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

Interlude: I Wanna Be Your Dog

El Perro del Mar at Other Music, NYC

Despite the Spanish-tinge, El Perro del Mar is yet another Swedish export. It's the musical vehicle for singer-songwriter Sarah Assbring, who brought along her acoustic guitar for tonight's in-store. Major thanks and kudos to Other Music for consistently bringing us great in-stores, even through the cold winter months. Incidentally, Sarah's first U.S. appearance was just last November, in what must have been a fantastic show at Joe's Pub with Emilie Simon. Unfortunately, I heard of Emilie a few weeks after the fact.


But it seems that El Perro's previous appearance - along with a little help from the internet - has cultivated a strong following. The line to the in-store stretched from Other Music's doorway to the cusp of Lafayette street, no mean feat. There's a sadness to her music that would seem to dissuade such widespread appeal, and her onstage persona was quite sombre, but she's clearly connecting with a lot of people.

But I'm not a believer yet. There's definitely been a lack of effort on my part, as I haven't really given her studio work enough time, but with respect to that, there hasn't really been that hook, musical or otherwise, to draw me in. Unfortunately, the set doesn't really propel me to investigate. It was a bit short, I think around four songs, and there's an unfortunate amount of repetition in her lyrics. However, this sort of music seems like it would grow on me, so I'm sure I'll revisit it at some point.


MP3: El Perro Del Mar - God Knows (You Gotta Give To Get)
MySpace: Here
Official Site: Here
Buy: Here

Monarch: Erlend Øye Black Session

Erlend Øye is a man of many guises: DJ, electropop collaborator, singer-songwriter, and most recently, frontman. But throughout these various endeavors, his distinctively understated voice remains the centerpiece. His Black Session, recorded on February 12, 2003, draws most of its material from his solo release, Unrest. While I haven't heard the studio tracks, these live songs are a pleasant concoction of electronic landscapes and bittersweet vocals, a strong combination. The closer, a mellow take on the sublime Röyksopp track "Remind Me," is a highlight. Speaking of which, does Erlend's bespeckled appearance remind anyone of Jarvis?

1. Ghost Trains
2. Every Party
3. A While Ago and Recently
4. Fall
5. Summer Go
6. Prego Amore
7. The Black Keys Work
8. Remind Me

Gold For The Price Of Silver: Here

Interlude: More Fun

All hell breaks loose...

Arizona and Dawn Landes
Club Europa, Brooklyn - Feb 23rd, 2007

My last Arizona show seems like yesterday. The venue was the same for round two, and while the lineup was condensed, the same great vibe permeated both shows. Maybe it's the borough, or just the fact that the artists are local, but there's a real sense of community here. Call it naive, but it's kind of comforting that such a place exists in what's really a tough industry. The night was particularly exciting, as a crew was on hand to film a DVD, which should be out in a couple months.

Dawn Landes

Update: Dawn plays at Joe's Pub this Friday.

Dawn Landes started things off with a bang; her first song was accompanied by most of Arizona (Musicality has a pic). But then things settled down, with the core of Dawn, cellist Eric Stephenson, and (sorry) one of the guitarists from Arizona on drums. There's still that country/folky tinge to her work (a couple of my friends referenced Iron & Wine after the set), but it's definitely more interesting to me than your average guitar plucker. Dawn has a really powerful delivery, which she demonstrated throughout the set's big choruses.


But what was really nice about this set was the second half. With the lights were dimmed, she delivered some of her more introspective work, including the wonderful "Twilight" and a cover of Bob Dylan's "It's All Over Now, Baby Blue." I've never been a huge fan of Dylan, but his words, filtered through Dawn's voice, was a pretty transcendent experience.

MP3: Dawn Landes - Bodyguard
MP3: Dawn Landes - Twilight
Buy: Here

Arizona

There's some comforting about seeing a band twice. Familiarity is, I suppose, a big reason why we see bands live. Despite the repetition here, this was a set full of surprises. Aside from introducing two new tracks, singer Ben Wigler was on, trading banter, stage antics, and great musicianship throughout the set. What really stood out to me was how big they sound, with three and four part harmonies, and six musicians onstage.

Of course, this all was a prelude to a monstrous finale of "Splintering." Ben joked before the set that the more we came to Arizona's shows, the more likely it was that he would throw his guitar at us and expect us to play a solo. Well, he did just that with Dawn (first photo), and suddenly everyone was onstage. A great end, but also just a beginning...


It's going to be a busy Spring for Arizona, with numerous radio appearances, and a tour with Band of Horses; dates are available on their MySpace. Check 'em out if they're in your area, and check out these songs.

MP3: Arizona - David
MP3: Arizona - Some Kind of Chill
MP3: Arizona - Splintering
MP3: Arizona - Te Amo Tanto

Buy: Here

Blue Light: Azure Ray in San Francisco

Strangely enough, the members of Azure Ray might be louder on their respective solo albums than as a group. Maria Taylor's lovely 11:11 sports a fair amount of production, while Orenda Fink's Invisible Ones enlists a full-blown congregation. By contrast, this set is relatively minimal, mostly relying on the girls' voices and acoustic guitar. Despite the simplicity, it really gives me newfound appreciation for each of their voices. While the instrumentals don't elicit quite the same endearment, there's a nice balance between staying true to recorded material and adjusting to a live setting. Incidentally, Maria's second solo album, Lynn Teeter Flower, arrives on March 6th.

The show was recorded at Bottom of the Hill in San Francisco on December 6th, 2003.

Enjoy:

1. Hold On Love
2. Sleep
3. Look To Me
4. The Drinks We Drank Last Night
5. Rise
6. These White Lights Will Bend To Make Blue
7. Dragonfly
8. Displaced
9. Beautiful Things Can Come From the Dark
10. November

Here are some album tracks, courtesy of the official site:

MP3: Azure Ray - Displaced
MP3: Azure Ray - November
MP3: Azure Ray - Seven Days

Hitched: Here


In other news...

Due to popular demand, previous shows from CocoRosie, The Postal Service and Lush have been uploaded again. If you'd like anything else, feel free to email me or leave a comment. Enjoy!

The Week That Was #7: Reparations

Apologies for the lateness of the update. Aside from various distractions, I was a bit uncertain where to go for this week, as my recent listens haven't drastically changed. But I finally gave the gigantic SXSW list a look (a green cassette means an mp3 is available for downloading), and basically Christmas came early. I guess I'm doing something right, because a number of the artists jumped out at me.

Emilie Simon isn't playing SXSW, but she's at the top of the week, so a blurb seems most appropriate. I got into her after seeing a feature at the lovely Music is Art, and Thievery Corp's remix of "Desert" has entranced me since then. It wasn't until last week that I heard the original version, which is just as good. I've also included the English version, which is bundled with various bonus tracks to the album.

MP3: Emilie Simon - Desert
MP3: Emilie Simon - Desert (English Version)
Buy: Here

Kate Havnevik appeared last week courtesy of Carmen Rizzo, and this one's another collaboration. It's not that I don't appreciate her solo work; her Imogen Heapesque delivery works really well with the various electronic textures on Melankton. But this track basically supersedes, well, just about every pop song I've come across. I've referred to it obliquely whenever mentioning her, and it's about darn time I shared it.

MP3: Röyksopp - Only This Moment
Buy: Here


I put up Errors' remix of Mogwai's "Auto Rock" a few weeks ago without knowing who or what Errors were. Turns out they're (yet another) group out of Glasgow, but one that's making electronic noise instead of utilizing guitar (or piano). Their mini-album, the cheekily titled How Clean Is Your Acid House? seems to have gotten quite a bit of support across the pond, and I can see why. Here's the lead track.

MP3: Errors - Mr. Milk
Buy: Here


And we're back in Glasgow. Former Delgado Emma Pollock is playing a couple solo acoustic shows (dates) in New York in a few weeks. It's a far cry from the orchestral density of her previous band, but simplicity is hardly a compromise when her lovely voice comes in force. Her solo album should come out sometime early this year, and it's one of my greatly anticipated releases. And, okay, full disclosure - I'm interviewing her tomorrow. More developments soon.

MP3: Emma Pollock - Limbs
Buy: Here


Headlights have gotten a decent amount of attention in the blogosphere, balancing those ubiquitous shoegazing influences for something far lighter and accessible. It's a wonder I haven't mentioned them more frequently, but I've been listening to their debut, Kill Them With Kindness, pretty frequently over the last week. Here's an early highlight, full of momentum, but perhaps as a result over a little too quickly.

MP3: Headlights - TV
Buy: Here


Immaculate Machine is anchored by Katherine Calder, niece of the New Pornographer's A.C. Newman. She's definitely got the same powerpop blood, even doing all the vocals on this allegedly A.C. track, "Transcanada." That's not to say that IM's all about Kat, as guitarist Brooke Gallupe and drummer Luke Kozlowski all contribute vocal work, as seen on the great track "Broken Ship."

MP3: Immaculate Machine - Broken Ship
MP3: A.C. Newman - Transcanada
Buy: Here


From Vancouver, we hop (or sail) down to Seattle. I don't really know much about Tullycraft, although name sounds vaguely familiar. However, my initial impressions are uniformly positive: endearing, jangly pop delivery, bloggerfied home page, and mp3 generosity. I approve, and I will definitely give the band a more in-depth listen.

MP3: Tullycraft - Stowaway
Buy: Here


And, to wrap all this up, here's a recent interview with Daniel Kessler of SXSW "headliners" Interpol. Lots of interesting tidbits here, including a confirmed track title, "Mammoth." That should be interesting!

MP3: Interpol Interview, Lamacq Show, Feb 15th, 2007

...

Sorry, I overlooked Au Revoir Simone's single from their upcoming album, the Bird of Music. According to Pitchfork, they're right around Paris tonight, which works out nicely with the etymology. This sophomore release looks like a much more developed work than the too-short Verses. I'm definitely looking forward to that one.

MP3: Au Revoir Simone - Fallen Snow
Buy: Bere