Examples of the Perfect Pop Song (Part Eight)

I don't care what anyone says, I will always have a soft spot in my heart for TOAD THE WET SPROKET. They will always remind me of college and all the awkwardness that went into that time of my life. Here is there big hit...enjoy!!

Oh Liam, Beady Eye is not what we needed

Okay so I am an OASIS fan. I have enjoyed their work even if it was at times derivitive of THE BEATLES. It was kind of the collective deal we made with them. The Beatles were gone and Oasis was what they could have been if technology had allowed Lennon and McCartney to blast the volume up to 11. When Noel and Liam Gallegher announced that they had had enough of each other (talk about awkward Christmas moments) we all thought Noel would be the one to go on to some form of new career. After all he was largely credited with the success of the band as the principle song writer and musical genius (similar to what PAUL WELLER has done with his time.)

So along comes BEADY EYE. For those who don't know, this is the rest of OASIS as imagined by Liam Gallagher. He has taken the reigns of the songwriting and singing all the songs. Of what I have heard (about four songs), I can say it is now clear that Noel was in fact the driving force. Beady Eye's songs not just mimic The Beatles, they openly ape even the post fab four with nods to JONH LENNON'S solo work as well as WINGS. "The Roller" has all the markings of "Let It Be" era musical cadences mashed up with "Instant Karma's" pacing. "Four Letter Word" opens with "Live and Let Die" flourishes before settling in to another Oasis style rock song. "Bring The Light" is Liam's ode to early Beatles as a rockabiliy act.

(I can say that I listened to these songs more than once before writing this and at one point thought about skipping this whole enterprise in it's entirety.)

It's not that the music is bad. The work is very well played and very professional. It's just so devoid of any individual voice. It's more like a cover band than a genuine muiscal entity. Maybe the full length will be better. Let's just say at this point I'm not holding out much hope.

(I don't feel right offering up a song. If you're interested I'm sure they are available in various places.)

Best Coast/Wavves remind us about Summer

So it is unseasonably warm here in Southern California (which is like rich people complaining about the quality of their caviar but I digress) and as if to remind us that summer is right around the corner BEST COAST and WAVVES have released a split ep to commemorate their upcoming tour.

"Summer is Forever" is surprisingly cohesive for two bands who although alike do have some striking differences. Best Coast is a female led LA collective that contributes two sprightly songs. "Crazy for You" sounds like it is a long lost outtake from one of those old Beach Blanket Bingo type movies complete with all the teenage angst that came from the boy who wouldn't look the girl's way. "When You Wake Up" has a nice pop shimmer to it and vaguely reminds me of THE BREEDERS in their poppier moments. Again the sound of summer love is alive and well here.

As if in response WAVVES, the San Diego indie rock outfit, provides the male perspective to summer. "King of The Beach" is a surf rock, lo fi anthem that sounds as if it should be played over some killer surf footage. "Stained Glass (Won't You Let Me Into Your Heart) is by far the darkest thing on the ep. The song revels in its discord as the narrator pleads with the girl to see things his way. It seems a bit out of place until you realize that it may be that the end of summer brings about fruitless promises of long lasting love.

What makes the whole thing work is the commitment both bands make to crafting images with their sound that make you fill in the blanks on the story (even though there isn't one). For those of you shoveling snow it will serve as a welcome reminder that someday you too will see the sun again.

(mp3) WAVVES -- King of the Beach

Examples of the Perfect Pop Song (Part Seven)

I will have some thoughts on Liam Gallagher's new band BEADY EYE in the coming days, but here is the first song from OASIS that made me fall in love with the band. Too bad it all ended so badly..

Sometimes you just need some Kick Ass Rock and Roll

So there are those times when I want my music to provide a specific emotional release. Traditionally, happier sounding songs can have a mood enhancing effect. Sad songs can heighten a sad sensation. Angry songs about angry things can increase the vitriol in my demeanor. Whatever it is, music can have the effect of moving us in a given emotional direction. I say this because I feel that there are times when I just want some kick ass, balls to the wall, rock songs. I have in the past spoken about music that passes "The Driving Test". Music that sounds better in the car then it does at home or work. Music that is meant for driving in open roads, sung at the top of your lungs even if it is out of key.

Chicago's THE LAUREATES make exactly this kind of music. It's raw and full of raging guitars. they have released a couple of records and their latest ep "No Kontrol" is available for free through the band's website. The title track swings with dueling guitars and driving bass line. It establishes the band's sound as somewhere between THE REPLACEMENTS and THE WHO. You kind of imagine the band slamming away on stage followed by everyone sitting down for beers on the tour bus afterward. The surf rock twang of "Get Sensitive" sounds like a long lost HUSKER DU track and gives way to the slightly mellower "Disconnected" and the Springsteen-esque "Beauty Spies." The ep's closer is the bluesy romp of "Cooler Birds".

As a bonus on the bands site are killer covers of REM, THE BREEDERS, and THE ROLLING STONES among others. Seriously if your are in need of some low down, dirty rock and roll on a Friday afternoon after a hard day, this is the band for you.

Visit the band's site here.

The Low Goodness of Kurt Vile

It may not be a name that jumps right at you but KURT VILE is an artist to take seriously. Prepping for his second full length release, "Smoke Ring For My Halo", Vile makes the kind of introspective catchy rock that reminds me of PETE YORN mixed with the more folky moments of TOM PETTY. You can almost hear the pops and crackles from a vinyl record permeate through his music.

The two teaser tracks released reinforce his love of obscure lyrics and simple, straightforward song structures. "Jesus Forever" has a catchy melody (even if it is somewhat obscured by the intenti0nally lo-fi approach to his recording process) but I especially enjoyed the other released track, "In My Time". Opening with a soft strum of an acoustic guitar and a singing style reminiscent of Dylan and his more lucid moments, the song glides into the chorus rather than hitting you over the head with a chord change. As the song builds an electric accompaniment adds depth to the song as the author reminisces about lost time and getting older. It is apparent to me that Vile is one of those old soul types who looks beyond simple songs to find deeper meaning in it all. I am very interested in experiencing the whole album.

(mp3) Kurt Vile -- Jesus Forever (care of the good folks at Matador Records)

Examples of the Perfect Pop Song (Part Six)

THE CURE's "Just Like Heaven" is about as close to a perfect four minutes of music as you can get. The fact that it was pretty much the go to song for their one off award show performances for the bulk of the career only sealed the deal. I had forgotten just how damn catchy it was even after all these years...

Why I'm Torn over Sleigh Bells

Okay, so I have listened to SLEIGH BELLS debut record a few times upon the wife's recommendation and have been unable to make up my mind if I like it or not. I can see the attempt here to marry MY BLOODY VALENTINE, CURVE, and 80's heavy metal as an intriguing idea on paper. Upon first listen I found the odd construction of some of the songs sonically off putting. "Tell 'Em" just sounds like a mess of riffs thrown together with little or no hook or thread. Elsewhere on the album, like "Kids" and "Riot Rhythm" sound like they are copping what M.I.A. has quite frankly done better on her earlier records.

Things change however with the single "Infinity Guitars" which finally shows a semblance of a hook in the music. "Run The Heart" are "Rachel" are a mash-ups of LUSH and hip hop beats that in a weird way almost makes sense. I wish this was the more dominant sound on the record because I think it is more interesting than the big chunky guitars that the band seem to favor. Somewhere in here is a good sound I just don't think they found it. My concern with this band is that they get the misguided notion that bigger and louder guitars will translate to an edgier sound when I think the more textured approach would benefit them in the long run. So in the end I still feel conflicted and maybe that is what they wanted from me all along.

(mp3) Sleigh Bells -- Run The Heart

NEW Mogwai!!

It's odd to say that in many ways Scottish Post rockers MOGWAI have become predictable. One would have thought that this far into their career, releasing their seventh record entitled "Hardcore Will Never Die, But You Will", that the band would start to tinker around and experiment with their sound more. But true to form the band mines similar territory as their last two records. (ed note. I kind of ignored their last album outside of the single "The Sun Smells Too Loud").

The opener, the misleading "White Noise", is a simple guitar and piano drone that leads us to "Mexican Grand Prix" which borrows a synth line from STEREOLAB over hushed vocals and KRAFTWERK like computerized voices. As is usually the case with Mogwai, the bass is the real star of the song. "Rano Pano" is the lead single and has all the earmarks of the harder, darker sound similar to MY BLOODY VALENTINE playing 70's classic rock. "San Pedro" could actually be a radio hit since it clocks in at under 4 minutes and has a nice hook (too bad there are no vocals to go with it). The closing half of the record has a lot of M83 touches to it with the finale "You're Lionel Ritchie" starting as a Disintegration-era CURE song before building to a massive wave of guitars, bass and drums.

"Hardcore Will Never Die, But You Will", is not going to add any fans to Mogwai's base. At this point, I don't think they care. I think what they do care about is refining, honing and polishing their sound for those who have already drank their brand of Kool-Aid.

(mp3) Mogwai -- Rano Pano

Examples of the Perfect Pop Song (Part Five)

One hit wonders are often good examples of the perfect pop song. A song captures a specific hook or phrase and becomes an instantly catchable ear worm. "Breakfast at Tiffanys" by DEEP BLUE SOMETHING is that marriage of a great chorus that you can't stop humming.

The Last Battle -- Why Did I Wait So Long?

Sometimes bands slip by you. In this day and age of digital publishing it is easy to miss something even when it is right under your nose. Such is the case with THE LAST BATTLE. From the absolutely wonderful 17 Seconds records comes this Edinburgh collective who specialize in acoustic folk with an emphasis on mood and atmosphere. Their songs use a variety of instrumentation to highlight the intertwining vocals of Scott Longmuir and Arwen Duncan. You can almost see the band playing in some coffee house or small pub over in the corner.


Their debut record "Heart of the Land, Soul of the Sea" contains songs about longing and death and love. The recently released single "Natures Glorious Rage" starts with a simple mandoling strum then builds and builds to an intense high before quietly fading out. They have also put out a one off single for new years entitled "365 days" which is a more playful tune that sounds as if it was recorded in one take. Don't make the same mistake I did and sleep on this band. Go and immerse yourself in their excellent material.

(mp3) The Last Battle -- Cutlass

Go Here to Check out their stuff.

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.