14kt God is the new album on Kill Rock Stars from Portland, Oregon duo Panther, an album which I downloaded on a complete whim not knowing what it would sound like. I was pleasantly surprised when I heard a zainy mix of math rock riffing with enough groove and pop hooks to keep your head bobbing. Fans of !!!, Maps & Atlases or music that will get you moving will delight in Pather’s 14kt God.
mp3: “Decision, Decision”
mp3: “On The Lam”
This is a mix of great songs from bands in Boston that, despite my best efforts, won’t get unstuck from my head. And there’s a reason they’re stuck there. That being that they’re great. And when I feel that void creeping in, the one I get after scrolling through all 7,000 songs on my iPod and not finding a single thing to listen to, that I click a random link from one of these bands myspace pages, and hopefully find something new to latch on to. So hopefully, one (or more!) of these tracks will become your new obsession. So folks, here you go, a brief introduction to Allston Rock City. (Some of these albums might be a bit tough to get, so if any of it strikes your fancy, shoot me an e-mail (PeterNC9@gmail.com) and I’ll steer you in the right direction.)
Tulsa – Mass – Clouds of distortion, jagged classic-rock guitar solos, and Carter Tanton’s reverb drenched voice, floating through the song in his best Jim James. This is one of those songs that makes you want to storm a castle with an army at your back. In slow motion. Up hill.
If you dig My Morning Jacket, you’ll love Tulsa. Grab I was Submerged, and look for their newest LP sometime this fall.
The Toothaches – It’s All Gunna Be OK – And after you stormed your castle, settle down with the Toothaches. From their first LP, A Month of Sundays, this is one of the happiest songs I know. And as I sit here, hung-over on a Sunday, it’s all I need. Also pictured above. They’re adorable. Oh god, don’t tell them I said that. They’ll hurt me.
Hooray For Earth – Warm Out – HFE are kind of like if the dude from Islands fronted Nine Inch Nails. Or if Beck decided to redo Odelay as a grunge epic. I’ve used this line in a past review, but if the birth of a star were to have a soundtrack, the Cellphone EP (and Warm Out) might be appropriate. Also one of my favorite songs in recent memory.
Helms – It Takes Skin to Win – If Slint formed a super group with Explosions in the Sky, and wrote more hook-oriented songs, it’d almost be as good as Helms. I’ve had this song stuck in the back of my head for three years. And their live shows are unlike anything else in town. Their album McCarthy is a good place to start.
King Tuff – Lady – King Tuff isn’t from Boston, so this is kind of cheating. But he writes brilliant 60s power pop. Super lo-fi, completely self-recorded, he sounds like a more cohesive Television. I was introduced to King Tuff at a show my band played last summer in Vermont. Toward the end of our set, he strode in, looking like a grizzlier Neil Young, walked on stage, picked up a guitar, and just started shredding. He didn’t say anything, it was unreal.
Ketman – Oubliette – When I first saw Ketman, I thought I’d walked in on a Meat Puppets show. They were recently voted best new band in Boston by a reputable weekly mag, and are definitely the best power-trio in town. I did an interview in Performer Magazine with them this month. Their new album, El Torro, is like a hard slap in the face. In a good way.
Twink – What The Dickens – Twink’s one-sheet describes his music as “chaotic toytronica.†A Very Fine Adventure sounds like one of Jon Brion’s freaked out instrumentals, or b-sides to the I Heart Huckabees soundtrack. Slightly atonal toy piano floats through elaborate arrangements of other toy instruments, synthesizers and a whole bevy of phasing, pulsing instruments I can’t name. It’s a trip, freak out. But make sure a pillow or a friend is handy, you’ll eventually want to cuddle.
Get into it. And please, don’t be shy, contact these people, find where they’re playing, enjoy their tunes, and support local music!
Human Highway is the collaboration between Nick Thorburn (of Islands and previously the Unicorns) and Jim Guthrie (who used to be in Islands as well an accomplished solo musician). “Moody Motorcycle” is sort of a folky doo-wop album influenced by music from the 50s and 60s such as The Everly Brothers and Simon and Garfunkel. The album still has an Islands vibe in terms of song writing, but if you listen to any of Jim’s music, you can his influence very clearly. Thorburn’s and Guthrie’s voices blend very nicely and although Thorburn’s voice is slightly more prominent, it is the combination that makes it sound so good. The album is light and accessible, yet substantial and original enough to differentiate itself from the rest. It will satisfy both fans of Islands and Jim Guthrie and good music in general.
“Moody Motorcycle” comes out August 19th and you should buy it because it’s good.
MP3: Human Highway – Sleep Talking
Bonus MP3sMP3: Islands – Humans
MP3: The Unicorns – I Was Born (a Unicorn)
MP3: Jim Guthrie – All Gone
MP3: Jim Guthrie – Time is a Force
Every once in a while it’s time for another Indie Muse update. It’s like a quarterly update, from a CEO perhaps, but much more random and much less important…to a point where it’s really not like that at all. Oh well. Just think of this as mini-posts that wouldn’t on their own justify a real post.
1) Examiner.com has offered me the position of “National Music Examiner” for the site. It’s really a great honor to have been asked, and you should check out my column, as it will be Indie Muse on steroids. Also, browse through the rest of the site. I’m not just saying that because I write for them, it’s really a great site with Professional (AP), National, and Local writers…I wouldn’t have agreed to write for them if I didn’t think so.
2) I’ve never posted this Midlake “Roscoe” remix by Beyond The Wizard’s Sleeve. It’s great.
 Beyond the Wizard’s Sleeve – Roscoe (Midlake Remix)
3) Three of the writers for the site, Akhil Bhatt, David Nyman, and Sam Doty are in a band. I like to think of myself as their manager, though we never really discussed anything. Just kidding.
Abandoned Hospital Ship – Aperture
Abandoned Hospital Ship – Immortality Institute
4) Looking for an apartment/house? Check out HotPads.com, the official apartment/housing search engine of IndieMuse.com (I work for them and they are awesome).
5) I got an email a few weeks ago from a reader asking about Amplive’s Tokyo Police Club remix featuring Aesop Rock and Yak Balls. Below is “The Baskervilles,” the final track from Tokyo Police Club’s recently-released Elephant Shell. Here is a video of Amplive working on the remix.
Amplive – The Baskervilles (Tokyo Police Club Remix)
6) Thanks again to all of our loyal readers! If you have any recommendations or just want to drop me a line, my email is David (at) indiemuse (dot) (com). I would love to hear from you. Have a good August everyone!
 [youtube]http://www.youtube.com/watch?v=Bp-XZ3VAKrY&feature=related[/youtube]
Sorry I’m late with the post, but there are a few good reasons why I wasn’t so prompt in writing my review.
Now, don’t get me wrong, I think that Bonnaroo is still the same fun-loving tent city I know and love, but something was different this time around. Let me explain it this way: Two years ago, when I went to my first Bonnaroo, I also attended Lollapalooza a few months later. There was absolutely no comparison between the two. While Lollapalooza (although still very successful, I’m sure) stumbled with predetermined set durations and security guards, Bonnaroo was a truly awe-inspring experience. Freedom and the emotions associated with it were strong and most importantly, they were pure. Lollapalooza felt more like concerts in the park, Bonnaroo felt like a true festival.
I don’t think we can overemphasize the importance of “the festival” in the world of music. It is crucially important that people have a place they can go to enter the group mind. A festival with extremely limited security presence, in the middle of nowhere and far from any truly crazy points-of-interest, makes for the best foundation on which to build a shared common experience–what a festival was truly meant to be. Lollapalooza, Vegoose, Langerado, Coachella, etc. all fall victim to the same issue. It’s not like these are bad festivals, they kick a lot of ass, but due to the demands of consumerism they are falling short of what a truly glorious thing it could be. Bonnaroo, in past years, was a festival I would describe as maintaining the mission statement of the honest, good-vibe festival except on a ridiculously large scale–now, im afraid to say it, but Bonnaroo may be going the way of the supernova as well.
Before I get into why this may be my last trip to Manchester, TN, let me reiterate that I saw some amazing shows at Bonnaroo 2008. My Morning Jacket’s balls-to-the-wall midnight set may have been one of defining moments of my musical life, Yonder Mountain String Band’s incredible fusion of bluegrass and other genres never ceases to amaze me. Jack Johnson and Eddie Vedder (what a surprise) may be one the most consistent musicians I’ve ever seen.
Basically, there is still something for everyone there. Unfortunately, when something gets as big as Bonnaroo does there will be those out there who go to Bonnaroo to prove they are bigger than music itself. In this case, of course, I’m talking about the biggest ego/biggest letdown in music–Kanye West.
Now, I wasn’t even at this show, but I’ll be damned if I didn’t feel the repercussions. Bonnaroo is just as important for artists as it is for fans. It’s one of the few truly solid chances an artist has to get on the level of his or her fans. Metallica did it, and they very well may be the biggest, hardest band Bonnaroo has ever had. Kanye West on the other hand, was a prime example of how an artist can be so delusional that they choose to create a rift with their audience based on the assumption that they think they shit gold. It may work in L.A. or New York, where the artist represents the market, but when you’re on stage and you and your fans are supposed to be sharing equal respect for the greater power: music, you can’t act that way. Kanye’s “Glow In The Dark” show, described to me by a friend as “even cooler than Daft Punk Alive [sic]” turned out to be the equivalent of being struck impotent on your honeymoon. That could have been the best moment of his career. Shame on him for not apologizing to his fans right then and there.
But it wasn’t a simple event that injected the festival with anxiety, it is the unavoidable notion that we, as fans, are going to lose yet another fantastic outlet for loving people to commercial interests.
The Kanye example is only pertinent to the greater problem with choosing artists that truly reflect the values of the festival. One thing about Bonnaroo that I really enjoy is its transcendence in terms of variety. It is not just a crunchy-granola-jam-band festival, it is an agreement of music. Like a world conference bringing opposites together–legends and indie fledglings share the stage in a truly beautiful display. There is nothing wrong with having commercial stars at your festival. Before we went I was worried about the crowd Metallica, Jack Johnson and Pearl Jam were going to bring. I didn’t really see Kanye as much of a threat to the vibe. It was the exact opposite. Kirk Hammett’s modesty made my respect for him raise exponentially. Kanye’s ego put a horrible taste in my mouth.
SO what are we supposed to conclude on? Who is to blame here? The answer is this: no one is to blame, but the torch will soon enough be passed.
A festival is very much like a star. It is the coalescence of elements into a fiery storm of pure energy. It is the gathering of like minds and like values. It is a celebration of the cosmic power of art. The unfortunate part is that sometimes stars become to massive for their own good. These congregations begin to manipulate the space around and inside until the artists believe they are bigger than the festival and in turn, the festival believes it is bigger than art.
Next year, think about giving your usual festival an honorable discharge.
Phil Elverum (of the Microphones and Mount Eerie fame) has collaborated with Julie Dorion and Fred Squire (of Eric’s Trip fame) on a new upcoming album “Lost Wisdom” due October 7th. I have a good feeling about this release after only hearing only one track “Flaming Home” which I have provided for you today. Phil and Julie’s voices blend so well together that it only leaves me wanting more after playing this track on repeat over and over again. I noticed that there was a little lyrical riff used from one of Mount Eerie’s songs “Let’s Get Out of the Romance”. It works really well in this song, almost better than in the original song. Phil Elverum seems to be moving towards a more melodic direction closer to the Microphones and I think that it’s a very good thing.
MP3: Mount Eerie and Julie Doiron and Fred Squire – Flaming HomeÂ
MP3: Mount Eerie – Let’s Get Out of the Romance
MP3: Juile Doiron – All Their Broken Hearts
MP3: Eric’s Trip – My Chest is EmptyÂ
P. W. Elverum & Sun |Â MySpace (Mount Eerie/Microphones) | MySpace (Julie Doiron)
 
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 A few weeks ago, my band had the fortune of sharing the stage with Dayton, OH indie-rockers Captain of Industry, who came at us by way of our friends in Pretty & Nice (who are about to drop ’08’s indie-pop bomb in October, more to come on that as the date approaches). Without ever having heard Captain prior to playing with them, I was instantly engaged in their live show – singer Nathan Peters calmly hid behind a battered Fender Rhodes piano, acting as the eye of an indie rock storm while his four band mates writhed around him, all dueling guitars a la Television and popping, instantly accessible, just short of recognizable hooks. But it wasn’t until I sat down with their album, The Bronze, that it really hit.
Their songs are short and sweet, just long enough to establish hooks but short enough to leave a distinct longing for something more. Each song has a story to tell, a message to convey, something instantly relatable reminiscent of early Pavement’s sincerity (like my favorite lyric from “Range Life,” – You gotta pay your dues, before you pay your rent). They’re just as likely to create shimmery neo-folk as they are frantic, deranged rock and roll. The album still knocks me over in it’s uniqueness, and that’s why I’ve included two tracks for download today. But dear god, buy this album, support this band.
Choosing which songs to upload was tough. Every other minute I’d decided on a different song, but here are the two I finally settled with:
“Face Full of Head Full of Hair” is on their neo-folk-shimmery-guitar-line side, as mentioned above. Great lyrics, dynamic structure, intriguing from start to finish. Peters uses a very peculiar inflection on his lyrics toward the end, some of the more engaging lyrics too.
“Sweet Nectar Action” is a minute and a half of furious, indie-rock bliss. Beginning with frantic hard-rock guitars, the song seamlessly transitions into a dance-rock anthem, with Peters’s double-tracked, harmonized falseto leading a tight groove that quickly crescendos and fades. Boom.
 And one of the more precious lyrics from the album:
“Let’s be friends and hold f’ing hands, burn me up we’ll tumble to the sun” – Blood, Sweat, Sex
 from The Bronze:
Face Full of Head Full of Hair – Captain of Industry
Sub Pop, my most beloved record label, is celebrating their 20th Anniversary this year. Co-founders Bruce Pavitt and Jonathan Poneman started a radio show in 1979, which turned into a fanzine, later to become the official Sub Pop Records we’ve all come to love. It’s hard to say exactly when Sub Pop “started” because in a decade it morphed from strictly a passion to a business.
Sup Pop is partially responsible for surfacing the 90’s grunge scene in Seattle, releasing albums by Nirvana, Soundgarden, and Mudhoney. The label is now shaping the sound of indie music, signing bands such as The Postal Service, The Shins, Iron & Wine, and a slew of other amazing acts.
Jon Poneman is still running Sub Pop, although Pavitt resigned in 1996 to raise a family and experience life’s other offerings. NPR recently interviewed Poneman, at which time he gave an update on what’s going on at the label and listed his five favorite Sub Pop released songs.
If you are looking for a fascinating story, read more about Sub Pop. Not only are they the most revolutionary independent label of the last decades, but have had a truly inspiring battle to get there. They saw a lot of rough times, and weren’t always able to treat artists as well as they would have liked. Pavitt says in an interview with Pitchfork, “We opened the doors to our very, very tiny office on April 1, 1988, and by May 1, 1988– 30 days later– we thought we were going out of business.” The dark years at Sub Pop got so bad that they had to beg the phone company to give them 10 more days of service. Then in 1995, verging bankruptcy after the label spent a lot more money then they could afford, Sub Pop was forced to sell 49% of the company to Warner Bros.
Thanks Sub Pop for all that you’ve done!
Jonathan Poneman’s 5 Favorite Sub Pop Records Songs:
Fleet Foxes – White Winter Hymnal
Sub Pop website | NPR radio interview with Poneman | Pitchfork interview with Pavitt and Poneman
If you are looking to dance off the rest of the summer, I highly recommend you check out Natalie Portman’s Shaved Head. I’ve been actively following them since last summer when they played The Capital Hill Block Party in Seattle. Spoon rocked the two day festival, along with John Vanderslice, The Blue Scholars, Aesop Rock, and a few dozen more bands. I went to their stage having no idea who they were, but NPSH quickly became my favorite performance there.
Natalie Portman’s Shaved Head’s music sounds like what a band with the name “Natalie Portman’s Shaved Head” would sound like. They are a synth-pop, quirky band out of Seattle who doesn’t take themselves seriously at all. They are absolutely ridiculous, and I love them for it.
NPHS just released their debut album Glistening Pleasure, which features a lot of their songs from their older Secret Crush EP. My personal favorites off the debut include L.A. Noir, Mouth Full of Bones, Holding Hands in the Shower, Hush Hush, and Beard Lust.
The just out of high school band members of NPHS include Luke Smith, Shaun Libman, Claire England, David Price, and Liam Downey Jr. I laugh whenever I look at Shaun’s “band role” on their Myspace: “Vocal, maracas, shakers, tambourine, cowbell, claps.” The rest of their Myspace page is pretty entertaining too, you should visit it. The band is touring the US this summer so be sure to check if they are coming to your city.
Glistening Pleasure (2008):
Natalie Portman’s Shaved Head – L.A. Noir
Natalie Portman’s Shaved Head – Mouth Full of Bones
Beck is an artist that needs no introduction. For almost 15 years, Beck has put out great album after great album of varying genre, while still maintaining his distinct sound, characterized by his complex arrangements, clever lyrics and honest voice. Just like the sex rock/funk of Midnite Vultures to the intimate folk of Guero and Mutations, Beck’s 2008 release Modern Guilt forms a unique sound, highlighting Beck’s incredible songwriting abilities. Produced by Danger Mouse, the album is very drum/beat oriented and the guitar is often sparse or sampled. The second track, “Gamma Ray,” is the album’s catchiest number, full of rhythmic snare hits and punctual guitar, while “Chemtrails” exposes Beck’s vocal range as he whispers in falsetto over pounding drums and piano. Each track will get your head bobbing with their infectious rhythms while varying in sound and style. Modern Guilt is one of 2008’s best records so far and an early contender for album of the year.
From Modern Guilt: