Several months ago I featured These United States, and mentioned how much the DC scene is changing from the punk scene it used to be known for. The new alternative/folk scene emerging is really exciting to witness. Gypsy Eyes Records is among the  best independent labels in DC, and carries many of the artists that are changing the way DC, and the rest of the world, experiences music.

One of their signed musicians, Mark Charles Heidinger, a.k.a Vandaveer, is worth your attention. I’ve been listening to his 2007 release, Grace and Speed, pretty much non-stop recently. It’s great folk music for just sitting back and hanging out. When I’m looking for something a little lighter to listen to than Nick Drake, I put on Vandaveer. Mark has a gift for story telling, and really pleasant vocals. His new sound draws a nice distance from his former rock band, The Apparitions. Tracks like “However Many Times It Takes” are bound to bring Dylan to mind.

Every song on this album, besides “2nd best” which I don’t care for all that much,  is stellar. I can’t even give you a list of my favorites, they are all fantastic. Other album reviews bring to light how the first half of the album has much more solid lyrics than the second half, but I don’t necessarily think that has to be viewed as a flaw with the album. Heidinger shows a lot of song-writing talent, much more than the average musician. Though some songs are better written than others, it doesn’t make his songs bad in any sense, some are just less lyrically based.

Vandaveer is currently on tour with There United States (who he is involved with) in the UK. Go to their site to check out their tour dates.

Grace & Speed (2007)

Vandaveer - However Many Takes It Takes

Vandaveer - Grace & Speed

Live Performances:

Vandaveer - The Streets is Full of Creeps

Site | Myspace | iTunes |Amazon

I wrote this after seeing the Federal Reserve, a collective of established, and like-minded alternative/folk musicians,  perform on June 2nd at Iota in Arlington, VA. They played acoustic sets, and used basic folk instruments (including the chair for percussion). Not gonna lie, I was a little  tipsy when I wrote this, and it’s advisable that you just skip down to the bottom. You’ve been forewarned!

Tonight, I saw the face of music. Music is when a group of friends decide to play together for no other reason then to play. Music is when there are no backstage’s or VIP’s. When there are no tickets or merchandise. Music is when there is no order. When there is no formula.  No sets. No expectations. Just music. Music doesn’t tolerate bureaucracy. It sure knows how to disguise itself, but it’s not music. Not fully.

Music allows for mistakes. It allows you to make a fool of yourself. If it doesn’t, then it’s worth asking why it’s being done. Is it for fame or fortune?

Music is entrapped. It’s asked to be freed. It wants to be listened to. Piracy concerns are concerns of fools.

In today’s world, it’s difficult for music to be music. The demand can’t be that pure. Musicians need to eat. Label execs need to buy luxury cars.  But that doesn’t mean all has been lost. Not after nights like tonight.

Thank you Federal Reserve for showing me the face of music.

 The Federal Reserve collective is made up of These United States, Vandaveer,  Kitty Hawk, Revival, Brandon Butler, Rose, Let’s French, and more. They play the first Monday of every month at Iota, and their tour schedules usually dictate who shows up. Mark Charles Heidinger, of Vandaveer, explains that the idea of a collective formed after “several of us relocated from parts all over and thought a collective of some sort might ground the group in the scene and serve as a mutual launching pad.” Several bands from the collective have been signed to DC’s Gypsy Eyes Records and a Federal Reserve compilation can be purchased from their store.

These United States -  First Sight | Site

Vandaveer - However Many Takes It Takes | Site

Kitty Hawk - Move Me | Myspace 

Brandon Butler - Sparks | Site

Revival - Hollywood | Myspace

Silje Nes is a Norwegian singer/songwriter/multi-instrumentalist who makes very delicate and beautiful electro-acoustic music. Her songs are simple yet intricate with soft vocals and a wide selection of instruments (all of which she plays). Sometimes experimental, sometimes poppy, Silje has a way of taking small sounds and realizing their full potential into whimsical collages of sonic art. The three tracks I’ve posted aren’t enough to represent her debut album “Ames Room”. The album is full of great music and I recommend you check out the rest of it here.

Starting out by working purely instrumentally, Silje made use of whatever equipment she could get hold of - guitars and an old synth, a cello, a drum kit, a laptop, as well as loop pedals to build layers of her own playing. Little by little she also found ways of including her own voice in the mix, both as texture and song, and her music has organically evolved from there.

- Fatcat Records

Silje Nes is for fans of múm, Amiina, and Tunng.

MP3: Silje Nes - Drown
MP3: Silje Nes - Ames Room
MP3: Silje Nes - Escape

MySpace | Fatcat Records |

I first heard Port O’Brien opening for Rogue Wave back in October of 07, and at first I sort of brushed them aside as another indie band that would be forever opening for other indie bands, never quite able to break on through. After having listened to their album All We Could Do Was Sing, I feel bad for feeling that way. It wasn’t that their live show was unenthusiastic or fun to listen to, I had intentions to look them up after the show, but I never got around to it (maybe it was because Rogue Wave’s show was too awesome). The album is much fuller than what I remember of their live show; it has string arrangements, some sound clips of the ocean, and layered vocals. “When I Woke Up Today” was both the opening and closing song for their set. It sounded better the second time when the audience started to sing along, sounding more like it does on the record. Though I’m not sure of the nautical experience of Modest Mouse or the Decemberists, Port O’Brien seems to have some authentic experience as it is poignantly expressed in “Fisherman’s Son”.

Every summer, Van works on his father’s commercial salmon fishing boat, the Shawnee, on Kodiak Island in Alaska. The work is exhausting and the weather could be much better, but the contrast between the serenity of the wilderness and the rigorousness of the labor seem to cause quite a bit of musical inspiration.

- from their website

The album has its soft and delicate moments as in “Don’t Take My Advice” and its rockin’ out moments like in “Pigeonhold”, but it all works together in the end. Don’t be a fool like me and brush this band aside, give them a chance and I think you’ll enjoy them. Here are a few tracks for your listening pleasure:

MP3: Port O’Brien - I Woke Up Today

MP3: Port O’Brien - Fisherman’s Son

MP3: Port O’Brien - Don’t Take My Advice

Catch them live at one of these upcoming dates:

Website | MySpace

Pitchfork.tv put this music video by the Books up on their website Friday. Though this track is from their 2nd full release “The Lemon of Pink“, I had just seen this video from 2003 for the first time. I was interested in seeing how the Books would make a music video with their type of music. Would it be a bunch of video samples strung together to form some sort of coherent piece with a few shots of the band interdispersed? or something just as unconventional as the music itself. It turns out it was closer to the former. With juxtaposed shots of Suzuki method violin recital and the occasional clip aligning itself to the rhythm of the music the video has its moments where everything comes together. I think it’s a great music video.

MP3: The Books - Tokyo

This is a stupid From Thought for Food
MP3: The Books - Motherless BastardFrom Lost and Safe

MP3: The Books - It Never Changes to Stop

Website | Tomlab Records

I stumbled upon Grouper randomly perusing some blogs I keep in my bookmarks. I downloaded it on a whim as it was described as ambient/folk/shoegaze. Interested in seeing how folky shoegaze would sound, I listened to the first track and knew that I had found something special. “Dragging A Dead Deer Up A Hill” is the 3rd album from Portland based musician Liz Harris. To define her music as folky shoegaze is incomplete. Her songs exist as hazy memories, lacking in detail, yet full enough to trigger a nexus of emotions difficult to describe. The instrumentation is mostly limited to layered vocals, electric piano and down-stroked guitar with the production quality weaving in and out of lo-fi. The sonic world that the album creates has a quiet intensity slowing submerging the listener.

I’ve taken a message from the MySpace page explaining her sounds better than I ever could:

dragging a dead deer in my ears feels like the relief of an unknown flickering series of burdens, dawning in my marrow moment a living freedom. lifted.

I recommend Grouper for fans of Low, Mark Kozelek (Sun Kil Moon, Red House Painters), and beautiful female vocals.

MP3: Grouper - Disengaged

MP3: Grouper - Heavy Water/I’d Rather Be Sleeping

MP3: Grouper - When We Fall

Website | MySpace | Type Records

Avi Buffalo caught my interest after they had cited Wilco, Grizzly Bear, Panda Bear, Broken Social Scene, and Jim O’Rourke. I’ve given their songs a few listens (you can even download them at their Myspace). Since their style and interest of music is closely aligned with the staff of IndieMuse I hope that the readers will also enjoy the sweet sounds of Avi Buffalo. This Long Beach, California band is not currently on a record label, but I can see that changing soon.

Today’s song of the day:

MP3: Avi Buffalo - Coaxed

Here’s a sample of their live show performing “Where’s Your Dirty Mind?”

Here’s their tour for this summer for all you people in California.

When talking with friends, I always show a lot of Wilco love, to a point where anyone would reasonably assume that Wilco is my favorite band. I’ve even convinced myself. But in truth, as much as Wilco will always hold a special place in my heart, I can’t say they are my absolute favorite. Not over Cat Stevens. I am in love with his older music (sorry Yusuf). Even though I listen to Wilco more regularly, and overall probably like more of their songs than Stevens, the songs of Cat Stevens that I do like, are earth shattering. They are simply the best songs I have ever heard before.

I go through phases of listening to his music, but when I get hooked, I get hooked hard. This time around, The Shivers triggered it, by me listening to their song “SoHo Party.” You may not expect it from lyrics at the beginning of the song, I would say:), but it turns into an amazing cover of Cat Stevens “The Wind.”

You are probably familiar with Stevens’ hit songs. I would say, spend this weekend listening through them. See if it sparks anything. And hey, maybe he just isn’t THAT artist for you, in the same way he is for me. That’s cool. Let me know who that artist is for you, and I’ll check them out.

The philosophy behind change really fascinates me. Look at the difference.

This is even better then the above link. Couldn’t embed.

The Great Cat Stevens:

Cat Stevens - The Wind

Cat Stevens - Sitting

Cat Stevens-Where Do the Children Play?

Cat Stevens-Father and Son

Cat Stevens - Trouble

Cat Stevens - Tea for the Tillerman (Extras anyone?)

Yusuf - Maybe There’s A World
Covers n Stuff:

Elliott Smith - Trouble

The Shivers - SoHo Party

The Braids - The Wind (This is by far one of the worst covers I have ever heard. Enjoy!)

Fun Fact:

When the Flaming Lips first wrote “Fight Test,” there was a element that reminded them of Cat’s Stevens’ “Father and Son.” They changed it up, and like Wayne says, if he hadn’t mentioned it, nobody would have made the connection. Regardless, he told magazines about it, Cat Steven’s publishing company found out, and now the company owns 30% of the song. Sad, but funny. I wonder if they make 30% of the iTunes Original track where Wayne talks about it?

The Cat Stevens Connection (Flaming Lips iTunes Original)

Flaming Lips - Fight Test

I’ve been listening to the Shivers music for several years now. They do a great job balancing the familiar with the unfamiliar. The diversity of their albums and songs take me from something that I feel comfortable with to something that is new, angst, and generally unpleasant. But then, by the time it really starts to bug me, it’s gone. It becomes easier to breath again.

I think that it what draws me to the Shivers so much. The singer/guitarist of the Shivers, Keith Zarriello, has proven that he knows the difference between what is pleasant to the ears and what isn’t. When it comes to folk melodies, The Shivers are among the best; they very rarely mess up harmonic instrumentals. So why intentionally veer from that into uncomfortable, loud clashing?

That’s the beauty of The Shivers. They are musicians who simply don’t care what you want. They know, I would think, that some of their music makes them lose listeners. Those listeners who enjoy their mellow music aren’t going to necessary like their more experimental songs. But the Shivers are okay with that. They are not going to alter their vision to sell more records. By not allowing the listener to influence their music, they are able to stay true to their music, and say and play what they want. Think about how many songs about pain are so pleasantly played instrumentally. Is that always what pain feels like? Keith knows it’s not.

Sure, this could sound like justifications for bad talent. Once you listen to the Shivers music though, and their new album, Beaks to the Moon, you will realize that’s not the case. The Shivers make beautiful, honest music. At times, the truth, or at least Keith’s truth can hurt or be undesirable, but this album is wonderful to listen to. In my opinion it has a perfect balance.

Beaks to the Moon (2008):

The Shivers - Lonely Road

The Shivers - Love Is Good

Album- Charades (2004)

The Shivers - Beauty

The Shivers - L.I.E.

The Shivers - SoHo Party (This is an example of the diversity I’m talking about. Listen through whole song)

Album- Phone Calls (2007)

The Shivers - The Road

The Shivers - Half Invisible

The Shivers - New Direction

Site| Amazon | iTunes | Myspace | 911 Truth (This ones for you, Keith)

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Sub Pop is continually discovering new talent and doesn’t waste time getting bands signed to their label. One of their most recent additions is the band, Fleet Foxes. They can be compared to My Morning Jacket and another folk/pop band that we recently featured, the Born Ruffians. There is actually a striking similarity between Fleet Foxes and Born Ruffians, so much so that, at times, a listener might think they are the same band. Their band histories are also similar, in that both chose to alter their bands’ course and focus on harmonies.

“White Winter Hymnal” is my favorite song on their upcoming self-titled June 3rd release. It contains, by far, the best harmony on the album. I’m obsessed. The album has its strengths and weaknesses, as some tracks are a bit dry and drawn out towards the end of the album, like “Meadowlark” and the harmonies can feel misplaced. I definitely enjoy the first half of the album more than the second half. Overall, though, I still really enjoy this band, and their good songs are excellent.

Fleet Foxes is based in Seattle, and band members include Robin Pecknold, Skye Skjelset, Nicholas Peterson, Casey Wescott, and Christian Wargo. They will be heading out on a large tour soon, so be sure to check out for dates near you. Also, until the new album releases you can get your fix by buying their EP Sun Giant which just came out in April. The songs are different than the ones on their upcoming debut.

Fleet Foxes -S/T( June 2008)

Fleet Foxes - White Winter Hymnal

Fleet Foxes - Tiger Mountain Peasant Song

Sun Giant EP:

Fleet Foxes - Mykonos

iTunes | Amazon | Myspace |Label| The Stranger (Seattle coverage; interview)