It’s been a long time since I’ve made one of these (tried last week, but the results were bad). I always enjoy making lists like this because the random nature makes it fun to rediscover old and recent favorites.
Condor Ave by Elliot Smith (from Roman Candle)
While I’ve been a fan of Elliot Smith for a long time, I can’t say I bought many of his albums when the actually came out (maybe the last one or two?). So when you get all of Smith’s albums all at once, its easy to discover a new song you’re not as familiar with. Such is the case with this medium tempo song, which is on one of my favorite records by Smith. It’s very close to the sound on the self titled album that I am most familiar with, so despite Smith’s typical less-than rosy subject matter, it feels warm and nostalgically familiar.
Passenger Seat by Death Cab For Cutie (from Transatlanticism)
This song and album always reminds me of my time in Heidelberg Germany in the fall and winter of 2004. But every time I hear this song I think of my frequent long walks along banks of the Nekar river which separated the ‘old’ and ‘new’ parts of the old mountain town. In retrospect seems sorta depressing to be wandering alone in foreign town listening to Death Cab, but at the time it was the perfect soundtrack for the setting: quiet and introspective.
Come In Alone by My Bloody Valentine (from Loveless)
Certainly the best album of the brief ‘shoegazer’ era of the 90s, and this is one of my favorite songs from that. With rumors and rumblings of the first My Bloody Valentine album in sixteen years, now is just as a good a time as any to rediscover their music, or try them out for the first time if you sadly have not heard. And while there are countless bands now who fall into the “nugazer” genre now (Silversun Pickups for one, who do it amazingly I might add), how can you beat the wall of blaring distorted guitars, layers of feedback and the deeply melodic inflection of the vocals. The overall effect is surreal and affecting.
Masqualero by Miles Davis Quintet (from Sorcerer)
Compared to Miles Smiles and E.S.P., Sorcerer is a bit lesser known for Miles’ second great quintet era. But with a lineup of Wayne Shorter on sax and the piano, bass and drums of Hancock, Carter and Williams, it is hard to state that this is a ‘lesser’ work. Pieces like this one just bleed Shorter’s compositional style. With off kilter harmonic progressions, extended melodic scale tonalities (modes anyone?) and the darkened introspection that the quintet was known for, this song is perhaps an overlooked but worthy classic.
Magnolia Mountain by Ryan Adams and the Cardinals (from Cold Roses)
Discussing Ryan Adams does not have to involve his insane prolificacy, his tumultuous relationship with critics, his stange antics or his recent sobering. While these things have soaked up a majority of the limelight and recent press coverage, at some point it would be nice to perhaps separate the man from the art. Granted, Adams’ songs are brimming with allusions to personal exploits, nakedly exposed to his fans. But songs like “Magnolia Mountain,” the lead off from the double album Cold Roses, and coupled with the even better the Band-esque Jacksonville City Nights, Adams instilled some new confidence in the artist. In the process, Adams has also made the Grateful Dead cool again by finding the best aspects: the dueling guitars, the rambling spirit, and the back to nature (if not slightly hippie) ideal.
The Infinite Pet by Spoon (from Gimme Fiction)
The song opens with a groove reminiscent of many a soul inspired rock tunes of the 60s, namely Booker T. and the MGs. But for a band like Spoon, this is nothing new. Despite being clearly an ‘indie’ band, Spoon still shows some love for that Motown\Stax soul and 60s rock which is a great thing. This song just oozes mood and in the pocket grooves, while still being minimalist and experimental enough to not be a throwback in the slightest of imaginations. Fans of Spoon often remark about the band’s lack of A B structure — that is often without a distinct chorus — but when the songs are as infectious and catchy as this, why even bother taking it to the bridge?
Clouds Solve It (featuring Wayne Coyne) by Ghosty (from Grow Up or Sleep In)
This is a band featuring two high school friends of mine who I used to play the occasional jazz gig or jam session with in college. This band is something of a local Lawrence, Kansas and Kansas City favorite, who I’m always rooting to push to the next level. I even featured them on NPR’s Open Mic (now Second Stage for those keeping track of new NPR Music site) a couple years ago. This band combines all my favorite aspects of indie pop — singable choruses, memorable hooks and some quirky instrumentation — and this song is especially cool because they were able to get Wayne Coyne of The Flaming Lips to sing on it (likewise they appear on the Yoshimi-era EP Ego Tripping at the Gates of Hell). Great short little song.
We’re near the end of the first week of the Writer’s Guild strike, and while we have yet to feel much of the effects (beyond the lack of new episodes of the Daily Show, Colbert Report and Conan O’Brien… and other, less funny late night comedy programs), its only a matter of time before more shows cease production and the networks will be forced to go to reruns. Or worse, develop more unscripted shows (reality shows, game shows and so on).
I came across this early in January or February after the long lull of the winter months where very little comes out. Yet this Montreal-based band had all the things to have long lasting repeat value: icy art pop, mysterious lyrics and Beach Boys-inspired vocals. I am seeing them in a few weeks so it will be interesting to hear how it all translates live. (Check out my earlier review 
This trio’s previous album Misery Is A Butterfly was the one that brought me to the band’s dark avante pop. But this new one is on of those that has finally made their sound fully accessible without sacraficing their sound. This is their fullest sounding and most developed record yet with amazingly catchy hooks and a refined vision. (Also check out an earlier review 
What can we say about Andrew Bird at this point that we haven’t already raved about 
Another great album from a really great band. I got to see them again this year, and they did not dissapoint in the slightest. My only wonder is if they can keep up the fact that people around them keep dying, you would think they would run out of people to mourn.. Eventually they will start having babies and the whole funeralesqe outlook on life will get buried in the grave.
Here is a super-group that created something that doesn’t sound completely like a supergroup. ( in the negative way that they never turn out being as good as the group could theoretically sound) Its got a great blend of post-punk and electronic sounds that I seem to listen to every single time I drive to and from Midway Airport.
Coming off of getting to see them in DC last weekend, (thanks to a random series of business trips, random timing of free tickets, and general aligning of cosmic musical forces) I decided to throw this oldie back on the digital turntable ( i.e. iTunes). They were really great to see live, it was a little strange actually seeing them in person after only listening to them in recent years soley through albums and DVDs. Their set was energetic, rocking and a good time to be had by all. Living in Chicago its really hard to get tickets when they are here, so it was great to finally be able to see them in person.
While reviewing the opening track “Brother” 
Aryn’s Songs
Bonus: I know its only supposed to be 5 songs, but Antichrist Television Blues by the Arcade Fire from the album Neon Bible came on next. Wow this is really an awesome song. A nice change from the out-funk I was just listening to. Thats it. If I were a professional reviewer I would give the Neon Bible 4 out of 5 possible Gideon bibles on the Motel sidetable reading scale (note: this scale not commonly used anywhere outside of the States)
Yet again, the segue from the jazz of the last song to this here is a bit too serendipitous to be just random. But it was nice. The Sea and Cake are one of those bands that when I discovered them around 2002 or so instantly clicked as something I loved. Their mixture of rich jazz chords, pop sensibilities and their often electronic approach sounded like something that I envisioned as a genre mixture that The Missing Trio (our band at the time) could accomplish. This song could very easily fit into that style that I was aiming for on our own song “
Aryn’s Songs
Having seen the undeniably great Dave Holland Quintet twice, I can very easily say that it is one of the most talented collection of jazz musicians ever. Their skill in deeply layered composition writing with contra-puntal arrangements full of odd time signatures is better than any group out there. But it is when they take those same qualities of composing and apply it to a group improvisation style that allows all those interlocking melodic, harmonic and rhythmic elements to converge into a wall of sound that would rival any Phil Spector production. This song seems to be a bit more drawn in than most of their repertoire, but its more of a trombone feature for Robin Eubanks. Its interesting to hear the interplay of trombone, Dave Holland’s bass, and the ocassional drums of Billy Kilson lock into such a straight ahead, yet adventurous groove.
Aryn’s Songs
Must be a pop-inspired shuffle experience. Sometimes I think the iTunes shuffle feature isn’t quite as ‘random’ as we think as I think it can sort similar types of music (and often artists) together. Then perhaps my music on my iPod is curated by my own tastes, that while diverse, are more familiar in connection than I let on. You can’t top the crisp flanged\chorus of Summer’s guitar and the firmly pounded drum beat of Copeland. Oh yeah, and Sting’s groove, voice and songwriting is great on this song. As one of their more radio friendly songs from mid-career Police, the chorus is incredibly catchy — with such inspired refrains as “de do do do, de da da da, is all I want to say to you” — how can you not at some point start to sing along?
Aryn’s Songs
While it might sound funny, and though this is a solid pop confection, the synth electronic pop of the last few years (Frou Frou, Postal Service etc) is starting to sound a bit dated to me. Perhaps its just a bit more bubblegum sounding than what I am looking for right now, but this song is a bit too clean. When I saw Imogen Heap almost exactly a year ago, she took the basic construction of these songs and was able to bring them to life right in front of us. I think that allowed her to develop ideas in a more raw and less calculated way…and it payed off. The songs were livlier and more fresh. The way Imogen’s lilting and resonant voice fits with the flairs of synths and broken beats later in the climax of the song are quite nice. After this and her solo record, I am curious to hear whether she takes a step forward into something more eclectic or at least what she comes up with next.
Aryn’s Songs