Dead Confederate ::: photo by Abbey Simmons

When I heard that Dead Confederate was releasing a new tune for free, the aptly titled “Giving it All Away” featuring J. Mascis of Dinosaur Jr., I couldn’t download it fast enough. I’ve been a fan of the band’s moody growl since their self-titled EP in 2007 and the band even headlined a Sound on the Sound SXSW party in 2008. When I heard the band was teaming up with John Agnello (who’s worked with everyone from Sonic Youth to the Hold Steady) for the highly anticipated follow up of the crushing Wrecking Ball, my excitement doubled.

I should have clued in when the band announced the album would be called Sugar, that something was different. If the first single is any indication, the album is shinier, sweeter, with bright guitar in place of the rib-shaking riffs that thundered through Wrecking Ball. Hardy’s affecting bark is missing and in its place are smooth (albeit slightly nasal) vocals, that are most reminiscent of Band of Horses and Built to Spill’s most recent records. And it’s not just the vocals that are different, the foreboding fog that hung over Wrecking Ball has made way for sunshine and peppy-perfect production. (Which also reminds me of You in Reverse.) At least when it comes to this song, the edge and rawness that originally drew me to Dead Confederate in the first place is absent.

Thing is, if this song was by anyone but Dead Confederate, I’d probably love it. It’s a song that would sound great while driving 75 down some sunny US highway with the window rolled down, your hand riding the air. The drums are rolling and full, there’s a sunny pluckiness to the guitar and bass and the bright instrumentation plays with lyrics that aren’t always as upbeat. Word on the web is that the rest of Sugar will have more of what I’m hoping for from Dead Confederate (surging guitars, gloomy grunge, songs so loud they shake your bones and Hardy’s humongous growl), as well as songs like “Giving it All Away,” which find the band exploring new sonic territory. Even though my first taste of Sugar wasn’t nearly as sweet as I hoped, it still has me eager to hear more.

Share your email with the band and you can download “Giving It All Away” for Free (let me know what you think. The full album is out on August 24:

The asphalt streets of working-class steel town Hamilton, Ontario are 2,500 miles from Southern California’s sunny beaches, but listening to Hamilton band Young Rival could easily convince you the regions neighbor each other. Young Rival blends a dreamy California vibe seamlessly with their hometown’s gritty urban feel, creating a fuzzy, melodic sound that begs to be blasted from your open car windows all summer long.

On their eponymous LP, due out Tuesday in the U.S., Young Rival pays dedicated homage to the hazy, fuzzed-out sounds of 1960s California. Echo-laden guitars accompany vocals that sound slightly distant, as if you’re listening from around a corner or through a window. Classic surf-rock riffs frequently pop in to say aloha, and the band even offers up some sweet Beatlesque harmonies. And hooks? This album has more of those than a fishing tournament.

Don’t let the coastal influences mislead you, however: Young Rival has not forgotten where they came from. Unabashed Hamiltonians, their blue-collar work ethic anchors their work both musically and lyrically. “It’s getting hard just to make a living. You gotta work with what you been given,” they sing in “Workin’,” a song filled with tough kid swagger. Driving drum beats imbue a sense of urgency and keep the airy guitars from floating away. California dreamin’ or no, these boys are city kids, in touch with their town’s culture and its cadence.

So how do these two worlds combine? It seems like it would be a messy affair, arhythmic and clashing. But, like watermelon and cayenne pepper*, the combination produces an unexpected alchemy. The beat will have you stomping your feet and the melody will have you singing the words out the car window as you fly down the highway towards summer fun. Not too sweet and not too spicy, simultaneously stimulating and refreshing, Young Rival should be on everyone’s plate this season.

*Seriously, try it sometime.

Young Rival play the Vera Project Monday, June 7.

Download Young Rivals “You Got What You Need”

The Ironclads ::: photo by Abbey Simmons

Though The Ironclads are on an official hiatus from performing at the moment, that doesn’t mean the band isn’t still hard at work on their quirky, catchy, character-driven pop songs. During the brief week in December that guitarist and vocalist Jamie Cotton was back in Seattle, the band not only played three shows–they also wrote a brand new song (that rivals their delightful best) and recorded a handful of new demos. We’re thrilled that The Ironclads have let us debut two of these new tunes  for your listening and downloading pleasure.

After seeing “Emily” performed live once, the strains of the chorus were the first things I heard in my head as I woke up for the next few days. By the third Ironclads’  show that week, I was singing along to every word.

mp3: “Emily” (demo) - The Ironclads

If you’ve been in the front row with us at an Ironclads show over the past year, “iii” will probably sound familiar. We’re just so glad the band took the time to record another one of our favorites.

mp3: “iii” (demo) - The Ironclads

 This week’s track is by Owl City, the one man project by musician Adam Young. Yes, THE Adam Young. The song “Fireflies” comes from the Minnesota-based musicians’s latest release Ocean Eyes. It is currently the number one song on iTunes.

I’m having a hard time solidly digesting the assorted press I’ve found on the project. Let’s run through a few outside reviews so you can see what I mean. Here’s Jess Alatorre from indieshuffle.com:

“Owl City has been setting the web on fire.”

Hello, hyperbole! Good to see you so soon.

“Adam Young, sole musician of Owl City seems to have successfully appealed to the MySpace world.”

Seems? Jesus, take a stand. Did he or didn’t he? The problem with that word is that things aren’t always what they seem. Lemme give you an example. True story – a few years ago, a buddy of mine bought his mom a Christmas gift. “I found an ad for this neck massager,” he said, showing me the box that just arrived in the mail. Unfortunately, it was a vibrator. No, really. I swear to God. He found the ad in Parade magazine (that hotbed of senior citizen sexiness – they have a cartoon called Howard Huge, for Christ’s sake.) Sure, in the advertisement’s picture, the woman was using the device on the back of her neck. And she was smiling, probably in that “you know what this is really for” way. Except my pal didn’t pick up on it.

Out of mercy (and when I was finally out of laughter) I told him what he’d done. He was horrified and ended up getting her a gift certificate to Midas or some bullshit, but I always imagine what would have happened if I kept my yap shut. I can see the family gathered round the tree, clutching their mugs of egg nog, and my buddy presenting his gift by saying “Here’s something to help you relax mom.” Good thing his parents were divorced, as it’s pretty tacky to give a married woman a sex toy. Don’t matter if she’s under the mistletoe or not. Just. Plain. Wrong.

Anyhow, where was I? Oh, yeah – it may seem like Young has successfully appealed to the myspace crowd, but maybe… he’s just… you know… a… uh, vibrator. Hell, I even lost myself on that one. OK, ever forward we go.

Alatorre continues, “I’m going to be honest, I’m not the biggest fan, but it is worth offering these beats to the slightly more pop inclined.”

Such a benevolent blogger! Let’s get this guy a job at the soup kitchen. “Honestly, I’m not the biggest bologna sandwich fan, but I find they seem to appeal to the slightly more hunger inclined types that tend to frequent places like this particular Union Gospel Mission.”

“I think half of these songs offer an addictive electronic beat, with songs whose tunes echo in my head long after I take my headphones out.”

You think or it seems like you think?

“The lyrics try to be reflective, but most of the times they are just words, falling short of poetry.”

Yes, sometimes lyrics are just words. The music is sometimes just notes, too.

“This album might not be an artful masterpiece, but Adam Young has definitely positioned himself as an up and coming musician.”

Yes, it might not be an artful masterpiece. Or, it might. We’ll never know because you didn’t say. On the other hand, way to go with the use of “definitely.” Now put a bow on it and let’s go home:

“Ocean Eyes is best taken as a collection of poppy electronic songs to add a bounce to your step.”

True. If taken internally, it may cause some bleeding, hemmoraging, or cooties. Unless it’s in that sex toy iPod that’s sweeping the nation. Seriously, have you heard about these things? They’re called the OhMiBod, “the World’s First Wireless Music Vibrator.” Funny – it looks a lot like a neck massager. The OhMiBod should easily make number six on your list of “Top Ten Vibrators Not To Give Your Mom,” and number one if she’s a Rod Stewart fan. If you wanna know what it is, I’ll let the website explain it, because I sure as hell ain’t trying it out:

“OhMiBod is a sleek, sophisticated new generation of vibrator that combines elegance of design with the excitement of your favorite music. The audio enabled integrated microchip allows the OhMiBod ipod massager to vibrate to the beat and rhythm of your music while you listen. Measures 7 1/2″ long (5 1/2″ insertable) and 1″ in diameter. OhMiBod comes with an additional multi-speed endcap for use without an iPod or music player. It really is 2 products in one! Our motor provides strong yet quiet, intense rhythmic vibrations. With polished chrome detail and pearl white body this product is the ultimate iPod acsexsory!”

OhMiBod – for those times when it’s not enough to get a song stuck just in your head. Now let’s tastefully pan over yonder to see what the folks at The Album Project have to say about Owl City:

“Owl City sort of symbolizes every kid’s dream of making your own music in your room and somehow making it onto a major label. “

“Sort of.” Is the music making writers wishy washy or are they doing it on their own?

“On top of everything Owl City, or Adam Young, makes it seem a little too easy picking happy go lucky themes to lay on top of happy go lucky electronic music… “

So it would… SEEM. Look, I’m easily as guilty of a seem or two in my day, but these days “seems,” “sort/kind of” and other verbal acts of non-commitment litter the lexicon and make you wonder how we ever won a bunch of wars. Incidentally, how are we doing on our current global conflicts? Really? You don’t say!

“It’s hard to credit the lyrics for being anything other than mediocre…”

Well, seems like they fall short of poetry according to other sources.

“Basically If you’ve heard any of the songs and like them you should be buying this record, consequently, if you didn’t like any of the songs they are similar enough that there really isn’t anything for you here.”

My head hurts. Luckily, the internet is a big ol’ place full of diverse opinions, so we don’t need to rely on these clowns. Hell no! Here are some other reviews::

“I was struck by how much this band sounded like The Postal Service (a band I very much like). “ – Jeff Somogyi, The Somogyi Perspective

“[T]he blend of electronic beat and gentle vocals bears a striking resemblance to The Postal Service. “ –Kevin Chen, The Acronym

“Owl City’s sound is often compared to the Postal Service….” – Chris Ryan, rollingstone.com

“As soon as you start listening to the songs, you’ll immediately notice how much Owl City resembles Postal Service. “ – earmilk.com

“Owl City sounds a lot like The Postal Service…” – Andrew Miller, somethingawful.com

“Written and produced by Young, “Ocean Eyes” recalls the emotionally tinged electronica pioneered by the Postal Service” – Jill Menze, Billboard

“The main reason to dislike Owl City is because they are a Postal Service rip-off….” – Ben Westhoff, ocweekly.com

“So what distinguishes Owl City from The Postal Service? Truthfully, not much. “ – Kevin Chen, The Acronym (again)

“If you think Owl City sounds like a junior version of the Postal Service, you’re not alone. “ – Craig Rosen, Yahoo! Music

The diversity of opinion. We truly live in a great global age. Well, that’s enough out of me. See you next week

I’ve found myself lately mired in describing songs as “summer-ready” or “beach-friendly” and then layering my descriptions with graphic recreations of stereotypical beach scenes.

For this, I apologize.  It is summer and the rays of Papa Sun beat down on my back and I’m enthralled with tropicalia and all that it entails.

To win back favor with those who enjoy a colder, more emotional, less bright track, I present to you Volcano Choir, the collaboration between Justin Vernon (Bon Iver) and Collections of Colonies of Bees.  It feels cold like a dip in to a frozen lake, with ripples of chilled keyboard splashing at your shoulders.  It does not make me think of sunshine, it makes me wonder where my sweater is and if my fingers will fall off if I get frostbite.

Take that sunshine, my current mortal enemy.

Volcano Choir - Island, IS

Why is K Records making my palms sweaty these days?  When I was in college, and unwisely immersed in the shadowy worlds of “underground hip-hop” I remember disdaining this Olympia, WA stand-by.  I cant’ recall exactly the reason, but I remember a house full of burgeoning scenesters, and being annoyed that Calvin Johnson was sleeping on their floor.

I actually met Calvin Johnson a few months back and told him about my former dislike of his living arrangements.  I believe I said something like, “Remember when you used to come to Walla Walla on sleep on floors?”  And he sort of sweatily looked back at me and shook his head.  I was there Calvin, I know.

Hah, memories.  Nonetheless, this song by LAKE is exceptionally pretty and psychedelic and adds another to the pile of amazing songs that I’ll talk about adding to an ultimate summer mix-tape. I’ve been talking for years.

LAKE - Madagascar

Robin Pecknold and his sister Aja ::: Photo by Josh Lovseth

While Robin Pecknold himself may have stuck to water last night at Neumos, it was clear by the end of the night he was one of a bare few. He contributed in his own way though, offering a wry humor and a one of kind night of music made up of some of his favorite traditionals, notable covers and songs from his own band Fleet Foxes. He was even joined on a few of the songs by some of his bandmates.

MP3: Robin Pecknold - “Two Headed Boy (Neutral Milk Hotel Cover)” recorded 7/11/2009 at Neumos in Seattle ( look for the full show download link below)

Grand Hallway opened the night and with a short half-an-hour of fully realized orchestral indie rock, that this time around felt not only practiced but natural, as if in the intervening months since I’ve last seen them, lead singer Tomo Nakayama now truly has as much control of his voice as his ability on guitar or keys displays.

Capitol Hill residents Throw Me the Statue are a band that has grown from a motley crew rambling around doing synthy jangle pop and riding a wave of critical acclaim into a tight cohesive force that is now truly deserving of that acclaim. With plenty of backup these days, lead mind Scott Reitherman seems to be sticking to the guitar for the duration performance, and if anything it gives the band a more consistent sound. If the unevenness of however Reitherman and whomever he had with him decided to play a song on a given day was part of the charm before, Throw Me the Statue is now a full-on band, and the new songs portray that identity clearly. Much of set list were songs from a new album, titled Creaturesque, and out in August on Secretly Canadian.

After the obligatory pass the hat speech, as this was a benefit Seattle’s all-ages haven the Vera Project, Robin Pecknold got down to business. Informing us he was just going to play a jukebox of songs he liked, and maybe a few requests, he began with songs he’s done as his myspace alter ego White Antelope. Then with no warning he dropped a Neutral Milk Hotel cover on us. “Two Headed Boy” no less. He forgot a few words near the end, but I’m sure I wasn’t the only one picking my jaw up from the floor still absorbing a moment that we wanted to never end.

Inviting fellow Fleet Foxes Josh Tillman and Skyler Skeljet to offer a little backup throughout (with Tillman also on comic relief), Pecknold took to the piano for a few songs, and at one point even threatened a Robert Goulet Version of a Fleet Foxes song. Unexpected laughter and humor seemed to be a reoccuring theme throughout the night, thanks to an enthusiastic and progressively intoxicated audience. “Blue Spotted Tail” was the only new song among the bunch, however a few covers did make appearances, foremost the Magnetic Fields’ “The Book Of Love” and an encore of Fleetwood Mac’s “Dreams” with Pecknold sister Aja joining on backup vocals.

For those who missed it, the complete setlist and a full show download link are below the fold. It is highly recommended.

Robin Pecknold ::: Photo by Josh Lovseth

Robin Pecknold’s Cohorts ::: Photo by Josh Lovseth

Throw Me the Statue ::: Photo by Josh Lovseth

Grand Hallway ::: Photo by Josh Lovseth

Read the rest of this entry »

Avett Brothers press photo

Congrats to The Avett Brothers and Columbia Records! My favorite band of the moment (Emotionalism has basically been on repeat for a month at my house) has been signed by Columbia Records, with their first major label released to be produced by Rick Rubin and out in 2009.

It’s astonishing to us that someone hadn’t swooped in and signed these guys earlier, but we’re glad to see a talented and unique act get noticed by a major label.

Take a listen to my repetitive musical companion of July and maybe my favorite Avett Brothers Song – the-weight-of-lies

And then head over to NPR where they’ve featured a new track off the Brother’s new lo-fi EP as the Song of the Day

Feral Children at SXSW ::: Photo by Josh

Feral Children are having a big 2008, that’s about to get infinitely bigger with their debut album released on July 8th. Josh is convinced these boys are destined to be the Fleet Foxes of the Seattle rock scene, embraced by Pitchfork and the rest of the musical intelligentsia…and I wouldn’t be surprised at all if it happens.

Before the Feral Children are the next big thing on everyone’s lips, take a listen for yourself and download their EP for FREE.

I can’t exactly put my finger on how I missed out on Sigur Ros all these years, or how I’ve convinced myself that I’ve developed this strange aversion to the Icelandic import’s sort of post-rock noodlings – seriously, it just sort of happened. Thus, with all the hub-bub this week surrounding the release of the band’s new (free) song “Gobbledigook”, my excitement was at a minimum. I plodded along through my daily life not downloading the new single, not watching the amazing (decidedly naked) new video, and generally trying as hard as possible to embody these words I’ve heard so many times in my life: Noah, you are an idiot.

Yes, yes I am. If this new track by Sigur Ros is any indication of how good their excessively lauded back catalogue is, well, I’ve got a lot of great music to catch up on. “Goobledigook” is a summer song as composed by a Stone Age troubadour, a carefree romp through primal rhythms, lightly strummed acoustic guitars, and lead-singer Jonsi’s lilting falsetto that brings to mind the opening strains of the Earth’s greatest season. It speaks of wooden paths long forgotten and the hidden lakes we find at those paths’ end. It is the soundtrack of innocent carelessness, untouched by worries or fears.

I’ve been missing out for many, many years – don’t make a similar mistake. The band’s new album “Með suð í eyrum við spilum endalaust” (or “with a buzz in our ears we play endlessly”) hits stores on June 23rd.

MP3: Sigur Ros - Gobbledigook