Monday Music Roundup

Porca miseria! (That means pig misery. That’s also exemplary of the reasons why Italian profanity is one of my interests). Italy lost to Spain yesterday in the Euro 2008 quarterfinals, despite the loudest cheers of my small viewing contingent. It’s always agonizing and ultimately a bit unfulfilling to see big games come to penalty kicks, but Spain played exceptionally well and I can’t begrudge them. Much.

And if you care not for soccer, you can walk away from that last paragraph with (at minimum) a great new Italian curse, suitable for work and use around your grandma. Pig misery!

Music this week –

Perfect Games
Broken West
Last time we heard from addictively delicious Los Angeles foursome The Broken West, they were topping all kinds of best-of lists in 2007 (including mine) with their album I Can’t Go On, I’ll Go On. The good news this week for fans of intelligent, robust, catchy-as-hell pop is that they are at it again. I absolutely love this song already, from the opening notes about spilling our ice cubes on the lawn, and the underlying sadness that subtly gnaws through the layers of memorable melody that I’ve been humming all day. Now or Heaven is due in September on Merge Records. [image from their recording sessions]

The Ground That We Stand On
Hawksley Workman
I got an important-looking courier package from Luxembourg this weekend, with Cartier listed as the sender. Diamonds? An exquisite watch? Nay — instead of fancy jewelry, Cartier has lavished an eclectic sampler CD of music upon me. Heck, why not. They have a new campaign/website/charity thing called “How Far Would You Go For Love?” (second base?). Other contributing artists with original tunes include folks like Lou Reed, Grand National, Phoenix, Marion Cotillard (who won an Oscar for her role as Edith Piaf), and this Canadian artist Hawksley Workman. I’d never heard of him before but this was surprisingly my immediate favorite track on the comp, with a warm voice like Sea-Change Beck and wistful autumnal lyrics. Listen to this tune, like it, and then go download the other songs (for free!!) at Cartier’s site.

Peace Like A River
(Paul Simon cover)
Spoon
The folks over at Daytrotter recently posted a top-notch session with Spoon, and as those Daytrotter guys are so good at doing, they enticed Britt Daniel and Co to play a little gem of a rarity for us — this time in the form of a sandpapered Paul Simon cover. Spoon often has such a cinematic, evocative quality to everything they lay hands upon. Here they take a tune which originally ebbs with Paul Simon’s smoothness wafting in the air tonight, and push it a bit more ragged and on-the-edge, making the song simmer with a touch of pounding mania. As for an album link, how about the new reissue of Spoon’s 1998 album A Series of Sneaks on 180-gram vinyl? Yeah.

Divine Hammer (Breeders cover)
The Modifiers
Kim Deal is the bass player for The Pixies, and co-founder of The Breeders with her twin sister Kelley Deal and Throwing Muses guitarist Tanya Donelly. Deal is a formidable musical force whose creativity and innovative songwriting spirit is celebrated on a new tribute album from the excellent little American Laundromat Records. Songs of Deal’s from her time with The Breeders and The Amps are covered by a wide variety of backyard indie bands of all stripes (The Modifiers are from Boston, but the rest of the featured bands are from all over). The liner notes are by Donelly, and the whole thing was mastered by Sean Glonek (who’s worked with her ex, Frank Black). Gigantic is available now for your rocking out this summer, and if you order it from the label, they promise to ply you with “buttons, stickers, and other goodies with each order.” I can vouch for their largesse.

Play Your Part (Pt. 1)
Girl Talk
An ambush addition to this week’s roundup, Gregg Gillis (aka Girl Talk) popped in out of nowhere last week with a brand new album of schizophrenic, mile-a-minute sampling. Feed The Animals is out on his Illegal Art imprint and is another pay-what-you-want deal (but if you pay $0.00 you have to explai yourself, apparently). So come on – this song samples Temple of the Dog, Sinead O’Connor AND UGK’s “International Player’s Anthem”?! It’s akin to the way my brain plays music snippets all right on top of one another when I flip through a really eclectic jukebox in a bar after drinking a few. It feels like that; disorienting but so nice. Girl Talk hits Colorado July 11th at the Fox Theatre in Boulder (for what is sure to be an insane show), and the album will see a physical release on 9/23.

[top image obv credit Getty Images]

Monday Music Roundup

Well, the mercury finally crested the mid-80s mark this weekend, just in time for Father’s Day BBQs. I was laughing out loud on a hot Saturday as I discovered the fabulous Tremble.com blog and read his post about the first bare-chested male subway rider signifying that summer is truly here, like a red-breasted robin announcing the spring. Tell me, where else on the web can you read a recounting of a story that includes the sentence: “Say how would you like to get your dance card punched by [fists] Savion Glover and Alfonso Ribeiro? Let’s bring in the noise as well as the funk, except with punches and kicks to the face and kidneys.” It’s terrifically funny reading.

Heck, no bare-chested, bleeding males ’round these parts lately, but some excellent new tunes can be considered almost as good…

The Old Days
Dr. Dog
This song feels eminently summery to me, a shiny new one from Philly’s excellent Dr. Dog (still not the children’s book). We’ve got banjos and sparkling vocals here, all swelling into a Nilsson-worthy symphony. The folks at FADER have seen Dr Dog perform much of their new material live, and wrote that “every new song they played was wilder, thicker, more willing to chop up the jam into smaller jam particles that smash into each other to create a wormhole directly to the best summer of your life.” Can’t complain. Fate is out July 22 on Park The Van — and make sure to catch Dr. Dog on a crazy amount of tour dates in the coming months, including a roll through Denver’s Hi-Dive September 27th.

A Change Is Gonna Come
Ben Sollee
I recently had an intensely-defended (and possibly liquor fueled) argument while in Washington DC about which version of this song was the best, Sam Cooke’s silky original or Otis Redding’s howling soul-filled cover. Now this goes and adds a new facet to the discussion. Ben Sollee is a white guy from Kentucky who takes a wholly good-natured, spirited stab at this formidable song — and unfortunately leaves me cold. I’ve written before that Otis’ version (the side I argued) “fairly drips with aching as [he] sings about the thick swelter of racial oppression in the South. You can almost feel and see the tension, like heat rising up off the August sidewalks.” On the other hand, this sounds like a pleasant skip through the daisies. Sollee is a talented guy though, and I really do like the sweetly dusty acoustic soul in the other tracks I’ve heard off his Learning to Bend (out last week on SonaBLAST! Records).

My Drive Thru
Casablancas/Santogold/Pharrell
In this golden age of media tie-ins, a shoe company commissions an original song bringing together three artists we like: Julian Casablancas of The Strokes, Brooklyn glitter girl Santogold, and Pharrell project N.E.R.D. Whew. Quite the mouthful of folks involved, but I think this works surprisingly well from the opening bell peals, largely because of Pharrell’s funky production and golden touch. I enjoy hearing Casablancas’ drawl over the top of such a dance-ready beat. Santogold says that “working across musical genres was like creating a patchwork where I got to weave together various influences and allow them to co-exist in a fresh and original way.” Now what to do about the Kurt Cobain Chucks?

Bargain of the Century
(song removed, stream it here)
Albert Hammond Jr
And while we’re on the topic of “projects that take away from precious time the Strokes could be spending making new music for us,” let’s also broach the new songs from Albert Hammond Jr that have made their way onto the interwebs in recent weeks. This cut starts with a bit more aggressive drumming than the lackadaisical start of “GfC,” but really, we keep ending up in the same hammock with Al, wine glass on our chest, unable to move with any real gusto in the summer heat. Sounds like we may be in for another collection of laid-back retro-pop melodies with this one. Incidentally I wore my AHJr shirt out to breakfast on Saturday morning (okay, so maybe I’d also slept in it) and I actually got a nod from the IHOP waitress about Al’s new album. I was mostly just excited to find out that I am not the only person in Colorado Springs who would know what that three-bunny silhouette meant. Hammond’s second solo album Como Te Llama is out July 7 on Scratchie.

Soul and Fire (acoustic demo)
Sebadoh
Not to be confused with that anthemic “Soul on Fire” from Spiritualized that I posted last week (and cannot stop singing out loud), this demo is the closing track on Sebadoh‘s 15-year reissue of their seminal Bubble and Scrape. The double-disc opens with the original, and closes with this small and humble demo, which sounds like it was recorded at the kitchen table of a mountain cabin, while waiting for water to boil or for snow to quietly stop falling. Barely two minutes, this demo is much less heartless than the album version, as it wanders through thoughts like, “If you walk away we may never meet again,” and aches to a close with a phrase that sits on my chest: “Call me if you ever want to start again.” The reissue is out July 8th on Domino/Sub Pop, and Sebadoh will be performing the album in full at the Pitchfork Music Festival in Chicago this July.

[top image via]

Monday Music Roundup

On Saturday night I decided quite by chance to see a Hebrew/Arabic language foreign film called The Band’s Visit, after finding myself downtown with no other plans. This is a humble and unassuming film about the Alexandria (Egyptian) Police Orchestra who end up in the wrong Israeli town on a concert trip. It’s quietly and subtly funny, although not a comedy. It touches on the human facets of Arab/Jewish tensions, although not a political film. The themes hover around the kindness of strangers, the depths of loneliness and desire, but most of all the power of music and its strange necessity to the soul. As the final credits rolled, I thought it deeply lovely. Go see it.

Plus, bonus points will be awarded if you also notice the scene where the big dude from the band looks exactly like an Egyptian Cee-Lo sitting on the couch.

Tunes!

It Could’ve Been Worse
Matthew Ryan
According to the liner notes, the new album from Matthew Ryan (Vs. The Silver State) was “rehearsed in [his] garage on Idaho Avenue during the summer of 2006. There was no air conditioning and more mosquitoes than musicians.” I can almost here the crickets and feel the humidity of a summer’s night on this gorgeous song. With lines that slyly borrow from the master of all repressed & padlocked teenage fury in smalltown America (“her mascara was born to run”), this album is rife with allusions to stymied desire and unfulfilled dreams. This song ruefully notes, “You promised her every thing, not knowing what every thing really was. She’s the first girl you kissed, she’s the first girl you miss when you feel like this, broken in the dark.” Be sure to also check out Aquarium Drunkard’s new Off The Record feature with Matthew Ryan.

Breakfast Score
The M’s
Chicago quintet The M’s have been keeping my ears happy for a couple years now. Each time our paths cross, I find something new to appreciate in their eclectic hybrid songwriting which melds terrific retro influences from disparate ends of the spectrum (think T. Rex meets Kinks?). Enjoy the sloppy, handclappy feel with a little rainy day women drunken singalong feel on this cut from their new record Real Close Ones. It came out last week on Polyvinyl Records, and plays up that spacey-glam edge around traditionally structured pop songs. They currently are touring with Centro-matic.

California Soul (Diplo remix)
Marlena Shaw
I have been consistently impressed with the visionary pairings of cratedigging deep cuts from decades past with modern mixmasters featured on the Verve Remixed series. They’ve just come out with Volume 4, and this preview mp3 resurrects the swanky sounds of Marlena Shaw (the first female vocalist signed to Blue Note Records) through the lens of hot-stuff Philly DJ/producer Diplo. The album boasts some ragingly fun remixes, from the R&B swing of Nina Simone-meets-Mike Mangini wailing “Gimme Some,” to the tinny Latin shimmy of the Astrud Gilberto/Psapp track, or the Afrobeat joy of “Dilo Como Yo.” It’s a conceptual series that just keeps getting better and pushing the boundaries, delightfully.

Revolution In The Heart
Ed Harcourt
Let’s just put this simply: I am a sucker for a man and a piano. There’s something so bold and yet nuanced, even heartbreaking about the way a good player can accompany his songs with that instrument. So it’s no surprise that I take a sheen to Sussex songwriter songwriter Ed Harcourt and his musical weapon of choice. I’ve heard Harcourt’s name bantied about from past tours with folks like Wilco, Feist and Magnet, but this swirling cut from his recent release Beautiful Lie is my first personal listening experience. There seems to be a lot to appreciate in this artist, over the cascades of ivories. The “new” album is really the belated U.S. release of his 2006 album, and it features Graham Coxon (Blur) as well as the Magic Numbers. Ed is currently on tour with the Gutter Twins.

Soul On Fire
Spiritualized
This back-with-a-vengeance song from seminal British space rock/shoegaze ’90s band Spiritualized starts gently, with lyrics about being born on a black day shot through with starlight, over an intimate acoustic strum. But before the first minute passes, all the strings swell and rise together and there’s a hurricane in your veins. It’s terrifically stirring yet somehow comforting, as if I’ve heard it a thousand times before and want to be a part of it. It’s a tourbus singalong, it’s a gospel choir, it’s a ballad just for me. Songs In A&E is out now (Spaceman/Fontana International).

Oh, and . . . Forza Azzurri!

Monday Music Roundup

The rigors of travel, they slay me — and tonight I find myself far from home. Doin’ alright except for a slicing cut on my toe which makes everything involving walking and shoes difficult. Seems like I should have worn “real shoes,” instead of pedi-vulnerable flipflops on my way to the capital. Thanks to everyone for the Washington DC recommendations, I look forward to trying out as many as I can squeeze into the midst of conferencing. More on my travel adventures later.

When I can connect to the hotel wireless, here are a few new songs I’ve enjoyed downloading that you might like too:

Big Star
Haley Bonar
I first heard Haley Bonar a few years ago on her blue and lonesome “have-a-whiskey-alone-(or ten)” song Drinking Again, where her honeyed voice sings a tale of drinking to forget someone who’s just left town so she doesn’t have to sit around and talk to walls again. Haley is back with a new album on Afternoon Records (June 12), and this first taste of the title track sounds like she’s possibly even less happy than we last left her. This song laments a relationship of changed expectations and unfulfilled needs: “I can’t make you happy, I can’t make you money, I can only fold your laundry,” she sings. But in a fortunate move towards redemption, the gorgeous chorus is about big stars and big wishes she’s making. This song is highly recommended.

My Only Offer
Mates of State
Sometimes I mistakenly caricaturize the husband-wife duo Mates of State into overly-simplistic terms. It’s easy to think of them as simply harmonies, a nauseatingly happy partnership, and really great hair. When I saw them perform back at my college they were truly charming and their songs infectiously simple, all effervescent springtime and “bah-bah-bah”s. But their new album Re-Arrange Us (out last week on Barsuk) shows a bit more mood and weight as it explores issues of family, long-term relationships, parenting, etc. The heft of the subject matter blends with some of the darker threads of their shimmering indie-pop music, and makes for a very pleasing effort.

This Is How I Know
Ron Sexsmith
Canadian musician Ron Sexsmith crafts songs with impeccable melodies, the kind that stick in your head for hours and days. Ever since I heard that collaboration he did with Paul McCartney, I hear so many similarities in their voices and their style. This is one that will stay with your mental jukebox for a while, at least until the full album comes out to tempt us with other pleasures (like his version of “Brandy Alexander,” a song he co-wrote with Feist). Exit Strategy For The Soul is out July 8th, and will be his debut album for Yep Roc.

Josephine Street
I Love Math
Spare and immediately winning, Dallas foursome I Love Math makes songs in the classic vein of Kinks or Zombies, along with more current contemporaries like Jon Brion. They also cite Maker’s Mark in their MySpace influences, which is not a bad selection. This song is a lazy summery tune with gentle handclaps and a foreign language chattering in the background like an old transistor radio. Getting To The Point Is Beside It is out tomorrow on Glurp Records, and the band is on tour next month opening for the Old 97s.

Bonus mp3: their Guided By Voices cover
A Good Flying Bird (GBV cover) – I Love Math

J. Smith
Travis
While we weren’t watching, Travis has been working on finishing a new album, their follow-up to last year’s The Boy With No Name. This song is a borderline-operatic tale of a reclusive, bitter man around whom they seem to have written a whole album. Ode To J. Smith is due out sometime later in 2008, and this first song from it was recently debuted on KCRW earlier in the month. Travis fans have compared this song to Queen, and without all the Freddie Mercury there definitely is a hint of the dramatic that wouldn’t seem out of place in a rhapsody all its own. Although it’s got the angular Britpop electric guitars at the start and end, those celestial choruses certainly lift this song up into bigger proportions than anything I’ve heard them do in the past. [thanks Kevin!]

Monday Music Roundup

For Mother’s Day I got this handmade wooden box from my little four year old. It held various treasures, including a coupon, some chocolate covered espresso beans (good choice), and an ant. The ant apparently escaped. It seemed like a good idea to him at the time to include it in the gift. I feel very lucky. I hope you all tried to take care of your mamas as well yesterday.

When not busy being a kickass mom this week, I listened to this stuff (actually, sometimes simultaneously):

Tessellate (remix by Tom Campesinos)
Tokyo Police Club
The folks at Saddle Creek (home of Bright Eyes / The Faint / Cursive) sent this over on Friday just in time for Mother’s Day. The first line here talks about “all the boys who call their mothers on that day,” and sonically the remix is an electrifying combination that admittedly your mother may not like, with what sounds like crashing garbage can lids over cheerily chiming xylophones. It works for me. The original version of the song is featured on the Tokyo Police Club‘s debut full-length Elephant Shell, which was released last month after two previous critically-acclaimed EPs. The remix can be found on the new 7 inch or the limited edition of Elephant Shell.

Gratification To Concrete
Robert Pollard
As we all know, Robert Pollard can’t stop, won’t stop. After releasing no fewer than four solo albums on Merge in the last two years, former Guided By Voices frontman has amicably left that fold to form his own GBV record label. Robert Pollard Is Off To Business will be released on June 3, and this song about a lady who somehow gratifies concrete will be the first tune to hit the internetwaves. In an odd Stipe-ian dichotomy, this will work best if you don’t try to understand Pollard’s lyrics but just enjoy the crunchy riffs at play on this monster jam of a summer pop song.

Cheap Champagne
Sloan
This new song from Canada’s powerpop/rock foursome Sloan starts with a sunny vocal breakdown that’s all retro-goodness, sounding like just four guys standing around on a street corner snapping in time. Each track that I’ve heard so far from their upcoming release Parallel Play (June 10, Yep Roc) wins me over in a unique way, and there lies some of the underrated genius of Sloan. They can fluidly slide between many different styles (most recently demonstrated on the 30-song tour de force of 2006′s Never Hear The End Of It), and it all works.

Sirens In The Deep Sea
Longwave
The cascade of swirling, sparkling guitars in this song from Brooklyn’s Longwave sound like the moment you roll your car to a slow stop on a gravelly roadside overlooking the lights of the valley. This single was produced by Peter Katis (The National, Interpol) and boasts some gorgeous, epic-sounding production. After tour dates opening for The Strokes on their North American and European tours, Longwave is playing some shows with the re-formed Swervedriver in the coming months.

I’m Now
Mudhoney
Recorded in just three and a half days, this 8th full-length album from Seattle’s Mudhoney possesses a raw and immediate punch. Although folks like Nirvana propelled to larger successes from the Sub Pop label in the late 80s/early 90s, Mudhoney laid seminal groundwork with the indie label through releases like Superfuzz Bigmuff. They were also featured on one of the first 7″s in the Sub Pop Singles Club with “Touch Me I’m Sick” (split with Sonic Youth). Hard to believe, but Mudhoney has been at it for twenty years (!!) and the sounds of this new song would suggest that they’ve lost little of their spitfire. The Lucky Ones is due May 20 on Sub Pop.

Monday Music Roundup

I had a full day interview here on Friday. Now that’s eight hours straight of me talking about myself coherently and winningly. This is a draining endeavor, no matter how exciting the job or how good of a fit. I did mostly okay except for one specific question where I recall clearly starting to veer into Miss Teen USA territory (“such as“). Hey! Turns out if you don’t know the answer, continuing to talk is not going to help you find it, oddly enough.

In between the real-life stuff going on, I’ve been listening to these songs:

Strange Vine
Delta Spirit
I just got news today from Rounder Records that they’ve signed Delta Spirit, who I allegedly saw with Port O’Brien at Noise Pop in March but regrettably actually missed due to sensory overload at the time. But I remember reading a review a few days after the festival that Amrit from Stereogum had penned that completely intrigued me: “Matthew Vasquez’s vocals are powerhouse stuff, and his Dylanistic harmonica and melodies worked well over Delta’s roots-rock roots. ‘Strange Vine’ was a standout, riding the sway of old mid-tempo, ’50s-styled r&b rock, with vocal lines ala Alec Ounsworth or Julian Casablancas depending on how the light caught it.” I want to listen more to these guys – they’ve got a great sound and a lot of promise. Their 2007 release was aptly named Ode to Sunshine, and will be re-released by Rounder.

I’m Glad
The Black Keys
If you’re the grizzled, bluesy force of nature known as The Black Keys, and you’re just sitting around Dan’s house on a Thursday, why not record a Captain Beefheart cover and post it on your MySpace for free download? Why not indeed. Just a few days old, this cover is fuzzy and dirty like it’s being sung through a dusty microphone someone dug up in the garage, then looped back through a decades-old set of crackly speakers. But you know, it’s also just about perfect for some really late-night drunk slow dancing – sad and regretful but with some heat behind it too. Attack & Release is out now, The Black Keys are playing Red Rocks with My Morning Jacket in August, and then next day will be out in San Francisco for Outside Lands.

Never So Strange
Morning State
The harmonies and vocals on this particular song evoke straight-up ’50s power pop, but there’s also a tenser undercurrent of that good ’90s rock running through it that you know I’m a sucker for. Atlanta’s Morning State cooks up a jubilant blend with a kick to it. They’ve played shows with Dr. Dog, Peter Bjorn & John, and White Rabbits, all of whom are fun bands that we like round these parts. This is a fun band. Their new album You Know People I Know People is out tomorrow on Indie Outlaw.

Time Can Be Overcome
The Constantines
Said The Gramophone intrigued me (as they always do) with a fictional vignette Sean constructed around this song, involving a South Korean man in an isolated high-rise apartment: “[He] bought an electric guitar thirteen years ago and every night since then he has spent learning a single song. He does not feel this is slow or fast; it is just right. One day he will play the song, play the whole thing. Meteorites will hammer the city and tsunamis will rise and his heart will come to life in his chest.” Really, I couldn’t ask for more than that. This is a terrific, terrific slowburn of a song. From the Constantines‘ recent release Kensington Heights (Arts & Crafts).

Measure Of The Same
Birds of Avalon
Kids heading out and paying the big black-market bucks to see The Raconteurs recently on their tiny-club tour were greeted by the psychedelic retro-tinged sounds of Birds of Avalon as openers. A five-piece band from Raleigh, North Carolina, BofA formed from the ashes of previous ’70s garage rock incarnation The Cherry Valence. They actually have a guitar player named Cheetie Kumar, which frankly is reason enough to go see them — also the way she shreds that thing ain’t bad. Their new The Outer Upper Inner EP is out now on Volcom.

Monday Music Roundup

This was a weekend of long-overdue fresh starts and spring cleaning:

Time to retire old Jack, I’d say. And (!!) yesterday afternoon I sat in a coffee shop with a local illustrator/designer and discussed my concepts to redesign this site. He’s making me a nifty new custom header image, and I think I am going to move Fuel/Friends over from Blogger to WordPress. I would welcome any suggestions you may have for redesign, or help with the conversion process if you’re a web-type because I am in the slow class when it comes to this stuff.

Here are some tunes I am enjoying this week after culling the promo CD stack that I am woefully behind in enjoying:

Looks Like We Haven’t Learned A Thing
The Walkup
After meeting in a Lower East Side NYC bar in 2005, The Walkup have been honing their energetic, punchy live show into a full-length studio album of material called Down on Pacific (June 3, Reynolds Recording Co). Their music is angular and hooky with Brit-pop influences and ace drumbeats, perfect for warmer days and summer nights. The album is produced by Gregory Lattimer (Albert Hammond Jr.) and Caleb Shreve (Ra Ra Riot).

Do The Panic
Phantom Planet
Southern California band Phantom Planet‘s retro overtones take bold predominance in several tracks on their newest release Raise The Dead (released last week on the Fueled by Ramen label). This cut is an absolutely infectious reworking of a song originally off their 2004 fanclub-only CD Negatives, all laced with ba-ba-ba (shooby doo)s and exhorations to “come on, come on” over jangly jaunty guitar. You’ll be totally wanting to bust out singing this all day; wait until you’re in the elevator.

How Did We Forget?
El Perro Del Mar
As we recall from high school Spanish class, El Perro Del Mar translates to “the dog of the sea” and sounds like it should be a quartet of jolly Mexican mariachis, but is actually comprised solely of the the lovely platinum blonde Swede Sarah Assbring. This tune sounds like it’s coming to you on a very old radio, wafting in from another room where it’s been playing all along. There is a timeless quality to the music – the coy bittersweetness of the blues, modern Swedish ambience, and moments where it feels like a gentle lullaby. From The Valley To The Stars is due tomorrow on fellow Swedes The Concretes‘ label Licking Fingers. After touring with folks like Jens Lekman and Jose Gonzalez, she has several upcoming dates in May with it-girl Lykke Li.

Evil Urges
My Morning Jacket
This brand new mp3 from My Morning Jacket was unleashed upon the music-web community last Friday via email blast. It’s the title track from the upcoming Evil Urges album (June 10/ATO Records), and the fact that it’s cross-posted on just about every other blog in the world (except maybe this one) shows how hotly anticipated this release will be. Also, judging by the vibe emanating in virutal heatwaves off this track, their evil urges are actually compelling them to wanna gyrate around like Prince and croon in a soulful Motown falsetto. If this sneak peek only whets your appetite, you can also check out the astoundingly cool SXSW set that Jim James did with M. Ward to hear some more new MMJ material, mixed with the old. Sublime.

If You Stay
Richard Julian
Brooklynite Richard Julian hangs out with musical pals like the talented Jesse Harris and plays in Norah Jones’ side project band the Little Willies (who opened for Ryan Adams in NYC that one time). In addition, if you appreciate a recommended drink menu to complement each track on an album, check the liner notes of this one. Developed by an NYC mixologist, the concoctions range from warm beer & weight gain, to absinthe and rye whiskey, to this one — a sugar cube with champagne, laced with Angostura Bitters. The sweet with the bitter, as Julian musically weighs in on whether she should stay or go: “but if you stay there’s a film I’d like to go see / and if you go, i’ll watch one on tv.” It sounds like a nonchalant proposal, but by the end of the song Julian is confessing that he would “weep like a goat” while she packed her things, letting his true colors bleed through. Sunday Morning in Saturday’s Shoes is out now on Manhattan/EMI.

Monday Music Roundup

I’m back from my aforementioned 20-hour dash through Wyoming, Nebraska, and back into Colorado. It was a spur of the moment thing, leaving me at the ranch/hostel place on the remote Wyoming border with nary a toothbrush at 10pm on a Sunday night. It was exhilarating to get out and see a part of the country I’ve never seen, simply because I wanted to see where the freeway took me on a full tank of gas. While on the jaunt, I listened mostly to my two Fuel For The Open Road mixes, and the twangy overtones fit perfectly on the county highways and prairies.

Here’s what else I might have listened to if I hadn’t left my iPod on the charger at home.

Future Rock
The Muslims
I’d seen a flurry of short posts about The Muslims in the blog world a few weeks ago, but they truly won me over when I read this great quote from the band that Bruce cited over on Some Velvet Blog: “We don’t know what the fuck we’re doing. And that’s why it sounds like The Velvet Underground. Because it has chords and my guitar is trebly. We like the E chord. It’s simple. None of us listen to math-rock. We tried it, but it didn’t work out that well. We’re not bad, we’re just not really good.” And AMEN, ain’t that humbling. This song is young and dirty and fast — what more could you want? The Muslims play Denver’s Larimer Lounge on May 2, with lots of other shows coming up as well.

Silver Lining
Rilo Kiley
This song is in no way new music, but it has risen to the tip-top of my playlists in recent weeks. I somehow glossed unfairly over Rilo Kiley‘s 2007 release Under The Blacklight after reading a few lukewarm reviews, and never realized the genius of this track until recently. Lame! I know. Well, it finally hit me, all handclaps and disco beats, and I was instantly won over by the stark confessionals from Jenny Lewis and sentiments I can appreciate. If perchance you also missed it like I did, for the love of Pete, take a listen and try not to love it, all the way down to those mellifluous closing gospel chorus notes. My song of the month (a perfect video too).

Sun Giant
Fleet Foxes
As I crested hill after hill of winter-bleached prairie grassland early this morning as the rising sun splintered across it, I listened to a bit of My Morning Jacket. One of the things I enjoy the most about their music is the way it feels golden and expansive, all sundrenched reverb and eerie harmonies. It’s easy to see why that same vibe would draw me effortlessly into this opening album track from Seattle’s Fleet Foxes. As you delve into the rest of their songs you do hear a bit more of the classic rock influences, but gorgeous vocal tracks like this sound like a perfectly-crafted hymn (“Our Prayer” by the Beach Boys, anyone?). Their Sun Giant EP is out now on Sub Pop/Bella.

Tick of Time
The Kooks
I’m liking where the Kooks are going on their second album Konk, out tomorrow on Astralwerks. They’ve tuned down a bit of the herky-jerky swagger of their first album an lapsed a bit more into the acoustic harmony vibe, and they sound terrific. Konk was recorded at Ray Davies’ studio of the same name, and was produced by Tony Hoffer who has worked with The Thrills, Beck and Supergrass. This is the last track on the album and they sound like they’re having fun.

Glad It’s Over
Wilco
I’m confused about this “musical companion album” to the excellent TV series Heroes, which is a show that messed with my brain. When watched in large doses, Heroes gave me the kind of vivid dreams I haven’t had since Alias when I dreamt that Rambaldi was trying to send me encrypted messages through run-of-the-mill neighborhood night noises. In any case, I don’t remember hearing Wilco on Heroes. Nor Bob Dylan, MMJ, or even Nada Surf. But look! Here’s a brand new Wilco track from that collection, catchy as all get out. The selections on this soundtrack are “inspired by the characters” in the show, and are pretty bulletproof in terms of the quality tunes & artists here.

Monday Music Roundup

You might be surprised to hear it, but I am reading a really interesting book about zombies. Heck, I’m surprised that I’m reading a book about zombies. But it was an unexpected gift and I’m not one to look a gift book in the mouth, so I dove in.

World War Z is rivetingly creepy, an impeccably-constructed fictional history of our modern world seeing an unknown outbreak in rural China that causes people to become undead, their blood congealed into a black ooze, with a shuffling gait and a low moan. Oh, and a bloodthirsty need to bite the living (like, break into your house in suburbia and feast on your family). Sounds all Halloween, but it’s more like Outbreak. The book traces the procession of the outbreak, the coverups, the panic, the turning point in the war, and then the reconstruction of the entire planet — entirely through short, well-crafted first person accounts of those who “lived through it.” It’s very believable and globally creative. I like freaking myself out with well-written scares. I recommend this title and am glad I gave it a shot.

Music I am listening to this fine first week of Spring:

Katherine
Boyracer
This starts like bubblegum with a fresh sweetness and pop, but quickly you get the fuzz and hear the punky influences of Boyracer. Originally from Britain and now in Arizona, this band has gone through over 40 members in the almost two decades they’ve been making music. Currently the lineup consists of original member Stewart Anderson and two rockin’ gals, one of whom he is married to. As my friend who recommended them said, “the killer melodies really come through after a few listens,” and I agree — the overtones are sweetly gratifying, but with enough distortion to balance it so well. They could be from any decade of the last 40 years.

The Satisfier
Eli Reed
Here’s another out-of-nowhere 24 year old who channels James Brown here with a red-hot yowl and big brass soul. I originally read about Eli “Paperboy” Reed & The True Loves over on the Bag of Songs blog and as soon as I started listening to the track, I had to go back and doublecheck who this kid was and from which era. Originally from Allston, MA, he honed his musical chops after he up & moved to Clarksdale, Mississippi at age 18 — in the North Mississippi Delta, and one of the birthplaces of the blues. Holy mackerel. Go stream some stuff on this kid’s MySpace; album Roll With You is out April 29th on Q Division.

I The Kite
Centro-Matic
If you were Texas musican Will Johnson and found yourself sometimes tugged in different directions with your music, you might –if you were especially prolific– form two bands. And in 2008, you might release a double album with both of your bands on it. Centro-matic often explores the loose and beautiful, but slightly more rockin’ side of Johnson’s persona, where South San Gabriel is a bit more twilight dusk than burnished afternoon. Hazy but stunning, like a landscape from a Cormac McCarthy novel. According to the guys themselves, “what is distinctive about the release of Dual Hawks is that we get the chance to hear side-by-side the various ways in which Centro-matic and South San Gabriel complement and play off of each other—sort of the full-length equivalent of a split single.” Very cool idea, with gorgeous interplay.

Magic
The Blakes
A friend has been urging me for months to write something about The Blakes after he saw them randomly on a Friday night in a small club and wrote that “they were awesome…like fuck yeah spirit of rock n roll awesome — they sort of rip off The Strokes but they do it in a good way, like it is still 2002 and garage rock will rock forever and it isn’t 2008.” So yeah, I’ll take a listen. This song was originally part of the Sound of Color ad campaign, and finds this Seattle trio taking a bit of a departure from the garage vibe found on excellent tracks like “Modern Man” or “Commit” (on their MySpace) crossing over to a sunnier Kinks/Beatles vibe that evokes nicely their assigned color of blue. Or maybe a cheery aquamarine.

Heron Blue
Sun Kil Moon
Mark Kozelak’s music gives up its melancholy layers slowly, over repeated late-night listens. Therefore I cannot claim to have plumbed the depths of the new Sun Kil Moon album after only having streaming access to it for a few short days via their MySpace. But this one we managed to capture is bewitching. Like one particularly incisive lyric here, “Her hair it twists ’round her necklace / constricts and chokes like ruthless vine,” this song is near-eight minutes of ominous impending beauty. The new album April comes out the first day of that month and features guest vocals from Will Oldham (Bonnie Prince Billy) and Ben Gibbard.

Monday Music Roundup

“Won’t you wear . . . a sweater?”

We are requested by Mister McFeely to don a sweater of some sort this Thursday, in honor of what would have been Mister Rogers‘ 80th birthday. I think I’ll wear my green hoodie that I can zip up all the way, pause, and then zip it halfway back down. Man, I loved that (American kids) show when I was a tot. To this day, whenever I catch a rerun and he tells me that I am special, I believe him.

But seriously. Why was the postman on a childrens’ show named Mister McFeely?!

Tunes for the weekly grind:

Girls Like It Too
(new, live in Buenos Aires)
Jarvis Cocker
Jarv says that girls like it too, I only wish the audio here was a bit better so I could vouch for the girls in this equation. We’ll just have to take his word for it; he sounds like he would know. I like Jarvis because he always sounds a little smarmy, dramatic, and very Euro-metropolitan. This song also revives that fantastic stage whisper way he has of singing that makes you feel like he’s letting you in on a secret. Huge potential in this brand new song — it’s melodic with an arching, anthemic chorus — and the live rip isn’t half bad.

Snow in Berlin
Zookeeper
“Okay here we go,” warns the opening voice on this bright and effervescent tune from Austin, TX five-piece Zookeeper. The song melds horns with retro pop sensibilities, and feels like the anticipation in the sky the moment before the sun bursts out from behind the horizon. Another album art selection that falls under the conspiratorial hushed-whisper “I think they have problems” header, Becoming All Things is out now on Belle City Pop!. These guys played something like a dozen shows in Austin this last week, and hey! My beloved Dodge had them on his serious SIRIUS show back in December.

What She Turned Into
Retribution Gospel Choir
The purest, most enthusiastic music-blog stop in my regular rounds easily falls to the guys at Said The Gramophone (for example, on Sam Cooke). They recently posted up this track that I’d never heard a thing about, featuring Red House Painter/Sun Kil Mooner Mark Kozelek producing music by Alan Sparhawk of Low, Matt Livingston and Eric Pollard. According to StG, “That means that [Kozelek] strode into the recording booth and turned the amps up. He turned them right up. He slapped Sparhawk across the face, tore Livingston’s shirt and punched a hole in Pollard’s tom. He glowered at them. Then he went back to the mixing desk and set the thing on fire. “Play,” he said over the crackles. “Play me a pop song.” It was going to rain that night, hard.” I mean COME ON. Yes. Listen, and it is exactly so. Retribution Gospel Choir has a full-length album out tomorrow on Kozelek’s Caldo Verde label.

Silence
Portishead
And so the first new Portishead album in 11 years begins with a crackly, mysterious transmission in what I think might be urgent Portguese, kind of like the french woman in Lost. The song crests, thrumming and unrelenting, mysterious and sexy. In short, all the things you’d hope for from these Bristol trip-hop pioneers. But what you didn’t expect was that they’d make you feel like a spy in the cold sleek streets of Berlin, rather than a beautiful blissed-out clubgoer. Third is out April 28, and Portishead is another fine band that’s gonna be at Coachella.

Young Folks (Peter, Bjorn and John cover)
The Kooks & Simon Wilcox
Resist it as you might (and I did try to resist initially), the whistling from the original version of this song was the catchiest thing on the radio in 2007. Sometimes I’ll be walking down the street on an especially sunny day and I want to whistle something; this does nicely (that or the Andy Griffith theme). Therefore when The Kooks covered this song with lovely Canadian gal Simon Wilcox and cut the pursed-lip magic, something else got lost in the transaction. It is still catchy and adds that cute brogue. From a recent free NME disc, the Kooks say “We tried to make it more of a rock’n'roll song, throwing a bit of Motown and doo-wop into the mix.” See what you think.

And hey, happy St. Paddy’s! Me and Sir Jameson plan to do a wee bit o’ celebrating.