Glass Vaults make pretty music

I often wonder how new bands have a prayer of getting discovered in today's highly fractured marketplace. With radio being overrun by American Idol and bad pop music and no real major print outlets left (sorry but Rolling Stone just ain't what it used to be), it seems that it takes a major alignment of the stars to get a band any sort of exposure. Even the blogosphere is so vast that it would take a huge serendipitous chain of events and postings to get the exposure necessary to be found. Now, that's not to say it doesn't happen. Bands like FRIGHTENED RABBIT, THE ARCADE FIRE, and BROKEN SOCIAL SCENE have all found a modicum of success without the traditional methods of exposure to the listening audience. But in most cases, all a band can do is plug away and hope for the best.

I bring this up due in large part to a weekly e-mail I get from Insound. I signed up for their free mp3 of the week ages ago and on most weeks I ignore it. I have no real reason for playing this week's submission other than I was bored with what is currently on my playlist and needed to hear something new. So color me shocked with the sample track from Wellington, New Zealand's Glass Vaults. "Forget Me Not" inhabits the space occupied by m83, loopier RADIOHEAD tracks, and ANIMAL COLLECTIVE (which I swear is what I heard prior to reading their bio which name checked those exact bands.) Although the rest of their ep is a bit spacier and tends to find it's way into the SIGUR ROS territory, it still is a very intriguing listen (particularly late at night in headphones). Will GLASS VAULTS be a big success and sell loads of records? Probably not. But do the deserve to be heard? Very much so and you should take time to listen to what they have created...you won't be sorry.

(mp3) Glass Vaults -- Forget Me Not

Visit the bands bandcamp site for more of their stuff

Tokyo Police Club Make A Move To The Big Time

I know, I know. It's a hollow apology for waiting for a month in between posts and that any attempt to make up some excuse would only be met with cold indifference. I could say that work and family have consumed me but the fact is that every time I sat down to blog I got distracted by ESPN or some other website. But I am now back in the creative spirit and I hope to write more frequently. Having said that...

TOKYO POLICE CLUB got a considerable amount of publicity for the debut record a while back which did a good job of combining early WEEZER with the more pop oriented JAM catalogue entries. Throw in some PAVEMENT and mix it up and you had "Elephant Shell". I was a bit surprised how often I went back to listen to their record and it made me anxious to hear some new stuff. Glad to say I was not disappointed with their new record "Champ". There is always that obvious move that many bands make to a more commercial sound on their second record that refines some of the edges and takes away some of the urgency of their early material. This is usually due to a combination of commercial desire, record label pressure and the fact that all the performing a band does makes them better musicians and that means a greater sense of harmony and melody.

Gone are a lot of the fits and hiccups of the last record and replaced by a stronger sense of song structure. "Breakneck Speed" and "Wait Up (Boots of Danger)" have that ready for radio accessibility that will get them airplay and commercial endorsements. (We will conveniently ignore the fact that the band once played on an episode of Desperate Housewives...that's just wrong. "Gone" has a bit of that Pavement sound which makes it a braver choice as a single. While the record is good, you wish they would let loose a bit. The punkier elements of the record seem a bit tame, like they are afraid to really hit those instruments and see what happens.

What does appeal is the slow build of the opening "Favorite Food" and the closing coda that is "Frankenstein". In both cases the band tinkers with their sound enough to suggest that they might be ready to really make a creative leap with their future work. That and the simple fact that these lads make catchy, poppy music for a sunny day will keep me coming back to their material again and again.

(mp3) Tokyo Police Club -- Favorite Food

Let The National Love Continue

There was little doubt walking into The Wiltern last night that I was going to enjoy THE NATIONAL live. With some bands you just get a sense that they will transition live based on what you hear on record. Bands that have a large amount of interplay between members and a clear understanding of pacing on record usually put on a pretty good live show. So allow me a few thoughts on what I experienced last night:

1) Credit the band with starting the night with "Start a War". The song live builds nicely a set a tone for the evening. On most nights they open with either "Mistaken For Strangers" or "Anyone's Ghost". These were slotted down to two and three and allowed the audience the chance to get prepped.

2) Even though this was my first time seeing them, the band is obviously tour vets and has a much more powerful live sound. The guitars crash and shred through the songs and the drums have a larger power live then on record (which is surprising given that drums are usually very prevalent in the final mixes of most of their songs).

3) The newer material does not suffer by comparison to the older songs. "Bloodbuzz Ohio", "Afraid of Everyone" and "Lemonworld" hold their own and will surely be in the live show in some form for awhile.

4) Even songs I am not particularly fond of, such as "Baby, We'll Be Fine", played well live. This is a testament to Matt Berringer's conviction to making each song have a distinct feel. When your voice is that unique it helps even the lesser material shine.

5) They deliver on a set list that's for sure. 21 songs and almost two hours (including all but one of the new songs.) Well done indeed!!

6) Kudos to the band (or their management) for getting a quality opening act. RAMONA FALLS were very good in their own right. When you wake up the next day and rehash the show in your head and it includes songs from the warm up act, that's a testament to the chops of the first act to take the stage. However, if they ever want to get anywhere the lead singer is going to have to speak at some point.

7) The ending of a show is of particular importance. This is usually reserved for their more popular songs. With THE NATIONAL, that includes "Mr. November" (which got the second to last spot) and "Fake Empire" (which ended the main set). Both were brilliant and worth the wait and yet...

8) Special props to the version of "Terrible Love". A gutsy move to end with a new song (which U2 tried with "Moment of Surrender" on the last tour and flopped) but here it was a good call. The band clearly enjoys playing it. It's tempo and sound sum up the night well and was well received by the crowd. A new classic was born.

So what does all this mean. THE NATIONAL are amazing live. Like there was going to be any doubt.

(mp3) The National -- Terrible Love (live)

Everything about this screams INDIE ROCK!!

When you name your band you have to be careful. Often it will go a long way to determining who will listen to you and which people will even take the time review your material. When you don't put enough effort into your name it can be highly detrimental to your success. Take THE FOO FIGHTERS for example. Coming on the heals of the end of NIRVANA, Dave Grohl had to form a new band to allow him to continue his creative output. Back then I was working at a record label and a friend handed me a cassette with the band's name and nothing else. Now, had I not done my homework I might of just passed on it just like I had several thousand other promo cd's and tapes that I had received. But for some reason I didn't. Imagine if the same thing had happened if no one knew who Dave Grohl was. We would have missed out on a truly great band.

(this is not to say I had any hand in THE FOO FIGHTERS success, I merely had an early release copy and played it on my show before anyone else in Southern California, but since my radio station had the transmission strength of two cans and a string, it had no real historical impact.)

Which brings us to SOMEONE STILL LOVES YOU, BORIS YELTSIN. This would be an easy band to dismiss since the name is so preposterous and in some ways overly pretentious. We get it, you're smart. Must you bludgeon us with your knowledge of Cold War era Russian politics? I bring this up because I did initially dismiss this Missouri band precisely for this reason. I am here to admit I was wrong. They are in fact, a very good indie rock band. They have inhaled the REM and PAVEMENT catalogues to produce a pretty high quality catalogue of quirky pop tunes. Their latest record, "Let It Sway" is due out in August and they have released the title track first single. A perfect piece of jangly, shining pop music that has piqued my interest in their older material as well as whet my appetite for the new record. I think I have now played this about 7 times in a row. It's just that addicting.

Just another case of judging book by it's cover (or band by it's name)...

(mp3) Someone Still Loves You, Boris Yeltsin -- Sink/Let It Sway (link courtesy of the awesome THE PHOTON GOD blog)

New Band of Horses

Band of Horses is one of those bands that seems out of place in the current music universe. The have developed a sound that is reminiscent of 70's rock in the use of layered vocals, a slight country tinge to the guitars and a soft feel to the lyrics. Their latest, "Infinite Arms", builds on the formula with little tweaks here and there to separate it from the earlier work. "Laredo" has all the markings of the traditional BOH song, where "Dilly" uses a nice keyboard line to drive the mid tempo track. Of the slower songs, "Way Back Home" has a sweet southern sound as if played on the front porch in the summer. The title track meanders around with a slight Cowboy Junkies vibe to it.

The thing I most enjoy about the record is the way that each listens reveals a new sound or texture. The record has not gotten stale as it has moved from new rotation to simply coming up on random on the iPod. A sign of a good record is one that continues to surprise.

Link Removed per request...

Returning to the Scene of the Crime

For over two months I have sat dormant in the blogging universe (a self imposed exile). The reasons are not important, but I have gotten the itch to write again mainly because my wife has bohtered me to start again but also because I enjoy sharing music with others. So I will dive back in and see how long I can keep it up.

I would like to think that THE NATIONAL released a record partially to get me to start writing again. Long time favorites of Your Moment of Zen, the Ohio bred collective have released "High Violet" to quite the critical acclaim. This is in no way suprising since there last two records have also be highly lauded efforts. "High Violet" sounds fresh and yet comforting at the same time. There is something about Matt Berringer's bariotone voice that is so distinctive, like a well aged scotch or a fine cigar. It just has that smokey sound that gives the songs a different feel then the run of the mill indie rock out there today. But with the new record he does sing a few songs in a higher range that is new and yet does not sacrifice the overall sound.

Musically, the record is not a huge departure from the previous two efforts. Although there is nothing as gorgeous as "Fake Empire" from the last record, there are some memorable moments. "Terrible Love" opens the album with a slow building anthem that uses guitars to cascade over a pulsing stop start drum beat. "Sorrow" is a prototypical National song, full of somber lyrics, textured guitars and a steady bass line. "Afraid of Everyone" is an overtly political song that has a feel of earlier era U2. "Bloodbuzz Ohio" kicks off with a great drum break before settiling into a nice rhythmic track that will certainly sound better live. The highlight of the record for me has to "Lemonworld". Starting off with a simple guitar line and building on the drums and bass, Berringer recalls the tale of traveling through New York in a surreal dream post military life.

The National are poised for greatness with this record. It has enough mass appeal to be commercially viable and yet artistically challenging to satisfy their hardcore fan base.

The National--Bloodbuzz Ohio

We Have Come To The End My Friends

All things must end and so it is with this little enterprise. There have been 278 posts (not counting ones that were removed by DMCA notice or other circumstances), each one designed to highlight music that I have either loved for a long time or been exposed to along the way. Without this, I would not have had the chance to experience what others have written about music, love and life. I certainly never developed the following of the larger blogs, but I hope that in my small way I have exposed those you that have come my way to some songs and bands that you have grown to love. I end this because life moves us in other avenues and other directions. I end this because I just can't keep up with it in the way I would like.

Readers may not have always agreed with me but I hope I have expressed myself and my love of music in simple terms. This blog was meant to celebrate music and all that it can achieve. It was meant to show people that there is beauty in the world and that it can be enhanced by the common search for the perfect sound. For those of you that blog I say, keep it up, you have a gift and need to share it. For those of you who read these sorts of things, I say keep supporting those willing to express their loves to others.

I leave you with these parting songs and say thank you to those of you who took a few minutes to care enough to read what I have had to say.

(mp3) The National -- Fake Empire (live)

Probably the best song I heard in my time blogging. Still sounds great no matter how many times I listen.

(mp3) U2 -- Where The Streets Have No Name (live)

Any reader know why this is here. There will never be a greater song written in my mind.

**pics of are of my boys. All of whom love music and will have larger record collections than I could impossible imagine...

Frightend Rabbit -- Too Brilliant for Words

We all knew it when we circled the date on our collective musical calenders that the new FRIGHTENED RABBIT record was going to be a big deal (at least to those of us in the blogosphere). There was the appropriate amount of worship of their last record (and a wee bit of sell out backlash for those who loved their debut) and our appetites had been whetted with "Swim Until You Can't See Land" being played live and released as a stand alone single well in advance. But I for one was not prepared for what I have been hearing over the past week. It is the sound of a band coming into focus in ways I could not have imagined. Freed from the constraints of writing about lost and jilted love, Scott Hutchison has found new depth in his poetry that is now matched with the power and drive of a fully realized band.

Whether it's the droning guitar that anchors the lead track, "Things" or the string arrangements that float around "Skip The Youth", the Rabbit have expanded their arsenal of sound without sacrificing their basic song structure. They are still, for lack of a better term, a pop band writing songs that are meant to be sung along to and they still find their way to the catchy tune for each track. "Nothing Like You" is a clean, simple pop number that is the closest to the Midnight tracks in style and tone. "Swim" feels right at home with this record where live it stuck out from the earlier stuff. "The Loneliness" and "The Wrestle" form the core of the record and seem to share a theme of isolation and despair that Hutchison rides throughout the album. "Not Miserable" sounds like the response to "Floating on the Forth" as the writer has now come to gripes with what happened and has started to move on. (which may explain why Hutchison has already stated he will not play this live, much like he rarely plays the other song). The album ends with "Yes I Would", which is soft coda to a work of upheaval and noise.

I can't really tell you what will happen with this band. There is so much depth to what they do that the possibilities are endless. My fear is that they will be pushed out as a middle of the road alternative band and get played on TV shows and movies. The reason that scares me is I think they could be so much more. They have a chance to be truly great. It's hard to remember it's still early. Someone with this much talent needs time to harness it and develop it. Scott Hutchison is that sort of talent. I'm glad I'm here to hear it unfold. You should be too...

Introducing...Watch Out For Rockets

WATCH OUT FOR ROCKETS are from Austin, Texas and according the blurb they sent me they are the greatest band ever. Now while I'm not quite willing to go out on a limb and say that I will say this...they are certainly an entertaining and intriguing listen. I can't really figure out why but I could have told you they were from Austin just by listening to them. There is something about their sound that screams southwest. Their record, "Beasts With Hearts of Gold" is such an eclectic mix of sounds and structures that it's really hard to pinpoint a given sound. At times they remind me of SPARKLEHORSE, mostly due to the distorted vocals in songs like "Class Action Pant Suit" and "Urgent Serpent Merchant". There is a country swing to some tracks while other have an early PAVEMENT feel to them. In fact, that type of snarky, DIY ethic is probably the unifying force to the record. It sounds like most of the songs were recorded on lo-fi four tracks. It gives the whole album a roughed up feel. There are also touches of THE PIXIES, REVEREND HORTON HEAT and a host of classic punk rock riffs throughout the 20 songs (most of which clock in at 1-2 minutes long).

The highlight of the record for me is "Heart Poppers", which is the closest thing to a traditional rock song on the record. It shows a band that could grow into something more commercial if they chose to go that route and write catchy pop songs. I don't think they will simply due to the rest of the record's more esoteric approach but it's certainly part of their DNA. The nice thing about these guys is their versatility has meant that each time I listen to the record I discover something new, which means the record will stay fresh longer and has so far kept my interest.

(mp3) Watch Out For Rockets -- Heart Poppers

(mp3) Watch Out For Rockets -- Ready The Horses

Cleaning out the InBox (again)

**Now back to the music. Which is what the point of this whole exercise was to begin with...

The inbox has been filling up with new and exciting music so I thought I would get a few quick reviews out of the way as we get set for the onslaught of new records from FRIGHTENED RABBIT, ARCADE FIRE and many, many more.

THE THRUSHES are a Baltimore based three piece band that specializes in feedback drenched indie rock not unlike early PIXIES, if Kim Deal had fronted the band all along. There is also a hint of Tonya Donnelly and Kristin Hersch in lead singer Anna Conner's vocals. There songs have a nice mix of melody and discord that reminds me of stuff I listened to a lot in college. In fact, this band is a living reminder of college radio's signature sound (and I mean that as a compliment) Their debut record, "Sun Come Undone" is out now and is worth a listen (at least based on what I have heard). Included is a pretty by the numbers cover of Mazzy Stars' "Fade Into You", which is a good choice as covers go. This is actually some pretty good stuff and worth checking out...

(mp3) The Thrushes -- Crystals

PAUL MASSON is a singer/songwriter out of Baltimore as well, although his sound is as far from The Thrushes as possible. More akin to dust bowl country music of Hank Williams, Masson uses slide guitars and hushed acoustics to tell his tales of lost love and the ache of loneliness. Although not really my cup of tea, it certainly has a place for those looking for a melancholy take on life.

HER NAME IS CALLA are a UK outfit that would most likely find a home on 4AD given the chance. It has that orchestral feel of DEAD CAN DANCE. The songs take a while to get where they are going and are more like sonic landscapes than pop songs. I imagine their is probably a huge visual element to the bands live show that enhances the music. It's a bit bombastic, but for those with a goth past in them it might be worth your time.

(mp3) Her Name is Calla -- Long Grass

Finally, OUI SI ONLY YOU are from Chicago and they are a hard rock/hip hop band. I feel bad because I know that I should really not post if I don't like it but any publicity I can give a starving band is fair I guess. It's not as if I bear them any ill will, I just don't like them. But by all means check them out for yourself...

Bad Lieutenant (or what Bernard Sumner has been up to lately)

We all know that NEW ORDER are perhaps one of the best bands to come out of the collective Manchester area and are certainly to be credited with the fusion of dance and rock music. About a year ago I chronicled the various off shoots and one off projects that band has been engaged in when they are not recording as a groups (to date: they include ELECTRONIC, REVENGE, MONACO, THE OTHER TWO, Peter Hook's upcoming FREEBASS as well as stints with A CERTAIN RATIO, THE CHEMICAL BROTHERS and 808 STATE). However, when Peter Hook announced he was opting out of the band, lead singer and guitarist Bernard Sumner had a choice to make. He could continue to use the name and record new music with the remainder of the band (which now consisted of Sumner and a bunch of random guys since Stephen Morris and Gillian Gilbert had already left years ago) or he could pick up a new moniker for his music.

This is often a difficult choice for a band. Their is a certain built in ease with staying with the original name (that and a fan recognition that is usually good for some airplay) but if the music is not up to the standard set by the band's earlier work it will be a disaster. Starting up a new band has a sense of renewal to it, but it carries with it the burden of comparison to the singer's original incarnation. There is no doubt that Sumner's work would be recognizable regardless of what it was called so moving forward with the new name of BAD LIEUTENANT was probably best. But this ain't New Order that's for sure.

One can see that if this was the direction the recordings were going why Hook left. The bass lines are pedestrian and the songs are blatant attempts at pop rather than the electronic fused dance hall music of past albums. While some of the songs, most notably "Sink or Swim", "Twist of Fate" and "Dynamo" have a New Order circa "Regret" vibe, the rest of the record plays as a straight forward alternative rock record. When the bass takes the lead, such as "This Is Home" my ear wanted so badly to hear Hook's signature sound instead of the safe and boring sound presented here. One wonders what the songs would have morphed into even in the ELECTRONIC collaboration Sumner had with Johnny Marr which was at least sonically interesting. Sumner clearly has a gift for popcraft and hits on a few nice guitar lines but it could have been so much more. Maybe given time, Sumner will find a sound that is distinct from his work with New Order or Electronic. Although the record is a fine album and is very listenable, I have come to expect more.

(mp3) Bad Lieutenant -- Sink or Swim

(mp3) Bad Lieutenant -- Twist of Fate

When James Met Danger (DMCA Compliant version)

**I posted this about two weeks ago. The same day I posted it I got a cease and desist from WEB SHERIFF about the songs I chose to post. The same day I took the links down but felt strongly enough about the record to keep the review. Then today I got a DMCA notice that my post was removed to DRAFT status due to publishing song issues, which is confusing since there were no links to any songs at the time. This wouldn't normally bother me except for the hypocrisy for getting this sort of notice about a record produced by DANGERMOUSE who owed most of his fame to an illegal mashup of THE BEATLES and JAY-Z. My how people change when they get famous...

Sometimes a record is more than the sum of its parts. Sometimes something that seems so odd at first, seems so natural after repeated listens. Such is the case with BROKEN BELLS. This is a collaboration between James Mercer, Lead singer of THE SHINS, and uber-producer DANGERMOUSE. On the surface this seems a bit of an odd pairing, but dig deeper and it makes sense. Dangermouse has made a career our of odd musical co habitations (Beck's last record, His recent work with Sparklehorse and David Lynch, his successful pairing with Cee-Lo that was Gnarls Barkley, His work producing The Gorillaz) and Mercer had been slowly reshaping The Shins sound into a more experimental territory. Dismissing for a moment the claims they make that this is in fact a real band, the sound is a surprisingly organic mix of the two styles.

Some of the songs seem like Shins outtakes. "Vaporize" and "Trap Doors" sound like vintage Shins slightly mopey pop music. But elsewhere the combination of Mercer's popcraft and Dangermouse's electronic touches led to some truly interesting results. The lead single, "The High Road", has a funky beat and a clap your hands rhythm to it that makes the song shuffle along like a winding country road. "The Ghost Inside" finds Mercer in full falsetto aping Prince to a psuedo RnB swing. "The Mall and Misery" is a beeps and blasts electronic mash of a finale that I swear sounds like The Arcade Fire as filtered through a processor. It's truly an outlandish sound to hear.

I'm not sure how much shelf life the record will have. I was enamored with Beck and Sparklehorse's work with Dangermouse before only to abandon them over time. But I hope this keeps my attention as much as it grabbed me in the first place.

Critics will go Nuts for The Album Leaf

This one has critical darling written all over it. THE ALBUM LEAF are set to release their 5th formal album later this year entitled "A Chorus of Storytellers" and it is a thing of sonic beauty. There are the obvious comparisons to be made to the equally sonically adventurous acts like SIGUR ROS, EXPLOSIONS IN THE SKY, and MOGWAI; all of whom fly in the space where songs have no real choruses or often are devoid of vocals entirely. The Album Leaf's album is not as abstract as some of those others. The songs are warmer and have an intimacy that comes with a single minded vision. James LaValle, principal architect of the band, has flirted with this type of sonic majesty before but not until now has he finally stepped into his own. The best comparison I can make is when WILCO released "Yankee Foxtrot Hotel". There was just no way to anticipate this sort of artistic leap.

"A Chorus of Storytellers" is a collection that builds slowly. On first listen it is not unexpected to be a bit underwhelmed. The slight sonic hum of "Perro" folds into the cascading instrumentation of "Blank Pages". The centerpiece of the record, and the de facto single since it is the rare vocal track, is the sublime "Falling From The Sun". When LaValle does add vocals, whether here or the equally mesmerizing "There Is A Wind" the band reminds me of vintage THE BETA BAND. Whether it is the distant pops and beeps (a la Radiohead) on "Within Dreams" or drum and piano driven "Stand Still, LaValle has tapped into a whole new musical palette with which to express his ideas.

It's easy to get lost in hyperbole when first listening to a record. Time tends to dull our senses to a sound and we move onto something else. That would be folly when concerning this record. It's a record that needs your time and attention to truly appreciate. I am not sure I have absorbed it enough to give it it's full due. On my fourth full listen through I still find new ways to enjoy it and new moods hidden within the subtle chord changes and synth lines. It's rare that a record can sound both big and small at the same time. This is that sort of record. Quite simply, it is a gorgeous piece of music worth your ears.

(mp3) The Album Leaf -- Falling From The Sun

Introducing...Christopher Bell Covers America

I am late to the Christopher Bell party in large part due to my own laziness. His label sent me a copy of the "Covers EP" back in October and I am just now getting around to it. For someone who thinks of himself as a music snob this is frankly unacceptable and will no longer be tolerated. After a couple of spins, I can honestly say that he has real potential.

Bell's sound is in line with ELLIOT SMITH, BON IVER, and SUFJAN STEVENS. Like those other artists, Bell uses very little instrumentation and often sings in a hushed tone that belies the power of his ability. Given that these songs are covers he is essentially interpreting another's words and music but it doesn't feel that way. These songs sound like his own (this may be due to the relative obscurity of the source material). There's a streak of Americana Folk that runs throughout the set that binds it together, whether it is the plaintive "Robert L. Sinclaire" or the Odd Frank Black cover "All My Ghosts" redone as an ole timey porch sing along.

Bell's music has the same feel of a Norah Jones in many ways; of this time and yet very much influenced by another. His sound is carefully crafted to recall a long lost age of simple singing and songs that had room to breath and improvisation to occur. One gets the idea that played live, his music never is the same twice. Which is why I think he is someone worth keeping an eye on.

(mp3) Christopher Bell -- All My Ghosts

Introducing...Paper The Operator

This is the kind of record I would have played a lot when I had a college radio show. Poppy enough to be memorable; odd enough to be interesting after a couple of listens. In a weird way it reminds me of a band I used to enjoy quite a bit called TRIPMASTER MONKEY, which I played the hell out of in college then forgot about. PAPER THE OPERATOR has released a new album entitled "Goodbye God" which is basically singer/guitarist Jon Sebastian's thoughts about religion, divorce and relationships told over pop hooks and catchy guitar licks. The single, entitled "The Pendulum" is a groove heavy minute plus track that really isn't indicative of the rest of the album but still has a nice bite to it. In fact, with most of the songs clocking in at under three minutes, the entire exercise flies by you before you can really digest it. Personally, I found "Laundrolux" simple guitar line the catchiest thing on the record. Somehow I think this record will stick in my play lists for a bit. It's certainly worth spending time with to decide for yourself.

(mp3) Paper The Operator -- The Pendulum (official release from Vapor Bite Records)

New Vampire Weekend

These guys constantly seem to surprise me. I was shocked at how much I ended up liking their self titled debut album which got it's quirky sound from infusing African rhythms with pop song structure. "A-Punk" is an irresistible slice of fun and I dare anyone to get "Oxford Comma" out of your head once it's there. Then I fell in love with "Ottoman" off the highly enjoyable "Nick and Norah's Infinate Playlist" Soundtrack. So I was intrigued by their newest effort and jumped at the chance to listen to it when given the opportunity.

"Contra" is a variation on those same musical themes and yet has a new depth and refinement all it's own. The songs want to be playful and in many ways lead singer Ezra Koenig sounds an awful lot like Paul Simon. "Horchata", the lead leaked song could have been taken straight off the last record. "Cousins", the official first single, is a rapid fire guitar attack worthy of Dick Dale and retells the tale of what appears to be a gang war on the verge of breaking out. The whole record whips by at a swinging pace and never really changes the beat until the end with the reggae style "Diplomat's Son" and the string anchored "I Think UR a Contra". The addition of atmospheric keyboards assists the record in giving it enough new flavor for it to be different from the last record. But the best song on the record (and my pick for the one that will be the "hit" off the record) is "Giving Up The Gun" which could have been made THE POLICE in their heyday. It's a sharp piece of pop music and a great driving in the car song. This is a very good record with potential to be something that sets the band up for a real breakthrough as a band to watch very closely.

(mp3) Vampire Weekend - Horchata

Introducing...Benjamin Shaw

This is the first in a collection of posts responding to material sent to me via publicists, record labels, etc. The reason I give these space (whether I like them or not) is because I used to be one of these guys and I understand how frustrating the process of promoting bands can be. Having said that, don't expect me to slurp all of these records just to stay in their good graces but it is my intention to post the material that I like or find interesting (which keeps with the intent of this little blog here.)

Anyway, Benjamin Shaw is a singer songwriter from England who specializes in bedroom folk similar to SPARKLEHORSE and VIC CHESTNUTT. There are enough atmospheric touches here and there on his debut ep"I Got The Pox, The Pox Is What I Got" to make it more interesting than the run of the mill street musician. "When I Fall Over In The City" has a nice country shuffle to it and he sings "There's a fine line between talented and me..."; thereby showing he has something of a sense of humor. The songs feel very small and isolated, as if produced in a small bedroom of a small apartment somewhere in Northern England. My only quibble is that the ep lacks for any real variation. But it certainly shows someone with potential.

(mp3) Benjamin Shaw -- When I Fall Over In The City

The Top 17 Records of 2009

Why 17? Because that is the number of roughly the total full length records that I feel need attention this year. In many ways it was an odd year for music for me. What on paper should have been a memorable year of new sounds has, upon reflection, left me a bit wanting. So without futher ado...

17) Sea Wolf -- White Water, White Bloom
This band, which is essentially Alex Brown Church and guests, conjured up a folksy, somewhat dark second record. Traveling in the same vein as Pete Yorn and Voxtrot, Sea Wolf made a record for people who have lost love and long for greater things

16) Broken Records -- Until The Earth Begins To Part
Had I seen this band live I'm sure it would have rated higher. This Scottish group makes song that take time and build on themselves, which always sounds better played live. "Wolves" and "Nearly Home" have a tension and energy that almost explodes out of your stereo.

15) The Editors -- In This Light and On This Evening
Here is a classic example of a record that started strong and faded after a few listens. "Papillion" is a great lost NEW ORDER song and "Bricks and Morter" is a really good pop song, but the weight of the electronic experimentation costs the record in the end.

14) Passion Pit -- Manners
When the best song on the record is a retread from your debut ep, this usually signals a problem from a longevity standpoint. I really liked the cheesy 80's keyboards that are all over this record but the fact that you can't sing along makes it a tough one to stay with over a long period of time. Given that, "The Reeling" and "Sleepyhead" might be the dance tracks of the year.

13) Dave Matthews Band -- Big Whisky and The GruGrux King
Greatest album title of the year (with added bonus points for it's in house reference to their deceased sax player.) 2009 was the year of the comeback for bib time artists (as evidenced later on). Sounding more like DMB than they have in years and seemingly at peace with their sound, Dave and Co. put together a solid record that added "Why I Am" into the pantheon of songs they will play live until they quit playing.

12) The Big Pink -- A Brief History of Love
I am convinced that this is what MY BLOODY VALENTINE would sound like if Kevin Shields still gave a damn about making listenable music. The touches of electronics added the drone of shoegaze give a fresh take on what has become a stale sound. "Dominoes" has a catchy hook to it and the rest of the record has that same woderful drone of classic RIDE.

11) The Mary Onettes -- Islands
Hands down the dumbest name but a great second album. Softer and less reliant on the JAMC sound than their last, this album recalls vintage CURE sounds complete with warm keyboards and hushed vocals. Clearly, between these guys and THE SHOUT OUT LOUDS, Robert Smith is a god in Scandanavia

10) (500) Days of Summer Soundtrack
Great soundtracks are really tricky to construct. The songs have to fit the context of the film and still stand on thier own when the images fade. This year's indie hit gave us an eclectic mix of WOLFMOTHER, THE TEMPER TRAP, MUMM RA and two excellent SMITHS songs that are all key to the plot.

9) Owl City -- Ocean Eyes
Everything about this record should have been mocked. The lyrics are cheesy and amateurish. The keyboards sound like outdated Casio circa 1986. But the songs are damn catchy and I challenge anyone not to be hooked after a couple of listens.

8) Phoenix -- Wolfgang Amadeus Phoenix
I was ready to dismiss this band from my active listening conscience and then they hit us with this evolution of their signature dance sound. The songs are more structured and have a greater depth than in the past. Unlike, PASSION PIT, this record has gotten better with time and my guess is that it will get a lot of love next year as well.

7) Silversun Pickups -- Swoon
What once was easily dismissed as a SMASHING PUMPKINS wannabe has slowly developed into a solid and interesting act all on their own. This record was a staple on my office computer because it's catchy, not dull, and hip enough for kids not to laugh.

6) REM -- Live at the Olympia
REM had a good year last year and followed it up with a two disc career retrospective performed live. The new stuff has a nice live bite to it, but the highlights are live versions of classics such as "Driver 8", "Maps and Legends" and "Wolves, Lower" that have aged well.

5) We Were Promised Jetpacks -- These Four Walls
Last year I rated FRIGHTENED RABBIT the #2 record of the year behind COLDPLAY, then spent the better part of this year regretting that decision. Where I discarded "Viva La Vida' pretty quickly, the Rabbit was a staple throughout the year culminating with the live performance in LA. I bring this up because this little voice in my head feels like I will be saying the same thing about this album. A punk version of Frightened Rabbit, but with the same depth and emotion in th lyrics. "Quiet Little Voices" is certainly a song of the year contender. Time will tell if I am wrong about their placement.

4) The Temper Trap -- Conditions.
It would have been easy to dismiss this Aussie group from the contribution to the (500) Days of Sumer Soundtrack. Fortunately for me, I kept digging and found a treasure of melodic, soaring pop songs. Shades of U2 creep in here and their but lead singer Dougy Mandagi's voice seperates them from the others. "Fader" and "Sweet Disposition" show promise for a big time, stadium style rock band.

3) U2 - No Line On The Horizon
Shocks me too! Usually a year that sees a U2 release already has a #1 slot spoken for but I can't shake the fact that this just wasn't as good as the past couple of records. "Breathe" and "Magnificent" are vintage U2 and sounded great live, but what was meant to be the heart of the record; "Moment of Surrender" and "Unkown Caller" just haven't resonated with me the way I thought the would. It doesn't mean it's not a good record, but given their standards I expect more.

2) The Dimes -- The King Will Drink The Harbor Dry
I wrote when I first got this record that I thought it was a brilliant fusion of lyrical originality and musical acumen and I stand by that. No where else will you find pop songs about Paul Revere and revolutionary era Boston that are catchy. What could be hokey becomes poignant in the hands of Johnny Clay and his band. A treat for those who are history buffs but not something to be dismissed if you are a fan of good music.

1) Pearl Jam -- Backspacer
Eddie Vedder has achieved statesmanlike status over time as his lyrics have grown more refined and deeper. Moving away from teen angst to middle age analysis of life reinvigorated the band. Stone Gossard and Mike McCready revisited thier punk rock roots with an onslaught of guitars straight out of THE RAMONES playbook and the shorter nature of the record gives it more immediacy. The thing that seperates this record from the previous few is a more carefree sense of timing between the members. Confortable in who they are they have now settled into a rhythm and as a result are more sure of their abilities than ever. Whereas the last records have felt like a band reaching out for acceptance, "Backspacer" feels more relaxed and at the same time a tighter sound. "Speed of Sound", "Gonna See My Friend", and "Got Some" still show a balls to the wall rock band at it's finest. "Amongt The Waves" is what sets the record apart. Anthemic in stature, it's one of the best songs a great band has done. That in and of itself gives it my record of the year status.

Imitation Will Get You Everywhere

When I worked in the music business, I spent the bulk of my day calling college radio stations to get my records added to their playlists. This usually entailed all kinds of cajoling, needling, begging, bartering and general bullshitting about the record. When it was a record I liked this was an easy process. I could effuse about it's artistic virtues and the quality of the musical craftsmanship, the passion of the lyrics and the simple fact the band F***king rocked. However, when the record was less then stellar it was a harder task. The easiest way to get someone to play a record was to compare it to a more established artist. Sometimes this was easy, other times it was a bit of a stretch. For better or worse I now find myself on the other end of that paradigm as labels and promotion companies send material to me to write about. This extends to artists I hear now that immediately recall other sounds. Here are just a couple of examples:

Owl City -- Ocean Eyes

I swear to god when I first heard the lead single, "Fireflies", I thought it was a new POSTAL SERVICE song. Granted the lyrics are certainly more juvenile than anything Ben Gibbard would actually release (in fact one almost pictures Gibbard hearing this and chuckling about it something he would have written in Junior High). But setting that aside, and coming to grips with the sheer candy coated pop nature of the whole album, it really isn't that bad.

(mp3) Fireflies (careful, earworm waiting to happen. Thank the wife for this one.)

Hyperstory -- Hyperstory

I thought the GORILLAZ were about as innovative as they came when they first appeared. Damon Albarn and Danger Mouse served a quality musical foils to each other and pushed one another to new creative heights. The unexpected outcome of that album was a meshing of alternative rock, hip hop and electronic that had been bubbling under the surface and shot it into the mainstream. This in turn led to a lot of this sort of hybrid production as star type of musical projects. HYPERSTORY, is a prime example of this phenomenon. Not wholly original (the press release from the good folks over at Green Light Publicity actually touts this record as a stop gap till the new Gorillaz record comes out) but still a decent outing, one wonders if it would get any attention if it was judged on it's own merit rather than comparing it to a superior product.

(mp3) A Happening (this is the best thing on the album)

Dusting off the Tape Collection (Cooler in College version)

There was a time I thought I was cool. Not in the High school starting quarterback sort of way. More the hipper than thou indie kid sort of way. I feasted on being in the know when it came to music and since I lived in area that did not have a thriving rock scene, any time a band I thought was good came around I gravitated toward them. On top of being a college radio DJ I also worked at the school's TV studio. This in an of itself was not very cool other than it gave us the chance to do stupid stuff with equipment and get paid for it. There is a legendary (at least amongst my college buddies) piece of video of my pal Scott interjecting him into the game DOOM using the green screen that made us laugh for hours.

(Okay so I admit, I was never going to be cool but bear with me anyway)

The moral of this little tale was that for me the height of my insider-ness came in the form of video shoot for an Orange County band called THE LEMMINGS. My buddy Dave had a relative who was either in the band or affiliated in some form who asked our crew of college video misfits to shoot a video for them (or we begged them as part of a project I can't remember which). One afternoon the band came in and we shot it with three cameras in a small studio. Afterwords we edited, reviewed and replayed it over and over. It may have been the highlight of our college production careers (to be fair, some of my friends have gone on to actually produce real television).

So when I found that four song demo I popped it in the tape deck and reminisced about the time when I thought I was cool.

(mp3) The Lemmings -- I've Got It Bad

(mp3) The Lemmings -- Merry Go Round

(mp3) The Lemmings -- Let Me Down Easy

(mp3) The Lemmings -- As The World Turns

**sonically these guys sound a lot like OASIS or BLUR. Which is funny for four guys from the OC. But not a bad knock off of the brit pop sound.