Veronica over a CreamTeam turned my attention to this most delectable retake of the Prince classic “I Wanna Be Your Lover.” Prince, in my humble opinion, is the righter of all wrongs; that isn’t just because I was raised in Minneapolis it’s because it is the truth. It takes a bold soul, or on this case two, to attempt to bring new character to the work of the man in purple but duo behind White Girls Lust up the disco factor and add just the right assortment of beats to make it work. It’s awesome headphones material, especially if you’re prone to music inspired burst of dancing in the streets.
[MP3] Wanna Be Your Lover (White Girl Lust’s Solid Bump Beat) – Prince
The Kids Of 88 are amongst my new favorite discoveries. The New Zealanders make fun poppin dance tracks. They describe their sound as a”whimful combination of dirt spitting kicks and feathering grit. An overdose of nightlife; the lubricated moan of spilt vodka. The hard realization of concrete and the happiness of blurry vision. An alleyway gangbang between Grandmaster Flash and The Knack.” Which pretty much nails it on the head, as does this remix of their bit “My House.” In the hands of RAC is it hard to go wrong and this one is oh so right.
[MP3] My House (RAC remix) – Kids Of 88
I’ll be honest “Om Nashi Me” isn’t my favorite piece from Edward Sharpe & The Magnetic Zeros but after hearing the digital wash Timmy The Terror gave it a blossom of appreciation was loosened in me. Pulling apart the driving beats and letting them echo in a little more space gives the chant an artier vibe . Timmy maintains the warm reverential spirit of the original just skewed slightly for a different setting, instead of tripping through fields think biking home from a night of dancing.
[MP3] Om Nashi Me (Timmy The Terror Mix) – Edward Sharpe & The Magnetic Zeros
On days like today when everyone seems to have slowed to an almost European pace and the heat is melting me into a puddle of mush all I want to do is crack a ice cold beverage and lounge around listening to southern fried, country leaning, rock. It is usually some mix of The Allman Brothers, Skynard, Drive By Truckers, Ryan Adams & The Cardinals, The Love Language and a few others. I’m always on the hunt for new acts to add to the fold and I do believe I have found just that in The Futurebirds.
The mischief makers from down Georgia way have grown from a duo that first came together in high school to a six member troop about to release their first album, Hampton’s Lullaby. Expect to find haunting pedal steel guitar, fuzzy rhythm guitars, jangley guitars and appropriately southern accented vocals. It isn’t a terribly inventive approach to the genre but the skill used to create it is what gives the album its appeal. Mark your calendar for July 13th when you can get your copy of Hampton’s Lullaby. I highly recommend you enjoy it with frosty beer in hand.
Every spring I assemble a summer playlist; it’s usually an assortment of new and old, some perfect for dancing crazily around my apartment others ideal for being as still as possible in the stultifying summer heat. All are intended to create a memorable personal soundtrack to the warmer months.
This year as I looked back over the mixes from years past and I was struck by how much they reflected where I was and what was going on in my life. The summer after my freshman year of college I waited tables and tended bar in a Mexican restaurant/ jazz club in northern Wisconsin. The soundtrack that summer had a lot of classic rock, a bit of country and lots of jazz. The soundtrack to the summer I spent studying photography & jewelry making in Florence was mainly singer songwriter and folk with some Euro pop thrown in as I gathered it along my travels. Listening to these mixes immediately takes me back to those languid days of yore.
In the haze of this reflection I decided that it would be fun to share some of the prime tracks from these old playlists. So, I’m going to do a series of summer mixes, one every other week. They’ll each have a theme and will include some new tunes thrown in to keep the lists relevant. If you have a song or two that mean summer to you please pass it along. To start off, this week’s selections are an assortment of songs intended to serve as a teaser for mixes to come. Happy summer!
Anywhere You Looked – I’m From Barcelona (PEACE project)
Multiply – Jamie Lidell
We Are The Men You’ll Grow To Love Soon – Let’s Wrestle
Unless It Kicks – Okkervil River
Whole Wide World – Wreckless Eric
Do You Realize – Flaming Lips
Are You Ready For The Floor (Hot Chip cover) Lissie Trullie
Always On My Mind (Willie Nelson Cover) – Ryan Adams
Dream City – Free Eergy (Daytrotter Session)
Moon River – Josh Ritter (Daytrotter Session)
Can’t Help Falling In Love With You – The Eels
I’m still tinkering with a few elements of TWIAPC and I think the next change is gonna start right now. From heres on outs I’m going to keep New To Know posts to one or two groups. They’re going to be more frequent but by relaxing the rule of 3 I hope to be able to give the groups I feature a little more verbiage. I’m also working on a few other new features and I think this move will balance the content out. So, with that said get to reading about these two great acts.
This Philly trio has just released their first album Imaginary Friends which is the perfect title for the heavily nuanced collection of songs. Each of the 13 tracks are a separate exploration of chimes, claps, echoes, hollow piano chords and harmonies. No single song comes off as an easy creation, the density and layering of the music make Imaginary Friend a wonderful trip into complex land of psychedelic indie rock. They do pick up the pace a bit on a few of the songs but for the most part they remain in a dreamy haze of hypothetical lyrics and curious arrangements. Three plays into the album I still haven’t fully settled into it which isn’t a bad thing as I keep discovering new facets of their sound. Looking for some loose new tunes? Give Grubby Little Hands a try.
Every once in a while I hear a voice that really draws me in, the rest of the arrangement could drop away and I would still be a pleased listener. That is how I felt when I first heard Danny Batemen’s voice on his band Uncles’ new album Replacing Words With Other Words. Credited to listening to his Southern grandfather sing to him as a child his voice brings a distinct twang to the New York based group. Batemen and his bandmate Will Schwartz have been writing their slice-of-life songs since they were teens but I have a feeling a few years on em has given their lyrics the tarnish that really makes an impression. Accompanied by a ever changing group of instrumentalists who strum banjos, double basses and violins Uncles’ sound is definitely Americana but with a hint of big city influence. For a first album there is an undeniable shine of promise, now I just want to hear how they will evolve.
It isn’t the most earth shattering video but the album it is from is perhaps one of my favorite of the year. Tokyo Police Club never seem to get enough respect but their new LP Champ is perfect fodder for your summer soundtrack. It drops June 8th and the band will be swinging through town with Passion Pit at The Mann on June 27th. A lovely line up for a picnic concert.
[MP3] Wait Up (Boots Of Danger)(Passion Pit Remix)
tame impala – solitude is bliss from EL NINO on Vimeo.
Tame Impala is Australia’s newest indie offering and their scooping up a ton of blogger praise. I’m a little late to the party but I can tell you the party is well earned. The video is an abstract meander through anxious crowds, solo grooves and unhinged anger. All elements found throughout Tame Impala’s work. I’m certain you’ll be hearing more from Tame Impala so why not get started with this well tuned video. They’re on a NA tour with MGMT this summer. Catchem if they come to you.
[MP3] Vital Signs (Midnight Juggernauts Cover)
There is break dancing, there is a Mondrian aesthetic, there is a lot of silliness, there is some fun with props. Oh yeah, there is also a damn good pop song. Their new album Omni came out May 4th and it is filled with most excellent jams. You’ll have as much fun listening to it as they no doubt had making this video.
I am super super excited for some new Scissor Sisters. The new album Night Work is due out on June 28th. Once I have that in my possession then it will truly be summer. Until then enjoy this morsel of glam pop wonderfulness. I’m also adding this video to ones I would someday like to reenact. Get me to the dance floor so I can properly express my excitement!
Opening for Mumford & Sons was the Australian group The Middle East, the group’s folky minstrel show was a excellent choice to start the evening. The Middle East consists of seven supremely talented musicians – six guys and one lovely girl more than able to hold her own- who play an astonishing assortment of instruments. I had initially seen them do a short set at SXSW that hadn’t lived up to my expectations after hearing their album. But all seven were crammed onto a small stage in freezing temps so I chalked it up to the less than ideal setting and was eager to hear them in much improved conditions at the TLA.
With a full stage to spread out on The Middle East was clearly more at ease. On his perch the drummer was able to go into a trance as he attacked through the material. The lone lady, on keys and flute, had plenty of space to smoothly switch around as needed. While the boys with their strings – banjo, guitar, bass and violin- had more than enough room to wander and jam. I mention the space factor because the group’s playing at this show was so effortless, allowing them to really invest in the ebb and flow their songs demand; a marked difference from SXSW when it looked like they were struggling to even hold their instruments.
Led in turns by the two main guitarists, they played a short set that highlighted both their slow building almost orchestral pieces like “Pig Food,” as well as, their more intense material like “Beleriand.” Being able to make a visual connection to the subtle arrangements that propel their work gave it a much more lush sound as you watched each member go about their part. I can’t remember ever seeing a glockenspiel played with as much nuance as I did when watching them play – in particularly on “Blood”- nor was I expecting the drummer to play in such a carefully riotous manner. Actually experiencing the construction of these songs brought a whole new life to their intensity. Unlike many groups of this size, who could easily cut their members in half if a few of them learned how to play a tambourine or floor tom, every member of The Middle East is vital to building their complex sound. Constantly rotating instruments and roles they all carry their weight in giving their music character; whether it was taking the lead on vocals or providing the airy flute line floating almost unnoticed through many of the songs everyone respects the others role. Seeing The Middle East live revealed new depth to their sound that I had previously not appreciated. Now even listening to their record I feel the presence of all seven members in the music. I look forward to discovering what happens when they begin to evolve their sound in their future recordings.
I find it difficult to fully wrap words around the brilliance of Mumford & Sons live show. I don’t want to numb you with effuse praise nor do I want to downplay the impact their music has on a room. These four men work a magic on stage that is both visually mesmerizing to witness and sonically enveloping, taking you directly into the pure bliss of the resounding bass, the careful pluck of the banjo and the simple rhythm of the keys. Sunday’s show was Mumford & Sons at their best, a combination of old and new, folk and rock, tenderness and anger. It was a careful mix that left the audience totally stated.
Beginning with an epic –and I do not use that word with the casual flippancy of others – rendition of “Sigh No More” Mumford & Sons’ lush plaintive harmonies set the standard for the night. Lead singer Marcus Mumford’s voice- slight rasp in fine form- led the charge as the bass gave the song a pulse that gradually picked up as Country Winston’s banjo whisked away the heart of the piece to it’s frantic peak. It was the perfect way to start their long and varied set.
For a group that has been on the American radar for a relatively short period of time (mind you they’ve held precious realty in my heart since 2008) Mumford & Sons has managed to sell out their entire first head
lining tour of the US; a feat that they readily credit to their amazing fans. As I have previously (and repeatedly said) when an artist is genuine in their appreciation it is palpable in their performance. Sunday as I watched them play I found on numerous occasions this grin come across all four fella’s faces at one time or another, a grin that suggested they still cannot believe all those people had showed up just to see them play. Their bodies and souls go into every song, Ben Lovette hunches over the keys, his feet taking a wide stance to give him the best leverage on the machine and watching Ted Dwane dance and sway with his up right bass is a sight to behold. During the show they used very simple white back lights timed to emphasize their music and combined with physicality of their playing it made quite a visual impact.
The set list crossed familiar territory, “Little Lion Man” received full audience participation, “I Gave You All” carried all the anger and pain of the lyrics as Mumford’s voice pushed his voice to its rawest reaches as the banjo fluttered in the back. “Roll Away Your Stone” was Mumford & Sons in their element calm verses infused with the rowdy energy of their impassioned harmonized choruses. There was a broken string snafu in the intro of “Awake My Soul” that gave an unexpected pause for some casual stage banter but didn’t at all detract from the quality of the second attempt.
The group inject the set with some new songs, “Nothing Is Written,” “Lover Of The Night” and”Whispers In The Dark” all suggest their next release will be much more rock and roll. The later two both saw Mumford then Lovette taking their place at a drum set. The energy surrounding these new tracks had their typical bawdy rawness but with an electrified edge as even Dwane traded his upright for an electric bass. I’m terribly excited to see how the music evolves with more play time and after some time in the studio.
There wasn’t a moment during the show that I felt Mumford and Sons wasn’t putting their all into their playing. They played long and with an unfiltered passion that swept up the entire audience. By the time they came out for their encore, a fantastic version of “White Blank Page,” there wasn’t a person in that room who wasn’t under their spell. If this is just the beginnings of Mumford & Son’s streak to fame I see an increasingly bright future ahead for them.
[MP3] Cousins (Vampire Weekend cover) – Mumford & Sons
It has been a doozy of a day and it is just the first in a string of crazy days so pardon the brevity of my post. There is plenty to look at though so dig in!
FREE ENERGY “Bang Pop” from Free Energy on Vimeo.
The Philly act is up to their usual playful antics in their newest video for their addictive single “Bang Pop.” Populated by the lucky kids selected from an open casting call a few weeks back the video couldn’t capture the defiant but good spirited Free Energy ethos any more perfectly.
[MP3] (This Shit Was) All I Know – Drake vs Free Energy (Hood Internet)
When I first heard High Violet, the new album from The National, I wasn’t bowled over, as I had been with Boxer Alligator. I wasn’t disappointed I was just hoping it would be more of a departure from their successful -but well used- formula. However. at the urging of the great Ryan P Hansen, I gave the full go a few good listens; somewhere towards the middle of the fourth spin I discovered they have made a departure. Only they’ve gone inwards rather than outward, digging deeper into the nuance of their formula and making subtle tweaks that only become apparent after some investigation. High Violet is now making its way towards the tops of my 2010 list.
Oh, and the video? It is extravatacular.
The National – “Bloodbuzz Ohio” (official video) from The National on Vimeo.
Melodica, Melody & Me is a new group to my ears and this video was what first caught my eye. The retro reel fits the sweet lyrics perfectly. They’re about to do a little UK acoustic tour with Bombay Bicycle Club and hopefully will be making it stateside sometime soon.
In the hazy space that is my mind right now this video found a place to resonate. The dreamy pop is soothing but still catchy. Inlets’ new album Inter Arbiter features Zach Condon (Beirut), Angel Deradoorian (Dirty Projectors) and Maria Jeffers and Marla Hansen of the string quartet Osso is sonically refreshing, you should buy it, listen to it, then go see him while he tours all over North America. All over, that is except for Philly. Le sigh.
Mark McAdam has been in the music making game for quite a while – since 7th grade to be exact – including a stint with Dermot Mulroney’s band Cranky George during his years in LA. Now McAdam has settled in Brooklyn and into a new phases of solo music making. The start of his lastest effort coincided with beginning of development for his friend Keiran Mulroney’s (Dermot’s screen writing brother) movie Paper Man. Inspired by the quirky movie’s characters and plot he began to create an album around them. The result is magnificent.
The eleven tracks on Paper Man Songs stand alone with their own stories and character. “Adderall” offers an ironically calm homage to the ADD remedy, just one of the calmer more reflective pieces on the album. “Around The Bend (Or, The Optimist)” is a poppier ode to the search for El Dorado. The instrumental tracks written for the score are unpretentious but effective; easily evoking the emotions reflected in the Paper Man story line. McAdam’s years of song writing experience have given him a well developed sense of the ways music can tap into emotion. This album is a stellar reflection of that skill.
Chicago’s The Damn Choir was born out of moment of kismet when Katy Myers happened upon a recently broken hearted Gordon Robertson in a bar. Initially Katy deflected his musical advances but eventually Gordon won her over. In the year and a half-ish since that fateful day the two have acquired two more musicians – Chelsea Heck (vox) and Miguel White (drums) – and developed their own folky sound.
Myers’ steady luscious cello lines provide a rich backdrop for Robertson’s perfectly imperfect voice; the relationship between the two gives distinct character to the group’s songs. The addition of Heck’s supporting vocals gives the material a middle dimension and rounds out the arrangements. Lyrically The Damn Choir explore relationships from all sorts of angles; tender reflection, longing rhetoricals and simple missives. It is a promising start for the relatively new four piece; I can only imagine, as they become more comfortable with each other’s abilities and start getting more musically curious, their sound will only improve.
These six dudes from Sioux City, South Dakota are making really really really good music. There is a lot of banging percussion along side some shouty vocals and, of course, bizzy driving guitars but, it never gets messy instead it becomes a high energy symphony of fun. We All Have Hooks For Hands is capable of taming the beast that is their collective sound but don’t forfeit any of their allure when they do so. Letting a simple piano line or a steady drum beat take center stage and allowing the group vocals and additional instruments spiral out from there -as they do on “Hold On C’mon”- is a welcome counter to the full-steam-ahead pace of other tracks.
They’re tucking back into the studio this summer and I cannot wait to hear what they have when they emerge. I unflinchingly predict great things. Get on the bus early.
A little over a year ago a friend of mine asked me to create a playlist for his workouts. He knew I used a carefully assembled tracklist to blast me through my workouts and he wanted something similar to give his routine some new drive. I had spent hours finding the right assortment of remixes, catchy pop songs and familiar classics to provide the right ebb and flow for my hour long gym session. The task requires a lot of tweaking and personal adjustment and I told my friend as much. He wasn’t hearing any of it so, I pointed him in the direction of Girl Talk’s Feed The Animals and told him to start there. Well, it seems to have lasted him nearly 18 months because a few weeks ago I got another email request for a fresh workout soundtrack. I wasn’t sure what direction to point him in this time until I got this new epic mix from Moshi Beats. There are a few familiar pairings and segues from the Girl Talk’s efforts but, if you’re in need of 42 minutes of easily consumable bumpin grooves then here you go. It is chalk full of familiar tracks chopped and blended in a workout friendly mashup. I sent this along to my friend yesterday and got a text this morning with his full approval. Hopefully, it will do you equally right.
Take one of my favorite songs, give it to one of my favorite remix artists and what do you get? Brilliance! It’s got just the right amount of funkiness mixed in Sarah Barthel’s seductive vocals. It’s perfectly imperfect.
[MP3] Mouthful Of Diamonds (Alan Wilkis Remix) – Phantogram
Keepaway has had it’s way with Fol Chen’s new single In Ruins and oh what a way it is. Starting with the uptempo track they add some electro twitches and video game beats; popping out the catchier roots of the song. The subtle distortion works with the song rather than trying to tear it apart. Much love for both versions.
[MP3] In Ruins (Keepaway Remix) – Fol Chen
Ok, ok, this track is technically not a remix; it’s just a wee weirdo electro gypsy romp that perfectly complements my current silly mood. The Swedish artist has been featured on TWIAPC before for his rockin mash up work but this track is nothing but the product of his musical mind. I’m in a generous mood so I’m tossing in his rad Rihanna remix he gave his zip to (care of Sheenabeaston).
[MP3] Rude Boy (Passporte Royale Remix)