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Live Friday: 9-3-10

Oh what a great Live Friday this is set to be. Let’s kick off your Labor Day weekend right with a great set of jams from LCD Soundsystem. This is practically appropriate for the holiday weekend given that once he’s done supporting the latest LCD record James Murphy says he’s going to pretty much retire from music. Actually, he does clear that up a little bit in the interview (which is you can stream via the link below). Essentially he doesn’t want to feel that cyclical pressure that comes from making an album, touring around it, then doing the whole thing over again. Expectations keep rising with each new album and he’d rather go out on top than on the decline. Murphy also says that while he plans to stop touring completely, there may be more LCD Soundsystem music in the future, such as some singles or even another album – just don’t expect it soon or under any sort of timetable. He wants to work at his own pace.

So, about the music. The band plays 3 songs off the new album “This Is Happening”, and one classic otherwise known as “Daft Punk is Playing at My House”. The session was recorded in a London studio while the band had a little down time this past June, and in most cases these versions of the songs sound as good or better than they do on the album. “I Can Change” is just a little disappointing to me, mostly because there’s an echo vocal effect applied to James Murphy’s voice that I find off-putting. Otherwise though, everything is fantastic and more than worth a download.

(Note: Due to some bandwith issues, I had to downsample aka lower the quality of a couple of the mp3s in this session. The original, higher quality versions are available via the alternate links below. Sorry if that’s an inconvenience.)

LCD Soundsystem, Live in London, 6-29-10:
LCD Soundsystem – I Can Change (Live in London) [Higher quality: ZShare]
LCD Soundsystem – Drunk Girls (Live in London)
LCD Soundsystem – All I Want (Live in London) [Higher quality: ZShare]
LCD Soundsystem – Daft Punk Is Playing At My House (Live in London)

Stream the entire interview/session

Buy “This Is Happening” from Amazon

Album Review: Jenny and Johnny – I’m Having Fun Now [Warner Bros.]

In case you weren’t aware prior to right now, the very lovely Jenny Lewis has a boyfriend. You may know Jenny Lewis from a little band called Rilo Kiley, or also through those couple records she’s released under her own name. Her boyfriend goes by the name of Johnathan Rice. He has a music career of his own and has released a couple albums and EPs over the past few years. While Rice has gotten a fair amount of press thanks to his music being used on “The OC”, his career is nowhere near as high profile as his girlfriend’s. Well, now they’re playing together as Jenny and Johnny, and one can’t help but wonder who came up with the idea. Their debut album “I’m Having Fun Now” is out this week, and it pretty much goes as the title suggests. She’s a little bit country, and he’s a little bit rock and roll, and together they make something that sounds a little like both.

Consider “I’m Having Fun Now” to be something of an old school affair, and that’s just the way Jenny and Johnny wanted it to be. The sound of the record is a very classic duet sort of thing, reaching back to the 50s and 60s for inspiration. It is, in many ways, the pair’s attempt to pull off a She & Him, the Zooey Deschanel/M. Ward collaboration. The main difference between the two projects is that the creative divide is clear-cut in She & Him, where Deschanel does virtually all the vocals and Ward handles guitars and arrangements. Jenny and Johnny is extremely interactive by comparison. As they both have singer-songwriter credits to their names, sometimes Jenny will take the lead on a track, and other times Johnny will. They’ll also lend backup vocals and other small singing elements to each other’s songs. A few times they even harmonize their voices for an entire song. For what they’re looking to accomplish, it works quite well. Almost every track is pretty lighthearted and bouncy, good enough to keep your toes tapping and heads bobbing. It sounds like they really enjoyed making this record, and in turn there’s a lot to enjoy while listening to it.

Here’s the thing – there’s a reason why Jenny Lewis has attracted so much attention throughout her career. She’s got an exceptional singing voice, is an impeccable lyricist, and pretty much kicks ass on guitar as well. Johnathan Rice, on the other hand, is just enough of a talent to get signed and sell some records. There’s a reason why he hasn’t reached the levels of popularity and critical acclaim that similar singer-songwriters have (see: Pete Yorn, Ryan Adams, etc.) in recent years. So by teaming up, Jenny and Johnny split the balance between amazing and mediocre pretty evenly. Really what happens is that every time Jenny makes her vocal presence heard, she stomps all over Johnny’s comparatively weak singing. To be clearer, his vocals aren’t bad in the least, they’re just sort of wispy and unmuscular and pale in the face of what Jenny is doing. As to the songwriting, it’s all pretty good. Jenny and Johnny have been writing music together for a few years now, as he helped out on her second solo album “Acid Tongue” and she helped out with his second record “Further North”. They do fine on the words. It’s the execution where the mixed bag enters the fray. It stands to reason that if there were more Jenny and less Johnny on this album, it’d be a better record overall.

While preparing to promote “I’m Having Fun Now”, Jenny and Johnny have been doing a fair number of interviews lately. The way they explain the origins of this project make a fair amount of sense. They’ve been working on each other’s music for awhile now, they’ve been touring together and since they’re also in a relationship, this just made a lot of sense. Additionally, both of them have gone on record saying that being a solo artist is a challenge, having to carry the burden of an entire record on your shoulders without other band members to share it with (yes, most “solo” artists have backing bands, but that’s not the point and they don’t share any credit for the music). Jenny and Johnny was really born out of both wanting to make more music but not alone. As sensible as that may be, “I’m Having Fun Now” kind of hurts both their solo reputations. Longtime fans of Jenny Lewis will be upset that Johnny keeps stepping on some of these melodies. And Johnathan Rice spends much of the record getting steamrolled by his girlfriend’s easy charm and strong musical talent, so it’s sort of embarassing for him. Lightening up a bit though, Johnathan Rice is not a BAD artist by all means and he is legitimately talented to the point where his career to this point is justified. This record is just the equivalent of having some relatively indistinguishable NBA player face off against Michael Jordan in his prime. The guy was good enough to get to the NBA, but he’s no superstar just as Johnny is good enough to be signed to a label and tour nationally, but he’s not of the same caliber that Jenny is. Ignoring the two talents behind this project though, “I’m Having Fun Now” is a pretty nice folk and alt-country record that should satisfy a whole lot of people. Try not to criticize it too much (as has been done here), and it’s extremely easy to like. This probably isn’t intended to be anything brilliant or revolutionary, so you could say it serves its purpose exactly. Give it a try if you’re looking for an easy and breezy record to listen to while hanging out with friends on a lightly chilled fall evening.

Jenny and Johnny – Animal

Buy “I’m Having Fun Now” from Amazon

Pick Your Poison: Thursday 9-2-10

I hope you’re as psyched about the upcoming Labor Day weekend as I am. It’s sort of a “last hurrah” for summer, what with everyone breaking out the BBQ and hanging around outside before the temperatures really start to drop. In eager anticipation of that, Pick Your Poison is pretty great today. The Chicago band City State makes some pretty good music, and they’re giving much of it away for free, which is why I’d also like to encourage you to follow the link below and donate a buck or two to help them out. Additionally, Crocodiles are giving away a free EP of instrumental songs that’s worth your time. Arcade Fire fans, you’ll definitely want to hear The Drums covering the great “Suburbs” track “We Used to Wait”. Speaking of covers, Telekinesis covers the band Green, which is pretty cool as well. And The Intelligence gets a big old recommended stamp from me as well. I really “like” their song, if you catch my drift.

Brad Laner – Crawl Back In (Baths Remix)

Brent Amaker and the Rodeo – Man in Charge

City States – Okay
Download more free music from City States, and donate if you can

Crocodiles – Fires of Comparison EP  (ZIP)

Delay Trees – About Brothers

The Delfields – Justine

The Drums – We Used to Wait (Arcade Fire cover)

First Aid Kit – Hard Believer

The Intelligence – Like Like Like Like Like Like Like

J Minus – Congratulations, You Suck

The Mommyheads – Needmore, PA

Telekinesis – Gotta Getta Record Out (Green cover)

Album Review: Film School – Fission [Hi-Speed Soul]

The Californian band known as Film School has been through a number of changes these past few years. As the brainchild of Greg Bertens, the band started in the late 90s as largely a solo effort with contributions from various friends and musicians. A full lineup was officially solidified after Film School’s 2001 debut album came out, though it’d take them until 2006 to craft a follow-up. That self-titled second album showed how significantly things had changed in the 5 years between records as Film School’s sound went in a much darker and heavier direction. They began to pull in comparisons to Joy Division and Echo & the Bunnymen while also bringing out a more shoegazey My Bloody Valentine-infused vibe. The sound would dive even further into the hazy and progressive on 2007’s “Hideout”, and by that time the band members had all changed once again, save for Bertens. Now three years later, that 2007 lineup continues to hold strong and Film School are returning with a new record titled “Fission”. Would it surprise you to learn that though the faces may not have changed in the last 3 years, the music has? That’s true not only for trends across indie rock in general, but of course for Film School as well.

Film School have, by all accounts, softened up just a little bit on “Fission”. The heavy and distorted guitars are much less dominant, replaced instead by a lighter, more traditional and “commercially friendly” set of arrangements. Things aren’t necessarily brighter, but the shoegaze element of their sound has been pulled back significantly in an attempt to expand their range. That’s evident from the very first song “Heart Full of Pentagons”, which brings in some synths and has strongly assisted backing vocals from bassist Lorelei Plotczyk. The synths are actually pretty dominant across the entire record, giving the band’s sound a bit more of an 80s influence but never to the point where it overwhelms the very present era this music was made in. Plotczyk also takes on a significantly increased role on “Fission”, finally being allowed to stretch a bit and take lead vocals on a handful of tracks. She’s got a sweetly powerful voice and is a killer bass player, so that move makes a mountain’s worth of sense. Every song she has a large stake in is automatically better for it, and there’s a certain bit of sunshine that peers through the tones of grey on those tracks as well. Looks like she’s no longer the undervalued member of Film School.

The biggest problem with “Fission” is its inability to maintain a consistent sound for the duration. Unlike the band’s last two records, which were all fuzzed out and thematically sound, there’s a lot more going on with this new record and little rhyme or reason as to how it all makes sense collectively. Take each track individually and you’re bound to discover that almost every one is a potential single of some caliber, be it the National-esque “Bones” or “Meet Around 10” which has an almost Yo La Tengo feel to it. “Sunny Day”, has jangly guitars and Plotczyk’s vocals which make for a delightfully hazy track that practically screams Asobi Seksu. It’s accessible, yes, but also all over the place. If the songs actually felt related to one another rather than distant strangers, “Fission” would be a far stronger record overall.

With weakness also comes strength as well, because when Film School aren’t working to mimic one of their myriad of influences, they can actually produce something that sounds completely fresh and original. The song “Direct” is the biggest example of this, blending some shoegaze guitars with a mixture of live and programmed drums and electro that may not be immensely addictive but carries a certain power that stops you dead in your tracks. Dropping in right at the center of the album, it serves as one of the few pieces that unites Film School’s past, present and future sounds. They could have built the entire record based off that song and it might have worked in mindblowing fashion.

The good news for Film School devotees is that nothing on “Fission” feels altogether unfamiliar. The same band is underneath the various sounds you’re hearing and though they do their damndest to put their old tendencies to rest, you can still pick up on them should you listen carefully enough. What this album really provides for the band is a set of options. The word “fission” is defined as the splitting of an object into two parts, and that’s a relatively accurate description of what’s going on with this record sonically. Film School have created a crossroads for themselves where the songs on the album point at a few different ways they could go. As evidenced by the strength of many of the songs, chances are they’ll be fine no matter what direction they choose, assuming they do so for their next record. Their biggest mistake could be to make yet another sonically mixed collection of songs whose only commonality would be that they showed up together. It’s like “The Breakfast Club” of music in that a wide array of people are forced to sit in detention together. In the end they all come away with a better appreciation for one another, but expecting them to all become lifelong friends is far too unrealistic a concept. The fantasy of making “Fission” work from beginning to end is just that, but you’ll learn plenty along the way and will hopefully be more accepting the next time Film School decides to pull a 180 on us and move in yet another random direction.

Film School – Heart Full of Pentagons

Buy “Fission” on CD from Hi-Speed Soul Records
Buy “Fission” on limited edition clear vinyl

Pick Your Poison: Wednesday 9-1-10

There are a few fascinating songs up for download as part of today’s Pick Your Poison. First there’s the free EP from the band Hostage, which is certainly worth more than the $0.00 they’re asking for it. I’m also a pretty big fan of The Postelles’ cover of Buddy Holly’s “Everyday”, which has been done a number of times before but their version is one of the better ones. And one band you’re really going to want to get to know in the coming months is Sunset, so be sure to check them out as well.

Eastern Conference Champions – Bloody Bells (M. Zero Remix)

Hostage – Roll EP  (ZIP)

Jacob Faurholt – A Fish in a Bowl
Jacob Faurholt – Rusty Country Cage

Jared Mees and the Grown Children – Cockleburrs and Hay

The Lovetones – City Meets the Stars

MEN – Simultaneously (Lauren Flax Remix)

Moby – Feeling So Real (Don Diablo Remix)

The Mynabirds – Numbers Don’t Lie

The Postelles – Everyday (Buddy Holly cover)

Redstone Hall – Get Back Jack

Sunset – Moonlight

The Wagner Logic – Waiting for Snow

Album Review: The Clientele – Minotaur [Merge]

There’s been oh so much talk in the past couple years about the retirement of The Clientele. Singer and guitarist Alasdair MacLean said the following prior to the release of the band’s last album “Bonfires on the Heath”: “I think it’d close the chapter quite well. If you don’t have any more ideas you should just go away, I guess.” This among other discussion of possibly breaking up the band once they had finished touring in support of their current record. He also mentioned the possibility of The Clientele continuing to make music should they find an interesting reason to. The idea was floated that they might be amenable to working on a film soundtrack or something similar. Well, there’s no word on that just yet, but MacLean has already announced a new project he’s working on called Amor de Dias. While we wait to see what will come of that, there’s a brand new Clientele mini-album in our midst this week. Titled “Minotaur”, it spans 8 tracks and 30 minutes and is about what you’d expect from the band.

As with any band that’s been around for 10 years and has four albums to their name, there are certain things that are a normal part of every Clientele song. Their first couple records waded largely in the quiet, pastoral 60’s folk-pop arena, there were plenty of catchy moments to be found, but much of it was somber and “autumnal” in nature. “Bonfires on the Heath” was very much in that vein as well, though that was more a return to form after the surprisingly upbeat and much more pop-driven “God Save the Clientele”. And while the variations in their sound may only have been minimal, the additions of some new members and instruments has served them well in the end. The Clientele have learned how to smooth out every rough edge of their music and even when a song completely falls flat it still comes off shiny and gorgeous. Where “Minotaur” falls is right in the band’s sweet spot, very capably balancing the soft and beautiful, the surprisingly catchy and the outright experimental.

Opening title track “Minotaur” has the feeling of a great Clientele track, but the lyrical subject matter is a little different from the typical “love and nature” topics MacLean tends to focus on. The explanation behind that one is pretty easy, as apparently drummer Mark Keen wrote the lyrics. “Jerry” comes in next and is smooth as silk until a surprise guitar solo tears things up and elevates the song above the band’s average. One of the most fascinating things about “As the World Rises and Falls” is that it was originally done by the West Coast Pop Art Experimental Band. This cover version not only works well with the rest of the mini-album, but The Clientele absolutely make it their own in only the way they could. Things really start to get interesting around “Strange Town”, a song that has the feeling of a potential hit but then just plain aborts after about 90 seconds. Why the band chose to leave the song in what feels like an underdeveloped state is a mystery, but it does work in the sense that you’re left wanting more. “No. 33” is a token Clientele instrumental track, pleasant and beautiful as expected (and also short), while “The Green Man” is a 5 minute spoken word piece with atmospheric background noise that has sharp echoes of the excellent “Strange Geometry” track “Losing Haringey”. To close things return to a more normal state with the unassuming song “Nothing Here Is What It Seems”. It’s a stately and perfect way to end the mini-album, and that could be said about the tracklisting to the entire thing – arranged exactly the way it needs to be.

Perhaps the saddest part of “Minotaur” is again the continued suggestion that any day now The Clientele are just going to put down their instruments and call it quits. Given their long streak of prolific and completely underrated albums, the music world would certainly be missing a band filled to the brim with great talents. Yes, Alasdair MacLean will land on his feet, probably with his new project, but this collection of talent, including the newest member in multi-instrumentalist Mel Draisey is too strong to simply let go. “Minotaur” may be a swan song for The Clientele, so it’s a great thing that they might be going out on a high note. If “Bonfires on the Heath” really was intended to be the last record the band released, the themes of autumn and the slow descent into winter/death of nature were perfectly planned at the time. With “Minotaur”, it feels like when an old friend that moved away years ago finally returns for a visit. You’re so blissfully happy to see that person again and you wrap them in a warm hug and wish that they could just come back home where they belong forever. Well, life doesn’t always work out how we want it to. The future of The Clientele remains in peril, and we can hope they’ll continue onwards, but the choice is not ours to make. Perhaps if enough of us show support for “Minotaur”, we’ll continue to get more gracefully beautiful music from this band. If that doesn’t work, our memories will have to suffice.

The Clientele – Jerry

Buy “Minotaur” from Amazon

Pick Your Poison: Tuesday 8-31-10

Plenty of great music today as we bring August to a close. Jenny Lewis and her boyfriend Johnathan Rice are releasing their first album together under the name Jenny and Johnny today, and you can download a song off that below. Also notable is the song from Blue Water White Death, which is the side project team-up of Jamie Stewart of Xiu Xiu and Jonathan Meiburg of Shearwater. The band The Chap is getting some good press recently, so you’ll want to give them a listen if you haven’t already. The same goes for The War on Drugs, who are sure to be big on the indie scene in the coming months.

ARP – White Light

Blood Feathers – Don’t Know You at All

Blue Water White Death – Song for the Greater Jihad

The Chap – We Work in Bars
The Chap – Even Your Friend (Teengirl Fantasy Remix)

Cut Copy – Hearts on Fire (Dave Edwards Remix)

Jenny and Johnny -Animal

Jupe Jupe – Something About Love

Michael Parallax – All the Young Bloods of Baltimore

Pepper Rabbit – Older Brother

Voxhaul Broadcast – Leaving on the 5th

The War on Drugs – Comin’ Through

Yair Yona – Brave Walls

Album Review: Klaxons – Surfing the Void [Polydor]

How many times have you heard the word “nu-rave” used? Unless you’re a member of the band Klaxons, you’ve probably not caught more than a few mentions of it in passing, if at all. It seems that when Klaxons first appeared on the music scene, their intensely danceable rock music was indefinable to the point where they had to create a new word to more easily describable. Many suspected that with this hot new band and their debut album “Myths of the Near Future”, a whole load of copycats would emerge and the nu-rave genre would thrive under that guise. While Klaxons may have reached strong levels of popularity across Europe, Americans were not so quick to embrace the band and they didn’t quite grow to the point where their sound became a jumping off point for others. And as nu-rave never became a whole “thing”, the label itself can die a quick and painless death, so we can simply define Klaxons’ sound as being…Klaxons. Want more proof of that? Give a listen to their new sophmore album “Surfing the Void” and try to place it under an easily definable genre label. It’s tough, and that’s a big part of the band’s charm.

In preparing for “Surfing the Void”, Klaxons got typically tempramental when it came to choosing a producer. After recording with several different people and coming away largely disillusioned and unsatisfied with the results, the band finally settled on Ross Robinson, who’s doesn’t typically produce anything other than heavy rock and roll records. As a result, “Surfing the Void” is quite a bit more guitar-heavy than its predecessor, but not to the point where you could call it a full-on rock record. It’s all over the stylistic map, and of course that’s a big reason why Klaxons are still their own unique breed of music. Those going into this new album hoping for something similar to the band’s debut will more than likely be disappointed. You can’t dance to most of the tracks, though there are plenty of fist-pumping, liberation anthems that will get your blood up and stay with you for a surprisingly long time. There’s nothing quite as brilliant or catchy as “Golden Skans”, but if you liked the punky energy of a track like “Atlantis to Interzone”, there’s a host of new songs with that Pixies-esque quality (it’s almost as if “Venusia” is the band’s attempt to recreate “Velouria” in an original way). The brash, spitfire approach is pretty effective on the whole, though it does take away ever so slightly from the band’s ability to throw a stylistic wild card at you as they’ve pulled in the past. In that sense it’s also a little easier to figure out if you’re going to like “Surfing the Void” by simply listening to a couple tracks. Yet it’s also an album’s album, in that the individual songs are most effective and enjoyable when listened to in the context of the whole thing. Album opener “Echoes” is the perfect entry point anyways, one of the best singles on the record and a great introduction to where the band is at stylistically these days.

Where Klaxons are at lyrically is pretty much the same spot they’ve been in all along. There’s a sharp marriage between the poetically smart and just plain oddball, to the point where you’ll often find yourself wondering exactly what the hell they’re talking about. You’re best off just ignoring any potential “meanings” and just going with the flow, same as any attempts to truly define Klaxons’ sound. Unfortunately, “Surfing the Void” doesn’t exactly continue to paint the solid picture of a band on the rise. Of course it also doesn’t indicate they’re standing still or complacent either. Instead it’s more like Klaxons are still wrestling with what they want out of their sound. They’re continuing to try new things and are pushing themselves within certain respectable limits, but largely they don’t take it far enough. The songs may still have dynamite hooks and are enjoyable to listen to, but there are moments when Klaxons start to feel like little more than an above-average alt-rock band. Hopefully their next record will offer something of a course correction – not necessarily back to the aborted nu-rave genre, but maybe in an entirely new direction that both works well with what they’ve previously done yet remains undeniably Klaxons. The music on “Surfing the Void” might not be as timeless as we could have hoped, but that album cover most definitely is.

Buy “Surfing the Void” from Amazon

Pick Your Poison: Monday 8-30-10

Only a couple days left in August. Where does the time go. Kicking off a week’s worth of Pick Your Poison, Monday’s edition isn’t half bad. A new song from Black Heart Procession, as well as Capstan Shafts might catch your ear in that good sort of way. Clean Equations and The Two Man Gentlemen Band also get my personal thumbs up as well.

Black Heart Procession – Blank Page

Blunt Mechanic – Less Beat

Capstan Shafts – Heart Your Eat Out

The Cinnamon Band – I’m Asking You

Clean Equations – A Little More 14 on 26

Cold Seeds – Leave Me to Lie Alone in the Ground
Cold Seeds – The Perfume of Mexican Birds
Buy the Cold Seeds album

Inspector Tapehead – Yarvil
Inspector Tapehead – Pherenzik Tear
Buy the Inspector Tapehead album

Princess Superstar – Lollipop (Crookers Remix)

SAADI – Take It Easy

Soft Seeds – This Affair

Talvihorros – The Blue Cathedral
Talvihorros – Twin Peaks Theme

The Two Men Gentlemen Band – Chocolate Milk

Album Review: Mogwai – Special Moves [Rock Action]

For Live Friday this week, considering that Mogwai coincidentally also released their first live CD/DVD on Tuesday, this is going to serve as something of a 2 birds, one stone type of situation. If you’ve never heard a Mogwai record before, that’s something you need to experience sooner rather than later. The band’s largely instrumental compositions are post-rock of the most epic sort, often slowly building in ferocity until peaks are reached and there’s a cathartic release of skull-pounding noise. It’s something they’ve been doing for over 13 years and 6+ studio albums, and though the sentiment tends to be that they’ve started to get stale and have been treading water the last couple albums, there are still clear highlights on each to make everything in their catalogue worthwhile. Yes, albums like their debut “Young Team” and “Rock Action” will always hold a revered place amongst Mogwai fans, but scorched Earth later period songs like “Glasgow Mega-Snake” and “Batcat” will be there too, mostly because they’re so damn good.

New York’s Music Hall of Williamsburg isn’t exactly the most thrilling venue to create a live CD/DVD, that is compared to other bands who choose to make their live recordings at special anniversary shows or at a highly unique location or something similar. The combination package, the CD portion of which is titled “Special Moves” and the DVD portion titled “Burning” was recorded in total over 3 nights at MHOW, but constitute what might be considered a very accurate portrayal of what you’d see and hear at your average Mogwai show. It’s also a very well balanced collection of songs, selecting songs from each of Mogwai’s albums and not displaying any particular favoritism towards any period of their careers. And while requisite mind-exploders like “Mogwai Fear Satan” and “Like Herod” are staples of virtually any Mogwai show, they also dive a little deeper beyond the flagrantly fantastic for a subdued moment like “Cody” or the not-quite-obvious choice of “I Love You, I’m Going to Blow Up Your School”. What really stands as a testament to how amazing Mogwai are live is how well they’re able to take these career-spanning songs of various quality and seamlessly blend them together to the point where everything sounds mindblowing. Sure, there are some epic standouts, but despite this not being a greatest hits record it can often feel like one, with just a tiny amount of crowd noise in between to remind you that it’s live.

In terms of the “Burning” live DVD that you can get as part of the live package, it’s a black-and-white affair directed by the great Vincent Moon along with Nathanaël Le Scouarnec. The “Special Moves” CD might be a great audio representation of Mogwai’s music in a live setting, but to capture the full effect you absolutely need to see what’s happening on stage. From the smart lighting work to Martin Bulloch’s shockingly effective drum work, those are just two big positives among a wealth of them proving that this band is best when they’re both seen and heard. There’s not a ton of overlap between the CD and DVD tracklistings, and the DVD-exclusive renditions of “The Precipice” and “Batcat” are pretty jaw-dropping in their own right amongst heavy-hitters like “Hunted By A Freak” and “Like Herod”. And while the DVD may show you what a completely enthralling experience Mogwai’s live show is, unless you’ve got a gigantic TV with an extreme number of speakers you’ll never be able to fully recreate what it’s like to be in the same room as the band mows down a large crowd with an intense amount of noise. Your entire body vibrates, your hair stands on end, and more than likely you’ll have some hearing damage to contend with. For those who aren’t going to be able to catch a Mogwai live performance anytime soon, or simply just want to have a recorded show at their beck and call, “Special Moves” and “Burning” are your two grand companions for that. They also serve as a fantastic introduction to the band if they’re new to you.

While I am unable to offer you some mp3s from “Special Moves” for your downloading pleasure, thankfully I do have a relatively large archive of Mogwai live bootlegs I can choose from. So what you’ll find below is a session the band did on BBC Radio 1 back in 2006 around the release of their album “Mr. Beast”. Naturally then, most of the tracks pull from that album, but it still gives a pretty strong impression of what Mogwai sounds like live, even if it’s not quite the quality “Special Moves” and “Burning” have to offer.

Mogwai – Friend of the Night (Live on BBC1)
Mogwai – Glasgow Mega-Snake (Live on BBC1)
Mogwai – Summer (Live on BBC1)
Mogwai – Acid Food (Live on BBC1)
Mogwai – Folk Death 95 (Live on BBC1)
Mogwai – Travel Is Dangerous (Live on BBC1)
Mogwai – We’re No Here (Live on BBC1)

Buy “Special Moves” and “Burning” in various packages from Rock Action

Pick Your Poison: Friday 8-27-10

The end of this week holds more delights for you via Pick Your Poison. Former Hold Steady member/current Against Me! member Franz Nicolay is still making solo material, and you can download one of his songs below. Singer/songwriter Owen has a new track available as well, and if very early hype is what you want, The Vaccines are prepared to cure that ailment.

Alarma Man – Cabin in the Woods (Single Edit)

Dark Dark Dark – In Your Dreams

Franz Nicolay – This Is Not A Pipe

The Goodnight Loving – Doesn’t Shake Me

Katie Costello – Cityscapes

Kavinsky – Nightcall (Robotaki Remix)
Kavinsky – Nightcall (Breakbot Remix)

Kingsley Flood – Cul-de-Sac

Magnetic Island – Sung Not Said

Owen – Abandoned Bridges

Roy Paymon – Imonetta

TV Buddhas – Fungirls

The Vaccines – If You Wanna (Demo)

Young the Giant – My Body

Album Review: Magic Kids – Memphis [True Panther Sounds]

The True Panther Sounds roster has been pretty strong these last several months, though you have to wonder how much of that has to do with Matador Records being their parent company. Just reeling off the names quickly, True Panther has recently put out albums by Girls, Delorean, Real Estate and The Morning Benders, among others. Either they’re really smart about the bands they sign, or they’re just the beneficiaries of a strong promotional arm. Well this week they’ve been up to more good with the release of the debut album from Magic Kids, titled “Memphis”. If you like your music in the vein of classic AM pop, make sure these guys are on your radar.

Magic Kids make bright, sunshine-infused pop that feels genuinely rooted in those innocent days of the early 60s. Use the Beach Boys as your classic rock marker, and a combination of The Boy Least Likely To and Apples In Stereo for your modern-day indie rock markers. This music is so gloriously upbeat and fun, it’s a shame that its being released at the end of August, as summer is on the way out the door. One could easily imagine this soundtracking a run through the sprinklers on a lush green lawn or swinging from the monkey bars on a playground. In other words, Magic Kids is a great name for the band, because there’s both something magical and something childlike in their music. Just one look at their song titles should give some sort of indication as to what “Memphis” has in store for you: “Candy”, “Superball”, “Summer”, “Skateland” and “Sailin'”. Funny also that “Candy” sounds like a sugar high, “Superball” bounces around with blissful fun, “Summer” feels like a day on the beach, “Skateland” does a half-pipe of rock and roll, and “Sailin'” pushes the wind in your direction. They’re all individual highlights on this record, along with most of the other tracks here, the biggest and best of which might be the very first song that caught everyone’s attention last year, “Hey Boy”. Along the way there’s great guitar work, some delightful violins, string and horns, and bits of piano, all used very economically to make each song as pop perfect as possible without getting overblown or too busy. Credit should also go to some smart backing vocals, not delicately (and almost too perfectly) harmonized in Beach Boys style, but there’s a certain choir-like aspect to it with plenty of “ahhs” and “do dos”.

Better late than never, and over far too soon in a meager 28 minutes, Magic Kids’ “Memphis” is in hot competition with Best Coast for the fictional title of “best summer album 2010”. It’s such a delight to listen to from start to finish, and the songs are so relentlessly catchy that there’s strong reasoning any one of them could be a hit single. Of course in the band-a-minute world we’re currently living in, catching anyone’s ear for an extended period of time could be considered a small miracle. Magic Kids are one of those bands worth every second you spend with them, and hopefully you spend a lot of those seconds. Highly recommended? You’d better believe it.

Magic Kids – Summer
Magic Kids – Superball

Stream the entire album at Myspace

Buy “Memphis” from Amazon

Pick Your Poison: Thursday 8-26-10

We’re in the home stretch. The weekend is only a day away, so close you can taste it. To help get you in the mood, here’s a delightful set of songs in today’s Pick Your Poison. My recommendations today include the cool band DD/MM/YYYY, a remix of a song by The Drums, something new from Pete Yorn along with some psychedelia courtesy of Wild Nothing. Lots to like, I hope you’ll check these songs out.

Bars of Gold – The Hustle

Brothers Young – Good Deeds

DD/MM/YYYY – Van Tan

The Drums – Down By the Water (The Soundmen Remix)

Mach Fox – Nu Dead Pretty

Pete Yorn – Velcro Shoes

Sahara Smith – The Real Thing

The Shimmies – The Thing That Seems the Hardest Is Actually the Easiest
The Shimmies – And the Radio Played On (Delta Mirror cover)

Tiger! Shit! Tiger! Tiger! – Whispers

Violent Kin – Velvet Hideout

Wild Nothing – Golden Haze

Album Review: Ra Ra Riot – The Orchard [Barsuk]

Orchestral pop is a difficult genre of music to deal with. Unless you’re totally clumsy and don’t know how to properly piece together a string section, chances are your songs are going to sound beautiful. That’s step one. Step two is being able to advance beyond that to craft hooks and compelling melodies that are more than just fluff. It’s a big reason why there aren’t a ton of orchestral pop bands receiving crazy hype all the time, and when one does it tends to be pretty special. Ra Ra Riot earned themselves some strong mentions in 2008 with the release of their debut album ‘The Rhumb Line”. One could argue that they benefited from a strong friendship with the guys from Vampire Weekend, but the reality is that only got their foot in the door, and the album was them stepping through it. They made susprisingly unmessy, fun and addictive orchestral pop, with a hint of that Vampire Weekend charm as well, and it worked like a charm. After a long cycle of touring, the band went straight back into the studio to record their sophmore record “The Orchard”, which is out this week.

Cello and bass slide you into “The Orchard” gracefully, as the title track moves along at a gorgeous but relatively slow pace. There’s no hook to be found, but boy does it sound amazing. Drums, bass and flute make up the core of first single “Boy”, which is a fast-paced and fun little toe-tapper that’d be one of the album’s strongest if it had a better hook. “Too Dramatic” does deliver when it comes to a catchy chorus, but the rest of it feels plain and built solely to service the hook. In other words, it’s half of a good song. Elsewhere, “Massachusettes” comes across like it was handed to them from their buddies in Vampire Weekend who were initially considering turning it into a b-side. If you want to hear a track that captures everything Ra Ra Riot does best, be sure to check out “Shadowcasting”. That song alone makes most of what comes before it almost worthwhile. The final three tracks that come after it though are a bit underwhelming and mediocre, as if the band is content to just make serviceable songs and not great ones.

Ra Ra Riot is not a bad band. They’ve proven they can make highly compelling orchestral pop on “The Rhumb Line”, but suddently with “The Orchard” it’s like they lost the plot. They are trying a few new things here, possibly sacrificing great songs in the process. Perhaps it’s best to view this album as a necessary growing pain, the product of a band that’s rapidly changing and looking for the next evolution of their sound. Unfortunately it comes off like people trying to do everyday tasks in pitch black darkness – clumsy and uneven. The couple songs that survive the tangled mess come off especially well, but 2-3 good songs do not make for a great album. Hopefully for the next one Ra Ra Riot finds that right forward momentum to craft a record once again solid from top to bottom.

Ra Ra Riot – Boy

Buy “The Orchard” from Amazon

Pick Your Poison: Wednesday 8-25-10

To help you get through the mid-week blues, Pick Your Poison today is not only larger than normal, but also has a number of more high profile indie artists than usual. You’re going to want to check out the All Tiny Creatures song, which features Justin Vernon of Bon Iver. There’s also new tracks from Deer Tick, El Guincho and Stereolab’s Laetitia Sadler. That’s not even mentioning Scarlett Johansson covering Steel Train and a cover of Old MacDonald from the insane Peelander Z. Ah hell, it’s all good. Download away.

All Tiny Creatures – An Iris (ft. Justin Vernon)

Bad Books – You Wouldn’t Have to Ask

Buke and Gass – Your Face Left Before You  

Deer Tick – Piece By Piece, Frame By Frame

El Guincho – FM Tan Sexy

Frederik Olufsen – Rocks
Check out the “Rocks” EP from Beatport

In Grenada – Distance and Temptation

Laetitia Sadler – One Million Year Trip

Meridene – Parade of Fools

Peelander Z – E-I-E-I-O

Scarlett Johansson – Bullet (Steel Train cover)

Starfucker – Julius

Wildbirds & Peacedrums – Fight For Me

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