Interlude: Mixtress

For some background on Ellen, check out Friday's Washington Square News, as well as the interview.

The L Train and I are becoming very good acquaintances. My previous experiences in Brooklyn have all been very enjoyable, but this one definitely topped them all in sheer excess. It was the first real DJ set I've been to, and although I expected something radically different from your straight-up rock show, I still ended up being blown away. While my fixation with more straightforward pop songs prevents me from becoming an exclusive devout of the 4/4 beat, there's something really refreshing in, to paraphrse James Murphy, trading in your guitars for turntables.

Lauren Flax

Lauren is a local DJ who may or may not be White Lightning. Upon first glance at around half-past-ten, I thought she was Ellen Allien, but that flew in face of all concert methodology. The confusion was dispersed after the resident MC extolled the crowd (which grew to a pretty staggering size rapidly) to "give it up for Lauren Flax," or some similar gesture, and in retrospect, there are some pretty large stylistic disparities between the two. While I'm not particularly skilled at identifying the various electronic genres (it seems a pretty subjective practice, anyhow), the set was pretty house-centric, with a relatively uptempo aesthetic.

But music aside, there's something really human about dancing, quality nonwithstanding, with complete strangers. I can understand why people dislike electronic music, as it's admittedly pretty devoid of meaning in most cases, but that hardly means that you can't have a deep connection with it, particularly when those around you are flinging themselves about with abandon. I like uses the analogy of abstract and realistic visual art when comparing electronica and "pop" music, but there's always overlap.

Anyhow, here are the few songs I did recognize from the set:

MP3: Daft Punk - Burnin'
MP3: Fedde Le Grand - Put Your Hands Up For Detroit
MP3: Green Velvet - Shake & Pop
MySpace: Lauren Flax

Ellen Allien

When Ellen Allien (finally) came on at 1 am, the mood changed pretty drastically. While the opening set was propelled with prominent beats, I thought Ellen's sound was a bit more subtle. Whil it wasn't as initially immediate, the velocity did increase with time, although I still felt a sparsity even when the percussion went into overdrive. But one of the things that I find most appealing about Ellen's music is the way it conveys emotion while maintaining detachment; there's a sophistication here that really distinguishes her from the hordes of DJs out there.


One of the pleasant surprises of the evening was the inclusion of Thom Yorke's gloomy "Harrowdown Hill," one of my personal standouts from The Eraser. (Does anyone know if her remix of the title track ever emerged?) While the vocal in particular isn't really dance floor friendly, it definitely matched the overall mood. Finally, just before 3 am, I got what I came for: the downright anthemic "Way Out," featuring live vocals, the definitive personal highlight of the night. Here are some versions of those two tracks that you may not have heard:

MP3: Thom Yorke - Harrowdown Hill (Extended Mix)
MP3: Ellen Allien & Apparat - Way Out (Dance Remix)
Official Site: Ellen Allien

At this point I was pretty wiped out, and I'm sorry to say I made an exit just as Miss Kitten took over the turntables and the microphone (she also contributed some dissonance to "Way Out"). If anyone has any thoughts on her set, or overall feelings (when did it end?), feel free to shout 'em out.

Official Site: Miss Kitten

Drukqs: Morcheeba at La Boule Noire

Hey. Sorry things have been quiet over the last few days; it's been quite a week. I'm sure some of you have run into MyDataBus bandwidth troubles, and I apologize for the inconvenience, but if it isn't available today, try again tomorrow. I'm shuffling hosts at the moment, and if anyone has info on a particularly good one, please let me know. If you really need a set, feel free to contact me and I'll get it to you somehow.

I've been recommended Morcheeba from virtually the instant I got into trip-hop, and it's a shame I didn't pick up on them earlier. The first Morcheeba album I've heard, Big Calm, is a collection of accessible, upbeat songs, which is a bit of a respite from their more languid peers, and it's great stuff. Singer Skye Edwards' smooth delivery is especially fantastic, and the various genres present on the album all serve to complement her voice.

Unfortunately, the band has gone through a bit of an identity crisis since, working with a various vocalists in recent years, but this set represents an early peak. It's a stripped down, acoustic rendition of some of the highlights of Big Calm, as well as their first album, Who Can You Trust, ala, say, recent Portishead. It was recorded in June of 1998 in La Boul Noire France, and broadcast on OuiFM.

Enjoy:

1. The Sea
2. Part of the Process
3. Col
4. Blindfold
5. Let Me See
6. Moog Island
7. Over and Over
8. Fear and Love

Who(m) Do You Pay: Here

The Bird of Music: Doves at SXSW

I feel a bit out of the loop at the moment. Maybe it's the Daylight Savings, or the avalanche of post-break work flooding over me. But most likely than not, it's that temporal void of missing the musical mecca of SXSW, although vicarious atonement after the fact is nice. Another pleasant surprise was realizing that this set, which I had acquired rather arbitrarily, took place at 2005's SXSW. I suppose the relative brevity of the recording is a byproduct of those tight schedules, but many thanks to the dedicated festival goer who managed to capture the moment.

As for Doves, while they're not quite at the level of my favorites, there's definitely an element to their music that distinguishes them from your generic rock band. There's a sort of grittiness and darkness, at least to Some Cities-era material, but it's pulled off with lots of emotion and sincerity that makes it quite accessible.

Enjoy:

1. Intro
2. Snowden
3. One Of These Days
4. Caught By The River
5. Almost Forgot Myself
6. There Goes The Fear

Bonus Track: Black and White Town

Lark: Here


In other news...

rbally is BACK!

The Village Voice has a pretty interesting cover story from last week, as well as a writeup of The Blow's show from last week.

Lone Star State natives Eisley played an obscene number of times at SXSW, and Boyd's got you covered.

Interview: Ellen Allien

Ellen Allien is a woman of many talents. I had the pleasure of contacting her during her ongoing tour, and here's the text. Many thanks to Ellen and Marit, aka Damero, for making this possible. Ellen plays at Studio B this Saturday with Miss Kittin.

Question: I’ve read that the collapse of the Berlin Wall, and the subsequent environment, was a major inspiration for your music. However, you were first introduced to electronica in England. What prompted you to return to Berlin?

Ellen: After one year in London I got homesick, I just missed Berlin. When I came back to Berlin I knew why immediately. There I could hang out with friends, do music ... Then the wall came down and Berlin was finally united again. The youth conquered the streets. A lot of people moved and still move to Berlin to do arts, open galleries, bars, clubs ... It was and is the city of hope.

Question: What are your impressions of the current scene?

Ellen: The electronic music scene in Germany and Europe is really big. And everybody and everything is connected. The technical gear and software is so advanced now that as an artist you can hardly follow ... The market is full of releases and labels are popping up everywhere. It's really necessary to filter. This is what I try do to with my label and as an artist. We get a lot of demos and if I don't want it, another label will definitely release it for sure - the scene is boiling!

Question: How did you become Involved in creating The Other Side of Berlin with TimeOut?

Ellen: I was asked if I'd like to participate in this project and I said yes. Last summer we then started to shoot and tried to catch the street life of Berlin.

Question: What impact has BPitch Control had on your music?

Ellen: It's important to me to spread music. BPitch Control is a label, an artist management and a booking agency. We are trying to support our artists at its best, to help them produce good music, to release it. We are always looking for talents and we are trying to modernize the label constantly. I find it fascinating to move things. We were one of the first big labels from Berlin - and see now - there are so many. This is important - to have variety.

Question: What inspired you to start a fashion line? How do these different fields – fashion and music business – compare to being a musician?

Ellen: Fashion is my hobby. I love to draw clothes, to choose fabrics, to work with them .. To do music is like a mirror reflection, it's a deeper artistic level. And BPitch Control is the perfect social environment where everybody pulls on the same string. It's like a lego world.

Question: What artists have influenced you? What led to the collaboration on Orchestra of Bubbles, and can we expect similar albums in the future?

Ellen: Ellen Allien sound is IDM, Techno, Breaks and Song. The next album will be a solo album - I don't want to talk about the details yet. For now there will be remixes and a mix CD for Fabric/London, and some singles in summer. And my new fashion summer collection.

Question: Two tracks were added to Orchestra of Bubbles after it leaked.

As an artist and a label owner, what are your impressions of online distribution? Does additional exposure make up for a potential loss in sales?

Ellen: We can't complain. We sell a lot of MP3s. More formats mean more sales. Unfortunately it's really easy to get free MP3s. So please buy not steal our music!

Question: In Orchestra of Bubbles, particularly in the single “Way Out,” there’s a really strong vocal element. What prompted you (and Apparat) to start singing? How has this affected the live show? How has playing to a worldwide audience affected you? What kind of format can we expect during this spring tour; will you be singing?

Ellen: I sang on all of my albums - it's fun to sing. And I love playing live with Apparat. We will play more this coming summer.

Question: What approach do you take when it comes to creating a song? Do you begin with an idea in mind, or a beat or instrumental? How does your approach to remixing differ?

Ellen: Normally I have an idea first and write a song. I then work on it for a while. When I work on an album I have a main idea before that I want to create. And then each track has its own idea too. To be in the studio is something really important for me. It absorbs me and I don't do anything else - it's all about music. It's a lot of fun! And I can concentrate on one project.

Question: You’ve had a major release in each of the last six years. How do you manage to stay so prolific, while still managing a label and touring?

Ellen: I just like producing music, to do remixes, to write songs, to travel and to DJ. The label works on its on - I have a really great team! I love to meet people and to talk to them, to see how they live. And it's great to work with the label team and the artists, it's very creative. And I still find time to meet my friends, do Yoga, see movies, fashion whatever ...

Question: Any idea what direction your future work will take?

Ellen: I do where my heart leads me to. The summer will be fun, a lot of festivals! And I will be in Ibiza for one month and start working on my solo album, but slowly ... there are still so many other projects I want to do! And the label will move back to its old office, that got renovated - nice!

The Week That Was #9: Tribulations

Before you even begin reading this post, go watch Portishead. In Bristol. Last month. I'll wait. Okay.

The week before spring break is notorious for being a deathtrap of exams, papers, and other academic hazards. Mine was relatively light (but heavy on music!) compared to many of my friends, but I still managed to totally procrastinate on this update. That whole "do a blurb a day" plan? Not so much. So yeah, I'm writing this from scratch on Saturday evening, so I better get started. Enjoy!


I guess the first thing you'll notice is that Maria Taylor has staged a major coup, backed by her various associates. I've written about Azure Ray excessively, but has really thrilled me is Maria's first group, Little Red Rocket. Although still a collaboration between Maria and Orenda Fink, this band channels a youthful energy that's definitely been substituted for more mature introspection in latter work. It's fun, pretty, and really rocks out at times.

MP3: Little Red Rocket - Back To Where I Started
Buy: Here


Wait, so what about Orenda Fink? Well, she composed a solo album of her own, called Invisible Ones, and it's quite unique (inspirations include Haitian folk music), if not as accessible as Maria's wistful pop. Although there's definitely a vocal similarity, this album is a lot more solemn, even at its loudest. Unfortunately, this disparity seems to signal the end of Azure Ray, as Orenda has gone on to form another band called Art In Manila, although they've yet to release an album.

MP3: Orenda Fink - Invisible Ones Guard The Gate
Buy: Here


Man, this album is amazing. Although Aphex Twin is probably known more for his hard, slightly freakish work, perhaps epitomized by the disturbing "Come To Daddy," he really has a melodic side. Ambient suggests a certain minimalism, but although the instruments (or programs) are sparse, there's a real substance to this work that most electronic artists spend a career trying to duplicate.

MP3: Aphex Twin - Pulsewidth
Buy: Here


Ellen Allien's collaboration with Apparat yielded one of the best albums of last year. While I haven't delved into her prolific solo catalogue nearly enough, I did hear more of Berlinette, which, as the name suggests, is a bit of a tribute to her German hometown. While the actual singing that makes me so fond of Orchestra of Bubbles is more along the lines of vocal interjections, the immediacy of the music is so great, you don't really notice. Ellen plays at Studio B in a week with Miss Kittin.

MP3: Ellen Allien - Sehnsucht
Buy: Here


Damero is Marit Posch, a BPitch promo employee who recently released an album entitled Happy In Grey. While it's been called intelligent nap music, it's far from boring. While fair to say that the generally relaxed mood obscures any lyrical message, the point of this kinda of music is, well, not to make a point. Anyways, the album features a number of collaborations, including this great one with Apparat.

MP3: Damero - Passage To Silence (Feat Apparat)
Buy: Here


Rilo Kiley is working on an album after a hiatus year due to side projects. I finally gave their last album, More Adventurous, another listen, and my appreciation has definitely grown. In a market saturated with female vocalists (which I know more than anyone, eh?), Jenny's powerful delivery really stands out. The first track really emphasizes her soulful side, while the second is a really fun cover of The Postal Service's classic, with Blake handling vocals.

MP3: Rilo Kiley - I Never
MP3: Rilo Kiley - Such Great Heights
Buy: Here


Shuffle is a great feature, as long as you're open-minded. I heard of Doves about a year ago, as their album Some Cities placed on some end-of-the-year list (I think it was Under The Radar or something). I've had the album for ages, but finally got around to listening to it only recently. "Black and White Town" is a clear standout; it's pretty much a blueprint for anthemic, melodic rock. Look for a live post on these guys in the near future.

MP3: Doves - Black and White Town
Buy: Here


I'm From Barcelona is actually a 29-member crowd from Sweden, as just about everyone is these days. You've probably heard a lot about them elsewhere, but if you're late to the party, as I am, this song is particularly apt. It pretty much describes my usual mornings: throwing on clothes and racing to class, but in such a fun, catchy way, I don't really mind the sleep deprivation. Oh, and remember, if you live in the States, turn those clocks forward an hour. Yeah, I'm not a fan of Daylights Savings either, but this track should make the transition easier.

MP3: I'm From Barcelona - Oversleeping
Buy: Here


So that caps off a rather excessive day of posts. I am, as noted, now on spring break, and updates will be sporadic over the next week. To help guide you through SXSW (and beyond), check these sites:

Brooklyn Vegan has comprehensive pre-coverage, including a list of bands from Sweden and Montreal.

Music Is Art celebrates a year of visually stunning posts with a listen back.

Faronheit has Emily Haines' live solo set on MPR.

And, of course, there's always the usual suspects.

See you soon!

Scottish Singer Seeks Solo Success

Emma Pollock
Mo Pitkin's, NYC - Mar 8th, 2006

The music industry is a cruel and unusual institution.

How else does one explain the relative obscurity of the Delgados, a Scottish band who were consistently excellent over the decade of their existence? Their five album career spanned a noisy, alt-rock beginning, eventually evolving into a lushly orchestrated sound. Sadly, the Delgados disbanded amicably in 2005, following bassist Stewart Henderson’s decision not to do another recording with the group, in which he admitted that a lack of recognition played a factor.

But this spring, one member of the Delgados may finally receive the exposure she deserves.


Guitarist and singer Emma Pollock has been pursuing a solo career over the last year, playing various shows in London and Glasgow, including an opening slot for M. Ward in England. Her two shows in New York mark her continental debut, followed by an appearance at SXSW. She will play at Union Hall tonight.

Despite her long tenure with the Delgados, she sees these shows as an introduction to old and new fans alike. “The idea of these two shows is to give people the opportunity to find out what it’s all about, [so there’s] not a huge amount of pressure,” said Pollock in a telephone interview.

Although her former band had a tradition of substantial live lineups, including a tour with a nine-piece orchestra in support of their fourth album, Hate, these New York shows will be solo acoustic affairs. This setup is consistent with her recent gigs, with her only accompaniment being Jamie Savage, brother of Delgados drummer Paul Savage, on piano and guitar. At what is still the infancy of her solo career, she said that she couldn’t justify bringing a full crowd to New York, although the SXSW shows will have a full back-up band.


Pollock’s appreciation for music began early on, despite what she calls a somewhat isolated childhood in a small town in Scotland. “I remember when I was very young – 12 or 14 – getting some Christmas money. I went to a local store and bought “The Best of the Police” and “The Best of Kate Bush.” They were very important records to me, never being off my record player,” says Pollock.

Appreciation for music soon developed to an active pursuit of the craft a few years later. Pollock recalls receiving a classical guitar from her father, hearing New Order, and playing along. This developed into original songwriting, and she eventually joining the Delgados in 1994, splitting vocal and guitar duties with Alun Woodward.

But the Delgados weren’t merely a band; they were the founders of Chemikal Underground, Glasgow’s influential independent label. Aside from issuing the debut album of countrymen Mogwai and Arab Strap, along with the chart-breaking single from Bis, Chemikal issued the vast majority of the Delgado’s impressive discography.

Thus, it comes as a minor shock that Pollock will distribute her album through 4AD. “If you look at the history, it would make sense to keep things with Chemikal, but I couldn’t handle that. Even though it was a very amicable split, we still find it hard. I wanted to do something that didn’t require working with the band that just split up,” says Pollock. The Delgados had distributed their albums overseas with 4AD affiliate Mantra, so signing to the label was not so inexplicable.


But that’s not to say that she’s cut all ties.

“I still do a lot of work with the label. It’s my family,” says Pollock. Involvement in the business side of the label, alongside her experiences as a musician, has lead to a mixed perspective of the current music industry.

“I don’t necessarily think that everyone’s opportunities are better. Marketing options are more complicated, but the more powerful record labels will be able to use more resources. It doesn’t necessarily mean that an underground band can become a total success,” says Pollock.

But she remains a believer in the validity of the current business model. “Record companies aren’t there to manufacture CDs. They’re there to distribute. They aren’t unnecessary,” says Pollock.

However, Pollock’s own methodology suggests a willingness to be flexible. Her album was recorded at Chemikal Underground’s Chem 19 recording studio outside of Glasgow. While a full album will not be released until this summer, a demo of the song “Fortune” is available after joining the mailing list on her official site, and the song “Limbs” is available at the SXSW web site.


Both tracks are sparsely but meticulously arranged, featuring a piano melody from Jamie Savage, acoustic guitar, and Pollock’s trademark vocals. Emphasizing melody over lyrics was consistent with her songwriting approach. “Music creates a mood that is more powerful to me [than words],” says Pollock. She notes that the rest of the album is fuller in instrumentation.

Pollock also recently contributed to the Chemikal Underground release “Ballads of the Book,” a collaboration between Scottish writers and musicians, which came out earlier this week. Her track is entitled, “Jesus on the Cross,” with lyrics provided by Louise Welsh, author of “The Cutting Room,” another example of Pollock’s focus on instrumentation.

After this slew of spring shows, Pollock plans to tour the UK in May, followed by a return to the US. But will the Delgados ever reunite?

“Well, anything is possible.”


The Delgados
Black Session
6/9/98

1. Repeat Failure
2. Everything Goes Under The Water
3. The Actress
4. Don't Stop
5. Under Canvas Under Wraps / Pull The Wires From The Wall
6. Blackpool
7. And So The Talking Stopped
8. The Arcane Model
9. The Weaker Argument Defeats The Stronger
10. Thirteen Gliding Principles


More photos from the set here.
Buy: Here

Rose: Maria Taylor's Lynn Teeter Flower

An abridged version of this review recently appeared in Washington Square News.

Maria Taylor's Lynn Teeter Flower derives its name from a childhood friend from her native Birmingham, Alabama. Fittingly, the album is a tribute to Taylor's southern folk influences, as well as an expression of her pop leanings.

The centerpiece remains her wistful voice, effectively dividing between understated lyrical delivery and ethereal backdrop. Opener "A Good Start" establishes the midtempo song that is Taylor was bread-and-butter on her first album, 2005’s 11:11. Taylor's previous work with Azure Ray serves as inspiration for the next track, "Clean Getaway," a country-tinged ballad supplemented with gentle acoustic guitar. While this slower track reinforces the album's introspective themes of love, longing, and loss, it diminishes the energy of its more upbeat neighbors.

The electronic element that bubbles beneath the surface comes forth in "Irish Goodbye," which features a lively breakbeat alongside Taylor's vocals and a churning guitar, which is later interrupted by a somewhat inexplicable rap. Despite the disparity with the quieter moments on the album, this experimentation makes it one of the album's more interesting moments, reminiscent of 11:11’s dance floor-friendly “One for the Shareholder.”

While nominally a solo album, Taylor also enlists the help of Bright Eyes' Conor Oberst, who co-wrote the track "The Ballad of Sean Foley," and contributes back-up vocals. Her brother and sister, bassist Macey Taylor and keyboardist Kate Taylor, also contribute, and producers include Spoon drummer Jim Eno and Now It’s Overhead’s Andy LeMaster. Thus, it’s a fully arranged album, but not fully realized in its subject matter.

While Taylor manages to balance melancholy and melody reasonably well, the album is a thematic retread of much of her past work, relying almost exclusively on the traditional singer-songwriting ethos of romance and reflection. While her charming voice and lush instrumentation make the experience consistently appealing, limitations in subject matter prevent Lynn Teeter Flower from being a standout.

Courtesy MPR/Ellen Lynde

But to be fair, much of my criticism is based on how much I enjoyed 11:11. Here are a few live tracks from that album, recorded on April 5th, 2006 at the Current, out of Minneapolis. For more in-studio goodness, stream her KCRW set. Maria plays locally on March 16th at the Mercury Lounge, as part of an ongoing tour.

Enjoy:

1. Speak Easy
2. Birmingham 1982
3. Song Beneath The Song

Buy: Here
Previously: Bloc Party's A Weekend In The City

Interlude: School Spirit

It seems as if I make as many concert posts as normal posts these days. Of course, you can't really beat NYC as far as show saturation goes, but this one was particularly special, as it took place in our very own Kimmel Center. NYU has had a fair amount of shows over this year, including a free one back in the fall, which paired the unlikely combo of Ghostface Killah and Animal Collective. This lineup was a far more logical, featuring three somewhat whimsical female singers, all of whom combined an electronic flirtation with acoustic leanings to varying degrees. All in all a very fun experience, and many thanks to the student group(s) that put this concert together.

Liz Isenberg

Liz was more or less what I expected as far as opener goes. My suspicions were more or less confirmed when she set up on acoustic guitar, and proceeded to deliver pretty, if somewhat indistinguishable lo-fi pop. That is, anyways, until she proceeded to confuse (and delight) me with a number of loops, slowly building a song into a complex, multi-harmony composition. I've realized that I'm a sucker for multi-tracking - even if that isn't the correct terminology - but multiple voices are definitely more interesting than one. Many kudos for fulfilling that quota.

Buy: Here
MySpace: Here
Official Site: Here

The Blow

Khaela Maricich is a consummate entertainer. She is, both in voice and spirit, the real essence of the Blow - not to discredit the importance of Jonah Bechtolt, aka YACHT, and his excellent production. But as was the case back in November, Khaela played, or more accurately, sang and danced her way through an immensely entertaining solo set. Although she adhered to essentially the same dialogue as before, the vibe was definitely less awkward and more exuberant; this was definitely a crowd more familiar with her work.


Which this brings us to this somewhat mysterious set, recorded at KSDT. I assume it's from a few years ago, as none of the songs match any recent material, which prevented me from tagging most of it, sorry. While the acoustic nature of this recording is a far cry from the Blow's groovy electronics on Paper Television, I do think Khaela's personality comes through. If anyone has any info on the date or tracklist, please share.

1. The Touch Me
2. Track 2
3. Track 3
4. Track 4
5. Track 5
6. Track 6
7. Track 7
8. Track 8
9. Track 9
10. Track 10

Buy: Here
MySpace: Here
Official Site: Here

Mirah

Mirah has been on the periphery of my musical environment for a year or so, but her spot as headliner prompted me to start a (limited) exploration of her work. Coming into the set, I knew I liked "Jerusalem," and the live rendition didn't disappoint. But without a real sense of the rest of her material, a couple things stood out. She really did a lot with acoustic guitar, and drummer Bryce Panic (whom I didn't really get a good shot of, apologies) also did a nice job. What really blew me over was the interpretation of a remix off of Joyride, in which Bryce laid a virtuosic beat box under Mirah's vocals. Respect!

Here's Mirah's set at KSDT (she's definitely been a longtime partner with labelmates the Blow). Again, if anyone has more info on the date and whatnot, please do tell.

1. Location Temporary / La Familia
2. We're Both So Sorry
3. Don't Go
4. Special Death
5. Mt. St. Helens
6. The Struggle
7. The Sun
8. Monument
9. Apples In The Trees

Buy: Here
MySpace: Here
Official Site: Here

Four Winds: Metric at Saint-Malo

At the risk of appearing to post too much Metric, uh, here's another set. According to Last Gang, the band just finished off some opening dates with Bloc Party (otherwise known as the best lineup ever), and are in the process of writing another record. But perhaps more intriguingly, there are plans to release Grow Up and Blow Away "in the form the band wants it" before the summer (proving, once again, that Wikipedia knows all). Huh.

First of all, I fully endorse the decision. I think the album is fantastic and that more people - especially those that still think Metric is all about crunchy guitars and feedback - need to hear it. But on the other hand, there's isn't that much incentive to buy it if it's simply a rehash of what's been available for a few years.

Now, don't get me wrong, I've purchased both available Metric albums, and I'll inevitably purchase this one (and hopefully have the chance at some concert tickets before the year is through). However, my experience would be far more exciting if they decide to rework at least some of the tracks. It would be hard to top some of the current incarnations, but I'm sure with years of touring and two records, improvements can be made. Hopefully, they'll preserves the sublime, trip-hoppy mood that makes it so distinct from their later work.

Anyhow, here's their short-but-stomping set at Saint-Malo's La Route Du Rock, recorded on August 15th, 2005. Thanks to Jodi for the recording.

Enjoy:

1. Intro
2. Succexy
3. The List
4. On A Slow Night
5. Handshakes
6. Calculation Theme
7. Combat Baby
8. Dead Disco

Combat Rock: Here

A Ghost Is Born: Incubus In Lisbon

Memory is a tricky thing. I can't recall what I ate for dinner last week (well, aside from the fact that it was dorm food), but I still remember the first episode of TRL (yes, that TRL) I watched. Well, scratch that, I couldn't tell you the guests, or what Carson Daly-fueled antics occurred that particular afternoon, but one video that sticks out is Incubus' "Stellar." Its visual inventiveness, coupled with vaguely romantic subject matter - yearning without being angst-ridden - all over a solid rock foundation remains pretty appealing to this day. That was about seven years ago, and since, Incubus has emerged to become one of the more popular bands, at least in their quasi-mainstream niche. Their latest album, the strangely familiar-looking Light Grenades, just came out last year, but to be honest, I don't plan on hearing it anytime soon.

Admittedly, I've developed a bit of an aversion towards so-called mainstream groups. It's not elitism (really!); I guess I just find pleasure in discovering the obscure. But still, these guys are worth a listen. The live setting isn't necessarily the greatest environment for the group, depending on what you're more interested in. Although there's plenty of energy here, some of the subtlety is diminished. If you like what you hear below, I also recommend checking out the downright sublime "Aqueous Transmission," as well as the studio version of the Orwellian "Talk Shows On Mute." And finally, this show was recorded on June 4th, 2004 in Lisbon, Portugal.

Enjoy:

1. Megalomaniac
2. Nice To Know You
3. Idiot Box
4. Just A Phase
5. Wish You Were Here
6. Priceless
7. Pistola
8. Vitamin
9. Take Me To Your Leader
10. Drive
11. Talk Shows On Mute
12. Under My Umbrella
13. Sick Sad Little World
14. Certain Shade of Green
15. A Crow Left of the Murder

Make Yourself: Here

The Week That Was #8: Lately

I guess these updates will go up towards the end of the week, at least for as long as I can maintain a schedule. That will inevitably lead to some overlaps, but I guess that's fine. I've already been using the charts as a vague guideline (especially when they don't change that drastically), so I imagine I'll continue throwing in random picks. Enjoy!


I've been overdosing on Maria Taylor's wonderful voice for the last couple weeks, through her work with Azure Ray, earlier work with Little Red Rocket (check back next week), and most heavily with her solo material. It's pretty good timing, as her second album, Lynn Teeter Flower, comes out next Tuesday. Much to my dismay, her local shows are scheduled over spring break, but hopefully I'll see her in the future. This is one of the dancier tracks on 11:11, and while the beats are a bit of a change-up from country-fied acoustics, it's her voice that's caused such heavy rotation. Saddle Creek has four more songs up for downloading, but they're very low quality.

MP3: Maria Taylor - One For The Shareholder
Buy: Here


Klaxons prove again that traditional marketing techniques work (a la Cicada), at least to some degree. When I was up at Union Square's Virgin Megastore for Bitter:Sweet's in-store interview, I came across a listening station with the new Klaxon's album, Myths of the Near Future. Although I had read endorsements at Pitchfork and Pretentious Prattle alike, I hadn’t actually given them a listen. But thanks to the magic of headphone, I was quickly transported to their “new rave” world of driving percussion, frantic-yet-catchy vocals, and general debauchery. Here's a single.

MP3: Klaxons – Golden Skans
Buy: Here


Going back to Cicada, I’ve realized that I’m a big fan of their production, even to the point where the remixes rivals their studio material. I was immediately taken with their remix of Client’s “Here and Now” (a song I have yet to hear in its original form), and had pretty high hopes for original Client material. It’s not nearly up to par with, say, Ladytron, but their dystopian electro is appealing. The opener to City combines a pretty classic synth line with the pretty depressing opening line (“Life is cruel, and then you die”), and I think it works.

MP3: Client – Radio
MP3: Client – Radio (Cicada Remix)
MP3: Client – Here and Now (Cicada Vocal Mix)
Buy: Here

I have to give full credit to Chromewaves for introducing me to Midnight Movies, another SXSW gem. The strength of the band is definitely singer Gena Olivier’s intoxicating delivery, wrapped around a haze of guitars. It’s this bifurcation of shoegazing and indie rock, a la fellow L.A. band Silversun Pickups, that makes Midnight Movies so ensnaring.

MP3: Midnight Movies – Patient Eye (Edit)
Buy: Here

Ada is the musical vehicle of singer Michaela Dippel, and I really need to listen to her more. She eschews traditional songwriting structure, instead creating a mood with looped vocals and electronic noodling. So, I suppose you could call her an El Perro del Marr that's more in line with my tastes. "Cool My Fire" is an early highlight on Blondie, while her synth-drenched rendition on the Yeah Yeah Yeahs' classic, “Maps" is a late standout. Hopefully, a second album will be forthcoming.

MP3: Ada – Cool My Fire (I’m Burning)
MP3: Ada – Maps
Buy: Here

Delays prove that a male vocalist can aspire to Cocteau Twin heights. I can't really fault Derek over at GWFA for mistaking lead singer Greg Gilbert for a girl; the boy can soar! I mean, it's the most male vocal hookiness this side of Mew. The band is also indebted to Britpop, having toured with Manic Street Preachers.


MP3: Delays - Nearer Than Heaven
Buy: Here


It's incredible that a few months ago Mojave 3 was just a band with a new album. I guess it's just another affirmation that past work just isn't that important in our super-saturated environment. Alternatively, I could just be ignorant. But yes, I think the sentiment, "Where have you been all my life?" is apt here, although the answer is clearly Slowdive. Which is to say, this is a great track off the first Mojave record, Ask Me Tomorrow, and just going by name, it's a heck of a sister track to Souvlaki's "Alison." The guitars aren't being distorted as much as strummed, but the impact is still gigantic. It's about time I heard it. For more, check out Reloda for their Black Session from the same era.

MP3: Mojave 3 - Sarah
Buy: Here