I only post this because I feel this song has slipped under most people’s radars. (So, sorry if this post seems slightly irrelevant. I just re-discovered it and got really excited.) From his first album, A Sun Came!, this is one of the zanier things Sufjan’s ever released. It sounds like something you’d record stoned at four in the morning on a whim. Which was probably the case, evidenced by the off-key vocals and the warm crackle of a four-track. I especially recommend this for any doubter’s of Sufjan’s songwriting prowess. If there is a song to turn you, it’s Super Sexy Woman. And with lyrics like “She is super duper smart/I like her for her mind/She’ll shoot a super fart/The deadly silent kind,” what’s not to love?

And for whatever reason, no one ever talks about A Sun Came!, which is just as good, if not better, than his more celebrated releases. So check it out. I know Sufjan has been blogged to death, but most of it is deserving.

And just for some context (and in the event that you’ve been living under a rock, which is somehow underneath another, larger rock), I’ve included Chicago, one of his hits from Illinoise!.

Sufjan Stevens - Super Sexy Woman

Sufjan Stevens - Chicago

Oh, and this video is hysterical.

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Hey everyone. It’s been crazy as always. Good to see you again.

photo credit: Bowen Rodkey

A few weeks ago, I got a chance to listen to the On the Tail of the White Donkey EP, the debut release from folk-singer Vikesh Kapoor. His music always brings me to the same conclusion. We must return to this tradition. There is so much to be had here–so much that real folk music can do for the industry and all the places it reaches.

I can just imagine Kapoor (recently off a successful tour with staff favorite Nicholas Beaven) moving along, each song gracefully falling from his back pocket. Travelling through the heart of an unnamed area,  almost ignoring the complications of musicianship and poetics, he sings his stories. I remember my first experience with his music, sitting cross-legged on the floor of a discreet second-story Allston apartment. There were no chairs, no posters, no amplifiers and absolutely no bullshit.

An Indian-American traditonal folk singer is something to turn your head to at first. His influences are part of a strong force of writers and players that do not share common ground in style, but share a similar need to create this long-forgotten escape that doesn’t have any room for the pitfalls of popular music today. I’ll spare all of you comparisons to others in his genre and simply say this: Everything in his music that at first sounds tired quickly becomes an understanding–that in order to create a piece of intellectual, poetic tradition one must come to terms with both who they are and what they have learned along the long, hard path. Kapoor’s feet are on their way to becoming tough and leathery and we’re lucky enough to catch him so soon.

Over the course of the EP, this truly became clear. Deciding which of these songs was going to be your Song of the Day was tough. Just as important as the individual tales, the whole EP is a coherent, imaginative collection of songs that describe a shared need for honest human connection. If that isn’t the point of this EP, then I would have to say Vikesh Kapoor as succeeded in creating something that, while sometimes inconsistent and unsteady in its footing, is in a way universally relatable–the way it should be.

Some major moments for me occur on the unnervingly beautiful “One Woman Man.” It’s those moments of folk glory where the song sounds as if it is from 1950 until he includes a line with a turn-of-phrase or euphemism that jarrs the listener back into the present. All of a sudden we have something that exists outside of the system. Later on, Kapoor hits what I consider to be a masterpiece, “Willy Robbins.” A traditional folk tale (no chorus, just the adamant painting of a harrowing picture). He sings lines like “then like many working men, he’d shower, watch TV.” and their gravity is unreal. It is truly brilliant.

However, neither of these songs I chose to share with you today. I think you should grab the EP and spend a moment to hear what an honest artist sounds like.  The songs discussed above are even better in context. One song, however, you should definitely hear. “Till the Fields” is a happy, catchy tune with many simple parts working together. Truly, Vikesh Kapoor’s poetry is the most obvious talent, but as a guitarist he supports himself in admirable fashion.

MP3: Vikesh Kapoor - “Till the Fields”

MP3: Vikesh Kapoor - “Down by the River”

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Support Vikesh Kapoor: Buy On The Tail Of The White Donkey EP

Vikesh Kapoor is performing at TT the Bears in Caimbridge on Thursday, September 25th. It’s his only show for a little while so GO THERE.

Pick up an album and meet the guy. It’s all possible with real music.

I leave you with an intimate performace by Kapoor at Firehouse 13 in Rhode Island

The past few weeks I’ve been listening to co-founding member of Rilo Kiley, Pierre de Reeder’s, solo album, The Way That It Was. It’s got some really solid songs on it, and if you are looking for new easy listening summer/fall music, it’s definitely worth your time to check out.

“Not How I Believe,” is by far my favorite song on the album.  I’ve got a soft spot for choirs in songs like this, and it’s the exact same reason I love the Rilo Kiley song “With Arms Outstretched” so much. “Not How I Believe” also has a flute–it’s awesome!

It’s clear that The Way That It Was is a very personal album for de Reeder, and it ranges from songs about growing up, to a song for his daughter, “Sophia’s song,” which brought to mind Ben Folds’ song “Gracie.”

I’m a really big fan of solo albums like this, not only because of the music, but what it represents. Pierre de Reeder is very talented, and does a great job performing his role in Rilo Kiley. However,  it’s impossible for a collaboration to be as personal as a solo album. Pierre decided to release an album because he has something to say that’s meaningful to him, and though the lyrics can be a bit soft at times and some of the songs fall a little flat, there is no questioning that it is extremely honest.

Pierre de Reeder lives in Los Angeles and is the bassist for Rilo Kiley. He’s been working on and off on The Way That It Was for the past five years, and plays most of the instruments, although Jenny Lewis, Blake Sennett and Jason Boese did offer a hand.

The Way That It Was (2008):

Pierre de Reeder -  Not How I Believe

Pierre de Reeder- I’ll Be Around

Bonus:

Rilo Kiley - With Arms Outstretched

Read de Reeder’s essay on why Obama should be President.

Site |  Amazon |  iTunes | Myspace

Throw Me The Statue is the brainchild of Seattle resident Scott Reitherman and with the help of a few friends, Reitherman recorded Throw Me The Statue’s debut LP Moonbeams in 2007. The album was re-released this year on Secretly Canadian and fans of Clap Your Hands Say Yeah, Pedro The Lion, Sunset Rubdown or even LCD Soundsystem will fall in love with Reitherman’s clean mixs of pounding guitars, bouncy electronics and his distinct catchy whines. Moonbeams is one of the year’s catchiest albums and not one to be missed so check out the mp3s I posted. Enjoy!

mp3: “Lolita”

mp3: “About To Walk”

Just wanted to let you guys know that Chris and I will be starting our radio show up again today at WVAU.org. We’ll be on at 2-4 EST. Click the picture above to stream. If you are ready for some great music and awkward air breaks, please tune in. Thanks!

As a special treat, here’s the first song we’ll be playing.

Passion Pit -  Sleepy Head

The past few weeks, I’ve been frequenting “Folio,” the first track on The New Year’s self-titled album which releases September 9th. I love the instrumentals in this song. The band reminds me a lot of John Vanderslice,  Midlake, and Beulah.

Prior to forming in 1999, The New Year were the Bedhead. The band is comprised of Matt and Bubba Kadane, Peter Schmidt, Mike Donofio, and Chris Brokaw. They are located in various areas across the US and make music by sending each other tapes, and by meeting up for recordings and tours. Matt and Bubba Kadane (who live in Ithaca, NY and Dallas, TX respectfully) intended to be a duo, but asked their longtime friends to help support them on tour, and they gradually became part of The New Year. This album is going to be The New Year’s first release in four years, and they will be supporting the album on a US and Europe tour.

Self-Titled (September 9, 2008)

The New Year - Folios

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Michael Ian Black (Stella, Best Week Ever, Sierra Mist spokesman) is one of the funniest comedians. Ever. I read a post about music on his blog yesterday and I thought I’d share it with you.

People ask me all the time “what kind of music I’m into.” I hate this question because what they’re really asking is, “Are you as cool as me?” I can answer right now. No. No I’m not. No, I’m not into that twee British act you read about it in Gravesitter or Thunderfuck or Quiznuts or whatever obscure music magazine you read. No, I didn’t go to the Bohemian Shithead concert the other night in Williamsburg. No, I’ve never heard of them, and no I don’t want you to burn me a CD of their “amazing new album.”

What’s on my iPod? Your dick.

Asking somebody what kind of music they’re into is exactly the same as asking them what their sign is, an attempt to discern something meaningful from the meaningless. What possible difference does it make? What are you going to learn from me if I tell you I like U2? That I’m into debt relief?

And there’s just no good answer. Turning the situation around, if I ask somebody the same question, here’s what I’m thinking based on their answer:

Jazz – douchebag
Classical – douchebag
Metal – douchebag
Country – douchebag
Rap – douchebag
Pop – douchebag
Classic Rock – douchebag
Christian Rock – douchebag
Alternative Rock – JUST LIKE ME!!!

Continue Reading »

Over the past few weeks I’ve been listening to Death Vessel’s newly released sophomore album, Nothing Is Precious Enough For Us. It’s been growing a lot on me, and I see myself listening to this when in need of a chill folk album. If you like Iron and Wine, Anthony and the Johnsons, or the Fruit Bats, you might like Death Vessel.

Several of my favorite tracks on the album include the opening track “Block My Eye,” “Bruno’s Torso,”  “Circa,” and “Obadiah in Oblivion.” Believe it or not, those vocals you hear are those of a guy, specifically Joel Thibodeau. I’m confident that I’m not the only one who originally thought the high falsetto had to be a female singer.

Death Vessel is based in Providence, Rhode Island. In 2006, they signed to Sub Pop, after releasing their debut album in 2005, Stay Close. While Thibodeau is pretty much the brains behind Death Vessel, he has plenty of support. Starting in last August, Death Vessel will be going on a lengthy US tour, check the dates below.

Nothing Is Precious Enough For Us (2008):

Death Vessel - Block My Eye

Death Vessel - Circa

Stay Close (2005):

Death Vessel - Deep In The Horchata

Death Vessel - Mandan Dink

 Site| Amazon | iTunes | Myspace

Being in a band is not the easiest thing in the world, especially when you’re young. It can seem stupid and foolish to pursue something with such vigor and intensity knowing well and good that you could fail at any moment. Regardless, one must accept that their innate connection to the art will keep them satisfied and must remember where it comes from. With years of practice, you can finally come out of your cave and share your work with the world–and hope that that child-like energy isn’t gone. But how can you be certain? Thus a band is born in tension, irony, anxiousness and excitement.

Today I listened to an album by New York’s Ravens & Chimes. A group of wonderful musicians who fight against the all-too-common outcome of a band losing track of what’s really important. These are people truly singing of what they know and are well aware of what they tend to project. I’m a sucker for layering, and these guys layer themselves musically as well as poetically. The results could not be a finer debut album–one full of peaks and valleys but is all tied together by a sense of proud urgency. I haven’t taken a lot of time to get into the album, Reichenbach Falls, but I will tell you, after my first listen I’ve had numerous hooks and imagery stuck in my head.

It’s a grunge at times–at others it’s a folk explosion. In an attempt to disassociate with the tendency to simply describe an artist in terms of others, I suggest you take these beautiful pop songs as they are. If you are interested in these emotion behind these tracks, you will love their album. Buy it. Now.

Today’s SotD were two chosen at random. Almost every song on this album has some truly fine quality and to decide on a definitive description would be unfortunate for the creative and talented members of this band. Please, let me know what you think. It’s been a little while since I had the time to listen to music, so I’m excited to get back to it.

MP3: Ravens and Chimes - “Far Away Sound of Cars”

MP3: Ravens and Chimes - “Saint Jude in the Village Voice”

MP3: Ravens and Chimes - “…and I Came Upon It in the Clearing”

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Support this band: Amazon | iTunes | InSound | Better Looking Records

Check out this beautiful intimate performance on Brightest Young Things: 

Awesome.

This week Muxtape shut down indefinitely due to conflicts with the RIAA. Muxtape is a simple service that allowed users to upload music and make mixtapes that were easily sharable. It was a great way to find new music, and by only allowing users to stream mp3s, many purchased music they wouldn’t have otherwise.

Users knew that the site was in jeopardy of being shut down due to obvious copyright conflicts, but its death is not going to help record sales. It’s an interesting issue that is not as black or white as either side makes it out to be. The music industry, and consumers, would benefit from understanding two realities:

1) If a musician doesn’t blow off their label, fans shouldn’t either.

2) A compromise needs to be reached that will work in favor of labels, bands, and fans. This is achievable with a basic approach. 

Addressing the first issue:

Sure, bands have other ways of making money, like touring, and yes, they don’t make as much money from their record sales as they should. At the same time, though, consumers need to understand that no one is forcing bands to sign into this marriage. Labels invest time and money into their artists, and without their marketing, the band might  have remained under your radar. If there is a band that you really like, there is no excuse for not buying their music, other than not wanting to cough up the money (like other art forms which are nearly impossible to steal, i.e. paintings).

Which leads to issue two:

The RIAA’s refusal to let listeners hear full songs before purchasing them is like an art gallery only allowing a buyer to see a third of a painting. People are forced to make up their minds after listening to a short preview of a song or hearing it once on the radio. To me, that seems like an unreasonable expectation.

A compromise needs to be found.

For example, imagine if a site like Muxtape allowed you to stream one-hundred songs in their entirety for every one song you purchased digitally via an iTunes or Amazon affiliate link. Users could fully utilize the service of Muxtape with a reasonable assumption that they will really like at least 1 out of 100 songs that they previewed. If they didn’t like any of the songs, would Muxtape really be a valuable service for them anyway?

A process like this would guarantee revenue for the music industry, a music store, and Muxtape–as well as satisfy users’ needs. There will be users out there who complain and say that they like to buy a physical album, but hey, that’s all part of the compromise–look at it as a small (.89-.99) fee for a great service. 

Instead of taking an approach like this, the RIAA tries to cut off these useful services like Muxtape and Pandora, which won’t help promote music at all, and is a lose/lose for everyone. It also leads to more piracy. I don’t expect the RIAA to understand this concept, because after all, that isn’t really their job. However, musicians and record labels must take more of an initiative before they allow the RIAA’s practices to bury their music. 

With a little forward thinking, it doesn’t have to be good vs. evil.