Zencast #14 (Songs from The Wife's iPod)

Normally acts of undying affection are best saved when one is in trouble. The entire florist's industry is built upon the maxim that it's better to arm yourself with something pretty when apologizing. Many men have spent countless hours scurrying around malls searching for the gift that will get you out of the doghouse. But sometimes it's nice just to show appreciation without a need to remove guilt or suspicion from what you might have done. I SWEAR THIS IS THE CASE HERE!!

My wife has a unique taste when it comes to music. She loves Country and Classic rock (Eagles, Jimmy Buffett). She has cornered the market on mopey, chick rock/folk and girl electro-pop. But every once and awhile, she stumbles across some truly extraordinary music. So I thought I would take a break from my own personal quest to expose the world to quality music to give you a glimpse into her musical catalogue. Enjoy...

Zencast 14 -- Songs From the Wife's iPod

Tracklisting

1) Jimmy Buffett -- The Wino and I Know

2) The La's -- There She Goes

3) Third Eye Blind -- The Background

4) Jesus Wore Dickies -- Ant Farms

5) Pet Shop Boys -- Home and Dry

6) Sarah Harmer -- Lodestar

7) The Little Ones -- Lovers Who Uncover

8) Azure Ray -- Rise

9) Kaiser Cartel -- Before

10) Maria Taylor -- A Good Start

11) Tara MacLean -- Dry Land

12) Yann Tiersen -- L'Autre Valse D'Amelie

13) Tori Amos -- Tear In Your Hand

Collective Nostalgia

So, I was racing to work this morning and didn't think to plug in the old iPod - so I ended up listening to GASP!! the radio. (I know my distaste for the radio is well documented, but bear with me; this will end well I promise). Anyway, as I was flipping from station to station, "Hey Jealousy" by the GIN BLOSSOMS drifted by - a song that I hadn't heard in awhile and which made me think fondly of my earlier days. I then came home tonight with the intent of picking this record out and giving it a proper listen. Sadly, I was too lazy to find it in the collection, so I did a quick search and found three other blogs that had posted the song. This in and of itself is not remarkable; what was interesting is that all three referenced the song in the exact same manner: a song that was a piece of nostalgia that contained fond memories and made no mention of the band or it's musicianship. Which got me thinking - do we suffer from collective nostalgia? Did we all subconsciously decide one day that certain songs have a shared meaning to all of us of the same age bracket? Conversely, do we all have the same break-up songs? Anthems of our youth that have moved beyond our personal attachment to some sort of Generation X storehouse of experiences (like the fact that everyone I know who spent anytime living in or around Los Angeles was at the Depeche Mode "riot" on Sunset during the release of "Violator" or those who swear to the almighty that they were "way into Dave Matthews" before they became popular...)?

In the same vein, how does a song escape our personal catalogue and reach collective nostalgia status? How did this rather run of the mill pop song about a girl and boy alluding the authorities become something we all identify with (trust me when I say this never happened to me)? Is it because it's catchy? Did it have something to do with the band being a big summer tour draw when we all had more free time to play the same thing over and over ad naseum? Or is it simply because we used to listen to the radio more as a society and music wasn't as fractured with variances as is it is today (which I am not saying is a bad thing); did we have a smaller pool of songs to make up our generational soundtrack? Will the next generation say to each other "Wow, that song brings back memories!" only to have the other person look at them quizzically and reply, "You mean the remix with Nas or the club remake from Kylie Minogue featuring Miley Cyrus and Timbaland?" as a result from the fact they don't suffer from collective nostalgia?

(mp3) Gin Blossoms -- Hey Jealousy (courtesy of Pirates of the Bargain Bin)

The Fairline Parkway

Label mates of THE GREAT NORTHWEST (who I featured a few days back), this Washington DC band traffics in soft, soothing acoustic indie pop similar to THE PERISHERS but with the added touch of a female vocalist (I could give you about a hundred more comparisons because the sound is so familiar but it's late and my head hurts). Some of the tracks on their album, "A Memory of Open Spaces" hint at a POSTAL SERVICE vibe if they grew up in Nebraska rather than Seattle. "Homesteaders" is a gorgeously crafted slice of pop music that meanders over a skippy little beat as a soft acoustic guitar strums to the accompaniment of Raj Gadhia's vocals. "A Given Day" takes a subtle turn to a slightly darker place, while "Robbed Blind" has a Wilco style country flavor all it's own. "Westward Bound" is probably the best example of the band's formula has a beauty in it's simplicity (and a great use of a trumpet to boot).

This is a record that might not grab hold of you right away but after a few listens you will wonder how you ever lived without it in your collection.

(mp3) The Fairline Parkway -- Homesteaders (Courtesy of the Heart Attack Club)

(mp3) The Fairline Parkway -- Westward Bound (Courtesy of Mainstream Isn't So Bad)

General Fuzz Loves You Back

Two days in a row for unsolicited new music!!

GENERAL FUZZ is one guy making music his own way. I have to admire someone who just gives his music away. Why would he do this you ask? "Mostly it's because I have a day job and my underlying goal is to have my music heard" is what his bio says. The problem is that people who often give stuff away are giving it away because it's not very good. FORTUNATELY, that is not the case here. General Fuzz operates in the Electronica lite section of music that is a cut above mood music but not as hyper kinetic as rave or trance. I listened to his latest record, "Cool Aberrations" and found myself actually enjoying it (I must have been in the right frame of mind!)

Of the tracks on the album the lead track "Acclimate" has a sort of U2's "Where the Streets Have No Name" feel to it. "Fugal" adopts a female vocal over the top of a nice little break beat. If I have one minor complaint is that it does get a bit repetitive over the course of an entire album, but that is usually the case with most electronic music. I would love to see what he can do with a greater sonic palette. At his best his music has shades of LTJ Bukem and Moby. I recommend you check it out.

Download all General Fuzz Albums here

Downtempo Goodness from The Great Northwest

Anytime someone sends me something to listen to I indulge them as best as I can. Such is the case with Portland's THE GREAT NORTHWEST. When a band drops MY BLOODY VALENTINE, SPRIITUALIZED and THE DANDY WARHOLS in their opening bio then they had best bring the good when you press play. After a few listens the their debut, "The Widespread Reign of...", you can finally get past the obvious references to the aforementioned artists and see what this band has to offer that is in some way their own.

"Chief John", the official first single has a nice lazy acoustic feel to it that allows lead singer Brian James Coates to drift over the top with his vocals. The whole song is an exercise in atmosphere that becomes more infectious as you listen (somewhat reminiscent of the Beta Band's "Dry The Rain"). "Know What I Mean" openly aped Spritiualized, but that is not a bad thing. "Reverie" has a nice clipped guitar intro before it opens up to a kind of dreamy ballad. My favorite track is probably "Western American" which somehow got stuck in my head while I was at work one day and I was actually forced to shut my office door, crank up the computer speakers and blast it so I could get it out of my head. So it's worth the money to get this if you are into the kind of dreamy, slightly fuzzed out space rock sound. I will certainly follow up what they do next...

(mp3) The Great Northwest -- Chief John

Official Website

Anthem In (Finally some new music)

So it's been a bit stagnant on the whole new band front lately. (although I admit I have been absorbed by huge releases by huge bands lately.) But fear not I have a new minor band crush. Thanks in part goes to the wonderful blog Speed of Dark for turning me on to this Brooklyn band called ANTHEM IN. Kind of a mix of Straylight Run, Rogue Wave and early Jimmy Eat World, the band plays the kind of heart on your sleeve, fuzzy guitar rock that always sounds great out of the car stereo. (added bonus for the use of female harmonies to a male lead singer, I have always kinda dug that). The sound can get a bit repetitive at times, but for a debut album it's a good start. I think once they get some time under their belt they could be something special. I dare you to keep still on "Down", which is the lead single. Really fun stuff!

(mp3) Anthem In -- Down (Courtesy of Speed of Dark)

(mp3) Anthem In -- Photograph (Courtesy of Allan's World of Music)

In Fond Memory Of...

George Carlin passed away recently. Here are two of what I think are his funniest bits. First is a routine he did on the need for stuff, which illustrates his mastery of the absurdity of language.

Second is a comparison of baseball and football. The single funniest five minutes he has ever done. He will be missed.

Track By Track: Review of Coldplay's Viva La Vida or Death And All His Friends

I have put this off for a few weeks because I wanted some of the hyperbole to die down. Much has been made of Coldplay's latest as a great leap forward for the band and their establishment is the pantheon of great rock bands. The use of producer Brian Eno (of U2 fame) and the focus of the music away from the more bombastic nature of "X and Y" seems to have paid off. Whether this was just a one off or a genuine advancement in their work is yet to be seen. But, despite the fact that many slag on them for their Radiohead-esque sound, the band still managed to craft something that after many listens does have tremendous staying power.

Track One -- Life In Technicolor

It is always tricky opening your record with a instrumental. Some might find it pretentious while others will call you artistic. I think the song sets just the right tone for the record as a whole. It has a slow build before hitting stride as Chris Martin does his best Sting impression.

Track Two -- Cemeteries in London

This might be the darkest song the band has ever made. It has some great images and a sing along chorus that will play very well live. What struck me about this song is the use of the handclap drum beat and the great guitar work. Definitely an early highlight.

Track Three -- Lost!

If Cemeteries set the tone for the record, then Lost is the juxtaposition. An upbeat organ driven track with another unusual drumbeat (is this Eno's true influence on the band, an expansion of percussion?) Lyrically the message of hope seems to be a direct rebuttal to the darkness of the record so far. This song raises the bar for the rest of the record and after several listens is easily my favorite.

Track Four -- 42

What starts out as a traditional Coldplay piano ballad takes a sharp left turn about a minute at a half in with the first real Radiohead nod. The guitar seems to have been lifted from the 'Head catalogue which is a little disappointing (I had hoped they had outgrown the need to openly ape other people's sounds). The song then fins a nice acoustic groove at the end as Martin intones "you didn't get to heaven but you made it close." which is a nice turn of phrase.

Track Five -- Lovers in Japan / Reign of Love

On my third trip around the album I cam to the conclusion that Coldplay was actually trying to make an noncommercial commercial album. Hidden songs, instrumentals and songs with odd breaks run throughout the disc. Case in point are these two separate songs that are placed together despite the fact they have no real relation to each other. I will be surprised if "Lovers in Japan" is not released as a single by itself, it is probably the most radio ready song on the album and a definite candidate for biggest live song on the record. The second half, the more subdued "Reign of Love" is another Coldplay ballad with a Beatles feel to it, which frankly left me underwhelmed.

Track Six -- Yes

I imagine when the band was putting this album together they were up very late one night and starting messing around with different sounds and percussion cadences and out popped "Yes". A lot has been written about the Middle Eastern flair on this track, and yes it is there, but I think it's a bit overplayed. What struck me more was Martin's voice is so deep, as if he is trying to consciously play against his falsetto image. This is a nice touch and makes the song much more ominous. Another hidden track plays out the tail end of this song, a My Bloody Valentine knockoff that would have played better as a b side rather than taking up space where another actual song could have been.

Track Seven -- Viva La Vida

The first of two title tracks is the second single (first single depending on how you classify singles these days). It's a great song and will be played for a long time alongside "Clocks" and "Yellow". It's the best of all that is this band. Martin is in his comfortable register singing about French Monarchs. The band is here but only on the fringes, darting in a out behind a string and piano crescendo. I have not taken this song out of any playlist since it came out, so my total plays on this tops 40 so far.

Track Eight -- Violet Hill

When this first came out I wrote of the similarity to Pink Floyd. Now as part of an album it is a song that sort of sticks out. It almost doesn't belong with the rest of the record. In retrospect it was an interesting choice as a lead single. It is so different from what we would expect and gives the guitar work a chance to really shine. If they are smart they open the concerts with this, it will be some much better live. I also think burying it towards the end of the record was a mistake. If you had placed this behind Cemeteries the record would have had a more natural emotional flow. Still a good song though.

Track Nine -- Strawberry Swing

One of the reviews I read of this song said that it's only a matter of time before this is the theme to some quirky romantic drama on TV or in theatres. I think that about some this Lennon-esque track. It's hummable but I think the band will regret it in the long run. I can't see it being one that will be a fan favorite but because it will be popular they will be obliged to include it in their eventual greatest hits. Hell, every band has one!!

Track Ten -- Death And All His Friends

For the first minute and half I hated this song. I dislike the Coldplay ballads, always have. Then the drum comes in and the song goes in a whole new direction as Martin yelps, "No, I don't want a battle from beginning to end, I don't want a cycle of recycled revenge, I don't want to follow death and all of his friends". It's almost as if he is trying to convince himself that everything will be okay after all. A nice way to end the record properly. There is a short coda that brings the music from "Life in Technicolor" back only with some lyrics about escaping and dreaming to close the record.

It's a really, really good album. I stop short of saying great because only time will tell how it shapes up in comparison to their entire catalogue. It could be their "Unforgettable Fire", the record that looking back was the beginning of their time as an artistic force. Or it could be a momentary step forward before a regression back to the original formula. I sincerely hope it's the former. I could get used to this new and improved Coldplay.

Zencast #13 (The Electro Pop Cast)

Anyone who has ever lived in California knows that when the calender hits late June the temperature goes through the roof. Lately it has been about 104 degrees here in Pasadena with little sign of relief in site. What does this have to do with 80's and 90's electro pop you ask? Well, nothing but I have to bitch to someone and you'll do.

Anyway, this particular podcast was born from my profound love of electronic pop music. I grew up on this stuff so it was only a matter of time before I slapped a playlist together. Although not a definitive collection to be sure I think it does a good job of representing the genre with the highlights here being probably the Camouflage track and the hidden gem by B Movie. Enjoy!!

Zencast #13 -- The Electro Pop Cast

Tracklisting

1) Depeche Mode -- Enjoy The Silence
2) Pet Shop Boys -- Domino Dancing
3) OMD -- Enola Gay
4) Cause and Effect -- It's Over Now
5) Moev -- Capital Heaven
6) Manufacture -- As The End Draws Near
7) Camouflage -- That Smiling Face
8) Red Flag -- Russian Radio
9) B Movie -- Remembrance Day
10) Erasure -- Drama!

I Don't Care If It Is Kids Music...It's Catchy

I have tried to avoid writing about the state of Kid's Music on this blog. My wife does a pretty good job of detailing what my boys are listening to and what they like over on her site (see sidebar for link) and I choose not to focus on music for the toddler set. But when one has kids your listening patterns do change. So I have had my far share of Laurie Berkner (GAG!), Raffi (The Pied Piper on Ritalin) and The Dirty Sock Funtime Band (Don't ask, we're both better off with you not knowing...) So when something comes along that I actually like it is a double blessing. Since 2 year olds feel the need to listen to the same thing over and over and over, a good song is like a piece of manna from Heaven. Case in point, "Pop Fly" by Justin Roberts. This song has several things going for it.

1) It's about baseball. This in and of itself might be enough.
2) Roberts sounds like Mike Mills from REM. Go ahead listen to this followed by REM's "Superman" and I dare you to tell me they are not separated a birth.
3) The song has a catchy chorus. This would be a great summer song even if it wasn't aimed at those still riding with their training wheels attached.
4) Seriously, it sounds like a lost REM song. Take away the lyrics and just listen to the music and it could fit right in to any of Stipe and Company's albums. (Come on, isn't "Shiny, Happy People" really a kids song?)

So put aside your prejudice to music for toddlers and give it a listen. I even included the video which is also kitchy fun!!

(mp3) Justin Roberts -- Pop Fly

Quick Hit

So I have three huge posts coming in the next couple of weeks.

1) A Track by Track review of the new COLDPLAY CD. I think I am finally ready to tackle it head on after about 8 listens.

2) A new podcast which has been gestating for about a month.

3) A post about movies and politics in light on back to back viewings of "Recount" and "Primary Colors" over the weekend.

But since the day is winding down I thought just a quick hit post to let you all know I'm still active.

I had to throw together some music for my school's Senior Class breakfast which required me diving into the realm of hit music. Normally I stay out of these waters with only a passing interest in what kids are into these days. Without really knowing the difference between RIHANNA and any other would be Mariah I had to rely on the Billboard Hot 100. Let me say I feel really bad for the youth of America. 99% of what passes for hit music these days is crap (which is exactly what every other old fogey has said about popular music since the dawn of Elvis...). I did however come across a couple of choice nuggets buried in the muck:

(mp3) Citizen Cope -- Let The Drummer Kick

Featured in a car commercial and has a decent hook. Not the most popular song out there but it does have a way of sticking in your head.

(mp3) M.I.A. -- Paper Planes

I actually like her style. Some of her newer stuff is grating and she appears to be pandering a bit to the hip hop crowd but she is so unique that I will forgive her.

(mp3) N.E.R.D. featuring Santogold and Julian Cassevetes -- My Drive Thru

This is either the greatest tribute to Prince ever or the greatest rip off I can't tell. But the guitar hook is great and I predict it will be all over the radio by the end of the month.

A Post about Nothing

So I realized the other day that I have been woefully inactive when it comes to this particular blog and the truth is, I have no real excuse. Sure I could say I have been busy at work or with family. I could say that I have been wrapped up in the frustrating drama that is following the Los Angeles Lakers or the Angels. I could say that my lack of inspiration is due to many factors, but the truth is I just haven't been inspired to write anything. Maybe I don't read enough. After all where does one get inspiration but in the words of others. I have been reading "Teacher Man" by Frank McCourt for like 1/2 a year and while it is truly brilliant, one book does not a reader make. My interest in politics has dwindled to the occasional reading of Newsweek or a perusal of the internet but that's about it. So you might say I have let myself down as a literature consumer.

So why then would you, dear reader, continue to trek through such dribble. Because hopefully you trust me enough to know eventually I will snap out of it and get back to writing at least something interesting. So here a couple of songs to tide you over till I get it all figured out.

(mp3) Paul Weller -- 22 Songs (courtesy of The World of Wingrove)

He look a new Paul Weller album. These type of records tend to sneak up someone who is following the artist religiously. Some artists reach a point in their career when they can pretty much release music whenever they feel like it and their fans will buy it. Weller's not looking for a return to greatness, just a comfortable place to play the music he loves.

(mp3) The Editors -- When Anger Shows

For some reason this song has hit a chord with me lately. Things at work have been darn near unbearable. Everyone is looking for excuses and scapegoats. Everyone is looking for someone else to blame. This can lead to a lot of anger and pain for those involved. And you thought being in public education would be easy. Heck, anyone can teach right? (this is cryptic I know, but I can't divulge specifics, needless to say I doubt the others involved in the heated conversations had any idea their words had such an impact...)

Namasté

So in an effort to combat stress (and eventually take on a slightly expanding waistline that comes with age) I have begun a short sojourn into the world of yoga. Basically, I do about 15 minutes in the morning and about 25 minutes at night in the hopes that this will turn around the above mentioned issues. Here's what I have learned so far:

1) I am no longer 15. When I was a teenager I was very flexible (played a lot of basketball). Now, my toes seem to be a mile away from my reach. The people on the video seem to so carelessly touch there digits together while I feel like I have the freakin' Grand Canyon to cross.

2) I have never seen a dog do the dog pose.

3) The leaders of these sessions must all get training in speaking with a soft monotone that requires me to turn the volume up so loud that it is somewhat counterproductive to relaxation.

4) Yoga and twister must have been created by the same people. At one point I have expected the lady in my PM session to say, "Right Hand, Green".

5) If you give into it, and don't worry about looking like a fool, this stuff actually does have a calming effect. I find I am sleeping better and have more energy at the beginning of the day. Unfortunately, the job stress overwhelms any sort of inner peace I have attained but its a start.

S0 I will keep at it. They say that if you do something new for 21 straight days it becomes part of your routine. I am on day three, will see if it sticks.

(mp3) Air -- Alone in Kyoto

Having done this a a few days I was struck at how important the music is to the whole yoga experience. This song, taken from the "Lost In Translation" soundtrack, has a similar feel.

Randon An Emotional Fish Post

Dublin's AN EMOTIONAL FISH are a great example of a knock off. They recorded three records in the late 80's and 90's that owed a huge debt (or is it thievery) to u2. I would imagine that living in Ireland around the time of "The Joshua Tree" meant that every band that made a record at this time would inevitably be compared to arguably the biggest band in the world but these guys seemed to ape everything about Bono and the boys. Which is to bad. On their own this four piece had some artistic merit, but they seemed to be trying to hard. Even when they tried to change their image they released a more avant garde record at the same time that u2 released "Achtung Baby".

So why do I waste some of your valuable time writing about a non-entity in the world of rock such as An Emotional Fish? Because as I was digging through my cd collection I plucked it out and listened to them and Damn if they don't sound really good. Maybe it's time or maybe I'm in a different place but the songs sounded fresh and interesting. Just goes to show that anything can sound better with a new perspective. I wasn't expecting anything great and was pleasantly surprised. Sometimes, the flip occurs. Some great records do not age well. (that is not to say that this is a great record, merely a passable one) Some bands seminal work becomes instantly dated after a year or two. Others have their records mature over time till they ripen with age. So go back to your collection and pull out something you haven't heard in while. Did it get any better?

(mp3) An Emotional Fish -- Celebrate

(mp3) An Emotional Fish -- Star

p.s. I did not know this but the band opened for u2 in Ireland in 1993. Now that's just funny!

Some Movies You Can't Pass Up

There are just some movies that when they are on TV, regardless of when you get to the film, you have to stop and watch. Over the weekend two such movies (and there are many), were on so it ate up a good portion of my Saturday and Sunday afternoons. I will address "Rounders" at another time, but this post is all about "O Brother, Where Art Thou?". Most people who speak of the Coen Brothers oeuvre tend to focus on "Raising Arizona", "Fargo" or, if they want to appear in the know, the brilliance of "Miller's Crossing". Having not seen "No Country For Old Men" I cannot speak on it's place in their catalogue but I often feel that this Depression era retelling of Homer's "The Odyssey" is far and away their best work. It is the perfect mix of comedy, drama and fantasy that highlights the Brothers' sense of timing and pacing in the writing and directing. It is also a cut above their other work because it seemlessly captures the time and place of the Depression through music and visuals. There is one particular scene that is absolutely riveting. The main band of thieves, having eluded the authorities and now on the lame, set up camp in the woods for the evening. The four men sit around a camp fire as Tommy, the guitar player who sold his soul to the devil, sings a soft bluesy tune as the others sit alone with their thoughts. George Clooney, who is rapidly becoming a real quality actor, protrays the sense of longing for a better life and the utter hopelessness of the Despression without uttering a word. But it's the music that makes the scene. It heightens it to a whole other level. It's always gets to me.

So I can guarantee I will watch it the next time I flip by. Good movies have that effect on us. They always make us stop and check it out.

(mp3) Chris Thomas King -- Hard Time Killing Floor Blues

Contrast Podcast and Me

So I made a quick contribution to the latest Contrast Podcast, which was all about cities. I picked Ryan Adams' "New York, New York" because of my deep love for the times I visited the city. I don't think I could ever live there, but visiting always gave me some insight into the magic and majesty of the Big Apple. Listen to the Podcast here.

The Strange Duality That is The Cure

I seldom listen to the radio anymore. Most of the stations here in the LA area simply recycle 15 year old SUBLIME songs (can someone please explain how that band was ever popular?), but I found myself three minutes from home this evening and rather than flip through my Ipod endlessly I flipped the FM dial on the old radio. In a very serendipitous moment I landed on a station that was playing the new single from THE CURE!!!

Now, I have been a Cure fan for a long time. I spent the better part of one year absorbed in the beauty that was the "Wish" CD and still get goosebumps at "10:15 Saturday Night" and "Charlotte Sometimes". But since the "Bloodflowers" CD I have kind of lost touch with Robert Smith. I mostly ignored the last record (and judging by its sales I was not alone) so it's no real surprise that at first listen, the poppier, more radio friendly version of the band appears. "The Only One" is very much a carbon copy of "High" with its use of tympanies and Smith's falsetto pining over a lost love. "NY Trip" is the other track making the rounds and it also owes quite a debt to the "Wish" era wah-wah guitar effects. The songs actually come off as a bit derivative in many ways. The band (much like REM latest) are bidding for relevance in a time when most of the kids only know them from "Just Like Heaven" (Random side note: Why is it that this is the only song they will play when they appear on TV...I can count 6 occasions when the band was on live TV with new material to peddle and instead rolling this song out for the 1,000 time. I mean I like it and all but would it kill them to hit the catalogue a bit.)

So I will keep one ear out for the rest of the record (which is supposed to be rolled out in pieces until its official release in August). Here's hoping that it's not just a greatest hits retread but buried in their bid for radio airplay is the artistic daring that they were once known for.

(mp3) The Cure -- The Only One (courtesy of So Indie It Hurts)

(mp3) The Cure -- NY Trip (courtesy of SOTB)

Random Silver Lake Scene Posting

(ed. note: I'm stopping posting picks for awhile until I can get them to stay up. It seems my computer is a piece of crap and pictures just end up being large boxes with an x in it.)

Nestled in a corner of Los Angeles is Silver Lake, CA. Over the past decade or so it has become something of an artistic haven for DIY, Indie rock artists to live (because it is relatively cheap by LA standards) and isn't affected by most of the Hollywood feel of the rest of the City of Angels. Silver Lake's most famous resident was probably BECK, but others such as ELIOT SMITH and SILVERSHUN PICKUPS were prominent in the scene at different times. So with some time to kill I thought I would look up some of the up and comers from this little enclave.

SEAWOLF has all the makings of the next big thing. They have the sound that combines just enough pop sensibilities with some off kilter instrumentation (violins, accordions, etc) There sound is a little but Pete Yorn and little Arcade Fire. I actually first heard these guys as background for a local Sports Talk Show and was immediately struck by the guitar line in the song "You're a Wolf". There are also moment of hushed acoustics that allow the wounded voice of singer Alex Church to come through. A few of their songs are available here.

DAPPLED CITIES are a little more pop than Seawolf but still remain true to the anything goes aesthetic that is the Silver Lake scene. With a dash of Flaming Lips here and some The Shins thrown together, the band crafts sunny, cheery tunes with a hint of melancholy in the aftertaste.

(mp3) Dappled Cities -- Fire Fire Fire (remix)

THE ONE AM RADIO is really just one guy, so he obviously has a bit of a debt to Beck. But here the music is more dreamy folk than the kind of random collection of material that Beck throws together. Most of the music has a bit of a Postal Service feel to it, but with a greater emphasis on the guitar and less of the electronic bent. Several mp3's are available here.

DARKER MY LOVE fore sake the bedroom production that is the stock and trade of most of these artists for the shoegazer style of noise rock. They wear their influences on their collectives sleeves (RIDE, MY BLOODY VALENTINE) but surprisingly it never becomes derivative. (which is the case with so many of the fly by night shoegazer bands.) "Summer is Here" takes the above formula and adds a bit of a Beach Boys tilt to it (kinda like Jesus and Mary Chain), which makes for a very enjoyable bit of noise pop.

(mp3) Darker My Love -- Summer is Here

PETER WALKER is also front and center in the band EULOGIES. Both projects have the same quintessential Silver Lake feel (somewhere Pete Yorn is listening with a keen ear for similarities to his own music). Walker as a solo artist is a less quirky version of MARK E from the EELS, but has the same lyrical interests (namely early death). As a member of the band, he becomes a bit more adventurous (which is interesting since it usually works the other way around) and at the same time a lot poppier in his sound. Walker could be something special if he picks one personality to focus on and applies himself. But as is the case with most of these artists, I doubt he has an interest in international fame. Which is probably why, like all the other from here, it will most likely happen.

Eulogies Official Site

A Cursory Listen to the New Death Cab For Cutie

First impressions are important when it comes to music. Often we make up our minds about a band or a record based on our first exposure to it in its totality. Sure we get a sense of the direction based on what comes out as a single or a snippet we here along the way, but it's not until we get a chance to absorb the whole record at once do we understand the intent of the musicians and the vision they have created.

In many ways, DEATH CAB FOR CUTIE, are a band out of place in this digital age. They were made for vinyl. Their music is of another time, when records were complete thoughts and not dissected into bits for mass consumption. In their earlier works, the band played with mood and tempo to create complete portraits. This was the apparent knock on "Plans", namely that it was to radio friendly and betrayed the image most people had of the band. So with "Narrow Stairs" the band returns to its roots/ But there is truth in the saying that you can't go home again. The attempt here to find a balance and it appears they may have done it.

"Narrow Stairs" has some truly impressive highlights (aside from the monumentally great single "I Will Possess Your Heart"). "Your New Twin Sized Bed" has the kind of infectious guitar line that has made Chris Walla a musical genius (for more proof check out his criminally overlooked solo record). "Long Division" and "No Sunlight" are pop creations that were made for summer radio play lists. Even the middle eastern influenced "Pity and Fear", which could have gone so wrong, seems to fit in the context of the record as a whole. Some of the slower material gets a bit repetitive (I've never been a huge fan of naval gazing, self loathing that is represented here by "You Can Do Better Than Me"). Overall, there is loose feel the album but with still a eye to some kind of larger scale success. Believe me, I have seen dozens of bands fail at finding this balance. I feel that this record puts Death Cab in the discussion as a band of a generation type of group. Lofty praise after only two listens but I feel this record is an easy contender for record of the year...

(mp3) Death Cab for Cutie -- Your New Twin Sized Bed

Zencast #12 -- The Stress Cast

So I have been under a tremendous amount of stress lately. Work has piled up on me to the point where all I see is endless amounts of paper everywhere I turn. Normally stress doesn't really bother me (I am usually able to combat the feelings with my ADD like ability to multitask) but this last week hit me really hard. Getting up earlier than normal, going to bed later than I ought to and not eating very well certainly aren't helping. So this playlist was initially created to help me deal with this week's stress. As it turned out it made a pretty good podcast so here it is...

Zencast #12 -- The Stress Cast

Tracklisting

1) The Pixies - Umass
2) ...And You Will Know Us By The Trail Of Dead - The Rest Will Follow
3) Superchunk - The First Part
4) Superchunk - Hyper Enough
5) The Arcade Fire -- Keep The Car Running
6) Pavement -- Elevate Me Later
7) Desaparaceidos -- Greater Omaha
8) Fugazi - Cassavetes
9) The Betes Noires -- Black Blue Ink
10) Yo La Tengo - From A Motel 6

Enough of the old...gimme some new indie rock

So I admit I've been living in the past recently. It happens when you have kids. You reminisce more. There are things about youth that I miss and music from my formative years hits a soft spot in my heart. BUT ENOUGH OF THAT DAMNIT!! Lets get some new stuff in here.

I can't lay claim to discovering this band. That has to go to one of my favorite blogs called to die by your side, who turned me on to MARBLE SOUNDS. A five piece Belgian band (maybe the first thing I've ever heard from Belgium) that traffics in a mix of meloncholy folk (the sweet "Come Here and the boy/girl duet "Ragdoll Blues") and more esoteric, indie rock (the absolutely divine "Redesign") with hints of sugazer drone in the guitars. I am still digesting the tracks they have posted on their site but here is one off their ep which you can buy for small fee (come on people support those struggling artists out there!!)

(mp3) Marble Sounds -- Something That We'd Never Do (courtesy of to die by your side)

Not Exactly An Original Post Idea

There are several posts all over the blogosphere about this so I thought I would throw my two cents in...

So COLDPLAY has joined the "give away our first single free so people will pay attention to us" card with their first off the new record entitled "Violet Hill". Musically, Brian Eno's fingerprints are all over the song taking the ethereal synths at the start from "Where the Streets Have No Name" and mixing it with some later day PINK FLOYD sounds to create a Coldplay song with some surprising bite. Chris Martin still lays the imagery on a bit thick in some places but overall the song serves the purpose of being just original enough to make me anticipate the new record but not straying so far as to alienate fans of their older work. Most of the reviews of the song I have read seem ambivalent to it but I have to admit that it is certainly growing on me. But, in the interest of full disclosure, I have enjoyed all of their work to date. So I am certainly excited about what lies ahead.

Since the song is already free here it is...

(mp3) Coldplay -- Violet Hill

Sire Records Just Say...Series (Part Five)

I graduated from high school in 1991 and with that my entire musical universe changed. At the time I did not know of course that NIRVANA, PEARL JAM and others were on their way into my life. I felt like I had a good grasp of what I liked and what I didn't. I like electronic pop music (Depeche Mode, Pet Shop Boys, et.al) and was growing to like more traditional alternative rock (REM, U2) but I was starting to get a bit restless with the music in my collection. This happens to me from time to time. I was lucky that, for the most part, I escaped high school without a real Hair Metal encounter (which was certainly possible living in the Inland Empire part of California). So I was ripe for a musical revolution in my world, but it would have to wait for another year. 1991 was all about keeping on with what I was already comfortable with. The Sire compilation from that year (the last one I have) was very much more of the same. THE OCEAN BLUE, returned with another lovely song called "The Planetarium Scene", which sealed the deal for them becoming one of my all time favorite bands. PRIMAL SCREAM and MY BLOODY VALENTINE are also here but with songs that, at the time, I was not as impressed with as I am today. What really strikes me about this compilation is that by this time I was ready to move on to something new. I guess the timing was right given that I was leaving high school and on to college. It's funny how our tastes seem to change at just the right time.

(mp3) The Ocean Blue -- The Planetarium Scene

(mp3) The Judybats -- Don't Drop The Baby (a highly underrated Southern folk band with a quirky lyrical sense and a soft, soothing musical style.)

Tracklisting for Just Say Anything...

1) John Wesley Harding and Steve Wynn -- Warning Parental Advisory

2) Body Count featuring Ice-T -- Body Count

3) Royal Crescent Mob -- Timebomb

4) Seal -- Crazy (ed note: remember when he was cool?)

5) Dinosaur Jr. -- Puke + Cry

6) The Judybats -- Don't Drop The Baby

7) Ride -- Today

8) Throwing Muses -- Not Too Soon

9) Primal Scream -- Higher Than the Sun

10) Morrissey -- That's Entertainment

11) The Mighty Lemon Drops -- Another Girl, Another Planet

12) Richard X Heyman -- Falling Away

13) Danielle Dax -- Big Blue '82 (Zen Mix)

14) My Bloody Valentine -- Honey Power

15) Bigod 20 -- Carpe Diem (Transmission Mix)

16) Merlin -- Feel the Fury

17) The Farm -- Groovy Train

18) The Ocean Blue -- The Planetarium Scene

Sire Records Just Say...Series (Part Four)

1990 was a dark year for me. I was a junior in high school and the pressure was immense. I had entered the time when I was taking classes that, for the first time, actually mattered. College was on the horizon (a prospect my somewhat immature make-up was not altogether prepared for) and it was probably the first time I began to really question the future and what was in store. It's funny how we gravitate to music to soothe us, inspire us or console us. In the case of 1990, music was all about anger, frustration and fear. I was angry that I had to face the fact that I was readying to leave high school (unlike most people who spend any time there). This was coupled with the fact that I was in no way shape or form a rebel meant that music was my only expression for my life. On the surface I was a good student (one might even call me a nerd). I had friends and was relatively well liked. But I couldn't shake the sense of anger and the music I listened to that year fueled that.

Here's where this fits into my ongoing deconstruction of Sire Records. 1990 was an angry year for the label as well. This compilation brought MINISTRY, PRIMAL SCREAM and MY BLOODY VALENTINE into my life. (Talk about timing!) Even the DEPECHE MODE track is dark and dirty (this was the first single off "Violator", which has a special place in my heart as far as DM records go...) The MORRISSEY song filled the void of longing and sadness that I carried with me for the year. But it was the combination of Ministry's anger (as evidenced by the relentless drums that make up the song "Breathe") and MBV's foreboding sense of hopelessness that I cam back to again and again. Be the end of the year, things got better and my Senior year was one of joy and fun. But for one year, I was your prototypical angst ridden teenager.

(mp3) Depeche Mode -- Personal Jesus (Kazan Cathedral Mix)

(mp3) Ministry -- Breathe (Live from the Gulag)

Tracklisting for Just Say Da...

1) Depeche Mode -- Personal Jesus (Kazan Cathedral Mix)

2) Merlin -- Drop the Pressure

3) Erasure -- Star (the Trafalmadore Mix)

4) Ofra Haza -- Wish Me Luck (Karamazov Mix)

5) Chris Thomas -- Help us, Somebody

6) Ian McCulloch -- Candleland (Second Coming Version)

7) Ministry -- Breathe (Live from the Gulag)

8) Ice-T -- The Girl Tried To Kill Me

9) John Wesley Harding -- When The Beatles Hit America

10) Danielle Dax -- The Id Parade

11) Morrissey -- November Spawned a Monster

12) Bradford -- Gang of One

13) Debbie Harry -- Maybe For Sure (Tunguska Event 7" mix)

14) My Blood Valentine -- Soon

15) Wild Swans -- Melting Blue Delicious (St. Petersburg Mix)

16) Primal Scream -- Loaded

The Hype is Overwhelming!!

I'm taking a quick break from our Sire Records tribute because its not often that three, count them three, of my favorite blogs all wrote about a new band called THE LAST SHADOW PUPPETS. A side project of Arctic Monkeys' front man Alex Turner and some other dude, the band is releasing a record soon and they have apparently sent out mass e-mails to all the big blogs to plug the record. The two songs sound good, so I guess the hype is worth it. Imagine if the ARCTIC MONKEYS grew up, got in touch with John Paul Jones of Led Zeppelin to conduct an orchestra and you pretty much have what appears to be the first single. The acoustic stuff is a little more unusual, with a funky bass line and slightly more understated vocals than the usual Monkeys fare. Here is a great example of using the blogosphere for your benefit. But my question is...will all the initial hype kill this band as it tends to do so many others?

Here's for you to decide

(mp3) The Last Shadow Puppets -- My Mistakes Were Made For You (courtesy Song, By Toad)

(mp3) The Last Shadow Puppets -- The Age of Understatement (courtesy of Indie Surfer Blog)

(mp3) The Last Shadow Puppets -- In The Heat of the Morning (courtesy of Indie Surfer Blog)

Also check out To Die By Your Side for his take on the new band...

Sire Records Just Say...Series (Part Three)

By now the late 80's/early 90's nostalgia might be killing some of you (at least the hazy recollections of my teen years have got to be a bit grating at this point.) But we soldier on nonetheless. The 1989 collection of the Just Say series, entitled "Just Say Mao", comes with a nifty picture of a dancing Mao Tse Tung (leader of Communist China for those of you who slept through world history class in high school) and started a move away from the label's more established artists into somewhat more avant grade territory. The only really big name on this disc was Depeche Mode, who clock in with a remix of "Everything Counts". Morrissey, Erasure and The Replacements check in but with less than stellar tracks. The two highlights here are the first thing I heard from the Hershey, PA band THE OCEAN BLUE and a very early incarnation of UNDERWORLD.

THE OCEAN BLUE stole my heart with this, their first singled called "Between Something and Nothing." I was enthralled with the song which is very simple but has a transcendent guitar solo in the middle of the song. I immediately grabbed their first record and have followed them ever since. If you have a chance to get their debut self-titled album.

UNDERWORLD gives us a song called "Thrash" which truth be told is god awful. And yes, it is the same band that later on gives us the great "Born Slippy". This was before Darren Emerson joined the band and they became the dance floor sensations that they are today. Here the band is run of the mill guitar pop group who ended up dying out and being reborn. I guess this is a lesson that if you first don't connect with an audience don't give up, just take a whole lot of drugs and reinvent yourself (editorial: This is not an endorsement of taking drugs, although it is apparent that at least for these guys the benefit of not having to hold down a real job seems to have worked out okay for them)

So all in all, this is a weak compilation. Apparently the A&R guys had falling in love with Middle Eastern influenced music so it has some real drawbacks (since that is not something I am really into). But the Ocean Blue song saves it and gave me my first real band crush.

(mp3) The Ocean Blue -- Between Something and Nothing

(mp3) Underworld -- Thrash (for unintentional comedy sake. Check out The Vinyl Villain for a take on the band at their best.)

Tracklisting for Just Say Mao...

1. Depeche Mode -- Everything Counts (Bomb Beyond the Yalu Remix)

2. Martin Gore -- In A Manner of Speaking

3. Figures on a Beach -- Accidentally 4th Street (Gloria)

4. Underworld -- Thrash

5. Erasure -- Pistol

6. Nasa -- Insha-Allah

7. Throwing Muses -- Dizzy (Remix)

8. Danielle Dax -- Whistling for His Love (Remix)

9. Morrissey -- Lucky Lisp

10. The Ocean Blue -- Between Something and Nothing

11. Ofra Haza -- Da'Ale Da'Ale (Remix)

12. Tom Tom Club -- Don't Say No (Remix)

13. Ice-T -- The Hunted Child

14. Royal Crescent Mob -- Nanana

15. The Replacements -- Date To Church

16. k.d. lang -- Nowhere to Stand

17. Lou Reed -- Strawman (Live)

Sire Records Just Say...Series (Part Two)

1988 brought the second installment of the Just Say Compilation series, "Just Say Yo..." and with it new discoveries into the world of music. At this point I was a Sophomore in high school and still very much a socially awkward, bookish geek. I had only two saving graces that got me through high school. 1) I was fortunate enough to hang out with others who were more socially adept than I and who, in exchange for my acumen in History and English, provided me with a social setting and 2) I was starting to amass quite a CD collection. At that time I was developing into a walking collection of mix tapes and obscure tracks from favorite bands. This made me somewhat of an anomaly a cooler than thou nerd. This compilation served me well in a couple of key areas.

First, at the time, the DEPECHE MODE "Behind the Wheel/Route 66" version was in scarcity in the states. Our local alternative station, the once mighty KROQ, was playing the Mode like it was going out of style and so I gained many points for having what was at the time a unique take on this song. Second, the BOOK OF LOVE mash-up of "Tubular Bells/Pretty Boys and Pretty Girls" was something of a minor club hit and so having this made me seem like I was truly on the cutting edge. Finally, the MORRISSEY track "Will Never Marry" gave me depth that I did not possess at the time. (Disclaimer: these are all somewhat fuzzy memories at best, so if you might have been present for my adolescence at the time please spare others from revealing the truly embarrassing truth...it's better for me to live in my dreamworld.)

(mp3) Depeche Mode -- Behind the Wheel/Route 66 (mega single mix)

(mp3) Book of Love -- Tubular Bells/Pretty Boys and Pretty Girls (Regan's House Medley)

Tracklisting for Just Say Yo...

1) Ofra Haza -- Galbi

2) Morrissey -- Will Never Marry

3) kd lang -- Black Coffee

4) Depeche Mode -- Behind the Wheel / Route 66 (mega single mix)

5) The Wild Swans -- Bible Dreams

6) Erasure -- Chains of Love (Truly in Love with the Marx Bros. Mix)

7) Book of Love -- Tubular Bells/Pretty Boys and Pretty Girls (Regan's House Medley)

8) Martini Ranch -- Hot Dog

9) Throwing Muses -- Mexican Women

10) A House -- Call Me Blue

11) The Mighty Lemon Drops -- Inside Out (Live)

12) James -- What For

13) The Soup Dragons -- Kingdom Chairs

14) David Rudder/Charlie's Roots -- Bacchanal Lady (Extended Remix)

Sire Records Just Say... Series (Part One)

One of the major problems facing the music industry these days is the ability for bands to release their own material without the use of the old record label apparatus. This has been a benefit to those of us who seek out new music on a regular basis but it does have one drawback. Back in my youth I could rely on certain record labels releasing material I was guaranteed to enjoy. 4AD, Sub Pop, Merge, and Sire records all released records that matched my sensibilities to the point that when I saw the logo I bought it without question (and was rewarded more often then not). In the case of Sire records, the best and biggest new wave bands were signed here throughout the 80's (Depeche Mode, Echo and The Bunnymen, The Smiths) so their catalogue was essential to shaping me as a musical youth. For a string of 5 years the label released a compilation CD highlighting artists for the year. The "Just Say..." series is a who's who alternative rock (mostly from Europe with a little US thrown in). There are actually seven volumes but since I only own five I will have to limit this to a five part series of posts.

The first album, Just Say Yes.., released in 1989, gave me my first real taste of Echo and James. I bought the record based on my knowledge of Depeche Mode and the Smiths (and the prospect of a rare Smiths song was worth the purchase alone). Despite all the big names it was two minor acts that I wore out. I absolutely fell in love with THE MIGHTY LEMON DROPS track, to the point were I sought out their albums with a furious passion and may have actually threatened a store clerk when he said he had to special order them. The other band that caught my ear was FIGURES ON A BEACH, who are actually from Boston. I was convinced these guys were going to be huge and proceeded to stake my fledgling reputation as a music snob on their merits. Two albums later they were gone, but I managed to get over it.

So here are those two tracks for your listening enjoyment. If you want any of the others drop me a line and I will oblige.

(mp3) Mighty Lemon Drops -- Out of Hand

(mp3) Figures On A Beach -- No Stars

Tracklisting for JUST SAY YES...

Depeche Mode - "Never Let Me Down Again" [Split Mix]
Echo & the Bunnymen - "Lips Like Sugar" [12" Mix]
The Mighty Lemon Drops - "Out of Hand" [Extended Version]
James - "Ya-Ho"
The Smiths - "Work Is a Four-Letter Word"
Figures on a Beach - "No Stars"
Wild Swans - "Young Manhood"
Ice T - "Somebody Gotta Do It (Pimpin' Ain't Easy!)" [Remix]
The Ramones - "I Wanna Live"
Replacements - "Can't Hardly Wait"
Throwing Muses - "A Feeling"
Aztec Camera - "How Men Are"
The Casual Gods - "Cherokee Chief"
Erasure - Hideaway [Little Louie Vega Mix]

Sappy Stuff For My Wife!!

Today is our fourth wedding anniversary (and my 150th post) so I thought I would post a bit about it. My wife does a far better job quantifying her sentiments here than I do so I will leave it to others... (fyi: the photo here was taken just after our first dance, so you can imgaine why I look like I'm about to die of embarassment and my wife is cracking up)

(mp3) Amas Veritas --Alan Sivestri

Our recessional we used at our wedding

(mp3) All I Want Is You -- Mary Beth Maziarz

I lobbied for the original by U2 as our first dance song but my wife pointed out that would mean I would have to dance for 7 1/2 minutes (and folks that's just not happening.) But the words still capture what she means to me to this day.

Track By Track: Review of REM's Accelerate

I don't usually do full length album reviews (opting more for snarky comments and reminiscing about bands that are long gone) but with the new REM album I felt it was a good time to deconstruct an album in it's entirety. I am glad to see the band put together a solid album and take some effort and time to sound like the band we all know and love. It fits well with their later work (and borrows sonically from "Automatic For The People", "Monster" and "New Adventures in Hi-Fi"). It may be lesser than those albums, but it is certainly better than any of the post Bill Berry work they have done. So here it is track by track:

Track 1 -- Living Well is the Best Revenge

Within the first 15 seconds it is obvious that the band came to rock. Gone are the slow strings and mellow keyboards, "Living Well..." blasts through with a great guitar and bass combo. Lyrically, Michael Stipe seems to be taking on his critics directly (Don't turn your talking points on me, history will set me free. The future's ours and you don't even read the footnote now!)which is something he tends to not do, opting to be a bit more obtuse in his observations. This song could be a long lost cousin of "It's The End of the World As We Know It (and I feel fine)."

Track 2 -- Man Sized Wreath

After my initial listen through the album this turned out to be one of my least favorite tracks. It just seems like the song is missing a really good hook. After a few more turns around the album I accepted it as the band's attempt to write a punk song (short, choppy drums, thick guitars, little or no chorus) but I still skip past it in most cases.

Track 3 -- Supernatural Superserious

The first single is the poppiest thing on the record (so it's a natural lead out into the world). a song about lost identity and searching to find a place, it's an obvious allegory for Stipe's own attempts to reconcile his private and public life (something he has been more open about in the past few years then in his younger days). I like it, but it's not a great REM single.

Track 4 -- Hollow Man

The album really gets moving with what starts out as a quiet acoustic song and then finds a real groove. The chorus is absolutely breathtaking as Stipe seeks out meaning in his life. Buck and Mills mine some really familiar territory musically here (there is even the standard descending REM guitar line that is their trademark) and the result is a quintessential REM song. One of the clear highlights of the set.

Track 5 -- Houston

A song about Katrina and the aftermath, "Houston", is a direct attack on the government and it's response and the need for the people of New Orleans to look beyond the ruin and rebuild. One of the band's finest lyrical efforts and musically it is one of two tracks that could be an outtake from Automatic For The People. The electric guitars and the organ comes and goes like waves (an intentional trick given the song's topic). You just sense the narrator's dread as he looks around and wishes he were somewhere else.

Track 6 -- Accelerate

We're back to the rock songs with the title track. I can't say it's very memorable but it sounds great in the car (although the fact that it may be about suicide is certainly a downer).

Track 7 -- Until The Day Is Done

The best song on the album. This is the other Automatic clone, from a musical standpoint, so it's up to the lyrics to carry it. What seems on the surface to be another song about the hopeless nature of the country (a reoccurring theme on the record), it becomes an uplifting song about the ability of man to carry on even in spite of all that he faces.

Track 8 -- Mr. Richards

Could this be addressed to Mr. Bush (or Karl Rove)? A dirge-like number that is definitely a message to those who hold antiquated opinions.

Track 9 -- Sing For The Submarine

A song that hearkens back to early REM (Stipe even throws in an homage to "Feeling Gravity's Pull"), this is a very abstract collection of random lyrics. The song never finds it's groove and left me very unsettled. Somewhere here is a great song (and may get new life live) but I think a little more work on this one would have helped.

Track 10 -- Horse To Water

Of the rock tracks on the album this is one of the best. Stipe is playing the part of a stubborn believer who will not accept the opinion of the masses. This will be a great song live. On this and "Living Well..." Stipe hits the right mix of vitriol and passion and is matched with Buck's big guitar lines and Mills falsetto harmonies.

Track 11 - I'm Gonna DJ

Most people I've read HATE THIS SONG. I can't say I love it but it's not gonna kill me. It's a nice little rock song that will get people up and dancing at the concerts. I'm sure there were better songs that could have been added to the record but it fits with the overall sound and lyrical direction of the album.

New A Classic Education!!

A CLASSIC EDUCATION have just posted a new track on their myspace site. I swear the more I listen to them the more I like them. The new song, called "Badlands and Owls" continues with the ethereal, dreamy sort of indie rock that I heard on their first few tracks. Kind of a mix between BAND OF HORSES and MODEST MOUSE but with more strings. Do yourself a faovr and head over to give this song a listen. I can't wait for a full length album from these guys.

Out of respect to the band I won't post the song, just enjoy the tracks from their site.

Zencast #11 -- The New Cast

So it has been ages since I did a podcast so I thought I would focus this episode on new material that is coming out (or has recently come out) for the 2008 year. Lots of highlights here, including a track from the new REM cd (which I will review in full later this week). Also of note is the new song from DEATH CAB FOR CUTIE, which will probably be the biggest record that will hit the blogosphere this year. So sit back, relax and check out what's in store for the new year.

Zencast #11 -- The New Cast

Tracklisting

REM -- Until the Day is Done

Counting Crows -- Hanging Tree
Death Cab For Cutie -- I Will Possess Your Heart
Tokyo Police Club -- Juno
The Charlatans -- Missing Beats (for a Generation)
Portishead -- Machine Gun
The Breeders -- Bang On
Black Francis -- I Sent Away
Billy Bragg -- O Freedom (thanks to Song, By Toad for this one)
Nick Cave and the Bad Seeds -- Lie Down (And Be My Girl)

A Sports Junkie's Dream

So I spent a good portion of today watching a variety of sporting events. The afternoon started with the San Diego Padres beating up on the Dodgers (which warms my heart). From there it was on to the FINAL FOUR. Usually, I prefer college basketball to the pros because college has more pageantry and the players still look like they enjoy themselves. However, the year has been something of an anomaly because the NBA has been so competitive and the LAKERS are actually good again (which makes me sound like something of a fair weather fan, which I am not). But I did anticipate a couple of good college games given that the four teams playing all were very good and had a load of talent on the floor. But Memphis blew UCLA off the court (the score was not even close to the way the game actually played out) and then Kansas opened up a serious can of whoop ass on North Carolina, so I soured on the hoops in favor of the ANGELS game. (For those who have not read this blog for very long, I have a long standing love affair with baseball and the LA Angels in particular). I will eventually share my thoughts on the Halos chances this year but tonight it was just a joy to sit in the chair and watch a little baseball. Fortunately the Angels won so my sports ended on a positive note...

Which brings me to the real reason for this post. I must have seen this commercial about 100 times today (can't really Tivo sports so commercials are a byproduct). Nike has always used music very effectively in their commercials and this is no exception. It got to the point that I was actually humming the song while watching the games. Ah, the power of subliminal advertising. Now please excuse me while I go buy some cross trainers and a Tiger Woods hat...

If you're curious the song is by Saul Williams. Here it is in audio format for your continued listening pleasure.

(mp3) Saul Williams -- List of Demands (courtesy of Slave To The Details)

Pop Music Backlash

So I have equally immersed in the new REM and COUNTING CROWS' records for the past two weeks. Which has made start to jones for something off kilter and random. This happens to me from time to time when I feel I might be trading in my indie roots for the Adult Album Alternative crowd. This is also a by product of my age and my inability to go to four shows a week like I did when I was younger. It just becomes easier to buy and enjoy music that's safe.

So in an effort to fight mainstream pop complacency (which I think also can be treated with some sort of antibiotic) I submit to you LONG FIN KILLIE's Hands and Lips ep. These guys were a Scottish band that released a couple of records in the 90's under the Too Pure label. Too Pure housed a lot of really avant garde artists and shoegazer type bands so I naturally gravitate to this music when I feel like something odd or unique. LONG FIN KILLIE seem to travel in the same atmosphere at dEUS (from yesterday's post) so if you enjoyed them you will probably dig this. Folks who enky early MOGWAI might also want to kick the tires on this ep.

(mp3) Long Fin Killie -- Hands and Lips

(mp3) Long Fin Killie -- Angel

(mp3) Long Fin Killie -- Nation

(mp3) Long Fin Killie -- Clinch