Carl Sandburg Visits Me In A Dream

The critical acclaim around the Annuals has always sparked my interest, but never really satiated my appetite for good tunes.

I thought I would share a couple of tracks, though, and let you decide for yourself.  Happy Friday!!

Get a copy of Such Fun.

Listen to “Hot Night Hounds”

Listen to “Down the Mountain“

It’s one thing when all your myspace friends are cats/kittens. It’s another thing when all the kitsch actually amounts to something. Fortunately, both apply for the UK duo of Carim Clasmann and Galia Durant that make up Psapp.  The savory tones of Durant’s vocals melded with the ecletic instruments of Clasmann’s invention have given rise to the term ‘toytronica’ to describe their style.  But to pin Psapp into this proverbial corner only emphasizes the superficial kitsch and novelty to Psapp’s work.  While certainly this remains a significant part of their appeal, this ignores the complexity and sophistication that lie at the heart of what Psapp does.

And their fourth proper LP The Camel’s Back couldn’t be more indicative of such.  The album title seems to allude to the straw that breaks the camel’s back–could this be a statement by the band about their own style? Is it losing its uniqueness? Perhaps this album is to be the one that ‘breaks the camel’s back’, the one that is just too much to handle. To me, rather, it seems that this album is ever more so an affirmation (a culmination, if you will) of what Psapp has done thus far.  It is a defiant statement, a declaration, a strengthening (?) of the camel’s back.

To use words like eclectic and quirky are not helpful in defining the songs on The Camel’s Back, and would ultimately overlook the amazing breadth within those classifications that Psapp fills.  “I Want That” is a conglomeration of non-sequitur sounds, an unbridled explosion varying noises–and yet this entropy is harnessed in by Durant’s sweet, sultry voice to a delightful effect.  More discipline is shown on the stringed “Part Like Waves”, a delicate epic of a track that somehow tiptoes silently into your ear and runs out the other. The lowdown swing of “Fickle Ghost” carries a dissonant air, contrasted with the playful, less emotive “The Monster Song”.  The pulsing hypnotism of “Fix It” is as infectious a song as you’re going to hear, followed by the boisterous “Mister Ant”, only to conclude with the French ragtime of “Parker”.

So stop reading.  Get the album!

You can get a free track if you sign up for their mailing list.

Listen to “Fix It”

Listen to “Part Like Waves“

I thought this was way too awesome not to share.  Google is now hosting TIME-LIFE photos since 1880.  Pretty amazing what Google has done, I have to say. Way to go world!

Check it out here.

Coldplay - The World Turned Upside Down

So my theory about the content of the Hype Machine being heavily focused on remixes is turning out to be true.  Yesterday, I posted a few remixes that I happen to like — there aren’t many that really get me going — and popularity on the site spiked significantly.  This is basically an experiment to determine how to get into the top 50 of hyped tracks on the Hype Machine.  For those of you not aware of this, go here.  It wasn’t this easy before, but it seems that posting a few remixes will do the trick these days.  That’s what the people want, I guess.

For those of you who landed here from The Hype Machine, all I ask is take a look around the site and see if you like anything that isn’t a remix.  Like Men’s Warehouse, I guarantee you’ll find something you like.

Listen to “Coldplay - Clocks (DJ Sandstorm Remix)”

Listen to “Coldplay - Viva La Vida (WAHP Remix)“

No, not Bowie.  I featured Stuart Price on this blog before, under both his monikers of Jacques Lu Cont and Thin White Duke, and I’m doing it again!

Also, has anyone noticed what the hype machine has turned into? There is no diversity anymore.  All the top 50 tracks are basically remixes.  I’m actually seeing if this post can get on to the top 50, just to prove my suspicions right.

And I Just thought you might like some new-ish remixes from Price.

Listen to “Madonna - Get Together (Jacques Lu Cont Remix)”

Listen to “Seal - Amazing (Thin White Duke Remix)”

Listen to “The Faint - The Conductor (Thin White Duke Remix)“

I can’t begin to tell you how long I’ve been meaning to listen to this album! The Belfast artist Foy Vance has already been featured a couple of times on music-heavy TV shows like Grey’s Anatomy, and it had surprised me that Vance hasn’t entirely broken through the barrier of the big ol’ pond known as the Atlantic Ocean.  But never mind that, for he will presently infiltrate your ears and achieve cochlear dominance!

Foy Vance released his first full length effort Hope over a year ago, highlighting his unique fusion of soulful vocals, bluesy instrumentation, and troubadour lyrics.  Perhaps most surprising upon listening to the faux-Irishman is the incredibly lush vocals coming from a man whose present nation is characterized by strong brogues. His voice seems entirely made for blend of folk-soul–ranging from lush and resplendent (”Hope, Peace, & Love”) to brooding and dark (”Doesn’t Take a Whole Day”).  The backing musical elements run an even wider gamut–jazzy riffs, bluesy basslines, Southern folk, and gospel tones. The truth is that Vance grew up Oklahoma and spent significant time in Alabama and Louisiana (New Orleans to be exact)–there is no doubt that the musical influences of these places show up prominently in Hope. The fairy tale that is “If You Could Only See Yourself Like I See You” illustrates Vance’s delicate sensitivity, not to mention his knack for crafting elegant ballads.  “Gabriel & The Vagabond” features the storytelling talents of Vance at his best, along with delicious pianos that befall the ears when the words ‘Halleluyah’ ring out. “First of July” is the finest showcase of Vance’s lilting vocals, as it dips and dives with the precision of falcon and the grace of a dove.  The dreamy “Elshaneed” is best drunk in the nighttime, perhaps with the lights on dim, recalling the stylings of George Winston.

“Hope, Peace, & Love” finds itself in a completely different realm, with its charging guitar riff and shifty bass backing the meditating Vance until the song burts outward with salutatory drums and more urgent vocals.  Vance does his best of channeling Otis Redding on his “Shed A Little Light”, an absolutely uplifting track infused with soul and - dare I say - hope.  Surely the highest of the album’s many peaks, “Shed A Little Light” dazzles not only with his infectious melody but also with its inherent wit:

Shed a little light so I can find you
Don’t let darkness hide you from my face
I’ve got a light that is sure to find you
But it might just blind you before that baby.

Brilliant, I tell you. But you’re smart-tell for yourself! Get a copy of Hope.

Listen to “Shed A Little Light”

Listen to “Hope, Peace & Love“

One of my all-time favorites by CSNY is their classic “Teach Your Children Well”. It’s just a brilliant song, from its dissonant undertones to its subtle urgency.  And how applicable is it during this election season–indeed, education is a premium.  But no preaching here.

Continuing with the teaching theme, I was listening to Damien Dempsey’s “Teachers” yesterday and was astounded by simple beauty of this song.  It somehow had alluded me in my several previous listens to To Hell or Barbados.  Like all his songs, “Teachers” melds traditional Irish melodies with Dempsey’s folk (and apparently, island) sensibilities.

Crosby, Stills, Nash, & Young - “Teach Your Children Well”

Damien Dempsey - “Teachers“

There are certain artists where the complete sound doesn’t totally make sense until you actually see the artist.  Not necessarily in person (though that’s ideal) but just seeing the artist himself.  And if the avant-garde goofishness of James Yuill’s look doesn’t makes his sound more coherent, then I’ll be darned! Yuill’s electro-folk fusion is certainly interesting, in the sense that I can’t recall folk music with such upbeat rhythms.  But then again, maybe I’m completely off on the ‘folk’ characterization.  But I think one or two listens will make more sense of what I’m telling you here.  The London native seems an expert at creating suspense, but perhaps even more astute at relieving it.  “The Ghost” has Yuill displaying his chops at the troubadour role, the least infused with electronic instruments and the like.  On the other end is “No Surprise”, which sounds like the lovechild of the Postal Service and Savage Garden (the thought of it kind of makes me cringe, but the song is well executed).  “She Said in Jest” first appears as a dead-end song, until drum synths break in to give the track a whole new life.  These are just a couple of the morsels that await you, so now it’s only time to have a listen yourself.

Get a copy of Turning Down Water for Air.

Listen to “No Surprise”

Listen to “She Said in Jest“

Last year’s 2nd best album (according to the extremely accurate CSV Top 20) was the product of Angered, Sweden native Jens Lekman.  But Lekman has remained under the radar for the past year, prompting critics and listeners to joke, “You’re so silent, Jens”.  Well, if you’ve been paying careful attention, you may have noticed a new Lekman track out on a recently released EP Four Songs by Arthur Russell. Lekman lends his musical stylings to reinterpret the song “A Little Lost”.

Listen to “A Little Lost” by Jens Lekman.

Before there was indie rock (or whatever it is that is covered in that blog–genres are so last millennium) there was electronica.  At least for me.  Early on, I fell in love with emerging electronic artists like Zero 7, Stereolab, Massive Attack, Neon Heights…the conglomeration of sounds were so unique-sounding to me.  Foreign melodies, intoxicating vocals, drizzling rhythms–I was enthralled.  But it all started for me with Thievery Corporation.  The D.C. duo has alwasy held a special place at the top shelf.  And so, I’d rather not inundate you with the improbable rise of Hilton and Garza’s rise to ‘lounge’ music fame, but I’d like to let you know about their new album Radio Retaliation.

Seemingly continuing on their socially-conscious themes (prominent on The Richest Man in Babylon and The Cosmic Game as well), the ‘thieves’ have again managed to meld exquisite instrumentation with equally intriguing vocals.  Familiar voices like Notch and Sleepy Wonder reappear on Radio Retaliation, but a whole new slew of vocalists (Seu Jorge, Femi Kuti, to name a few) lend their talents as well.  “Vampires” walks a brilliant line between jazz and bossa nova, with Kuti’s voice a clarion call to action.  The soulful Jorge infuses every part of his being into the horned symphonic delight “Hare Krisna”.  Like a dense forest, the album is full of sprouting rhythms, each one as sonically pleasing as the next until broad-leafed evergreen goodness envelopes the listener.  The slow rolling, off-the-tongue “33 Degree” is silky smooth, Zee’s whispering rasp lulling the listener into submission.

The second half of the album is notably slower than the first, with the psychadelia of “La Femme Parallel” mixing with the aptly titled and loungy “Retaliation Suite”. But surprises lurk here as well, with the funked out “The Numbers Game” that will have you saying ‘bock-a-chik-a-wow-wow’ in no time.  “Blasting Through the City” leans toward the reggae style that Notch does best (see “Richest Man in Babylon”), while “Sweet Tides” is a wonderful farewell to the listener as the ‘thieves’ bid adieu until next time.

But don’t worry.  You can always go back and listen all over again.  All you gotta do is get yourself a copy of Radio Retaliation.

Listen to “Hare Krisna”

Listen to “Vampires”

**Happy Birthday Patrick!**