Really, it’s not that I’m lazy. It’s that Phil can talk about Bill Coleman much more effectively than I can, so let’s let him: “Essentially, Bill Coleman is a finger-picking-guitar-style singer-songwriter from Cork, Ireland. He released his debut album I’ll Tear My Own Walls Down in February, and has some free downloads on his website. I go to his live show every chance I get. The guy knows how to put on a show, especially when he has his full band (at times, reviewers try to compare his live shows to The Flaming Lips, for the sheer zanyness, and positive, uplifting vibes to come from the music and the persona of Bill himself. Some songs may dredge you through the darkest areas of the mind at times, but somehow, Bill always manages to find some light at the end. His quiet/sad songs are simply sublime and majestic. His upbeat songs leave you with a smile on your face, and the feeling everything will be alright.” See?
Richard Hawley
Mark Kozelek from Red House Painters. Josh Hayden from Spain. John Prine (without the country). Mazzy Star (but not a girl). Nick Drake. Bob Dylan. Richard Hawley. Classic sad singer-songwriter material, quiet and mellow soul-searching, like the best ’60s slow-pop. These tracks are for the long drive, the deep, dark night, the El trip home from the bar alone. “Darlin” and “The Nights are Cold” are my favorites, or let’s make it favourites, from this forlorn Brit. Cheers.
Chet
An old radio colleague of mine, Chet Tapp (imagine the coincidence), used to do this radio show called “Smooth As Chet.” See, Chet was a big fan of “smooth” pop. He was a complete freak for Everything But the Girl, China Crisis and The Blue Nile. Especially The Blue Nile. The band Chet gives off a nice, unhurried and controlled smoothness that I think my friend Chet would appreciate. I can imagine Chet wrapping up another hour of his supreme chill with a track like “Don’t Let Your Cruel Heart Count Me In,” or the laid-back, jazzy tune “Fight Against Darkness.” Their grandiose, over-wrought vocals may take some getting used to, but acquired tastes often become one’s preferred tastes, so be sure to give this one a few listens. In a big, cushy easy chair with your feet up and a tasty cool beverage in hand.
Super 5 Thor
In May 1996 I wrote this in grid magazine about the Super 5 Thor song below: “The Space side’s “Superstar” is a brilliant example of Super 5 Thor’s delicate Velvet Underground-meets-The Jesus and May Chain brand of rock. Sparse, vibrato-tinged and soaring guitars and drugged-out vocals that the Reid brothers can be envious of are backed up by simple, steady drumming.” After many years of hiatus, Manny and Scott are getting the band back together! Actually, Super 5 Thor wasn’t really a band. Manny and Scott had been in the Miss Alans together in Fresno, California, my wife’s hometown (she was a fan), but by the time they got around to Super 5 Thor, they lived in different states and traded tapes in the mail. So until they get going again, enjoy “Superstar,” with Manny’s permission, and also check out their only live performance on KCRW’s Brave New World. It’s what’s kept me going all these years.
The Besnard Lakes
Remember laser-rock shows? They were all the rage back in the late 80s, early 90s. They’d usually take place at planetariums: you’d kick back in these theater chairs staring at the ceiling while Pink Floyd blasted over the PA. A tripped out laser-light display flashed overhead. It was a drug-free trip for the straight-edge set. Stoners took advantage of the chance at doubling their fun. One listen to The Besnard Lakes and you’ll be wishing someone would light up a laser show in your neighborhood, tonight! This husband/wife led six-piece play big, epic, classic rock slowed down and spruced up with all manner of atmospherics. Their second record, The Besnard Lakes are the Dark Horse, will fill your head with skull-swelling psychedelia. The band reminds me a lot of Low, if, instead of stripping down their songs to bare-bone affairs, they turned it up to eleven and invited Roger Waters to the party.
Sparrow House
It seems that with all this frantic social networking going on in the world (umm, the internet?), musicians are following suit. One search leads to the other in an endless maze of “who plays with who.” Sometimes you find yourself following the trail until you end up at a Lynard Skynard tribute band and you wonder where you went wrong. Not so with Sparrow House (which is actually just Jared Van Fleet, of keyboards and guitar for Voxtrot). When I finished following the trail of crumbs, I just listened, smiled and said “sweet!” Apparently, we were a little late on sharing some Voxtrot with you all, but this time I think we’re right on point. The track below reminds me of Elliot Smith, and since I pretty much wish that man was alive every day, I say, yes, Jared, lets please revisit. But the rest of the EP is varied, folky, dark and stormy. The kind of stuff you can close your eyes and be happy to listen to when you just need a moment. The cool kids totally love him and me too. Thanks Jared, I totally needed a moment.
Summer Hymns
I ‘m brand new to Summer Hymns, so the huge back catalogue of free, downloadable tracks on both the band and label websites might take some time to work through. Also, the critical commentary, like the idea that their recent album Backward Masks is “the Summer Hymns record you always thought they’d make” doesn’t do much for me because I don’t know what they’re supposed to sound like. In other words, this blurb for the band is essentially useless. That said, “Pity and Envy” and especially “Start Swimming” are textured, mellow pop songs that seem to fit the band’s name, and are perfect for dreaming of those June days when the sun sets closer to ten o’clock than five, and that much I know for sure.
Buildings Breeding
This low-key, low profile band with an impressively obscure background has dropped their album into the vast ocean of popular music with all the power of a pebble. The ripple is small and subtle, but if you slip off your sneakers and dip your toes in the water Buildings Breeding will delight your whole soul. Their name connotes the roar (or maybe moans) of earthquakes, but their restrained guitar work, soft melodies and gently doubled vocals make up the sweet sighs of dreams. A slight 60s flair and random acts of atmospherics add just the right amount of spice to the songs.
The National Lights
BloodShake Records’s (or is it Records’? Yeah, it’s Records’, right? You do ‘s when following a singular noun ending in s? This is what happens when I teach only history classes for a semester…) other artist , Sonya Cotton, was well received here at the ‘hive, so I though I’d pitch The National Lights. Slow and brooding, the Lights provide a further vehicle for Cotton’s lovely voice — here as backing vocals — while setting somber scenes of desolation and vague desire. Well, at least it’s pretty music, even if it’s not exactly fun.
Kama Aina
I like to think, mainly because it makes me feel less pathetic, that everyone who went to college and studied something other than business administration had some kind of youthfully pretentious obsession. Mine was Marshall McLuhan, the new media oracle from the Great White North who looked like a professorial Salvador Dali, had a cameo in a Woody Allen movie (nay, the best. cameo. ever.) and was an astoundingly salient bullshitter. I ain’t saying I don’t still love the man, just that nearly a decade after graduation it’s funny to look back and think of taking my dog-eared copy of War and Peace in the Global Village to my bartending gig at Benihana and intensely and conspicuously reading it between mixing Mai-Tais—as if any of my Japanese coworkers gave a damn. We were so cool once, weren’t we? Anyhow, I think of McLuhan’s fabled “global village†now because two of my favorite Japanese acts (the other one is Cacoy) this year have come to me from the Danish label Rumraket, which is doing for non-European music in Europe what Minty Fresh has been doing for European music in the U.S. of late—namely, rockin’ it. Kama Aina, whose name is Hawaiian and whose sole member is Takuji Aoyagi, doesn’t rock it, per se, he soothes it with loopy little lullabies built around clean, undistorted percussion, guitar and other sweet, naturalistic sounds. “Hotaru†is prettiest on headphones, where you can nearly see each bang and pluck. But if you’re just not that visual, check out the video for “Glasgow Sky,†which is as inventive as Bjork and twice as contemplative.
