Silversun Pickups
Swoon | Dangerbird Records
You’re not going to see too many artists with #1 ranked singles on Billboard’s Hot Modern Rock charts--vicious riff wielding “Panic Switch”-- gracing Purehoney’s pages too often, but we would be remiss if we didn’t vouch for L.A. quartet Silversun Pickups’ second full length Swoon; it’s a dazzling static-y affair that’s had us hooked since the moment we picked it up. Although a tad bit more radio friendly than it’s stellar predecessor Carnavas , front man Brian Aubert crunchy guitar licks —check the cascading distortion on “Growing Old is Getting Old”—will keep that old Pickup contingent in high spirits. The six minute walloping thrill ride of “There’s No Secrets This Year” and the whirling shoegaze gone pop affair of “Sort Of” will most certainly win over some new fans too. In these times of stagnant rock radio domination, it’s refreshing to see a band that’s actually taking some risks and not afraid to tear it up!~ Alex Rendon
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Au Revoir Simone
Still Night, Still Light | Our Own Secret Record Company
The cutesy Casio assault known as Au Revoir Simone had all the indie boys oh so very smitten with their coyly delivered dream pop majesty on ‘07 release The Bird of Music. These engaging Brooklynite brunettes, winsome and melancholy as ever, stick to the same charming keyboards and exquisite vocals formula on their latest album, Still Night, Still Light. Don’t let that preclude you from cuddling up to this cozy number. Thom Monahan (Vetiver, Beachwood Sparks) is brought in to add an ethereal sheen to ambiance--the spine tingling synth opener “Another Likely Story” and the vintage skippy keys on “Shadows” are two good indicatives. “Knight of Wand” with its upbeat, punchy Casio driven groove proves that Steroelab ain’t got nothing on these gals. Effeminate bliss to the max. ~ Alex Rendon
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Jarvis Cocker
Further Complications | Rough Trade
Hard to believe it’s been more than fifteen years since Jarvis Cocker’s sardonic slumming it Brit pop classic “Common People” rose Pulp to the top of the British charts. On his second effort, Further Complications, the only thing the bespectacled aging rocker wants to be on top of is a twenty something vixen—“Angela”. Cocker, now in his late forties, certainly hasn’t lost a step on churning out his irreverent charisma, unleashing his carnal desires on this one and teaming up with grunge whiz producer Steve Albini (Nirvana, Pixies to name a few) to do so. Albini’s definitively harder edge adds an extra Viagra vigor to Cocker’s campy verses. The end result is a sleazy, velvety Roxy Music inspired effort about Cocker’s attempts to bag paleontologists-- “Leftovers” and reflections on his shallow one night stand way of life--“I Never Said I Was Deep”. ~ Alex Rendon
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William Fitzsimmons
The Sparrow and The Crow | Downtown Records
Those that missed out on the lush autumnal melodies of William Fitzsimmons' first official studio album (third in total) The Sparrow and The Crow are in luck because Downtown Records is giving it another whirl. Rising from the steel pillars of Pittsburgh, PA and with the heartiest beard south of the North Pole, the endearing Fitzsimmons delivers the most exquisite vocals you've heard in a while. His hushed versus song over banjos and hi-string guitars--as heard “You Still Hurt Me”--makes Iron and Wine the most obvious reference point. Couple that with intimate, heart on the sleeve lyrics said to deal with his recent divorce- I tore your heart to pieces-- “Please Forgive Me (Song of The Crow)”, and you got a real tear jerker on your hands. Lots of remorse and reflection oozing out -- “If You Would Come Back Home.” Have a handkerchief handy. Seriously though, this is an beautiful album not to be missed. ~ Alex Rendon
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Crocodiles
Summer of Hate | Fat Possum
Administering wailing feedback so silky smooth that is sounds like aural honey coming out of the speakers isn’t easy to do, but San Diego duo Crocodiles come pretty darn close on debut Summer of Hate. Don’t be fooled by this album’s angst driven moniker, Charles Rowell and Brandon Welchez are more apt on delivering introspective verses --as heard on the album’s title track—“Don’t know what I’m doing here anymore”--and embedding them in goopy choruses, than doing anyone harm. Even “I Wanna Kill” with its immediate hook and propulsive wah-wah kicks will have listeners singing joyfully along (yeah, use precaution when listing to this one in public places.) “Refuse Angels” whacking digital delirium and “Here Comes the Sky” susurrant guitar chords are two other dissonant treats not to be missed. There are many elements of Jesus and Mary Chain and Velvet Underground here sure, but we love every derivatively fuzzy minute. ~ Alex Rendon
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The Pretty Faces
Another Sound | Self Released
Boca Raton by way of Waterloo Canada trio The Pretty Faces demonstrate more than just a little affection for the raucous sounds of 70s garage rock on their second full length—Another Sound . And, despite their gritty guitar lines and lead singer Jeph Thorslund’s coarse at times vocals; it’s a challenge to find anything disagreeable about this family band- Jeph Thorslund (vocals, guitar, bass, husband), Hannah Thorslund (guitar, vocals, wife), Thomas Thorslund (drums, brother). Think about it, you got three good looking, deft musicians from Canada, what’s not to like? Most engaging of all is their ability to dish out straight up hooky pop rock with a grainy hue—we like the dueling guitars and propulsive drums heard on “Sweet Sixteen” and the mellower, Elliott Smith-esque verses of “Yellow Highway Lights” the best. Be there on Friday when this affable trio parties like it’s 1979 for their album release at Propaganda. ~ Alex Rendon
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Jeniferever
Spring Tides | Monotreme Records
It’s a Nordic double shot over here at the Purehoney. This week, we offer up Spring Tides, the second full length from ethereal Swedes Jeniferever. This celestial album will give U.S. audiences a chance to discover the lush orchestral sound that has garnered Jeniferever a cult like following in Europe. Sounding a bit Sigur Ros atmospheric and a tad Cure somber there will be much for fans of astral post-rock (think Explosions in The Sky but more melodic) to enjoy. Vocalist Kristofer Jönson’s breathy vocals on song “Concrete and Glass” add an emotive charm to the glacial mood. “Sparrow Hills” and its gallivanting snares and the meandering “Spring Tides” are two others not to be missed. This one is definitely a chiller best enjoyed on lackadaisical Sunday afternoons.~ Alex Rendon
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I Was A King
S/T | The Control Group
It’s no secret that we are big on fuzzed out rock ‘n roll around here, so when we picked up a copy of Norwegian group I Was a King eponymous second album (due out April 7th), with its exquisitely administered chord bending and front man Frode Strømstad’s buoyantly wispy vocals, needless to say, we were hooked. With Serena-Maneesh’s Emil Nikolaisen on bass and guest appearances from Sufjan Stevens and Daniel Smith (Danielson), this sonically nectarous album will be an audible delight for fans of My Bloody Valentine and Ride. And those who followed Dinosaur Jr’s career will be wondering if Strømstad was not a J Mascis understudy at some point, whilst listening to “Step Aside” with its glimmering pedal work. The sonically propulsive “It’s All You” and the chimey kickback heavy “Golden Years” are two others not to miss. ~ Alex Rendon
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Condo F*cks
F*ckbook | Matador Records
The rollicking good times abound on this delightfully scuzzy album of garage rock covers by legendary New London, CT band the Condo F*cks. What’s that you say, never heard of Condo F*cks? No, they are not a group of well-to-do yuppies that made tons of dough flipping high rise apartments in Brickell. Condo F*cks is the guise of heralded indie trio Yo La Tengo, and F*ckbook is their 33 minute unabashed grimy homage to their garage/glam rock heroes. Tasty renditions of The Troggs’ “With a Girl Like You”-which competes with the raw ferocity on the song’s originators, and Beach Boys’ B-side “Shut Down” –which is transformed into an overdriven surf rock doozie—both channel the raw energy of Stooges. Believe us, Yo La Tengo playing the part of a lo-fi seventies outfit fucking rocks! Don’t miss out on this one.~ Alex Rendon
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Ex Norwegian
Standby | Dying Van Gogh Records
We all know of at least one local band that’s been around forever, puts out loads of material, plays all around town, but never seems to break. Nothing could be further from the truth for Miami quartet Ex-Norwegian, who notoriously played the CMJ Marathon just a mere months after uniting (before playing one single gig at Little Haiti haunt Churchill’s too.) With only two solid singles to their name-the instantly catchy, Lemonheads-esque folkie pop number “Something Unreal” and the dancey playful tune “Dance Trance Pants”- the band managed to drum up enough demand for a proper full length (out on March 17th.) Lead singer/guitarist Roger Houdaille pens all the sweeping harmonies on this collection of jangly power pop. Some of the standouts not to be missed-the Meat Puppets inspired track “Add Vice” and the crunchy “Fujeira In My Dreams.” ~ Alex Rendon
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The Drones
Havilah | ATP Recordings
Following in the footsteps of fellow Aussie Nick Cave, The Drones create a dissonant brand of blues- tinged, art -damaged rock that is seemingly growing more discordant as the band matures. On Havilah, the quartet’s fifth effort, the vocal squelching and guitar wailing are set on overdrive. This lo-fi album, which was recorded at the mud-brick Australian country side home of lead singer Gareth Liddiard and partner/band bassist Fiona Kitschin, is dominated by Liddiard’s gravelly howls - “I Am Supercargo” and “The Minotaur” being the most jarring examples. Liddiard’s vocals tend to be rather polarizing in that Bob Dylan sense; horrifying some listeners, while drawing in others. The grinding “Oh My” and the hop-skipping ender “Your Acting like the End of The World” prove to be vastly more approachable listens however. This is definitely the kind of disc which you are going to immediately detest or absolutely fixate over.~ Alex Rendon
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Asobi Seksu
Hush | Polyvinyl
TheHoneyComb’s own, Steve Rullman, mentioned in last week’s edition of PureHoney that the new album by Brooklyn's Asobi Seksu plays out like “the Cocteau Twins on steroids”- no song more indicative of that than the crunchy “Familiar Light” with its bombastic angular guitars that mingle with dainty vocals. Perhaps the biggest common denominator being Asobi Seksu’s singer Yuki Chikudate’s airy, ethereal harmonies. Fans of the group’s last two sonically inclined albums might not like the sound of a more polished and mellower band, but... excepting the stellar, full throttle “Me and Mary”, that’s what you get on the lush Hush. Guitarist James Hanna holds back on the kickback and throws in more gallivanting drum machines (“Sing Tomorrows Praise”) and spooky Theremins (“Gliss.”). On moments like the twinkling “Sunshower” their new elegant formula results in exquisite dream pop. This one is sweet candy for your ears.~ Alex Rendon
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Psychic Ills
Mirror Eye | The Social Registry
NYC quartet Psychic Ills’ second full length plays like a Rorschach ink blot test for your ears. What listeners will make of songs like- “I Take You as My Wife Again” with its metallic synths that mimic rotating helicopter blades and “Meta” with its swirling, meditative guitar licks -is entirely up for discussion. Get comfortable on the couch because this group’s twirling trance has the potential to cause hallucinatory and catatonic experiences. Those who can snap out of the deep hypnotic state that kaleidoscopic, Middle Eastern eleven minute opener “Mantis” besets will discover even more sonic textures that are both transcendental and otherworldly all at once; akin to the music a belly dancer might groove to at a Stark Trek convention. Tribal beats and ominous vocals spellbind on “Fingernail Tea”. Definitely not recommended for the musically unstable (or unadventurous.) Feed your head! ~ Alex Rendon
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The Jean Marie
Annie Jump Cannon
It’s been a long time coming for Miami quartet, The JeanMarie’s full-length debut, Annie Jump Cannon. Taking its name from the famous American astronomer, this shimmering catalog of funky prog rockin’ reveals a more expansive post punk troupe. A couple of favorites from the group’s stellar EPs are brought back - Vampires Pt. II reappears with a dose of more wallop and a touch of reverb on Jordan Davidson’s emotionally charged vocals, and Delancey Street is polished up and reborn with area rock size guitar solos. But these Tropical Bohemians (as noted in a recent New York Times article) have many more tricks up their sleeve. (We Play) Pianos revels in an Elvis Costello quirk with its “pawnshop” organs over choppy guitar licks. Their inner jam band comes out on “Bonepickers” where chimey chords buoyantly take the lead over dub infused beats. Throw in subtle elements of jazz and R&B and you got an instant classic that tickles many fancies. Well worth the wait the boys! ~ Alex Rendon
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A. C. Newman
Get Guilty | Matador
Chances are, if you’re familiar with Carl Newman’s (A.C. is his nom de plume) work as lead singer/songwriter for Canada’s indie power-pop super group The New Pornographers, then you are really going to dig “Get Guilty”. Newman’s 2nd solo effort gives the eclectic musician a platform to expand on his folksy yet intricately arranged sing-alongs that are perfect for swishing pub pints. Taking cues from Neutral Milk Hotel, Newman’s breezy harmonies are sated with multi-track layering and endless orchestral touches. He’ll easily have a tuba do the rhythm-“Young Atlantis”, or church organs whorl in over acoustic guitar frets-“Elemental.” There is always an element of discord in Newman’s arrangements, which can make his music harder to digest the first time around. Songs such as the up tempo rocker ‘”The Collected Works” and the incoherently symphonic "Submarines of Stockholm" will grow on you, if you give them a chance.
~ Alex Rendon
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Animal Collective
Merriweather Post Pavilion| Domino
Maryland’s freak out rock quartet Animal Collective have been blogger darlings since their inception ten years ago, but have always maintain enough obtrusiveness in their non-conventional sound to alienate the casual listener. Merriweather Post Pavilion, the band’s ninth studio album, finds these experimental fellas toning down their shrilling discord and embracing their inner Beach Boy harmony. Don’t get me wrong, MPP still swirls and sways out into the stratosphere (some would say like the Beach Boys on waaaay too many tabs gone awry in the studio,). With tender melodies like “Almost Frightened” and “Bluish” so pleasing to the ear however, it’s inevitable that new audiences will cuddle up this record. There are even some decent danceable numbers--“My Girls” and “Summertime Clothes”—that are the most accessible tracks Animal Collective have ever done. No need to be scared (or perturbed) any more folks, warm up to Animal Collective, you will not be disappointed! ~ Alex Rendon
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Titus Andronicus
The Airing of Grievances | Xl Recordings
Northern Jersey five-piece Titus Andronicus generated much hullabaloo with their May debut, The Airing of Grievances. Blending the Replacement’s garage raucous, the Strokes’ effortless cool and Times New Viking’s treble wash, it wasn’t long before these suburban punksters began amassing serious blogger cred on the web. Thankfully for those behind the curve (or with better things to do than obsessively seek out bands on the web) XL Recordings has re-mastered the album for the masses, releasing it digitally in November and physically in January. Some caustic rockers that you don’t want miss -- “My Time Outside the Womb”, where lead vocalist Patrick Stickles recants his experiences outside his momma’s birth canal in a Casablancas over modulated hue, and “José of Nazareth’s Blues” a bluesy proto punk mish mashing where Stickles snarls like Kurt Cobain on rollercoaster precipice. ~ Alex Rendon
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Gentleman Auction House
Christmas In Love | Emergency Umbrella
Wondering how to celebrate the Yuletide cheer while still maintaining that esoteric indie zest? Don’t sweat it (humidity frizzes up that killer shaggy hairdo after all), St. Louis’ chirpy ensemble Gentlemen Auction House’s Christmas in Love is your answer. Their twinkling euphoric pop melodies are perfect holiday fare, equal parts Egg Nog and Arcade Fire. You got your reindeers rockin’ rooftops—up tempo “On the Rooftop”, kids rushing down Christmas morning to open up gifts—percolating synthesizer driven title track, and the most carefree rendition of “Here Comes Santa Claus” you’ve heard. Classic carols haven’t sounded this out of the ordinary stellar since Bowie joined forces with Bing Crosby.~ Alex Rendon
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Heroes of the Dancefloor
Torch | INgrooves
Shaking rumps for a good cause; that’s what New York’s jazzy dance ensemble Heroes of The Dancefloor set out to do on their second album Torch. All proceeds from this record will go directly to two NYC homeless charities -- Picture the Homeless and Coalition for the Homeless. Not one dime goes to the artists involved! Don’t think for a minute that this group consisting of touring musicians from Kasabian, Scissor Sisters and James Brown will let all this philanthropy deter from the party. Lead singer Manu entertains from the start with androgynous howls reminiscent of Cece Peniston (“Finally”) one minute (“Same Scandal”) to soothing soulful ditties ala Ella Fitzgerald (“The Knack”) the next. Musically, HOTDF have a lot of parallels to local Little Havana stalwarts Spam Allstars, but, on songs such as “Ricky” and “The Knack” fuse in more soul and hip hop rather than samba. ~ Alex Rendon
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Chairlift
Does You Inspire You | Kanine
Chances are “Bruises,” with its pulsating drums, swirling keys, and, most particularly, lead singer Caroline Polachek’s lushes and piercing chorus ---“For yououou ou ou ououou” --will be eerily reminiscent. A case of Déjà vu? Not really, this infectious single was heard by millions as part of the new IPod Nano- Chromatic’s national campaign. Make no mistake about it; Polachek’s vocals, which keen much in the way Kath Bush’s once did, are what makes this Brooklyn by way of Colorado trio so stellar. “Evident Utensil” has Polachek yodeling like Bjork in her most eccentric moments. The remaining eight tracks here are a mélange of electro-pop, psychedelic and goth. No surprise that upon their arrival in Brooklyn, these musical aesthetes quickly fell into the same circles as current Space rock kings MGMT. ~ Alex Rendon
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The Smiths
The Sound of The Smiths | Rhino
Some of you might be thinking; Great! We need another “Best Of” Smiths collection about as much as we need more of those unsecured adjustable rate mortgages. Venerable 80’s UK band The Smiths has always been polarizing in that way. “The Sound Of The Smiths”, supervised by The Smith’s influential post-punk guitarist Johnny Marr and their famously flamboyant lead singer Morrissey, doesn’t offer up anything new that will change opinions. Nevertheless, the first disc (yeah, it’s a double disc too), a chronological retelling of The Smiths singles, serves as a great introduction to those emo kids curious about who inspired their idols. And, disc two, dishes out enough intrigue to draw Smith diehards, including punchy “Jean” which features Marr’s brilliantly chiming guitar and Moz’s guttural croons, and instantly memorable live versions of “Handsome Devil” and “London.”~ Alex Rendon
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Guns N' Roses
Chinese Democracy | Black Frog/Geffen Records
Do you remember what you were doing in 93? George H.W. Bush was in the White House, Boyz II Men was dominating the airwaves, and, most of us didn’t even dream of owning a cell phone. Much has changed since Guns N’ Roses released their last studio effort --Spaghetti Incident. After a decade and a half of anticipation, Axel Rose and his new crew unveil Chinese Democracy. The $16 million dollar question, was it worth the wait? Meh. This collection of blaring dueling guitars, hip-hop beats, industrial crunch and pretension, doesn’t impress. Matter of fact, GNR’s bloated production teeters on sounding blasé. Songs like “Better” and “Catcher in The Rye” rip many pages (and chords too) from Godsmack and Disturbed. Too bad Rose and co. didn’t put this one out during alternative metal’s heyday (circa 03’); it just might have been relevant then. ~ Alex Rendon
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Rachel Goodrich
Tinker Toys | Yellow Bear Records
The wheezing kazoo intro on “Piggy Bank”, lead off track from Miami’s whimsical poly-instrumentalist Rachel Goodrich’s brilliant self-released debut, gives listeners a taste of what shake-a-billy’s about -- rock-a-billy sans reverb, with oodles of irreverence. Tinker Toy’s is comprised of hop-skipping ditties like the sweeping “Black Hole”, and the galloping “Excuses, Excuses,” replete with ukuleles and harmonicas that tickle fancies at every turn. Hips will swerve to “Ukulele Water” and nugs will be sparked to “Dope Song,” perhaps the new stoner anthem of ’09?—“Because anything really goes with a bag of dope.” Goodrich’s voice sooths like Elle Fitzgerald and cold malt whiskey. Listening to Goodrich finger-picking the charango on “Light Bulb” like a Peruvian native, there is no denying that this quirky local gal has some serious skills. ~ Alex Rendon
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Ladyhawke
S/T | Modular
On her eponymous Modular Records debut, New Zealand’s synth-pop chanteuse Pip Brown’s, aka Ladyhawke, lays down the kind of immediate hooks and propulsive beats that will leave listeners with an uncontrollable urge to aerobicize. Tunes like “My Delirium” and “Magic” brim with such arena size choruses and swaggering keyboards that it’s nearly impossible not to gyrate. Brown has an uncanny ability to make 80's retro pop sound fresh and relevant; her dance floor tour de force “Paris is Burning” being the glitzy post-disco case in point. Ladyhawke is not all spandex and sweat bands though, “Back In The Van” has her doing a spot on Stevie Nicks with a Indie twist. ~ Alex Rendon
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Zombies! Organize!!
Before It’s Too Late | PBC KD Records
It’s the dawn of a new day folks. We are not talking about the Obama presidency mind you (although the change in the U.S. political climate is pretty darn cool as far as we’re concerned.) We are talking about the dawn of the walking dead that’s steadily approaching at the hands of Boca Raton’s Zombies! Organize!! In debut “Before It’s Too Late” the trio have complied a homemade full -lenghter of the crunkiest walking dead homages you’ll probably ever hear. Songs like “Trioxin” and “Zombie Manifesto” are a mélange of your favorite brain eating horror flicks and old school Miami booty shake loops (think 28 Days Later meets “The Cars that Go Boom”.) Mary Sheffield (aka MF Mars) rapid fire helium rhymes (probably what Betty Boop would sound like if she turned into a dirty horrorcore MC) are a treat. Z!O!! have made all their ghoulish bass available for free on their Myspace (myspace.com/zombiesorganize) for those that care to join the undead revolution.~ Alex Rendon
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Of Montreal
Skeletal Lamping | Polyvinyl
Who better to review during Halloween time than former Palm Beach County resident Kevin Barnes’ band Of Montreal? What with Barnes’ penchant for cross-dressing and stage props, we thought it to be a suitable pick (okay! sure, if Rob Zombie had a new album out, that might have been a tab bit better choice, but we digress.) Of Montreal’s ninth release, Skeletal Lamping finds Barnes turning it up a few notches on the flamboyance factor, concocting 15 tracks with ostentatious titles like "An Eluardian Instance” and "Beware Our Nubile Miscreants" that consist of about three, one and one half minute pop/R&B snippets each. Barnes’ pop sensibilities are still intact though, just maniacally tweaked. His falsettos and relentless hooks coming at you every which way, much like Barnes’ central character, the transgendered Georgie Fruit would. You get the idea that Skeletal Lamping is the music Prince would make if he ever woke up Schizophrenic.~ Alex Rendon
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Deerhunter
Microcastle | Kranky
Microcastle’s brand of effervescing freak-out pop swirls and swooshes itself unto listeners’ psyches quicker than a spiked Cherry Coke drunk on an empty stomach. This third full lengther from Atlanta’s ever-quirky Deerhunter is a psychedelic art damaged splendor. Lead by the notoriously gangly Bradford Cox, known for his verbal diarrhea, he doesn’t disappoint here with his in your face lyrics, --- check “Nothing Every Happened.” His vocals vulnerable like Syd Barret on the verge of a meltdown---“Agoraphobia.” Cole Alexander of the equally atypical Atlanta band Black Lips makes a cameo on “Saved by Old Times”, a tune which has many parallels to the Byrd’s, only with twice the catharsis and triple the spazz. Cox demonstrates such songcraft aptitude on this effort that we at the ‘Comb say--give weirdo rock a try! ~ Alex Rendon
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Mason Proper
Olly Oxen Free | Dovecote Records
Think of Olly Oxen Free as the official come out and play party for Michigander quintet Mason Proper. Sure their debut album, There is a Moth in Your Chest, was decent, but these Wolverine fellas deliver such effortlessly memorable songs here that it’s truly a cause for celebration. Opener “Fog” possesses the spiritual atmospheric air (sans bible) that is often found in Cold War Kids’ tunes. Part of that can be attributed to lead singer, Jonathan Visagar, endearing everyman vocal delivery. “We put the chill in your bones tonight” he unnervingly croons on “Lock and Key”, while keyboards shimmer in and guitar lines slither out. Not a Cold War Kids fan? Don’t close the book; there is something for every fancy. “In The Mirror” contains the progressive subtleness heard in King Crimson’s best moments. “Point A to Point B” is pure saccharine indie pop. ~ Alex Rendon
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Fiasco
Native Canadians | Impose Records
Even though this trio of raucous wunderkinds from Park Slope Brooklyn are not even out of high school yet, their brand of walloping punk set amidst whacked-out time signatures (think Fugazi meets Battles) has garnered them a huge following amongst Brooklynites and earned them opening slots with the likes of Kimya Dawson, No Age and Casiotone for the Painfully Alone. Native Canadians, their third LP, is the group’s first on Impose Records (their previous self-released albums sold like hot cakes and are out of print!) The album is chocked full of unnerving adrenaline –“It's Better We Do Something Ridiculous than Nothing at All," and raging hormones --- “Oh You Horny Monster.” Similar in nature to the first time most of us got our rocks off, this inspired collection of sonic ferocity is short (checks in at just under twenty one minutes) and sloppy, yet leaves us with just enough hope and confidence for future endeavors. ~ Alex Rendon
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Friendly Fires
Friendly Fires | XL
Like banging on a cow bell while inebriated at an out of control house party, Friendly Fire’s eponymous four-on-the floor funk-punk debut, offers up pure unadulterated good times (with less of a hangover.) Sure, this St Albans, U.K. trio doesn’t sound all that remarkably different from The Rapture or Franz Ferdinand or (insert trendy dancey post-punk band here)_______ , but they are just so successful in delivering delicious harmonies over infectious beats that they’ll instantly win you over. The chiming synthesizers and driving samba beats on “Jump in the Pool” will get to you first. The oft-kilter disco stylings of “Paris” will be your guilty pleasure for quite some time. Listen, when you got a song named “Strobe” (a New Order style dream-pop gem), you know what‘s in store. Flavor of the month? Perhaps. Time to get over yourself, and shake what your momma gave you to this one. ~ Alex Rendon
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Dead Confederate
Wrecking Ball | TAO/Razor & Tie
On the surface, you’d think a band hailing from Georgia with a Civil War recreationalist name like Dead Confederate would sound something like the second coming of Lynard Skynard. Nothing could be further from the truth on raucous album opener “Heavy Petting,” with its thunderous guitar riffs and gut-wrenching growls. Hearing Hardy Morris’s angst-ridden, gravelly delivery for the first time your first instinct will probably be, “holy shit, this is the second coming of Kurt Cobain!” The Meat Puppets would serve as an equally accurate comparison, given their penchant for mixing rollicking punk rock fervor with twangy country soul. This quartet does sprinkle in some southern roots at times, such as slide guitar roving heard on “It Was a Rose” but does so with a Pink Floyd atmospheric flair, as heard on moody stand out “The Rat.” More raw, and many more decibels louder than anything heard on My Morning Jacket’s latest. ~ Alex Rendon
Listen to Dead Confederate

Brightblack Morning Light
Motion to Rejoin | Matador Records
Mellow fellas and laid back sistas are going to dig the Psilocybin-esque sounds heard on Motion To Rejoin, Brightblack Morning Light’s follow up to their well received 2006 self-titled LP. Mellow is definitely the key in Nathan “Nabob” Shineywater (guitar, vox) and Rachael “Rabob” Hughes (Fender Rhodes, vox) tunes: full of swirling vintage keyboards, fuzzy guitar licks, breathy harmonies and Native American instrumentation. What more would you expect from an album that was recorded entirely with solar power by a guy who routinely sings with an arrowhead in his mouth (no joke)? These Neo-Hippies are leaders of the freak-folk scene for a reason. Album highlights “Hologram Buffalo” and “Oppressions Each” are melodious ethereal concoctions of psychedelic Southern gospel blues with a hint of prog rock thrown in for good measure. Pick this one up next week (September 23rd) and set some time aside to enjoy the hazy ride. ~ Alex Rendon
Listen to Brightblack Morning Light

Spam Allstars
Introducing Spam Allstars | World Music Network
By now, even the measliest local music fan will already have had some introduction to the cubano- electro-fusion brilliance of The Spam Allstars, dubbed Miami’s hardest working band. If by chance you haven’t, get thee to Calle Ocho’s Hoy Como Ayer, where the band has had Thursday night residency for freakin’ years. (Don’t worry Palm Beachers, a couple of Calle Ocho cortaditos will do the trick on the way back.) Introducing Spam Allstars, is the Allstars world wide coming out party. This compilation of the Allstars’ last three CD releases (Electrodomesticos, Contra Los Roboticos Mutantes, and Fucata Live! )is being released globally through World Music Network. The Allstars’ polyrhythmic funk descarga is all in check here. Best representation, “Campanario 64”, which begins with pounding old school Miami bass lines before a sprightly flute overtakes the focus and is then followed by DJ Le Spam’s turntable fury. It’s all about the Guayaberas, boom boxes and congas, Miami’s multi-ethnic vibe is in full effect here. ~ Alex Rendon
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Faded Paper Figures
Dynamo | N/A
The full length debut from Irvine California’s Faded Paper Figures is chock full of peppy chunks of infectious confection-pop. Twelve spectacular bites of shimmering indie-tronic goodness imbued with R. John Williams bittersweet vocals and Kael Alden multi-instrumental flair. Some might remember a few weeks back when I said English duo I Was A Cub Scout sounded a bit like (shared an undeniable kinship to) electronic-pop super-group Postal Service, well… when you listen to the percolating synths and the honeyed backing vocals of Heather Alden’s (Kael’s wife) on “Metropolis” you’d be convinced that this trio are the genetically engineered clones of Jimmy Tamborello, Ben Gibbard and Jenny Lewis. Second that notion on the twinkling “Poloroid Solution,” with its Tinker Toy keyboards and chance encounters at “metro stations”— think “Clark Gable.” Nonetheless, don’t let that detract from an extremely solid release! Fans of Death Cab and Stars are going to devour every dulcet electronic morsel. ~ Alex Rendon
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Seun Kuti & Fela's Egypt 80
S/T | Mr. Bongo
Sharpen your pencils Vampire Weekend boys and take some diligent notes, the conscious groove laden self- titled debut from Seun Kuti & Egypt 80 is your afrobeat schooling. Seun (Shey-oon) is the youngest son of Fela Kuti, Africa's greatest musician, and inventor of the afrobeat sound. Seun expands on his father’s brilliance here, delivering seven mesmerizing concoctions of polyrhythmic percussion, funk rhythms, heavy brass ensembles, and fists-in-the-sky protest. Seun’s themes of optimist over corruption, as heard on “Na Oil” and “Think Africa,” would make his pops proud. The album, replete with driving horns and deep bass lines, will win over fans of improvisational jam bands and Jamaican dub alike. ~ Alex Rendon
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M83
Saturdays=Youth | EMI France
If you didn’t know any better you’d think “Couleurs” with its cascading drums machines and wall of stratified keyboards was a hidden gem from New Order’s early catalog, when in actuality, it belongs to Antibes, France’s M83’s retro-fried fifth studio effort Saturdays=Youth. No worries, Anthony Gonzalez‘s (M83’s mastermind) use of lush synthesizers and opulent vocals has many familiarizing touchstones; taking the best parts of New Order, My Bloody Valentine, and Air. Tracks such as “Kim & Jesse” and “Graveyard Girl” with their dreamy soundscapes and unintelligibly wispy vocals come off like an electronic shoegaze of sorts, sans the foot pedal. The album’s more effeminate tracks-- “Skin of The Night” and “Up”—feature the equally luxuriant vocals of Morgan Kibby (from LA band The Romanovs) and can be best summated as a cross between Massive Attack and the Cocteau Twins. Those with a kitsch fascination with the Rubix cube are going to eat up all the synthy synthyness that M83 deliver on this effort. ~ Alex Rendon
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The Faint
Fasciinatiion | Blank.wav
Much has changed for Omaha’s favorite new wave sons in the four years since releasing lukewarm Wet From Birth. The quartet left Saddle Creek, formed a new label (blank.wav), built a new studio (Enamel) and went completely DIY on their fifth studio album, Fasciinatiion, writing, recording, and producing, every detail. Don’t worry though; the group’s delectable danceable over-modulation is still intact. Opener “Get Seduced” with its ominous, squirming keyboards will ring pleasurably to Faint fans underwhelmed by Wet From Birth guitar driven sounds. They’ll also eat up the mangled bass lines –as heard on the oft-kilter pop tune “Psycho”, heavily distorted beats-- check out “Mirror Error”, and squiggly synths that dabble with 8bit Gameboy -- “Machine in a Ghost”, heard here. The jittery “Forever Growing Centipedes” which unfolds as pure electro-pop brilliance does hint at newer directions. While not quite as awe inspiring as Dance Macabre was, this album is a return to form for Omaha’s finest. ~ Alex Rendon
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El Ten Eleven
These Promises Are Being Videotaped | Fake Record Label
As my head bobbles to-and-fro listening to the punchy bass driven riffs on opener “Jumping Frenchmen of Maine”, from LA post-rock duo El Ten Eleven’s third album These Promises Are Being Videotaped, I think to myself, damn! this is the most digestible experimental instrumental music I’ve ever heard. Forget all the oblique intertwining of bands like Explosions in the Sky, this instrumental pair delivers a danceable concoction of drum and bass that pushes envelopes but doesn’t intimidate. Not the glow-stick- twirling drum ‘n bass heard on South Beach, but rather, Tim Fogarty’s fierce drumming and infectious loops, and Kristian Dunn’s ingenious fretless bass guitar. Amazingly, those are the only two instruments you’ll hear on this textured release. But, listening to Dunn’s bass magic on "I Like Van Halen Because My Sister Says They Are Cool" where he flickers his bass so sprightly that it sounds like a lead vocal, those two instruments work out just fine. ~ Alex Rendon
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King Khan & the Shrines
The Supreme Genius of King Khan & the Shrines | Vice Records
If you missed out on the spastic career of King Khan and his eleven piece backing band-- The Shrines, you’re in luck sucker ‘cause Brooklyn’s Vice Records has culled all the cosmic soul madness from their spastic 10 year career onto one dirty bird of a full-lengther. The Supreme Genius of King Khan and The Shrines is cheeky like Austin Powers and squawks like only a crazed Canadian of Indian descent emulating James Brown and George Clinton could. Checking elements from 60’s garage rock to vintage soul to blaxploitation flicks and even a little old time blues, the album has an unabashed retro feel, but hits the nail on the head. Rollicking good times like these don’t come around too often and deserve to be revisited. ~ Alex Rendon
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The Notwist
The Devil, You + Me | Domino Recordings
Listening to the ambient\industrial\electronic indie pop that filters out of The Notwist’s sixth studio album, The Devil, You + Me, you’d be hard pressed finding any trace of this German band’s noir heavy metal roots (well OK,… maybe the ominous title is one minor indication…we’ll give you that one). Like a fuel efficient hybrid of Grandaddy and Autechre, this quartet features the breathy, easy to digest vocals of Markus Acher, mixed up with the rest of the band’s unnerving, twitching synthesized clatter, done up just right. Stellar tracks “‘Where In This World” and “Gravity” steer on the pleasant side of avant-garde. The droning, building tensions heard on “On Planet Off” would make industrial godfather Trent Reznor proud. ~ Alex Rendon
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I Was A Cub Scout
I Want You To Know That There Is Always Hope | Beggars Group
On their ambitious debut, Brit poptronic duo I Was A Cub Scout-- Todd Marriot (vox/guitars/synths) and William Bowerman (drums) --attempt to capture the true essence of emotive music. Put the eyeliner down though, these lads’ ambitious inflective effort is far removed from anything in your little sister’s emo collection. The twinkly synthesizers and cascading glockenspiels that abound on “Save Your Wishes” and Fisher Price style keyboards heard on “We Were Made to Love” will remind many of another digitally emotional duo from closer to home---The Postal Service, whom IWACS share an undeniable kinship to. Alas, this duo broke ties shortly before this album’s release. ~ Alex Rendon
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The Wounded Knees
All Rise | Specific Recordings
Wounded Knee’s first release, All Rise, dripping in layer after layer of guitar haze, is quite a treat for those still enamored with the exquisite distortion dished out by mid-nineties bands such as Ride and My Bloody Valentine. The trio’s lead vocalist/guitarist Jimi Shields is Kevin Shields (My Bloody Valentine) younger bro after all, and the apple doesn’t fall to far here. Suzanne Thorpe of Mercury Rev fame, and her “revolution flute”(direct quote from the 10” vinyl sleeve) add an organic, surrealistic touch to the grit. Couple that with Dinosaur Jr’s J Mascis’ exploratory guitar cameo on stellar track “Dirty”, and you've got one great soundtrack for your next Peyote trip with the local chieftain. ~ Alex Rendon
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Prince Fatty
Survival of the Fattest | Rasa Music
Prince Fatty is an ensemble of irie characters arranged by acclaimed UK producer and reggae junkie Mike Pelanconi, who has done knob tweaking from the likes of The Pharcyde, Lilly Allen, and reggae legends Gregory Isaacs, Adrian Sherwood and Dub Syndicate . On Survival of the Fattest, Pelanconi’s super dub troupe delivers a juicy concoction of the rock steadiest tribute nuggets you’ve ever heard, harkening back to the 70’s glory daze of the Rasta nation. The delicious old school Hammond organs that abound on “Don’t Give Up” and the drippy muffled horns on “Milk and Honey” will make you feel like…well… like you just enjoyed a big fatty, Prince Fatty that is. ~ Alex Rendon
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