Introducing...Derby

Something is in the water in Portland, Oregon. All they seem to produce is pop groups who know their way around a hook. DERBY are a fivesome out of the Northwest who, similar to JONAH (previously featured right here), write classic pop songs that have some sounds reminiscent of 70's artists mixed with a 60's sheen to them. The two teaser songs sent to me from their second full length record "Madeline" show the two sides of the band.

"Madeline" is a mid tempo tune that while not super memorable at first listen grows on you over time. It has a nice build to it as the lead singer opines about how the title character is slowly shoving those she loves away. Better is the more rocking "Don't Believe in You" which is a nice marriage of THE SMITHEREENS and TOM PETTY that gives the song a great retro vibe. The guitars have that nice crunchy sound that would be great coming off a piece of vinyl that hisses and pops. If the rest of the record sounds like this, it will be a hidden treasure.

(mp3) Derby -- Don't Believe in You

Examples of the Perfect Pop Song (Part Four)

If you haven't figured out that I'm a sucker for a grear guitar line then you haven't been paying attention. THE CHURCH'S "Reptile" fits that bill perfectly. It also has a great guitar solo and the simple video highlights the greatness of the song.

NEW!! The Decemberists

2011 is already shaping up to be a very good year musically. Kicking it off is the new release from THE DECEMBERISTS entitled "The King is Dead." Lead singer and principle songwriter Colin Meloy has long held affection for two of my favorite bands, REM and The Smiths. Although musically this new material leans in the direction of the former the imprint of Marr and Morrissey is also evident in the lyrics.

The opening country swing of "Don't Carry it All" gives way to "Calamity Song" which apes "Don't Go Back To Rockville" almost a little to closely for comfort.
"Rox in The Box" tells the tale of a working man trying to do the best he can over a accordion and acoustic strum. "This Is Why We Fight" and "Down By The Water" are the clear standout tracks which both benefit from a heavier guitar presence. "Fight" also has a nice big sing-along chorus that sounds like it will easily be a live staple when they hit the road. (I already detailed my love for "River" and the presence of Peter Buck earlier last month).

The duets between Meloy and Jenny Conlee bring a nice quiet respite the record. You can almost smell the summer rain and the flowers coming through "June Hymn" and a longing in the closing coda "Dear Avery". Although it's probably not Meloy's most intricate lyrical work he still knows how to put a couplet together to evoke emotion. After the disaster that their last record was, "The King Is Dead" is a return to form for the band and a harbinger of a new commitment to making pop confections that in true Smithian fashion make you think and feel at the same time.

(mp3) The Decemberists -- January Hymn (Not my favorite but it seems to one that will keep me out of trouble)

Happy New Year!!

I have never been one for New Year's Eve celebrations. Of course, once you have kids the thought of staying up pat midnight when you face the real prospect of your offspring waking up at 5:30am the next day doesn't seem so appealing. But for those of you that do stay up to see the ball drop, have a safe and happy New Years Eve and we will see you in 2011.

(mp3) Death Cab For Cutie -- The New Year
(I think the lyrics just about capture the spirit of the evening)



So this is the new year.
And i don't feel any different.
The clanking of crystal
Explosions off in the distance (in the distance).

So this is the new year
And I have no resolutions
For self assigned penance
For problems with easy solutions

So everybody put your best suit or dress on
Let's make believe that we are wealthy for just this once
Lighting firecrackers off on the front lawn
As thirty dialogs bleed into one

I wish the world was flat like the old days
Then i could travel just by folding a map
No more airplanes, or speed trains, or freeways
There'd be no distance that could hold us back.

There'd be no distance that could hold us back [x2]

So this is the new year [x4]

IMHO: The Top 20 Records of 2010 (Part Two)

And now for the ten best records of 2010 (at least according to me...)

10. VAMPIRE WEEKEND -- CONTRA
More varied in style and sound than their debut but without any loss of their pop sheen, the boys moved out of indie darling status. Channeling parts of Paul Simon, tribal African sounds and pop hooks out of the sixties, Vampire Weekend established their cred as a creative force. Whether it was the urgency of "Cousins" or the straight forward pop of "Giving Up The Gun" or the laid back bass line that anchors "Run", the record is a constant surprise from track to track. A record that was expected and yet unexpected at the same time.

9. THE ALBUM LEAF -- A CHORUS OF STORYTELLERS
Early in the year I predicted this would be a record of the year candidate and I wasn't far off. Pastoral and easy going in it's execution, Album Leaf made a record for lazy days of pondering the past and the future. "We Are", a rare vocal track, epitomizes the quiet and refined nature of the songs. In many ways this record is what THE BEAT BAND used to do at their height and is welcome addition to records I will be enjoying long after the year is over.

8. THE UNWINDING HOURS -- THE UNWINDING HOURS
Like The Album Leaf, this UK duo made a record that is so unusual in its use of small sounds that build to larger themes. "Knut" is probably the single best song I heard all year and it was on that alone I bought the record. The way it crescendos using only a four line refrain is breathtaking. "Tightrope" is a achingly beautiful ode to a lost love which one presumes is found on the acoustic hush of "Solstice". In an odd way it's an album that celebrates love in all its forms.

7. UNDERWORLD -- BARKING
A welcome return from one of my favorite dance bands. More song structured than their early work and yet maintains all the madness of the dance floor. "Scribble" takes drum 'n' bass into the mainstream while "Diamond Jigsaw" is the song New Order was trying to write for the past ten years. What could have been a throw away by a no longer relevant band in a no longer relevant genre is a tour de force of all that is good about techno/electronic/dance music. And we all need something to dance to every once and awhile.

6. KID CANAVERAL -- SHOUTING AT WILDLIFE
If Ra Ra Riot had not given up the punk edge they would sound a lot like this. Ramshackle and urgent, these Scots make pop music that demands you pay attention. You can almost hear the wheels coming off on the cracking "Good Morning" and "Smash Hits". I cannot wait to see what they come up with next and if it will be as good as this debut.

5. DELOREAN – SUBIZA
Who would have thought that a group of Spaniards would make a record with barely intelligible singing and songs that are part dance, part rock. part ambient work so well? A study in the power of collaborative sounds, "Subiza" soars and flies through a collection of synths and beats that are unlike anything I have heard. To compare them to anyone does not do them justice. In any other year this may have been the album of the year on the strength of it's sonically adventurous nature. A breathtaking work not to be missed.

4. BAND OF HORSES -- INFINITE ARMS
Band of Horses have been kicking around for some time now quietly tweaking their roots rock formula waiting to grow into their place as a premier American band. Although "Infinite Arms" didn't make them household names, it did finally match the lyrical and musical beauty many of us saw glimpses of on their last record. "Laredo"is a swinging tune that anchors the first part of the record along with the bar blues of "Compliments." The record's strength really comes from the quieter songs like the starry night gaze of "Infinite Arms" and the after supper sitting on the porch idyllic "Evening Kitchen" which both evoke times long gone. The closer, the epic "Bartles & James", is a slow building rock song reminiscent of THE JAYHAWKS at their best. It's a record of constantly changing sounds and depth not seen in most modern music.


3. ARCADE FIRE -- THE SUBURBS
The next "greatest-band-on-earth" hit the big time with their third album. At first the record is not as dark as the first two until you really dig into the lyrical exploration of the death of the modern dream. A cry for help from the artist class as it is swallowed up by commercial consumption, "The Suburbs" is a wide ranging critique on who we are and what we really want out of life. Musically the record builds on the sound the Canadian collective has created for itself. Their is a punk rock edge to "Month of May" juxtaposed with the 80's techno pop of "The Sprawl". A statement record by a statement making band that will be viewed as the moment Arcade Fire took on the big boys of rock and roll.

2. FRIGHTENED RABBIT -- THE WINTER OF MIXED DRINKS
I have no excuse for not naming "The Midnight Organ Fight" the record of the year last time around. (Seriously, Coldplay...what was I thinking?) and there is a fair amount of certainty in me that I may regret not giving this record top billing this year. There is no doubt that three records in, Scott Hutchinson has transcended into a troubadour poet who can now write beyond his own emotional scope. Where "Fight" was a deeply personal record, TWOMD is a more globally emotional record. From the opening fuzzy guitars of "Things" to the stomp of "Nothing Like You", the Frabbits and the leader are now writing songs to be sung by the masses. My first impression was that the band was trying hard to expand sonically on this record which is most evident on tracks like "The Loneliness and The Scream" and the epic "The Wrestle". "Mixed Drinks" is the sound of a band losing itself in new sounds and finding their voice at the same time. Now if they could just release a record a year they would eventually gain the top spot.

1. THE NATIONAL -- HIGH VIOLET
This really should be a 1 and 1a sort of thing (especially since I am writing this wearing a Frightened Rabbit shirt.) The National, however, get the nod mostly due to the fact that I simply could not stop listening to this album the whole year. Opening with the killer "Terrible Love" and moving through the political paranoia of "Afraid of Everyone" to the social malaise of married life in "Conversation 16", the album covers so much lyrical territory it's hard at times to stay up. Each listen to each song brings new visions and new experiences. "Bloodbuzz Ohio" starts off as a pretty typical National song led by the intense drum beat and Matt Berringer's baritone until slowly the song moves into a melodic place the band has never seen before. "England" and "Vanderlyle Crybaby Geeks" are in place as a calmer coda to the a rather rocking album. Jettisoning the jazz undertones of "Boxer" for a more direct approach has made the songs tighter and more focused. "High Violet" is a mature work of a highly confident collective that is at the height of it's game and hands down my favorite album from one of the my new favorite bands. Move over U2 and REM, THE NATIONAL are in the discussion.


Happy New Year everyone!! Here's to a great musical 2011.

IMHO: The Top 20 Records of 2010 (Part One)

We actually have twenty very worthy records to talk about this year. Without a record from the big boys this year (U2, REM, Radiohead, Pearl Jam, etc.) It was a bit of a wide open year musically. I found myself gravitating to newer bands willing to take risks. And yet, some old friends found their way onto the list by then end of it all.

20. BROKEN BELLS -- BROKEN BELLS
I would have pegged this record higher when I first heard about it. On paper, the combination of Dangermouse and James from the Shins would have been a no brainer for a top ten record, but over time I drifted away. "The High Road" is the perfect balance between the two but it seemed hard for them to reproduce over a large number of songs. If this is more than a one off collaboration it could bear considerable fruit for years to come.

19. JUNIP -- FIELDS
The new band led by Jose Gonzalez takes his hushed folk approach and beefs it up. It's dark and eerie in some places (similar to BON IVER) and sunny in others. The record does start to drag a bit at the end but "In Every Direction" is a sneaky blues romp for the indie folk hipster.

18. MERSAULT -- ALL CREATURES WILL MAKE MERRY
The Scottish have made a cottage industry recently of adventurous, thought provoking and slightly off kilter bands. Mersault takes a lo-fi approach to their music, often disguising their vocals through filters and effects. It does not hamper the feel of the songs, instead bringing emotional depth in a whole new way. "Crank Resolutions" is hands down one of the best single songs of the year.

17. BROKEN RECORDS -- LET ME COME HOME
I feel I never gave this record it's proper due. Sophomore albums are very hard things to gauge. Are they departures from the signature sound? Are they retreads of a beloved debut? Broken Records take their sound a deepen it clearly aiming for a more anthemic feel as they move out of the underground and into mainstream. Early prediction for record three...big time success. For now revel in the beauty of "The Darkness Rises Up" and "The Leaving Song".

16. KAISER CARTEL -- SECRET TRANSIT
There is always one surprise that comes out of left field. This year, just the fact that I gave this band any of my time is a shock in and of itself. The wife has been on these guys for awhile and seeing them live made me a believer. Like a reincarnation of THROWING MUSES, this duo writes catchy songs about love and loss. "Worn Out Nervous Condition" has the kind of blues stomp that rivals anything else out there right now.

15. JIMMY EAT WORLD -- INVENTED
There are some bands that eventually settle in and just start churning out a new solid album every three years or so. You can count of Jimmy Eat World for songs that sound great in the car and are full of catchy melodies. Not terribly adventurous but "My Best Theory" is a great rock song and demonstrates that sometimes there is comfort in the familiar.

14. NO AGE -- EVERYTHING IN BETWEEN
Fuzzy, dirty and urgent seem to pop in my head when listening to this record. This LA duo take on modern punk rock with a nod to Jesus and Mary Chain along the way. The searing "Fever Dreaming" and the droning "Glitter" highlight this collection of deeper than they first sound songs and seem to signal a new creative force at work.

13. RA RA RIOT -- THE ORCHARD
If No Age are the future of the underground, the RA RA RIOT are the future of pop music. The Orchard is a no excuses unabashed pop record designed to hook you into their way of thinking on sheer joy alone. "Boy" has a bassline that dares you not to bob your head and the simply beautiful string use on "Shadowcasting" makes you ache in the teeth. Just a fun, playful record that should be played every summer.

12. TOKYO POLICE CLUB -- CHAMP
I admit I should have liked this one more. It has all the pre-requisites for a great album. A mix of big choruses, big guitars and just enough self-deprecation in the lyrics to not be take to seriously. But over time the record lost steam. It may be the one record this year that over time gains more momentum for me...at least I hope. It's not say it's a bad record, just less than what it could have been.

11. ABE VIGODA -- CRUSH
This LA band is a hodge podge of sounds (early U2, some Joy Division, some goth rock) all rolled up into one. When they soar, like on the 80's inspired "Pure Violence", they absolutely lock in. "Throwing Shade" is a synth heavy dance romp that at first seems out of place but over time grows catchier. When they settle in on an overall sound and theme they could be something special.

Coming Soon Part Two...

Examples of the Perfect Pop Song (Part Three)

There are a lot of people out there that dismiss ECHO AND THE BUNNYMEN when talking about the great alternative bands of the 80's. I happen to think they were very underrated and "Lips Like Sugar" is a great example of why. Great guitar, great singing, perfect pop song.

Post Punk Icons Wire Return

I can't really tell you why I grabbed this record when I saw it. I don't have a lot from their catalogue in my collection and outside of the single "In Vivo" I can't name a tune they have made in their long career. But for no real reason I did give their latest record, "Red Barked Tree" a listen and I am feeling better for it.One of the seminal bands of the post-punk movement, Wire have left their imprint on a lot of bands that make music today most notably BLOC PARTY.

Like those lads, Wire travels in songs that are simple in their construction and are based largely on repeating a simple lyrical refrain or guitar line over and over. Opening the record with the subdued "Please Take" is kind of a tease as it does not hint at the raw aggression that is to come. "Two Minutes" is the lead single and seems to be a nod to Blur's "Parklife" which in turn was a nod to Wire's early work. Although the record lacks the urgency of the band's early work, the maturity in songwriting and playing serves the band well. Will this record catapult them into a new audience of younger punk and indie kids? I doubt it. But it's a good record that deserves attention

(mp3) Wire -- Two Minutes

New REM Single..brings back old times

REM is in many ways like a long lost friend. You keep in touch with them but sometimes you lose track. Then one day you think to yourself, "you know I haven't heard for so and so in a while I should give them a call". Well, REM called the other day and reminded me why they are such a good friend.

"Discoverer" is the lead single from the band's newest record, "Collapse Into Now". By the sound of this song, the band is continuing to rebuild their sound after it all fell apart when Bill Berry left (never underestimate the impact a drummer has on a band.) From the opening guitar line by the suddenly ubiquitous Perter Buck (as referenced earlier by his work with THE DECEMBERISTS and TIRED PONY) to Micheal Stipe sounding oddly defiant in his singing, the band seems ready to at least give the whole big ass stadium band thing another whirl. They have said in interviews that the new album is similar in many ways to "Automatic For The People" which in my book is a good thing. "Discoverer" seems more akin to their work on "Green" but if those are the reference points then we might be in for a treat in 2011.

download the track for free here.

Examples of the Perfect Pop Song (Part Two)

There are many songs in the REM catalogue that could fill this category but "The One I Love" is certainly one of them. From the opening drum beat, to the great guitar hook, the song is about as close to perfection as you can come.

Enjoy the video below:

Chapel Club and my wish for cold weather

Okay people, it's frickin December. Could I please get some weather that doesn't require me to wear shorts and flip flops. Which leads me to today's musical find. CHAPEL CLUB are the kind of band I would listen to when it's cold outside. The band reminds me a ton of THE OCEAN BLUE mixed with elements of the shoegazer movement. These London based chaps are releasing their new ep, entitled "Wintering", in preparation for the debut full length in 2011. The four songs here highlight the different stylistics impressions of the band and serves as a nice primer for new listeners.

The opener, "Roads", is a fuzzed out drone of a song that pays homage to SWERVEDRIVER and SLOWDIVE, including the full effect guitar bending sound made famous by the later on their seminal "Souvlaki Space Station." "Teluride" builds slowly through a wash of feedback to find a dreamy pop song hiding on the other side. "Bodies" has the feel of a dark night drive along a snowy road, with the gentle guitar line serving as the falling snow. The closer, the eight minute "Widows", seems to be lifted from THE CURE early catalogue with it's slinky bass line pushing the song along.

As an added bonus, the band has made another song available on their site for free download. "The Shore", which one would guess will be the lead single from their record, seems more aggressive in it's sound yet maintains the imagery outlined in the song title. Whether it's the birds at the open of the track or the way the song washes sound over the listener, the band excels at creating mood pieces that pass as pop songs. Take some time with these guys and definitely check out their full length next year.

Download The Shore from their site here.

Introducing...Clockwork Radio

CLOCKWORK RADIO are a five piece band from Manchester (apparently by way of Egypt according to their website.) The band plays a pretty straight ahead form of rock with some nice flourishes of guitar and an odd bass line here and there. They have released their second ep, "The Soul Harmonic", for free download off their bandcamp page.

The ep's four tracks highlight the bands eclectic approach. "Desire" has a bit of a middle eastern blues feel to it in the open before finding a nice groove for the rest of the track. "Please You" takes the band into a slightly more epic place similar to say THE TEMPER TRAP. "Solitaire" opens with a great bass line that makes the this the most upfront rock song on the ep. This is also the song closest to their Manchester Brit Pop roots. The closing title track takes advantage of the piano line to come off very Beatle-esque.

The ep gives me hope that they could definitely grow into something worth keeping an eye on.

Download the record for free here.

Teen Daze & the bedroom pop movement

I have always marveled what can be accomplished with home recording equipment these days. Sounds that are fully formed and seem more polished than ever before are emanating from singular recording sessions with small groups of musicians. Take TEEN DAZE, a Vancouver collective (or is it one guy, I can't really tell) who make sunny, shimmery pop music that is reminiscent of THE BYRDS and THE MAMAS AND THE PAPAS in the layered vocals and clean guitar lines. Their latest ep, "Beach Dreams", is the kind of lo-fi wonder that makes me wish I had learned to play the guitar myself.

You can almost feel the sun basking on the shoulders of the singer as he intones to his love that they should fall into each other's arms on "Let's Fall Asleep Together." "Beach Dreams" sounds as if it's using the rhythm of the ocean as its metronome as it recalls the end of summer and all the lost opportunities that come with the end of the season. "Cliff Jump Love Song" has that fevered pace that comes with the adrenaline rush of diving into the unknown. "Water" sounds as if it is drowning in on itself and yet still has that childlike love of the ocean in it's spirit.

This is a marvelous piece of pop confection that will last those of your battling winter wonders (like six feet of snow) with the promise of sunnier days to come.

Visit the Bandcamp site here to pay what you like for the ep...

Examples of the Perfect Pop Song (Part One)

No commentary with this just an example of a perfect pop song. Sit back, relax and enjoy this (especially Harriet Wheeler's almost perfect vocals...)

Kanye West and his Magical Autotune

Say what you will about KANYE WEST. Is he an arrogant blowhard? Yes. Is he an insecure narcissist who needs attention constantly to feel appreciated? Yes. Is he a creative force that changed the course of hip-hop like few others? Hell, yes he did. Kanye could have gone the path of so many of his colleagues and churned out club banging hits about sleeping with strange women and taking stranger drugs (or vice versa). Instead, he chose to explore his musical boundaries and has slowly taken his music away from rote hip-hop to something altogether different.

Two songs from his newest album, 'My Dark Twisted Fantasy", highlight just how much his music has changed. Starting with the previous album, "808's and Heartbreaks", Kanye has added vocoders and autotunes to his vocals and distorted the beats and synth lines warping them into almost unrecognizable sonic tapestries. Now he extends that to "Runaway" to include strings and other instrumentation to create an orchestral song of defiance for his critics. "Runaway" is cinematic in scope and sound and from his live performances of the song, almost cathartic in nature.

Then there is "Lost in The World" where our mercurial one teams with another tortured soul, folk troubadour BON IVER. Now rap crossovers are not new, but even this paring seemed odd at first. But you can see why they work so well together. Both write songs about despair and loneliness and both favor their material with a bit of macabre sense of humor. Here the song comes off as part appeal for understanding and part cry for salvation. I think I have played it four times writing this and still find new things about it that I enjoy.

So yes, West is all the things described above but what he is not is another boring MC.

(mp3) Kanye West -- Runaway (courtesy of TSURURADIO)

Introducing...Trophy Wife

TROPHY WIFE are a band out of Oxford, England who recently unveiled their debut 7' single (which by the way is still a great invention in my mind). The two songs on highlight the best of what the band is about. The A Side, "Microlite" is a summery piece of pop pie with a nice acoustic strum to it. If you hunt a bit there is even a pretty in it's own right acoustic version floating around.

But it's the B-side that really grabbed me. "Take This Night" has a rubbery bass line that screams dance and a drum shuffle that is just soft enough to be a later in the evening come down off the dance floor type of song. This seems to be a direction other UK bands have taken (like THE STONE ROSES without the drugs and the attitude). The song just kind of rolls along until you don't realize it but it has infected your brain and your humming along. If they find a way to consistently split the difference between these two sounds then I have high hopes for their full length record.

(mp3) Trophy Wife -- Take This Night (link care of The Music Ninja)

Abe Vigoda (the band not Fish from Barney Miller)

It takes some guts to name your band after a TV actor and do it with no sense of irony or any real reason why. On top of that, if Abe Vigoda was attached to some form of music I can assure you it would not sound like this.

ABE VIGODA is a LA based band that specializes in slightly over the top rock that takes a heavy dose of stadium guitars and meshes it with 80's keyboard sounds and falsetto vocals to create a quite striking blend of rock music. Their latest record, "Crush", has elements of songs that could have been lifted from a John Hughes movie (the opener "Sequins" and the lead single "Throwing Shade to name a few). In many ways they remind me of THE PSYCHEDELIC FURS who specialized in this sort of melodrama.

When they take a more straight forward rock approach the results are just as appealing. The title track will play very well in amphitheatres as a sing along for all the boys and girls to pogo to. "Repeating Angel" is a Bowie knock off (which is a bit of a misstep in my opinion but at least they are true to their muses). But that is the only real odd song in the collection. Now, I don't think it's a record for everyone. The lead singer's vocals can slip from time to time. But if you are in the mood for some nostalgia then this might just do the trick.

(mp3) Abe Vigoda -- Throwing Shade

No Age keep the Indie Spirit Alive

I recently started listening to NO AGE when I saw that they opened for PAVEMENT and SONIC YOUTH. Now when two heavyweights in the indie/alternative world put a band on their bill, it makes me take notice. Their latest record, "Everything In Between" is so chocked full of goodness that it almost made me skip a beat when I listened to it for the first time.

For a mere two piece outfit to create such varied and creative music is a testament to their talent. It is no wonder that Dean and Randy met at famed LA Record Store Aron's since their records are rife with their influences. From the Jesus and Mary Chain drone of "Life Prowler" the the Peter Hook style bass of "Glitter" to the punk fuzz of "Fever Dreaming" it's like listening to a record collection on crack.

No Age have the unique ability to morph their sound without compromising the basic ideal of the music. It's as if their songs are celebration of the underground and the notion that if you have passion it doesn't matter what you sound like. Their is so much power in the drums, notably on the slightly poppy "Valley Hump Crash" and the balls out rock of "Shred and Transcend" that the whole thing threatens to come apart.

The more I listen to the record the more I find the nuances and the textures. With each listen I realize this is a band the be reckoned with; if that's even what they want.

(mp3) No Age -- Glitter

Down the Rabbit Hole with Mobius Band

It all started out so innocently. I was looking for something new to listen to and stumbled across a mention of MOBIUS BAND from Brooklyn and thought I would investigate. This has happened to me before. I start out listening to something and start researching the band's background and happenings. Occasionally I will find a band that is no longer around and has splintered off into various solo and new band projects. So I start looking into those records. Before I know it I have a whole new collection on my hands. Here is the tale of my trip through the labyrinth of MOBIUS BAND.

The original group was a three man collective who made one record and a ton of ep's that are all very, very good. Their first three ep's (entitled 1, 2 and 3) are mostly instrumental but when the vocals are added they are very reminiscent of THE DOVES. The songs have a grandeur that would have played very well live. They also put together a collection of cover songs that can be downloaded for free on their website.

But that is only part of the story. Once the band broke up the various members went off and did their own thing. Which changes the whole tone of the original work. When bands break up you can almost see the divisions in sound take form when the artists start to record separately.

As LOLFM, former drummer Noam Schatz takes the more ambient electronic approach to his music which manifested itself in Mobius Band's early instrumental work. Clearly influenced by KRAFTWERK and LUKE VIBERT, his album is available for free here.

LADIES AND GENTLEMEN is the new incarnation of Peter Sax is probably the most straight forward pop of the three groups. Mixing his vocals with lush female counterparts and keyboards, the sound is similar to THE POSTAL SERVICE. His songs can be found here.

Finally, COOKIES is the pen name of Ben Sterling. The debut single introduces the band as a sing along male/female combo using dance beats and a staccato style keyboard line to push the song along. You get the sense that over time their sound will probably be the most dance hall ready of them all. They can be found here.

So for one night of goofing around I got four bands worth of good material. Not bad for a band very few ever heard of in the first place.

It's Peter Buck's World...The Decemberists Just Live In It

So earlier this year Mr. Buck lent his talents to TIRED PONY and we are getting word out of the REM camp that their new record is rapidly approaching us in mid 2011. But if that wasn't enough ole' Pete hired out his six string twang to the new single from THE DECEMBERISTS, called "Down By The Water".

Here's what funny. When I first listened to the song while working on something else I thought, "man, this sounds a lot like REM" and apparently for good reason. The song would be pretty non descript except for the recognizable plucking (along with some nice background vocals by Gillian Welch). What does this tell us about the new record from Colin Meloy and company? Probably very little, other then they are trying to apologize to their fans for the god awful last album. So sit back, relax and enjoy the guitar work of an old friend.

(mp3) The Decemberists -- Down By The Water