Johan

Johan is an Amsterdam quartet whose members have good haircuts and impeccable pop sensibilities. “Oceans” features swimming, crossing, crawling, a first verse built around “you,” and various other indications of true love, unrequited. Its infectious hooks and crooning might remind you of Matthew Sweet, Travis, or (lyrically) James Blunt, but Johan’s sensibilities are all their own…and they’re meant just for you.

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Princeton

Princeton is not from Princeton. I have my doubts that the floppy-headed Santa Monica twins and their best friend, who recorded their first E.P. in London while on study-abroad programs, have ever set foot in New Jersey. They claim such classic Brit-pop songwriters Ray Davies and Rod Argent as influences, and their four-track stylings, carefree lyrical associations and bookish sensibilities also bring to mind Ben Lee, Lou Barlow, Stephen Malkmus, and Jonathan Richman. It takes more than cleverness to write a song about a pirate that doesn’t sound like a Broadway musical, or to sing a travelogue of an Asian city that doesn’t descend into kitsch. But Princeton does it well — with organs, acoustic guitar, and sweet, youthfully knowing vocals. Just don’t ask me which twin is singing.

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Jeremy Enigk

Jeremy Enigk’s solo debut, Return of the Frog Queen, is more than a decade old now, but it still sounds as groundbreaking as the day it came out. Enigk gave a visceral new dimension to orchestral pop by bucking accepted wisdom: Where most took the opportunity to turn rock into chamber music, Enigk converted chamber music into breathtaking anthems full of sound, soul, and fury. Shortly after, Sunny Day Real Estate released How It Feels to be Something On, one of the best rock albums of the ‘90s, if not ever. Enigk’s cryptically searching vocals seemed to sing duets with sprawling guitar wails, making it sound much larger than anyone had come to expect from an indie rock outfit. The “rumor” (in college, anything with religious undertones automatically became uncorroborated and vaguely suspect) was that Enigk was in crisis but had been born again, and this was his grand purge. Whatever the motivation, How It Feels… sounded like the album I’d always wanted to hear and I still listen to it at least once a month. Which brings us to the aptly titled World Waits, Enigk’s second solo album and two bands removed from his debut. The cheesy thing to say would be that it’s been worth the wait, but the truth is that it has. “Been Here Before” is a perfect sample of where Enigk has found himself. His two lives – the orch-pop wunderkind with the most distinct cracked tenor in music meets the indie-rock frontman of intense introspection – intersect beautifully. Enigk’s secret is that he is capable of grasping for something beyond himself. Yet, like the more emotionally dramatic moments of Pink Floyd (Wish You Were Here) and the universally reflective side of U2, Enigk doesn’t need to know what it is he’s grasping for. He’s happy just knowing that there’s something out there to grasp.

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Cacoy

Cacoy is a Japanese electro trio possibly named for a Filipino martial arts legend and signed to a Danish record label. Their song Piracle Pa doesn’t seem to be from any language, but the soothing organ and lilting female vocals sound like French/Canadian/British indie-pop darlings Stereolab. “Yoko Majikick Ono” seems to be named for the Japanese-born U.S. resident, and with its rubbery, buoyant cornucopia of digital burps, it sounds like a track from U.S.-born Josh Presseisen’s Japanese-named project, Marumari. In other words, it makes for good listening no matter where you lay your headphones.

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Tara Jane O’Neil

Tara Jane O’Neil is a Portland, Oregon-based singer, songwriter, and multi-instrumentalist with a gently persuasive way of convincing you that, even though her heart is breaking, she’ll be just fine. On the just-released In Circles, she continues down a road marked by folksy self-discovery, which sounds awful in abstract. Yet, filtered through O’Neil’s steady voice and accompanied by the simplest of guitar twangs and sonic experimentation, personal revelations become occasions for rapt attention. She’s especially enchanting on the new “Blue Light Room” and beautiful “The Poisoned Mine.” O’Neil is also a wonderfully original visual artist whose work—equal parts playful and foreboding—gives insight into her music far better than a few words might, unless those words are her own.

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Evan Duby

If you’ll afford me a moment of cheerful codgerism: There was a time when you got a self-recorded release and you could tell. The guitar was flat and muffled. The vocals sounded like they were filtered through cellophane. There was no such thing as “layering” – you could barely get in what you needed on the four tracks you had to work with. There’s still plenty of room for such DIY ethics. But thank goodness for ever-improving technology too, because now songwriters like Evan Duby can create tracks that are appropriately multidimensional. The strings on “Words” bathe Duby’s soft vocals in warmth. “Separate Ways” and “Pale” surround themselves in the subtle ambience of an old-style organ, so that they’re acoustic with a little something extra. And his cover of Springsteen’s “State Trooper” has a sublime sonic kick. Of course, the best equipment in the world can’t hide something that was never meant to sound good. Fortunately, Evan Duby has nothing to hide.

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Favourite Sons

You get the idea when listening to the Favourite Sons that at least one of them owns a beat-up denim jacket and that at some point in his life he wore that spindly thing even in the dead of winter. The Sons’ rock ‘n’ roll oozes with such self-imposed discomfort. They’re the guys who, rather than pretending to have a life story actually went out and got one. Ken Griffin was tending bar and contemplating his musical future when Matthew Werth and Justin Tripp, both formerly of Aspera, ventured up from Philly to find the former Rollerskate Skinny member and talk him back into the business. Good thing for us. Griffin has the cynically assured swagger of Ian McCulloch and can curve a hook as good as a fisherman. In Werth and Tripp he’s not only found a perfect rhythm section, but some people who care about his unpretentious brand of art rock as much as he does.

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Eskiimo

I usually try to avoid overdoing it with backstory, but Dear Eskiimo [ed. note: It’s now just Eskiimo; check out the comments] has proven to be so confounding that a little context feels appropriate, if only to relieve the mystery in my own mind. About three months ago we got a link in our suggestion box to an entertaining pop mini-mix that merged the mixers’ own tracks with showtunes, Depeche Mode, Gwen Stefani, PiL, Eminem, and more. Eskiimo’s original music was intriguing, if truncated, so I emailed them to solicit more music with which to share the sharing. We exchanged a couple of semi-cryptic messages and I waited for MP3s that never came. So…I go searching the other day and am reminded of Eskiimo, whose MySpace page now features two downloadable tracks. The group counts Gorillaz, Eels, and The Dresden Dolls among its friends on MySpace and it has major press representation, slick photos, and an attractive lead singer. They were apparently on Mercury Records UK when they released their EP last year and now, with a full-length debut on the way, the Dear Eskiimo website redirects to Universal Music UK…where there is no information on the band. Long story short: Dear Eskiimo appears to be a relatively unknown UK pop group that has everything going for it—major label support, cool “friends,” and solid representation. [Read the comments for a demystifying explanation of what’s going on with Eskiimo]

Oh yeah, and talent. Lead singer Katie lists among her musical tastes “good, un-crap pop music,” which is a great way to describe Dear Eskiimo, too. The trio make pop music that doesn’t hide its radio ambitions, but they don’t suffer terribly for it. Dear Eskiimo are quite unlike what we’ve been trained to expect from Manchester over the years, which makes them sort of mainstream outcasts. They merge well with Annie, Scissor Sisters, Zero 7, and other groups you’ll hear at hip clothing stores. And the mix of organic melodies and canned beats might bring back fond memories of, um, George Michael’s “Freedom ’90” and “Faith.” (Let the hater-mail commence.) “Pretty” is a chirpy number about…abusive relationships. The whimsical “Patience” sounds Broadway all the way—I have the sneaking feeling it’s a cover that I just can’t place. In fact, I have the sneaking feeling that Dear Eskiimo may just be “undiscovered” to me and that I’ll get plenty of emails from those in the UK who have been listening to them on the radio for a while now. Oh well. Whether they’re stars or a secret, Dear Eskiimo’s pop music sounds pretty un-crap to me.

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All Night Chemists

Len Monachello was the bassist for Thisway, which signed with Reprise in the waning days of the major label indie land-grab of the ‘90s. They released one critically well-received but publicly underexposed album and recorded another that is yet to be released. The same thing happened to Wilco around the same time and on the same label. The name of that album was Yankee Hotel Foxtrot. Just saying. Anyway, Monachello has no misconceptions about the business of making music, which could be why he’s so good at the craft side of it. The Brooklyn-based singer, songwriter, and multi-instrumentalist has a mellow, reflective voice that speaks to experience and a way with instrumentation that, as they say, goes easy on the ears. Fans of Elliott Smith, Badly Drawn Boy, Joe Henry and Ron Sexsmith should clear some space on their iPods, as should the rest of you.

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