Dropbox Notes July 7, 2014

Posted on July 7, 2014 by KFR

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 5^th 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 4^th 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 5^th 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 5^th 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.”

Matt Pond quietly released a free gift for fans entitled Skeletons and Friends available on noisetrade.com for the downloading. As Matt puts it:

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 4^th 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 [2014]
Fireworks – (Oh), Common Life [2014]
Tigers Jaw – Charmer [2014]
Alvvays – Alvvays [2014]
Animal Years – Sun Will Rise [Deluxe Edition] [2014]
A Sunny Day in Glasgow – Sea When Absent [2014]
Bad Suns – Language and Perspective [2014]
Alex G – DSU [2014]
Bear in Heaven – Time Is Over One Day Old [2014]
Cambridge – Create. Destroy. Rebuild [2014]
Candy Hearts – All The Ways You Let Me Down [2014]
Cerebral Ballzy – Jaded and Faded [2014]
Chunk! No, Captain Chunk! – Pardon My French (Deluxe Edition) [2014]
Damn Seagulls – Let It Shine [2014]
Dukes – Smoke Against The Beat [2014]
Eugene McGuinness – Chroma [2014]
Gum – Delorean Highway [2014]
Heart To Heart – Dulce [2014]
How to Dress Well – What Is This Heart [2014]
Clientele – Suburban Light [Expanded Reissue] [2014]
Happyness – Weird Little Birthday [2014]
Hundred Waters – The Moon Rang Like a Bell [2014]
Kasabian – 48-13 [Japanese Edition] [2014]
Klaxons – Love Frequency [2014]
Lower – Seek Warmer Climes [2014]
Proper Ornaments – Wooden Head [2014]
Pure Love – The Bunny EP [2014]
Reigning Sound – Shattered [2014]
Ty Segall – Feel [2014]
White Lung – Deep Fantasy [2014]
iSeo – Red Gardens [2014]
Jack White – Lazaretto [2014]
July Talk -July Talk [2014]
Kevin Costners – Pick Up the Parts [2014]
Kitten – Kitten [Bonus Edition] [2014]
Lacrosse – Are You Thinking Of Me Every Minute Of Every Day [2014]
Flags – Oil And Sparks [2014]
I Heart Sharks – Anthems [2014]
James Blunt – Heart to Heart [2014]
Masked Intruder – M.I. [2014]
Matt Pond – Skeletons and Friends [2014]
Midnight Faces – The Fire Is Gone [‘2014]
Only Crime – Pursuance [2014]
Parquet Courts – Sunbathing Animal [2014]
PAWS – Youth Culture Forever [2014]
Rival Sons – Great Western Valkyrie [2014]
Saskwatch – Nose Dive [2014]
Sleeper Agent – About Last Night [2014]
Spring Offensive – Young Animal Hearts [2014]

April 17, 2014 Dropbox Notes

Posted on April 20, 2014 by KFR

Easter is today. Happy Easter to all. I figured I’d start with the non sequitur and then move on. After a really good month of releases, April is also shaping up to be a great month with a number of excellent releases worthy of inclusion in your collections. Most importantly, Record Store Day was yesterday, so I’m sure that I will have a number of rarities to add to the dropbox next month. Most are one of a kind, rare, or never issued items. I snuck a few in this month’s dropbox including the Springsteen, Pixies, and Green Day for a couple of buddies who collect. I have also recovered fully from the rants of the past couple of Dropbox Notes, so these notes should be a little more positive – unless of course I am dispossessed to erupt again as some of these issues are long not expressed and finally I’m getting some release from years of frustration. Not that anything is likely to be fixed, but at least I’m putting it out there, eh?.

Feel free to browse through the dropbox. I generally put in things in a completely random way – As I listen to something and it strikes my fancy, I save it to another location to listen again. At the end of the day, when the telephones are turned off, I crank up the set asides and take time to enjoy these finds. And then, after several listens from that culled group, I select the month’s dropbox. So, the secret is out, finally. I’m spent.

Lastly, I have also dropped a couple of recent and not so recent things into the drop box by request so you’ll find Reverend Horton Heat’s latest – Rev and London Grammar’s debut in case you also missed them the first time around.

So, with that introduction here are this months Tales From The Dropbox:

Long time favorites Stiff Little Fingers return with their 10th album ( of originals – they probably have 50 compilation albums out being one of the most heavily reissued bands of all time rivaling the Who and Elvis Costello) a Pledge Music funded release entitled No Going Back. What is singularly amazing about SLF is that over a career spanning 35 years the band has not lost any of the qualities that made them exciting in the first place. If anything, Jake Burns’ songwriting is better and more thoughtful – some of the songs on this record will quickly become fan favorites and end up staples in SLF’s live show. There are very few bands that could make this claim. That is, after 35 years, SLF is putting out new music that is as good as or better than some of their earliest and most beloved work. This album has everything that you would expect in a SLF record: aggressive anthemic punk rock that is catchy as hell. From the opening riff of “Liars Club” through the terrific “When We Were Young” SLF plays with renewed energy and although Not Going Back covers some dark territory, particularly Burn’s battle with depression on “My Dark Places,” the overall record is uplifting and spirited. Definitely a band worth seeing live (as I have a number of times). So, as the band ranks among my top 3 all time favorite bands, I might be a little biased. For the unwashed try: “My Dark Places,” “Throwing It All Away,” and “Trail Of Tears.”

Minneapolis’ Howler return with their second effort World of Joy as the follow up to their excellent 2011 debut entitled America Give Up which was also a drop box favorite. Second records are tough enough, particularly when critics loved your first, and this would be doubly difficult when the band takes a healthy stab at incorporating and updating the Jesus and Mary Chain, so when you discover that the second record is likely better than the first, well there is a little bit of shock. Not so much the Smith’s (Johnny Marr) guitar sound is present as the Reid brothers, as other critics are fond of claiming (since vocalist Jordan Gatesmith dates? Johnny Marr’s daughter, Sonny), but a magnificent sound to be sure. The shoegaze feel of the only ballad “Here’s the Itch That Creeps Through My Skull” coupled with the shimmering guitars, gives a little darker presence to a great ballad. Perfectly balanced and an all too brief 28 minutes World of Joy – is precisely that an entrée into Howler’s creepy world – of joy. Try: “Indictment,” “World of Joy,” and “Don’t Wanna.”

Adam Granduciel’s band The War on Drugs on their third album Lost In The Dream is deservedly receiving quite a bit of hype. This is a brilliant record in the same vein as Kurt Vile and The Men, but with a sonically different take on the psychedelic synth-laden inflected country tinged rock of those bands. The lyrical journey is somewhat depressing essentially the tale of a man struggling to keep it all together, but I was mesmerized by the classic rock sounds throughout the record (Springsteen/Dylan comparisons are inescapable). This will likely end up on many best of the year lists, and it will also find a place on mine. Try “Red Eyes,” “Under The pressure,” and the hauntingly beautiful “Lost In The Dream.”

The world is a better place with the Afghan Whigs. I played endlessly the entire Afghan Whigs collection of great records (and they were actually records at that time). I loved every song and it would be hard to argue that Greg Dulli’s vocals on Do The Beast are as unmistakable, powerful, and captivating as they are on ever record he has put out. So, imagine my surprise to find that 16 years after their last release, 1965, the Afghan Whigs are about to release Do The Beast – another awesome addition to their catalog – a little stranger than previous because there are definitely flavors of Dulli’s other band, the Twilight Singers incorporated into this record. However, I’ve been playing Do The Beast repeatedly for about the past thirty days (along with the Stiff Little Fingers and the Horrors records). This fact that the Afghan Whigs were playing both days at Coachella was almost enough to make me want to brave going, but I am sure I’ll see them in a better venue another time. (Which I Did – in my living room on the big screen. Thanks to whomever uploaded weekend 1). This is not the original band, and so the guitar sounds are slightly different than the 1.0 version of the band – noticeably absent is guitarist Rick McCollum – but this is such a treasure of a record and like all of the previous Dulli records (including those with the Twilight Singers) the collision of love, lust, greed, and need are pervasive throughout as Dulli tries through his vocal approach to bring color and clarity to these philosophical constructs. Try “It Kills,” “Royal Cream” and “Algiers.”

To be truthful, I was not ready for Bob Mould’s debut solo record, Workbook following the very nasty breakup of Husker Du more than 25 years ago. I doubt anyone was. If you loved Husker Du as much as I did, then when you put the needle down on track 1 – “Sunspots” you went …what the $#^%? However, with time and a little perspective, you come to find that Workbook after 25 years is a work of, well, genius. I have listened to this record well over one hundred times in the past 25 years and each time I’d discover something new to amaze. After reading Bob’s book See A Little Light: The Trail of Rage And Melody, I gained a new perspective on the place and importance of Workbook in the pantheon of Mould/Husker Du/ Sugar recordings. And here it is reissued and it shines and sounds as if it was a new release I am supposed to write about. So, what is new? Well Disc 2 collects a live show from the Cabaret Metro on May 14, 1989 during the tour and gives incite to Mould’s artistry and captures the magical qualities of an artist finding his way after the trauma of losing everything important in his life. The live version of “See A little Light,” captures this place and time perfectly as does the gem “If You’re True” which plays entrée into Mould’s rawness following the split. To be fair, I’ve not taken sides in the end of Husker Du. I think Grant Hart is a genius as well . Also included on Workbook 25 is “All Those People Know,” the B-side of the “See a Little Light Single” which was not on the original album for good reason as it sounds like a Husker Du outtake. For those of you trying this for the first time, Try” See A Little Light,” “Poison Years,” and “Compositions for the Young and Old.”

The reason that music is not a competition, is best exemplified by Horrors, whose latest and 4th album, Luminous, is the follow up to 2011’s masterpiece Skying. To be released May 5, Luminous captures a brighter sounding Horrors with the album firmly including elements of 90’s shoegazers Stone Roses and Happy Mondays, and containing overall much less lyrically dark offering than past releases. I understand that a more positive more electronic organic effort was what the band was looking for, and they have accomplished those goals but what is staggering is the brilliance of the dynamic guitars and dance (for England) friendly songs all of which are going to be killer when played out in a live setting. If they can play the Arctic Monkeys in the U.S. on commercial radio then there is absolutely no reason why they couldn’t find space for all 7:33 of “I see You.” If you loved Skying, then Luminous will not disappoint. England’s got the band covered, but America should really dig this record. Try “I See You,” “Sleepwalk, and “First Day Of Spring.”

Lo-fi is always a difficult genre for most people to get into because we are all so used to playing lush full sounding mostly over-produced elector-pop. However, when done right, Lo-fi combined with hardcore is absolutely the most compelling sound to listen to. Where Husker Du on Zen Arcade and the Minutemen on Double Nickels On a Dime both hinted at the possibility of this unique sound, La Dispute on their third album Rooms Of The House, achieve the brilliant balance and in so doing emerge with a breathtaking look at hardcore that won’t scare off the listener who like pop. The reason is likely that on this third record, Jordan Dreyer, the bands songwriter and vocalist finally has figured out that songs have a unique structure outside of poetry which on previous outings sounded exactly like that – poetry with a musical background. Now, the poetic edge is still present but the music is of equal presence and importance. It is this cohesiveness that makes this such a great listening experience and why, this record belongs in your collection. While Rooms Of the House may never reach the prominence or importance of Zen Arcade or Double Nickels in the punk/hardcore mythology, I think it will be a record that you’ll dig out 10 years from now to tell a friend – I remember this, it was so ^$%$ cool! Try “First Reactions After Falling Through the Ice,” Scenes from Highways 1981-2009,” and “The Child We Lost 1963.”

Montreal’s Mac DeMarco’s second solo release Salad Days is upgraded by his move to Brooklyn, the current home of indie music. The style is not different than the very good debut – a mix of 70’s influenced soft rock and catchy melodies, filled with slightly off kilter lyrics. The acoustic guitar shines, but it is Mac’s personality, somewhat Beck like in intonation that carries the day for these songs. I’m somewhat reminded of Jonathan Richman but not the nasally voice that is Jonathan’s alone, but rather the presence on each of these songs. It’s fair to say that DeMarco is a non-slacker for the slacker world producing carefully crafted mini-masterpieces that seem to be almost lackadaisical throw offs. Try “Let Her Go,” “Salad Days,” and the left field mostly electronic “Chamber of Reflection.”

More Canadians, this time from Prince Edward island, Paper Lions album My Friends was one of my favorites from the past year ending up at Number 8 overall, and their latest EP, entitled Acquaintances is really a stop gap before their next full length, features another great indie pop song in “Do You Wanna” and a couple of remixes of “My Friend.” Wow, I’ll bet they are playing the crap out of “Do You Wanna” in Canada. Here….crickets. Try them all. Can’t wait for the nest record. Try them all.

More freaking Canadians in the drop box. And they are awesome! Upping the nerd-core game I discussed last month, Pup are according to Pup “[w]e’re called PUP. We’re 4 dudes from Toronto. We play loud music. You’ll like it. Or maybe you won’t. Listen and love it / hate it / whatever.” Really they are Weezer for a new generation and it is blistering amalgam of noise, punk, pop, and hardcore all battling for sonic territory and it all works. Not a duff song on the record. Canadians do it better. “Meet me at the Reservoir”… I am singing along…. alone in an office building…wait someone’s coming…oh what the hell…they are singing along too! Perhaps they will play somewhere near me I’m thinking. They played New York recently. Hopefully this will catch on big. Not radio friendly. College Friendly though. Maybe they will play my house. Sure would freak out my San Marino neighbors. Try” Reservoir,” “Yukon,” and “Lionheart.”

How long does it take to make a hit record? For Brooklyn, New York’s American Author’s who’s self-released self-titled EP was released on August 27, 2013, apparently almost a year. When I put the EP in the drop box last year (See September 29, 2013 Dropbox Notes) I thought the song “Best Day Of My Life” was a hit – writing then ‘[y]ou will like American Authors if you like sugary commercial alternative music that is very well written. Hopefully future releases will demonstrate some willingness by American Authors to try to expand the formula a bit. Still, it is difficult to not like the band or their music as each song on American Authors is built for maximum alt rock catchiness.” A year laterthe same holds true on the full length Oh, What A Life. “Best Day Of My Life” is a commercial radio hit single, and the rest of the album is completely filled with similar hook-laden catchy alternative rock, that is a little overproduced on album, but likely sounds amazing live. As you know, if its here, I like it. Apart from the two hits, also try “Think About It,” “Luck,” and “Heart of Stone.”

You either are going to like the latest album from Elbow, the bands 6th called Take Off and Landing of Everything or you are not. There is really no middle ground with this band. And the band is not really that interested in altering significantly the formula from record to record, there are minor tweaks along the way, but the formula remains the same – Guy Garvey’s distinctive baritone melodically singing his tales of his own life – apparently one filled with loss, isolation, and confronting his own middle age. And for me it is great. While much will likely be made of the resemblances to Peter Gabriel with the art rock leanings and lush sound and recording this record in Real World Studios probably doesn’t help dissuade the detractors, but Take Off and Landing of Everything stands alone from the comparison and ambles boldly with some excellent songwriting and measured playing, all of which combine to produce an interesting and pleasurable listening experience. In short, it is not boring. And believe me, Elbow has produced some boring music on past releases. And that is why you are either going to love this album or hate it. If its not your style, then its going to be a tough slog. However, on a Sunday afternoon, and it’s raining outside ( I’m creating an allusion here – it doesn’t rain much in Los Angeles), then Take Off and Landing of Everything will be a perfect record. Try “Fly Boy Blue / Lunette,” “My Sad Captains,” and “The Take Off and Landing of Everything.”

Surprises happen on rare occasions for me. And Foster The People’s latest, Supermodel, is one of those surprises. It’s not what you think – both Supermodel and me. I am excited when a band makes a great record, and I don’t care if it is popular on radio. I am not one of those individuals who stops liking a band just because they are popular. The goal of this blog is to hopefully contribute to the popularity of the music I describe. So, when Foster the People released this new record, the overriding question was is it going to be “Pumped Up Kicks” Volume 2 from the Torches LP. The answer refreshingly is no. Supermodel is a complicated assemblage of indie dance rock with world elements infused throughout. So, it is a surprise when the album resonates – it is a much more refined offering. Lead Single “Coming Of Age,” is undeniably good – at least until local radio kills all that is good about it, by playing it every two hours for %$^ days. However, like the first record, Supermodel is filled with great songs so you are likely to hear several over the next three years ( which is about how long some radio stations play a “hit song” pummeling the listener to until they can’t take anymore). So, try “A Beginner’s Guide To Destroying The Moon,” “Coming Of Age,” and Are You What You Want To Be?”

I feel a rant coming on….. I warned you at the beginning I might be disposed to a rant. Well its too late…Here it is….

Aside: I know I’ve hinted at this property of radio stations in the past. I love radio when it is good, and in Los Angeles it has now achieved a level that is truly terrible. It is like watching the CW television network – play similar sounding music with a commercial every three minutes and then make sure there are endless repeats. It has to stop. Please people, turn off your radios. Stop listening, and then maybe they will respond to their audience who doesn’t actually buy any of the stuff they advertise and can’t actually like any of the stuff they are playing. The biggest radio joke in Los Angeles is without a doubt KROQ. Who have now figured out that Coachella may be something great – and are now playing catchup broadcasting from somewhere near Indio. KROQ’s new catch slogan in response to Alt 98.7’s slogan (Music Discoveries First) is “Alternative First.” And that my friends, is the joke. Alternative to what? Growing up in the college radio days of the 80’sand early 90’s when the term Alternative music was referenced as a genre, it had some meaning – it was alternative to metal and punk and featured shimmering guitars i.e. it was early R.E.M. and the bands coming out of the Athens and North Carolina scenes. From there it was co-opted to not scare off older readers and listeners and was affixed to Nirvana when “grunge” became a dirty word. Now, exactly what would pass for Alternative music on KROQ? I have no freaking idea but it certainly isn’t the massive amount of electro pop and fake folk or Chris Martin’s whining on the frankly boring “Magic” single. Really, I do love radio and for the most part having listened to KROQ for almost thirty years, I have learned that I absolutely abhor Kevin & Bean (and Ralph you too) who have single handedly destroyed anything intelligent to be offered by the station. And to be fair, I believe that they all have more in them and the potential to change, but likely all of their spirit has been destroyed, by the soul sucking need to drive advertising and keep revenues flowing. There must be a better model. Hell, I even miss Jim “Poorman” Trenton now so you can see how low my bar can go. So, if anyone reading this with any power to influence programming/hiring decisions (alt 98.7 – please turn off the annoying Kennedy’s microphone), then start fresh and build something that actually is intelligent, interesting, and fun. Local radio has none of these elements right now. Sad. Now that I’ve finished my rant, I’ll move on. Maybe rants are not the way to achieve change, but at least I’ve made an effort. KROQ – post a comment and I’ll hook you up with something new to play.
Such as…..

Toronto’s Fucked Up are a singular entity in the annals of punk rock. Who else could release such a remarkable sonic effort such as Year of The Dragon with the 18 minute long title track leaving you emotionally wrung out? Only Fucked Up. As hardcore as a genre has made its way towards the deeper, blacker, and less vocally appealing end of the spectrum, Fucked Up plays it right down the middle and finds the pocket of the genre. Capturing 70’s metal acts penchants for lengthy guitar driven workouts which resulted in the prog movement, creating the environment for punk in its wake, Fucked Up retain the punk aspects while experimenting with the progressive hardcore sounds and the sounds are Killer ( Yes, with a capital K). While this is an EP in anticipation of their next full length Glass Boys due out June 3, it doesn’t feel like a stop gap. This EP is the 6th in their zodiac series and features two cover songs from the early the Toronto punk scene ( in the late 70’s), namely “I Wanna Be a Yank” by Cardboard Brains and “Disorder” by the Ugly. Try them all.

Last month dropbox listeners enjoyed the Gaslight Anthem’s B-Side Collection, and this month for your listening pleasure is the latest from the Gaslight Anthem’s 45 RPM Club featuring two songs “Anywhere I Lay My Head” (Tom Waits cover) and “This Is Where We Part” (Twopointeight cover). It’s the Gaslight Anthem – you know what to expect by now. Try them both.

It took a little work, and a number of listens before I actually got the latest record from Spain entitled Sargent Place. Since 1995 Spain have been putting out quality releases, but in all honesty, I’ve never really connected. Perhaps it’s the pacing, as these records, much like slow-core originators Low, are sparse affairs with a pacing in places that is not even close to 4/4 time. If you like jazz inflected Americana then this is a great album. For me, it was listening to the 2nd track, “The Fighter” that I finally connected with both Josh Haden’s vocals and the bands casual pacing. From there I was hooked, because as the pacing picks up, particularly on “Sunday Morning” the feeling is electric. I think it took some time to feel the record as opposed with the immediacy of most releases, this blindsided me a little bit, because what makes this work are the jazz edges creating a unique sonic experience. “Sunday Morning” is a hit. Try “Sunday Morning”, “The Fighter, and “You and I.”

It must be difficult being the Pixies. Releasing their first record and only their 5th in total with their last record being released in 1991 (Trompe Le Monde), the band has experienced some critical backlash for its recent collections of EPs which are collected and were released on April 19th ( Record Store Day) as a collection entitled Indie Cindy. Sure, as bands age, there is a tendency to create different sounding music, and heaven knows, Frank Black has been around a number of wagons. The problem for the Pixies, apart from their personal inter-band squabbles and personal dysfunction, is that everything, and I mean everything, is going to be compared to their past releases, in particular the brilliant Doolittle which arguably ranks as one of the greatest records of all time. So, the real question is whether the record sounds like the Pixies? And in short, it does. It’s a little uneven as it was imagined first as a series of thee EPs, but overall, there are some great moments on this record, and contrary to the assertion made by at least a few so called critics that this is not the Pixies without Kim Deal, the truth is that the Pixies sound is still emanating from these tracks and the songs are without a doubt the Pixies. Try “What Goes Boom,” “Ring The Bell,” and “Jaime Bravo.”

Craig Finn must be wondering what the &%$67 is going on and what he and his band The Hold Steady have to do to actually please a critic. On Teeth Dreams, the Hold Steady’s 6th album, Finn and band actually hold steady (see – puns are convenient sometimes) and create an album of solid Hold Steady songs that will fit nicely into their growing collection of amazing song stories that refocuses the band – a band that kind of lost the script on 2010’s Heaven which smoothed out the edges and was frankly overproduced to the point where I am unable to actually enjoy the record. Sure, there is a Springsteen vibe on all Hold Steady records, but that vibe is created by the cast of characters that populate the songs. In short, it is not a dance record. Rather, it is tougher, tighter, and the rawness has a spark that captured my attention throughout. And that is what makes Hold Steady records great – it is a journey through Americana influenced indie rock with a few pub rock edges ( I am thinking Brinsley Schwartz and early Nick Lowe here with hints of the Singles soundtrack) with stories that touch a nerve. Try “Spinners,” “Walk A While,” and “Records And Tapes.”

Previous dropbox favorites the Menzingers return with their latest on April 22 entitled Rented World. From Scranton PA, the band like Boston’s Dropkick Murphy’s, incorporates the punk sounds from the city, and on Rented World, their 4th and is kind of a crossover in sound from their last release, 2011’s On The Impossible Past, which was definitely a smoother more traditional pop influenced punk record, whereas this record in places is a return to roots effort, cramming more aggressive sounds into tightly played punk rock with sing-along melodies. I love this record. Played the thing in my office at full blast as I am apt to do on weekends when no one is around. I’d venture to say that with bands like the Menzingers around, punk rock is safe for a while. Try “I Don’t Wanna Be An Asshole Anymore,” “In Remission,” and “Hearts Unknown.”

That’s all for now folks. As always, have a great month of music, and here is the list:

Stiff Little Fingers – No Going Back [2014]
War On Drugs – Lost in the Dream [2014]
Afghan Whigs – Do to the Beast [2014]
Bob Mould – Workbook 25 [2CD][2014]
Horrors – Luminous [2014]
La Dispute – Rooms of the House [2014]
Mac DeMarco – Salad Days [2014]
Paper Lions – Acquaintances EP [2014]
Pup – Pup [2014]
American Authors – Oh, What a Life [2014]
Elbow – The Take Off and Landing of Everything [2014]
Foster The People – Supermodel (Deluxe Edition) [2014]
Fucked Up – Year of the Dragon [2014]
Gaslight Anthem – 2014 45 Record Club [7”] [2014]
Spain – Sargent Place [2014]
Pixies – Indie Cindy [2014]
Hold Steady – Teeth Dreams [2014]
Menzingers – Rented World [2014]
Amen Dunes – Love [2014]
Cloud Nothings – Here and Nowhere Else [2014]
Farewell Flight – I Was A Ghost [2014]
Habibi – Habibi [2014]
Walking Shapes – Taka Come On [2014]
Swans – To Be Kind [2014]
My Sad Captains – Best Of Times [2014]
Future Islands – Singles [2014]
Desert Noises – 27 Ways [2014]
Dexters – Shimmer Gold [2014]
Mr Little Jeans – Pocketknife [2014]
Reptile Youth – Rivers That Run For A Sea That Is Gone [2014]
Soft White Sixties – Get Right [2014]
Speedy Ortiz – Real Hair [2014]
Dirty Guvnahs – Hearts On Fire [2014]
Elder Brother – Heavy Head [2014]
Howler – World of Joy [2014]
Mounties – Thrash Rock Legacy [2014]
Withered Hand – New Gods [2014]
Sweet Apple – The Golden Age of Glitter [2014]
Strypes – 4 Track Mind EP [2014]
Sultan Bathery – Sultan Bathery [2014]
Coathangers – Suck My Shirt [2014]
Neon Trees – Pop Psychology [2014]
Stagecoach – Say Hi To The Band [2013]
Tame Impala – Live Versions [2014]
Thee Oh Sees – Drop [2014]
Baseballs – Game Day [Deluxe Edition] [2014]
Green Day – Demolicious [2014]
Band of Skulls – Himalayan [2014]
Slint – Spiderland (Deluxe Edition)[2CD] [2014]
Secret Colours – Positive Distractions [2014]

March 17, 2014 Dropbox Notes

Posted on March 17, 2014 by KFR

Happy St. Patrick’s Day. May your beer be green. After a really good month of releases, March is also shaping up to be a great month with a number of excellent releases worthy of inclusion in your collections. I’ve recovered a bit from last week’s rant, so things should be a little more positive. I am excited about this year, to the extent that there are some very positive developments in the direction of new music: psychedelic music ( which I’ve decided to label as modern psychedelic (“mod-psych”) seems to be gaining a stronghold and there are some interesting adaptations as bands incorporate more garage influences into this genre as compared with past efforts which were more symphonic/prog influenced; there is an increase in the number of “loud” bands, i.e. punk/thrash/hardcore/noise bands that are much more melodic and cognizant of song structure which is a nice break from the very synth oriented alt rock light that is finding radio airplay, and finally, some great records from prior dropbox bands, such as We Are Scientists, The Men, and The Augustines, are either newly released or are about to be released and continue to bring listening enjoyment. Frankly, that is more than one could hope as the turmoil in the real world continues to demand more attention. Hope you have a great month in reality, and enjoy this month’s dropbox offerings.

A brief note before we begin: A question that arises from time to time is why there are no rankings or ratings for the monthly drop box releases. Good question. I know that other reviewers spend time trying to assign a numerical value to the release. I used to believe that these had some meaning. However, when you actually think about it, and I actually took a few seconds to think about what that value, which purports to be objective i.e. when we assign numbers to things then we are saying that we can measure the relative value of that thing. The same holds true with letters – A is great, F is bad and the rest of the letters meaning some level between great and bad) The commercial is true – bigger is better. Usually. Places in timed events are an exception. So, when you look at a rating from a magazine review or blog review, the assignment of a value in their rating system purports to also measure the worth of that recording to the reviewer but also the reader. The reviewer is in the business of selling their perspective on a recording – good, bad, or indifferent to the reader. The reader, based upon really incomplete information i.e. who is this reviewer, what was their emotional state when they were listening to the release, what is their experience with the artist prior to this record, what particular genres do they like to enjoy as compared with review, etc. must make a decision about the release based upon this incomplete information but also their own listening preferences, experience with the artist prior to the new release, and depending on how much work one wants to put into the process, determine if the reviewer is in the same mind as they are in making a determination to listen to a record. Brutal. So, when confronted with the fact that those casual viewers of Tales From The Dropbox have really no idea who I am as a person, and my fundamental belief that music is not competition, I decided at the inception of Tales From The Dropbox that I would only put in the dropbox things that (a) I had actually listened to more than one time; (b) That I actually liked; and (c) That I enjoyed listening to repeatedly. For me, and only me, I thought that it was better to write about releases that I enjoyed because too much of what is written in print and online is negative. That is, reviews are oft times more concerned with why a release is worth the assigned value than why they enjoyed the release at all. To avoid that potential trap, I have just tried to find those releases that I liked enough of the tracks to listen to again and again. This is not to say that I do not have any releases I do not like. That list is in fact very large. I just don’t care to keep track. For example, I didn’t like the Lorde record Pure Heroine. I know, every reviewer told me that it was excellent and one of the best debuts of all time. Still, I didn’t like it and I actually cringe when I hear the single played on the radio. I’ve blocked out the title, but you know which one I’m talking about. And that is why the dropbox notes are written in the format they end up taking. I try to give you enough, I hope relevant information to decide for yourself whether you might also enjoy the record.

And to be clear, not all of the records in the dropbox are perfect. That is, not all the songs on a record are “singles” whatever that means anymore. For example, as I write this, I am listening to what I think would make a great radio single: “Sound of Tomorrow” by the Striving Vines. Will it ever be on radio – any radio? Perhaps indie radio but certainly not any commercial radio station. Why you ask? I have no idea. I used to believe I knew. Once, a long time ago. Not now. I have no idea how some of the stuff that is played on radio actually gets there and why the same 30 songs are played endlessly, sometimes for years, on radio stations throughout the country. But now, with YouTube and other music media related sites and the artist sites, I don’t have to listen to radio. But I still read reviews to see if there is something that might tickle my interest. So, a record that makes the dropbox is to me enjoyable for the most part. There are some tracks I skip, some songs where I wonder what the $^# does that lyric mean or that is a brutal rhyme, etc. But overall I am enjoying the listening experience.

So, there you have it. The real reason why I write this stuff. My hope is that you find enough each month that you enjoy in the dropbox and that these notes make it a little easier to pick out something of interest. You already know that I like everything that is in the dropbox. So, with clarification…away we go!

Following up the theme from last month – albums from 2013 that I missed or didn’t get to in time, Blackchords are a Melbourne Australia rock band who play a mix of U2 inspired electronic alt-rock that introduces more synths than their previous eponymous outing to A Thin Line, their second album. Overall, the songs strike a “chord” (see how I did that!) with the listener as the majority of the album deals with avoiding the distractions and from the slow build of opener “a Thin Line though to the first single, the up-tempo “Dance Dance Dance” the songs build as the band creates a soundscape that sonically peaks here and then, the tension releases to the last track, the sweetly acoustic tinged “All the Good Things.” This is a distinctively Australian pop album, and thoroughly enjoyable. It’s a shame that the album was missed, because the entire record is very carefully crafted, and this truly deserves a much wider audience. My guess is that they become huge stars in Australia, and unfortunately are ignored in the U.S. This would be a great show. Try” Dance, Dance, Dance,” “Oh No” and “Into The Unknown.”

Toronto Ontario’s Papermaps released their second full length is October 2013 to little fanfare, but after having played it a number of times over the past couple of months, Darker Lights, is an unexpected diamond in the rough. Much darker than their first offering, I love this record from the opening riff of “Shadow Theater” which envelopes you with its post-punk guitar work reminiscent of early Echo& The Bunnymen, through the last track the gritty “Vanauley Walk” (an area of Toronto noted for gangs). Admittedly, it took me a couple of listens to get into Darker Lights, but something resonated, and the repeated experience is worth the effort. There are some shoegaze elements to the songs, but there is also a harder edge to some of the songs, that make for a varied experience (on “The Edge Of China Town” I was reminded of Canadian greats, Lighthouse). Try” The Edge Of China Town,” “The Memory Song,” and “I’ve Closed A Door.”

Another victim of releasing a record in December, is Portland’s Genders, who on their debut Get Lost, mine some 90’s alt-rock territory effectively producing a guitar record which underpins the terrific vocals of Maggie Morris and Katherine Paul whose warm tones give the dream rock/post-rock flavored album enough grit to standout from other like-minded bands from the Pacific Northwest. The songs are lengthy workouts, particularly the opener, “Something To Get You By” which sets the tone for the rest of the record. There are a number of interesting things going on throughout the record, but for me were the shimmering guitar work introducing a little jangle to the post-rock and fuzz, and the enigmatic Beach Boy harmonies floating through the fuzz. This is a sonically different record than much of what passes for indie rock, so worth a few spins. Try: “How Long Can I Wait?” “Secrets,” and “Something To Get You By.”

By far one of the most interesting albums this month is Birmingham England’s New Killer Shoes debut release, the acoustic version of 2011’s I Ain’t Even Plugged In redone. This is not your typical acoustic record by any stretch of the imagination – it’s loud, it rocks, and the percussion is engaging mixing a blend of ska, reggae, punk, and engaging melodies, there is not one track on this album that didn’t leave me with a sugar craving. A mix of the Kooks and Oasis ( really – you’ll hear the vocal tone immediately), these songs show off a mastery of pop songwriting. Can’t really say enough about this record. It was on repeat for a month. Try” Hypocrite,” “Pretty Reckless” and the Police flavored “I Ain’t Got A Chick.”

Full tilt rock n’ roll, Peterborough’s (England not Ontario) We Are Fiction mines the same territory as Billy Talent and Linkin Park and this is an awesome rock record. Fast melodic punk rock with great hook laden choruses, the album leaves you breathless as this is a full on sonic assault from first track “Mansion House” through the end. The distinctive raw throated vocals of Phil Barker counterbalanced with the more melodic tones of Marc Kucharski are reminiscent of Linkin Park when they were actually good. They are not now. That is sad. We Are Fiction are not mining new territory, but the enthusiasm is powerful and this was a good listening experience. Try “Old Wounds,” “The Worst of It,” and “Forget About Me.”

Seattle retro rockabilly surf garage jangle poppers and rockers, La Luz debut album is an anachronism – simple clean sounding and brilliant debut, It’s Alive which sonically harkens back to the twang of the late great Duane Eddy and the Ventures. There are a number of tempo shifts as the record swings back and forth through the best that this genre has to offer. The centerpiece of It’s Alive is “Big Big Blood” with its Morricone intro dissolving into a gospel influenced surf clash that would naturally find a home on the Pulp Fiction Soundtrack. Try” What Good Am I?” “Big Big Blood,” and “Morning High.”

Pop punkers We The Kings hail from Florida, but unlike most of the Floridian punk scene, We The Kings have, on Somewhere Somehow, found the delicate balance between the boy-band pop side, apparent from vocalist Travis Clark’s sweet sounding vocals, and the pop-punk side which made them warped tour regulars with other similar sounding acts such as Fall Out Boy and Panic! At The Disco. Another December 2013 release, the songwriting is noticeably stronger on this record, the bands fourth. The closest resemblance to Fall Out Boy is found on “I Like It” but We The Kings are not mere copyists, finding their own groove on tracks like “I Feel Alive” and “Die Young Live Forever.” I will warn that this is a difficult to listen through all at once as the sugar pop becomes sickly sweet in one dose, as the tunes darker lyrical themes are effectively hidden in the up-tempo pop-punk. However, as a track pops up in shuffle, I think you’ll be hooked. Try “Art of War,” “Queen of Hearts,” and “Sad Song.”

Nashville would seem to have little to do with punk rock, but Nashville’s Cheap Time, a punk trio from the home of country music, have released their 4th LP in five years, the very fine Exit Smiles. A mix of Buzzcocks, Damned, and early California punk rock i.e. the Macdonald Brothers (Red Cross), this is a loud and snotty album which is far too short. I was left wanting more as Jeffrey Novak sounding like Steve Diggle, blasts his way through these 8 tunes. Try “Kill The Light,” “Exit Smiles,” and “8:05.”

A weird record by far for 2013, Jason Arnold aka Shyboy, has released Water on Mars which I swear is a cross between the Alan Parson’s Project and Steely Dan. There is no other possible way of describing this blend of prog-pop. I would not ever willing pick up a record like this if I had read the last sentence. I stumbled across this record and the mix of white soul (does that even exist?) and electro-pop was captivating. “Carousel” is typical of the songs on Water on Mars – a blend of soul vocals over an electronic beat laden bed with perfect harmonies moving in and out of the soundscape. Definitely a different listening experience. While I don’t quite agree with the Huffington Post review as the “Debut Pop Album of 2013” and “stunning” it is dropbox worthy. Try” “Carousel”, “Bird In Flight” and “Marion Crane.” Also, try this cover of Nik Kershaw’s “Wouldn’t It Be Good” which doesn’t appear on the record, but is a darn good jam.

Iceland’s Tilbury, founded by drummer Thormodur Dagsson (Great name!) on their second record find the indie pop groove building a slow burn as the songs on Northern Comfort build on the self-described folk pop leaving the sparse arrangements naked for the listener to absorb. There is a lushness amidst the open spaces on these tender tracks, all to great effect as the subdued vocals compel you to listen. It’s a great device as the music is so tightly played that you are directed to listen to the vocals and the lyrics – a unique inside out listening experience. Many records are not built in this manner. On conventional pop records, you can sing the chorus which is crisp and clean and then you can’t recall a single verse. Here, the way each song is constructed you hear the music and then have to dig into the lyrics which creates an exciting listening experience. Compelling is the best way to describe this record. Try” Northern Comfort,” “Turbulence,” and “Transmission.” Take a look live from Iceland on KEXP.

We are Augustines now just called the Augustines, formerly from Brooklyn and transplanted into Seattle, are obviously looking at a new direction. But that new direction doesn’t neglect the stellar songwriting and melodies which found them in the dropbox and in my top 10 records (Rise Ye Sunken Ships) from 2011. On the self-titled second album, Augustines, the band obviously picks up from where Rise Ye Sunken ships left off, but now everything on this record is bigger, bolder, and brighter and this might be one of the best rock albums of the year. I kid you not – this is a unique sound – vocalist/guitarist Billy McCarthy’s vocals are captivating and the songwriting which is reminiscent of the Gaslight Anthem and the Hold Steady, hints of Springsteen, and captures the intensity of McCarthy’s journey. This is a solid record throughout and you can’t help but feel the emotion flowing thorough this record, particularly on the epic “This Ain’t Me” ( I can change, said the walls as fast as they could…). Brilliant. Try ”Cruel City”, “Kid You’re On Your Own,” and “This Ain’t Me.” Also a KEXP show See the Full Performance from early last month after a show in Vancouver.

For me, Newmarket Ontario’s Tokyo Police Club are the model of consistency. Having, now produced several EP’s and with its third full length, Forcefield, Dave Monks and the rest of Tokyo Police Club produce yet another amazing indie pop record full of complicated rhythms and catchy melodies that suck you into the sonic swirl. Opener “Argentina (Parts I, II, and III)” clocks in at 8:32 and every second of this song fits and is truly enjoyable – thrilling at times. I’m not sure how they will edit it for Canadian radio, where Tokyo Police Club’s last album 2010’s Champ produced four singles, three of them Canadian hit singles: “Breakneck Speed,” “Wait Up (Boots of Danger),” “Bambi,” and “Favourite Colour” (Note the double Canadian word. For the U.S. Readers, the last song is “Favorite Color.”). Note none of these songs found the radio in the U.S. Forcefield continues the terrific songwriting and catchy up-tempo guitar friendly rock. Try: “Hot Tonight,” “Beaches,” and “Tunnel Vision.” Great record! And just for the hell of it, try this cover version of “Since You’ve Been Gone.”

What I like best about NYC’s post punk act Drowners who like the Strokes who came before them feature a male model in Matt Hill (from Wales) is that they are not afraid to tread where the mighty Strokes have previously traveled. Drowner’s is a guitar band who like that great period in 2002 -2003 have reinvented the indie guitar band. In places Drowners self-titled debut leans a little heavy on the Strokes guitar and vocal model, but where they really shine is on the Interpol/Brit pop flavored tracks like “Luv, Hold Me Down.” No secret that the band’s name is derived from the Suede single of the same name. However, the record tips its hat to the Smiths, particularly on a track like “Unzip Your Harrington.” This is a straight forward catchy indie dance rock album and the tendency will be to dismiss the record because it sounds like an amalgam of all that has come from before. However, that would be to sell this thing really short, because more than anything it is a fun record with its 80’s and 90’s influences producing some terrific songs. As debut records go, there is much to like about this record and I found myself coming back repeatedly to play the darn thing in its entirety. Try “Long Hair,” “Unzip Your Harrington,” and the exceptional “Bar Chat.”

One of my favorite bands of the eighties, New York’s pre-eminent garage rockers, the Fleshtones, bring their unique blend of 60’s influenced soul-garage back with a new record of fuzz filled jangle garage rock songs that stays the course after a career spanning nearly four decades (formed in 1976). I was able to see the Fleshtones a couple of times in the 80’s at the height of their powers and these were wild ragged affairs which I remember fondly. Wheel of Talent avoids the pitfalls of other 80’s bands releasing new records. The Fleshtones have obviously not forgotten that they are the kings of Super Rock! After 22 albums ( yes – 22 full length albums) there are some new twists to the super rock sound – such as female vocals and strings, but the whole thing is fresh and fast paced nostalgic look at an era that is, sadly missed. Perhaps the Fleshtones brand of garage rock will never make a comeback, but this album is a worthy addition to a very fine catalog by a singularly unique band in rock history. Try ”Roofarama,” “What I’ve Done Before,” and “The Right Girl.” See them in all of their live glory at the Concetera TV produced concert in Sonar, Siena, Italy from December of 2013.

London indie pop rockers Hatcham Social occupy a unique space in the indie rock world – their avant-garde approach to their blend of angular rock, makes for some very interesting listening. What is charming is the unpredictable nature of this record which encapsulates some of the Velvet Underground’s finest moments and the lovingly crafted lo-fi songs creating a magical atmosphere. A great record. Try “All That I Can See Is A Gun,” “To The Moon (Is This The Way Man Will Survive)” and the brilliant “Lion with A Lazer Gun (Original).”

Another lo-fi record, albeit with a very different approach is M.C. Taylor’s latest record Bad Debt. Taylor, who records under the Hiss Golden Messenger moniker original recorded these songs in the dead of winter in North Carolina in 2009 following the birth of his son. The original recordings were whispered so as not to disturb his family. Those original recordings were lost in a fire during the London riots in 2010, and now, these recordings, which are sparse and rustic explore relationships on several levels and there is a slight dissonance between the confident playing and the uncertainty and hesitation in the lyrics. The folk nuances are a simple and focused and there is a spark that makes this record a winner. Try ”Far Bright Star” (which is about the birth of his child and the uncertainty of being a new father “I am terrified”), “Straw Man Red Sun River Gold,” and “Super Blue (Two Days Clean).”

Another returner to the dropbox is the new album by the John Butler Trio entitled Flesh And Blood. This album, the Australian trio’s 6th, is a work of art. Delicate and rich at the same time, these blues influenced roots rockers have produced a spirited take on their own sound. John Butler can play a mean slide and these blues inspired workouts are Australian flavored. Do not be deceived by the fingerpicking opener “Spring To Come” which is sparse and fingerpicked, it is quickly followed by “Livin’ In The City” which highlights JBT’s blend of rock, pop, and mean blues. Echoes of Stevie Ray Vaughn pervade this record, but make no mistake this is definitely a JBT record – the songs are brilliantly crafted and the guitar playing slick, really slick, so that even if you are not a typical fan of this type of music, you’ll be taken back to Louisiana and New Orleans on several of these tracks all sung with JBT’s distinct vocal styling. Try “Devil Woman,” (this version live from the Commodore Ballroom in Vancouver!) the single “Only One,” and “Higher.”

I would have dropped the Reverend Horton Heat’s new record into the dropbox without even listening to it because the Jim Heath, aka the Reverend is a model of consistency. You know exactly what you are going to get with each record, and somehow it always seems to be refreshingly welcome even though each record covers essentially the same territory. I guess practice makes perfect. What is different about this latest record is that it is a return of sorts to the psychobilly style Heath is best known for and explored throughout the late 80’s and early 90’s. Psychobilly was a mix of punk and rockabilly blended into sonic perfection and Reverend Horton Heat essentially own the genre all by themselves at this point. Rev is the first RHH album in 4 years since 2009’s traditional country record Laughin’ & Cryin’ with the Rev. Horton Heat. This record plays to RHH’s strengths with the rockabilly guitar at the forefront on some pretty amped up numbers (Think Stray Cats on Speed). Try “Zombie Dumb,” “Mad Mad Heart,” and the blistering Cramps styled “Let Me Teach You How To Eat.”

Joan Wasser aka Joan As Police Woman ups the soul sonics on her latest The Classic, Joan produces a bright sounding diverse soul influenced record that gathers an array of elements from do wop, Motown, soul through funk, and successfully blends them into a quality listening experience. If you are old enough to actually remember the great records that came out of the late 60’s such as this pretty amazing trio from Aretha Franklin (whom Joan definitely has a kinship with): I Never Loved A Man The Way I Love You (1967), Lady Soul (1968) and Aretha Now (1968), then you will respect Joan’s efforts to recreate a sound from a time many have long forgotten. The playing is note perfect and Joan’s incredible vocals and song arrangements, achieve “the classic” sound Joan is recreating to great effect. Naysayer’s will dismiss the record for being too scattered as it attempts a vast array of styles within the genre, but the changes of pace and style make for very interesting listening. I sat there trying to predict where the next song would take me….and it was always a great trip. Try: “Witness,” “Holy City,” and “What Would You Do.”

Seattle’s Shake Some Action! Are not hiding who their influences are on their fifth record Catch The Sun which is one of the best power pop records released in the past couple of years. One review I read indicates there are some Tame Impala and Melody’s Echo Chamber similarities, but that comparison is trite. This is a jangle pop record par excellence and these finely crafted sunny songs will cheer up the foulest moods. There is overall a distinct dBs flavor to the record – particular on tracks like “Fall Into The Sky” which could be an outtake from Like This. It might be that James Hall sounds like Peter Holsapple, but for me, easily one of the most enjoyable this month in the dropbox. I love this sound. Try “Fall Into the Sky,” “Between My Dreams,” and “You Don’t Know What It Means.” Here is the official single “Wait For Summer.”

Danish indie-electro-poppers Striving Vines new release entitled Obstacles is a hook laden pop record full of sweet hooks and choruses that were made for top 40 radio. Jonas Miller and company has made a record that falls neatly in the Killers/Keane category with this release, which I believe is the bands third. It’s hard to tell as the only information I found was in Danish or German. The band has apparently also toured Canada in the past year or so. So, there you have it. All I know. A very good elector pop release that makes you want to clap your hands, tap your feet, and sing the sweet falsetto laden choruses. There are also some ooooohhhs as well. Hard to miss. Thoroughly enjoyable pop record. Any of the next three songs I’m going to recommend would in any sane version of radio be hits: “Sound of Tomorrow,” Only Time Will Tell,” and “Cracks.”

Like Reverend Horton Heat, I would have put the new Supersuckers record Get The Hell in the dropbox without the requisite listen. Why? Because the Supersuckers are amongst the greatest rock n roll bands in the world. Their live shows are wild outrageous affairs much like the beloved and sadly missed Beat Farmers. The Supersuckers own this genre of music often called “sludge” but really a mixture of punk rock, rock n’ roll, and hints of rockabilly all finally tuned into a sonic assault filled with killer guitar runs, big hooks and wild abandon. And you know what? Get the Hell has all of that. In many ways Get The Hell is a return to the Supersuckers origins as these 12 songs blast with a punk rock fury reminiscent of their first primordial release. Nine records is the Supersuckers are stronger, faster, louder and funny than ever. Awesome! Try: “Fuck Up,” “Pushin’ Thru,” and “Gluttonous.”

Interlude: Wow, after listening to the Supersuckers, you’ve got a trip to the other end of the music spectrum with the pop sounds of Alpaca Sports. Really – the very far end of the musical spectrum compared with the Supersuckers. I just played Supersuckers back to back with Alpaca Sports and now I’m a little dizzy. Be forewarned, Alpaca Sports sounds like elevator music compared to the Supersuckers.

Nevermind…I’m just taking a break to try to start fresh……

And ….I’m back. As we’ve been exploring in previous dropboxes what I am now calling “nerd pop” as an emergent genre whose forebearers would of course be Weezer and the commercial flag bearer would be fun, this sort of electro-pop seems to be gaining traction. In the past I’ve put in the dropbox bands like San Cisco and Neon Trees, and the prior Alpaca Sports self-titled debut. Gothenburg, Sweden seems like an unlikely place for a pure pop experience, but Sealed With A Kiss is that experience to its fullest. Sealed With a Kiss is an album full of romantic songs all soft and cuddly like the band’s name. If you’ve picked up the debut in the prior dropbox you’ll see several of the songs reappear on this release. However, there is a second LP of remixes entitled Bella’s mix tape which provides an interesting counterpoint to the best known songs. Unlike other records where the second disc is full of filler, some of these alternate versions are as good as the actual release. As I understand it, Gothenburg, Sweden’s Alpaca Sports is fronted by singer Andreas Jonsson with a rotating cast of band members. Try” Just For Fun,” “He Doesn’t Even Like You” and “Just Like Johnny Marr.”

And now for something completely different. Syracuse New York’s Perfect Pussy, on their debut Say Yes To Love occupy a sonic territory that once was popular, became almost extinct, and hopefully this brings forth more like minded efforts from bands who could possess this space. A combination of hardcore, thrash and noise, this record, much like the first incarnation of the sound found on the brilliant Husker Du first album, Land Speed Record, is a breath removing claustrophobic inducing mind bender. While you are not going to make out any of the lyrics on Say Yes To Love without the accompanying lyric sheet, there is something exciting about Meredith Graves’ yelling and the propulsive rhythms, odd experimental turns, weird noises etc all ripped out in 23 minutes. Overall the experience is very compelling in a unfortunately, now, non-traditional manner. Not a pop record, eh? Try: “Bells,” “Driver,” and “Dig.” Here it all is live @ 4QHQ (July 10, 2013).

Los Angeles’ (Echo Park, really) No ( really – a terrible band name) are going to catch some flak from the critical press as they mine the same territory as the mighty National, but carefully listening to debut album El Prado reveals that while the comparisons are fair given that vocalist Bradley Hanan Carter’s voice sounds much like the National’s Matt Berninger and the two bands mine the same sonic territory – lush expansive filled with fine melodies and big choruses – but this record is not nearly as dark as the traditional National spin. There is a Hard Fi feel to some of these tracks, particularly on the fine “There’s a Glow” where the drums take the forefront. Solid throughout. Note: Some of these songs have been around awhile, El Prado collects them all. Try “There’s a Glow,” “Stay with Me,” and “Monday.”

Another Swedish indie-pop band (Sundsvall, Sweden) Oh My! makes the list. Sweden, home of death metal, garage rock, and now…indie pop. Like Alpaca Sports they might occupy the same genre, but this is the up-tempo rockier version of nerd pop much like San Cisco, and at times there are some Strokes elements, particularly on a track like “Scary Conversation” which sounds like Julian Casablancas is guesting. On Slow Moves, the second long player and first since 2008, Oh My! keeps things interesting with a number of tempo shifts that keep the program moving. They have had a couple of hits on Swedish radio, perhaps its time for a U.S. debut, huh? (for my Canadian readers, eh?). Try: “Slow Moves,” “Go With You,” and “People.”

So you know – I was #$^# surprised to hear Phantogram appear on KROQ and then quickly on the mirror station 98.7 in Los Angeles. To give credit where it is due – this was entirely unexpected, because this is a very different record for commercial radio, but I think this is more of a programming decision to radical shift listener expectation as KROQ which one time played the Dead Kennedys, ACDC, Everclear, NOFX, and Bad Religion now devolves into an indie pop station. Heck, the disco band Capitol Cities with “Safe and Sound” now sounds like a metal band compared with the rest of what is on the station. Anyway, following KROQ’s lead, my guess is that the rest of the U.S. and Canada also is playing Phanotgram‘s hit “Fall in Love.” What exactly is Phantogram? Musically it is a synth heavy – beat heavy – dream pop record with ethereal vocals sung over a sonic bed producing a full sound. Much like the name, this Sarasota Springs New York duo consisting of singer/keyboardist Sarah Barthel and guitarist Josh Carter, attempts to turn two dimensional sound into three dimensional. And for the most part, they do it successfully. I’d be hard pressed to say that I could repeatedly listen to Voices in one sitting, but like St. Vincent reviewed later, there is enough going on here that warrants a second and third looks. Some of these songs would definitely work better with a full band, and here is to hoping that the next record takes a step in that direction. There is some good writing and as a pure indie project they should see immeasurable success. However, don’t expect stadiums. On a final note, Phantogram’s record is exactly what it is. That is, the band is not trying to be something else or try to fit a particular formula. They are like all good artists, examining their own souls to find what is inside….and then letting it out. In this case the soul is electronic. Try “Howling at the Moon,” “The Day You Died,” and the tender “Bill Murray.”

Speaking of electro-pop or for the purposes of describing New York’s +/- (Plus Minus), indietronic, the band which formed in 2001 and has released 5 albums including its latest Jumping the Tracks, mines the pop side of New Order with Lush instrumentation over an electronic beat. In the past I’d recoil at the the thought of listening to video game music, but the trick to the latest +/- record is that the pretty melodies stick in my head. In the middle of the night I’ll wake up with a tune playing in my head, and that for the past couple of weeks can be traced back to this record. At first I was freaked out. Normally I dream in punk rock, and this was a violent shift – much like the Supersuckers/Alpaca Sports one described earlier. What’s different about Jumping The Tracks is that there is some rock weight to this release – the songs, often dealing with difficult subjects e.g. “The Bitterest Pill” or “The Space Between Us,” are powerful and well thought out expressions. Intelligent, depressing, and effective. Try “There Goes My Love,” “The Bitterest Pill,” and “Jumping the Tracks (Bonus).”

Presidents of The United States Of America, occupy a permanent space in the nerd rock category. This is the rock side and is occupied by They Might Be Giants, Cake, and Yo La Tengo. On Kudos to You!, PUSA’s latest and 6th album Kudos To You was released on Valentines Day and it is a love letter to the nerd pop lovers worldwide (one song is even sung in Spanish – “Rooftops in Spain”). Traversing a number of weird rock and pop genres and rhythms (even a country shuffle) PUSA still occupies the odd ball space to great effect. For those of you who only know the 90’s trio of alt rock hit “Lump”, “Peaches,” and “Kitty” you are missing out on a great band. Fun, upbeat and fully demonstrating their rock knowledge, PUSA’s latest shouldn’t be missed. Try “Stay with Me,” the awesome AC/DC parody “Flea vs. Mite” and “Finger Monster.”

Mississippi’s Water Liars, third and self-titled album released on February 4 of this year, follow up last years Wyoming with a better produced and fuller sounding outing that at first brings to mind a mix of Deep Purple and country – that is, a mix of jarring noise interspersed with crooner Justin Kunkel-Schuster country inflected vocals. Parts are mellow, much like the beautiful ballad “Swannanoa” and others, like the Kings of Leon-ish “I Want Blood,” great mid-tempo pieces that delicately balance the indie rock with the country. Try “I Want Blood,” “Cannibal,” and the Buddy Holly influenced “Ray Charles Dream.”

It’s always great to see bands that you loved in the past, find new life after the end of the earlier band. Part of playing music is finding success. And when a band doesn’t achieve what it believes is the acclaim it deserves and the shows are not filled, then the inevitable happens. The band dies. When Waking Ashland broke up, San Diego’s We Shot The Moon, briefly known as Honor Role ( but likely having figured out that there was a hardcore band with the same name) formed from the ashes, to produce stunningly beautiful pop music in the same vein as Waking Ashland. We Shot The Moon is far more radio friendly and if that is the bands goal – then they have achieved it with room to spare. Concerts are far more fun when the kids can sing-a-long. This batch is definitely listener friendly. We Shot the Moon, is Jonathan Jones the singer of Waking Ashland, and originally, Dan Koch, and Joe Greenetz both from the band Sherwood. The Finish Line is really a start – beautifully crafted pop rock songs dealing with typical boy-girl stuff, but the album overall is interesting without becoming maudlin. Try, the surefire radio hit “If You Want To,” “Fake Love,” and the beautiful piano ballad and closer “The Finish Line.”

Pink Floyd inspired psychedelic space rockers Wild Beasts return with a new record this month entitled Present Tense which may be the definitive Wild Beasts record. Featuring the unique interplay of vocalists Hayden Thorpe (alto) and Tom Flemming (almost baritone) these cosmic soundscapes are note perfect but emotionally engaging– a difficult chore given this particular genre where these types of songs often come off as cool and undetached. One reviewer gave this album a perfect score ( but see aside at the beginning of these notes) but for me, the dynamic interplay of instruments and vocalists was a compelling listen. Try” Past Perfect” “Sweet Spot” and closer “Palace.”

The second album from Australian rockers Papa vs. Pretty entitled White Deer Park furthers their development of mastering the best sounds of the 90’s (and some early Queen records) putting them in unfamiliar sonic territory for 2014. As commercial radio has gone limp noodle, fawning over electro-pop and electronic based music, Papa vs Pretty produces some pretty muscular indie rock all highlighted by the falsetto of Thomas Rawle. All of this was designed to be radio friendly for Australia, who for the past 30 years at least has been way ahead of U.S. radio in almost all aspects of interesting music. However, I fear this record, which at times reminded me of April Wine!, has several catchy indie rock anthems, that in places hints at Muse, will be lost in the great mass of new releases and restricted radio playlists. However, if this is in your wheel house, it truly deserves a listen. Try” Joan Of Arc,” “Rain Check,” and “Smother.”

Picking up the pace significantly, is Auckland New Zealand’s Clap Clap Riot whose second album Everybody/Nobody is essentially a blend of early Arctic Monkeys and the Wombats playing Queens of the Stoneage. i.e. desert flavored indie rock with some Led Zeppelin flourishes as sung by a very talented and unique artist not afraid to take chances. I loved every track on the album from punk rock inspired opener “Nobody” to the ballad “Sweet Patricia,” through the closer “Once Again.” In this case you can judge a band by its look, so I’ve provided a photo of the band (to the left, eh?). (If this is your photo, I’d love to give credit – let me know. Clap Clap Riot probably puts on an amazing live show, but I am unlikely to see them in Los Angeles. Bummer. Try” Nobody,” “All About The Weather,” and “Sweet Patricia.”

Netherlands based Indie rock act Moss released their 4th album in February and it is a firecracker. We Both Know The Rest Is Noise is frankly an intense pop flavored noise pop record containing some winners, particular the radio ready “She’s Got A Secret.” The guitar work is technically proficient and the drop ins are jarring creating brilliant tension throughout the record. There is a little Joy Division at work on this album transforming the angular rock into a post punk masterwork. The harmonies build tension and the bass is throbbing. There are a number of early post-punk bands that come to mind, in particular Gang of Four, but the sound at the end of the day is uniquely Moss. Try ”Reset,” “She’s Got A Secret,” and “We Both Know The Rest Is Noise.” No videos yet, so here they are playing Pinkpop 2012.

Cardigan’s singer Nina Persson has such a unique and charismatic voice, I’d like everything she sings on, and such is the case here with her very commercial and shiny overproduced disco pop solo record entitled Animal Heart. Sure, there is 80’s disco pop (“Animal Heart”) to contend with and some sloppy lyrics, and some Florence and the Machine styling (“Burning Bridges for Fuel”) but for me those were not negatives. A beautiful voice can cover up minor flaws or song choices, and on this record, the best songs are near the end anyway. Put this album into your iTunes shuffle, and when you hear her voice pop up, you’ll go and look to see who is singing until you’ve been captured. Try ”Forgot to Tell You,” “Silver Like the Moon,” and “Sometimes.” And her’s a bonus, Nina’s exceptional cover of R.E.M.’s “Losing My Religion.”

Another interlude: Finally, I spent a little time one evening last week re-discovering what was great about Ska in the late 70’s and early 80’s. Ska’s intersection with punk rock produced some varied results, most of them excellent. Anyway, for those of you who have an hour and ½ to investigate, watch the movie Dance Craze featuring a number of bands I was fortunate to see in their heyday including The Specials, The Beat, Selecter, Bodysnatchers, Madness, and Bad Manners (who I didn’t get to see live). Dance Craze is great look back at some great music at a unique moment in musical history. So, if you’ve got a little time, give it a look @ Dance Craze – The Best Of British Ska.

I’m going to jump around a little bit ( since I’m writing this on Saint Patrick’s day here you go with the House of Pain – Jump Around) because I actually have to do some work:

The Men’s latest Tomorrow’s Hits continues their amazing run of records lately. Still playing the garage record, this record even’s out the tempos with Tomorrow’s Hits being a more mid-tempo affair, blending Neil Young’s Crazy Horse, with psychedelic garage to produce one of the best albums of the year. The melodies, much like another favorite, Ty Segal, are instantly memorable reminding you of those early 70’s rock records and the writing on this album is uniformly excellent. Try ”Get What You Give,” (With its English Beat into copped from “Save It For Later”) “Another Night,” (love the horns), and “Settle Me Down.”

Another New York band, We Are Scientists, returns with their fifth album, TV En Francais, which for me, is a return to better form from past efforts that were at best uneven. i.e. a few good tracks and a few stinkers. The experimentation of the past seems to have quieted considerably and these indie rock songs are much more straightforward. There is an energy to these songs, and vocalist Keith Murray’s crooning which is similar to Paul Banks of Interpol, is an easy listen. While not a highly creative effort, there is enough energy and direction on these songs to make it drop box worthy. Try “You Make It Easy”, “Sprinkles,” and “Return the Favor.” See them on The Dressing Room Diaries.

Staying in New York, Brooklyn’s Bear Hands second full length, Distraction, is filled with precisely that – angular guitar rhythms with electronic flourishes that distract in a pleasant way the listener from bands that occupy this genre ( that is particularly popular on commercial radio). While they are often compared to Vampire Weekend, that would be a disservice. Distraction is definitely on the rockier side of the indie rock equation. Get used to having keyboards in your rock for a while. Vocalist Dylan Rau has got that pleasant indie vocals thing down ( needs a little more grit on songs like the catchy “Giants” but that is a minor gripe. Ted Feldman, he of the jangle guitar, is the star here. Good stuff. Try “Giants,” “Bad Friend,” and “Agora.”

Cult, the sixth album by Long Island punk rock superstars (who are a cult band to the main stream) Bayside covers in one album all ten years of Bayside‘s musical history by re-incorporating past sounds while reinventing the band in sonic quality. This is the bands first record for Hopeless Records, and perhaps, the ideas on this record arise from the impact of a fresh start but done without throwing out what made this band great in the past. This songs on Cult are refreshing – I say it again – refreshing. Sure the band is a working/touring machine, but the riffs are fresh and the vocals powerful – just like when Bayside was starting out more than 10 years ago. It is difficult to survive in punk rock for more than a few years as the art form is now on the fringe of rock music ( thank goodness for Alt Press magazine) but hopefully Cult will bring Bayside the attention they deserve – in the light of the mainstream, and playing much bigger venues. Try “Big Cheese,” “Something’s Wrong,” and “Time Has Come.”

From the Monkees “Last Train to Clarksville” sound-a-like beginning on “Drive By Buddy”), Atlanta’s Black Lips on their seventh album, Underneath The Rainbow, stick to what the Black Lips do best playing their variant of garage rock, but there is something different about this record – the production values are much greater but the songs still have grit. Who knows what the live show is going to look like, but this record is everything a Black Lips record should have from the blues inflected slow burner “Boys in The Wood,” to the county garage flavored “Waiting” and points in between. This is comfortable lips territory a mix of 60’s garage nuggets and 70’s pop flourishes mixed by the Lips. This is a really good Lips record and not to be missed. Try “I Don’t Wanna Go Home,” “Smiling,” and “Boys In The Wood.”

Annie Erin Clark, aka St. Vincent (former vocalist for the Polyphonic Spree) is an enigma. Four albums into a solo career, St. Vincent releases a self-titled record, and it is stunning. She is easily one of the most accomplished guitarists, but when combined with her crisp songwriting and distinctive voice, she blows away the listener. This is as unique a record which can still be described as pop as will be put out this year. Think King Crimson as a traditional pop group with an exceptional female vocalist. I love the guitar playing – no extra notes, efficient harmonics. Amazing. Try “Rattlesnake,” “Every Tear Disappears,” and “Birth In Reverse.”

I’m out of time, and will try to review the rest. So, until then here is the List:

Blackchords – A Thin Line [2013]
Papermaps – Darker Lights [2013]
Genders – Get Lost [2013]
New Killer Shoes – I Ain’t Even Plugged In [2013]
We Are Fiction – One For Sorrow [2013]
La Luz – It’s Alive [2013]
We The Kings – Somewhere Somehow [2013]
Cheap Time – Exit Smiles [2013]
Shyboy – Water on Mars [2013]
Tilbury – Northern Comfort [2013]
Augustines – Augustines [2014]
Tokyo Police Club – Forcefield [2014]
Drowners – Drowners [Explicit] [2014]
Fleshtones – Wheel Of Talent [2014]
Hatcham Social – Cutting Up the Present Leaks Out the Future [2014]
Hiss Golden Messenger – Bad Debt [Deluxe Edition] [2014]
John Butler Trio – Flesh And Blood [Deluxe Edition] [2014]
Reverend Horton Heat – Rev [2014]
Joan As Police Woman – The Classic [2014]
Shake Some Action – Catch The Sun [2014]
Striving Vines – Obstacles [2014]
Supersuckers – Get the Hell [2014]
Alpaca Sports – Sealed With A Kiss [2014]
Perfect Pussy – Say Yes To Love [2014]
NO – El Prado [2014]
Oh My! – Slow Moves [2014]
Phantogram – Voices [2014]
Plus Minus – Jumping the Tracks [2014]
Presidents of the United States of America – Kudos to You! [2014]
Water Liars – Water Liars [2014]
We Shot The Moon – The Finish Line [2014]
Wild Beasts – Present Tense [2014]
Papa vs Pretty – White Deer Park [2014]
Clap Clap Riot – Nobody – Everybody [2014]
Moss – We Both Know The Rest Is Noise [2014]
Nina Persson – Animal Heart [2014]
Rigby – Island On Mainland [2014]
Skip The Use – Little Armageddon (Deluxe Edition) [2014]
Wild Apes – Wild Apes EP [2014]
St. Vincent – St. Vincent [2014]
Real Estate – Atlas [2014]
Let’s Wrestle – Let’s Wrestle [2014]
Black Lips – Underneath the Rainbow [2014]
Bayside – Cult [2014]
Modern Baseball – You’re Gonna Miss It All [2014]
Casket Girls – True Love Kills The Fairy Tale [2014]
Bear Hands – Distraction [2014]
Peter Buck – I Am Back To Blow Your Mind Once Again [2014]
Men – Tomorrow’s Hits [2014]
We Are Scientists – TV en Francais [2014]

February 8, 2014 Dropbox Notes

Posted on March 5, 2014 by KFR

Sorry, February got away from me. I know this is being published this first week of March, but better late than never, right? So, here are the notes for the first batch of new year releases that are still in the dropbox, so if you missed them – get them quick because I have already lined up this months. I am starting with the original version of the notes – hence the date and unintentionally funny prose:

Welcome to the first batch of new releases for 2014. I had considered starting the year off with a rant regarding the Grammy’s but reconsidered as the rant would only continue to point out the obvious – the Grammy’s are an award ceremony recognizing the talents of capable marketers of major labels and corporate radio who have successfully convinced the masses, that these individuals and groups (what these individuals/groups largely produce is not art and consequently they are not artists) receiving a Grammy award are somehow representative of what is good about music. It is not. Rather, the many genres of music not represented by the Grammy awards continues to evidence two glaring symptoms of the failure of the corporate music structure to find ways to introduce artists to the masses in a manner that focuses on the music, as art, and the artist:

(a) corporate radio failing to care that there are members of the listening audience that actually are concerned about the quality and diversity of music ( KROQ – Alternative first (Ha!); and

(b) the focus on music as personality rather than music as art.

It is easy to cite examples of this disturbing trend. Miley, Justin, Kanye, Rhianna, Beyoncé, are relentlessly promoted as artists concerned about their art. Really? Does anyone truly believe that any of these individuals really care primarily about the quality of their music? Perhaps at the beginning, but the objective evidence is that there is little of the soul that made them popular in the first place left in their music. Does anyone truly believe that any of these individuals have anything meaningful to say? Sure, there is a place for mindless drivel in music. But should this be recognized as the pinnacle of the music industry? This is not to say that these artists are not capable of producing great music – it is just that they have lost the thread of where the genius lies – and in all likelihood they will never find it –ever. I am reminded that perhaps with the passage of time some Grammy performances will stand the test, but looking at this years list, I am somehow doubtful. The disproportionate number of rap/hip-hop releases that are of little essential value and a radio partner that force feeds sponsor selected music to the masses is more than payola. It is a scheme designed to deprive the main stream listener from exciting music and instead promote parodies of real persons and their twisted interpretations of conventional feelings and emotion as “normal” and popular. I hope it changes and that radio finds a way to make money from variety of new artists in a genre rather than the pummeling the listener must take as radio constantly repeats the same songs – often at the same time each day. In Los Angeles, KROQ (106.7) and 98.7 now play the same songs nearly simultaneously. My hope is that they both figure out that change is good. It doesn’t even have to be new music, just stop playing the same songs repeatedly. (As an aside – I can do with a 10 year radio ban on the Red Hot Chili Peppers).

I am sure that this rant is largely inspired by my recent listening experience. I’ve been listening to a compilation of songs entitled “1001 Songs You Must Hear Before You Die” which is full of songs from a wide variety of genres and decades. It is an interesting spin, because I’ve rediscovered the beauty and genius of some songs that I’ve not heard for a while including: Big Star – “Thirteen”, Libertines – “Can’t Stand Me Now”, Suede – “Animal Nitrate”, Lemonheads – “My Drug Buddy”, Dolly Parton – “Jolene”, The The – “Uncertain Smile”, Mott The Hoople – “All The Young Dudes”, Jimmy Cliff – “Many Rivers To Cross” etc. What sets these songs apart is the “wow” factor – something in each of these songs that reminds you of the genius it must take to create these songs. i.e. How did they come up with that?

Here’s to the “wow” and hopefully you find some of it on this month’s releases, some of which are leftovers from last year that I missed the first time around.

Surrey five-piece pop metal act, You And Me At Six, have a hit record with Cavalier Youth, their 4th, released January 28, 2014. Really, in its first week of release, the record reached No. 1 in the U.K. Now, if you’ve followed the dropbox for a while, I raved about their last record “Sinners Never Sleep” which ended up on my best of year list. This record, continues the trend with anthemic pop metal that is bouncy and will have you singing along, sometimes at the top of your lungs. As the London Observer gave this a one star rating (its worst) dismissing the album as formulaic corporate alternative rock, then why is it in the dropbox? Because I like the friendly sounding formula that has the capacity to make you want to move your feet as compared with always trying to find the deeper meaning. That is, the impact is somehow more important than the constant search for creativity. Have we learned nothing over the recorded history of rock n’ roll – consistency is greatness. Not a perfect record, but an enjoyable spin with well-crafted catchy tunes. Try ”Lived A Lie,” “Win Some, Lose Some,” and “Wild Ones.”

Ahhhh… the rare compilation hits the dropbox in the form of Killed By Deathrock Volume 1. Garage label, Sacred Bones (whose releases have often made the dropbox), delves into the fringes of early 80’s post-punk, garage, and death rock, and with a title that is intended to remind everyone that this is a reclamation project of obscurities a la the bootleg series Killed By Death, this compilation of gems is worth repeated listening. Try: ”Twisted Nerve – “When I’m Alone,” Afterimage – “Satellite Of Love,” and Taste Of Decay – “Factory.”

One of my favorite bands still mining (albeit only slightly) mod pop territory, The Rifles, return with a crowd funded pop gem in the form of their 4th album None The Wiser. In danger of being a middle of the road faceless UK band, the Rifles deserve with this record a little applause for finally figuring out who they are as a band and with the return of two members who had left before the third release, the album is replete with catchy tunes. A better sequencing would have put the standout track “Heebie Jeebies” in first position so that more listener’s would find the record, rather than the pleasant but not too interesting “Minute Mile.” The record is solid throughout and after a few listens you’ll discover some favorites. Try: “Heebie Jeebies,” “Go Lucky,” and “Under And Over.”

Hard to argue with the inclusion of groundbreaking, genre inspiring reissue of Uncle Tupelo’s debut album No Depression (recorded in Boston at Fort Apache), this month. For those who missed it the first time around (1990) or are too young to have heard this underplayed diamond, Uncle Tupelo is the culmination of the country-punk first heralded by Rank And File, K.D. Lang & the Reclines, Jason And The Scorchers, the Blasters, etc. but transcending those earlier records and layering alternative rock into the mix producing rock influenced country that is labeled alt-country genre, aka as No Depression. The tile of the album is taken from J.D. Vaughan’s “No Depression in Heaven”, a gospel track made famous in 1936 by the Carter Family. Although in my mind, a big tip of the hat for this genre should go to the Replacements, the songs on this album define the genre and after more than 20 years, still inspire: Try: “Outdone,” “I Got Drunk,” and “Before I Break.” And here is a 4th song to try: “Life Worth Livin’“.

On To Much Information, Maximo Park, like the Rifles, take a step further from their mod-influenced Brit-pop roots producing a more thoughtful synth laden atmospheric record that utilizes Paul Smith’s voice to the fullest. And this is what is immediately likeable about Maximo Park. Smith’s voice and lyrics are the focus on this record and frankly, he could sing the telephone directory and it would be an enjoyable listen. In short, Maximo Park have made the step forward from angular dance rock band to electronic rock band. Five records into their career, each record highlights the quality of Smith’s particular voice – silky smooth and full of emotion. Sure, given that Smith is essentially a crooner, and Smith’s comparisons will arise, but unlike Morrissey, Smith and Maximo Park have managed to miss the self-indulgence landmine and produce quality songs with the trademark unconventional lyrics that have characterized the band since their initial single “Apply Some Pressure from 2005. Try: “Brains Cells,” “Leave This Island,” and “I Recognize the Light.”

Released the same day as Maximo Park’s record, February 4, 2014, So Long, See You Tomorrow, the 4th album from North London’s Bombay Bicycle Club finds them in the same place as Maximo Park – experimenting and tweaking their sound and obviously not content to stay in one place. On prior albums, Bombay Bicycle Club have demonstrated their willingness to genre hop, and this record continues that process. The songs are a little sprawling, beat laden, and an eclectic blend of electronica and indie rock, pulsing rhythms and layered vocals producing overall a very vibrant and uplifting record – uniquely Bombay Bicycle Club. Try: “Luna,” “Overdone,” and “Carry Me.”

Now that the critical blasting of Broken Bells second record After The Disco has died down following its release in late January, now is a good time to examine the second record from the “group” consisting of the Shin’s front man James Mercer and producer extraordinaire Danger Mouse (Brian Burton). As the title suggests, the record evokes the moment after arriving home from the club after a night out and the intense need to decompress. After The Disco is a much more cohesive record than 2010’s Broken Bells which sounded like the product of a weekend of experimentation. Here, three years later, we get a record produced by people who have had an opportunity to take those results, process them, and produce an eclectic record which touches 70’s light disco, and experiments with Mercer’s range and tonality with good effect. Title Track “After The Disco” is typical of the 70’s mood on this record and you could picture “Holding On For Life” ending up on the Saturday Night Fever Soundtrack. I swear that’s the Bee Gees on the track. All that said, there is enough enjoyable moments on the record to make it dropbox worthy. Try: ”Holding On For Life,” “No Matter What You’re Told,” and “Control.”

Minnesotan post-punk trio BNLX (Ed Ackerson, Ashley Ackerson, and David Jarnstrom) are an awesome band with absolutely no west coast presence. And that is sad. Much like Kevin Love who is a superstar in Minnesota but with only minimal recognition in Los Angeles where he played 1 year for UCLA before heading to the NBA, BNLX are also in need of a trade (to Los Angeles) in order to gain recognition for their particular brand of punk rock. Catchy and melodic punk rock in the vein of the legendary Wire with some shoegaze aspects, this collection hits the sweet spot. BNLX may be the biggest force in local music in Minneapolis organizing a successful BNLXFest, and a successful marketing program resulting in all of their vinyl releases, from which these tracks are drawn, selling out. Produit Collecté is an assemblage of tracks from BNLX EP’s 1-8. The tracks on the fourteen song vinyl LP Produit Collecté “are representative sampling of musical highlights and odds-and-ends from all eight BNLX EP releases. And that is what makes this collection so varied and interesting – this collection offers a glimpse into the bands influences: New Order (“Blue and Gold”), Wire/Elastica (“Opposites Attract”), and an amazing cover of Black Flag’s “Rise Above.” Try: “Rise Above,” “Opposites Attract,” and “Where Is the Love.”

Against Me are an enigma. On Transgender Dysphoria Blues the band finds themselves at a crossroads on their 6th record. What do you get when you attempt to cross what was a very political punk rock band with a lead singer who is still dealing with the fallout from a very homophobic contingent of the punk rock community as a consequence of her announcing she is transgender (Laura Jane Grace aka Tom Gabel)? Well, this album is the answer for now – a band still aware of its presence as anarcho punks and fiercely engaged in the discussion of its ideology. That ideology is now filtered through the emotions of its lead singer whom, as far as I can tell, has not changed her focus. Rather, it appears her focus is created through adversity – as the backlash and rejections of the past several years (labeled sell-outs after jumping from FAT WRECK to a major label, Butch Vig smoothing out the rawness of the earlier releases in order to make them radio friendly unit shifters, and the announcement that Tom identified with being a female) have influenced the writing of the songs comprising this record. Sure there is palpable anger, but there is something else going on as the record attempts to reconcile these songs into a cohesive work – a cathartic acceptance of Against Me and Laura’s place in the punk rock world. As a work of art, Transgender Dysphoria Blues represents Against Me as both a force for change, and a marker for further explorations as the band moves from the dark to the light, recognizing that the past is that – the past. The closer, “Black Me Out” is a bitter statement – “I want to piss on the walls of your house” – that encapsulates the place where Laura has been but also signals an effort to move forward. At times this is a difficult listen as I would think that new listeners will have difficulty connecting with some of the material, but as a chance of pace there is enough on the record to make this compelling listening. Try: “Dead Friend,” “”Black Me Out,” Transgender Dysphoria Blues.”

Beck, on his twelfth record Morning Phase, finds himself in a reflective place building on the melodies and feel of what he calls the companion record to 2002’s Sea Change. However, these records are dissimilar with their starting places. On Sea Change, Beck was dealing with the end of a longtime relationship with his girlfriend, whereas on Morning Phase Beck is a married father of two and from that place it is undeniable that the songs on Morning Phase are much more even, less tumultuous, than his past work, and undeniably full and rich with life. This is the sound of contentment. And some will say it is boring. I didn’t get this record on first listen, but taking the time to experience the record rather than merely listen, it is very deceptive – the arrangements are perfect, the little highlights, layered vocals, the strings, and Beck’s surprising vocal tone, set this record apart from his own catalog which has often taken trips to the bizarre and disorienting. The conventional acoustic flourishes somehow are captivating in Beck’s hands. This is overall a mellow late evening record beautiful and moving. Try: “Morning,” “Unforgiven,” and “Blackbird Chain.”

Great name – Dee Dee Penny. Vocalist and primary songwriter for Sub Pop recording artist Dum Dum Girls, Dee Dee on the Dum Dum Girls, third record neatly balances the 60’s garage rock they are known for with the angular and muscular New York inspired angular rock that was the rage with the Strokes, Interpol, etc. Less Lo-fi and less fuzz than on their previous outing, Too True, is perfect. The result is a captivating amalgam – muscular garage rock with interesting sing-a-long melodies with 80’s reference most notably Blondie (“In The Wake Of You”) and the Ramones. This is thirty minutes of fun that bears repeated listening. Try: “Rimbaud Eyes,” “Too True to Be Good,” and “Trouble Is My Name.”

Rags is a fan club only release by the Hold Steady in advance of the bands next record, their 6th , entitled Teeth Dreams out March 25. This EP, a crowd funded (Pledge music) release of cover songs recorded to assist the K + L Guardian Foundation to benefit the children of fan, writer, and event booker “Jersey Mike” Van Jura, who died in November 2012. The EP has one song selected by each of the 5 band members as follows: (1) “All Through The City” (Dr. Feelgood) (2) “Closer To The Stars” (Soul Asylum) (3) “Hard Luck Woman” (Kiss) (4) “I Gotta Get Drunk” (Willie Nelson) (5) “The Last Thing I Ever Wanted Was To Show Up And Blow Your Mind” (Those Bastard Souls). Try: them all.

Los Angeles’ Warpaint self-titled second LP is a bit of a throwback. Perhaps it is the presence of Radiohead producer Nigel Godrich and Flood who share production duties on this record. Perhaps it is the ethereal dream like vocals of singer Emily Kokal whose vocal presence along with Theresa Wayman float throughout the hazy post-punk synthesizer and guitar dreamscapes created by the very capable band. There are hints of other bands throughout the record but these influences don’t mar the beauty of some of these sonic outings. Perhaps it is the attraction of another all-female band (compare with Savages) that has England excited (the band recently accepted an offer to play Glastonbury), but there is something interesting about this project, if the overall effect is muted. For me, some of the songs are a little too long, but that may be simply the presence of Godrich, as these songs get a lengthy workout. Try: “Love Is To Die”, “Feeling Right,” and “Keep It Healthy.”

From the things I missed in 2013 list, Long Island New York’s indie rockers Republic Of Wolves, had two self-releases in 2013, the Empty Vessels EP and their second studio album No Matter How Narrow, and both should not have been missed. However, I did, and hopefully their omission previously will not detract from their listening pleasure that these releases brought me, as I re-discovered the band and actually went back and found the debut, 2010’s Varuna. Empty Vessels is an acoustic EP highlighting the bands crazily catchy songwriting and simple melodies. Highlights here are the opener “Spare Key” and the alternate version of “Strays” both of which appear on No Matter How Narrow.

No Matter How Narrow is brilliant, with the vocals of Mason Maggio carrying the emotional songs without falling into emo-rock trap. This is the danger of a record released in late December (December 16) – great records are often overlooked. This is a great record throughout. Try: “Keep Clean,” “Spare Key,” and “Pioneers.”

In case you are keeping track of things, there are times when WordPress ( at least the free version) does funky things I can’t even begin to want to spend the time to fix. So, I’m writing this here to hopefully correct a formatting error that is created when you drop two photos together. Okay, back to the program:

Another acoustic affair is Transit’s Future And Sutures EP which revisit their past catalog and adds one brand new track. For the Boston punk rockers the record revisits tracks from their previous two albums, Listen & Forgive and Young New England (both of which previously appeared in the dropbox). The acoustic presentation works, particularly for songs like “Long Lost Friends” which explores the underpinnings of a classic rock song carried by singer Joe Boynton’s distinctive vocals. These are not re-imagining’s of the songs, but rather creative rearrangements of some of the band’s finest songs. Feel free to shout along. Try” “Long Lost Friends,” “Listen & Forgive,” and “Over Your Head.”

Scottish alt-rockers The View have compiled their greatest hits into a career spanning imaginary setlist in the form of Seven Year Set List. Hard to argue with the inclusion of every song on this list and it is highlighted by the fact that for a band that is unrecognizable in the United States (and I mean that in all seriousness) it is a tragedy that the radio never found a band as good as this. I dare you to listen to “The Clock” and not question why the gods of radio ignore good songwriting. Alternative first – my ass KROQ. The View know their strengths and for a band that is largely supplanted in the U.S. by the Mumfords, these songs stick in your head, and in several cases I found myself affecting a Scottish accent. The bands last album, 2012’s Cheeky For A Reason, ended up in the top 10 of my year end best of list, and their previous albums are Top 10 albums in England and Scotland (Hats Off To The Buskers was a #1 record). So, what is wrong with U.S. radio? Apparently lots. Much to discover here, so try: “The Clock,” “Wasted Little DJ’s,” and “How Long.”

Second records are tough when the first record produces a hit. Comparisons are inevitable. So, I’m going to try to ignore the fact that Irvine, California’s Young The Giant’s first record was overplayed by local radio ( “My $#^&% Body”) and try to examine album two Mind Over Matter on its own merits. Mind over Matter’s strengths come primarily in the form of an explicit understanding of melody – the guitars shimmer brightly and the vocals of Sameer Gadhia take the songs to unexpected places, particularly on “Eros” and it is these elements that keep the album from being bland. The U2 influenced “It’s About Time” is a standout and as radio has already figured out, worth a play a time or two or 100. But, I digress. The album is filled with sonic experiments disguised as pop gems and while it may be a little overtly commercial, still worthy of its inclusion in this month’s dropbox. Try: “Daydreamer,” “It’s About Time,” and “Eros.”

Canadian chamber popsters Hidden Cameras return this month with their 6th album, and first since 2009 in the form of Age. The ever-changing lineup continues to evolve with Joel Gibb moving scenery to Berlin, this album features the distinctive guest vocals of Mary Margret O’Hara whose interplay with Gibb highlights the intricacy of this sound. With “Bread for Brat” featuring an opening riff reminiscent of the opening of Goddo’s hit “So Walk On” (On AnacanaPanacana (Start at 2:37), it momentarily prevented me from listening to the rest of the record as I replayed this track at least a dozen times before moving on. The rest of the album is just as good, as Gibb’s distinctive baritone sounding somewhat like Ian Curtis, particularly on the excellent “Year of the Spawn.”. A great chamber pop record. Could be a year-end contender and its only February. Try: “Bread For Brat,” Year Of The Spawn,” and “Gay Goth Scene.”

Perhaps we are at a point in the evolution of Stephen Malkmus, where we can review a record without a reference to his old band – Pavement. With the Jicks, Malkmus, continues to evolve as an artist and songwriter, offering on Wig Out at Jagbags, observations from left field, mostly self-reflective as compared with self-absorbed, and focused on aging and the relationships impacted by the passage of time. Unlike many of the albums in the dropbox, the lyrics on Malkmus’ records take a center stage with the songs built to fit a particular mood. On Wig Out at Jagbacks, there is a definite 70’s a.m. radio feel to some of these songs, but the hooks are infectious disguising some darker subject matter. (See “Lariat”). Like most of Malkmus’ solo work, not everything works, but also like similar bands surviving the fallout of 90’s indie rock stardom ( I’m thinking the Lemonheads as well), there is enough going on to make the entire experience enjoyable. Whether it is from country shuffle, to mock punk rock, the music provides supporting emotion to the lyrics and that my friends is part of the adventure. Try ”Lariat,” “Independence Street,” “Rumble at the Rainbo.”

Well here is a first from the dropbox – Taymir, a band from The Hague, Netherlands, produces a killer debut record that reminds me of the much loved Hoodoo Gurus from Australia. This is a melodic rock record with big songs and terrific riffs that warrant repeated, I repeat – repeated listening. For those of you afraid of bands from foreign countries because they don’t sing in English, no worries here because the band is fluent in rock and roll. Singer Bas Prins has the pipes to make him the vocalist for Jet, with all of the swagger, and such a clear tone, and with the up tempo 60’s rock feel to this record (check out last track “Jenny”) this is a solid record from track one forward. I particularly like the “girl” songs on the record “Melanie”, Jenny” and “Taymir.” Catchy alternative pop. Have a good time! Try: “Aaaaah,” “Taymir,” and “All of the Time.”

The Notwist achieved brilliance on 2002’s Neon Golden and following that record nearly dropped off the map, resurfacing in 2008 with The Devil You & Me, which marked a left turn for the band both musically and sonically. For those who were expecting a repeat of Neon Golden were thrown a sharp curve with The Devil You & Me, and that curve is continuing to break on Close To The Glass. ( I like sports analogies – also see the Kevin Love example previously). For those of you who actually know me, this album is also a dramatic curve and not normally within the range of my typical sweet spot – melodic punk. This is an electro gem and I was surprised one day when I heard by accident the song “Kong” which had come up randomly in my iTunes playlist. Perhaps it was singer Markus Acher’s approach to the song, but the slightly buried vocal in the sprightly electro-pop was enough to seek out the album. There are a few oddball songs that feel out of place (the acoustic “Casino” for one), but maybe it is the palate cleaner, because its followed by another disconnected, discordant track “From One Wrong Place To Another” and then by the amazing “Seven Hour Drive.” While uneven overall, there is enough to recommend. Try: “Kong,” “Seven Hour Drive,” and “Run Run Run.”

Guster has produced one of the best live albums I can think of in a while, and they actually gave it away for free. Live With The Redacted Symphony puts new energy into songs spanning the bands career which began in 1993 and over 6 albums has produced remarkably consistent songwriting and music. Guster has toured with several symphony orchestras and these tracks are apparently some of their favorite performances. Opener “Satellite” is stunning and from there forward the album is a collection of brilliant performances of fan favorites. For me, these orchestral versions highlight the genius of the originals – so after you’ve digested these, seek out the albums from which they were birthed. You won’t be disappointed. Try “Satellite,” “This Is How It Feels To Have A Broken Heart,” and “Demons.”

Melbourne’s RazorCut captures Australia’s fascination with Oi! and streetpunk updating the primitive sound in the very decent offering in the form of Gone or Those Days – a 10” EP released on Rebellion Records. Nothing new in this genre, but the EP is a good time workout and for those who appreciate this type of music, something to add to the playlist of modern bands recapturing the spirit and energy of the original Oi! records such as the 4 Skins and Cock Sparrer, but the female backing vocals are a twist. Try: “Saving Grace,” “Marching On,” and “No Loyalty.”

PINS debut Girls Like Us, is worthy of the critical attention, but probably not for the reasons the band would hope. Because the record is going to be compared with a number of bands from way back (primarily Siouxsie and the Banshees and The Creatures) because of the Throbbing Gristle bass line and singer Faith Holgate’s sincere Siouxsie/Karen O vocal styling, it would be easy to dismiss this as another copyist/clone band. As this month’s dropbox demonstrates, there is nothing wrong or incorrect with a good copycat. While it may be helpful to have the predecessor bands as musical touchstones, the truth in application is that PINS has captured the best of Manchester’s history from its Zoo and Factory Records beginnings, from Echo & The Bunnymen though Joy Division with pit stops along the post-punk way. The most compelling part of Girls Like Us is that the sound is overwhelmingly hypnotic and at high levels causes dizziness. Hell,“Get With Me” flirts with the Go Go’s “We’ve Got The Beat.” In short, a twisted hypnotic journey through everything great about Manchester’s history with just enough of a difference to make it all – memorable. Try: “Lost Lost Lost,” “Girls Like Us,” and “Play With Fire.”

Debut LP from Irish noise pop band September Girls collects four singles from previous EPs and thus you could predict that Cursing the Sea will be a hit in countries other than the United States – which as we have already noted, is a %$#%@% island isolated from the rest of the musical planet. No mind, because you get a chance to hear Cursing The Sea and let the September Girls subversively influence your close and trusted friends and associates who enjoy listening to things that are not on the radio and believe that there are great new artists and music being created that are perfectly enjoyable without the radio promotion and marketing. As a consequence the cult of personality does not influence the sonic results. Such is the case with September Girls. This is a reverb heavy garage-y type noise pop that doesn’t tread new ground; has no No.1 hit single present on the record, and is girl group intense with the fuzzy lo-fi production thoroughly enjoyable. Try: “Left Behind,” “Daylight,” and “Someone New.”

Want to know the power of the Voice television show? Well on A Great Big World’s new release Is There Anybody Out There (which by the by was in the dropbox before the Voice show) there is a track called “Say Something” that is suddenly ubiquitous after the duet with Christina Aquilera. Can you say massively big. Essentially a bedroom project composed by duo Ian Axel and Chad Vaccarino, and consequently is being killed by the critics. And I mean absolutely killed for Axel’s grating vocals (sure – they are a little grating), overwrought piano stylings ( a clumsy Bill Joel), and as the New York Times critic wrote a “painfully executed” release marked by dullness and clumsiness. “Mr. Axel especially has a grating voice with no color, almost digital in its simplicity.” So, why is it in the dropbox, you might wonder? Because we don’t need no stinking critics. The record, is what it was intended to be – a debut record consisting of a number of songs written at different times, highlighting an interest in pop music. I do like the critic who called it nerd pop – an apt description for this particular genre. I’m a sucker for piano (Ben Folds Five) and it is the moments on this record that work and that is why it made the dropbox. Sure, there is some very weak songs lyrically on the record ( “Everyone is Gay” comes to mind) but this is more than made up by songs like “Rockstar” which are like a fun record – happy and well crafted. What’s wrong with Broadway show tunes? So for what’s its worth the NYT critic is just plain wrong. Try” Rockstar,” “Say Something,” and the clumsy Billy Joel like song “I Really Want It.”

Another Los Angeles band seeking its fortunes overseas, Bad Things, prior to the release of its debut were only known as the band in which snowboarder Shawn White plays guitar. Apparently, that was enough to get the band some notice, and on this debut, White’s playing is workmanlike, because the real star is former Billy Boy on Poison singer David LeDuk, who turns in an excellent performance on this straight forward alt-rock record. The sound is kind of what you would expect – part Killers, part Augustana (former bass player Jared Palomar is part of Bad Things), with some angular guitar and throbbing bass, big choruses – everything radio ready. There is just enough in LeDuk’s voice to prevent the band from becoming another group of faceless white guys, but its going to take a little luck. Try this trio of catchiness: “”Saturday Night, ”“Anybody,” and “Lonely Eyes.”

Nashville’s Moon Taxi is kind of in my indie sweet spot right now. Having recorded this EP in New York the day before their excellent third album Mountains Beaches Cities was released last year, I had neglected to drop this in the box. So, here you have it. This is a solid performance highlighting the bands distinctive songwriting and musicianship with stripped down versions of songs on Mountains Beaches Cities. There is a Kings Of Leon flavor on these songs, possible because of the country rock feel to some of these tracks – but this is not country. Intricate songs with excellent vocals by Trevor Terndrup feature on this outing, but Moon Taxi is more than just a one man band. Try: “The New Black,” “River Water,” and “Running Wild.”

I love the supergroups. And The Crunch is not your typical supergroup by a long shot. Featuring former Clash member Terry Chimes alias Tory Crimes, Dave Tregunna (Sham 69, Lords Of The New Church), Mick Geggus (Cockney Rejects), and vocalist Sören “Sulo” Karlsson (The Diamond Dogs) these lesser members of other bands have actually produced a well written punk rock record fully of catchy choruses, tight playing and in short – a great listening time. It’s easy to poo poo these types of records as they filter through the sonic sphere, often dismissed and easily forgotten, but this record avoids the problems with other punk rock supergroup records. The players in The Crunch get it – they are done with trying to be something from their past – they have brought spirit and life to these songs as a group. They are busy making noise and it sounds like fun. This is straight forward punk rock in the vein of later Stiff Little Fingers, which would go down live very well. I’d pay for the ticket. Try” Fire Again,” “Busy Making Noise,” and Right About Now!”

An unreleased radio show from Jellyfish whom have previously graced the dropbox following the reissues by Omnivore records last year. So, I had neglected to put this one in the dropbox. I was a fool. This ten-track compilation of radio broadcasts recorded two decades ago, showcases the strength of the band immediately prior to the release of the bands second LP, Spilt Milk in 1993. Recorded in two locations – the Netherlands and Australia, the acoustic setting, which was novel at the time, showcases the Beatles flavored power pop of what turned out, in hindsight, to be the band’s greatest hits. Try the stunning version of “The Man I Used to Be,”, “The King Is Half Undressed,” and “The Ghost at Number One.”

Hard To argue with the inclusion of Imperial State Electric release Reptile Brain Music which I neglected to include last year in the dropbox. I’d already pegged them as one of my favorite bands previously, but as I was extremely busy, I goofed and just plain missed the record although I had played it easily 50 times since first grabbing it. Why is it good? Because it picks up where the Hellacopters left off – straight forward very loud melodic rock all carefully crafted into a fun record. In many ways Imperial State Electric is an anachronism featuring all of the elements of early Kiss and Thin Lizzy amped up on musical steroids – and as you know, all good things in music for me can trace back to Kiss (except the makeup). Thanks Mom! Try: “Underwhelmed,” “Stay the Night,” and “Eyes.”

Merge recording artists, Hospitality new record entitled Trouble is a quietly loud record. That is, the Brooklyn three piece have on this second album altered their approach slightly away from the bouncy pop rock of the debut, expanding their palate to allow the songs some ah… breathing room. This is particularly true on the beautiful single “Rockets and Jets” with vocalist Amber Pampini’s delicate vocals floating through the synthesizer and bright guitar’s. The ballads work best on Trouble. Some great moments and great tunes with some restrained guitar playing that would come off great played live. Imagine a dark lounge with a small stage and this trio playing beautiful head turning music as you relax on your barstool. Try: “Rockets and Jets,” “It’s Not Serious,” and the delicate acoustic number “Sunship.”

Hailing from St. Louis, Pretty Little Empire’s self-titled third album, highlights a band ready to break out of their hometown and in a most deserving manner find a much broader audience. This band is also in my sweet spot – indie pop with a touch of alt-county sheen. This, like the Hospitality record, Pretty Little Empire is delicate as most of the songs are slow, but unlike Hospitality, there is a grittiness to the singing and playing that captures you from the first track – the intricate guitar work of William Godfred over the throbbing bass and then vocalist Justin Johnson’s whiskey touched vocals. Well worth a mention as there is no way any of this would end up on any commercial rock station or even a college indie station because there is no way Pretty Little Empire will achieve any street credibility. This is a working person’s record – for those who still go out Friday night for a good time. Perhaps Pretty Little Empire could be my favorite bar band. Try: “The Way You Say It,” “Talking Loud,” and the lo-fi recording of “Nest.”

Another victim of being a December release, States’ second album Paradigm is also a thing of beauty. The band is a blend of former Lydia vocalist Mindy White and several members from indie rockers Copeland: Jonathan Bucklew, Stephen Laurenson, Brian Laurenson, and Dean Lorenz. States retains all of the dream pop charm from the first record, but have mixed things up by varying the tempos throughout the record, adding some interesting elements, i.e some fuzz, both of which makes for a very interesting and cohesive record sounding like – States. That is, Mindy White’s voice is a throwback to the 60’s girls groups and captivating, particularly on tracks like “All In My Head.” Great indie record arrives all sunny in December: Try “All In My Head,” “The Night,” and “I Hope You Stay Gone.”

For those of you not old enough to remember XTC – the U.S. one hit wonders only known here for the track “Dear God,” – then you missed a band full of brilliant songwriters and experimenters willing to take huge risks and one of the best bands in the form of their alter ego band the 60’s psychedelic gurus The Dukes Of Stratosphere. So, what does that have to do with U.K. rockers, Temple’s debut album, Sun Structures? A great deal it turns out. Temples make no bones about their efforts to incorporate all of the best of 60’s psychedelia into a crate digging marathon as you try to figure out the influences. Sure, this could come off as a little pretentious, as the sound on this record is like the Dukes of Stratosphere record thirty years earlier – note perfect. There are elements of new psychedelia present and the tempos are definitely more modern, but for me, it has the correct blend of T. Rex, 13 Floor Elevators (particularly on the title track ”Sun Structures”), the Electric Prunes, and the Byrds – a nice amalgam of the sounds of an era, updated for today’s listeners. I’d love to see this show live. Try “Sun Structures,” “Mesmerise,” and “Test of Time.”

With a different take on new psychedelia, British psych-rockers Toy’s second album Join The Dots, is more focused album than the previous release but still mixes the Stone Roses informed shoe-gaze dream pop with experimental flourishes that transcend the typical psychedelic records that are becoming more prominent given the recent success of Tame Impala. On Join the Dots, the lyrics are still a little clumsy but musically the song structures are energized. The songs, overall, still fit the conventional structure – the guitars are the centerpiece. They announce their presence to great effect by building tension and then suddenly releasing that tension is an explosion of sound. Be forewarned, the tracks are lengthy as the band prefers not to edit but rather – flow. Opening “conductor” is a lengthy instrumental that fits nicely as an introduction exposing the listener to the overall feel of the record, and the closing track “Fall Out of Love” puts the finishing touches on an exciting experience. Try” Fall Out of Love,” “You Won’t Be The Same,” and “Left To Wander.”

Shropshire, UK-based rock band Fight the Bear (I know – where the #$&^$^ is Shropshire?) on Thirty Eight Degrees, have perfected the sound present on their two fine earlier releases Dead Sea Fruit (2009) and Gutter Love (2006). Thirty Eight Degrees is a mix of Pastel’s pop and Del Amitri guitar that bounces along, particular on the single “It Gets Better” with its catchy sing-a=long chorus. The album works on several levels, and is a pleasant listening experience throughout. I think if there is a flaw is that there are no massive moments that would turn it from an above average listen to an excellent one. However, a minor flaw. Try” “Fall Apart,” “It Gets Better” and “Thirty Eight Degrees.”

I love the jangle. Jangle pop is that sound produced by R.E.M. in its early days and made famous by a host of bands including Let’s Active, Don Dixon, Guadalcanal Diary, dBs, and Game Theory in the early to mid-1980s has arisen in the form of Helsinki Finland’s Delay Trees on their exceptional record Readymade. Three albums in, the band still plays the sedate version of jangle pop like they invented the genre. For me, it almost makes me want to wax nostalgic. Killer track “Fireworks” with its chorus “It’s Not Enough” and the dramatic chord change at the end hits the sugar meter hard. Absolutely I am blown away by this record. Try” Perfect Heartache,” “Fireworks,” and “Sister.”

Rollergirls has flirted previously with a couple of styles – post punk and screamo come to mind, but on Satisfied With Less, I think they have found the balance – producing a noise punk record that it interesting and stands on its own merit without the weight of its past creating an uncomfortable burden in the present. For most of those reading the review Rollergirls will be a new band and a new opportunity to discover a band without knowing what the previous albums actually sounded like. The production on Satisfied With Less is an improvement at least in the mix as the guitars are crisper and the jazzy elements resonate much like later Husker Du/ Minutemen records. Hell, Rollergirls is from Darnstadt, Germany – a city in the Bundesland (federal state) of Hesse in Germany, located in the southern part of the Rhine-Main-Area (Frankfurt Metropolitan Region). So there, now you know. Try “Satisfied with Less,” “Everything Will Work Out,” and “Bastard.”

Dave Elkin’s the former lead singer of Mae, after leading that band for more than a decade has emerged after relocating to Nashville as Schematic. On his debut Color (n.) Inside The Lines, Elkins, working in collaboration with some friends – Jeremy Lutito (Leagues), Chase Lawrence (Coin), and Eleanor Denig, has produced a very fine indie rock album which displays some of his prior bands expression, but mixes it up with some synths and bleeps as well as the piano that was present in Mae. All of these new elements don’t detract from the overall quality of the record. Sure, it is not a Mae project, but if you liked that band, then this is not a great leap forward. Quality songwriting can’t be denied. Still has a tendency to be indie prog rockish (autocorrect had this word as rockfish) at times, but the vibe is great. Elkin’s is still moving forward…and I like it. Try: “Stand,” “All-Time Quarterback,” and “I Am The Car.”

If a band want’s to move in a new direction, and fresh start the project, then of course – you change your name. Debut album by Self Defense Family is really the band’s fourth – having previously recorded under the End Of A Year moniker. So, staying true to their post-punk roots, Self Defense Family has tried to expand the definition of art-punk by including an approximately 40-minute-long interview with the 1980s pornographic actress Angelique Bernstein (known by industry name, Jeanna Fine), split between two tracks titled “Angelique, Pt. 1” and “Angelique, Pt. 2”. According to Wikkipedia (and confirmed by me as I listened to the compelling interview of the very smoky voiced Angelique): The interview was conducted by Self Defense Family vocalist Patrick Kindlon and guitarist Andrew Duggan in a motel in New York, and the original recording is over three hours long. The portion of the interview that appears on Try Me tells Bernstein’s early life, including as Lukas Hodge of Noisey puts it, her “fatherless, bullied, sexually confused childhood, to living on couches and in doorways, to an abusive relationship, told in disturbing detail, in which she essentially becomes a prisoner,” but ends before she can get into her porn career. About the interview Kindlon said, “She’s just an interesting person. She has an amazing personal history and you don’t need an interest in pornography to find her story compelling. You just need an interest in human beings.”

And so it is here. You may not be familiar with Self-Defense Family’s genre of music which tends to the darker side of post-punk, but it is compelling. There are some recognizable Pere Ubu/ Fugazi elements and “Nail House Music” is an amazing track – loud, angry and dark. Great stuff! Definitely not a KROQ record. Be forewarned some NSFW lyrics – almost all highly effective. Some of the tracks are a little long (such as the beginning of “Dingo Fence” with a mindless studio rant that it much better when we get to the actual song at 1:51) Try: “Nail House Music,” “Fear Of Poverty In Old Age,” and “Mistress Appears At A Funeral.”

Another band with a new direction and new start is Boston’s Girlfriends who have kicked around town for a couple of years, briefly added a new member who abruptly left, and now have a new name…The Bent Shapes on their debut Feels Weird mine the pop-garage vein lie early Modern Lovers (but without Jonathan’s distinctive voice) but perhaps its just the guitar work. Not quite ready for the big leagues, not a hipster favorite, but definitely an enjoyable sound in particular on tracks like “Panel of Experts” where the flavor of Material Issue shines through the track. Just the right amount of fuzz on the album keep it all very interesting, and these guys have mastered the three minute or less song. Try: “Panel Of Experts,” “Brat Poison” (which has a pop Dead Kennedys feel – when you listen to it you’ll hear the resemblance to “I Am The Owl”), and “What Do You Get??”

Based in London, Cheatahs self-titled debut has everything the UK press would love – hints of the Stone Roses, and a complete submergence in the 90’s shoe gaze scene with the U.S. equivalent of distortion laden guitar noodling’s a la Dinosaur Jr.; Irish equivalents like My Bloody Valentine; and a number of U.K. period bands such as early Catherine Wheel and Ride. Some hate it when bands mine old territory as not being terrifically original or authentic. Who cares? Really, as I am so tired of everything that radio plays now, something loud, noisey, fuzzy, kind of feels right. Also, has one Canadian from Edmonton! Try: “Get Tight,” “Cut The Grass,” and “The Swan.”

The Growlers are prolific. Not Psych!, released in October of last year, was an advance blast before the release of the excellent Hung At Heart LP and was the second EP of 2013 for the California surf poppers. Not Psych! highlights the rockabilly/ garage roots rock of a band with a Doors fetish. Try: “Hiding Under Covers,” Humdrum Blues,” and “Nobody Owns You.”

Time for a little break in the action. At this point, I’m getting a little tired, but we are almost at the end. So, onward and downward:

Milwaukee’s Like Like The The The Death on their second album Cave Jenny pack a ton of interesting stuff into each noise rock track on this amazingly diverse record. Hard to miss when the opening track “Here Comes the Irregular” is a play on the Replacements awesome hit “Here Comes A Regular.” It’s loud, raunchy, ridiculously catchy punk rock that ends far to quickly at only 30 minutes of energy. That’s the secret to a great record in this genre. Short, sharp, and every song should feel like the band’s last and, in LLTTTD’s case, they have achieved greatness. Play really loud – it will cause your dad to yell “turn that #@%$% off!” Awesome. Try” Here Comes The Irregular,” “Cry Tag,” and “Hypnic Jerk.”

Chico California and Tooth & Nail recording artists, Number One Gun have been kicking around for a while and after a four year hiatus are back with a crowd funded release in the form of This Is All We Know a straightforward melodic rock record that actually works pretty well. Perhaps it’s the return of the original members of the group who left lead singer Jeff Schneeweis two record the last two records using the Number One Gun name. All I know is that there is an energy to the songs on this record that transcend the emo laden lyrics. Definitely accessible, although even I admit that there could be a few more tempo changes as there is a sameness creep to the album. For me, I listened to this on shuffle with the rest of the stuff on my iPad and when I hit upon a track from this record, I would always look to see who it was. ‘Nuff said. Try” Heartbeats,” “Get A Little Weird,” and “Disappear.”

Another fairly local act, Ventura California’s Spires, arrive with another offering of California sun drenched jangle pop containing Byrdsian riffage and remind me of the much loved Game Theory in a number of ways. Having released a number of fine albums over the past decade or so, the Spires are remarkably consistent. So, if you are a jangle pop aficionado, look no further than Eternal Yeah. Try: “Rats Win The Last War,” “Everyone Went Home,” and the lengthy “Cracked Mirror State.”

Richmond Virginia’s Sundials have compiled a collection of 7” records and unreleased songs that trace their evolution from a conventional pop-punk Weezer inspired band through their Alkaline Trio hero worship phase (given a not to subtle nod by the album cover art which replaces the cassette tape of the original with a CD also now an anachronism) and beyond in what is a great introduction to the band and their brand of catchy three minute pop-punk. Varied sound quality, but excusable given the obvious talent of the band. Try: “Always Whatever,” “Mosby Street,” and “Shelter Girl.”

And last but certainly not least this month – City Lights, hailing from Columbus Ohio finally released their latest version of punk rock in December after nearly a three year wait. And, to me, the album is a complete success. True punk rock in the mainstream is much like the rhino ( I was going to say slowly going the way of the buffalo, but they are on the rebound). Tragically, pop punk as a genre is dying off as bands compromise their intensity for nonexistent radio play and perhaps a slot on the warped tour. This, to me, squeezes the life out of this narrow niche of bands as they must either conform to the want of the money holders or suffer the inevitable breakup. Why, you think is this relevant? Because on The Way Things Should Be, City Lights offers a collection of songs exactly the way things should be – fast, loud, and catchy and without compromise. This is straight forward pop punk. Like it or leave it. Try: “See You at the Top,” “Leaving Here,” and Idols.

I’ll be back at you shortly – I promise!

Here is the list:

You Me At Six – Cavalier Youth (Deluxe Edition)(2014)
VA – Killed by Deathrock Vol. 1 [2014]
Rifles – None The Wiser [2014]
Uncle Tupelo – No Depression (Legacy Edition) [2CD] [2014]
Maxïmo Park – Too Much Information [Deluxe Edition] [2014]
Bombay Bicycle Club – So Long, See You Tomorrow [2014]
Broken Bells – After The Disco [2014]
BNLX – Produit Colllect (Collected Product) [2013]
Against Me! – Transgender Dysphoria Blues [2014]
Beck – Morning Phase [2014]
Dum Dum Girls – Too True [2014]
Hold Steady – Rags [2014]
Republic Of Wolves – Empty Vessels [2013]
Republic Of Wolves – No Matter How Narrow [2013]
Transit – Futures And Sutures [2013]
Warpaint – Warpaint [2014]
View – Seven Year Setlist [2013]
Young The Giant – Mind Over Matter [2014]
Taymir – Phophene [2013]
Stephen Malkmus & The Jicks – Wig Out at Jagbags [2014]
Notwist – Close to the Glass [2014]
Guster – Live With The Redacted Symphony [2013]
Hidden Cameras – Age [2014]
Razorcut – Gone Are Those Days [2013]
PINS – Girls Like Us [2013]
September Girls – Cursing the Sea [2014]
A Great Big World – Is There Anybody Out There [2014]
Bad Things – Bad Things (Deluxe Edition) [2014]
Moon Taxi – Acoustic on West 56th EP [2013]
Crunch – Busy Making Noise [2013]
Jellyfish – Radio Jellyfish Live Radio Broadcasts 1993 [2013]
Imperial State Electric – Reptile Brain Music [2013]
Hospitality – Trouble [2014]
Pretty Little Empire – Pretty Little Empire [2013]
States – Paradigm [2013]
Temples – Sun Structures [2014]
Toy – Join The Dots [2013]
Fight The Bear – 38 Degrees [2013]
Delay Trees – Readymade [2014]
Rollergirls – Satisfied With Less [2013]
Schematic – Color (n.) Inside The Lines [2013]
Self Defense Family – Try Me [2014]
Bent Shapes – Feels Weird [2013]
Cheatahs – Cheatahs [2014]
Growlers – Not. Psych! [2013]
Like Like The The The Death – Cave Jenny [2013]
Number One Gun – This Is All We Know [2014]
Spires – Eternal Yeah [2013]
Sundials – Always Whatever [A Collection of Songs from 2009-2012] [2013]
City Lights – The Way Things Should Be [2013]

January 11, 2014 Dropbox Notes

Posted on January 11, 2014 by KFR

Welcome to another year of Dropbox Notes ! This month’s offerings are the best of last year, i.e. my favorite records from 2013.

In the past, I have posted my best albums of [insert year] list with little regard to the order on that list. That is, I just posted my favorite records of the previous year in an approximation of what I liked the best. This year, I struggled to try to get through at least the first 30 albums in order of how good I thought they were; how much I enjoyed listening to them, and how likely I would go back and play them after not listening to them for a year.

That qualifier – whether you would go back and listen to a record after a year of not playing the album – appears (at least to me) to be the real test of a list like this. In the past, most of the other lists I have reviewed (you can find some at rocklist.net) from some of my favorite magazines have not contemplated the long term impact of the records they claim are the best and greatest of the year. Some magazines do a better job of this (and I am confident it is completely unintentional) than others.

For example, looking back just 5 years to 2008, compare these two top 20 lists from Q Magazine and Spin:

Q Magazine 2008 Top 20

1. Kings of Leon – Only By The Night
2. Fleet Foxes – Fleet Foxes
3. Coldplay – Viva la Vida
4. Vampire Weekend – Vampire Weekend
5. Glasvegas – Glasvegas
6. Duffy – Rockferry
7. TV On the Radio – Dear, Science
8. Elbow – Seldom Seen Kid
9. Raconteurs – Consolers of the Lonely
10. Nick Cave & the Bad Seeds – Dig!!! Lazarus, Dig!!!
11. Sigur Rós – Með Suð í Eyrum Við Spilum Endalaust
12. Keane – Perfect Symmetry
13. MGMT – Oracular Spectacular
14. Kaiser Chiefs – Off With Their Heads
15. Lil Wayne – Tha Carter III
16. Hot Chip – Made In the Dark
17. Adele – 19
18. British Sea Power – Do You Like Rock Music?
19. Goldfrapp – Seventh Tree
20. Gaslight Anthem – ‘59 Sound

Spin 2008 Top 20

TV On the Radio – Dear Science
Lil Wayne – Tha Carter III
Portishead – Third
Fucked Up – Chemistry of Common Life
Fleet Foxes – Fleet Foxes
Santogold – Santogold
Deerhunter – Microcastle
Hot Chip – Made In the Dark
Coldplay – Viva la Vida
MGMT – Oracular Spectacular
Elbow – Seldom Seen Kid
Erykah Badu – New Amerykah Pt 1: 4th World War
No Age – Nouns
Vampire Weekend – Vampire Weekend
Beck – Modern Guilt
My Morning Jacket – Evil Urges
Roots – Rising Down
Nick Cave & the Bad Seeds – Dig!!! Lazarus, Dig!!!
Okkervil River – Stand Ins
Gnarls Barkley – Odd Couple

There is a little overlap on these two lists but on average from the Q Magazine list, I would listen to 5/20 (25%) and from the Spin list I would listen to 4/20 (20%). Can you guess which records I’d probably revisit?

With this personal observation i.e. that there are very few records that I would continue to play after a gap of a year, this list is prepared with that objective also in mind – looking forward 1 year from now.

And perhaps that is the goal of this “Best of 2013” list – to check back in a year and see how many of the 100 listed here you would go back and listen to in 2015.

With that said, here is my list of the BEST OF 2013 (all capitals because I am shouting):

Tales From The Dropbox Best Albums of 2013

Savages – Silence Yourself
FIDLAR – FIDLAR
Pacific Air – Stop Talking
Guards – In Guards We Trust
The Men – New Moon
Arctic Monkeys – A.M.
Kurt Vile – Wakin’ on a Pretty Daze
Paper Lions – My Friends
Parquet Courts – Light Up Gold
Palma Violets – 180
Fuzz – Fuzz
The National – Trouble Will Find Me
Paper Aeroplanes – Little Letters
Chvrches – The Bones of What You Believe
Speedy Ortiz – Major Arcana
Pure Love – Anthems
California X – California X
Foals – Holy Fire
Future Of The Left – How To Stop Your Brain In An Accident
Arcade Fire – Reflektor
Mikal Cronin – MCII
Vampire Weekend – Modern Vampires of The City
Starflyer 59 – IAMACEO
Miles Kane – Don’t Forget Who You Are
Lydia – Devil
London Grammar – If You Wait
Royal Bangs – Brass
Upset – She’s Gone
Waaves – Afraid of Heights
Deerhunter – Monomania
The Julie Ruin – Run Fast
Jagwar Ma – Howlin’
Haim – Days are Gone
Bad Sports – Bras
Bastille – Bad Blood
My Bloody Valentine – m b v
Deap Valley – Sistrionics
So So Glos – Blowout
Wooden Shjips – Back To Land
Drenge – Drenge
Hookworms – Pearl Mystic
These New Puritans – Field Of Reeds
The Knife – Shaking The Habitual
Julia Holter – Loud City Song
Waxahatchee – Cerulean Salt
Iceage – You’re Nothing
Yo La Tengo – Fade
Superchunk – I Hate Music
Volcano Choir – Repave
Phoenix – Bankrupt!
Purling Hiss – Water on Mars
Roshambo – Lonesome Men From The Woods
Pissed Jeans – Honeys
Queens of The Stoneage – Like Clockwork
Phosphorescent – Muchacho
Local Natives – Hummingbird
Factory Floor – Factory Floor
Foxygen – We Are The 21st Century Ambassadors of Peace & Magic
Riots – Time For Truth
Wonder Years – The Greatest Generation
Fall Out Boy – Save Rock And Roll
Forest Swords – Engravings
James Blake – Overgrown
Thee Oh Sees – Floating Coffin
Mutual Benefit – Loves Crushing Diamond
Strypes – Snapshot
Acres of Lions – Home(s)
Daughter – If You Leave
Grouper – The Man Who Died in His Boat
Ballet – I Blame Society
Tegan and Sara – Hearthrob
Peace – In Love [Deluxe Edition
Taymir – Phosphene
Chastity Belt – Ne Regerts
Auto Defiance – Running on The Edge
Jimmy Eat World – Damage
Courtney Barnett – The Double EP – A Sea Of Split Peas
Dirtbombs – Consistency Is The Enemy
Fitz & The Tantrums – More Than Just A Dream
Hungary Kids of Hungary – You’re A Shadow
Imperial State Electric – Reptile Brain Music
Iron Chic – The Constant One
Sky Ferreira – Night Time, My Time
Matt Pond – The Lives Inside The Lines In Your Hand
Jake Bugg – Shangri La
Murder By Death – As You Wish Kickstarter Covers
Cage the Elephant – Melophobia
Teen Agers – I Hate It
Beware of Darkness – Orthodox
Super Happy Fun Club – All Funned Up
Middle Class Rut – Pick Up Your Head
Banquets – Banquets
Cults – Static
RVIVR – The Beauty Between
Exxonvaldes – Lights
Mama Kin – The Magician’s Daughter
Swearin’ – Surfing Strange
Dead Sons – The Hollers And The Hymns
Growlers – Not. Psych!
Guster – Live With The Redacted Symphony

I’ll add the covers if I get a chance, but otherwise enjoy the list. Part 1 of the list ( 1-50) dropped today. I’ll drop part 2 (51-100) around February 1, so a slightly shorter turnaround this month/

Let me know if you think I’ve missed something, or your thoughts on the list. If you have a list you’d like to share – post a comment or send me the list and I’ll post it.

Until later alligator! I wish you all a terrific and happy 2014. Peace out.

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