening chords scare you away) and cut #3 , “All For Nothing” too. They slow it down a bit on more mid-tempo cuts like “Someone Else” and “Consequence of Love” but the songwriting is still good. Honestly, there’s no filler on here and near the end they even toss in a Nils cover (“Fountains”). Now that’s good taste! www.myspace.com/thewellwishers

7.12.10
Gigi
THE HUNDREDTH TIME c/w SECOND BEST-(K)- Nick Krgovich is the mastermind behind Gigi, a band with a revolving cast of lead singers, a la Stephin Merritt's 6ths, with Krgovich utilizing the talents of K Records and Vancouver-based indie rock stars. "The Hundredth Time" is taken from their debut record,Maintenant, and is a gorgeous little Bacharach-style number, with lead vocals by members of Vancouver-based Ladyhawk. The B-side, "Second Best," continues the pop, though is a little more upbeat than the A-side, with a swinging boy/girl exchange that makes me wish Chickfactor was still publishing. Another winning little slice-o-vinyl from K! www.krecs.com JOSEPH KYLE

7.12.10
Robbie Fulks
ROBBIE FULKS PLAYS THE MUSIC OF MICHAEL JACKSON-(SELF RELEASED)- For fifteen years, alt-country smartass Robbie Fulks has been making some fun, funny, sassy, and sometimes silly records. He's made songs about starlets overdosing, burning in hell for living in sin, and about many other things. With his latest record, he's taken a step in another direction; Happy is a 14-song tribute to the late King of Pop, with songs from every aspect of Jackson's career. It's not as half-assed, irreverent, or as silly as it may seem; Fulks's take on Jackson's music is actually rather respectful. His smooth-as-silk voice actually fits the take on Jackson's love songs, like "The Way You Make Me Feel" and "Ben," whereas the take of "The Girl is Mine" is a boy/girl take on the McCartney collaboration, and the use of a female counterpoint makes it an interesting take on gender and sexuality. (I'm not sure who it is on vocals, but it sounds like Kelly Hogan.) The better songs are those that are slightly more obscure; early solo hit "Ben" is plaintive and lovely; "Farewell My Summer Love" sounds like a Fulks original,"Privacy" sounds like a Mr. Bungle record(!!!), but the absolute winner is Jackson 5 song "Mama's Pearl," which is absolutely joyful and bouncy as the original. Not everything works here--"Black and White" is forgettable, and "Billie Jean," while turned into a country ballad, just doesn't quite gel, perhaps because it's such an iconic number--but for most of Happy, Fulks does a bang-up job paying tribute to Jacko. www.robbiefulks.com JOSEPH KYLE

7.12.10
Honus Huffhines
A BRIEF HISTORY OF...- (BRAXELING)- This Portland bunch, the core of the band being vocalist /guitarist Andy Giegerich and drummer Joe Kobjerowski, have been around for a few years playing all of the local dives and I’m truly bummed I have not caught them in a live setting yet. That will come but in the meantime they released a fine 7” a few years back and now this, their debut record. The band has a real loose feel, think of one of Scott McCaughey’s projects (Young Fresh Fellow, Minus 5, etc.) and you’ll be in the ballpark, but I also hear that classic sound of the Modern Lovers a bit too. Mixed with Giegerich’s biting sense of humor what you have is one fine pop record. They happily bash away on cuts like the opening “Blahtown” or the (slightly more reserved) “Grins No Teeth”) and that is what the band does best: have their eager guitars meet up with the even-more-eager drums and it’s a marriage made in heaven (sloppy kisses too) but the band is no one trick pony, “Josh’s Theme” almost has a cocktail feel to it and the terrific “Ron Anderson” adds some twinkling harmonies (and horns!) to the already tasty pop stew (same with “Smirking”). Do yourself a favor and head over to the band’s myspace site listed here and give them an honest listen. Go on. www.myspace.com/thehonushiffhines

7.12.10
The Love Language
LIBRARIES-(MERGE)-Stuart McLamb. The name sure sounds Scottish, doesn’t it? Nope, this guy and his crew hail from North Carolina, the same state that his label, Merge Records hails from. I’m still trying to think if I ever heard the debut on Portland’s own Bladen County Records and for the life of me I cannot remember but as good as this sophomore effort is it sounds like I need to go back and hear it (apparently the debut was recorded by McLamb alone in his bedroom while this one was made in a real studio). Having said all of that, LIBRARIES is a terrific pop record that covers a lot of ground. You hear some Spector Wall O’ Sound stuff (“Summer Dust”), majestic, moody pop (“Pedals”), indie waltzes (“Brittany’s Back”), minimal rock (“Blue Angel”), strummy acoustic gunk (“Heart to Tell”), something that might elicit some Arcade Fire comparisons (“Horophones”) and more. The common theme to all of these songs is, what else, quality songwriting. I was thinking how the songs on LIBRARIES make me swoon and to be honest, I’ve never swooned in my life (and am a bit embarrassed to even say I have). I haven’t even begun to delve into the lyrics yet but I think there’s a lot of heartbreak there. Like a lot of heart-busted records of the past (Dylan’s BLOOD ON THE TRACKS) , his sorrow is our treasure. One of 2010’s best. www.mergerecords.com

7.12.10
Robyn
BODY TALK PT. 1-(KONICHIWA RECORDS)- Dagger is not typically the place where one would read about club music and radio-friendly pop, but the new record by Robyn is something entirely different. Though Robyn's career began around the same time as the teen-pop scene of the late 1990s; her two songs, "Show Me Love" and "Do You Know What It Takes?" were both hits of the era, yet they seemed to have something better than most of the other radio pabulum: substance. Her career pretty much ended after those hits made it out of circulation, and it seemed as if she was destined to one-hit wonderland. But she persevered, had major legal battles with her label, then self-released her "comeback" album a few years ago, which, as most European exports do, became a phenomenon in the US a year or two after it actually was released. Now that she's reestablished herself, she's released Body Talk, Pt. 1, the first of three proposed albums this year(!). It ain't bragging if you can do it, and Robyn most certainly can. At eight songs, Body Talk is more an EP, but that's beside the point. Robyn is an innovator, utilizing humor, talk-boxes (on the deliciously funny "Fembot"), and unique blends of electronica, hip-hop, disco, and reggae. "Dancing On My Own" is perhaps one of the saddest yet most upbeat songs Erasure never wrote, too. And it's not all pop hits, either; her turns at a traditional Swedish musical number "Jag Vet En Dejilg Rosa," as well as the gorgeous ballad "Hang With Me" proves that the woman can actually SING. If you ever wondered what it would be like if Kate Bush collaborated with Giorgio Moroder, or if Alison Moyet worked with Moby, you'll love this record. "Play me some kind of new sound/Something true and sincere," she sings on "None of Dem," and Body Talk, Pt. 1, most definitely is. One of the best records of 2010. www.konichiwa.se JOSEPH KYLE

7.12.10
Thieves Like Us
AGAIN AND AGAIN-(SHELFLIFE)- This type of electronic dance rock isn’t usually my cup of tea but being on the quality Shelflife label I had to take a gander and I have to admit, it has slowly grown on me after several plays. The trio, hailing from all over Europe (2 Swedes and one American based in Berlin, Paris and Milan) , seem to have added some much-needed hooks from their debut (2008’s PLAY MUSIC) and who knows, with some intelligent listeners, they could be on playlists with bands such as Hot Chip and Crystal Castles and owning dance floors. First tune “Never Known Love” has a pleasant, rolling rhythm along with synths that scream “Krautrock” , the song is more chill than dance but still a nice way to open a record. Next comes the perky “Shyness” which could (should) be a single with its stuttering melodies and melodic bounce while “One Night With You” is pure New Order (where the band took its name from) and yes, pure dance floor 80’s (check out “Lover, Lover” too) and “The Walk” is splashy fun . A few of the odder cuts didn’t do it for me (“Mercy”, “Silence”) but most of AGAIN AND AGAIN will strikes that chord within you where your feet begin to shake, your butt turns, hands jiggle and before you know it, by golly, you’re cuttin’ a rug (angular haircut optional)! www.shelflife.com

7.05.10
Flyover States
S/T-(SELF RELEASED)- I knew this fairly new Santa Rosa, California band was gonna be worth hearing when I found out Dave Halbur was a member. Dave pounded the skins for SR’s Grady Sisters back in the 90’s (and did a damn good job of it too) but in The Flyover States he sings and plays guitar and sounds just as talented. In addition to Halbur is transplanted Brit Neil Pinkerton (vocals and guitar as well) as well as ex-Jr Anti Sex League drummer Dan Carls (the quintet is rounded out by Cindy Guliani on bass and J.D. Clem on keys). The band has a nice pop sensibility and seems to harken back to the golden age of indie rock in the mid-90’s when bands like Pavement and Archers of Loaf seemed to be coming out of everyone’s mouths. What’s especially impressive is Halbur and Pinkerton’s guitar interplay, with guitars slithering together like these two have been at it for decades (instead of just a few years) while the rhythm section is certainly solid. For proof just check out wired cuts like “Alex Vs.” , “No Escape” as well as “24” , “Atlas” and the record-ending “Kafka (on the Shore).” If this bunch can avoid the Sonoma County curse and maybe play outside of a 30 mile radius and get their tails up here they might find a whole host of new fans in Portland hungry for this tasty, melodic stew. www.myspace.com/theflyoverstates

7.05.10
Jeremy Messersmith
THE RELUCTANT GRAVEYARD-(SELF RELEASED)- Wow , this is one of those cds the publicist kept asking me if I had had chance to listen to yet and I kept meaning to, but never found the time until last week and I’m glad I did (and wish I had done so sooner). This is terrific folk-pop in the Zombies vein. Apparently this record is the third in a trilogy by this Minneapolis songwriter and it sounds like I need to hear the other two. The guy is a true talent and I bring up the Zombies because musically there are some similarities but occasionally Messersmith’s vocals sound A LOT like Colin Blunstone , like on “Organ Donor.” That tune is one of the best on the record but also check out the tender “Toussaint Gray, First in Life and Death” and the beautiful, soaring, amazing “Violet.” “Knots” beings like a basic indie rock song but when the strings kick in and that galloping melody it reminded me of a classic Belle & Sebastian song and later on there is even a song called “Repo Man” (un-punk-like). If you’ve read this far chances are you’re going to want to pick this up. There’s always room in this house for beautifully crafted pop like this. www.jeremymessersmith.com

7.05.10
The Lodger
FLASHBACKS- (SLUMBERLAND)- ’ve spent the last two Lodger records thinking how I don’t like em as much as I did the first one (GROWN-UPS) but ya’ know, taken on their own, they are both excellent pop records. Something about that first record’s off-the-cuffness was special to me and while the past two have been better produced, that is not a bad thing. Leader Ben Siddall has a terrific pop sensibility and this record is about half tunes that hit you immediately and the other half growers (or grew on me, anyway). “The Back of My Mind” was one of the former (along with “Welcome to My World”) while “The End of the Affair” was in the latter category (complete with lovely strings, “Lost’ too). The record is a perfect mix of bouncy, upbeat tunes and the slower, downbeat ones. I also think it’s cool how they got the digipak cd cover to have an old school, worn look. Not a lot of hoopla here just good tunes and another fine product from the label known as Slumberland. www.slumberlandrecords.com

7.05.10
Oval
OH ep-(THRILL JOCKEY)-Markus Popp is the ingénue behind Oval, and has been releasing mellow minimalist records for well over a decade. Oh is a 12" teaser for his forthcoming double-disc, 70-song opus. Considering that, it is no surprise that the typical running time for the 15 songs on Oh is barely over one minute. Normally I really don't go for artists who release records of a ton of one-minute sound compositions, but Popp's compositions are compelling, and at times I feel as if he simply took one song and cut it up piecemeal. Having said that, I enjoyed Oh. This feels less like a record and more like a sonic sketchbook. Needless to say, on the three songs that are "fleshed out," "Hey," "Grrr," and "Oh!" Popp demonstrates that he is still master of composition. I wouldn't necessarily recommend this as a starting place, as I know that some listeners might find the brevity of the tracks to be rather frustrating, as they do not necessarily coalesce into a whole, nor does this new stylistic direction have much in common with the previous Oval records. But when experienced completely, Oh is a nice, albeit weirdly brief, taste of a hopefully masterful full-length. www.thrilljockey.com JOSEPH KYLE

7.05.10
The Service Industry
CALM DOWN-(SAUSTEX)- This is record number four by this talented Austin garage pop band (third one I’ve heard) and like the previous ones, it’s a refreshing batch of songs. I don’t use that word “refreshing” very often when describing music but it seems fitting here. The band just seem to honestly play music because they love it (imagine that). They write terrific songs, don’t take themselves too seriously and appear to not give a shit about who or what is the hip thing at the moment. From the band photo it appears none of them have angular haircuts, wear black suits or need to be seen in stylish shoes , I’m guessing that jeans and t-shirt might be as fashionable as they get (my kind people!). Ok, on to the songs, first cut “Heart Repair” has some nice riffage and was a nice way to open a record but the next cut tears it up, “This Town Makes My Skin Crawl’ (about Austin?) with superb harmonies and a sumptuous beat. The title track adds some beef to the guitars and “Honey and Sprayed Hair” makes great use of a tambourine (always a plus in my household) and the band’s lone female, Julie Lowery, takes over leads vocals and she sounds great. They’re not afraid to wear their hearts on their sleeves (“Windows”) and get a bit GBV-ish on our asses on “I Suppose So.” In addition to Dayton, Ohio’s finest I am also reminded of the New Pornographers a bit as well. But still, you’ve heard enough of those two bands and I’m thinking have not heard enough (or any) of this band. Let’s change that, they deserve an appreciative (and bigger) audience. www.sauspop.com

7.05.10
Tender Trap
DANSETTE DANSETTE-(SLUMBERLAND)- I have been a fan of Amelia Fletcher’s musical projects for a long time now. I love both Tallulah Gosh and Heavenly. Marine Research wasn’t bad and neither were the first two Tender Trap records (on venerable indies K and Matinee) but they seemed to lack the pure exuberance of her earlier bands….until now. DANSETTE DANSETE is the best Tender Trap record yet, stacked with one hit after another in these 10 songs. Part of the reason has been a few line-up changes in which, well, I’m not sure who left but I know that both Elizabeth Morris (from Allo Darlin’) and new drummer Katrina Dixon have been added to the fold and those sweet , sweet female harmonies are to die for on this record. The basic sound is still the same (C86 meets classic 50’s/60’s girl group pop) but the songs are better. I won’t go through each tune song by song but a few of my favorites on here are the fuzzy, mid-tempo “Fireworks”, the ebullient “Do You Want a Boyfriend?”, the peppy “Girls with Guns” (very T. Gosh-ish) and the final tune, the epic, tambourine-crazy “Capital L.” It’s always good to see Amelia back in fine form and regardless of what you thought of the first two T.T. records this one deserves your undivided attention. Me, I’m praying for a tour. www.slumberlandrecords.com

6.28.10
Butcher Boy
REACT OR DIE-(HOW DOES IT FEEL TO BE LOVED)- With React or Die, it’s clear that Butcher Boy’s trajectory is trending upwards. That’s a wonderful thing, given that 2008’s Profit in Your Poetry was itself a tremendous effort, caustically catchy (with one of the year’s best lyrics: “I was blinded by the times/when we were fun”) and, despite its careful assembly, soulful. React or Die adds a bit of levity, as least musically, to the equation. The bouncy Carve a Pattern combines a swinging Chills-like romp with an expertly recorded cello and acoustic pattern. While the whole effort is well-produced and performed, the songs take center stage, moving nicely in a Belle & Sebastian/Forever Changes-era Love direction. Perhaps the only nit is that the band isn’t exactly playful, perhaps a trade-off for singer John Blain Hunt’s impeccable delivery of, again, poetic couplets (“I steal the torch from you/I steal the silhouette and the world that's ‘round you” from Clockwork, the record’s standout). Still, this Glasgow group has scored again. It’ll be, yes, “fun” to watch their continued rise. www.howdoesitfeel.co.uk ANDY GIEGERICH

6.28.10
Buzzcocks
ANOTHER MUSIC IN A DIFFERENT KITCHEN, plus LOVE BITES and A DIFFERENT KIND OF TENSION-(EMI/MUTE)- Wow! Mute did an amazing job on these Buzzcocks reissues! Holy moly, they all come in beautiful digipaks with 2 cds each. ANOTHER MUSIC… was their debut record from 1977 and in addition to having classics like “Fast Cars”, “I Don’t Mind” and Love Battery:” on it disc 1 also has 4 of the associated singles (including “Orgasm Addict’ and “Oh Shit” as well as 3 cuts from a John Peel broadcast from 1977. Disc 2 has 14 songs worth of demos (not as great as the real versions but still good and definitely worth hearing) as well as a live show from the Electric Circus form 1977. It also has a nice booklet with some liners form Jon Savage as well as some classic photos. Record number two, LOVE BITES, came in 1978 and was just as smashing. FCirst off it had the amazing “Ever Fallen in Love” a well as “Operators’ Manual”, “Nostalgia” and plenty more. On disc one you have the 4 associated singles (“Love You More”, “Noise Annoys” plus 7 more tunes form John Peel shows. The 2nd disc, once again, has 13 demos of most of the songs on the regular record as well as a gig on their home turf of Manchester from 7/21/77 with a-little-rough-but-still-good versions of “Ever Fallen in Love”, “I Don’t Mind”, “Love You More” and plenty of others. And yup, same deal with record number three: A DIFFERENT KIND OF TENSION from 1979. This record was bit of a different animal, a bit less poppy and more post punk if you will (just listen to opening cut “Paradise”) an probably my least favorite of the three but I still a terrific record and just for the record, I like it a lot. Again, more associated singles and even more singles on disc 2 along with demos and more material form John Peel shows. I know this review does not do these reissues justice but if you want the REAL skinny on these records check out Jack’s review in the latest issue (#66) of THE BIOG TAKEOVER. In the meantime take my word for it and buy these immediately (if not sooner). www.mute.com

6.28.10
GBH
PERFUME AND PISS- (HELLCAT/EPITAPH)- No surprise that Rancid’s Tim Armstrong signed this long-running UK punk act to his label. I wasn’t sure what to expect as I had not listened to a GBH record in years (it was sometime in the 80’s, I first caught them in Atlantic City, NJ in the Summer of 1985) but I did notice that both vocalist Colin and guitarist Jock are still in the band not sure about the rhythm section though. I gotta say, this rips from start to finish, nice to see the band has not tried to mature or water down their sound. Some of the guitar work is still a bit too metal for my liking (never liked metal) but still, cuts like “Kids Get Down”, “San Jose Wind”, “Invisible Gun” and “Unique” prove these guys still have a bit of piss left in their perfume bottles and have not taken to the rocking chairs just yet. www.epitaph.com

6.28.10
Kristin Hersh
CATS AND MICE-(KITTEN CHARMER)-Who doesn’t enjoy an evening of Kristin Hersh? For nearly thirty years, she's been entertaining her fans and those lucky enough to appreciate her style, and she's gone from loud to soft to loud again. But she's best enjoyed in a live setting, and can do so so much with just a lone guitar and a PA. Cats and Mice, her latest album, is just such a performance, from a San Francisco performance from last year. It's a rather varied set, with her visiting her solo albums, traditional folk songs, and even a Muses song or two. My personal favorites are the traditional "Banks of the Ohio," her solo take on the Muses' "Pearl," and "The Cuckoo," from her first album. And, of course, any Kristin Hersh show isn't complete without a story or two, and funny interactions with the audience between songs. It is, of course, somewhat bittersweet to hear her talk about her soul brother, Vic Chesnutt—a funny story about him, but still sad. If you've wanted to check her out, this is a great place to start—and if you've wanted a new Kristin Hersh live show to enjoy, you won't be disappointed with this one, either. Besides, it's a nice tide-over until her autobiography comes out this summer, entitled Rat Girl. www.kristinhersh.com JOSEPH KYLE

6.28.10
Research Turtles
S/T-(SELF RELEASED)- “Oh my God. You ever heard this band? Check out this first song. Hear that first chord? Hear how clean that is? Now check it out, here come the vocals. Jesus, sounds like someone did their market research on how to write a perfect melody. And, wow, here comes the chorus: Holy shit, I’m gonna be singing this the rest of the week. Skipping ahead here to the second song: Yeah, more of the same. Sounds like a harder-edged Cretones or another LA power pop outfit from 1979. You know, one of those skinny-tie bands influenced by the British Invasion. No, not like the Knack. Well, kind of like the Knack, but the Research Turtles are way more thoughtful. And far, far catchier. And they actually rock the skinny ties on their front cover. Makes me wish there was radio so kids could hear this stuff over and over. Here, the third song, this is a great example. It’s called Mission. Damn, check it out, this hook’s way better than the last. ‘I’m on a mission to the star/there’s no condition to my har.’ Or maybe they’re saying “‘heart’ and leaving off the “H.” Don’t care. I just had a birthday and damned if I don’t need to feel at least 20 years younger. Thanks Research Turtles. This really helps. Here, you can take my copy. The rest of the album is as equally amazing. See ya’ soon.”). www.researchturtles.com ANDY GIEGERICH

6.28.10
Wild Nothing
GEMINI-(CAPTURED TRACKS)- Yes, his name is Jack Tatum but have no fear , this is not the 1970’s Oakland Raiders player who was known for his vicious hits (and crippling Darryl Stingley). This guy is a mild-mannered Virginia Tech student who used to be in a punk band called Facepaint (ok, maybe not so mild-mannered) and was in some other project called Jack and the Whale. Not sure if those other projects were any good or not but I know one thing for sure, this is good. As in, very good. As in excellent. I guess you could call it dream pop, that would seem to be an apt description: lots of synths, jangly guitars, gentle vocals and superb melodies. First tune “Live in Dreams” has some beautiful synth lines and a rolling melody while “Summer Holiday” is more Pains of Being Pure at Heart-like with spools of fuzz being unwound. “O. Lilac” also has an unbeatable melody as does the dreamy “Confirmation.” A few tunes lose me a bit (“Pessimist”, “Bored Games”) but who cares, there’s some flat-out great tunes on here as well as a host of good ones too. Suffice it to say if you look forward to releases on the Slumberland or 4AD labels (or the Sarah label back when it was active) then you’ll do fine with this. Thank you, Jack Tatum. Thank you. www.capturedtracks.com

6.21.10
Drive By Truckers
THE BIG TO-DO-(ATO)- It’s hard to believe that these Athens, GA mainstays have been releasing records for over a decade. Initially , upon hearing the band name, I thought it was joke and records like GANGSTABILLY and PIZZA DELIVERANCE just added to the joke. I later found out the band is no joke (they just a good sense of humor) and upon the strength of several records they have become a favorite around here. THE BIG TO-DO isn’t their best record or even, in my eyes, as good as their last one (2008’s BRIGHTER THAN CREATION’S DARK) but it is still a solid record with a handful of great tunes. This is their first record for Dave Matthew’s ATO label and as usual, most of the songwriting is done by Patterson Hood but Mike Cooley and Shana Morrison adding some songs as well. Once again, lyrically the songs deal with the struggles of regular folks and that is definitely one of Hood’s strengths, the everyman blues (could be one of their song titles)“Daddy Learned to Fly” is a decent opener with some gritty guitar bite (“This Fucking Job” is one of those as well) while song #3, “Birthday Boy” is the best song on the record and one of their best yet and the Morrison-sung “You Got Another begins with some tender piano and lyrics about a cheating husband. I could have done without the twangy “Drag the Lake Charlie” or the dull “The Wig He Made Her Wear” but still, most of THE BIG TO-DO is strong and at this point it seems this band would have to try pretty hard to make a bad record. I know they haven’t made one yet. www.atorecords.com

6.21.10
Halsted
LIFE UNDERWATER-(ASHBURY)- This band is basically the work on San Francisco musician Ryan Auffenberg. I have Auffenberg’s 2008 solo record, MARIGOLDS, and I enjoyed it but this is step up altogether. The melodies are stickier and the songwriting is stronger and the whole thing sounds a lot more confident than MARIGOLDS. Even in the liner notes Auffenberg said he considered LIFE UNDERWATER, which was recorded in an old Victoria house, “the most dynamic, sweeping and ambitious record I’ve ever made.” He’s right. Opening cut “Cast No Shadow” won’t knock your socks off but the next tune, the jangly “Walking Shoes” certainly will with its perfect six-string strumming and galloping rhythms. Same with the climbing “Rising Tide” and the more downcast “White Hot City Lights’ is an understated gem (as is the terrific “Knock on Wood”). “Sellout” is a bouncy piano pop tune as is “Cabaret.” If low-key, well-written pop is your bag, like it is mine, well, LIFE UNDERWATER has got it in spades. www.ashburyrecords.com

6.21.10
Frank Royster
INNOCENCE IS BLISS- (KOOL KAT MUSIC)- Not sure how long this Charleston, SC native has been making music for but I do know he has at least one other records out on the Kool Kat label. He was smart in getting Mr. Spongetone himself, Jamie Hoover, to produce this record and this it has a real nice melodic pop sound (think Elvis Costello and a bit of Marshall Crenshaw too) but with some occasional rock bite. The opening cut, “Mr. Wonderful” is pure Travelling Wilburys with plenty of (what sounds like) 12-string guitar and Royster’s pleading vocals while “She’s Not Alone” is a nice mid-tempo tune but he speeds things up a bit on the more rockin’ “Life’s a Bore.” Later on he tackles the Beatles tune “Every Little Thing” as well as a few love songs (“I Need You” and “My Girl”). A few of the tunes lag a bit but most of this is plenty solid. This guy deserves an audience. www.koolkatmusik.com

6.21.10
The Pipettes
EARTH VS. THE PIPETTES-(FORTUNA POP)-These three lovely ladies made a splash a few years back with the terrific, 50/60’s pop influenced debut, WE ARE THE PIPETTES. Well, fast forward a few years and out of the original three, Gwenno, Rose and Becki only one, Gwenno (the blond) is still around. Gone are the polka dot dresses and as for the 60’s sound, well , it hasn’t entirely been abandoned but has been cast to the side for a more dance pop (think St. Etienne). Still, line-up changes and a change in sound could spell disaster for most bands but with a batch of terrific songs and help from producer Martin Rushent (the Human League dude) and well, I’ll proudly proclaim EARTH VS. THE PIPETTES to be a winner! They waste no time jumping in with the bouncy “Call Me” (siren and all) and then leap into the snappy, funky “Ain’t No Talkin’” then right into the dreamy bounce of “Thank You.” You want more? Fine, because the hits keep comin’: “I Need a Little Time” could be dance floor hit in the U.K. (assuming they are more on the ball than American music fans) as could the super-catchy “History”. Ok, I’ve just rattled off the first 5 songs and it doesn’t stop there, the rest of the record is just as strong (slowing down to catch their breath on the slower “I Vibe U”). Admittedly, there isn’t a ton of variation in these songs but who care about variation when you’re having this much fun! Hopefully this will get an American release sometime soon, until then, buy the import and support the fine Fortuna Pop label. www.fortunapop.com

6.21.10
The Successful Failures
THREE NIGHTS-(FACE DOWN)- This is the third Successful Failures record and I believe it was the previous one that I have (don’t think I ever heard the debut) and I remember liking it but THREE NIGHTS sounds like huge step forward. Leader Mick Chorba is also in The Dipsomaniacs, another fine combo, but he seems to save his folkier (drunker?) tunes for this band and he seems to have hit the sweet spot on this record. The record opens with the wonderful acoustic tune “Aberdeen” (think Replacements,….in fact the ‘Mats seem to be a big influence on the band in general) and “Armadillo Boy” is all clean, melodic guitars and slap happy drums. Chorba and company offer a more countrified take on cuts like “Waiting for a Ride”, “College Scholarship Blues” and “All You Had” and regardless of the style they do it all with equal talent. In “Houston, We Have a Drinking Problem”, one of the best songs on the record, they reference a famous Cheap Trick lyric with the line “Got my Kiss records out!” so you know they have good taste. I honestly don’t think there’s a bad song on here and I hate to say it but I don’t mind if the Dipsomaniacs are still on hiatus if the ‘Failures are releasing records this good. www.fdrlabel.com

6.21.10
Venice Is Sinking
SAND & LINES: THE GEORGIA THEATRE SESSIONS/MAY 20-24TH 2008-(ONE PERCENT PRESS)- I have heard previous records by this Athens, GA bunch and , reading about the band prior to listening, I wanted to love their records and, well, I didn’t. They are surely a talented bunch of musicians but the songs didn’t hit me the way I wanted them to. I didn’t do backflips over SAND & LINES but I do like it and it is my favorite thing the band has done so far. Taking cues from The Cowboy Junkies on their TRINITY SESSIONS record (and that acoustic Uncle Tupelo record too) , this band set up in an old Georgia Theatre with 2 microphones (the ‘Junkies only used one) and played a set of 10 country-inflected songs and it sounds, at times, absolutely lovely. Opening tune “Sidelights’ was a gorgeous tune with plenty lovely cello while they follow it up with some covers including Galaxie 500 (“Tugboat” , fine rendering not too different form the original which is ok by me as I love that song) , Dolly Parton (“Jolene”, a slower, blurrier version). Band leader Daniel Lawson wrote or co-wrote all of the originals and while a few meander off into never never land (ie: “The Grey Line”, “Falls City”, etc.) most are well-written and go down easily (like “Lucky Lady”, another Lawson original). I’d like to hear the band perform this whole record in a (intimate) live setting. www.onepercentpress.com

6.14.10
Harold Budd & Clive Wright
LITTLE WINDOWS-(DARLA)- Harold Budd and Clive Wright have collaborated on two previous albums, and Little Windows is their third and final installment of their trilogy series. Unlike the previous two records, Little Windows highlights the solo work of each artist, with only two songs being true collaborations. Harold Budd, as you may know, is a master of ambient piano and keyboard--a prodigy of Eno, he did inspire the Cocteau Twins, as well as collaborate with them. Clive Wright is a California New Age musician, but the two make beautiful music together. If two artists can perform together and one cannot noticeably recognize what is solo and what is not, then that's a sign of two minds working in tandem. While I love their collaboration, for this record, I'm personally partial to the three Budd solo tracks, because it's always nice to hear solo Budd, alone on his piano, especially on the gentle "Sweet Earth Flying." Also good is the epic "Queen of Cydonia," which is as close to a Spaghetti western song from outer space, with a talking part that reminds me of The Orb's "Little Fluffy Clouds." A nice change of pace with the solo songs, but an unsurprisingly good record, this. www.darla.com JOSEPH KYLE

6.14.10
Jason Falkner
I'M OK, YOU'RE OK-(COBRASIDE)- I haven’t heard a ton of Falkner’s solo stuff but I have liked what I’ve heard. This power pop guy is semi-high profile since he was in both Jellyfish (who were extremely popular , especially in power pop circles, but I was never big fan) and The Grays (The Three O’Clock, too). This record was originally released in Japan in 2007 but for some reason is just getting released here, 3 years later. And a good thing it was, I’M OK, YOU’RE OK, is filled with the type of hooky yet inventive power-pop that brought attention to Falkner in the first place. The songs are compact and melodic with no additional residue left to sour them in any way. Both opener “This Time” and “NYC” are mid-tempo pop/rock tunes with foot-tappin’ goodness and on “The Knew”, the riff gets a bit meatier but still plenty catchy. Elsewhere, “Hurricane” adds some dark keys and “Complicated Man” starts with la-la-la’s then drifts into more of an acoustic tune. I didn’t really hear any songs I didn’t like on this which is nice since it’s a pleasant mix of styles (and Falkner played everything himself on here). I , for one, am glad that Falkner ditched the band thing years ago and went solo as his tunes are too good to be left off band’s records (see Jellyfish) . www.jasonfalkner.com

6.14.10
In Tall Buildings
S/T- (WHISTLER)- In Tall Buildings is the project of Erik Hall, a member of such bands as the world-music funksters NOMO, the lo-fi darlings Saturday Looks Good to Me, and the ever-evolving His Name is Alive, but In Tall Buildings is all Erik. While not as electric or as noisy as his past might lead you to believe, the songs on this self-titled release run the gamut from mellow to lazy, with a hazy vibe that's somewhere between country-rock and jazz. I was reminded of Neil Young AND of The Sea and Cake, but ITB doesn't really sound like those groups. I also personally dig the harmonies on "Suitor," which sounds like a Fleet Foxes outtake. Hall has a wonderful coo of a voice; not quite Young-ish, but appealing in its soft-spoken way. The songs are gentle and mellow, but there are a few songs with a beat, such as "Good Neighbors" and the quietly driving "The Way to a Monster's Lair." But beware of driving heavy machinery when listening to "Twenty One" or the epic closer, "Flemishing." In Tall Buildings is a hazy lazy Sunday morning of a record, one that crosses genres with great ease and a confident style that comes from years of experience. www.intallbuildings.com JOSEPH KYLE

6.14.10
Nick Jaina
A BIRD IN THE OPERA HOUSE-(HUSH)-Low-key Portland songwiritng here offering up his 5th solo record. The guy is a fine, underrated songwriter but his music is so low-key that it could easily be missed. This isn’t some wispy/wimpy songwriter though, apparently the guy has busked all over the place, slept in his car, played in (yup) Alaska, etc. For A BIRD IN THE OPERA HOUSE Jaina was armed with plenty of friends who dropped by (11 others to be exact) and a place to record (a pals’ house he was living at that had a studio in it) so he didn’t have to rush through the recording process and it shows. Opener “Sebastopol” (a town I have spent plenty of time in) unfolds gently with dramatic strings while the rhythm heavy “Another Kay Song” glides across with beauty and grace and the organic, acoustic “Sleep Child” is another understated gem (as is “Officer Schoppe” where he sounds a lot like obscure UK folkie Michael Head & the Strands). “Strawberry Man” adds some kick to its step and “Semoline” sounds like a campfire singalong. Out of the few Jaina records I’ve heard this is definitely his best, now let’s see some more attention/praise sent his way. www.hushrecords.com

6.14.10
Pernice Brothers
GOODBYE KILLER-(ASHMONT)- At this point I’m not sure how many other ways that I can say “Here is another great Pernice Brothers record” without just coming out and saying it (or sounding too kiss assy). Everyone has their lot in life Rachel Ray cooks, Oprah interviews people, Bernie Madoff ripped people off and Joe Pernice, well, he writes terrific pop songs. On this, the bands 6th record (and first Pernice Bros record in four years) , he cooks up 10 more wonderful pop tunes, aided by his brother Bob, indie hall of fame drummer Ric Menck and James Walbourne (a Brit who has been playing with Pernice for a while now) . This record is a lot more straightforward than many of his previous records an there’s no filler in these 10 songs, all zip and no drip. The record takes off from song number one, the melodic “Bechamel” which then zips right into the ripping, rockin’ “Jacqueline Susann” which then melts into the soothing “We Love the Stage.” That is the first three tunes but you also have the country-ish title track , the classic Pernice tune in “Something for You” (the opening riff reminded me of Galaxie 500’s “Decomposing Trees”), the guitar-y “Newport News” and plenty more. In terms of just pure songwriting, this is as good as any batch of songs you’ll hear this year. www.ashmontrecords.com

6.14.10
V/A
TINY IDOLS- VOLUME III: TRANSMISSIONS FROM THE INDIE UNDERGROUND 1991-1995-(SNOWGLOBE)- Third terrific compilation from Mark Griffey and his Snowglobe label where he scans the country and cherry picks the best songs from American indie bands of the 1990’s. As much as I kept my ear to ground back in those days I’ve still only heard about half of these 22 bands. Of the stuff I was familiar with you have Small Factory with the ebullient “What to Want”, The Cocktails with the loopy “2000” (not my fave Cocktails song but still interesting in their development) and Virginia’s Poole with the drippingly melodic “Loon.” You’ve also got the wonderful Honeybunch (Jeffrey from Velvet Crush) with “Endure Me” (from the one sided 4-Letter Words 7”) and the Witch Hazel Sound with the dark n’ fuzzy “Just Don’t Try” as well as other prime slices from Kicking Giant, Crayon (pre-Tullycraft) and Fudge). Of the bands I had not heard of, The Hazeltones offer up the awesome, psychedelic “Delirious”, Vacation Bible School throw down the jangly “Sugar Juice” and Radon kick out the acoustic “Kibbles and Bits.” Other fine cuts come from Glue, Baldo Rex, It Thing, Honda and others. You probably won’t be able to find these hard-to-come-by singles anymore but with Tiny Idols Vol. III you’ve got the best songs from them all on one handy cd and while you’re at it, pick up volumes 1 and 2 as well. All well worth it. www.snowgloberecords.com

6.07.10
Band of Horses
INFINITE ARMS-(COLUMBIA)- A pal who’d heard this before me said it was awful so I went into it apprehensively (thought I loved the first 2 B.O.H. records) but man, that pal was dead wrong as this is yet another terrific record by Ben Bridwell and co (my pal later admitted he was never a fan to begin with). They seem to carry on in the same rustic and rootsy tradition of the first two records but the sound has expanded here. The gorgeous opener, “Factory” employs grand , sweeping strings (or were they just keyboards making string sounds?) while the melodic “Compliments” ranks among the best straight up pop songs the band has written yet (with Bridwell questioning the man above , “If there’s a god up in the air?”) . Later on “Blue Beard” sounds like prime 70’s soft rock (think Autumn Defense) and on “On My Way Back Home” Bridwell lets loose his unique falsetto amid jangly guitars and slowly building drums and “Dilly’ is the band doing straight up indie pop (they tackle power pop later on the crunchy “NW Apt”). I didn’t think they could do it but I think they may have topped their fantastic, out-of-nowhere debut (EVERYTHING ALL THE TIME) here. Skeptical? Give INFINITE ARMS a listen. www.brownrecords.com

6.07.10
Cave
PURE MOODS-(DRAG CITY)- It’s hard not to be charmed by a group that’s cares more about the psychedelic mandala pattern on its Myspace than the legibility of some of its schedule info. With thousands of musicians anxious to appear un-anxious in choosing names and presentations, this feels pretty darned tie-dye/Hacky Sack authentic. The music on Pure Moods bears it out: these high-energy workouts, which are consistently tasty and nicely-toned, could pass for an Iron Butterfly jam. And when the ideas get a bit thin, there’s always repeating the same progression (but with different effects, man) on “Machines and Muscles,” which should keep headphones firmly planted on the heads of whoever’s joined the band in inhaling some killer “Ravenshash.” Cave is trippy enough to induce a contact high among the stone-sober, as long as they’re open-minded. www.dragcity.com MARY LEARY

6.07.10
The Melvins
THE BRIDE SCREAMED MURDER- (IPECAC)- As much as it hurts to say this, the truth must be told. The new Melvins album is incredibly disappointing. I am a big supporter of all the Melvins do and have been especially excited since the addition of Jared Warren and Coady Willis(Big Business) to the band. This lineup has been active since 2006' A Senile Animal, which is in my opinion the finest Melvins album to date. The new offering, The Bride Screamed Murder, opens with "The Water Glass", which has some strange call and response lines that left me with my jaw against my chest. This is not the Melvins that I know and love. Track 3, "Pig House", is in my opinion the highlight of the album. The fourth track, "I'll Finish You Off" is at best mediocre. In my opinion this album seems rushed and thrown together. It's almost as if the band broke up and this is some hastily put together "lost album". Maybe this one of those records that will appeal to me after the tenth or twelfth listen, but I doubt it. www.ipecac.com KIP KELGARD

6.07.10
The Pack A.D.
WE KILL COMPUTERS-(MINT)- If the White Stripes were run by a more cock-rock heavy, less soul-searching version of PJ Harvey, you would have the Pack a.d. Like bungee jumping or going for a hike in City Park, it’s nice, catchy, and a little bit thrilling when they cut loose, but underneath it all, there is a feeling that is entirely too—safe. They have a pop-friendly undertones that are hard to ignore. we kill computers does contain some gems; where they tap into some primal vein that transforms good music into great music, like the track “Cobra Matte” which mixes manic vocals with tight fast drums, solid heavy guitar changes. If they find their own voice, hinted at in the soft, sad, beautiful track “They Know Me” (“People are the worst of all”,) they may yet prove to be a great girl punk band. www.mintrecs.com MARINA MENEGOL

6.07.10
Spencer McGillicutty/The School
GAMES/LOVELESS UNBELIEVER-(SPENCER HOUSE/ELEFANT/MINTY FRESH)- I recently bought the much-analyzed She and Him record on a whim. I like it. I like a lot, actually. It has a great mid- to late-60s AM radio feel and while celebrity singer Zooey Deschanel's voice is quite tricked up by heavy reverb, it has a nice natural matter-of-fact feel. And really amazing songs. However, the record ultimately makes me miss, Essex Green, who did the same thing a little better and a lot earlier. That's just a six-sentence way of saying that these two releases — Games, by Spencer McGillicutty and Loveless Unbeliever by School — cut the same path as She and Him. They're both boppy and light. They could have deftly provided music for Chip's senior prom on the television show My Three Sons. (That's a subgenre in search of a label.) Of the two groups, Spencer McGillicutty, of Minneapolis, has a little better songwriting chops — I hear a bit of Carole King in here, mixed with a healthy dose of the brilliant San Francisco band the Corner Laughers. And, gotta say it, there's a lot of Carpenters going on here. "An Act of Contrition," the opening track, brings the Karen hard, as does "Telephone Signals." Beyond that, Spencer McGillicutty rocks out a bit (the utterly catchy "It's Easy to Fall in Love" and "Secret Best Friend") and turns in a gem of a tune in the introspective and garage-band-like "Claire Carnaby." In all, the four-piece outfit (which had help from 18 contributors chiming in on the glockenspiel and French horn, among other instruments), has released a fine record. The School, from Wales, might be a bit more engaging of the two bands, perhaps an assemblage that's more radio-friendly thanks to the airy production of singer Liz Hunt's rangy melodies. The entire record is punchy, bouncy, happy, beautiful. "Is He Really Coming Home?" hearkens gorgeously to 1971 AM radio (the trumpets make it sound like the Brooklyn Bridge and Hunt sings like a cooler Melanie). Throughout, the piano and acoustic guitars mesh perfectly in a sort of folk-overeager pop mash up. The highlight: "I Love Everything," a simple 1-minor 6th-4-5 that's heartbreaking and gripping at the same time. While I still miss Essex Green, I hope these bands don't mind being in the same sentence as them. It's a compliment, one that I hope Deschanel will recognize as unadulterated praise as well.

6.07.10
Teenage Fanclub
SHADOWS-(MERGE)- Wow, is it me or is it hard to believe that this bunch from Matador’s freshman class of 1990 (A CATHOLIC EDUCATION) are still at it. And not just still at it but making music as relevant as they ever did. I for one have always loved this band, not just their sophomore breakout, BANDWAGONESQUE, but all of their records. I have every one and each one has a handful of the band’s glistening pop songs with melodies too good to ignore. I’m also really happy that the band seems to have a solid home on the terrific Merge label here in the U.S.A. Their first record for Merge was 2005’s good- but- not -great MAN MADE but the band seems to have found its footing and gotten back to doing what they do best: create glistening pop nuggets that demand repeated plays. Of the main songwriters (Norman Blake, Raymond McGinley and Gerard Love) I’m not sure who wrote what but check out near-perfect cuts like opener “Sometimes I Don’t Need to Believe in Anything”, the sweeping “Baby Lee”, the gentle piano-pop of “Dark Clouds”, the crunchier (but no less melodic) “Shock and Awe” and the sublime, harmony pop of “When I Still Have Thee.” Not much else to say here ‘cept they’ve done it again. If you fell off this bandwagon years ago it’s ok to hop back on. The band won’t mind, they’ve been playing the underdog role for years and always welcome fans both old and new. www.mergerecords.com

5.31.10
Hammock
CHASING AFTER SHADOWS…LIVING WITH GHOSTS-(HAMMOCK MUSIC)- This duo of Marc Byrd and Andrew Thompson have been around since 2004 and have, including this, 4 full-lengths under their belt (their debut was KENOTIC IN 2005) and hail from, of all places, Nashville, TN. But when you hear their gorgeous instrumental drones and majestic waves of music you’d think they might hail from, I dunno, Iceland (Sigur Ros are big fans). Apparently this record is different from their others (which I never heard) as this features live, acoustic instruments and less electronics as well as horns and strings (hard to find sometimes but they are in there) and, as the press sheet says, “thick analog tones.” The thing with this type of instrumental music is that most bands who play it can be overly dramatic for effect but Byrd and Thompson never fall to that once on here, instead they seem to find that perfect place where emotions are on a roller-coaster and running wild but it’s all laid out with a perfect sense of grace and beauty. Song titles don’t really matter as this works more as a whole than individual songs. The band name is perfect, relax and enjoy. www.hammockmusic.com

5.31.10
Jesse Malin & The St. Marks Social
LOVE IT TO LIFE-(SIDEONEDUMMY)- I have to admit that even though I’m a big punk rock fan I was never a fan of Jesse Malin’s punk bands Heart Attack (more hardcore, really) or D Generation (more glam ) but once I heard that Ryan Adams had produced his solo debut, THE FINE ART OF SELF DESTRUCTION (from 2003) I instantly became a fan. That debut was superb and definitely his best solo record I’ve heard yet though LOVE IT TO LIFE is a strong one as well. Not sure who makes up the St. Marks Social but I’ve read that Adams and his wife Mandy Moore helped out, if just a bit but who cares, the songwriting on LOVE IT TO LIFE is strong .The first two songs are fairly slick fist-pumping anthems (“Burning the Bowery’ and “All the Way from Moscow”) while he slows it down a bit for the heartfelt “The Archer” (with melodic keyboards). He cranks it back up again on “St Marks Sunset” (another NYC reference, that city is in this guy’s blood) while “Disco Ghetto” shows the guy breaking a bit of new ground with a rock song that’s almost dancey. Still, if you don’t mind your rock music a bit produced but with strong songs (think Gaslight Anthem or Social Distortion) then Jesse Malin just might be a new favorite. www.sideonedummy.com

5.31.10
Matt Pond PA
THE DARK LEAVES- (ALTITUDE)- Year after year, record after record, this Philly band led by, yup, Matt Pond, have released one low-key gem after another and THE DARK LEAVES is yet another one. In fact, honestly, this might be my favorite MPPA record yet. For this, their 7th record, Pond and crew aren’t really doing anything different than they have done in the past, that is create lush chamber pop, but they/he seem to have refined their sound and the songwriting is upped a notch or two. The bobbing “Starting” is a nice way to start a record which then sifts right into the snare drum roll of “Running Wild” (which sounds like the beginning of Queen’s “Crazy Little Thing Called Love”, just the beginning anyway) which is a real finger snapper as well (love that cello) . Both “Brooklyn Fawn” and “Winter fawn” are as lovely as their titles and by the records end you want the final song (titled “First Song” just to mess with your indie rock heads) to never end as the crying strings tug at the heart just a little and at that point you realize that this band makes you want to cheer for them. Maybe it’s their underdog status but the songs are too good to ignore. www.altituderecords.com

5.31.10
Seasick Steve
MAN FROM ANOTHER TIME-(ATLANTIC/RYKO)- This guy looks like a Seasick Steve (real name: Steve Wold) , like he was maybe once the captain of a swarthy vessel (“Argh Matey!”) or maybe a farmer. Who knows, he probably has done a bit of both but he was once a hobo as in he left home at an early age and used to ride the rails. You probably think I’m making that up. I’m not. He certainly has had an odd trajectory for someone on his 60’s (maybe 70’s). Back in the day he hung with Janis and Joni then moved to Norway and, oddly (or maybe not), Modest Mouse hired him to produce their first record. This is his 3rd solo record and it’s 12 songs of bent country blues that’s almost, dare I say, danceable. Oh apparently he invents instruments too, like the Diddley Bo (a one-stringed guitar). Anywho, as a rule I usually hate blues songs but I like these tunes. Lend an ear to crackling chestnuts like “Big Green and Yeller”, “Happy (to have a job)”, or the slow and heavy title track. I don’t usually say this about musicians but I’d like to hang and chat with this guy over beers sometime (and I don’t even drink). Seasick Steve, wherever you are, get your ass to Portland! www.seasicksteve.com

5.31.10
Sixteen Deluxe
YEAR ONE-(BUNKHAUS)- You probably don't remember this band, because they were one of the legions of "local bands" that attempted to make a jump to mainstream acceptance, and fell clearly on their faces. So many bands in the 90s weren't good enough in the first place, and I admit, I didn't care much for Sixteen Deluxe. But time passed, and upon learning of their recent SXSW reunion show, I thought I'd check 'em out again. Surprise, surprise, my mid-20s snootiness got in the way of realizing that, hey, they really weren't so bad after all! This new record of theirs, you can't buy in stores, and isn't really new music, because it's demos and live tracks from their first year as a band. It's rough and raw, but the boy/girl vocal interplay between Carrie Clark and Chris Smith over the band's rather loud garage psych noise is oh-so-sticky-sweet, oh-so-blissful. They were signed to Trance Syndicate for a reason, and this demo will certainly illustrate why. "Baby Headrush" illustrates a slicker pop direction, and makes their signing to a major not so surprising. That the band has returned to the live stage is encouraging, as are the videos of their performance. Maybe the times have caught up to them? Would certainly be nice to think so! www.sixteendeluxemusic.com JOSEPH KYLE

5.31.10
Woods
ECHO LAKE-(WOODSIST)- In their 5 short years as a band these two guys, Jeremy and Jarvis, have cranked out records at an alarming rate (this is their 5th full-length and they have plenty of eps too) . I’ve heard very little of their music but what I have heard previously was not as song oriented as what is on AT ECHO LAKE (which means I like this more). Opening cut “Blood Dries Darker” is nearly impossible not to like with its frantic strum and those awesome falsetto vocals over the top while “Pick Up” reminded me of the early lo-fi Sebadoh records (time to break out Weed Forestin’, come on, you know you want to). The guitars on “Suffering Season” were reminiscent of The Byrds (like I’ve read in a lot of reviews) so at least we know these guys have some great role models. On “Mornin’ Time” I was reminded of the Olivia Tremor Control and on a tune like “ I Was Gone” they keep things unhinged enough to still occasionally entice writers to add the word experimental before the word pop and you know what, that’s ok. All is good in the world when this is on. www.woodsist.com

5.24.10
Barton Carroll
TOGETHER YOU AND I-(SKYBUCKET)- You might not immediately know the name Barton Carroll but you might recognize him as the sideman for Eric Bachmann’s Crooked Fingers (he has also played with Dolorean and Azure Ray as well). If you saw him walking down the street you might mistake him for an accountant, shoe salesman or mechanic (take your pick) but the photos I’ve seen he doesn’t look much like a musician (whatever they look like). This is his 3rd solo record (after 2008’s THE LOST ONE) and it’s just as good as the other two I have. One thing is for sure, Carroll does not release party records , his records are usually sad and downbeat about characters on the fringe or just plain down and out. TOGETHER YOU AND I opens with the gorgeous “The Poor Boy Can’t Dance” which slips some horns in toward the end to give it a bit of a ragtime feel while the more spare “Rich as a Rolling Stone” is basically Carroll’s voice along with an acoustic guitar and a slide guitar but the song is incredibly rich in tone as is the equally powerful “Shadowman.” As much as I enjoyed THE LOST ONE I think I might have a new favorite B.C. record right here . www.skybucket.com

5.24.10
Coco Rosie
GREY OCEANS-(SUB POP)- Harp strums… tinkly little bells… carefully-placed percussion… somewhat scratchier; a bit eerier than the usual female protagonist’s, Bianca Casady’s voice spouts the stories, at times embellished by Sierra’s operatic soprano. Streams of evocative words form a dreamy tapestry. Some pop out: mountains, the moon, an undertaker, graves, family tragedy, and eating “ice cream in dessert dream.” A thick, sometimes hypnotic junket, Grey Oceans isn’t what most people, other than Wiccans and the determinedly fey, tend to throw on with cocktails - but the cover shot of the sisters, in heavy make-up (including pasted-on and Photo-shopped mustaches), and cottony, vaguely Medieval headgear, does offer a hint. Spiked by collaborations with minstrels encountered through recent travels, this first SubPop-supported release continues the duo’s bizarro/creative trad. Other than Bjork, Kate Bush, and White Noise, closest thing I’ve eaten is Hail’s ‘88 oddity, Gypsy Cat & Gypsy Bird. CocoRosie isn’t just for seekers of night-blooming hybrids. When Bianca and Sierra reach the grail, they dig in. “Lemonade” is a brilliant juxtaposition of the bizarre with firmly melodic hooks and an arcane, nee in the ‘50s tool: backing “Ooh-ooh”s. “Hopscotch” innovatively merges ghostly vocals with ragtime and samples. Providing a rest from the overall density, the piano-anchored title song recalls earlier, simpler forays. “R.I.P. Burn Face” is a Trance-like interlude. By the rather annoying closer (a male voice over thumping percussion and chanting back-up vocals), I’m torn between being rather frazzled and jonesing for another shot of “Lemonade.” www.subpop.com MARY LEARY

5.24.10
Common Loon
THE LONG DREAM OF BIRDS- (HIDDEN AGENDA)- This is a very nice debut release from Illinois laprock duo Common Loon. It’s a very tight, clean and lush collection of dreamy pop songs complete with layers of smooth vocals and atmospheric guitars and keys. Many of the songs reminded me of a slowly swirling combination of Ride, Pell Mell, the Church and newer offerings from Polvo, but there are also more rocking moments that recall early Lush, the Charlottes, Silkworm and the Bevis Frond. (see: ‘Mexico,’ ‘Ho hum apocalypse,’ and ‘Lisa’s pixie cut.’) The recording is crystal clear, as are all of the vocals and for once the instrumentation is not completely overbearing. Everything is kept in it’s place, and to great effect. All told, a really good first effort from these guys, and worth a listen. www.parasol.com JEREMY GRITES

5.24.10
Dum Dum Girls
I WILL BE-(SUB POP)- I kept hearing about the Dum Dum Girls long before I’d ever heard their music but it seemed to always be in the same sentence as the Vivian Girls so I had a feeling I’d like them from the get go. The band is basically one person, Dee Dee (Kirsten Gundred) who gets some help from her friends (including the ubiquitous drummer Frankie Rose) and she released a bunch of 7”s and some comp tracks last year. For this, her debut full-length, she got famed producer Richard Gottehrer (Blondie, among others) to produce but if you’re expecting something clean sounding and streamlined well, you might want to look elsewhere. These 11 noisy pop nuggets blur by in about a half hour and while they’re not as hooky as I’d like them to be that’s ok. I like most of the songs. The clattering drums that open the first song, “It Only Takes One Night” give you an ideas of the sound, you’ve heard it before in bands like Black Tambourine, Shop Assistants, Dolly Mixture and several others but Dee Dee adds enough bits of weird 60’s psychedelia to it that it gives the songs her unique stamp. “Bhang Bhang I’m a Burnout” is a fine little number as is “Jail La La” (the latter catchy as all get out) and the speedy “Yours Alone.” A few tunes drag a bit (“Rest of our Lives”, etc.) but the record is so brief that you won’t mind. Lots goin’ on in this simple sound so give ‘em your undivided attention. www.subpop.com

5.24.10
Hoodoo Gurus
PURITY OF ESSENCE-(SELF RELEASED)- Honestly, I thought these Aussie madmen were long gone but I guess they released a record as recently at 2004 (MACH SCHAU). The last one I heard by them was probably 1989’s MAGNA CUM LOUDER and I had caught the band live a few times back then and they always were energetic and put on a fun show. I put PURITY OF ESSENCE on with some trepidation, mainly, how are these geezers gonna sound now? The answer: Not bad at all, in fact, pretty darn good. The band, who formed in Sydney in 1981, are still led by main songwriter Dave Faulkner and his (sometimes) songwriting partner Brad Shepherd, and are still sound informed by junk culture but with a hint of , dare I say, maturity. Opening cut, “Crackin’ Up” is a melodic charge of wailing guitars and pounding drums (as is “Burnt Orange” and “What’s in it for Me?”) while “Are You Sleeping?” is dreamy and melodic and the final , record ending, “The Stars Look Down” is a moody, philosophical piece where Faulkner ponders his own life. As I say with a lot of records, they probably could have trimmed some filler here and made a better 10-12 song record but as it stands, PURITY OF ESSENCE, is still la strong record and one that I was not at all expecting from the Gurus at this stage in the game so bully for them. www.hoodoogurus.net

5.24.10
Keane
NIGHT TRAIN EP-(INTERSCOPE)- We have a few Keane cds around the house because my wife is a fan. I could always take or leave them (usually the former) but this new ep is a different animal altogether. When I popped it in I wasn’t expecting a whole lot and that first song (not even really a song but a musical intro) didn’t change my mind. Onto song #2, “Back in Time” with it’s dark, heavy keyboards to open the song is certainly listenable but not brilliant or anything. By song three they had me hooked. “Stop for a Minute” (with a guest spot towards the end by Canadian Rapper K’Naan) , a philosophical meditation on where he (Tom Chaplin) fits into the world with an unbeatable melody and a minute or two of K’Naan from mid song to the end. There was a few weeks back where I could not stop listening to this song. Elsewhere , “Ishin Denshin (You’ve got to help Yourself)” is a bouncy pop song with bubbly synths while “Looking Back”, which also features K’Naan, has some opening horns straight out of ROCKY (and was apparently inspired by the tune) and though a blatant rip, the song is easily likeable. Though Keane have mixed up style on this new record I think it works for them. They may have alienated old fans but picked up some new ones along the way too (like me). Not everything on NIGHT TRAIN works but a lot of it does and taking chances as such on makes the band stronger. www.interscope.com

5.17.10
Johnny Bertram & The Golden Bicycles
DAYS THAT PASSED-(ESPERANZA PLANTATION)- Always nice to be surprised upon hearing someone new and Johnny Bertram and the Golden Bicycles are new to me. I guess Bertram began playing in his native Boise, ID but a few years ago decided to high-tail it outta town and head to the deep south , ending up in Mississippi. On the first listen I was reminded of The Decemberists but with a bit more of a rustic, western feel to it, Bertram sings in a relaxed voice and his backing band isn’t afraid to show off their chops on instruments like trombone, accordion, banjo, mandolin, violin and , of course, the usual guitar/bass/drum set up as well. The songs don’t jump out at you but rather draw you in with a heady brew of pop songwriting and tales of down on their luck folks hoping for better in life. Opening tune “Where I Begin” isn’t the best song on here but not a bad opening cut either while song number two, “Fortification” has a foot-tapping melody and some hummable vocals. “Private Land” is a real porch slapper and the interlude “The Fall” is all accordion mixed with haunting voices and “Good Friend” is probably a fan favorite in the live setting. A few of the tunes are a bit wobbly but hey, this is his debut and still, it’s real solid and then some. Give it a listen. www.johnnybertram.com

5.17.10
Chin Chin
SOUND OF THE WESTWAY-(SLUMBERLAND/MISSISSIPPI)- All-female Swiss trio who I’m not even going to pretend like I’ve heard of but man, this is good! I was expecting something wobbly and jagged like The Raincoats but this is a lot more melodic and punkier than I ever would’ve thought and the songs are strong. The band formed in 1982 but this debut record was recorded in 1985 and has been apparently long out of print (they also toured with the Shop Assistants and had a record out on the fabled 53rd and 3rd label). Still, Esther, Marie-Anne and Karin predated the C-86 movement and I’m sure had to be an influence on it but they also took liberally from the 70’s punk bands out of the UK and USA (Ramones, Buzzcocks, Adverts, etc.) as well as Phil Spector’s girl groups of the day. I’ve read they couldn’t play their instruments but trust me, this doesn’t sound like The Shaggs. Seriously, if hearing opener “Dark Days” doesn’t entice you to want to hear more then this review sure as hell won’t do it. 14 songs and not a dog in the bunch. Oh, did I mention it’s vinyl only? www.slumberlandrecords.com

5.17.10
The Fall
YOUR FUTURE OUR CLUTTER- (DOMINO)- Mark E. Smith and company (whomever “company” is these days) return with their 28th record (yes, you read that right) but having been banging around planet earth as band for 33 years that many records really shouldn’t be surprising. What should be surprising is that Smith and his crack musical cast (let’s hope none of them are using crack) are still relevant and that YOUR FUTURE OUR CLUTTER is as menacing and unpredictable as anything they’ve ever done. The nearly 6-minute opener, “O.F.Y.C. Showcase” clatters about an around but has that jaggedy beat we all love and “Bury Pt.s 1 + 3” has a mangy, low-end lurch that doesn’t stop kicking until the middle part where it goes a bit hardcore on us (I didn’t mind). Later on “Cowboy George” (not a Frogs cover) has a retuned (vaguely Western) guitar set on stun and drums set on shuffle while mark does his best , I dunno, George Jones? Regardless it’s one of the best tunes on the record as is the grouchy-yet-hopeful “Hot Cake” and they do justice to the Wanda Jackson cover (“Funnel of Love”) too. You might not wanna buy the guy a beer next time you see him (he’s had far too many) but a pat on the back might be a nice gesture. Who knows, you might even get a smile back. www.dominorecordco.com

5.17.10
The Gary
THE LOGAN-(CEDAR FEVER)- That The Gary’s climbing out of the talented Austin heap hints at the possibility of something ear-worthy. Still, as musicians get increasingly savvy at self-promoting, I’m thinking the band’s rising profile could be a red herring. Conjecture grinds to a halt a few bars after Logan hits my player. If “gripping,” “provocative mash of song forms,” “energizing” and “incredible tone” (that makes me want to ask guitarist Trey Pool how he’s getting those warm, penetrating sounds) could coexist in one sentence, it would start to convey how good this feels. The way the full (but never too busy) guitar meshes with everything else remind me just a little of The Feelies. Bass/lead vox Dave Norwood could be a more nervous David Byrne/John Doe (Okay, Doe has already sounded plenty urgent – Norwood projects an arresting tension that’s more Byrnesian – with a Curtisian – as in Ian/Joy Division - vibe). This ices the cake especially effectively on “Lost Art,” “Three Point Two,” and “Ancient Music,” which is driven by guitar/drum escalations rivaling X’s on “Nausea.” You’ve known a band for months. You’ve seen them more than a few times. Then, one night, there’s a perceptible shift into a new synchronization; a chemical serendipity. With The Gary, I feel part of just such a more-than-the-sum-of-its-parts phenomenon. Did I mention the earthy element grounding this, something I haven’t heard since the late ‘90s? Never thought music could feel this basement-hot while casually-hewn again (while managing to occasionally erupt a la the Pixies). Yeah, you read that right – man, these guys are in love with making great music. And I’m in love with hearing it. Wonder how much rentals are going for in Austin. www.cedarfeverrecords.com MARY LEARY

5.17.10
Happy Birthday
S/T-(SUB POP)- Boy, this one dropped with a thud. Some pundits seem upset at the signing of a band that slid in with a demo and one-shot appearance that for some members may be about taking breaks from other projects. Others are bothered by how Witch’s Kyle Thomas and crew impersonate rejected/dejected teenagers. After going into nearly a diabetic coma behind a series of “dreamy Pop” Next Big (or already-hyperbolized) Things, HB is like a glass of ice-cold water in my face. When it waxes sugary-sweet, it’s over-the-top funny. Instead of young adults who sing like unctuous children, the snottiest noses on the block whine unto absurdity while throwing some punk leather over intermittently killer hooks. And here’s the thing: It seems like a lot of currently hot Popsters are, themselves, exaggerating the “teenaged” thing. I wouldn’t be so down with HB’s thumbing its nose at the phenomenon if the results weren’t sometimes as good as what’s being roasted. When it stops being as annoying as many true 15-year-olds, HB is hooky and inventive: “Girls FM,” the catchy “Perverted Girl,” “2 Shy,” and “Maxine the Teenage Eskimo.” Only place I intersect with anyone upset that this isn’t a “real” band: It would be great to see HB live (if there’s a God, with Unnatural Helpers). A tour might be the king pie-in-the-face, resurrecting the sense of humor/absurdity that was part and parcel of early alt-wavers like Radio Stars, The Velvet Monkeys, and Tina Peel. www.subpop.com MARY LEARY

5.17.10
Poco
LIVE AT COLUMBIA STUDIOS, HOLLYWOOD 9/30/71-(COLLECTOR'S CHOICE)- This is a band I used to make fun of back in my punk rocks days but then again I made fun of all those AOR (MOR?) bands during that time , some of whom I now have an appreciation for (The Eagles, America and yes, Poco). This is a live set at, as the title says, Columbia Studios right after Poco’s 4th record (FROM THE INSIDE) had just been released. The “audience’ was about 100 people made up of label folks, family and friends. By this point ex-Buffalo Springfield guy Richie Furay was still the band leader but Jim Messina and future Eagle, Randy Meisner, had left the band but another future Eagle, Timothy B. Schmidt had joined and appears on this record. While they still had a pedal steel player on here they seemed to be moving away from the country rock sound of their first few records and into more rock sound. On this 14 song set you get to hear terrific tunes like Paul Cotton’s “Ol’ Forgiver”, Schmidt’s honky tonk “Hear That Music” and Furay’s “You Are the One.” There is also a nice Furay/Schmidt medley with 3 tunes (“Hard Luck”/”Child’s Claim to Fame”/”Pickin’ up the Pieces” crammed into 5 and a half minutes. Well worth hearing for fans of 70’s rock and my Poco-lovin’ pal Keith Brown (resident 70’s music expert at Music Millennium) calls it essential. www.ccmusic.com

5.09.10
Avi Buffalo
S/T-(SUB POP)- It seems pretty brilliant of Avigdor Zahner-Isenberg to opt for a stage name so foreign to the English-speaking tongue – it’s ridiculous and weird and great all at once. Which tells me something about how this 19-year-old ticks: at some point, or points, he caught a belief in wonder (and may have read David and Lisa or Catcher in the Rye, both of which focus on characters who are nearly unbearably sensitive – or their sensitivity makes life nearly unbearable). Avi and his playmates take some of the hyper-sensitive suburban kid thing and combine it with the backyard idealism of what I can only guess may have been really lovely hippie grandparents, mentors, etc. Further, Avi was apparently born with the soul of a cracked but self-affirming poet. How else to explain the confidence of “Summer Cum,” one of the more annoyingly starting tracks—which then convinces me to stay with the chorus-- while documenting gossip, male/female sexual conflict, and, from what I gather, the gaps between love, lust, and Eros? Not many current songwriters have me looking at their lyrics, or comparing their ethereally sweet guitar sounds with those of Danny Kirwan. Or make me pause whatever I’m doing for “Jessica,” a song with which I wouldn’t expect to identify. Something that stopped hurting a long time ago reawakens with the tone of Avi emoting: “I can’t tell when something’s real/and nobody tells me how they feel/it’s always right beneath my nose…” Are there less gripping, and sometimes redundant, moments here? Sure. But AB consistently projects a sense of wonder that’s been burnt out of a lot of people by the time they’re in their late teens, if not sooner. If a sophomore effort can grow from the best stuff here, cutting some of the yada-yada, AB may find itself standing with the best Pop (for lack of a better pigeonhole) outfits around. www.subpop.com MARY LEARY

5.09.10
Club 8
THE PEOPLE'S RECORD-(LABRADOR)- It’s hard to believe this Swedish duo has been around for 15 years but they have. I have been following them since their first record (1996’s excellent NOUVELLE on the Siesta label) and I have found each one to be solid and some excellent , each with its own charms. I had heard they changed their sound a bit on THE PEOPLE’S RECORD and some other friends who have been longtime fans seem to have bowed out after hearing this but not me, I think Club 8 has another winner here. For this record, their 7th, the duo of Johan Angergard and Karolina Komstedt not only brought in an outside producer for the first time (Jari Haapalainen, who has also worked with Camera Obscura, among others) but apparently traveled to Brazil, sought inspiration West African music from the 70’s and brought in a percussionist (yes those are African rhythms you hear on the record). The first three songs on here (“Western Hospitality”, “Isn’t That Great?” and “Shape Up!”) are all bubbly , bouncy and bursting at the seams with an undisputed energy. You’ll hear bongos, funky keyboards and lots of whoah-oh-ohs. They slow it down for the dark but dancey “Dancing with the Mentally Ill” (I’d like to know the inspiration behind this song). The record drags a bit in the middle with a few slower songs (the band is usually known for slower, more melancholy tunes but these aren’t among their best) but then picks up toward the end with the clattery “Like Me”, the absolutely infectious “Be Mad, Get Ill, Be Still” and the happiest-song-with-a-sad-title-ever “We’re All Going to Die.” Don’t judge THE PEOPLE’S RECORD on what you’ve heard about it, give it a listen for yourself. www.labrador.se

5.09.10
Harlem
HIPPIES- (MATADOR)- This Austin, TX trio were on the recent Matador Records collection, CASUAL VICTIM PILE which was a compilation put together by one of the labels co-owners, Gerard Cosloy, to let folks know what is happening, musically speaking , in Austin and beyond (a few bands from Denton) and Harlem was one of the bands on the comp that stuck out for me. Lets forget that for at least a few weeks (maybe a month) I thought the name of the band was the Harlem Hippies (in my defense, I don’t have a full artwork copy of the record so I didn’t see the word Hippies in quotes) but enough about me, Harlem has cobbled together a nice little 16 song record. Nothing fancy here, sounds like they recorded a set in the studio which is more than fine by me and it’s a heady mix of garage rock, straight indie rock, a dash of rockabilly and everything that made that first Modern Lovers record so great. The two main cats are Michael Coomer and Curtis O’Mara and each one seems to have a distinctive writing style as the former is a bit quirkier while the latter ones a bit more standard. Still, no matter who’s writing ,there’s a large handful of gems on this one including “Faces”, “Prairie My Heart”, “Someday Soon”, “Spray Paint” and plenty more you won’t mind spinning at your next Bar Mitzvah or baby shower (or weekly bath). www.matadorrecords.com

5.09.10
Joe Pug
MESSENGER-(LIGHTNING ROD)- This is one of those cds I’m glad that someone took the time out to send me. When you get a ton of cds in the mail to review sometimes they can sort of blur together and it is easy to miss one that might be a gem in the stack, like this one. No surprise that I had never heard of this guy, Joe Pug, before. I guess the story goes he was born in Baltimore, went to college in North Carolina and then packed his bags and headed for the big, city, Chicago to be exact. From there were two self-released eps and now this, his debut full length and it’s a corker. Oh, and he’s only 25. If you’ve read the reviews then you keep seeing the names Dylan and Prine pop up in reviews and it does seem like there is some inspiration from those two classic singer-songwriters. Armed (mostly) with his voice and acoustic guitar and sometimes his harmonica songs like “Not So Sure”, “How Good You Are” (which I have listened to incessantly over the past few weeks), “Bury Me Far (from my uniform)” and “Unsophisticated Heart” come off like instantly recognizable classics that you’ve heard over and over again even though it is the first time you have heard them. It appears Pug is going to have a long and fruitful career as a songwriter but if not, at least we have MESSENGER to cherish. www.joepugmusic.com

5.09.10
Elisa Randazzo
BRUISES AND BUTTERFLIES-(DRAG CITY)- Remember that Youngbloods chorus, “Come on people, now/Let’s get together/Try to love one another right now”? If that’s your sweet spot, best be gobblin’ up a copy of Bruises. Maybe it’s in Elisa’s genes: both parents were successful ‘60s songwriters. Adding to that pedigree is her collaboration with ‘70s folkie Bridget St. John (resulting in two of the tracks here). Randazzo’s circled by as sensitive and gifted a group of colorists as a singer-songwriter could crave. So when these tracks start to merge into one long wash of dreamy color (and I start nodding out), some beautiful pedal steel, acoustic picking, or pin-point single-note bass pulls me back in. And didn’t the Cocteau Twins become loved, more or less, for one long wash of dreamy… ? While there’s a lot more Folk in Randazzo’s approach, I’m rather glad this gentle soundscape came my way. Now I know what to play if I have to get up--God forbid--for a trip, or a fire, at four in the morning. You just put this on while heading for the coffee maker (or, perhaps more fittingly, tea kettle) and watching the sky lighten as the birds start tweeting; somehow feeling that although you (okay, this would be me) are more bleary-eyed than Jesus, a new day might be a good thing after all. Maybe I’ve been overlooking colors like daffodil-yellow and tangerine-orange. More analytically: Bruises has the feeling of late ‘60s/early ‘70s Folk/Pop, and the more nuanced Folk of Sandy Denny and Nick Drake. Speaking of Denny, Randazzo’s rich alto is a refreshing shift from little-girl-voiced singers. Also unusual, and unlike musicians who present ‘60s-‘70s forms with a knowing smirk: This feels goddamned sincere. Having played violin with Prog/Avant/Indie shamans Red Krayola, Randazzo probably doesn’t give a fig about appearing hip – now, that’s hip. www.dragcity.com MARY LEARY

5.09.10
Titus Andronicus
THE MONITOR-(XL)- Straight outta ….Glen Rock, NJ comes the 2nd record from the mighty Titus Andronicus. Their first record, 2008’s THE AIRING OF GRIEVANCES (Festivus anyone?) came out of nowhere (at least on my radar it did) and offered up a brawling, messy mix of The Pogues, The Hold Steady , Scotland Yard Gospel Choir and, after a line like “Cos tramps like us, baby we were born to die!” (from the epic 7 minute plus opening cut, “A More Perfect Union”) the boss himself, Bruce Springsteen. In addition to the 5 Andronici, they got some help from pals in bands as heady as The Hold Steady (them again?), the Vivian Girls,. Wye Oak and a few others and the record, loosely based on the Civil War, come off as the messiest platter of genius since, I dunno, the last T.A. record. What we learn after this (65 minute) history lesson is that the enemy is everywhere (from “Titus Andronicus Forever”), that you will always be a loser (from “No Future Part Three: Escape from No Future”) and that we are all searching for a more perfect union. You want more? “Richard II” is a knee-slapping corker , “Pot to Piss In” is too. “Theme from Cheers” as well. Seriously, a record like this is why you listen to music in the first place (or that you should). Heart, soul, passion, humor and all of the other good stuff. That is the essence of Titus Andronicus. www.xl-recordings.com

5.03.10
The Cole Porters
DURANGO-(PRIMA)- Though this band , featuring ex-Long Ryders guy Sid Griffin, has been around for nearly two decades this is the first I had heard their music (had heard OF them, though). Apparently they used to be an electric combo but sometime in the past decade Griffin reconfigured the band into an acoustic bluegrass unit. Sounds fine to me as the sweet use of mandolin, fiddle, banjo, etc. sounds like it fits the band to a tee. One listen to the (terrific ) opener “Let’s Say Goodbye (like we said hello)” (with the awesome lyrics: “I’m playing the game but I’m long in the tooth, I feel like a beer n’ she’s cravin’ vermouth”) will give you hint whether this batch of tunes is your cup o’ tea or not. Not all of the tunes have that good timey vibe though, , “No More Chains” is a but darker and “Moonlight Midnight” sounds (to me) like a winky love song. There’s plenty of other smart n’ terrific cuts on this one and I must add, Griffin’s got an excellent cast of players (including amazing fiddler Carly Frey) so if you were a Long Ryders fan from the old days or even if you’ve never heard them at all give the Coal Porters you r undivided attention. www.sidgriffin.com

5.03.10
Gigi
MAINTENANT-(TOMLAB)- This Canadian band is essentially the duo of Colin Stewart (who I had never heard of but has apparently worked with Destroyer) and Nick Krgovich (whose work with P:ano I have enjoyed) and what the two did was recruit 15 of their favorite singers to go for a Brill Building/1950’s vibe on these spunky pop tunes. Think Camera Obscura, The School or The Pipettes and you’ll be in the ballpark. The songwriting is terrific from the get go (though I didn’t like all of it instantly, some of these tunes had to grow on me). The record starts with “No My Heart Will Go On” which has a chorus of (mostly female) singers which sounds pure Ronettes, Crystals, etc. while “The Hundredth Time” is a smooth pop number with two crooners (Duffy Driediger and Ryan Peters) and some lovely cascading piano and horns and strings. On “Alone at the Pier’ none other than Rose Melberg takes the mic and turns it into a lost 60’s classic and on “Won’t Someone Tell Me” Mirah takes over vocal chores and again, it’s all handclaps and pure sock hop pop. I think you get the drift here so if you’ve read this far and are still interested then by all means pick this Gigi record up and let’s hope for more. www.tomlab.com

5.03.10
Jason & The Scorchers
HALCYON TIMES- (COURAGEOUS CHICKEN/NASH VEGAS FLASH)- This long-running Memphis, TN band has been around since 1981 and it’s been nearly that long since I’ve listened to them. Let by the erstwhile Jason Ringenberg , he and his Scorchers (ok, so half of the original lineup on board as well as a whole heap of guest musicians) return with their first record in 1996 and I’m not sure if it’s a return to form, or more just a terrific new record. Yep, Ringenberg and guitarist Warner Hodges kick up lots of dust on these 14 tunes that were recorded live in the studio. The record starts off on a fun note with the raucous “Moonshine Guy/Releasing Celtic Prisoners” with the classic line “And he yells and he roars, like the Stones, hates the Doors, thinks the Beatles play for girls, he’s a Moonshine guy in a six-pack world.” On the epic “Beat on the Mountain” the harmonies have some true soul all the while being one of the best J & TS tunes ever. “Mona Lee” has all the barroom fun of a classic Old 97’s song and “Fear Not Gear Rot” has this cool rickety thump to it with some frenzied guitar work. That is just the 4 songs on this one and there are 10 more to knock your socks off. Seriously, if you had told me Jason & the Scorchers would record one of the best records of their career in 2010 I wouldn’t have believe you either but seriously, HALCYON TIMES is not to be missed. * Bonus points for having a drummer named Pontus Snibb! www.jasonandthescorchers.com

5.03.10
Joan Of Arc Presents:
DON'T MIND CONTROL-(POLYVINYL)- Honestly, I haven’t smoked anything other than cigarettes in about 10 years: maybe a few puffs of something more colorful would have me more down with the Tim Kinsella/Joan of Arc genealogy I’ve been puzzling over for the last 5-10 minutes. Sparing you the history lesson: Basically I was reading about 16+ years of creative, intelligent musicians who’ve played with Kinsella, or who make smoothies for him, or who gather around the same campfires. It seems to boil down to something more or less like the Broken Social Scene collective. I guess the difference is that Kinsella and his posse haven’t called what they do a collective, although a promo blurb for this says, “41+ members strong, the Joan of Arc extended family…” (apparently hasn’t heard of birth control). In any case, I have a healthy respect for compilations in general. In particular, Zapped, The Greater Antilles Sampler and the Nuggets collections have turned me onto wonderful sounds. So I’m used to the idea of wading through a bunch of music that might not make it onto record without the surrounding or standout talent. Since there are 18 musical entities/arms to this particular Kali, a blow-by-blow would ensure the injection of Excedrin we’d all prefer avoiding. On the other hand, since this is a case where downloading certain tracks makes sense, I could save you some time. So I’m downing a double espresso and having at it. After the rather jarring, spaceship-sound-enamored meanderings of Litesalive’s opener, there’s the welcome oomph of The Stooges—whoops, I mean Disappears--invading a Broken Social Scene session via “Guider.” If you don’t like the sounds of electronic mutant animals moaning and bellowing through the spoken words of their distracted owners (Privacy’s “Birdshow”), they’re followed by the relatively accessible electro-pop/chant tapestry, “The Doug McComb Over” of A Tundra. Fields of new grass and lilies, or a rest, arrives with the gently lovely “No More No Where,” from Kinsella’s brother Mike, who calls himself Owen here. There’s more electronica, then Euphone’s noisy, rather industrial punk, which might go well with something by James Chance (whose girlfriend Anya once pushed me down a couple of stairs after I drunkenly offered him a Barbie backstage: That’s another story). Slick Conditions is much less anti-social: its ringing guitars and persistent beats somehow adding up to the feeling of driving away from a really good rock show in northern Virginia when I was 23, the cool night air drying sweat into memory. One of the kickin’-est things here, it could also be described as ZZ Top on Crystal, but I prefer my first description. There are a couple of tracks that don’t move me to get out the magnifying glass and a track by The Cairo Gang with a melodic, emo lilt that could pass for a song by Jesse Colin Young’s great-grand-niece. Tim Kinsella contributes electronica seemingly enamored of King Crimson that segues well into Jeremy Boyle’s warmer abstraction, “Second Door from the Left.” There’s a track that I don’t like by The Zoo Wheel and then a Vacations one that I do, “Friday the 13th Part 2,” which is an intriguing combination of banjo, vocals, and percussion. I respect Pillars and Tongues’s experimental attitude but its clatter, which then trickles into cello and/or mellotron tones, may be too much for anyone who isn’t given a hit of whatever the band was on – raising my hand here. Ghosts and Vodka are great at coming up with odd names but its track, “Gameshow Buzzer,” doesn’t sound at all like a game show, although it does make a good prog. follow-up to the Pillars’s pillage. Birthmark got me to thinkin’ about where mine is with “Drivin’ Me Crazy,” a brief wave of warm electronica that will divide listeners into those now able to settle back down in their cribs and go to sleep, goddamn it, from those so stimulated by this rangy collection, they’re plugging into their Cubase systems. www.polyvinylrecords.com MARY LEARY

5.03.10
Miles Kurosky
THE DESERT OF SHALLOW EFFECTS-(MAJOR DOMO/ SHOUT FACTORY)- I had been waiting and hoping that this record from the former Beulah leader would appear. I was a huge fan of that San Francisco band and despite putting out a lackluster final record (YOKO) their other three records were absolutely fantastic. So not only does Kurosky reappear here with his first solo record but he has left the Bay Area and is now a Portland resident (and apparently had some pretty scary health problems over the last half decade). Like previous records he has skippered, this record has a huge array of musicians/instruments and despite being recorded over a number of years, he orchestrates it all into a cohesive final product. Kurosky still seems to be influenced by Brian Wilson (albeit a tweaked Brian) as these 10 ambitious pop songs are comfortable and unpredictable at the same time. Laid-back opener “Notes from the Polish Underground” is a mere teaser for the next few Beulah-esque pop tunes like the superb “An Apple for an Apple” and sounds-simple-but-isn’t “Dead Language Blues” which unfold before your very eyes while the chaos that opens “I Can’t Swim” suddenly turns into one of the best pure pop tunes on the record (with plenty of “bah-bum-bum-bums”). Elsewhere don’t miss the heartfelt “She Was My Dresden” or the shuffling “Dog in the Burning Building.” Miles is back! www.majordomorecords.com

5.03.10
Organ Blues
THIS DIDN'T JUST HAPPEN-(SELF RELEASED)- These Philly dudes, led by guitarist vocalists Gavin Potts and John Bueno, self-released a fine ep a few years ago (THE TANK named, apparently , after the area in Philly they live, Fishtown). Here they reappear a few years later with their first full-length and it’s a fine batch of songs from a band that’s little known now but (hopefully) getting more and more recognition as they deserve it. Their music is hard to categorize but has a healthy dose of garage rock, classic indie rock (Pavement, Pixies, etc.) plus some of what you could call surf music. On opener “Grow Your Grass Greener” has a killer guitar riff form start to finish while “Cosmonaut” was a bit janglier and could have even been something that was released on the Flying Nun label back in their glory days and “El Dorado” has a simple organ riff, which coupled with the snakey guitar line and growly vocals (think Jon Spencer) make up a sweet tune (I’m guessing the band had tongues planted firmly in cheek while recording this one). The record lags a bit in the middle but then picks up again at the end with some fine, fine tunes. Check out the band on their myspace site and if you dig what you hear, well, empty your pockets and buy copy of this so these guys can at least buy some dinner tonight. www.organblues.com

4.26.10
Black Tamborine
S/T-(SLUMBERLAND)- We’d thought we’d heard the last of this defunct early 90’s DC area noise-pop band which included 2/5 of Velocity Girl (Archie Moore on guitar and Brian Nelson on drums) as well as Mike “Slumberland” Schulman himself on bass and gal about town Pam Berry (in too many good bands to name) on vocals. In 1999 Slumberland Records released the 10 song COMPLETE RECORDINGS by this band which consisted of everything the band had done (singles and comp tracks). This new expanded version has new artwork, a booklet with some new liners and photos and in addition to those 10 original songs, 6 more songs. Two of the new songs include demo versions of two of the band’s best songs “(“Foe Ex-Lovers Only” and “Throw Aggi off the Bridge”) as well as 4 (old) songs that were recorded in the Summer of 2009. Two are covers, Buddy Holly’s “Heartbeat” and a cover of “Dream Baby Dream” by 70’s NYC band Suicide (this comp also includes a cover of Love’s “Can’t Explain”, which was on the original BT cd). The final two songs are “Lazy Heart’ and “Tears of Joy”, two songs you’d think were recorded back when the original stuff was. BT was influenced by several UK bands (Jesus & Mary Chain, Shop Assistants, MBV, etc.) and though they were not real well known at the time, the band’s recordings have aged very well and it’s incredible to see how many bands have cited Black Tambourine as an influence. Give this record a listen and you’ll hear why myself and others wished they would have stuck around for a few more years , just to see what could have been. www.slumberlandrecords.com

4.26.10
Drink Up Buttercup
BORN AND THROWN ON A HOOK-(YEP ROC)- This Philly, PA (actually Horsham) group could have 5 or 50 members, I have no idea. I do know the first time I played it, it annoyed the crap out of me. So much so that I played it again and a few more times for good measure. Still not sure what they’re on about but seem to take several different genres (all from the UK in the early 70’s) and mix ‘em together for strange brew. Were they shooting for a minstrel show? I have no idea either but give loose-lipped gems like “Young Ladies’, “Doggy Head” or “Even Think” a listen to try and find out. Occasionally I’m reminded of the Kinks weirder bits and that’s not so bad (love the Kinks) but other times like a pack of gypsies that you want off your front lawn now and you’re ready to call the cops to prove it. I’ll bet live they’re a scream. www.yeproc.com

4.26.10
Pavement
QUARANTINE THE PAST: THE BEST OF PAVEMENT- -(MATADOR)- This is the new 23 song best of compilation from Pavement. After a decade since the group had disbanded there has been some activity the past few years, first the expanded reissues came and then a few months back some NYC shows were announced (which apparently sold out in about 13 seconds…other shows have been added including one here at McNenamins Edgefield next month) and now this. This is a solid (remastered) comp and it includes some choice early stuff. When it comes to Pavement, I loved the early stuff, the most. The early singles (and 10”, all on Drag City Records) and first 2 full-length records, SLANTED AND ENCHANTED and CROOKED RAIN, but the final 3 records didn’t do it for me (though now a decade or more later I’d like to try them on for size again and see if songs from those final 3 records might stick where they didn’t before). The comp opens with “Gold Soundz”, one of the band’s best (and most melodic) songs and goes into “Frontwards’ (another fave, from the WATERY DOMESTIC ep). Elsewhere we get to hear the Fall-ish “Two States”, the college rock hit “Cut Your Hair”, the quiet, laid back “Here”, the epic “Range Life”, the goofy classic “Debris Slide” and the first single accidental gem “Box Elder.” About the only thing missing here is the immortal “Forklift” from their 2nd 7”, DEMOLITION PLOT J-7 but Matador covered the bases pretty well on this one. This is well worth owning but you also HAVE to have those first two records too and maybe even WOWEE ZOWEE (one of the ones I’m going to go back to). I wonder what this reunion will bring the band? Halftime shows at Super Bowls? Slots on S.N.L? Soccer mom fans? Ok, so none of those ideas are likely but still, glad to have ‘em back. www.matadorrecords.com

4.26.10
Pistol Whip
TERMINAL-(SMOG VEIL)- More of that early Cleveland rock that the Smog Veil has been unveiling lately (and always, really). This band, however, wasn’t actually from Cleveland but from nearby Erie, PA . Apparently Erie’s first punk band caused quite a stir back when they first formed. Funny thing is when you listen to this now, while very good, it doesn’t sound so extreme. Maybe not even extreme enough to be called punk (ok, a song like “Iron Curtain” with its snotty Dead Boys-ish vocals and raging guitar, could fit into that category but a lot of this just sounds like classic rock and roll). Songwriting was split between 3 of the bands members: vocalist Willie Cotter, organist John Drumm and guitarist Rick Dibello (or a mixture of them, Cotter and DiBell co-wrote 3 of the tunes). Again, the songs are less aggressive than some of the previous Cle bands that the label has released (Easter Monkeys, etc.) but this is a terrific collection, you get the two songs from their first 7”, the Endangered Species single from 1977 and the remaining 9 tracks are from their original 1978 Chicago demos. Also, in between songs is a female voice describing the history of the band. In addition to previously mentioned “Iron Curtain” also check out the title track and “Jooky MaGoo”, two other great tunes but really, there are no bad songs out of the 12 here. Oh, it also includes a dvd that tells the bands history from miscreants of Erie to uh, well, a little more well-known miscreants from Erie. www.smogveil.com

4.26.10
True Womanhood
BASEMENT MEMBRANES-(ENVIROMENTAL AESTHETICS)- When the disc starts again (which it does automatically after the end) I start to feel it’s becoming my life’s soundtrack, at least for that moment, and it grows on me. I can’t really throw shade at TW’s harmonically echoing guitars, or the subtleties opening “The Monk,” although I wish more interesting compositions were meeting those tones and dynamics. But I tend to be bored when, as with “Magic Child,” the music, itself just a repetitive riff, mirrors the vocal. The “A Diviner” riff is pleasant enough for this to work. I never thought I’d say my favorite tracks reminded me of Radiohead, a band with which TW is tired of being compared. But “Rubber Buoys” and several others do. The strutting dissonance of the guitars on “Shadow People” brings to mind another name that’s been dropped around TW: Sonic Youth (to this listener, circa Experimental Jet Set, Trash and No Star). While some musicians would be stoked by such comparisons, the early-20-somethings in TW prefer being classified with current outfits like HEALTH. Anyway, if I lived with someone who put this on and then fell asleep, and it kept repeating and repeating, I probably wouldn’t smack the “stop” button until it had played through at least three times. There are people who really like TW, who would probably let this keep playing for hours. MARY LEARY

4.26.10
Unnatural Helpers
CRACKED LOVE & OTHER DRUGS-(HARDLY ART)- Pic on the cover’s backside is either a woman with no curves or a little girl in a striped bathing suit, with one hand in a masturbatory position… the other hand’s got a book with a cover pic of a bearded guy's face where hers would be. Inside the case’s a pic of a curvier woman wearing the same striped one-piece, posing provocatively – this time you can see the face and that’s not a good thing, as it looks like Urkel in a poufy blonde wig. Front of the recent vinyl EP has a watercolor of two cougar-ish, swimsuited gals - neither has either hand in a masturbatory position. UH’s Myspace pic is hairy man-legs wearing high heels. From these bits of evidence, and lyrics that rant about loving girls, lusting after girls, being made jealous by girls, and bristling to be free for more girls, I glean an obsession with women and girls. Yay! Or, more precisely, since this is creative, imaginatively arranged, impatient heartbreak/f...k rock, propelled by Dean Whitmore’s David Byrne/Richard Hell/Joe Strummer-tinged vocals (with David Johansen attitude), it’s almost a Christmas-in-July clearance sale “Yay!” While “Sunshine/Pretty Girls,” “I Don’t Belong To You,” “Head Collector,” “Tell Me That You Wanna” and “She Was Your Girlfriend” have me banging the typewriter keys especially hard, this is a case where “It’s all good” isn’t even close to an ambivalent shoulder-shrug. www.hardlyart.com MARY LEARY

4.19.10
John Grant With Midlake
QUEEN OF DENMARK-(BELLA UNION)- In which the former Czars frontman is joined in the studio by Texas’ Midlake and the result are…well, not bad. QUEEN OF DENMARK is an interesting blend of 70’s soft rock and dour, cynical folk. Grant is the same guy who said of his Czars bandmates “We just had so much hatred for each other than we couldn’t carry on.” If he was serious he is one brutally honest guy and if not, well , coulda fooled me. In addition to taking cues from Nilsson and Walker this recorded ended up , maybe unintentionally, also taking cues from Supertramp and John Denver, two of his parent’s favorite artists. Check out the spacey acoustics of tunes like “Marz” , “Outer Space” or “Sigourney Weaver.” While on the other hand “Jesus Hates Faggots” again show Grant’s cynical side and the funky, goofy “Chicken Bones” sums it all up rather nicely, "Some days just chicken bones/you better fuck off now you'd better leave me alone/'cause I'm about to explode just like a Wonder Bread bomb/and I don't care what I know because I can't be wrong." QUEEN OF DENMARK is a strangely appealing record, even times I don’t want to go back to it I still end up doing so. www.yeproc.com

4.19.10
Rich McCulley
STARTING ALL OVER AGAIN-(SELF RELEASED)- I know LA power-pop/roots guy McCulley has been around for quite some time (also in a band called The Mains) so I’m not sure what # solo record this is but who cares, it’s a strong record. The guy has a knack for the right hook at the right time and knows his way around a pop song. But while musically it might sound like uplifting stuff , lyrically the record is dark (the record is in memory of both Amy Farris and Duane Jarvis, 2 L.A. roots musicians who both died in 2009, both of whom McCulley worked with, Farris played on this record). First tune, “Tell Me, I’m Listening” is pure hooky pop as is the excellent “The Last Song.” On the sad “Who’ll Hang the Moon” , his tribute to Jarvis , McCulley shows a more soulful side and on “Nowhere” the guitars are crunchier. With such a stellar lineup of songs on this one I now need to check into McCulley’s back catalog. www.richmcculley.com

4.19.10
The Soft Pack
S/T-(KEMADO)- In the span of a few days I had read a few rave reviews of this record to the point where I decided I had to hear it immediately. Then, out of nowhere, it popped into my po box for review the next day. The record is as good as promised. These San Diego (maybe LA, now?) lads crank out 10 songs in just over a half hour and hit on many different genres (garage, indie rock, punk, surf, etc.) and do them all well. On certain songs I was reminded by the 80’s output of certain (great) bands like X (“Flammable”), The Feelies (“More or Less”), TSOL (“Move Along”) and a few others. “C’mon” is the perfect way to open a record with its chugging riffs, thrashy drums (courtesy of excellent (stand-up) drummer Brian Hill) and raspy vocals by Matt Lamkin (talking ‘bout “Your town could be the next big thing”) while “Down on Loving” has that high-pitched guitar noodle found on those C-86 records and is damn near a perfect pop song. I’ll stop here but suffice it to say if you dig well-written/well-played catchy guitar pop that has smart and plenty of attitude then you have found the perfect record. One of 2010’s best. www.kemado.com

4.19.10
The Superions
S/T-(HHBTM)- I’ve been listening to boring, pretentious claptrap and exhaustively intense rock all afternoon on about three hours’ sleep (don’t ask). Buried near the bottom of my review pile is this EP. I’ve spaced that it’s the B-52s’ Fred Schneider’s new project. So when I start listening I think it’s some goofy Floridians whose promo sheet story (which also starts the CD as a voiceover) about being taken over by aliens will soon have me throwing a sneaker at the player. I don’t expect to start jiggling to mildly industrial disco that would segue well with Devo or Spandau Ballet. Or that I’d be chuckling and occasionally howling at the sly ribaldry of “Those Sexy Saucer Girls” and “Totally Nude Island.” Neither of which engages me as much as “At the Piggly… standing in line,” from “Who Threw That Ham At Me.” Most anyone who’s logged substantial time in the South feels some guilty affection for Piggly Wiggly stores – it’s the kind of working class/trailer park ephemera that makes John Waters fans identify with his work. Since I need regular doses of humor and/or Camp, the Superions refresh like a splash of the latest Avon cologne. Even the Imperial Teens couldn’t repeatedly deadpan, “Disco garbage can - flip your lid.” Schneider still feels compelled to share this brand of booty-tempting absurdity – and that’s a real good thing. www.hhbtm.com MARY LEARY

4.19.10
Paul Winders And The Goodness
YOU CAN HAVE IT ALL-(DUNEDIN MUSIC)- Oh how I have missed that sound. When the jangly guitars open up on “Any Man”, the lead-off track on this 10 songs record by this New Zealand band, you will immediately be reminded of those N.Z. bands of yesteryear who in the 80’s filled up the roster of that country’s excellent Flying Nun record label. On this tune I was immediately reminded of The Bats and while the song goes on for nearly 4 minutes I didn’t want it to end. On “Best of Friends” a violin (courtesy of Stephen Hayes) comes into the fold and gives the song an added dimension while the driving “Shine” is another Grade A pop cut. Apparently Winder was a member of the more recent Verlaines so he has a connection with the NZ musical past thought I am not sure how long he has been on the scene for. Give a listen to some others on here as well (“Thank You”, the tender “You”, the more rockin’, very Clean-ish “Insomnia”, etc.). Nice to see in the Southern Hemisphere they are still writing great pop songs. www.dunedinmusic.com

4.12.10
Burning Hearts
NIGHT ANIMAL b/w PEASANT'S DREAM 7"-(SHELFLIFE)- Two more gems from this terrific Finnish band. If you didn’t pick up last year’s ABOA SLEEPING well then do so now as it was one of 2009’s best records. The a-side here is the melodic, gentle “Night Animal” while the flip is a remix from a song on ABOA. Plus it’s on white vinyl! Let’s all pray for a new full-length before the end of the year. www.shelflife.com

4.12.10
Die Wasted
WASTELAND FUGITIVES b/w INTO THE TAVERN/MY LAST DRINK 7"-(SELF-RELEASED)- Three punks from East St. Louis (which I think is the bad part) and one of them is wearing a Turbonegro t-shirt on the back so at least they have good taste. These guys hit that spot right where punk, metal and glam all collide, punch each other out and then, by the end of it all, become friends and buy each other beers. The a-side (“Wasteland Fugitives:”) is the pick to click here. www.myspace.com/diewasted

4.12.10
For Ex-Lovers Only
COFFIN b/w LOVER'S HEART/SCRAPS 7"-(MAGIC MARKER)- At some point when you hail from Orlando, FL you gotta get sick of going to Disney World and you have to, what else? Buy some guitars! These three guy,. Tic, Aaron and Griff (2 of the 3 are fake names) took their band name from a Black Tambourine song and wind up writing 3 ace tunes here. The a-side is all feedback n’ fuzz while both tunes on the flip, “Lover’s Heart” and “Scraps” (what I had for dinner) were both pensive and pretty an acoustic. I need more. www.magicmarkerrecords.com

4.12.10
Go Sailor
LONG DISTANCE (ALTERNATE MIX) 7”- TAKE A DAY b/w I WISH I WAS A SLUMBERLAND RECORD 7”-(SLUMBERLAND)- A one-side 7” on blue vinyl that the band was selling at the Slumberland 20th Anniversary gig. The song, “Long Distance” is as it states, a different mix than what was on the cd (which was a collection of the band’s three singles) but hey, it’s Go Sailor! Rose, Paul and Linton pressed this for YOUR benefit so buy a few there partner. www.slumberlandrecords.com

4.12.10
The Snakes
HIYAHOYA b/w BILLY JACK I AND II 7”-(SLOW GOLD ZEBRA)- These NYC nutjobs apparently like to pour lighter fluid on amplifiers and things which means I need to see them live as soon as possible. “Hiyahoya” is 3 minutes of , well , Chief Jay Strongbow chanting that word over and over. The b-side is like a swift kick to the nuts music style! Plus ,they’re influenced by the U-Men and it don’t get much better than them. www.myspace.com/slowgoldzebra

4.12.10
Teenage Whore Moans
MOAN ALL NIGHT LONG 7"ep-(EAGLEBAUER ENTERPRISES)- Three knuckleheads from Philly who managed to cram 7 songs on this 7” (33 rpm). There’s lo-fi and then there’s no-fi and then there’s …well….this. Goofy punk in the Briefs vein with song titles like “Humiliate Me”, “Sadie Hawkins Dance” and, of course,. “Miss Costello.” Make Philly proud (for once) and buy a few. www.gravemistakerecords.com

4.12.10
Tension Envelopes
HIGH b/w THE ROYAL CHAMPIONS 7"-(FOR THE EAR)- Low-key pop from this North Jersey duo of Pete (vocals/guitar/bass) and D. (drums/vocals). Only two songs here but there are 5 more (different) ones on their myspace site. Nothing mind-blowing here but it is solid ( I liked the moodier b-side more out of the two) and if ya’ dig colored vinyl like me, this is purple. www.myspace.com/tensionenvelopesnj

4.12.10
Welcome Home Walker
WATCH YOUR STEP b/w THE UNTOLD DEATH OF GRADY JONES 7"-(BOOGIE CREEK)- Only 7” this batch that had a big hole. These guys hail from Portland (which I had no idea, never heard of ‘em) and they’re playing in a few days at Satyricon with the Clorox Girls (who I thought were long gone). The a-side is like a 50’s rock and roll tune with some punk swagger while the flip, slows it down a bit and sounds a little do-woppy (lo-fi doo wop) which is fine by me. Bet live they’re a hoot. www.boogiecreekrecords.com

4.05.10
Bad Lieutenant
NEVER CRY ANOTHER TEAR-(TRIPLE ECHO/ORIGINAL SOUND)- This is the new band you might have heard of from New Order’s Bernard Summer who, along with latter-day New Order guy Phil Cunningham and Jake Evan (Stephen Morris and Blur’s Alex James make appearance too) offering up catchy, melodic rock not unlike latter day N.O. The first three songs (“Sink or Swim”, “Twist of Fate” and “Summer Days”) all sound like singles and yes, “Dynamo” (“Life is a precious thing”) does sound like a rewrite of The Who’s “Won’t Get Fooled Again”, still, I like what Sumner’s done with it. Also, don’t forget ace tunes like the soaring “This is Home” or “These Changes.” It will be hard not to want to compare this to Sumner’s old band but give NEVER CRY ANOTHER TEAR a chance. It might be a decade and a half late for Brit pop but the songs are there. www.osrmusic.com

4.05.10
Cabinessence
NAKED FRIENDS-(SPARK AND SHINE)- Between this and the Tripwires label it seems that Spark and Shine label is picking up steam as one of the finer labels going in the Pac NW right now. Having signed these Portland cats only strengthens it all. These Portland bearded weirdos, who took their name from a tracks on the Beach Boys long dormant SMILE, add some twang to their laid back pop and the whole things comes off as pretty effortless. Opening tune “Though./Start” has plenty o’ hooks while “Blown a Test” tucks in some sweet , sweet pedal steel and “Instrumental #2” is simply beautiful. Elsewhere put an acoustic guitar to good use on the lovely “Thumbs” and seem to cop a melody from Supertramp on “The Poet” (I will forgive them as the song is good). This is only record number two but these guys come off as seasoned vets. Seasoned vets who write damn good songs, that is. www.sparkandshine.com

4.05.10
Golden Triangle
DOUBLE JOINTER-(HARDLY ART)- There was a mall in Denton, Texas called the Golden Triangle Mall. But it was kinda sad, and the best thing about it was the Orange Julius. Do not mess with me, Orange Julius is rad. And so is this Brooklyn-based six-piece group. In fact, screw the mall, band member Carly Rabalais runs Beacon's Closet, which is a favorite vintage/secondhand clothing store of mine, and the three girls in the band were recently featured in Time Out New York as "The Most Stylish New Yorkers." But back to the band, they bring a lo-fi garage rock sound to Sub Pop subsidiary Hardly Art. Some of it (like my favorite tracks "Eyes to See" and "I Want to Know") reminds me of C86 girl groups, the kind-of stuff Vivian Girls insist they've never heard. But some of it (like "Rollercoaster") is way more heavy, with crashing drums and gritty guitars. Like the mall, I might not visit this album often, but when I do grab for it, it's some sweet, sweet fun. www.hardlyart.com JANICE HEADLEY

4.05.10
Adam Marsland
GO WEST-(KARMA FROG)- You might remember Marsland’s name as leader of Cockeyed Ghost, the So. Cal pop band that released 4 records back in the 90’s. He has been a solo artist for a while and this new 2-disc set spans 23 songs and it is a nice mix of pop styles but don’t think it’s all happy an carefree. During the recording of this record Marsland suffered the death of two relatives as well as the theft of his gear (damn!). Still, despite (or maybe because of) the trauma GO WEST is an excellent pop record tunes with everything from Beach Boys cops (“Who”) to some Steely Dan influenced material (“Burn Down the World”, etc.) to uplifting Damned cover (?!) in “Stranger on the Town” with its blaring horns. There is also ballad (“December 24”) and what could be a dance hit (house music?) on the surprisingly good “I Don’t Wanna Dance with You.” That is all on disc one and disc two has plenty of surprises as well (the terrific “Halflife” and “Fade Away”). Well worth your time and (hard-earned) money. www.karmafrog.com

4.05.10
Painted Hills
S/t-(BIRD SONG)- Painted Hills is the latest incarnation of Josh Schwartz from the Tyde, Northern Lights and Beachwood Sparks, and honestly, this might be my favorite thing that he’s ever done. That’s really saying something considering how much I love that debut Beachwood Sparks 45… Whoever wrote his press release absolutely drilled it so I’m going to save some time and energy and just quote him/her: “Sun-baked, pastoral psych-pop influenced by the Laurel Canyon scene of the 70’s and the paisely underground scene of the 80’s.” I’m telling you – that is hitting the nail on the head. The guitar work and dreamy vocals on this record are nothing short of stellar, and the slower/quieter tunes are just as good as the rockers. If you like the Rain Parade, Neil Young, the Byrds, Graham Parsons, the Asteroid #4, Buffalo Springfield etc., you will eat this record up. Pretty much only awesome. www.parasol.com JEREMY GRITES

4.05.10
Sambassadeur
EUROPEAN-(LABRADOR)- If it is cool pop music and the band hails from Sweden then what other label would it be on, Labrador! I enjoyed their last record (MIGRATION) and the ep that preceeded it so needless to say I was very excited for this new full-length and the band does not disappoint. Unlike the last record they now seem to have a shiny, orchestrated sound (which appeared occasionally on earlier records) like the opening cut here, the swirling “Stranded” as well as cuts #2 and 3 (“Days” and “I Can Try”)with its swooping strings and gliding keyboards. They bring the tempo down on “Forward is All” and “High and Low” but this approach still works for the band (thanks to Anna Perrson’s strong yet vulnerable vocals). If you like some gloss with your pop then Sambassadeur will be more than happy to pour you a bowl. www.labrador.se

3.29.10
Beach House
TEEN DREAM-(SUB POP)- I think I may have been the only one on the planet who didn’t like this Baltimore’s duo last (2nd) record, DEVOTION (on the Carpark label). Everyone raved about it and I played it several times but didn’t see the big dig. I approached this third record 9and their first for Sub Pop with major trepidation and …..well, I cannot stop listening to it. Opening tune “Zebra” I thought of Band of Horses (which is what it sounds like) and after several listens the song planted itself in my head and would not leave. By song number two, the beautifully eerie “Silver Soul” , I realized that these two, Victoria Legrand and Alex Scally have their own thing going and I need to be on board now. And the way Scally (or is it Legrand) coos “It is happening again” over and over is to die for. “Walk in the Park”, with its tap tap drum machine and swirling organ, creates even more magic. What you get ton disc 2 is dvd with videos for these 10 songs which creates even more mystery around the proceedings. The songs on TEEN DREAM are still warm and hazy but hookier than the first two records and it makes it easier to get sucked into the bands intoxicating glow. Pure beauty, this. www.subpop.com

3.29.10
Mike Coykendall
THE UNBEARABLE BEING OF LIKENESS-(FIELD HYMNS)- This is Coykendall’s 2nd solo record after 2005’s HELLO HELLO HELLO (on the Hopewell label) and though you might not know this Portland musician by name you might know the folks he has played with (M. Ward, Blitzen Trapper, etc.). In fact, he is an integral part of the Portland music scene and a very respected musician. These 11 songs zip by in just over half an hour and it offers a good mix of styles from the trippy opener (“Good One”) to the Spoon-ish rattle of “Luna Mama Less Dip” to the dark ‘n driving “It’s Raining Inside” to the sloth-like “Spacebaker Blues” with its opening piano roll and opening lyrics of “I get stoned every night.” Later on Coykendall shows a looser side (more like humorous…the record is loose enough) on cuts like “Bye Bye Baby O” and “Sold Your Closet Paintings.” While I have to say this was not what I was expecting form a Coykendall solo record (I never heard HELLO HELLO HELLO) this weird, trippy record shows a talented musician stepping out into the spotlight to give us a (slight) glimpse of what makes him tick. www.fieldhymns.com

3.29.10
Gods Gift
PATHOLOGY 1979-1984-(HYPED 2 DEATH)- This obscure UK duo of Steven Edwards and Stephen Murphy is yet another rare gem unearthed by the H2D label. Even in a scene of trying to dig up unknown bands the ones that H2D label head Chuck Warner pulls up from the earth give obscure a new meaning. As the title implies these two (along with helpers) existed in that final sputter of the 70’s into the first year years of the 80’s and this 17 song compilation includes songs from cassettes (no surprise form this label) and from that same scene that spawned The Fall and Joy Division, well, I think G.G. might have outshone them, at least in term of sheer despair (most of the band member s worked by day at the Prestwich Asylum, then England’s largest psychiatric hospital). Give “Jacqueline’s Admission” a listen (sort of the UK’s answer to No Trend’s “Teen Love”) or the single riff that suspends “No God.” Heck, “Clamour Club” is rosy in comparison. I think you get the picture, PATHOLOGY 1979-1984 is a challenging listen but to folks who dig true outsider music well, this is the real deal. www.hyped2death.com

3.29.10
Alec Ounsworth
MO BEAUTY-(ANTI)- Wasn’t sure what to expect from Clap Your Hands Say Yeah frontman Alec O. but the reviews I had read of MO BEAUTY were generally positive and I was curious. I have to admit I was never a big CYHSY fan and never have I seen a band go from neutral to 4th gear and back to neutral quicker. For this solo debut, produced by Los Lobos Steve Berlin, Ounsworth headed down to the Big Easy, New Orleans, and soaked up some of that town’s quirky culture (he also got the Meter’s bassist and the drummer from Galactic to play on this record as well as a Greyboy Allstar). The first two songs didn’t make me a fan but by song number three, “Holy Holy Holy Moses (song for new Orleans)”, a rolling balled, I was eager to listen to more. “That is Not My Home” is a frenzied number not unlike a Neutral Milk Hotel gem. Also, worth a listen (or 5) are “Idiots in the Rain”, the rollin’ “What Fun” and the gentle “Obscene Queen Bee #2.” MO BEAUTY is a portrait of an artist finding his footing and taking several chances while doing it and no one can fault him for that. www.epitaph.com

3.29.10
The Threads Of Grass
SUN TUNNELS-(SELF)- I bought this record purely on a whim due to its beautifully screen-printed cover and the band & album names. I was delighted when I put the wax on the turntable and totally gorgeous, delicate indie-pop started gliding out of the speakers. If you can imagine a more acoustic-centered Very Secretary melded with Neil Young or a combo of Midlake and the Clientele then you’re on the right track. A vision of +/- covering the White Album also creeps into my mind – especially on tracks like ‘Holiday.’ A case can also be made for a resemblance to the original (and best) incarnation of Clem Snide. The crystalline acoustic guitars and not-too-reverby vocals are accompanied by strings, as well as occasional banjos, piano, electrics and tasteful drums and the next thing you know you are totally caught up in their soothing sway. From the lilting, arpeggios to the songs that shuffle or waltz, the Threads of Grass provide a perfect soundtrack for laying in a field watching summer stars or a late night drive through Big Sur with the windows down, breathing in the cool Pacific air. Yes… www.thethreadsofgrass.com JEREMY GRITES

3.29.10
V/A
CAUSAL VICTIM PILE: AUSTIN 2010-(MATADOR)- This 19 song compilation comes from Matador Records’ co-owner, Gerard Cosloy. Cosloy landed in Austin, TX a few years back and this comp is a hand-picked selection of some of his faves that hail from the Texas capitol (a few bands are from nearby Denton as well). As mentioned somewhere, this is Matador’s first city-specific comp since the terrific New York Eye & Ear Control (remember that?) and I have to say, it’s doozie. Keeping in mind that I listened to most of these songs in my car on the way to work at 6:15 AM on Hwy 26 on the way out to Hillsboro, OR (not that that really makes a difference, just thought I’d mention it, but wait, have any of you ever been to fucking Hillsboro?!) the first few cuts came pounding out of the speakers: Follow that Bird’s “The Ghosts That Wake You” have a tense rumble not unlike Versus, The Youngs “Blister” make a noisier but no less effective racket and Flesh Lights “Crush on You” sound like an early version of another Austin band, The Black Angels. Elsewhere Dikes of Holland make a beautiful garbled mess and The Distant Seconds (who I’ve reviewed favorably on this site before) keep up their winning streak with the terrific “Akron Bureau.” There’s other fine cuts from Kingdom of Suicide Lovers, Bad Sports, Harlem, The Teeners, Love Collector (with the awesome “First 48”) and plenty of others. The only song on the entire 19 song comp I didn’t like was Elvis’ chalkboard-scraping “Mommy’s Little Soldiers”, otherwise, as the kid down the street says, it’s all good. www.matadorrecords.com

3.22.10
Blue Rodeo
THINGS WE LEFT BEHIND-(TELESOUL)- My pal Keith at Music Millenium is the one who should be writing this review as he is a huge fan of the band and has every one of their umpteen million records. Me, I like what I’ve heard but have not heard a ton. Here is what I do know, they are from Canada and have been around for over two decades. They’re huge in their home country but basically unknown here couldn’t get arrested if they tried and on THINGS WE LEFT BEHIND, spread out over 2 cds, songwriters Greg Keelor and Jim Cuddy have written another batch of breezy roots rock numbers that most band would kill for. They share songwriting credits on the record but I’m told Cuddy’s songs are the bouncier alt country nuggets while Keelor handles the moodier numbers. For the former check out “Waiting for the World’ while for the latter “One More Night’ will do the trick. The best straight up pop tune on the record is the amazing “Never Look Back” while the gorgeous acoustic number, “One Light Left in Heaven” is close too. All the songs I have mentioned here are on disc 1 and disc 2, which is nearly as good, still has some gold on it (“Don’t Let the Darkness in Your Head”, “Arizona Dust”, etc.). If you ‘re a newcomer you could do a lot worse than starting here in their catalog. www.warnermusic.ca

3.22.10
The Duchess And The Duke
SUNSET/SUNRISE-(HARDLY ART)- This Seattle duo of Jesse and Kimberly made some rumble on their debut form a few years ago but this sophomore effort is a huge step forward. The two are still writing homespun, low-key campfire song but the songwriting has gotten so much better an getting Gris Gris duded Greg Ashley to produce and add some of his magic was an excellent choice. In fact the record would be even better if they had dropped the meandering first song “Hands” (Not necessarily a bad song but not nearly as strong as the rest of the material). “Scorpio” is punk-folk of the highest order as is “Let It Die” while “Living This Life” has an eerier quality to it and the title track sounds like an early (acoustic) Stones track (big Stones influence on the debut but less so here). With some growth as a band (and again, getting the right producer) the Dutchess & the Duke went from being a band trying to find its footing with a pretty good but to a very good band that seems to know right where it wants to go. www.hardlyart.com

3.22.10
Honey Clouds
FALL ON THE-(PEAPOD)- This band (and label) are led by Mr. Ron Harrity who was in 90’s Slumberland band Nord Express as well as some folks from Harpswell Sound. Most of these 12 songs were released (in different versions) on 2007’s EARL GRAY DEMOS but are spruced up here. Opener “Living Room” is scrappy indie pop with scattershot guitar and shuffled drums while “Branch is Green” sound more like weird n’ wired early Pavement and then “Color Spills In” has the jangle of a poppy Silver Jews tune (vocals even sound a bit like D. Berman). The stuff is all over the map but even with the mix of styles they remember the songwriting. Ya’ gotta remember the songwriting. www.peapodrecordings.com

3.22.10
Dave Rawlings Machine
A FRIEND OF A FRIEND-(ACONY)- You might not know the name Dave Rawlings but he has been Gillian Welch’s producer/songwriting partner for quite a while . He has also worked with Conor Oberst and a host of other s but on this , his first solo record, he offers up 9 songs with Gillian helping out (as well as Benmont Tench and a host of others. The records opens with the Stonesy “Ruby” (think “Angie” ) and then zips right into “To Be Young (is to be sad, is to be high)” which you might remember as the first song form Ryan Adams solo debut, HEARTBREAKER (some serious fiddle playing on this one). “I Hear Them All” is a gentle acoustic song with a gospel feel. He then does a reworking of the Oberst song “Method Acting” which goes into a Neil’s “Cortez the Killer” (a medley of sorts). “Sweet Tooth” sounds straight out of Appalachia while “How’s About You” sounds piped in form a different era altogether. A FRIEND OF A FRIEND is super low-key and has some excellent songs on it and after hearing it you’ll wonder why it took him so long to do his own record. The guy is a pretty serious talent but he appeared to be more comfortable in a band setting as opposed to leading the pack in a leading man role. Either way is fine, I just hope he has another solo record (or more) in him. www.aconyrecords.com

3.22.10
Ben Sollee & Daniel Martin Moore
DEAR COMPANION-(SUB POP)- Daniel Martin Moore was introduced to the world (or at least my world) a few years ago via his nice Sub Pop debut , STRAY AGE. I heard Sollee’s debut a few years ago as well (he is a classically trained cellist). These two Kentuckyians along with producer Jim James (aka Yim Yames) , team up for these gorgeous Appalachian songs. The songs are mostly gentle folk tunes and their voices mix beautifully, especially on tunes like the first cut “Something Somewhere Sometime” and on the Palace Bros-ish “My Wealth Comes to Me” (speaking of another Kentucky native, Mr. Will Oldham). The relaxed “Needn’t Say a Thing” rolls along like the hills of the homestate while Sollee’s “Only a Song” shows the duos heartfelt modesty (“This is only a song, it can’t change the world”) and D.M.M.’s political “Flyrock Blues” sounds like a Nick Drake outtake. In addition to the terrific songs on DEAR COMPANION, the record is a benefit for Appalachian Voices which is drawing attention to the practice of mountaintop removal. Well done gents, I hope there’s a part two. www.subpop.com

3.22.10
Taken By Trees
EAST OF EDEN-(ROUGH TRADE)- Apparently for this 2nd record Victoria Bergsman and her studio engineer, Andrea Soderstrom went to Pakistan to record it. From what I have read the Swedish government warned them against going because Pakistan is, ya’ know, bit dicey these days (or at anytime) but they went, met up with some guy named Malik (well known in Pakistan from what I’ve heard just don’t ask him anything about indie pop because he wouldn’t be able to tell you) They went , they saw and they conquered and out came a album rich in atmosphere with flutes (which conjures up the sound of snakes being charmed) , light percussion and Bergstroms’s emotive, gentle vocals. You have lilting beauty on tunes like “To Lose Someone”, “Watch the Waves’ and “Greyest Love of All” while other songs like “Wapus Karna” sounds like what might hear at a Paki marketplace with its upbeat, hand-clapping vibe. There is also a big Animal Collective influence here too but instead of copying bands n’ sounds Bergstrom took a real chance while recording and out comes rich tapestry of sounds, unique from what you’ve heard these past few years. www.roughtraderecords.com

3.15.10
The Morning Benders
BIG ECHO-(ROUGH TRADE)- Can these somewhat over-lauded mop-tops rise to the expectations attending this confidently-titled sophomore full-length? Echo responds with the warm sound of a phonograph needle on worn vinyl and a progression echoing one of the Fab Four’s most swoon-inducing (“This Boy,” itself a Doo-wop structure) -- “Excuses” is irresistibly embroidered Pop. Engagingly bittersweet, “Promises” and “Cold War” add the minor-key melancholy of The Cardigans or Spoon. “Wet Cement” and “Pleasure Sighs” pleasantly expand to more than filler. And so it goes as the Benders utilize lessons from Oasis, the Cardigans and Beach Boys; adding to their less addictive riffs atmospheric beauty and divergent textures/codas. With Grizzly Bear producer Chris Taylor the Benders have fashioned a rather Grizzly confection that sometimes realizes the promise of their “Lovefool” cover – never mind the band’s avoidance of the satire in the Cardigan’s original: What can you expect from unabashed romantics? This is half of a Pop classic: for much of the other half my patience is bent as the band strains for the moody import more spontaneously exhaled by Blonde Redhead and Brian Wilson. If the affliction of being over-fuzzed/reverbed were a virus, I’d be in the ICU from “All Day Day Light;” the ponderous “Mason Jar” nearly has me snoring. If the Benders want to keep shoring up their franchise with new flavors, for the next outing I’d like to see Rivers Cuomo helming the no-(gratuitous)-frills ROCK pop release apparently no longer possible from Weezer. www.roughtraderecords.com MARY LEARY

3.15.10
Plastic Soul
PEACOCK SWAGGER-(SELF RELEASED)- Had not previously heard this L.A. band before but when heralded power pop blog ABSOLUTE POWERPOP raised a cold one and toasted this as their pick for #1 record of 2009 I figured I’d better take notice. Don’t wanna be left out in the cold, know what I mean? The band is basically songwriter Steven Wilson and whomever he wants to have help him on the record .Starting out with the Beatle-esque , swagger of “You Sentimental Fucks/Life on Other Planets” is a good way to begin a record which then jumps right into another confident rocker, “Cock Rock 101” with some raucous, over-the-top guitar playing and Wilson’s sneering vocals. “Champion Tragic Boy” is one of the discs best songs and even includes the use of a chamberlain (sounds kinda like a harpsichord) while they add some sitar to the terrific “Fishwife” (you might even think it’s High Dials record for second). Elsewhere the deeply moving “Cancer” (“Cut it out, please cut it out, cancer is breaking me down”) and the alt-country track, “Shame” (with some gorgeous pedal steel) are two gems as well. There’s 12 songs on here and only a few clunky moments (I coulda done without some of the wanky guitar but there’s not too much of it) and while it was not my pick as best record of 2009 (didn’t even hear it ‘til 2010) it’s still a strong record with some terrific songwriting. Stand up and take notice music fans. www.plasticsoulmusic.com

3.15.10
Point Juncture WA
HEART TO ELK-(MT. FUJI)- This record was a great surprise! From the looks of it, I thought it was going to be a quiet folky thing, but instead it’s a great blast of modern indie-pop that’s super catchy and good. PJW definitely take their cues from old school indie-rockers like Yo La Tengo and Pavement along with bands like Radiohead and Death Cab, but I think they may have as much in common with some newer bands like Wye Oak, Psapp, Gildon Works, Someone Still Loves You Boris Yeltsin and the Swimmers. For the most part the tunes are concise, driving indie numbers punctuated by some great noise/guitar strangling along with some samples and keyboards. There is about a 60-40 split between female/male vocals on Heart to Elk and they are all smooth and clear. The female vocal songs are what remind me of a lot of Wye Oak (see: ‘Biathalon’), but there are also similarities to old faves like Velocity Girl, Stereolab and Belly which sound both nostalgic and fresh at the same time. (Did I really just reference Belly positively? Whoa.) Honestly though folks, the song ‘Melon Bird,’ is worth the price of admission by itself... Excellent. www.mtfujirecords.com JEREMY GRITES

3.15.10
The Sons Of Hercules
A DIFFERENT KIND OF UGLY-(SUASTEX)- While I have heard their name over the years I have never before checked out this San Antonio, TX institution who have been plugging away for 2 decades without a hint of mainstream success (that’s not what they’re lookin’ for anyway). The 12 songs that make up A DIFFERENT KIND OF UGLY don’t vary too much in style but this band is nothing if not consistent. They take elements of The Stooges and the Stones and grind out mid-tempo nuggets with snotty appeal and with vocalist Frank Puglise, a front man who would probably spit in your face, pour your beer on your head and then buy you another one. In addition to the 9 originals here they also had the good sense on to cover The Saint’s (“Misunderstood”), Lazy Cowgirls “Rock of Gibraltar”) and the Mystery Dates (“Easy Action”). Go! www.saustexmedia.com

3.15.10
The Swimmers
PEOPLE ARE SOFT-(MAD DRAGON)- After releasing a stellar debut record called Fighting Trees a coupla years ago, Philadelphia’s Swimmers took it upon themselves to build their own studio, and then write and record a new batch of songs that blows the first record out of the water! (And I LOVE that 1st record by the way!) Anyway, they come out swinging with ‘Shelter,’ and never look back nor do they relent. From the killer, stomping ‘Drug Party,’ to the Devo-esque ‘Give me the Sun,’ or from the sweet, chiming ‘Nervous Wreck,’ to the slinky, pulsing ‘Dresses don’t fit,’ the hits just keep on coming. The record is impeccably played, sung and recorded with layers of great harmonies/backing vocals, guitar lines, key samples and an absolutely top notch rhythm section. The lyrics are even cool. I’ve seen them live a number of times now, and I sure wouldn’t want to go on after them. Why they are not hugely popular and rich by now I have no idea. This is a perfect record for summer kids, so get yours today. www.myspace.com/maddragonrecords JEREMY GRITES

3.08.10
Cheap Red
S/T-(555)- This band is an indie pop supergroup of sorts featuring both Stewart and Jen form Boyracer (Jen has also done plenty of solo stuff) as well as Portland couple Akina and Arland who were in Kanda. This is actually a double cd, the first disc features 14 songs written by the band while disc 2 has some of the songs on disc one but they are remixed by different indie folks (ie; Sisterhood of Convoluted Thinkers, Kid 606, King of Prussia, Simpatico etc.). Disc 2 I can take or leave honestly (not a big remix fan) but the tunes on the main disc are terrific. It doesn’t really sound like either Boyracer or Kanda but does have elements of both bands. It’s basically raw indie pop with some great melodies and some cool 2-part harmonies tossed in as well. There is scattershot pop (“The Mitten”), lovely acoustic with violin (“Red Shoulders”), bouncy pop that goes a little nuts (“Let’s Start a Riot”), synth pop with violin (“Unlucky in Love”) and even a Vaselines cover (“The Day I was a Horse”)! Coming from the 555 label it is going to be super reasonably priced so you really have not excuse not to get this. www.myspace.com/cheapred

3.08.10
Christmas Island
BLACKOUT SUMMER-(IN THE RED)- The cover of this disc shows someone (I assume band member Brian) with the band name and logo tattooed on his leg, just above his left ankle. What that tells me is that they mean it man (and OUCH)! This San Diego duo of Lucy and Brian have a few singles out but this is their debut full-length and they, like a lot of bands these days , are bringing back that crazy lo-fi sound. 2 decades after Pavement’s debut single (Slay Tracks!) bands far and wide are breaking out their 4-tracks and hitting the start button. Bringing back the raw pop tunes that the boys from Stockton, CA perfected early on. These 12 songs aren’t all gold soundz but there is more than a handful of tweaked moments of genius on BLACKOUT SUMMER , namely the title track (which the band released as a single on the Captured Tracks label last year) as well as the simply simple “I Don’t Care” (which has some lead guitar work straight out of “You’re Killing Me”) and the stop/start doo wop of “Anxiety Attack.” If they can stay away from the perils of rock stardom (mounds of coke and loose women/men) and stick around for at least another record well see if they have earned their keep, in the meantime, this is worth a listen or 10. www.intheredrecords.com

3.08.10
The Horse's Ha
OF THE CATHMAWR YARDS-(HIDDEN AGENDA)- Another solid release from Hidden Agenda, this time from Chicago ‘super-group’ collective the Horse’s Ha which features members of the Zincs as well Janet Bean from 11th Dream Day and Freakwater. Mark Greenburg of the Coctails manned the board on this recording and he did a bang-up job – it sounds excellent. Comprised primarily of acoustic instruments (upright bass, cello, acoustic guitar and various brushed drums & percusson), it is a decidedly mellow affair, but not maudlin or predictable. The songs are propelled by a shifty, interesting rhythm section (not unlike what Calexico does) and is filled out nicely by the other players. Both James Elkington and Janet Bean have very disticnt voices, but they compliment each other quite well. At times eerie and creepy, at others hauntingly beautiful, this record seems tailor-made for a humid summer evening’s sunset. www.parasol.com JEREMY GRITES

3.08.10
My Dad Is Dead
A NEW CLEAR ROUTE-(UNHINGED)- 25 years on it’s really good to see My Dad is Dead (ie: Mark Edwards) still releasing records (also good to see that he still has ex-Prisonshake drummer Scott Pickering on board as well, Pickering wasn’t the original drummer in the band but has been with Edwards for probably 2 decades). I had followed his career early on during his days on labels like St Valentines Records, Scat and Homestead and then lost track. It sounds like he left Cleveland years ago and found greener pastures in his new home of North Carolina as evidenced by the lyrics on the opening track , “Carolina Blue” (“I had good friends in Cleveland but I never felt quite right” and then later in the song, “Cleveland, city of struggle and decay, Cleveland I still think of you everyday”). Lyrics still explore relationships, the good and bad that comes with them (usually the latter) while the sound is now beefed up from the days of old, with punchier guitars and Edwards’ vocals more out in front. ). Cut two, the title track, again adds some real kick to the guitar and nice hooks as well. Later on “Old Friends” add some panic to the guitar with a paranoid guitar hook that reminded me of the old days while “Indefensible” starts with a cool guitar lick and some pounding rhythms with Edwards powerful, chant-like vocals (and smart anti-war lyrics). In a world where it’s too easy to put the guitar down, turn on the tube get lost in life it’s refreshing to see musicians like Mark Edwards still out there fighting the good fight nearly three decades on. www.mydadisdead.com

3.08.10
The Orange Peels
2020-(MYSTERY LAWN MUSIC)- 2020, the fourth release by San Francisco’s Orange Peels, came out last fall. The idea may have been to help fans get through a long cold winter (if you caught the reference to the brilliant OP song off Circling the Sun, good for you). The disc works just as well with spring right around the corner in that it helps listeners make it through the last gray weeks until the flowers finally bloom. And if that last phrase sounds hackneyed, so be it. The Orange Peels are just that kind of band, an outfit that asks listeners to, yes, peel back their layers and learn to appreciate pop at its very core. The record contains the Peels’ signatures: captivating hooks, lush production, intricate arrangements and songwriter Allen Clapp’s stellar vocals. 2020 might not be the Peels’ best release — song for song, 2001’s So Far treads on “classic” territory — but contains some of the group’s best individual numbers. Five of those songs come consecutively in the record’s middle. Shining Like Stars, the third song, is crunchy, hand-clappy (Allen-clappy?), invigorating. The catchy title track features Good Vibrations-quality changes while showcasing Clapp’s spot-on melodies. The boppy fifth song, Birds of a Feather, travels down Tin Pan Alley but adds a compelling call-and-response chorus. Jane Lane is classic Orange Peels, with major-minor shifts worthy of the Left Banke. Emily Has Told Me Why effectively channels the Zombies while showcasing the Peels’ instrumental chops on a coda for the ages. 2020 is the band’s first record in four years. Before then, it took four years to complete Circling the Sun. And while it’s logical that it takes a while to release full-lengths given the Orange Peels’
attention to detail, I, nonetheless, can’t wait until 2013. www.theorangepeels.com ANDY GIEGERICH

2.15.10
Brilliant Colors
INTRODUCING-(SLUMBERLAND)- Though music fans in the Bay Area might have been privy to this new trio I had not heard of them until the cd came in the mail. And though these 10 songs clock in at a little over 22 minutes (shades of the Vivian Girls , who they remind me of a bit at times) , with the longest tune being 2:45, it’s a big enough dollop to make me wanting more. With labels like Slumberland as well as smaller ones like Captured Tracks and Woodsist leading the charge, a whole ton of new lo-fi pop bands are out there, recording and touring and taking cues from C-86 bands , 80’s Flying Nun jangle, and early lo-fi (first Pavement single, etc.) and while Brilliant Colors or most of the others ones, aren’t the most original band to come down the block it’s all ok. Ya’ know why? Cos’ they write good songs, that’s why. On opener “I Searched” the three chord jangle is in full effect as is the reverb (I loves me some reverb!) and vocalist Jess Scott has a yelp that sits right in the middle innocent and devilish and the only problem with the song is that it ends way too early. On “Absolutely Anything” the fuzz gets a bit thicker and the C-86 heads should rejoice and on “Yell in the Air” the drums thump away gleefully and Moe Tucker would be proud. There’s plenty more to enjoy here so don’t think about it all too hard, just enjoy it. www.slumberlandrecords.com

2.15.10
Fucked Up
COUPLE TRACKS-(MATADOR)- I’m sure there has to be someone out there who has every Fucked Up record but if there is such a person, I haven’t met them yet. This 2-cd comp collects all of the bands oddball releases, singles, rarities, comp tracks, etc. from the years 2002-2009 and acts as a perfect companion piece to their other comp: EPICS IN MINUTES. On here is 25 songs spread over the 2 discs and if you have yet to dive in to the F.U. pool well, do it, because there’s plenty of room for everyone. Yeah, I guess you could call them a hardcore band but it really doesn’t do ‘em justice, they are so much more than that. I think even if it was just singer Pink Eyes singing over the roar of the guitars I’d love it as well but then pile on the rhythm section and whatever else they feel like tossing in and voila, you’ve got Canadian powerhouse, Fucked Up. Among my faves on here, all form disc 1, is the rip snorting “Neat Parts” (from the Triumph og Life 7”), the heavvvy “Generation” (from the single of the same name), the searing “Dangerous Fumes” (form the single of the same name). Onto disc 2 you have the epic “I Hate Summer”, the hooky “Carried out to Sea” and get this, on this disc they cover the Shop Assistants (one of my favorite S.A. songs, “I Don’t Wanna Be Friends with You”), Another Sunny Day (“Anorak City”) and the Dolly Mixture (“He’s So Frisky”)! Twee never sounded so good. God bless the S.S. Fucked Up and all who sail on her. This is great. www.matadorrecords.com

2.15.10
Kottarashky
OPA HEY!-(ASPHALT TANGO)- With his goatee and hat, the intently hip Kottarashky, a/k/a Nikola Gruev, is a Bulgarian architect by day. On this debut he’s built a compelling collage of rhythms mashing train bells, field samples, accordions, horns, and Bulgarian Gypsy groans and shouts. Since I am a Rom music aficianado, and open to mixers, I can get with a lot of Opa Hey!. Whether by introducing samples collected from around Bulgaria, or from more established Balkans, including Fanfare Ciocarlia and Jony Iliev, Kottarshky blends it all to convey warm urban and rural snapshots. The CD includes near trance-outs (on “Tempe“ the sounds are just shifting/intelligent enough to pull cognition back in, which, while a bit jarring, is a great cerebral muscle exerciser). Tracks like the Latin/gypsy-beat-based “Chethu” provide fodder for what I like to call “interpretive dance. But the whole ends up feeling more contemplative than Club, especially through interludes conveying an organic heart, as with the touching “September,” and, to some degree, the alluring, catchy “Mandra.“ I’d get his next release just to see if he comes up with more like those two. www.asphalt-tango.de MARY LEARY

2.15.10
The Mantles
S/T-(SILTBREEZE)- What can I really say about The Mantles that hasn't been said by Byron Coley, Henry Owings and anyone else in the know? Nothing, so let me just say this: if you have not heard The Mantles self titled LP on Siltbreeze, go buy it right now. From the singles "Don't Lie"(Byrds-ie country-jangle pop) and "Burden"(heavier psych influence), to the tracks "James"(Black Lips-ish garage revival) and "Samantha"(inspiring guitar leads and beautiful vocals) this album totally lives up to the hype. The last time these guys toured it was in support of Ty Segall. I imagine the next time around they'll be the ones in the spotlight. Bands like this validate a trip to SXSW in my opinion. www.siltbreeze.com KIP KELGARD

2.15.10
Real Estate
S/T-(WOODSIST)- This NJ bunch are led by one of the guys from Titus Andronicus (Martin Courtney) and I had read so many positive things about them that I had to check the cd out…..but then I never did. And never did, until finally one day I did and really dug it. They have a bit of a hypnotic sound, a bit akin to Galaxie 500 and The Clean (the hazier aspects o the former and the shambling-ness of the latter) . That guitar leads that seems to go on forever on the opening cut, “Beach Comber”, could go on forever as far as I’m concerned as it’s so damn catchy but then on “Pool Swimmers” they slow it down and murk it up a bit by putting too much chlorine in the pool and now you’re rubbing your eyes a lot. They get a more outright poppy on excellent “Green River” and “Fake Blues” while adding a few weirder instrumentals (“Atlantic City” and “Let’s Rock the Beach”) and have two songs with the word suburban in their title (“Suburban Dogs” and “Suburban Beverage”) and they’re among the best on here. With most of these songs this record comes off more as a summertime record but then they throw us another curveball by ending the record with a song called “Snow Days.” I’m not always sure what Real Estate are on about but that’s ok, I like it (a lot) anyway. www.woodsist.com

2.08.10
Album Leaf
A CHORUS OF STORYTELLERS-(SUB POP)- There are a few things I've come to expect from an Album Leaf record. There will be mostly instrumental songs, many which begin with a simple piano line then slowly build until they are a wall of beautiful sound. There will be a smattering of tunes with vocals, and one or two of them will be sung in awkward yet pleasant harmony. There will be some very effected violin that will make me wonder how even though it barely sounds like a violin, it can still contain all of the wonderful sadness of a violin. So, when I first listened to "A Chorus of Storytellers," I was not really surprised to hear much of what I expected-- a good thing in my book, since this is The Album Leaf I have come to know and love. The instrumental efforts are nothing short of stunning. "Blank Pages" is a prime example of the gorgeous depth of sound and space this band can accomplish, and "Summer Fog" is beautifully orchestral. The vocal presence was stronger on this record and Jimmy's vocals, while still charmingly innocent, were just a bit more polished. "Almost There" is a stand-out radio-ready pop track. The one aspect of this record that I did not like was the preponderance of glitchy electronic drum sounds. Past releases seamlessly blended the live and electronic drums, but on this record, the bleeps and clicks just stand out on the songs and are more distracting than anything. That aside, "A Chorus of Storytellers" is another lovely, well-crafted work from a consistently excellent band. www.subpop.com LAURA WATLING

2.08.10
Dawes
NORTH HILLS-(ATO)- It’s hard to believe that Taylor Goldsmith, the leader of this L.A.- area foursome is only 23 years old. Listening to these 11 songs he sounds much wiser than his years, an old soul he is. The songs on NORTH HILLS are all relatively simple, soothing keyboard liners here, plunked-out guitar chords there, gentle, rolling rhythms all over and on top of it all is the whipped cream: Goldsmith’s old soul vocals. The quartet, which also includes Taylor’s younger brother Griffin on drums (Wylie Gelber and Tay Strathairn round out the band) hail from a town called, you got it, North Hills, and they seem to have adopted the Laurel Canyon sound originally delivered by bands like Crosby, Stills & Nash, Neil Young (solo) as well as that of The Band too. With an earthy, reflective sound the band recorded these 11 cuts live in the studio (to analog tape) and the record sounds warm and melancholy, a perfect record for late night drives. “That Western Skyline” is a superb opener, slowly unfolding with snail-paced drums and acoustic guitars while “Love is All I Am” brings those C.S.N. comparisons to mind and the ramshackle, sorta honey tonk “When You Call My Name” is probably a live favorite with some nifty guitar grit. “When My Times Comes” is one of my favorites on here as it mixes philosophical lyrics with shuffling drums and glistening melodies while the gorgeous, stunning “Bedside Manner” examines the narrators last days on earth (“And then I’ll be ready to leave when the whole world is taken with me”). With this being only their debut record, it would appear this bunch has many more wonderful musical moments ahead but until then, bask in the glow of NORTH HILLS. www.atorecords.com

2.08.10
Sarah Elizabeth Foster
GARDENING FROM THE GROUND UP PART 1-(STUDIO SARAH)- With the immediate intimacy of her sweet, classically-trained voice, Foster sounds nearly as depressed as A. Camp on the Cardigans’ “Step On Me” or “Nasty Sunny Beam.” Lacking Camp’s sense of humor and irony, Foster burrows into the misery as if it were an immeasurable pit, and the unrequited or lost love that threw her in were her only friend. Still, “Wake Up,” which most reminds me of the Cards, is a compelling stand-out. Apparently love on its way over for dinner is also a problem -- on the title song Foster’s lost herself in a relationship but is unable to “pull this weed.” “Missing You Now” offers a more straight-ahead bounce (Carole King and Sheryl Crow can emit deep emotion while making listeners tap their feet and sing along). However radio-friendly that and “Wake Up” may be, it’s the simple, startling vulnerability of “Be My Friend Always” that could make Foster a contender for the This Generation’s Laura Nyro title. We just need Foster to continue to be, as a cheap fortune might say, “unlucky in love,” or to imagine herself so; swimming around in that pretty murk long enough to put together some new strokes. Then I might be impelled to wallow with her in something really splendid, a taste of which is given with “Be My Friend.” www.sarahelizabethfoster.com MARY LEARY

2.08.10
Le Loup
FAMILY-(HARDLY ART)- Wow, this sounds a lot of different than the band’s debut (with the really long title that I don’t feel like typing here but it probably would have been shorter than typing out this sentence). It seems that founder/leader Sam Simkoff found a bunch of new members via Craigslist (or so I heard) and the ensuing 11 songs on FAMILY have a real warm, organic feel to them. I’m serious folks, there are some seriously inspired parts on here that are absolutely magic. It’s ambitious but doesn’t feel pretentious at all, instead if feels like 6 musicians who are completely in tune with what the other is doing (or going to do). Think of Sufjan Stevens’ ILLINOIS and you’ll be in the ballpark but it’s more experimental than that in the best way possible. First cut “Saddle Mountain” is all 60’s British folk (Bert Jansch) while “Beach Town” has chanting and bongos and comes off as tribal in a similar way to the last Ruby Suns record and “Grow” tweaks a Beach Boys influence like a few others have been doing lately (Nurses, Animal Collective, etc.) but I like Le Loup more than any of ‘em. I’ve just described the first 3 songs but the rest of the record is filled with so many more fascinating, inspired gems. On only their sophomore release this band is one many others will start being compared to (as opposed to the other way around). www.hardlyart.com

2.08.10
Pylon
CHOMP MORE-(DFA)- I was first introduced to Athens, GA 80’s art school bunch Pylon via the DJs at my local new wave establishment in Southern NJ circa 1982-’83 (the good old days of fake ids) . The dj’s at The Ivory played mostly good stuff and they played two Pylon tunes on most weekend nights: “”M-Train” (which is included on here) and “Feast on my Heart” (which isn’t but is on the reissue of GYRATE). While I always dug the catchier new wave synth pop (and some punk) the Pylon tunes, which weren’t particularly catchy, not in a traditional sense anyway, wormed their way into my psyche. Shortly thereafter the band broke up and there went my chances of seeing them live (though I did catch them in Trenton , NJ when they reformed, around 1988). CHOMP MORE is an extended version of the band’s 2nd record, CHOMP that was released back then and features 16 tunes including a few remixes. I guess the closest comparison I could make would be the Talking Heads but even that isn’t super accurate. They mixed elements of new wave, funk, post punk all the while keeping their songs interesting and original. On vocals you had Vanessa Briscoe whose howling growl was unique to say the least while Randall Bewley (who , sadly ,died last year of a sudden heart attack) eeked out snakey lines on the guitar and the rhythm section kept both guessing . Give a listen to classics such as the riveting “Beep”, the angular “K”, the bottom-heavy “M-Train”, the jangly “Crazy” (that REM covered) and plenty more. Major props to the DFA label for putting this band back in the public’s consciousness ‘cos that’s where they deserve to be. www.dfarecords.com

2.01.10
Sam Bisbee
SON OF A MATH TEACHER-(LE GRAND MAGISTERY)- Apparently this guy has been around for nearly two decades and has several other records out. Well, this is the first I’ve heard of him (and this record is over a year old at this point) but SON OF A MATH TEACHER is full of the kind of emotional, soaring pop that many other songwriters have tried but failed at. On these 14 songs Bisbee seems to do it so effortlessly and bring to mind everyone from Lou Reed to Matthew Sweet and several songwriters in between (think Ron Sexsmith too). The guy definitely wears his heart on his sleeve but not in some weenie way as most of these tunes have some bite. Opening cut “Goodbye” is more of a mid-tempo rock/pop tune with some meaty guitar while the anthemic “Never Fall in Love” (“Letter B” is a good one too) is a cascading , piano-led tune where Bisbee shares vocals duties with Leona Naess and the results are marvelous. He also offers up some straight singer/songwriter tunes on the heartfelt “Verge of Extinction” or the low-key “Vermont.” A few of these 14 songs are a bit innocuous but most of this sounds quite inspired, enough to definitely make me search for his other records. www.magistery.com

2.01.10
Curtains For You
WHAT A LOVELY SURPRISE TO WAKE UP HERE-(SPARK & SHINE/ THOSE I LIKE!)- Whoah…what the hell?! Where did these guys come from?!! Wow! A few friends from Seattle bust out every 60’s and 70’s pop hook/cliché they can think of and end up making one of the best records of 2009. Ok, forget about the uninspired band name and the 7th grade artwork on the cover (and if the person who did the artwork is older than a 7th grader I apologize) or the fact that the record was recorded in the same studio as early Pearl Jam and Soundgarden records and just listen to these 10 songs. The first three songs are pure pop genius: opener “The Nuclear Age” has 3 and 4 part harmonies and more melody than you can shake a stick at (think early 70’s Beach Boys) while “Dead World” is more grand, more majestic (think Queen) and rocks a bit harder and “Dumb Angel” (sounds like a Beach Boys reference to me) could be the fan favorite. Aw hell, let’s add song #4, “Title Bout” to the great category too with its verse (or is that a chorus?) bop bop shoo op.” There’s some other stellar tunes in the rest, like the shuffling “Road Trip to Disaster” (with a guitar hook to die for and more “bah bah bahs”) and the rock opera-ish “Clanging of the Masses.” Pull out $10 out of your pocket and drop this band a line, if it means you don’t eat for a few days, well, it’s well worth it. www.sparkandshine.com

2.01.10
The Lucy Show
…UNDONE-(WORDS ON MUSIC)- Prior to hearing their reissued sophomore release a few years back (MANIA, also reissued on the Words on Music label) the only thing I knew about The Lucy Show is that Jack Rabid had raved about them for years. Once I heard that record I dug the band’s bottom heavy post-punk sound (think The Cure and Joy Division but with more melody ) so I was psyched to hear this, the debut by the UK quartet (but songwriters Mark Bandola and Robert Vandeven are the core of the band) which was originally released in 1985. I have to admit this isn’t as good as MANIA but that doesn’t mean this record is not without merit. The opener “Ephemeral (this is no heaven)” has a great low-end churn mixed with Bandola’s arching, reedy vocals while “Resistance” , sung by Vandeven, is quicker, more frantic and more paranoid sounding and one of the band’s best songs. Elsewhere, “The White Space”, “Remembrances” and the title track are a bit lighter and have more room to breathe than any Robert Smith song (“The White Space” is especially Cure-ish). A few songs murk-out a bit too much for my liking (“Come Back to the Living”, “The Twister”) but most of this is solid. I’d recommend MANIA first but you’re probably are gonna want the pair. www.words-on-music.com

2.01.10
National Flower
AFTERNOONS-(SELF-RELEASED)- 2nd release (3rd if you count leader Michael Sheridan’s solo record from 2004) by this unsung Portland band who deserve a lot more recognition than they currently get. Michael himself produced these 10 songs and his songwriting has gotten better with each release and AFTERNOONS is definitely the best yet. He/they start off with a wonderful trifecta from the shuffling, acoustic opener “Good for Me” to the pedal-steel soaked (courtesy of Richmond Fontaine’s Paul Brainerd, the song itself sound very Ryan Adams & the Cardinals-ish) while cut #3, starts with some serious handclaps, a resounding “Woo!” and then some groovy organ. I love Sheridan’s soft, emotive voice while the playing on the record is top notch. My only complaint is a small one, there are a few moments of some sax that sounds a bit Saturday Night Live-y (if you know what I mean). Still, the songs are very well-written and in addition to the three I mentioned also check out the hushed “Sleeping Babies Lie”, the melodic, upbeat “Dead for Days” and the rockin’ “Bad Ideas.” Good stuff here, folks. www.nationalflowermusic.com

2.01.10
Nibleck Henbane
..AND WE FALL-(DISCONNECTED)- I remember these NJ oi-sters from back when I still lived there (they were on the Headache Records label, along with the Wretched Ones). This 23 track collection includes all of their 7”s from the late 80’s /early 90’s as well as some demo tracks and a few live cuts too. If you dug the gruff sound of Boston’s Slapshot then this will be right up your alley. Gravelly vocals and hooky, 3-chord tunes and even the demos don’t sound bad (meaning in sound quality) but my fave stuff here is the early 90’s stuff like “We Don’t Want to Play”, “Danny’s Song”, “Andy Bought a Gun”, “Angel” (a Donna Fargo cover), “Hoodlum”, , etc. Props to the Disconnected Records label for unearthing these tunes which otherwise, could have been footnotes in history. www.disconnectedrecords.com

1.25.10
The Action
COMPLETE PUNK RECORDINGS 1977-1978-(SUDDEN DEATH)- It seemed like just a few year ago I had hear about the UK band The Action who existed in the mid-60’s and were signed to EMI by George Martin. Well, here is another band called The Action but this band hailed from Canada (Ottawa) and existed in the late 70’s and had a real punk snarl to them. Though it says in the press sheet that they were equally influenced by The Ramones, The Rolling Stones and the Allman Brothers (??!!) and I also hear some glam influences like The NY Dolls as well as the snottier side of things ala The Dead Boys. These 17 tunes are comprised of an early ep from’77, a live cut from 1977, an unreleased 2nd ep (1978) and 8 more live cuts from a gig in Ottawa in ’78. Vocalist Tex Axe has a great snotty howl while the twin guitar bros, John & Paul Fenton, sounded like they could tear the roof off of large buildings (listen to “Do the Strangle”). In addition to that one lend an ear to ragers like “TV’s on the Blink”, “Down Town Boy”, “”Let You Down (all the way)” and at least a few others (including a cover the “Midnight Rambler”). www.suddendeath.com

1.25.10
Boy Genius
STAGGERING-(SELF-RELEASED)- This NYC’s band debut, ANCHORAGE , from a few years ago was a solid enough effort to be eager to check out this sophomore effort. On STAGGERING the band has definitely stepped up their game and released a better 2nd record. Lead guy Jason Korenkiewicz and the other three (2 gals and 1 other guy) decided that North Carolina jangle- meister Mitch Easter would be a good choice to produce and he was right as his distinctive style is all over the record with jangly guitar occasionally giving way to burst of 6-string dissonance. One interesting note is that this record literally pick up where ANCHORAGE left off as the guitar line that closed that first record opens this record on song one (along with a maelstrom of other instruments , all crashing together). The record opens with a fine trio of pop tunes: Scatterbrain”, “Blame Love” and the Pavement-esque “He Can’t Hit.” On “Ramona Saves the Day”, the title track and the excellent “The Hardest Part” they seem to mine influence from The Feelies in the best way possible. And as much as this is an improvement this over the band’s debut, I still think they have a better record in them. Until that day comes give STAGGERING a listen or 10 and just simply enjoy it. www.myspace.com/boygeniuses

1.25.10
Cass Elliot
CASS ELLIOT/ THE ROAD IS NO PLACE FOR A LADY-(COLLECTOR’S CHOICE)- This is a two-fer reissue of two of Cass’ three RCA records from the early 70’s. According to the liner notes by Cass daughter, Owen, Cass had tired of the bubblegum she’d recorded for years with the Mamas and the Papas and felt that these recordings were the most representative of her as an artist. The original version of the self-titled first record had 10 songs but here is upped here by adding 3 bonus cuts. The record is a mix of Cass originals as well as cuts written by other L.A. notables (Randy Newman, Bobby Darin and even Beach Boy Brice Johnston, she also does a cover of the Judee Sill classic, “Jesus was a Cross Maker”) and the record has a real laid back feel of a singer/songwriter record but with some added bits of light orchestration and , of course, Cass’ gorgeous, booming voice. It’s a real easy record to like. The next record, THE ROAD IS NO PLACE FOR A LADY, released in 1972, is 10 songs and sports a bit of a fuller sound, this time with more orchestration and the songs are just as marvelous. Here she puts her stamp on tunes written by Jimmy Webb (“Saturday Suit”), , Albert Hammond (“If You’re Gonna) Break Another Heart”) , Paul Williams (“Say Hello”) an several others. Once again her voice is booming in the most gorgeous was possible and the backing instrumentation is near perfect. This one needs to be in your collection. www.ccmusic.com

1.25.10
Richard Hawley
TRUELOVE’S GUTTER-(MUTE)- Hawley is one of those guys I had been meaning to check out for years, it seems. Had always ready great things about his records and had friends recommend his stuff to me but alas, it always eluded me until now. Even this record sat in a box of promos for quite some time and when I finally listened to it I was blown away and couldn’t stop listening to it. These 8 songs have a real late night feel: reflective, poignant, melancholy and intimate. He has an amazingly deep croon (which reminded me of Scott Walker on his solo records, as many others have pointed out) while the record is mostly sparse but occasionally sweeping into stunning bits of orchestration. The opening cut, “As the Dawn Breaks”, slowly unfolds but never really picks up the pace while “Open Up Your Door” is strong on the Walker-isms and a grand statement on loneliness all wrapped up in the comforts of piano, vibraphone and the Red Skies String Section. Tune number 3, “Ashes on the Fire”, is my personal favorite on the record, as it lopes along with some tasteful Spanish guitar and Hawley sounding a bit like the King himself (yes, Mr. Presley). The rest of the record follows suit and includes one nearly 11 minute tunes and a 10 minute cut as well so be sure not to miss “Soldier On”, “Remorse Code”, “Don’t You Cry”, heck, who am I kidding, this whole record is marvelous and not to be missed. I may have waited until the end of 2009 to listen to TRUELOVE’S GUTTER but that’s ok, it’s one of the last year’s best. www.mute.com

1.25.10
Old 97's
WRECK YOUR LIFE.,..AND THEN SOME: THE COMPLETE BLOODSHOT RECORDINGS-(BLOODSHOT)- On this 23 song collection (double vinyl only)Bloodshot Records has taken the band’s sophomore record, originally released in 1995 and added the EARLY TRACKS records to it (which included some early singles and such) for an expanded version of said record. For us longtime fans who already have the records it’s not much of a trophy but if you are new to the band then by all means jump right in. Old 97’s were, and still are, a great band who seemed to effortlessly blend cow-town country rock with the spirit of punk and superb songwriting (more hooks than you can shake a stick at). This includes a few of their classics like “Doreen”, the Roy Orbison-esque “”You Belong to my Heart”, “Victoria”, “Big Brown Eyes” and plenty of others. Hope you got both a spoon AND a fork for this one. www.bloodshotrecords.com

1.18.10
The Breakaways
WALKING OUT ON LOVE (THE LOST SESSIONS)-(BOMP/ALIVE)- It seems that Alive just issued a Nerves record (ONE WAY TICKET) and the reason I mention that is because the Breakaways were the duo of Peter Case and Paul Collins who were 2/3 of the Nerves (along with Jack Lee). Case and Collins went on to form The Plimsouls and the Paul Collins Beat respectively but this quickie band is certainly worthy. After The Nerves split came this short-lived duo (thought plenty of other musicians played on these songs) who not a lot of folks knew about (I sure as hell didn’t) and it carries on in the Nerves spunky power pop tradition. In these 13 tunes you have buzzing pop energy of cuts like “Little Suzy”, “One Way Ticket”, “USA” , and, of course, “Walking Out on Love” (which Portland’s sadly deceased Exploding Hearts covered). The sound quality isn’t the best on some of the cuts but heck, for us fans of the genre that’s a minor quibble as the energy and hooks on these tunes more than make up for it. Pick this unearthed gem up and thank the good folks at Bomp/Alive for its existence. www.alive-totalenergy.comww

1.18.10
Face Value
RODE HARD, PUT AWAY WET: CLEVO H/C ’89-’93-(SMOG VEIL)- Had these Cleveland hardcore kid existed 5 years prior I undoubtedly would have gone to their gigs and thrashed away happily but they began in 1989 (first record in 1990 , the COMING OF AGE ep) and by that time, at the ripe old age of 25, I was moving onto other things (more Am Rep, Touch & Go and Sub Pop bands and much less h/c) . These guys, however would have gone good on a CBGB hardcore matinee bill with Youth of Today, Gorilla Biscuits and the like with their tough, take-no-prisoners, no-nonsense style. I can’t say it’s the most original thing I’ve heard back then there were a hundred Minor Threat clone bands anyway. Still, these 31 songs have boundless energy and contributed to the scene that was Cleveland hardcore. The package also comes with a dvd of some over-the-top live performance from the early 90’s. (put your t-shirt back on there, young man!). www.smogveil.com

1.18.10
I See Hawks In L.A.
SHOULDA BEEN GOLD, 2001-2009-(AMERICAN BEAT)- Can’t claim to have ever heard of this bunch but from the sound and looks of it maybe they were Southern California’s answer to the Flatlanders? Just a guess there ..anywho, it seems they appeared on the scene in L.A. at the dawn of the 2000’s (during, as they say, “mellow’s last gasp”) armed with a batch of terrific songs and a political agenda hidden in the lyrics (ok, maybe not so hidden). Vocalist/acoustic guitarist Rob Walker and guitarist Paul Lacques decided that , after 4 records, they needed to release a great hits records only none of their songs were ever hits (at least not in the traditional sense) and it’s a good thing too as their other 4 records probably aren’t the easiest things to find. American Beat Records stepped up and on this 17 track collection you have 5 previously unreleased songs and the record includes the very Flying Burritos-esque opener, “Sexy Vacation” (not sure why this gem was previously unreleased) , the gorgeous, haunting title track, the pedal-steel-soaked “Humboldt”, the gentle, rolling acoustic “Byrd from West Virginia” and that’s just the first 4 tunes. They probably could have cut 5 or so of the tunes and made a real killer 12 song record, but really, I’m being picky here. SHOULDA BEEN GOLD is a marvelous record full of intelligent and well-written songs and if you’ve worn out your copy of SWEETHEART OF THE RODEO and need something new then this is a perfect choice.www.ccmusic.com

1.18.10
The Mary Onettes
ISLANDS-(LABRADOR)- The Mary Onettes debut from 2007 (also on the Labrador label) was a low-key affair that mixed the atmosphere of Echo & the Bunnymen with some of Sweden’s best jangle pop (ie: Shout Out Louds, etc.). It was definitely a solid effort sprinkled with some truly excellent songs but record #2 here is an improvement all the way around. The record begins with three grand stunners: “Puzzles”, “Dare’ and “Once I Was Pretty”, all swooping orchestration and soaring vocals (courtesy of Philip Ekstrom). They then slow down to take a breath and then you realize the subject matter might not be all puppy love and sandy beaches (I find it hard not to think otherwise when the music is so upbeat) . On the contrary, both “Cry for Love” and “The Disappearance of My Youth” were written during the time of his girlfriend’s mother’s death while the philosophical “God Knows I had Plans” again soaks more introspective lyrics in majestic arrangements. The final four songs follow basically the same path (including the excellent “Century”) and while I believe ISLANDS is a good record I still think the band has a better record in them. Let’s see what record #3 brings but until then bask in the glow of ISLANDS and don’t miss their next trip to the states (as I missed their previous one) as I heard the bring it live. www.labrador.se

1.18.10
Pants Yell!
RECEIVED PRONUNCIATION-(SLUMBERLAND)- After records on Soft Abuse (their terrific ALISON STATTON cd) and Asaurus this Boston trio has found a home on Slumberland, which certainly makes sense. Having said that, I don’t like this one as much as the previously mentioned disc (Alison Statton). Leader Andrew Churchman hasn’t changed his style drastically or anything, it’s just that I don’t like the songs on this one as much (and just to be clear, this is not a bad record) as it’s a more stripped-down affair. They seem to have dropped some of their C-86-isms in favor of slower, more pensive cuts or occasional forays into slight experimentalism (drummer Casey Keenan was in Boston psych rockers Major Stars). On some of the cuts, however, they still do bring the jangle (see “Rue de la Paix”, “Someone Loves You”, “To Take”). If you dig the earnest pop of bands like True Love Always or Aden (or if you want to go a little further back, the Go-Betweens) then give this band a chance (both of those bands are on Mark Robinson’s Teen Beat label and it was Robinson himself who did the layout for the cd cover on this). Also, at 9 songs and clocking in at under a half hour the record is a bit light (the one Keenan song is only 51 seconds) but again, I still do recommend it, I’d just suggest picking up their previous one first. www.slumberlandrecords.com

1.11.10
The Scruffs
CONQUEST-(SCRUFFSVILLE)- It was nearly 2 years to the day that The Scruffs released POP MANIFESTO, their terrific comeback record of sorts. Here they are again, head Scruff Stephen Burns with a few Glaswegian friends (and just like on POP MANIFESTO, it’s recorded at Cava Studios in Glasgow and Burns gets some of his famous friends to contribute: a few Belle & Sebastians (Stevie & Bobby), a Big Star (Jody Stephens), and an ex Teenage Fan Clubber (Frank McDonald) and the batch of songs, is , once again, fabulous. Incorporating his own wall of sound (while Phil is locked up) Burns gets things going with the majestic opener “Conquer Me” while “Curse of the Mau Mau” is what you want playing at your next luau instead of some cheesy Don Ho soundalike (at least get the real thing, right?) and just to show he’s up to date Burns offers up “Ipod Girl” which has more bah-bah-bah’s than any other song in recent memory. Later on he and the gang offer sultry sax pop in “Demon Mine”, Beatles pop in “One More You” , gorgeous acoustic tune in “Days of Silver and Gold” and maybe some inspiration from Teenage Fan Club on the fantastic “Treasure Girl” (and “All the Pharaohs”). Burns and his crack musical cast have done it again, let’s hope it doesn’t get forgotten about when the best of 2010 list come out. www.thescruffs.com

1.11.10
The Shadow Kabinet
WORLDS APART-(SELF RELEASED)- I am glad, so glad, that XTC-influenced bands are finally starting to make records. The Shadow Kabinet, apparently a single guy named Steve Somerset, is not only one of them, he's a terrific talent whose taste — I'm guessing he listens to a lot of Martin Newell and the Move, as well as those Swindon fellows— is impeccable and whose songwriting chops are nothing short of captivating. In the end, Somerset picks up where late-80s to early-90s Robyn Hitchcock left off, before Hitchcock entered a folk-like phase that eventually worked for him (just not quite as well as his Element of Light to Queen Elvis phase). Somerset sounds like Hitchcock had J. Demme's favorite embarked on a Dukes of Stratosphere path and channeled his preferred 60s bands into a faux-concept disc. Gosh, all those words and nothing really about Shadow Kabinet, other than they sound like a lot of other great acts. Here goes. "There Must Have Been a Moment," the disc's first track, is beautiful and full, with lush hooks occupying each of its several parts. "What Am I Supposed To Do?" comes straight from the heart of industrial Great Britain, with Somerset channelling any one of a number of Merseybeat bands, including the best known of them all. "Sylvia the Psychic" might be the release's best track, sounding like a Magical Mystery Tour-era single. Trouble and Strife sounds like, yes, Hitchcock again, in this case, with Somerset gently encouraging an acquaintance to hang in there despite what sounds like a world of gloom. The disc even includes an outstanding instrumental surf track.Through it all, Smiling Worlds Apart is very consistent, with no fluff weighing it down and no reason at all to wish anything less for Mr. Somerset than that his music, like that of his heroes, simply be heard.www.myspace.com/shadowkabinet ANDY GIEGERICH

1.11.10
Those Darlins
S/T-(OH WOW DANG)- Nikki, Jessi and Kelly (all with the last name Darlin’) make up this female trio and I unfortunately ignored this record for far too long and when I finally popped it into the cd player I was bummed I didn’t do it sooner. The Tennessee trio do a fine job of mixing the attitude of punk with good timeyness of country music, more of the latter though, actually but then again, I’m not even sure if you’d call it country but it has elements of that genre as well as rockabilly and whatever it is that Southern Culture on the Skids does (also check The Knitters for a reference point). Opening cut “Red Light Love” revs the engine right out of the gate while “Wild One” is more low key but no less effective. The swelling strings were a perfect addition to the heartfelt “Mama’s Heart’ while the sassy, raucous “Hung Up on Me” would be a perfect tune to get the party started (who’s got the whiskey?). I just described the first four tunes and I’m happy to report that the other 8 are all worthy of your time as well (no filler here). A pleasant surprise to say the least. www.thosedarlins.com

1.11.10
J. Tillman
YEAR IN THE KINGDOM-(WESTERN POP)- Year in the Kingdom is the 6th solo album from J Tillman. Tillman has garnered recent attention through his involvement with Fleet Foxes and their acclaimed album from 2008, however he is a artist in his own right. Year in the Kingdom shows a maturity of songwriting and a confident voice featured on a beautiful yet austere musical stage. The album opens with the title track, where Tillman and his guitar quietly reminisce about the past. The second track more fully opens the door to the journey that Tillman takes you on, with a slow marching dirge drawing you in. The track howling light finally unveils the musical theme of the album, with strings and hammer dulcimer playing counterpoint to Tillman's guitar and stripped down vocals. With a quiet and introspective sound reminiscent of Nick Drake or Damien Rice, Tillman has created an album that takes the listener to a peaceful and thought provoking place. With his involvement with Fleet Foxes and his solo projects we can expect many more good things to come. www.westernvinyl.com SHELDON NALOS

1.04.10
Bunnygrunt
MATT HARNISH & OTHER DELIGHTS-(HHTBM)- Always good to see what these St. Louis yucksters are up to and glad they are still recording. They dropped the cuddle core sound (not sure if they ever wanted that tag to begin with) and offer us 10 songs housed in a homage/parody cover of Herb Albert’s WHIO CREAM & OTHER DELIGHTS (Soul Asylum did it too, back in the late 80’s). The core of the band is still Matt Harnish and Karen Reid along and they get a few friends to help out here (including Mario Viele from the Sex Robots) and these 10 songs are big on guitar grit but don’t forget the hooks either. Opening cut “665 & ½ Won’t Do” actually kicks into a little r & b lick (sorta Stonesy) while “The Limits of Southern Hospitality” and “Shotgun” are more buzzsaw guitar with plenty of oooh-oooh’s (as is “1000% Not Creepy”, my favorite song on the record). As fun as the record is, these are the kind of fist-pumpin’ tunes you wanna hear in a live setting, so come on, hop back in that van and point in toward Portland. People here are waiting for ya’. www.hhbtm.com

1.04.10
Carcrashlander
WHERE TO SWIM-(PARKS AND RECORDS)- Carcrashlander is the nom’ de plume of Mr. Cory Gray. You might remember him from Portland emo kids Desert City Soundtrack (who originally formed in Santa Rosa, California but relocated to Portland in the early 2000’s) but he has recorded with tons of other Portland bands including Norfolk & Western, Laura Gibson, etc. etc. On this, I believe his 2nd full-length, it is musically all over the map but held down by Gray’s unassuming vocal style. Opening cut “Landmines’ is wigged out n’ weird while “House Arrest” has some soulful keyboards and “Overgrown” has some spraying horns and smooth keys. “Rosie” has distorted vocals and marched at times to a Calexico beat. At times Gray’s style, both vocally and musically, reminds me of Lou Barlow’s solo work though with a bit more attention paid to experimentation. Gray is one of those guys who ,despite prodigious talent, will most likely never become a household name but will be invaluable to a music scene like Portland where , in addition to helping out tons of other musicians, he also releases terrific low-key records like this one. Good music is always out there , you just need to find it. Find this. www.parksandrecords.com

1.04.10
The Hex Dispensers
WINCHESTER MYSTERY HOUSE-(DOUCHEMASTER)- Anyone who heard this Texas band’s terrific debut a few years ago (on Alien Snatch Records) had to be aching for more. It was that good. This follow up is at least as good, maybe better (there might even be a record in between that and this one that I don’t have) . Vocalist/guitarist/leader Alex Cuervo has upped the lineup from a trio to a quartet, adding bassist Dave Bessenhoffer (who even sings lead on one song, “Buy You a Ring”). They get lumped into the garage rock category (probably as good as any place you’re gonna lump ‘em) but there is a definite Ramones/Misfits influence going on here (similar to another Lone Star State band, the Marked Men) with the buzzing, hooky guitars. Give a listen to prime cuts like “Doomsday Romantic”, “O-B-I-T, “The Mutiny”, “Lose My Cool” and several others. They even do a more than worthy cover of one of my favorite bands/songs of all time in their take on Devo’s “Gates of Steel.” And while Douchemaster is a mighty fine label I’d love to see these guys find a home on our on local Dirtnap Records, where I think they’d be in some fine company. Still, regardless of labels, WINCHESTER MYSTERY HOUSE will definitely perk ye ears up. www.douchemasterrecords.com

1.04.10
Nirvana
BLEACH (DELUXE EDITION)-(SUB POP)- When this initially came out in 1989 I was 25 years old and knee deep in the spirit of Sub Pop. I thought that Mudhoney could do no wrong and caught my fair amount of Tad gigs as well but I could never sink my teeth into the music of Nirvana. A few years later, of course, they made rock history by selling millions of records and becoming the biggest band in the land but I still paid no attention. When this came into my hands I figured why not, I’ll give Nirvana’s debut record a chance and you know what, it is not a bad record. In fact it’s a darn good one. This sort of riff rawk has never been my style, not even in high school. Oh sure, I had my fair share of Led Zeppelin records but always preferred geeks like Devo or those sweet, sweet Beach Boys songs to the heavier stuff. It’s obvious that listening to these songs that the early 20-something Kurt Cobain was a seriously talented individual as tunes like “School” and “Love Buzz” attest to. This 20th anniversary edition is remastered and comes in a fold out digipak that includes a 50 page booklet. On the cd , in addition to the original 13 songs on the record comes a 12 song set live from Portland’s defunct Pine Street Theatre from February of 1990 playing many of BLEACH’S songs as well as some covers (Vaselines, etc.). While not being a lover of the music, I can now appreciate and respect it for what it is and I’m glad I finally gave BLEACH the time of day. www.subpop.com