Monday Music Roundup

I went skiing this weekend, a rare occurrence for me despite living in Colorado. My body doth protest heartily today, after using muscles near-forgotten. I am a novice skier but by the end of the day Saturday I was hitting a stride where I wasn't fighting against the giant contraptions buckled to my feet and I could just glide down the mountain (almost) naturally. It felt at times like flying, silently.

It was a gorgeous day and occasionally the sun would break through the clouds and shimmer across Lake Dillon in the distance. Even though I was listening to things like The Strokes and The Darkness, I couldn't help but think of the Josh Ritter lyric, "The lake was a diamond in the valley's hand." A few times I stopped dumbfounded on the edge of the run and said out loud to no one in particular, "Man alive, that's gorgeous" -- all I have is a cell phone snap that doesn't do it justice.


We also saw a free Girl Talk concert outside at Keystone Friday night (part of the impetus for the original trip) and it was short but fantastic. Gillis could have held the stage for another two hours and I think we would have all been happy as cold little clams. Due to the fact that we were dancing outside on snow, it never got as hot and sweaty as your standard Girl Talk concert, leaving us all wanting more and more.

Here are a few new tunes in these waning weeks of the year:

Titus Andronicus
Titus Andronicus
This is a fantastically sloppy, raucous track from Jersey's Titus Andronicus. Like the band's live shows, the song is loose and unhinged, with frustrated lyrics about the creative pressures like "throw my guitar down on the floor, no one cares what I've got to say anymore." Frontman Patrick Stickles vows to write his masterpiece another day, but it sounds like they capture a fine visceral slice of their lives right at this moment. The band is named for the bloodiest of Shakespeare's plays, and the re-release of their debut album The Airing of Grievances is due January 19 (XL Recordings). They hit the road next month with Los Campesinos!.

Headin' Inside
Surf City
A dear friend is currently out of these snowy Colorado climes and spending a month in New Zealand and Australia. She regales me with emails about how humid it is there, while I am watching snow twirl outside my window right this minute. Fittingly, in the dead of winter New Zealand band Surf City (formerly Kill Surf City) brings a hot and feisty slice of July back into my music life this week. With an opening riff that sounds like the Jesus & Mary Chain channeling Dick Dale, they tie up the classic pop sound with "the simple structure meets raw energy" of punk. Their self-titled EP is out now on Morr Music.


Hurtin' You
Ben Kweller
Deep within Ben Kweller's gawky indie-rocker heart, which normally beats with sublime pop harmonies and sunny construction, there lies a downhome country fella. We've heard hints of it spun marvelously in 2006's self-titled album and more recently on his How Ya Lookin', Southbound? EP. But this new slide-guitar laden song from his forthcoming Changing Horses full length (ATO Records, February '09) just consummates the ongoing flirtation once and for all. And I'm glad.

Overcome
Juliette Commagére
One of the coolest girls ever to wield a keytar, the fearless Juliette Commagére fronts the L.A. band Hello Stranger, sometimes in knee-high red boots. Now embarking on a solo jaunt, Juliette gives me chills in the opening moments of this pristine song with cascading harmonies that sound more at home in a Tibetan monastery, but then breaks into a fine, loud Blondie-type rock. Ry Cooder guests on her enticing album Queens Die Proudly, out now on Aeronaut Records.


Girl Ain't Preggers
Grampall Jookabox
The world might be a better place if every song came complete with a video game where you can jump over babies while the song discusses the protagonist's conflicting feelings about the girl not being pregnant (starting with "I need some money right now, I can't pay for no baby," then moving into a surprisingly sentimental line of thinking about how cute tiny baby hands are, and ending with, "Don't it make you feel bad that the girl ain't preggers?"). Despite two of my guy friends each feeding over 25 babies on this game and being praised for their superior parenting skills, I regret to inform that I kept landing on the babies. Sigh. Grampall Jookabox's new album Ropechain is out now on Asthmatic Kitty.

Monday Music Roundup

As excited as I am to bust out my near-expert turkey skillz this week, I kinda hate late November. Around this time of year I suffer from unrelenting twinges of anxiety every time I listen to part of a new album, because great is my worry about excluding a late-year release for consideration as one of my favorites of the year. What if I just don't know it yet, and mistake that for not loving it? Will I adore it come February? What kind of a huckster am I?!

I'm reprising my talking head role (like Max Headroom) on NPR's World Cafe this year, and I am so aware of all the wonderful music this year held, and the inverse proportion to my amount of listening time. Sigh. I think I have 8 of the 10 favorites nailed down with two dark horse spots left to be filled. Wish me luck. What are your favorites of the year?


A few more tunes from 2008 that are very good:

City of Electric Light
Chad VanGaalen
The opening lines of this song are among my favorite this month: "And I thought you were the moon in the sky, but it turned out you were just a streetlight, you were burning like a hole in the night." Ah, the old story of mistaken identity; an error that many of us make. This track traces the journey from infatuation to disillusionment, and uses what sounds like xylophones. You cannot go wrong. Calgary's Chad VanGaalen makes shiny, multi-instrumental homespun recordings, with his newest release Soft Airplane out now on Sub Pop.

Not The One
Francois Virot
My NYC friend Cara posted this track from Francois Virot out of Lyon, France, saying that he had a "sort of shambolic happiness, a violent acoustic guitar player type. he's got the right kind of crazy going on in his voice." I love the torrent of strumming acoustic guitar as percussion, and the way he flirts with an untamed edge throughout this song. As he repeats, "It's over now; I'm not the one, not the one, not the one..." it's as if he is primarily trying to convince himself. Virot has a bunch of tour dates coming up, but mostly all in France. My brother is teaching English in Calais for the year, so maybe he can scrape together the funds to see this guy -- this kind of passion would be amazing live. Yes or No is out now through Red Eye Distro.


To Ohio
The Low Anthem
Hailing from Providence, Rhode Island, The Low Anthem has made a fantastic album that friend Bruce says sounds like a night ride home in Joni Mitchell's car. That's the best way I've heard yet to capture what this song feels like, from a band who hand silk-screens their CDs with love and says their ethos is "not entirely jaded yet: music that really is music, not an advertisement. Imagine that." Citing influences in the vein of Dylan, The Band, Tom Waits and Neil Young, they vacillate between stripped-down acoustic arrangements and a more rollicking jam that echoes modern contemporaries like The Felice Brothers. The female vocal harmonies on this song also add such a warm and bittersweet undertone. The band is currently unsigned, and their album Oh My God, Charlie Darwin is out now.


The State I Am In (live on BBC)
Belle and Sebastian
From 1996-2001, Glasgow's twee extraordinaires Belle & Sebastian recorded five sessions at the BBC for folks like John Peel, Mark Radcliffe, and Steve Lamacq, and they are now releasing this look into their early years as a band. If it's possible for the songs to take on an even more vulnerable timbre, they do here. I enjoy hearing the intimacy of these sessions, the acoustic takes on favorites, and the four previously unreleased songs. The BBC Sessions is out now as double-disc on Matador (second disc is a live gig from Belfast in 2001).


GMF
The Features
In 2005, I fell in love with the awkward indie pop of Nashville's The Features, with their song "Blow It Out" (celebrating sitting between a pair of speakers and playing vinyl very loud) making it onto pretty much every mixtape I created that year. This first single from their new album Some Kind of Salvation pulses with darker textures, and surprisingly reminds me more of The Killers. How did that happen? It's an interesting development for this ebullient band.

Monday Music Roundup, Tuesday edition

On this rather historic U.S. election day, I can almost feel the crackle of excitement in the air around town. I am pleased with this. I am excited for people getting involved and for the sense of personal commitment and ability to make a difference. As the wise Italian hip-hop sage Jovanotti once said in his song "Dal Basso" with Michael Franti: "tutto nasce dal basso (e poi va su)" -- all change is birthed from the bottom (and then rises up). Let's go out and do it.


The music of the week for me includes:

Black Rice
Women
As demonstrated at their scuzzy-loud, pop-layered, feedback-drenched show last night in Denver, there aren't actually any women in this Canadian band. They are, however, engaged in a fierce battle for "Worst Band Name To Google, Ever." Currently Air and Bread hold the title, but Cake and Spoon are close behind. Nice try, Women. Their self-titled debut album (out now on Flemish Eye) was recorded by labelmate Chad VanGaalen, and possesses a delightfully unclassifiable combo of '50s reverb, Warhol's art experimentation, and '90s spaceyness. The night seemed abuzz with folks wondering who this band was.

Steal Away
Murder by Death
It is not possible to hear this song and deny that the spirit of the Man In Black is back walking among us in fresh new incarnations. The moniker Murder By Death sounds vaguely emo, but actually they take their name from the 1976 Neil Simon/Robert Moore movie. This four-piece from Indiana turns an inventive and melancholic ear to their craft to create a uniquely brooding blend of creatively dark Americana. Red Of Tooth And Claw is their fourth album, their first on Vagrant Records, and the excellent Eric caused me to take a closer look at them when he wrote that it's "full of fatally-doomed antebellum romance and directly descended from the Southern gothic tradition." Yes.


Wicked
Blitzen Trapper
Currently on tour with Pavement's Stephen Malkmus and his Jicks, Portland's Blitzen Trapper comes through Denver later this week in support of their rad Sub Pop debut Furr. The title track is one of the loveliest songs to add to my playlist in recent months, and one creative friend wrote that it "makes me well up like I am watching that movie about sled dogs by disney," a description that amused me greatly. This previously unreleased tune from BT carries on a bit of that wild playfulness, and can be found on the soundtrack to the movie adaptation of Chuck Palahniuk's Choke, which also includes the 2004 Ben Kweller song "The Rules," and a Doors cover by Nicole Atkins & The Sea.

The Sun Smells Too Loud
Mogwai
The sweeping cinematic grandeur of Scottish band Mogwai will take the willing off onto mental escapades, much like what Sigur Ros does for me. The last I heard from Mogwai they were weaving their atmospherically gorgeous contribution to the Zidane documentary, but the newest free Matador Records sampler highlights this cut off their sixth album The Hawk Is Howling. It is dizzying like a bright sun, elegant in the build and cascade.


Good Arms vs. Bad Arms (live)
Frightened Rabbit
As I'll probably sum up in some sort of end-of-the-year retrospective, Scotland's Frightened Rabbit put on one of my top 5 shows this year. Some might shy from the guttingly brutal lyrics in their introspective-but-ferocious songs chronicling the death of a relationship, but I'll jump in. I'll do the catharsis, and they do it so well. Frightened Rabbit have a new live album out now on FatCat UK called Liver! Lung! FR!, which is an unconventional but fitting title for a band that eviscerates me like this. This version of Good Arms vs Bad Arms is slower, sadder and somehow more beautiful than the album version. It sounds almost like a eulogy, and in a way I guess it is.

Monday Music Roundup

No two ways about it -- I'm pretty proud of those Halloween carving adventure results. First time I ever tried one of those fancy kit things with tracing wheels and all (mine is on the right), and I still popped the eyeball out of the left eye and had to tape it back on (shhhh, don't tell). Since we always used dull carving knives and grabbed the gooey innards with our bare hands when we were kids, I felt a little out of my element when handed mini saws and ridged plastic scrapers. But what I lack in inborn creativity, I make up for in being able to trace.

I also solidified my costume this weekend at the Buffalo Exchange secondhand shop in Capitol Hill (Denver) with my friend Laurie. When she screamed and then died laughing after I tried said element on, I knew it was a keeper. My mom took out a needle and thread yesterday to make some alterations to the dress (because she is the best mom ever) and I am set. Boo!


Music for this week:

If You Want Blood (AC/DC cover)
Mark Kozelek
Gathering a wide variety of covers from his days with Red House Painters and also his solo career, Mark Kozelek is releasing The Finally LP on December 9th. Always staggering in the ways he reinvents originals, many of the tracks collected here were first featured on compilation albums that are no longer available. If you know me at all, you might know that I am a sucker for covers (and love his) so I will be picking this one up. AC/DC never sounded so pensive, so sensual, so sad. Listen to his previously unreleased cover of Husker Du's "Celebrated Summer" here, and pre-order the record on his Caldo Verde imprint.


Fresh Feeling (live in 2005)
Eels
This song takes me back vividly to a perfectly encapsulated feeling of, well, freshness. Possibility. Old paint peeling and new horizons suddenly coming into sharp focus. I never tire of the the sweet melancholic strings combining with the crispness of the sharp clean beat. This live version of Fresh Feeling is from Manchester in 2005, and part of a free 4-song EP for download on the Eels website as part of a promotion for the new Blinking Lights deluxe version. Lately I've been quite impressed with Eels reissues and special collections - the packaging and liner notes alone are a journey. And since I've never caught E live, I can always use more free live Eels. You have until tomorrow to go and get it!


Born In The '80s
The Boat People
While I watched Game 1 of the World Series, Bruce from Philly and I were electronically bantering, and he recommended I check out The Boat People from Brisbane and Melbourne. Their music is jaunty and bright and catchy - like Phantom Planet and the cousin Coconut Records. Even though the song talks about being born in the Eighties (and they likely were) don't let it mislead you -- the music isn't bound to that decade. Their album Chandeliers is out now, with colors and lines on that wonderful cover art that echo the feel of the music inside.

Black White
The Raveonettes
Julio feels nauseous when he thinks about how effortlessly cool Danish duo The Raveonettes are, and listening to this new attitude-laden slowburner from their fresh Beauty Dies EP makes me jealous as well. All I know is that when they make a movie of my life I kinda want a scene where I get to walk down the street with this playing. I will probably wear sunglasses. In keeping with their vibe, this feels like such a stark, spacious song while vibrating with those warm surf-retro guitar tones. So sexy. Stream the full EP here, it came out last week on Vice Records.


Duet (with Ray LaMontagne)
Rachel Yamagata
So one more song featuring Ray's warm voice before I head out the door to his show in a few minutes -- and this is an incredible tune that has knocked me flat. The duet here is from Rachel Yamagata's new album Elephants... Teeth Sinking Into Heart, and it is exceptional. One of my favorite Ray moments falls within the nakedness of early renditions of "Can I Stay," and this feels like its musical twin, or its postscript. Yamagata's voice has innate qualities that have always reminded me of a female Ray (or perhaps the sadness wound deeply into Lisa Hannigan's songs). Now the twain shall meet in this flawless, delicate, intimate bedroom classic.

Monday Music Roundup

This last week I started twittering. Suddenly all the small moments in my life are memorialized in 140 characters or less. So now in addition to being able to keep up with what some of my favorite real-life friends are doing RIGHT THIS MINUTE, I've also laughed daily at the twitter feed of writer Joshua Green Allen aka fireland. I don't know him for reals but I first read about him over on Heather's Dooce blog, and he turns out to live up in Denver. Now, my Denver is never as fun as his Denver, but now I can chuckle at his twitter feeds like: "First time I've ever been fired for sexual harassment during a job interview, but your sick gams ARE my biggest managerial weakness."

Allen also penned a great article about the perfect length for a song, and posits that it "had to be closer to three minutes than two, but definitely shorter than three minutes. Three minutes is where bloat starts to set in. Where the band thinks: Hey, let's do the chorus seven times. Hey, let's give the saxophone guy a real moment to shine on this one. Hey, let's add another bridge."

He goes on to give some love to The La's "There She Goes" as the ultimately perfect song of that perfect length. In sum, a man after my own heart. Listen to the 2:42 muxtape too if you're in an abbreviated mood.


Music for this week:

Pop Song
Starfucker
This Portland band played on Saturday at Denver's Hi-Dive but I was literally still trying to thaw under my comforter from a freezing afternoon attempting to understand Australian Rules Football in a friend's tournament over at the Air Force Academy. Starfucker rocked the joint, and I dozed cozily. But I'll bet the cool kids there enjoyed their sound -- sexy but not sleazy, light but with an undercurrent of electronic grime. I think this song should have played in Empire Records; it's got that mid-90s innocence and pop heft. Starfucker's self-titled debut is out now on Badman, and their cover of Madonna's "Burnin' Up" is also streaming on RCRDLBL. Worth noting, they are neither the NIN song nor the Belgian band of the same name, but apparently this recreational hobby seems to be hitting its stride.


Balloons (Foals cover) - Holy Fuck
Balloons (original) - Foals
Hey, while we're already using words that make my mom blush, let's throw this little nugget in here as well. This week Foals and Holy Fuck released a collaboration/mutual admiration society 12" where they each covered one of the other's songs. These dudes both played Monolith, so I like to picture them sitting down at the oxygen bar and coming up with this idea amidst the red rocks. It could happen. To get the vice-versa cover (Super Inuit), click here. The split 12" is out now on white vinyl via Young Turks, or on their tour(s).


Satanic Messiah
Mountain Goats
As I write this Sunday night (35° outside!), I've been listening to Mountain Goats on shuffle while I pack and go through stuff I'd rather not look through in prep for moving this next weekend. The poetic ache of Darnielle's lyrics, his indignation and passion keep these songs on repeat. The newly-released Satanic Messiah EP is not Darnielle's foray into black metal but rather a lovely 4-song acoustic collection with religious metaphor themes (not uncommon in his songs). Of these songs, Darnielle writes, "I am fond of them; they remind me of old vanished things." This particular tune is ostensibly about going to see a show or performance, and how "we were all made young when he stepped onto the stage, like an animal escaping from his cage," and then sings about how they all were "too dazed to leave when it was over." Mountain Goats play Denver on Friday night with Kaki King, and I'm going to hope for something similar.


I Can't Make You Love Me (Bonnie Raitt cover)
Denison Witmer
No, really. Listen to this cover, even if you haven't given Bonnie Raitt much thought since you (like my sister) sang this song in Pops Choir in high school. Philadelphia folk artist Denison Witmer loves covers as much as I do, and he's taken to releasing a whole slew of them for free in his achingly stripped-down style. Through his MySpace and a partnership with the ace Cover Lay Down blog, Denison has been giving away free songs on a regular basis, including ones originally by Band of Horses, Oasis, Van Morrison and Red House Painters. This particular one is my favorite of the batch. It starts with a settling in a room; you can hear the grey empty space starkly bouncing back his plaintive, resigned voice. It is an absolutely devastating song, and especially the way he does it -- all void and defeated. Witmer's new album Carry The Weight is out November 11th, and side project alert: check out his River Bends band with Steve Yutzey-Burkey of The Swimmers.


Urban Lull (At Once Charmed)
The Umbrella Sequence
I've said it before, but our local community college radio station is one of the best I've ever listened to. They have turned my ears on to so many things that I previously missed, like The Umbrella Sequence from Minneapolis. This song came over my car speakers the other day and I was instantly addicted and turned it way up. With sunshiney chiming pop melodies that fight valiantly (and occasionally win) through a scratchy wall of fuzz and electronica, they garner comparisons to Flaming Lips and Super Furry Animals. This is the lead-off track from last year's Events (on Princess Records), and like a good aspiring rock star, Ryan Rupprecht sings over and over "We're all getting bored" -- but no, I am definitely not. Great song.


OH, A CLOSING PLEA: Help me think of fabulous Halloween costume ideas, potentially surrounding a long red dress with marvelous sequin trim I found in my basement? I also have a red feather boa, if that helps (or perhaps doesn't). Or suggest something completely different. I'll probably be at the Girl Talk show first that night, so I could go dressed as a hipster in neon sunglasses.

Or just this, I suppose. That would be amazing. [via]

Monday Music Roundup, Tuesday edition

People, I tell you -- this month is going to be the death of me. I can't manage much banter, but I can offer you music.


No One's Better Sake
Little Joy
I love songs where something is a little off-kilter - syncopated or otherwise, just to keep you a bit ajar. Little Joy is the new sideband of Fabrizio Moretti (perhaps my favorite Stroke because of his divine percussive gifts), and the beginning of this song sounds a bit like your car radio has been jarred loose from its dashboard moorings. In Puerto Rico. In 1967. The eponymous Little Joy debut is out November 4th on Rough Trade.

Caroline Says, Part II
Lou Reed
I also love songs that bring you into them mid-thought, mid-scene. Songs are so ephemeral and short by nature that there's usually no way you can tell a cohesive story, as you would in a novel (well, unless you're maybe Josh Ritter but not many are). Lou Reed starts this song with Caroline getting up off the floor and finishing her sentence. She's angry, and I would be too because she apparently wants him to stop hitting her. Fair enough, and a bit heartbreaking. This snapshot comes from the live re-recording of the entire 1973 album Berlin: Live At St. Ann's Warehouse is out November 4th on Matador. When Berlin was first released, Rolling Stone reviewed it as one of "certain records so patently offensive that one wishes to take some kind of physical vengeance on the artists that perpetrate them...a distorted and degenerate demimonde of paranoia, schizophrenia, degradation, pill-induced violence and suicide." Thirty years later, the magazine named it one of the 500 greatest albums of all time.


Either/Or
Wild Sweet Orange
Their band name sounds like Celestial Seasonings, but this song from Birmingham's Wild Sweet Orange is a lot more vibrant than a cup of tea. I think I first listened to this album upon reading ace-eared Bruce write that lead singer Preston Lovinggood --yes, that's his real name-- had a voice that was "just earnest enough to satisfy the needs of Grey's Anatomyrock fans (listen to "Aretha's Gold") but also disaffected and lethargically-not caring enough for you indie-rockers (listen to the Malkmus-like "House of Regret"). We Have Cause To Be Uneasy is out now on Canvasback Music, and was produced by Mike McCarthy (Spoon). WSO is on tour with Counting Crows and Margot and the Nuclear So and So's in the coming months.

Talk About
Dear And The Headlights
This tune from Arizona band Dear And The Headlights is about our differences, those foibles that drive the ones who love us crazy. It starts with lines about being warm and naked, come to save each other, and (like it goes for many of us) the song progresses from well-thought out guitar chords to a sort of jangly angry cacophony with yelled lyrics like "I said oh God damn it, you're so mean" by the end. The mood of the song is so perfect to soundtrack their argument, and the way he yells when he gets truly frustrated echoes the cracks in Conor Oberst's vocals. Their album is called Drunk Like Bible Times (stream it here) with song titles fitting the album moniker, like "I'm Not Crying. You're Not Crying, Are You?" That sounds about correct. Their next album is going to be called, And Verily Adam Lay With Eve, And The Lord Saw That It Was Good.


Done With Love
Whispertown 2000
I missed the Jenny Lewis/Whispertown2000 show in Denver last week, but my friend Jake made it out to see the fair Rilo Kileyan and her new favorite band. He spent most of his time going jelly-kneed over Jenny (what can you expect from a blog called I'd Leave My Girlfriend For Jenny Lewis?), but he also enjoyed the "Cat Power vibe" and eighties-tastic denim shorts of these ladies, Morgan Nagler and Vanesa Corbala of Whispertown2000 (who also appear on Lewis's new record). I saw WT2k open for She & Him at the Noise Pop fest in San Francisco in March, and they've got an alt-country vibe mixed with those doo-wop girl group harmonies. Their sophomore album Swim is due out October 21 on Acony Records.

Monday Music Roundup

So I finally, finally saw No Country For Old Men this weekend (I know, right?!) and thought it was a near flawless film. As I've mentioned before, Cormac McCarthy has been one of my favorite authors from the first time I read All The Pretty Horses in high school. I've been mesmerized by his austere, profound, unadorned writing ever since.

The Coen Brothers did something extremely rare by accurately capturing the mood and tone of the book in addition to just re-telling the story. If you're even more behind than I am in this one, I won't ruin the ending -- but will say that it was one of the most perfect, piercing closing seconds to a film that I've seen in years.

This week is a busy one for me, holding 5 shows by my count. And I'll be moving into a new place downtown in a few weeks. Wish me luck -- heck, just wish that I survive. Here's what I'll be listening to amidst the madness:


The '59 Sound
The Gaslight Anthem
This song is about death come too soon, but Gaslight Anthem's sound wraps up these themes of youth and death with a defiance that burns through in their music with resistant lines like "ain't supposed to die on a Saturday night." Some say that these New Jersey fellows evoke a contemporary America in a Born to Run way, loose and raw [via]. Their song "High Lonesome" pays subtle tribute to a fantastic line from Counting Crows' first album, and I hear the urgency I love about Roger Clyne in the vocals as well. So yeah, they've got my attention. Gaslight Anthem is out on tour with Against Me, which I don't know much about but now see that they have an exclamation mark in their name - Against Me! So that might be too much excitement for me and I'll wait to check these guys out when they circle back through on the club circuit. What a show that would be -- I'd predict catharsis and the purity of rock n roll.

Oppressions Each
Brightblack Morning Light
New Mexico freakfolk collective Brightblack Morning Light is fun to read interviews with. Why? How about this gem: Singer Naybob Shineywater used to sing shows with an arrowhead in his mouth. Why? "To let his own sung words & breathe touch this stone before European ears could hear them." Naybob says, "I was not singing for war, but to engage the spirit of the maker of the arrowhead itself, to offer up Peace, that his warrior effort find a new respect, and to help my own warrior spirit sing in Peace." See? That's crazy fun right there. But no seriously -- if you're not all hippy dippy you still absolutely can and should enjoy this extraordinary song off their new album Motion to Rejoin (out tomorrow on Matador Records). It's incredible -- all thickly woven with retro sounds that sound like they are coming through a steamy bathroom, down the hall, and through a layer of feathers to your head under the pillow on a Saturday morning.


Get Yourself Home (In Search Of The Mistress Whose Kisses Are Famous)
These United States
The most recent Colorado show that Washington D.C.'s These United States played was a few weeks ago at a farm party for Labor Day out near Nimbus Road and Diagonal Highway in Niwot. I hear the two things that existed in some abundance were farmland and alcohol. This sounds like the kind of band that you could have a lot of fun with in those doses. After getting positive reviews all over the place from folks like NPR, KEXP and Morning Becomes Eclectic, These United States are releasing their sophomore album Crimes tomorrow on United Interests. There's a rustic folk charm here with a feisty and jittery thread weaving through this that would make M Ward proud.

Nice Train
The Donkeys
There's a simple aura of palatable psychedelica that vibrates through this song from San Diego's The Donkeys, along with a very basic rhyming scheme that reminds me in an odd way of "Girls" by the Beastie Boys. Don't believe me? Listen to the "how/wow/cow" sequence and tell me it doesn't echo "way/MCA/play/you may" bit. Or maybe it's just me. It's a unique blending of '60s rock with modern day heroes, and I think they also might reveal a possible love of folks like Pavement. Living On The Other Side was out a few weeks ago on Dead Oceans (Bishop Allen, Bowerbirds).


Hold It In
Jukebox The Ghost
Despite the heartfelt personal invitation from these endearing fellows who were passing out hand-drawn flyers on Saturday at Monolith to encourage people to get there early Sunday to hear their set, I failed. I wanted to, especially after listening to the ebullient pop of their album Live And Let Ghosts, and especially because they stand out from the indie crowd with that fun dash of Freddie Mercury vocal drama. Aquarium Drunkard rubs salt in the wound of my tardiness by writing that Jukebox The Ghost "set a high bar for the rest of the festival, cruising as they did through an infectious set of grandiose piano-driven pop -- for a 1:00 crowd, it was a packed and energetic room." They are on tour now across the country, ending in SF on October 18th.

Monday Music Roundup

The Getaway
Hawks of Paradise
I'm gonna dive right into this week's roundup with another great Denver band, this one of four I managed to see on Friday night through a combination of clever planning and masterful club shuttling. Hawks of Paradise were recommended to me by someone who is very much into the Dandy Warhols, and they absolutely dial into that sound as well as folks like Brian Jonestown Massacre and, more recently, Black Rebel Motorcycle Club (notably their beat-poet-influenced Howl album). They are amazingly fun to see live, even if you're just coming to watch their female tambourinist, who was cool and calm and fantastic as she kept her beat. A few more free songs are up for download on their MySpace, and they open next month for the Drive-By Truckers.


The Truth And The Lies
Rubies
My grandma's given name was Ruby Nell, and I am fond of that name and this band. And I think she would have been too. Rubies is something that you can listen to with your grandmother, but that is not to say it is staid, boring, or a waltz. This trio of ladies from California makes songs that are throaty and gorgeous, whether a coffeehouse slowburner or a dance-floor filler. Members of Kings of Convenience, The Concretes, and Feist guest on their current album Explode From The Center (out now on Rough Trade) and this could be the perfect soundtrack to those moonlight winter nights that, sorry to say, are coming soon. Also speaking of Feist, Simone from Rubies designed that stunning artwork for The Reminder, which makes me want to give her a very enthusiastic hug. That was some of my favorite album art of the year. [tune via Julioooo]

Acid Tongue
Jenny Lewis
At that DNC shindig, Jenny Lewis charmed us early in the set with this ballad and her indie-supergroup backup choir that night. The song is absolutely winning, and really illuminates her warm, open, and slightly knowing voice. But after hearing her perform it live twice now, I gotta say that this studio version sounds like Sunday gospel in a a full church with those backing vocals swelling up. Her solo album Acid Tongue is due on Warner Bros September 23, and 2 of her Unconventional stage-mates (Johnathan Rice and Zooey Deschanel) guest on the album, along with M Ward, Elvis Costello, Chris Robinson. Not bad, Jenny. Not bad.


Dying Is Fine
Ra Ra Riot
This Syracuse band blew me away when I saw them live in the tiny, sweaty Larimer Lounge this spring. Ra Ra Riot blends this irresistible "chamber pop meets indie rock meets synthesizer danceability," and they all were so tightly unified as a band that they practically cast off a humming vibration of synergy. Or something like that. I am so pleased to hear that their new album The Rhumb Line (out now on Barsuk Records) sounds absolutely divine, and this song in particular will stick in your head for days -- those delicate strings, the hipshaking syncopated beat, the chimey female harmonies that try to assuage your fear of dying.

You Don't Know Me
Ben Folds and Regina Spektor
I'll admit that Ben Folds may be an acquired taste, as he doesn't have a traditionally pretty voice but rather one that's ... pretty dorky. But he writes amazing songs. On this new tune he goes and experiments around with some early '90s-feeling beat samples and high school musical duet play. But for whatever reason, I still enjoy listening to this perky collaboration with the lovely Regina Spektor (whose set I so enjoyed at Outside Lands). Way To Normal is out September 30th, and Ben plays with his reunited five in North Carolina on September 18th.