My mother prides herself on being “with it.” And compared to 99% of mothers I guess she probably is, as far as any mother’s “with-it-ability” goes. People are still often surprised to find out that she’s my mother since she looks too young and flashy to have a son who looks as old and frumpy as I do. And she was quite the early Facebook adopter amongst her friends and her generation. Speaking of which, this morning she expressed dismay at the fact that one of our mutual friends would use a photo of herself with her tongue sticking out as her profile picture. “It’s sexually suggestive,” my mother said. She may be up to date on technology, but her sexual boundaries are still quaintly old-fashioned. No mother, Shari’s picture is fun and sassy, this is sexually suggestive and *gasp* highly androgynous.
This is the artwork to Milke’s new single, “Love Get Out of My Way.” The duo mix French electro with soulful pop vocals for a sound that’s sure to be burn its way through the club scene and get the blog-o-kids all geeked. The two principles behind Milke are from opposite ends of the music world: producer Andrew Friendly has been DJing and remixing his way around the world, remixing the likes of Justice, LFO, and Darren Hayes, while singer Ra has been holed up on his own, flying way below the radar, until Friendly heard his work on the Black Grass album. Now with Milke they’re writing tracks that transcend their former domains. It’s big, bold, and yes, suggestive, synth-y disco. My mother will love the music, but loathe the artwork. I’m bracing for the response she’s sure to fire at me on Facebook (Hi mom!) Speaking of which, here’s a reminder to join us there too.
I don’t think anyone suffering through a harsh winter would think it’s too early to start dreaming about Spring. Boise’s The Very Most has been planning for this Spring for some time. In fact, they’ve got the next year planned out as four EPs celebrating the next four seasons. Spring is available now and Summer hits on May 1st.”Today It Is Even Better” shimmers as bright as any song ever posted on these pages. Warm and fuzzy indie-pop good the whole year round. They even take on Morrissey, the king of melancholy, and sweeten up the Smiths “Cemetry Gates.” If you think this sacrilegious, then you especially need a dose of The Very Most. Prepare for an imminent cheering up by the band that makes dying sound like a jangle of a good time.
On their second full-length, Alberta, Canada’s Faunts reign in their epic song structuring, meandering less while managing to maintain their expansive sound. Their new album tends to use more electronics (a more dour Postal Service?) without sacrificing the ringing guitars. In “M4 (Part 1)” guitars loop repeatedly a la Michael Brook’s infinite guitar and Faunts’ ethereal tendencies in many of their songs remind me of similar moments in The Cure’s Seventeen Seconds. Faunts get plenty of comparisons to The Cure, but unlike many of their contemporaries the similarities lie with the instrumentation rather than Smith’s warbled vocals; however, bald-faced comparisons to any band do a disservice to potential fans, because Faunts transcend simple analogies to any band that’s come before, and Feel.Love.Thinking.Of raises expectations for any band choosing to follow Faunts’ lead.
Bishop Allen may very well be the first band that’s been reviewed by three of us. Yeah, we’re pretty geeked about them. Take a look at the artwork for their new album Grrr… Do you like what you see? Do you appreciate its colorful, simple whimsicality? Then you’ll love the new tracks; the music marches hand-in-hand with the visual. Notice the clean white space. The music has that same crisp, airy feeling. I quickly donned headphones, wanting to squeeze my brain in between the bright melodies, the bouncy bass, snappy guitars, and the lyrics’ ‘ancient commonsense’ poetics. The question is, will the songs last the replays while I wait another month for the other eleven songs? I’m highly suspicious the answer is yes. Songs like these remind me why 3hive exists: must…tell…others… The new album and tour begins March 10th. But a 
If it weren’t for our self-imposed “free and legal” mantra here at 3hive, without a doubt Lloyd Cole would’ve been post number one, origin of the 3hive species. Why? Briefly, because the guy is my musical and literary guru. His debut album, Rattlesnakes, recorded with his band The Commotions, has miraculously survived decades of repeat listens by this finicky music fan. Its healthy shelf-life is due in part to Cole’s smart, literate lyrics, the sweet jangle of guitars, and keyboardist Blair Cowan’s keyboard magic, which included his ability, either through his playing or re-wiring, to make his first keyboard, a Korg, sound uncannily like a Hammond. Also, because Lloyd Cole and The Commotions completely avoided the New Wave, New Romantic and other sounds du jour of the 80s, the album retains a timeless quality rare for the decade. 
To say that Mr. Russia are low-end fiends is an understatement. Mr. Russia is heavy on drums and bass. Make that plural on the bass, drums and basses. Plus a bit of synth and lots of snark. Death From Above 1979 fans may find Mr. Russia’s a bit tame for their tastes, but I personally like their poppier take on the sans guitar sound. The timbre and attitude in the vocals remind me a lot of the late, great Possum Dixon, which is never a bad thing. A perfect pair of rock ‘n’ roll numbers to shake the tedium out of your Tuesday. Dig ’em.
Not to burden you with the boring details of my life (
L.A.’s Intricate Machines seem to find inspiration in their own name, taking an intricate approach in their creation of pop music. They don’t necessarily pay more attention to the details in their music than anyone else; that’s impossible to judge. It’s just that the details and textures on which they elaborate are less obvious than most. Really, it’s just my roundabout way of saying they have a roundabout way of getting to the hooks in their songs. Intricate Machines require time to soak, simmer, and settle. If you’re willing to give them that time you’ll find plenty of pleasures to sink your chops into. Considering the minute attention span of music consumers these days, Intricate Machines take a big risk attempting to break into the indie scene with less than immediate hooks. This ain’t no microwave meal; this is some slow-cooking, crock pot rock. You may have noticed I haven’t mentioned exactly what Intricate Machines sound like. This is deliberate. I don’t want to contribute to the instant-gratification impulse they’ve obviously worked hard to avoid. Enjoy the journey.