Black Mountain, unlike Pink Mountaintops, is not Stephen McBean’s band alone, but that doesn’t stop it from having McBean’s self-consciously unself-conscious swagger. If you close your eyes and think hard enough, you can imagine that Black Mountain is what would have happened if Ozzie had never left Black Sabbath. But if you keep your eyes – rather, your ears – opened, you’ll hear something that has the telltale signs of ’70s accidental arena rock but that also carves out a niche for itself as the soundtrack for headbangers and spliff tokers of a different decade.
New Beat Radio MP3 Now, EP On the Way
Shelley Short
Call it a genetic defect, but I will always be a sucker for a woman who seduces not with sex appeal but with intellect. Shelley Short’s beautifully facile voice sounds like a lullaby, but the kind that you might hear Patsy Cline or Loretta Lynn sing: resolute heartbreakers about women who are clearly smarter than the men in their lives and need to share their blues. Short isn’t all the way that old-fashioned, but her resignation and independence come through thanks to her distinct sense of herself and a recording style that favors echoey live instrumentation to a canned studio sound. It’s precious, yes, but for all the right reasons.
Eef Barzelay
Whadya know? Eef Barzelay’s modern-life-is-rubbish lyrics sound as good stripped down to just him and a guitar as they do with the full Clem Snide players behind him. Granted, Clem Snide is never more than half-dressed anyway, but it’s quite nice hearing the intricacies of Barzelay’s fractured wails so intimately. Pretty, insightful, lovely.
Coldcut
I was raised on Coldcut, or at least raised after my rebirth as a Ninja Tune baby. Cold Krush Cuts, a two-CD set mixed by Coldcut, DJ Food and DJ Krush, pretty much changed my whole perspective on DJs: these guys could rock a block party ’til the break of dawn with a sound just as at home at the Whitney Biennial as on a dancefloor. They’re still doing it, and like true producer-minded DJs they’ve brought in a stellar cast of MCs and collaborators on their upcoming full-length of originals, so give this one with Roots Manuva a spin or two.
Fruit Bats
I’ve been meaning to post the Fruit Bats for a while now because, well, because they’re as reassuring as a warm cup of tea. The acoustic guitar has a lovely lilt to it. The slight, overdubbed vocals don’t demand attention but get it anyway. And the alternately peppy and melancholy rhythms float on and on and on. All in all, you get the sense that the Fruit Bats respect their mothers, and a little motherly love in our indie pop could do us all some good.
Liz Durrett
Liz Durrett inhabits her songs with the sweet melodies and savvy longing that make Chan Marshall and Beth Orton such naturals with a guitar and a naked vocal. Her enveloping arrangements (helped along, no doubt, by her uncle and sometime producer Vic Chesnutt) will wrap you up like a cotton blanket on a cool Southern evening, much like labelmates and fellow Georgians Azure Ray. She’ll make you feel like she’s singing just for you. And she has good taste in cover material too, offering up numbers by Lou Reed and the West Side Story soundtrack here and more on her website.
Parts & Labor
Parts & Labor is a Brooklyn trio that makes some noise — some very noisy noise. Don’t let that deter you if it ain’t your thing, because the way all that noise is organized on “A Great Divide,†well, it’s darn near rapturous. Screaming guitars, drums pulsating like helicopter blades, vocals shouted through a bullhorn, bleeps and burps and explosions like a Radio Shack under siege — and it all comes together like there’s a riot in your headphones and everyone’s invited!
50 Foot Wave
Some of you youngsters may not immediately recognize the name Kristin Hersh. I hate to sound all grandfatherly and stubborn, but you should. She and Throwing Muses were the ’80s indie rock antitode to the Pixies: less visionary loose screw with arena-sized riffs than enigmatic everywoman of chilling insight who could rock with the best of ’em and lay down heartbreaking four-track ballads. Well, she’s still rockin’ with her new band 50 Foot Wave, and she’s doin’ it for free. “Money has so polluted the music world that my overwhelming urge right now is to divorce money from recorded music…So we’re sending free recordings off into the world to do their work. If people enjoy these songs and are excited by them, we ask that they share them with others. The music business is about fame and huge profits — egos and greed — music itself, is not.”