I know, I know… If you’re at all like me, you were probably pretty stoked about a band named after Thomas Jefferson’s intrepid explorers of the Louisiana Purchase, until you noticed the “e” up there that’s not really on the end of William Clark’s name. Then you realized the band’s name refers to the correspondence between C.S. Lewis and Arthur C. Clarke, not the Corps of Discovery. (Ok, the band website helped me out on that last part.) And then you download the ten minutes of “Before It Breaks You” and listen to it, and then it’s over before you realize it and the whole time you’ve been bathed in the musical equivalent of sunlight filtered through a grove of aromatic, soft-needled southern pines, or something similarly tranquil and pleasant. Lewis & Clarke call their sound “avant chamber folk,” but don’t let that turn you off. Give them more than a few minutes, and see if you like what you get back. I did.
Andy Grooms Living Room
Time to return to my Memphis roots with Andy Grooms, and his album Greatful to Burn under the Andy Grooms Living Room moniker on Memphis’s Makeshift Music. “Mary Or Mephisto” is a genre blending song, jumping from trippy blues-tinged psych guitar to jazz piano leaning toward 70’s pop.
The Wedding Present
It’s been three years since The Wedding Present re-emerged from the ashes of Cinerama with the album Take Fountain. They’re back with what could be labeled David Gedge’s “L.A. album.” He lived in West Hollywood while he wrote these songs and it comes through in both tone and content (tons of references to L.A. landmarks, including the album title, El Rey, named after the famous mid-Wilshire venue). That said, the album was recorded in Chicago with the legendary Steve Albini (who also produced the seminal Seamonsters album), who roughs up each tune with the appropriate gloom and grit to match Gedge’s trademark forlorn lyrics—tempered occasionally by bassist Terry De Castro’s sweet vocals. Keep an eye out for tour dates (yes, Joe, I bought tickets for the Pontiac show) for your chance to catch one of the loudest shows I’ve ever witnessed.
Original post from 12/23/2004:
Multiple Choice:
Since 1985, The Wedding Present have provided
A) a distinct solace for those utterly steeped in general feelings of jealousy and rebuke.
B) David Gedge, a lead singer with a charmingly lousy voice and a ridiculously thick Leeds accent.
C) fantastic guitar riffs, faster in the carefree ’80s and wiser in the new millenium.
D) reliably good Brit-pop for longer than the flavor-of-the-week has been alive.
E) all of the above.
(It’s E, duh.)
Stereolab
It’d be safe to say we’re all mad fans of Stereolab. A quick search of our archives reveals nine references to Stereolab as we introduced you to new artists by appealing to your taste in international, space-age pop. There are many more bands that aspire to Stereolab’s neu-lounge sound, but few can keep up with the quality and quantity of output. Never wandering far from their signature sound or formula, Stereolab astonishingly remains relevant and refreshing. For this, their 11th, album the band once again used Sean O’Hagan as producer and arranger. According to Tim Gane, the album began as seventy tiny drum loops on top of improvised piano and vibraphone chords. They sped up some tracks, slowed down others and worked their way to “a collection of purposefully short, dense, fast pop songs.” The track here is definitely one of my favorites from the album, a groovin’ romp where horns and organ build to bursting point, threatening to release contagiously good vibrations. All the while Ms. Sadier keeps her perennial cool, which always melts my butter.
FYI: While supplies last, pre-order the album (street date: August 19th) and receive a limited edition 7-inch. The band tours North America in September and October.
Dub Narcotic Sound System
Sam’s recent post of Shelleyan Orphan had me looking through my vinyl, something I do maybe four times a year these days. I don’t own either of the bands from his post, but I did stumble across an old gem from Dub Narcotic Sound System, formed in 1993 and named after the Dub Narcotic Studio, the studio of Calvin Johnson, founder of K Records. While my personal favorite “Teenage Timebomb” is not available for free download, the funky smoothness of Calvin’s Pacific Northwest, baritone white boy rap on “Handclappin'” is.
Shelleyan Orphan
As some of you know, I spent the first half of the ’90s living in Provo, Utah. I worked at two CD stores during that time and it’s quite possible that I sold more CDs by The Sundays than any other band. Perhaps there was a common misinterpretation of the Fourth Commandment but Provo couldn’t get enough of The Sundays. Which leads to my story…
There was this guy who came in to the CD store one night and he said, “I love The Sundays. Do they have any other albums out?”
“No,” I said, “but if you like them you might enjoy Shelleyan Orphan. Similar female vocals and even more interesting instrumentation and song structures.”
“Hmm,” he said. “I don’t know. Do they sound just like The Sundays?”
“They’re even better,” I said, handing him a copy of Century Flower (the most Sundays-ish of their three albums). “If you don’t think so, you can return the CD.” Keep in mind, according to store policy I could not return opened merchandise, so this would have meant me buying back as used and paying him the difference. My co-workers warned me, this guy wasn’t going to go for something as adventurous as Shelleyan Orphan. But I was sure he’d not only appreciate my recommendation but tell all his friends about his new find.
Same time the next day, he walks in. “I didn’t like it. It doesn’t sound anything like The Sundays.”
That’s when I realized, to go back to the Bible, I was casting pearls before swine. I wasn’t going to be able to talk him into liking Shelleyan Orphan. So I paid the man from my own pocket and told him he wasn’t getting any more advice from me. “Let me know when the new Sundays album comes out,” he said, as he walked out the door.
Shelleyan Orphan disbanded shortly thereafter, no doubt disheartened that some dork in Utah didn’t think they sounded enough like The Sundays. After 15 years of soul-searching and playing in other bands, Caroline Crawley and Jemaur Tayle have recorded a new Shelleyan Orphan record, We Have Everything We Need, available in October 2008. Please enjoy the bluegrass-inspired single, which I will admit sounds nothing like The Sundays.
The Locals
The Locals e-mailed me some time ago suggesting that their indie-rock and my literary-minded randomness would work well together. (Hey, thanks for reading the posts!) Plus, they’re from Chicago and I used to live there too. And they’ve got this thing for a Danger Boy doll (go ahead, check the website) and 3hive’s good friend Dave used to go by that exact same nickname. Also, The Locals totally have this tight ’80s kind of thing going on, and I just love that sound. Therefore, I’m happy to offer up their hard work for free and legal download. And to congratulate the band on the recent release of Big Picture, their new album. And to say, to any reader who made it this far, “Tidal Wave” is pop beauty, catchy and hook-filled and summery and fun. “Big Picture” and “Perfect World” are more calm, more retrospective, but with nice heavy guitars and big drums. And The Locals rock, straight up.
The Morning Benders
The Morning Benders are no strangers to covers as they’ve been known to record a quickie or two or seven as the case may be. The Bedroom Covers represents their latest round of covers all compiled in one handy-dandy free EP. The ‘Benders have teamed up with a few of us bloggers to spread the love one lo-fi recording at a time. The band recorded the songs using a laptop and one microphone. Most of the songs were recorded in one take, with the exception of an occasional vocal or guitar overdub. My favorite of the lot? Their charming (they’re all charming!) version of the Phil Spector-produced “He’s a Rebel” by The Crystals. This was a #1 song back in 1962. The song ends up sounding like at outtake from Zumpano’s Look What the Rookie Did. More importantly, these tracks remind me how much I love The Morning Benders’ crisp, freshly laundered pop songs. I’m gonna pull out their album, Talking Through Tin Cans, and pin the songs up on the laundry line out back where they can twist and flutter in the wind all summer long.
Below is the track list for the covers EP. Keep checking back and I’ll update when and where you can track down the other songs. I’ve also included a few covers previously recorded by the band.
Pas/Cal
Pas/Cal was my very first post on 3hive back on April 26, 2004. It’s about time they’re getting around to releasing their first LP, I Was Raised on Matthew, Mark, Luka, and Laura. My words then are just as true today: Detroit’s pop ensemble, pure fun with just enough pretentiousness to put one over on the Elephant 6 family.
The Chap
Check The Chap’s label page and there are two lines in the “About” section, one of which reads, “The Chap: have never been influenced by anyone or anything at any time, ever.” While I appreciate and even support their refusal to apologize for or explain their influences, I don’t believe them. I do believe in letting the music speak for itself. So stop reading this and download these songs and make up your own mind while I explain the comparison I’m about to make. My take, highly influenced by the mass quantities of ’80s music I’ve been listening to lately, is this: The Chap deftly juggles bits and pieces of Gang of Four, XTC, Queen, Men Without Hats, and Kraftwerk for a capricious rock ‘n’ roll dance party. Their third album, Mega Breakfast, is evidence of a quirky, lo-fi band that’s pulled out all the stops and plans on playing stadiums. Do yourself a favor and lower your guard down while listening so you can fully revel in The Chap’s merrymaking. Their album cover is a mylar balloon dog whose nose has been dipped in chocolate and sprinkles for crying out loud. If you don’t get a kick out of this record it may be time for a swift kick to the head. (Be sure to watch the video for the album’s standout track).