Well its Glastonbury weekend in the UK and as I write these notes (June 29, 2014) although I’m likely publishing them much later (and as evidenced by the date above, much later), and Metallica seems to have pulled of what many thought nigh impossible – a positive review for commercial heavy metal at a place full of largely commercial pop acts and old people. Really. Billy Bragg is still playing, as is today’s highlight Dolly Parton who follows last night’s appearance by 69 year old Brian Ferry alongside a number of very diverse but slightly older skewing alternative-indie-pop acts. So, how was the show? I noted that the first comment on the Guardian blog was this ( I’ve cleaned up the spelling a little bit):
Mr. Svejk – Sick[enin]ing to see all the media raving about a bunch of rich has-beens, must have been bunged free tickets judging by the sycophantic coverage of this year’s yuppyfest, £200 a pop for a mud and cow faeces bath, plus another few hundred spending and travel money, what a rip off
Perhaps, not all is right with the world of popular music at least as live shows go. However, I will also affirmatively state that there is very likely a salon in Los Angeles that will start offering an exclusive “mud and cow faeces bath” for $750.00 claiming that it will remove all of the wrinkles from your skin.
I preface all of the above comments with this observation: I would like to have the chance to visit and experience the festival – perhaps crowdfunding, eh?
So, what was good in music this past month or so? Well, quite a bit. A glance at the dropbox list shows at least one band played Glastonbury (Kasabian), and 48 other acts whom did not, but that is not to say that you won’t find something intriguing to play in the list. There are several almost assuredly characterized as unknown acts making the list, and consequently, I had trouble locating information. Rest assured, none of the information in these notes is fiction, it may just be a little thin. Some other observations: James Blunt makes the dropbox for the first time and possibly last, with a really catchy single, and it is squeezed between I Heart Sharks and the new Masked Intruder album. So, not your usual assortment of list makers.
As I insist every month, feel free to explore the dropbox. You might find something that you actually like rather than something you are being force fed by mass media marketers, commercial radio, and professional review magazines who coincidentally are full of advertising from the labels of bands they are reviewing. Tales From The Dropbox exists to fill a gap because these are not really reviews as there is no criticism provided at all. These capsules are merely introductions to music I actually like to listen to from a fairly wide spectrum of what could be considered the “rock genre.” After almost three years of putting these notes together, there are some obvious biases in my selections, which I hope I’ve pointed out along the way. I am positive that there are certain acts that you like everything they put out until that day arrives when you can no longer defend the purchase of the next record. For me, there are several of these points which I vividly recall: Here are the list of bands and the last album I purchased i.e. the point where the train stopped and I was no longer the all forgiving fan:
Rolling Stones – Some Girls (1978). In fairness, I probably really stopped purchasing Rolling Stones records in 1974 with the purchase of It’s Only Rock ‘n Roll which I consider their last really good record. Sure, Some Girls had a couple of great tracks, such as “Shattered” and “Beast of Burden” but at this point, I believed the band was largely phoning in their records and the danger of the past was non-existent.
Elvis Costello – Mighty Like a Rose (1991). Like the Rolling Stones, Elvis for me was overdone by the time Mighty Like A Rose was released. I had difficulty listening to Spike (1989) but at least I enjoyed a few songs. How anyone lasted through any of Elvis’ efforts after Mighty Like A Rose is beyond me. Quick, name one song that Elvis recorded after 1991 that you liked and can recall. You can’t. Don’t lie to yourself. It’s okay. Elvis was always a little old but really after the magnificence of the first five albums released between 1977 and 1980 (Get Happy!), he can be forgiven for some inconsistency (like most of the rest of the records he released during 80’s). However, once Elvis hit the 90’s, he was like the Rolling Stones – old and more interested in being an “Artist” rather than communicating with his audience. I know I was hugely disappointed by Spike, but Mighty Like A Rose took the bloom off the flower that was Elvis. Not a single track on this album can I recall. In fact, my disappointment was so huge, I stopped listening to Elvis altogether.
Paul Weller – Stanley Road (1995). You would think that I would hang in longer with the leader of one of my top three bands ever – The Jam – but even the modfather turned into an annoying folkie with a series of limp releases during the 90’s and early 2000’s. I know, the British music press continue to heap praise, but true fans have watched Weller end the Jam, suffer through the mostly forgettable Style Council (although there were a few worth moments) and then move on to his “solo” career which is only relevant because he is old. Stanley Road was a good record, but not as great as the readers of Q Magazine gave it, ranking it in 1998 as the 46th greatest album of all time. Can I name any of the songs on the record other than the title track, “Stanley Road”? Nope. Not a one. Anything memorable that I play constantly? Nope not a one. To be fair, recently, Weller has had a couple of moments of renewed inspiration, most notably Sonik Kicks (2012), but all that good will has gone away with his most recent release More Modern Classics which rounds up songs Weller thinks are “classics” from 2000 onward with a couple of new tracks and like the emperor has no clothes, the collection can best be described as underwhelming.
Kiss – Unmasked (1980). There are a number of reasons why I stopped listening to Kiss in 1980 and none of them have to do with this being the last album that original Kiss drummer Peter Chris was in the band and he didn’t even play on this record. Anton Fig did. The problem for me was that punk rock had revealed that Kiss were just pretenders at that point. The danger the band represented was limp, and after the 4 solo records which were thin in terms of songs (Ace’s record was easily the best), Kiss fans, myself included, who had survived all the punishment of being a Kiss fan, and who were rewarded by the acknowledgment of number of punk bands who like me, were inspired by Kiss to start bands (Replacements immediately come to mind), easily could point to all of the albums prior to the solo records as being great. Heck, I even survived the impact of “Beth” as a popular single. I always considered the song a joke – WTF??? So, after listening to the solo records, trying to find anything worth listening to on Dynasty (1979) which was slim – Kiss as a disco band. At that point I was desperate. Hopefully they would find the path towards greatness. What really sucked was that Dynasty was a commercial success and that spelled doom as the songs were really weak. Okay, I’m being nice. They were terrible. Little did I know what a pile of crap Unmasked would be at the time because now in hindsight, the songs on Dynasty are hit singles compared to the tragedy that is Unmasked. Absolutely worthless. Kiss had obviously believed their own hype and believed that their fan base could survive not only being unmasked, playing disco music, and kicking Perter Chris out of the band. Well, some of us felt stupid and betrayed. Finally, Gene and Paul – choosing not to play with Peter at your HOF induction? Are you kidding me? How do you sleep at night you hypocrites. It’s all about business and Ace and Peter’s contributions to your “business” cannot be stated more clearly: Kiss (1974), Hotter Than Hell (1974), Dressed to Kill (1975), Destroyer (1976), Rock and Roll Over (1976), and Love Gun (1977). Kiss – you suck.
So, where does this leave us now? Well, as I pointed out earlier – these notes are an introduction. That is, an opportunity to find music that fits with your passion. The dropbox is about finding things good to listen to and it doesn’t matter where they are in their career, if its good, its good and you’ll know it. The goal is to avoid the end – that point in a band’s career where they have overstayed their welcome and in your heart saying positive things about their new release is much the same as trying to make a fart small like a rose – impossible. So, you won’t see the new Weller record, and I don’t even know if the others are still making music, but as a fan I will always give the new record a try, hoping to regain the “thing” that made me a fan in the first place.
Finally, I have jumped around a bit in the notes this month to make sure that I hit some records that wouldn’t immediately catch your attention due to their unfamiliarity. I think you’ll find some winners all around this month.
Detroit’s, Fireworks on their third full length (Oh), Common Life have found the perfect blend of mature lyrical theme and pop punk to produce an album that breathes new life into a largely dying genre. Pop punk’s biggest problem was the acceptance by the masses of the sound and the lyrics dealing with teen viewpoints on life that grew tiresome after you reached the age of 25. No so with Fireworks. The band is not trapped by the genre form and the expansive sound on (Oh), Common Life is a game changer. Never will you experience a record where the big sing-a-long choruses fit so well with the fairly reflective and serious lyrics and the hooks…killer. I’ve played this album about fifty times since I found it and every spin I discover something new to enjoy. The real secret is that the second half of the album is actually better than the first half, but you will find immediacy in the first half and latency in the second. Comprende? Try: “The Hotbed Of Life,” “The Only Thing That Haunts This House Is Me,” and “Play “God Only Knows” At My Funeral.”
Another throwback of sorts, is Oslo Norway’s American Suitcase, who have also reached an apotheosis on Lighthours, their 5th album. From the beginning, American Suitcase has channeled the Byrds adopting the jangle guitar and harmonies, but on Lighthours, the songs have a new level of sophistication and reminded me of Game Theory in their approach – simple jangle pop with huge melodies. Teenage Fan Club also comes to mind as a good comparison for American Suitcase’s approach – the vocals are layered into the guitars so that the guitars shimmer adding a layer of consonance to the vocals and harmonies. I cannot think of another band still making this delicately crafted music, so enjoy it as we are unlikely to see much more in the future. And I for one, will be disappointed. Try” The Driver,” “Bright Holes,” and “Things About You.”
Parquet Courts new release is another great garage rock record with ample amounts of fuzz that makes for a great listening experience. Sure, there is the Velvet Underground/ Jonathan Richman vocal intonation but the guitar work is sonically several layers enhanced from 2012’s Light Up Gold and in some ways Sunbathing Animal reminds me of Television, particularly on a track like “Dear Ramona” which deftly plays homage to those bands and musicians. Sunbathing Animal, is more than the sum of its parts – each song fits perfectly with the others such that the assemblage connects to a unified whole. Angular and disjointed, rhythmic and hypnotic, the songs on Sunbathing Animal update the earliest proto-punk (I’m positive that they lifted directly from Wire’s “Three Girl Rhumba” on “What Color Is Blood.”) to a modernist take on punk now 35 years on and the results are fascinating. Try “Sunbathing Animal,” “Black And White” (Is that the B-52’s?) and “What Color Is Blood.”
If you’ve noticed lately a predominance of Australian bands in the dropbox, then you are not alone and not mistaken. There are some things that Australia does better than the U.S. and indie-pop is one of them. In a world full of electronic sounds, Saskwatch have ….wait for it…..a …horn section! Melbourne based, this nine piece on their second album, Nose Dive, have produced a melodic and stunningly brilliant throwback record, with touches of 60’s Motown and modern garage. I was hooked from the beginning – the songs are “soul heaven” particular the jazz inflected soul of vocalist Nkechi Anele whose warm tone will make this a favorite in you evening record selection. I was blown away by “Born to Break Your Heart,” which should be a worldwide hit. Can’t say enough good about this record really. Try “Born to Break Your Heart,” “You Don’t Have to Wait,” and “Hands.”
Further evidence of Tales From the Dropbox penchant for enjoying discriminating pop music is found in the simple melody and pure pop of James Blunt’s new Heart To Heart EP containing the pleasing 3:29 minutes of the single “Heart To Heart.” Admittedly, I am not a James Blunt fan – at all. Previous experience was forgettable as the melodramatic whining was not pleasant. However, for contemporary AOR pop, the Heart To Heart EP is fairly catchy, whimsical and sincere, and as such dropbox worthy. I’m not sure those are the qualities that made for the EP’s inclusion, but the EP is short, with 2 acoustic songs of a kind of folk pop, that exposes Blunt’s particular form of romantic balladry. So, in another dropbox first, I’ve only got one song for you to try, so try “Heart To Heart.”
Tigers Jaw’s new record, Charmer is a difficult record to analyze on a metaphysical and philosophical level. The Scranton PA band split with three of its members after deciding to take a new direction in 2013, but as all good pals, the departing members participated fully in the recording of Charmer, the band’s fourth album. What makes this all the more amazing, is that the duo who remain, keyboardist Brianna Collins and guitarist Ben Walsh, have managed to balance what must make for a difficult recording situation – giving some control over the recording process to old members who no longer have skin in the game. Charmer’s charm ( see how I did that there) derives from the interplay between old and new with Collins and vocalist Adam McIlwee trading vocals on the delectable track, “Hum.” And for much of Charmer it is exactly as the the band self-describes – Fleetwood Mac meets Brand New indie pop with a blend of old and new sounds comprising a collection of songs that struggle to break away from the sadness of a band imploding. Try: “Charmer,” “Hum,” and “Nervous Kids.”
Toronto’s Alvvays self-titled debut is another slice of reverb laden indie-pop with a bit of a twist as the band sprinkles its blend of twee-pop with early C86 scene markers producing an album with a sound in a similar manner but not tone of the Smiths. This “sound” is readily apparent on a song such as “Archie Marry Me.” Now that you’ve got the “sound” of Alvvays, try putting the delicate vocals of Cape Breton immigrant, Molly Rankin into the mix (she sounds nothing like Morrissey). (If you have been to Cape Breton Island in Nova Scotia, then you know traveling to Toronto is like immigrating to a foreign country.) The songs are also awash in Jesus and Mary Chain reverb with sunny guitar runs breaking free from the fuzz – like sunshine emerging from clouds. Keyboard fills by another Cape Breton native, Kerri Maclellan, highlight the delicate nature of these songs brimming with life. Try ” Archie Marry Me,” “Adult Diversion,” and “Party Police.”
Another debut record hits the dropbox, with Brooklyn quartet Animal Years re-releasing its debut in a deluxe edition format (collecting several B-sides) in May of this year. If you look back, the original version of the album hit the dropbox. Released in September 2013, this album of indie rock with country flourishes was mostly recorded in Baltimore before vocalist and bandleader Mike McFadden moved to Brooklyn. The album, which deals primarily with transitions, heartache, loneliness and leaving, is a consistently good record full of atmospheric indie rockers all crooned by McFadden – you can smell the beer in the bar where Animal Years plays. I swear the songs on this record made me want to pick up a guitar and drive over to Old Towne Pub in Pasadena to play. What strikes me most upon listening is the pacing of this record. I know, odd thing to write about. However, the songs feel like the soundtrack to a road movie with each song a capsule on that journey. Try “Meet Me,” Let Go of Your Head,” and “Fear of Falling (B-Side).”
Defiantly dream pop, Philadelphia originating A Sunny Day In Glasgow’s fourth album Sea When Absent is the byproduct of change. ASDIG is essentially Ben Daniels and whomever else is available and wants to record, and consequently, each record although genred as dream pop does not simply follow the formula. Each ASDIG record adds an odd assortment of very divergent sounds which serves to break up the traditional dream pop formulation. Consequently, on Sea When Absent, these new sounds are compelling. The new lineup which adds Jen Goma is produces a huge vocal leap as her voice adds significant depth and feel to these shoegaze type pop songs. Try “Boys Turn Into Girls (Initiation Rites),” “Never Nothing (It’s Alright [It’s OK]),” and “The Things They Do to Me.”
It would be a contradiction to put the EP in the dropbox one month and then fail to include the full length the following month, so here you have Bad Suns full length debut Language and Perspective as the follow up to Transpose EP from last month. So, without having to refer back to those notes, Language and Perspective is Bad Suns doing their version of Bastille. The album mines the same electronic backed indie dance sounds as typified by Bastille‘s Bad Blood album, and Language and Perspective should find a home on stations that play records like this, which is practically every alternative radio station in the universe. I am confidant that once this album finds a place on radio that it will be overplayed, but for now, you should play it, say 30-40 times, so that you don’t have to play it again when it comes on radio. The hit is “Cardiac Arrest” but you know what, Language and Perspective has more than one good song, so the frequent spins will help you discover the quiet beauty of songs like “We Move Like the Ocean.” The album transports 3 of the 4 songs on the EP to the full length, but in context, they work to fill out the album nicely. Try” Pretend,” “Take My Love and Run,” and “Transpose.”
Alex G, real name Alex Giannascoli, from Philly, is the bedroom equivalent of Pavement. DSU sounds like the results of Stephen Malkmus recording Pavement albums in his basement. What is most interesting about this prolific 21 year old, is his apparently extensive familiarity with 90’s indie rock pioneers such as Elliot Smith and Guided By Voices all of which end up on DSU. Alex also has voice that is somewhat reminiscent of Alex Chilton which when spun through the mixer end up on DSU as a collection of very interesting experimental indie rock songs. Sure, there are several songs which are obvious derivatives from other artists, but that’s not a dis-qualifier to enjoyment – something new always came from something old and it is the smart artist that can dress it up so those lifts from others look new and fresh. The real question about acceptability as an artistic effort is whether the current artist under review has produced something equally charismatic and rewarding as the predecessor from which the sounds derive and in the case of Alex G, DSU, although sometimes uneven, is a very rewarding listen with a couple of real standout efforts – specifically the slacker anthem “Harvey.” Something unique is present in these sonic experiments and that is good enough for the dropbox. Try “Harvey,” “Black Bear,” and “Boy.”
Brooklyn quartet Bear In Heaven return with their 4th album on August 5, 2014 entitled Time Is Over One Day Old. Bear In Heaven’s music can be best described as electro-psychedelic which in lay terms is music you can dance to on an empty dance floor. i.e. adrift on the floor untethered to the ground by that troublesome gravity. At times a little techno feel to this record, but overall, an interesting take on textured driven indie rock with both the vocals and the music capable of producing floating. Try “If I Were to Lie,” “Memory Heart,” and “Way Off.”
Back to Australia for Cambridge’s new release Create. Destroy. Rebuild. Former lead singer of Sydney’s Heroes For Hire is back with a new band and a slightly new direction on this debut. Still pop-punk at its core, Create. Destroy. Rebuild is full of anthemic pop punk much in the same direction as Every Avenue, Hit The Lights, and The Maine – catchy, bouncy pop-punk that is not too serious lyrically and fun to play around the house very loud. Try “Head over Heels [Feat. Danny Stevens of The Audition],” “Create. Destroy. Rebuild,” and “All or Nothing.”
Sticking with the pop-punk part of the list, this time female fronted, New York’s Candy Hearts return with the immensely near perfect version of the genre in the form of All The Ways You Let Me Down. I guess I’m hedging a bit when I say near perfect. There are no observable flaws in any of the performances on this record. On All The Ways You Let Me Down, Candy Hearts’ vocalist Mariel Loveland sweet matter-of-fact vocals with this ear-gastic “twang” effectively tell the albums songs which are really stories of requited love and longing. There is something compelling about the tone of her vocals which are brought to the front of the mix. The melodies on all the songs big bold and bright so that you find yourself soon singing along. My only nag would be with the …. Ah heck. I don’t have any nags. A solid fun record that will keep you happily singing along. Try “I Miss You,” “The One To Get Me Out,” and “All The Ways You Let Me Down.”
By way of comparison to the Candy Hearts, this month also finds the male contender to the punk-pop genre crown in the dropbox. Masked Intruder’s second album M.I. carries on the inside joke with another album full of catchy pop-punk. Intruder Orange, Intruder Green, Intruder Red and Intruder Blue continue where they last left off with no let down in either song quality or style. Claiming to be from Madison Wisconsin, M.I. is 13 songs all sung and played in the style of Chixdiggit (hell, “The Most Beautiful Girl” intro sounds like “Chupacabra!”) which is a great thing! So, given my bias for this type of music, you will have to decide for yourself whether this mash-up of the Beach Boys meets the Ramones styled punk rock is worthy of your attention. For me, it all works. Try: “When I Get Out,” “Hey Girl,” and “Almost Like We’re Already in Love.” ( I’ll bet you’ll be surprised by this song – 50’s solid)
North Carolina garage rockers Reigning Sound are now on Merge Records and their latest release Shattered is a burner. Greg Cartwright (ex of Oblivians and The Compulsive Gamblers) orchestrates and sings on this latest Reigning Sound album blending psych-pop, garage, soul, country and guitar into a distinctive sound. I particularly like the soul influences and Cartwright’s delivery keeps the album fresh upon repeated listens. If you are a garage pop fan, then this is a great album. I will note that Shattered is a step up in sound with the normally predominant use of fuzz remarkably sparse and controlled making for a consistently great sounding record from beginning to end. Try “Never Coming Home,” “Falling Rain,” and “In My Dreams.”
I slipped the new Ty Segall single into the dropbox, because I’ve been on a bit of a Ty Segall jag lately. I am consistently fascinated by the amazing guitar work on each of his releases, the past several of which highlight the heavy metal influenced psych-garage style of music that he seems focused upon. This single, like the last several releases, offer Ty’s unique version of indie garage music. These two tracks “Feel” and “The Fakir” were released as a 7’’ on Drag City on May 20, 2014. “Feel” is electric and “The Fakir” is acoustic but you’ll get an idea of where Ty’s sonic approach is right now (could change but I’m not thinking so in the near future). If you can find it, pick up his last record Sleeper (2013) or the Live At Death By Audio 2012 (2013) releases I put in the dropbox last year.
A couple of punk albums made the dropbox this month. First up is Brooklyn’s Cerebral Ballzy who on their second full length Jaded & Faded have properly captured the perfect balance between 80’s punk rock and NYHC with this release. Jaded & Faded is also a sharp left turn from their debut album as it by incorporates a healthy amount of garage fuzz into the sonic mix. As such, the fuzz addition, which goes against the traditional punk grain, will also likely detract from the listening pleasure of punk purists whom expect punk rock to have a distinct sound. However, after several listens to this record, I find that the addition is welcome as it changes the dynamic of these songs – which are still short and sharp – into fully formed ideas with much more range than Cerebral Ballzy‘s first efforts. There is a reason why punk is a difficult genre to be successful – the form is guarded by purists who need to hear a certain sound and that prevents albums which try to expand the form from being adopted/ promoted by the traditional punk media (you know who you are). As should be obvious by now, great songs don’t need to follow the form. Try: “Better in Leather,” “Be Your Toy,” and “Off with Your Head.”
French pop-punk band Chunk! No, Captain Chunk! released their uniformly excellent sophomore album Pardon My French in April last year and now have released a Deluxe Edition of the album on June 17, 2014 which adds 3 unreleased tracks and an acoustic version of “Taking Chances.” Pardon My French was in the dropbox the first time, but for those of you who missed it, really give this album a second chance. There are only a couple of pop-punk records really worth listening to each year, and in 2013 this was definitely one of them. I like the metal core edges which break up the flow and add variety to these songs. However, conceding the obvious, for those of you who don’t like loud, perhaps give this album a pass. For those of you into something a little different, this is the goods. Try ” Taking Chances,” “I Am Nothing Like You,” and “Kids.”
Finnish rockers Damn Seagulls 5th album Let It Shine continues the Damn Seagulls exploration of their unusual rock variant – adding brass instruments to pop flavored rock. Let It Shine will make you feel all warm and fuzzy because I think that is the band’s goal – to try to worm each song into your heart. It should also be noted that all of these songs are designed for commercial radio in Finland and what a world place Finland must be if this can make it on pop radio. When was the last time you heard woodwind instruments on a rock record? Plus it is hard to resist any record which has a song named Paul Weller obviously named for the mod-father. Try “Let It Shine,” “Paul Weller,” and “Grateful.”
First of the not much about bands, are The Dukes who are apparently from France and have recorded a slab of garage rock in Los Angeles with Jamie Candiloro, mixed by Charles de Schutter, and mastered by Tamas. As a second album, Smoke Against The Beat, is a mixture of garage, pop-punk, and straight up rock n’ roll with big fat sing-a-long choruses’ ( I’m thinking a mix of The Monks, The Strokes, and early Mando Diao with a slice of Jet) that will have you singing along and wishing they were playing a small club near you. Maybe someday. Great rock record for your summer listening pleasure. Try “Just In Case,” “Daisy’s Eyes,” and “The Grey People.”
Well how about Kasabian’s latest effort 48:13, now that they have played a triumphant headlining show at Glastonbury? The most important yet unstated question is how the ^^3%$& are they so massive, playing for more than 200,000 people, and not on any radio in Los Angeles? Good question. Perhaps I can answer it – Kasabian play a British centric form of evolved Madchester derived form of dance pop that Americans have trouble relating to because we cannot dance or sing along with without looking completely idiotic. It is still difficult for me to conceptualize the Stone Roses as a dance band, but in England they are – in the form of Kasabian. Kasabian owes a debt to the Stone Roses ( there is not any debate about this), but if you listen to the hit single “Eez-Eh” you can hear a touch of Madness in those dance beats. To judge Kasabian as mere copyists would miss the point entirely. Kasabian have managed to find a way to capture the sound of movement – albeit that movement is the aftermath of the 90’s ecstasy culture. So, what you have on 48:13 is an amalgam of psychedelic influenced dance music comprising several excellent songs that will play well live – as evidenced by the massive crowd response to their shows. So, where do Kasabian stand now? On their 5th album, with a playing time of 48:13, hence the title, there is a little more variety in the delivery when compared with past efforts, and the instrumental interludes sprinkled throughout the record are important palate cleaners before you jump back into another frenzied dance moment. For most of Kasabian’s career (at least in my mind) I have always lumped them together with the Klaxons and Hard-Fi, but on 48:13 there is a distinct sonic break from those other two bands. After the first couple of tracks you are immediately aware that this is Kasabian effort to take their sound in new directions and most of these songs are successful. Decide for yourself. Try “Stevie,” “Eez-Eh,” and because I’ve included the Japanese version of the album, “Beanz.”
And because I mentioned the Klaxons, their latest, Love Frequency, the London three-piece have produced as close to an electro-nu-rave pop record as could be thought possible. If you play the Klaxons back to back with Kasabian, you can see how the early comparisons are no longer appropriate as Love Frequency amps up the psychedelic and drug references to produce a sort of space-synth-disco that is absolutely catchy but unrecognizable to earlier Klaxon efforts. For their third album in 10 years, the Klaxons are barely recognizable as the band that brought you Myths Of The Near Future. It is obvious that the Klaxons are headed to the dance clubs and the rock band from yesteryear is now only a memory. Not a bad thing – just different. Try “There Is No Other Time,” “Children Of The Sun,” “Invisible Forces.”
Speaking of throwbacks, Los Angeles 80’s alt rock throwback band, Kitten has produced a really good debut album. It helps that they have a really good singer in Chloe Chaidez who has a bit of Cindy Lauper mixed with Patty Donahue (Waitresses) in her vocal tone. Some reviewers will likely make the immediate Annabella Lwin (Bow Wow Wow) comparison (age), but that would miss the mark. On its own, the music on Kitten’s debut, is more than just a singer with some capable players. Rather, the band has the chops to spice up the 80’s themed alternative pop ( think Missing Persons) into a much more modern endeavor so that the tired sounds of the 80’s that most would hope to avoid sound fresh. For those of us who grew up with 80’s radio, these sounds will all be very familiar yet, like a fine wine, the impact is subtle and the bouquet bold. So, sit back, put on your favorite John Hughes movie, slide on your headphones and listen to Kitten’s self titled debut – you will be amazed how it all seems to fit. Try “I’ll Be Your Girl,” “Sex Drive,” and “Kill the Light.”
Merge Records has reissued the Clientele’s debut album, Suburban Light which was originally released in late 2000. While not quite a proper album in the strict sense of the word, but rather a collection of several singles released in the 1990’s on a couple of different small labels – Pointy and Fierce Panda, Elefant and Johnny Kane, Suburban Light is a fantastic accomplishment. Originally intending their debut to be recorded in a proper studio, these songs were all recorded in much smaller and more intimate settings and yet these efforts produced a defining sound which comprises the songs on Suburban Light – warm reverb laden and complex all accomplished without the full production they were hoping with this initial release. This collection captures a feeling with a nod to the Chills Galaxie 500 and the 60’s. This is an early morning or late evening after party record, and is simply magic – you know, an album where you ask yourself, how did they get this all together?. This version of Suburban Light reproduces “the album in its original European track listing, restored from original analog tapes to sound warmer and a bit less like a batch of demos. The bonus material includes a revelatory set of covers, rehearsals, B-sides, and three unreleased tunes.” I play this record on Sunday mornings as I quietly work alone in my office. Try “Joseph Cornell,” “I Had to Say This,” and “What Goes Up.”
Kevin Costner has a band (called Modern West) but the Kevin Costners are a band from Amsterdam by the looks of things. And a really good one at that. Recording on Excelsior Recordings based in the Netherlands, the Kevin Costner’s second album is a weirdly interesting form of garage rock n’ roll – simple chords and melodies (no fuzz) that is uniformly good, with some well-crafted choices of tribal beat rock. Tempos are slow, lyrics are in English, and the playing tight. Try “Pick Up the Parts,” “Lunatics,” and “Pretty Life.”
Bristol based indie four piece Flags return after a fairly lengthy hiatus with a new EP entitled Oil And Sparks, which is in some ways reminiscent of Bastille, but there is something edgier about the delivery, making it an excellent selection for the singles playlist. The lilting vocals and haunting melodies set Oil And Sparks songs apart from the usual electronic indie dance pop of others in the same ilk. Oil And Sparks is only an EP, but they’ve captured something special in just four songs. Just a suggestion though, start with track 2 “Once More With Balance,” then hit the rest in order 1, 3, 4. Try “Once More With Balance,” “Oil and Sparks,” “Restless Machine.”
Answering the question, Are You Thinking Of Me Every Minute Of Every Day? Sweden’s Lacrosse have apparently found that a mix of humor with mirth goes a long way to creating magic moments. This album is admittedly a bit long, but there is never boredom. What I liked best was that the quality of playing, at times sounding like The Arcade Fire/Broken Social Scene, which is complex, evocative and pretty darn catchy. This is not your typical indie rock album in that there is a lot of things going on with each song which suggested that Lacrosse‘s strength is songs staged as bizarre choir experiments. Some of the music on AYTOMEMOED hits you immediately – like the opener “Don’t Be Scared” – but repeated listens are amply rewarded as there is much to discover and like about this album. Try “Are You Thinking Of Me Every Minute Of Every Day,” “Don’t Be Scared,” and “Easter Island.”
This album is a thank you. …
It’s an album of brightened corners and beautifully incomplete sentences. It’s the structure and skeleton of what’s to come. With help from the always-amazing Chris Hansen, the singing of Lauren Miller and Alanna Trees, and the speaking voices of Maggie Wray Crowell, April Votolato and Danielle Eaton.
Perhaps strangely, it’s mostly about hope. Sometimes the forces surrounding will set you adrift, amiss in the sea of music. This year, we’ve taken control of our navigation.
We were able to pull of[f] a successful Pledge campaign because we’re lucky enough to have people who support us, freeing us from having to rely on anyone other than our audience. That’s huge. (thank you)
We’re lucky enough to be playing shows across the country, supporting one of our previous albums, Emblems. And the feedback we’ve been getting is inspiring. I’m honestly thrilled to be back on stage. (thank you)
I know, from the larger kingdoms across the ocean to the minor kingdoms inside my mind, nothing is perfect. That right there is crux, the engine, the heart and the blood behind every word I write and sing. Because in the right light, a broken gear can be slightly stunning.
Our ability to navigate this imperfect world is bestowed upon us by you, the listener. You’re basically riding shotgun, guiding us to wherever we’re going next.
Thank you. A million times. Thank you.
So, what you have on Skeletons And Friends is another great collection of Matt Pond songs that are uniformly excellent. ( Come on – you know by now I’ve got a bias for certain artists) . What is surprising is that while I typically listen to what could be broadly defined as punk rock, there is something about certain types of indie pop that is equally pleasing. Perhaps it’s the vocal tone (“perhaps we should move to Canada”) or the witty and wry lyrics full of honesty…who knows. I will figure it out one day. There are some standouts on this release for me, so perhaps one day, I’ll get out to see Matt Pond play live. But for now try these diamonds: “Heaven’s Gate,” “You Can See Everything,” and “Austin, Texas. 10:27 PM.”
By now you’ve also either read a review or heard a track from or seen a video of the new Jack White album Lazaretto. It is in the dropbox isn’t it? So, it must be good right? Try “Lazaretto,” “Would You Fight For My Love?” and “Alone In My Home.”
Somehow the version of White Lung’s newest has all of the tracks in alphabetical order which I apparently didn’t notice as I listened to this album on shuffle. So who is White Lung? And what is Deep Fantasy? Well White Lung is an in your face female fronted punk rock band from Vancouver, BC where they have obviously picked up some of the long history and culture of excellent punk rock emanating from this very Canadian punk rock source (Come on now– DOA, Subhumans, UJ3RK5 (I’m in love with the song “Work For Police”) , Modernettes, K-Tels (Young Canadians), Pointed Sticks, Active Dog etc.) and now with the Japandroids, have everyone (okay just a few people) grooving on the Vancouver scene. Really, I saw at least one internet publication proclaim Vancouver as the next big thing (So it was Rolling Stone, eh?). So, is White Lung deserving of attention? Of course they are and for all the right reasons – short sharp punk rock played at scorching speed with an exceptional vocalist in the form of Mish Way who front a very competent group of musicians – Kenneth William (Guitar) Anne-Marie Vassiliou (drums) and Hether Fortune (Bass). Really, worth the check out. Try “Face Down,” “Lucky One” and “Drown with the Monster.”
Rival Sons are an anachronism. Formed in Long Beach and the product of that scene, Rival Sons play classic rock n’ roll in the vein of Led Zeppelin, Deep Purple and Bad Company with such panache you would think that they invented the genre. This is all blues based rock with plenty of power chords and stadium ready anthems. The most interesting thing about the Rival Sons (at least to me) is that they are making inroads with a sound that is at best 40 years old and appear relentless in their pursuit of breathing new life into this genre. There is also some Doors influence all over Great Western Valkyrie particularly on tracks like “Good Luck” which honestly makes you want to strut around the house as this plays. Sonically as odd a record to come out in this genre in the past twenty years. Not normally in my musical wheelhouse, but they converted me. Try “Good Luck,” “Play the Fool,” “Rich and the Poor.”
Barcelona, Spain’s iSeo’s Red Gardens EP is an unusual selection for the dropbox much like the Rival Sons immediately above. iSeo is apparently Leire Villanueva and Rubén Rogero who play beautiful simple melodies comprising their acoustic pop. This is coffeehouse stuff, but Leire’s vocals are captivating hence its inclusion. Catch a glimpse of greatness here: Stop The World. Try : “Stop The World,” “Barcelona” and “Am I Losing My Mind?
Before I forget, Happy CANADA Day to my Canadian friends and family, and Happy 4th of July to my American friends and family. I have much to be thankful. Well, I think I’ve covered enough territory for now, so until I either update these notes, or publish a new Tales From The Dropbox, here is this month’s list (I know there are only 49 – I apparently have lost the ability to count):
- American Suitcase – Lighthours 
- Fireworks – (Oh), Common Life 
- Tigers Jaw – Charmer 
- Alvvays – Alvvays 
- Animal Years – Sun Will Rise [Deluxe Edition] 
- A Sunny Day in Glasgow – Sea When Absent 
- Bad Suns – Language and Perspective 
- Alex G – DSU 
- Bear in Heaven – Time Is Over One Day Old 
- Cambridge – Create. Destroy. Rebuild 
- Candy Hearts – All The Ways You Let Me Down 
- Cerebral Ballzy – Jaded and Faded 
- Chunk! No, Captain Chunk! – Pardon My French (Deluxe Edition) 
- Damn Seagulls – Let It Shine 
- Dukes – Smoke Against The Beat 
- Eugene McGuinness – Chroma 
- Gum – Delorean Highway 
- Heart To Heart – Dulce 
- How to Dress Well – What Is This Heart 
- Clientele – Suburban Light [Expanded Reissue] 
- Happyness – Weird Little Birthday 
- Hundred Waters – The Moon Rang Like a Bell 
- Kasabian – 48-13 [Japanese Edition] 
- Klaxons – Love Frequency 
- Lower – Seek Warmer Climes 
- Proper Ornaments – Wooden Head 
- Pure Love – The Bunny EP 
- Reigning Sound – Shattered 
- Ty Segall – Feel 
- White Lung – Deep Fantasy 
- iSeo – Red Gardens 
- Jack White – Lazaretto 
- July Talk -July Talk 
- Kevin Costners – Pick Up the Parts 
- Kitten – Kitten [Bonus Edition] 
- Lacrosse – Are You Thinking Of Me Every Minute Of Every Day 
- Flags – Oil And Sparks 
- I Heart Sharks – Anthems 
- James Blunt – Heart to Heart 
- Masked Intruder – M.I. 
- Matt Pond – Skeletons and Friends 
- Midnight Faces – The Fire Is Gone [‘2014]
- Only Crime – Pursuance 
- Parquet Courts – Sunbathing Animal 
- PAWS – Youth Culture Forever 
- Rival Sons – Great Western Valkyrie 
- Saskwatch – Nose Dive 
- Sleeper Agent – About Last Night 
- Spring Offensive – Young Animal Hearts