The Dodos make great music because their music isn't complicated. It doesn't try to achieve some higher purpose, or be obscure for the sake of remaining esoteric. It sounds good. The proof of this is that I've exposed loads of different people to this band, and they've all enjoyed the band's solid sophomore album,Visiter (I have their debut in vinyl format, which is more difficult to share than a cd).
They layer jingly instruments and reverberating harmonies to create a sound that is not quite psychedelic, and not quite folksy, but a fantastic thing in between.
Recently, I was pleasantly surprised to hear their song "Fools" on a beer commercial. A few more pleasant surprises like that and I might become an alcoholic...
Originally a duo of Meric Long and Logan Kroeber, the SF band has evolved to include Joe Haener on extra percussion. Their latest effort, Time To Die, is set for a September release, but it just leaked yesterday and I have been listening to it endlessly. More boldly inclusive of pop-hooks, the album reflects a kind of maturity that only can be achieved through trial and error, and experimentation with many different kinds of instruments.
I really love the this song, so give it a listen and meander into musical territory that indubitably derives from people well acquainted with the strange and fabulous things which the city of San Francisco offers.
this is simply gorgeous:
When it comes down to it, I love The Dodos because I don't have to THINK about liking them. Meric has a beautiful voice, and their albums are both enjoyable as background music or closely scrutinized through extra big headphones.
visit the band on MYSPACE and get listening [I remember when their site used to be myspace.com/mericlong....]
click HERE to give it a listen I haven't absorbed it yet; I'm still on the first song, but I thought I'd post the link to let more people listen to it as soon as possible. I'll post a proper review soon.
Grand Lake had recently replaced drummer Ryan Parks with John Pomeroy, and I am sad to report that Erika Pipkin, who was a charging force behind the keys, is no longer a part of the Oakland band. nevertheless, I am confident that we can expect great things from the trio, who are currently working on new material
shows: Friday, July 10 @ Metamusic, Santa Cruz w/ The Libra and The Inscape Saturday, July 11 @ Rooz, Oakland, (Mission Creek Music Festival - as Headliner) Thursday, July 16 @ Sophia's Thai Kitchen, Davis w/ Geographer (KDVS Cool As Folk Presents) Wednesday, July 22 @ The Stork Club, Oakland, w/ Seasick, and Dirt Dress (Los Angeles) Bobby California (Rad Cloud) DJ's
the fantastic Scottish band have teamed up with The Twilight Sad for another American venture. unfortunately for me, when they come to SF, I'll only have been twenty for a month, which means I'm still 11 months shy of being admitted to the Independent. damndamndamn.
07.17 – Hoboken, N.J. at Maxwells 07.18 – Brooklyn, N.Y. at Siren Festival 07.19 – Chicago, IL at Bottom Lounge w/ Headlights 07.19 – Chicago, IL at Pitchfork Festival 07.21 – Detroit, Mich. at Magic Stick 07.22 – Toronto, Ontario at Horseshoe Tavern 07.23 – Montreal, Quebec at Petit Campus 07.24 – Providence, R.I. at Jerky’s 07.25 – Northampton, Mass. at Iron Horse Music Hall 09.13 – Morrison, CO at Monolith Festival 09.14 – Salt Lake City, UT at Urban Lounge 09.15 – Boise, ID at Neurolux 09.16 – Seattle, WA at Neumo’s 09.17 – Portland, OR at Musicfest NW at Dante’s 09.18 – San Francisco, CA at The Independent 09.20 – Los Angeles, CA at Knitting Factory 09.22 – Tucson, AZ at Plush 09.24 – Austin, TX at The Mohawk 09.26 – Birmingham, AL at Bottletree 09.27 – Atlanta, GA at The Masquerade 09.28 – Tallahassee, FL at Club Downunder 09.29 – Orlando, FL at The Social
with ex-Smiths guitarist Johnny Marr as a part of their permanent lineup, The Cribs can only get better.
this song is louder and more powerful than a lot of their old work, and I'm quite excited about their forthcoming fourth studio album, entitled Ignore the Ignorant and set for a release on September 7th
they're in Switzerland, and lead singer Adam Levine says the new record will sound like the Maroon 5 which we have grown to love (which I'm assuming is the fantastic funk sound they honed on their second album).
“It’s us, just newer, better, fitter, happier, stronger. It’s going to be good.” read more on RS
apparently, he recently did a cover of Sinatra's “The Way You Look Tonight.” I've gotta get my hands on that.
Maroon 5 - Woman [mp3] from the soundtrack to Spiderman 2, and one of my favourite songs ever.
one of my readers has directed me to mp3s of a concert that took place at Thomas Wolfe Auditorium in Asheville North Carolina in May of 2006.
I've noticed that the band has a tendency of beginning with "Ize of the World" in their 2006 concerts, which makes me incredibly happy (it makes me hopeful that the band loves the song as much as I do...then again, that probably isn't humanly possible). that song is one of the most underrated pieces of genius of the 21st century.
they even cover "Walk on the Wildside", which they have time and time again dishonestly promised never to repeat again, much to my amusement.
the concert sound quality is simply fantastic, so go ahead and download the first half below, and get listening. you can grab the rest tomorrow.
our favourite boys from Sheffield have been playing the tune for a while at gigs but the proper studio version has finally surfaced! Arctic Monkeys - Crying Lightning [mp3] shivers. so damn good. I love what the band has progressed to.
Humbug drops on August 25th, and you can bet that the album will emanate this dark maturity that the Monkeys have been displaying as of late.
it always comes as a shock to me when bands that start out as friends part ways. Ryan Ross (who played guitar and wrote the songs) and Jon Walker (who played bass, he was a few years older than the rest of the band) have left the band to pursue other musical endeavours.
as you may or may not know, their original bassist, Brent Wilson, was replaced by Jon after their first album was released.
this new bout of dissipation will definitely take a toll on the band's sound, which had evolved on their sophomore LP into Beatles-esque maturity.
I remember the good old days, when people thought I was making the band name up when I told them about Panic (back then, their name had an exclamation mark in it)...ah, yes, burning loads of copies of that first album in 2005...hot damn I haven't listened to that in ages.
the debut album, Horehound, drops on the 14th, here's a list of places you can go to celebrate:
July 6: Comet Tavern in Seattle, WA @ 7pm July 8: Les Boom at Numbers in Houston, TX @ 10pm July 9: Thursdays at Thom Bar in New York, NY @ 10pm July 10: Obscura at The Ruby Room in Phoenix, AZ @ 9pm July 10: Lipgloss at La Rumba in Denver, CO @ 9pm July 11: Clampdown at The Ravari Room in Columbus, OH @ 9pm July 11: London Calling at The Stable Loft in St. Louis, MO @ 9pm July 11: Shake at Rogue Bar in Phoenix, AZ @ 9pm July 11: Eclipse in Jacksonville, FL @ 10pm July 11: Crashin' In at Stanton Public in New York, NY @ 10pm July 12: Burn at The Castle in Tampa, FL @ 9pm July 14: Sonic at Beauty Bar in Los Angeles, CA @ 10pm July 14: Lipstick! at Old Ironsides in Sacramento, CA @ 9pm July 14: Propaganda in West Palm Beach, FL @ 9pm July 14: Trainwreck at Angels & Kings in New York, NY @ 10pm July 15: Transmission at Clubhouse Jager in Minneapolis, MN @ 10pm July 16: Popscene at 330 Ritch Street in San Francisco, CA @ 10pm July 18: Bang! at The Ruby in Los Angeles, CA @ 10pm July 18: Tiswas at Donhills in New York, NY @ 10pm July 27: Panic at Darkroom in Chicago, IL @ 9pm
it slipped my mind to do this post yesterday, sorry guys.
Ben Sollee is a Kentucky based songwriter who plays cello and weaves beautiful songs with subjects ranging from the desperation for honesty in politics to personal accounts of love for his family. He is incredibly talented and gained much recognition last summer, mostly due to his spectacular cover of Sam Cooke’s “A Change is Gonna Come”. Ben’s live shows are interesting and highly improvisational, and he keeps things fresh by reinventing his songs each time he takes the stage. His debut album Learning to Bend is a delight from start to finish, one of my all time favourites.
The soft-spoken Ben recently embarked on a 330 mile bike ride from Lexington to Bonnarroo (toting his cello around with him), playing small towns while trying to raise awareness for the charitable organization OXFAM America.
The sonic boom of this Kentucky band is evident from the stellar opening track and lead single "In One Ear". Lead singer Matt Shultz sets the tone of the album: "They say we aint got the style/class/tunes that's gonna put us on the map" and in a way, he's right.
The songs don't focus on your average rock n roll fascinations (girls, booze, drugs); instead, the band sings about modern day Manifest Destiny ("Lotus") and the hardships of living in a society ruled by the dollar king ("Aint No Rest for the Wicked").
The style is purely avante guard because it rejects modern trends in music and embraces the good ol' fashioned roots of ROCK. Cage the Elephant draws equally from early Red Hot Chili Peppers' funk, White Stripes swagger, Beck's straightforward rhythms and pure guitar bliss that would make their hero Henderix proud. "Back Stabbing Betty" is deliciously Southern but their songs are in the universal language of rock n roll. Come to think of it, the guys sound like an American Arctic Monkeys. And that's a recipe for success if I ever heard one.
The edgy album soars precisely because it strays so far from modern popular music (both mainstream and indie). It's time that rock music turned political again. We all could use a good dose of cultural criticism from music and, just shy of 38 minutes, Cage the Elephant delivers, hard.
So rest assured, Matt, your band is doin' just fine. It might take a little while for Americans to catch on, but in good time, crowds will flood to catch Cage the Elephant's wild live shows and Shultz's signature spastic tendencies.
4/5
the album was released in Europe in June of 2008 and was rereleased in the US on May 19th of this year. you can pick up a copy at any record store or on AMAZON
this concert took place at London University on November 29th, 2005--just prior to the release of First Impressions of Earth. The Strokes took the opportunity to debut the new songs to the enthusiastic audience. The sound quality is GREAT but the guys look a bit pissed off in the videos
this is freaking INCREDIBLE. the video includes three songs: "Music When The Lights Go Out", "Psycho Killer" (Talking Heads), and "Don't Look Back Into The Sun".
our favourite French boys have brought their incredibly catchy new single to late night television, and the performance is stunning. I thought Jimmy's quip about the "large cd" was a bit stale, not to mention that it's Letterman's thing, but other than that the video is great!
I posted about Leonard Mynx's beautifully melancholy folk album Vesper back in April. his new album is being mastered right now, and will be released soon. he promises that it isn't as sad as Vesper, so it'll be nice to hear him sing in a less dreary manner. I've had a chance to ask him a few questions, so read on below for more info on the Portland-based singer
How autobiographical is vesper? I'm assuming some of these things are figments of your imagination, else you have had a very colourful life so far.
Vesper is no[t] strictly autobiographical in the sense that I did not live every story. But it is autobiographical from an emotional standpoint. I feel like I know all the characters very closely and sometimes it really hurt me to hurt them, but that was their story, it had to happen. It is still painful to perform some of the songs. I have never performed "Robert" live.
When did you start writing music? Why?
I always wrote as a child. I don't know why. I loved stories and I felt like I had some that needed to be told. I was an avid short story composer for a while. Naturally, I suppose, it developed into music in my mid-late teens. Songs were so concise. A short story has to be well structured, but a song must have ever word in place to convey the proper mood. Maybe it was fast food culture that forced me to trim down my stories into songs. Also, I was moved by music my whole life. I never went to bed without the radio on. I needed to hear music everywhere. I guess the two, stories and music, were just ready for each other by that age.
Do you write songs in some sort of secluded place, like in a cabin in the woods, or do you simply write them as you go along, using napkins and such when thoughts come to you?
Songs are strange in that they don't wait for you. I don't control the songs nor own them. They come when they want and if you decide to ignore them for a while, you will miss them. They are in command. I have to write whenever and wherever the songs decide to come. It can be a burden. It sounds cliche but it is true. Anybody who says that they are in charge of the songs either doesn't write good songs or is a liar. Songs come from a different place and different songs definitely come out of different settings, such as a secluded place or in a bustling city.
What was your favourite album when you were in high school?
There are too many to answer. It depended on mood. It depended if it was a Wednesday or snowing or if leaves were rustling or if more trains went by that day. The atmosphere sets the mood and then you find the album to match it. Or vice versa.
If you could collaborate with any artist, dead or alive, who would you choose?
Prokofiev.
Drugs and alcohol: good or bad for music making?
A blessing and a curse. Drugs are like songs. They can end up in control if you aren't careful. By the time you notice you are lost, you might have a long road ahead of you to try and get back to where you were. And you can never fully go back. I do believe in altering perceptions. I think it can be an amazing experience. The myth about that is that drugs are the only way to do that. That's not true. There are infinite ways to change perception. Drugs just are easy, but like with most easy things in life, they may not be the best way or worth it.
If you could have one superhero power, what would it be and why?
The power to make people forget. Being able to forget is what keeps us going. If we remembered everything, everyday, we would be trapped. Even still, we remember too much useless information. We cling to the wrong sorts of experiences. We get bogged down. War and hate and pain and fear, are all from memories. If we could just forget, we would move beyond all that nonsense. Humanity will never grow until we learn to forget the things that don't matter anymore. Memories are like ghosts. They haunt us, in bad ways, sometimes.
I generally can’t stand female vocalists. There are a few exceptions. Regina Spektor is always an exception. Regina Spektor’s five album discography is brilliant, and her latest release, Far, beautifully fluctuates between playful songs and gloomy, serious ones. Sometimes the songs themselves combine surprisingly solemn lyrics with happier melodies.
“Machine” is a deliciously creepy number that evokes Smashing Pumpkins. “I am downloaded daily, I am part of a composite,” Regina sings. The ominous chord progression sounds like it should be background music in a haunted house.
Another favourite, “Two Birds”, is reminiscent of Regina’s older work, and her vocals soar brilliantly as she sings about, you guessed it, a pair of birds.
I remember reading (in the latest issue of SPIN) that the songs found on Far were actually produced by four different producers. This doesn’t affect the cohesion of the album at all: Far flows better than most records produced by one person. This just serves to show how talented Regina is and how groundbreaking her work actually is: she manages to retain her individuality and unique song-writing in each of her endeavours.
Far is surprisingly mature, and it moves away from the super catchy quality of her previous album, Begin to Hope. Instead, it is a collection of thirteen excellent tracks that get better with each listen, much more layered and varied than anything she’s ever released. While the first half of the album is a lot more striking and powerful than the latter half, the entire album is extremely solid.
I adore Michael Benjamin Lerner. He has a cool name, makes infectiously delicious music and is one of the happiest people I've ever met. His enthusiasm for music and life is just refreshing. I had the chance to ask him a few questions, so read on.
Telekinesis, is, for the most part, a one man act. You write and play all of the music yourself on record, and are joined by Chris (guitar), David (guitar) and Jonie (bass) when you tour. Is there a reason you choose to play drums when you perform live?
Yeah! It really comes down to the drums being where I feel most comfortable in a live environment. I’ve also been playing the drums for a much longer time then guitar or bass, so it just feels natural, plus it’s a really fun challenge every night. I’ve got to remember to breathe, and pace myself, and it’s also great because it lets me be able to play drums every night, as well as sing. I love playing the drums. Maybe in the future, it won’t be like that, but for the time being, it’s just what feels right.
What inspired you to make music? Have you been a musician since childhood or did you just up and decide one day that you wanted to be a musician?
My father was a DJ on the radio here in Seattle for 30 years, so I grew up listening to music, and can’t remember a time in my life when I haven’t been listening to records and going to see shows. I think that was what really was the catalyst for me.
You come from Seattle, a place with a history of great musicians. Are there any particular names, famous or unknown, that you’d like to share as particularly poignant?
Pearl Jam is one of those bands that continue to amaze me. They’ve braved the grunge scene, and are still continuing to make records that are amazing, and challenging. I’m in love with that band.
Chris Walla produced your record. How in the world did you manage that? Are you planning on working with him in the future?
Yeah, hopefully! I met Chris through Jason McGerr (who plays drums in Death Cab for Cutie). Jason has been a dear friend for a long time now. Chris actually found the music on my myspace, and sent me a message one day saying he had enjoyed listening to it. I was flattered, but thought nothing of it. Well, a few weeks later we’re backstage after a Death Cab show, and he’s asking whether he can make my record. It was all pretty surreal, for sure.
You sing that you only go to Tokyo in your dreams. Do you ever really want to go there?
I would absolutely love to go there. I think it’s one of those places that wouldn’t let me down. It just looks so completely different to anything I’ve ever experienced before, traveling. I really hope to go there someday.
You have an incredible ear for happy melodies. Have you studied music?
Thanks very much! I studied recording, but not music theory or anything. I think it was all of the records I listened to at an early age. The Beatles, and The Kinks, and Donovan, and the Zombies. All bands that wrote amazing melodies.
Did someone really tell you that you are an awkward kisser? Are your lyrics fictitious or are they more like a journal? Henrietta, Colleen, are these real people?
Ha! No one actually ever said that to me, I think it’s just me thinking that in my head. I’m a bit of a worrywort…Most of the lyrics or pretty personal, like Henrietta is a real person that I had a huge crush on in Liverpool, England. It’s hard for me to write about anything other then what’s happening in my life, I reckon.
What is the composition process like?
It’s very much studio based. Lots of trial and error and layering parts upon parts with my laptop. It’s a really different process than writing music with a band. It’s very reliant on electronic equipment, which is a bummer sometimes!
You’ve toured with Margot and the Nuclear So and So’s and are now touring with An Horse. Has anything really extraordinary happen on the road?
I completed my Gumby set at Cracker Barrel! I got Gumby and Pokey now. It’s exciting!
What’s the last album you listened to and really enjoyed?
The newest Richard Swift record is pretty incredible, for sure. It’s called The Atlantic Ocean. It’s got some really incredible production.
You have an incredible collection of songs. What’s your favourite to play?
Thanks so much! I really enjoy playing ‘Calling All Doctors’ because it is so completely different to the version that is on the record.
If you had to describe your music with one word, what would it be?
Minimalist.
Something I really like about the record is that you manage to match the mood of the music and the lyrics perfectly. For example, on the closing track “I saw lightning”, I swear it feels like it’s raining, and raindrops are mentioned in the song. Which do you write first, lyrics or music? How difficult is it to achieve that cohesion?
That’s awesome! That makes me happy! It really depends on the song, I guess. With I Saw Lightning, it was raining outside when I wrote it, and I remember that very well. So, I guess sometimes it just works out like that!
I’ve noticed that you also took the photos for your liner notes. Music, photography; are there any other crazy talents that we should be aware of?
I can wiggle my eyes back and forth at a rapid pace. It’s nutty!
The album has interesting cover art. Does the upside down clock tower signify you turning the world of music askew?
Ha! No, It’s the wizardry of Maggie Fost, who brilliantly designed the art for the record. She’s amazing.
BAH HUMBUG, NO WEST COAST DATES! this probably means I'll have to wait until they're done touring Europe to see them in concert again. grr.
tour dates: Liberty State Park, NJ All Points West (August 1) Montreal, Canada Osheaga Festival (2) New York, NY Highline (3) Boston, MA Paradise (5) Chicago, IL Metro (7) Chicago, IL Lollapalooza (8)
according to THIS ARTICLE, the San Diego-based band's sophomore effort will see a 2010 release and will be called Natalie Portman Says This Album Will Change Your Life (referencing Garden State)
I'm very excited about a new album from one of my all time favourite bands. they are spectacular live. so much passion and soul!
Delta Spirit - Streetwalker [mp3] my favourite song by the band, with creepy but amazing LYRICS (it's about children working in the sex trade). originally released on the I Think I've Found It EP, re-released on the Rounder Records version of their eponymous debut
here's a great live version from when I saw them at Bottom of the Hill:
