Interview: Frightened Rabbit

Moments before the band wowed the crowd at the Roxy last week, Frightened Rabbit singer/guitarist Scott Hutchinson revealed what influences him the most, his dream band members and the importance of supporting one's musical community.

Scott M.: At what point in your life did you decide that you wanted to be in a band, and not just a fan? Was it a particular show, event, person?

Scott H.: Well, I was in a lot of cover bands during school, but I actually never thought that I'd be in a band that people could be fans of. When I was in my early twenties I didn't really think of it as much more than a hobby at that point anyway.

The first record that really made me think differently about music and what can be achieved is The Delgados album The Great Eastern. It just turned me onto a whole new side of music that, as a teenager, I had never experienced until then.

Scott M.: What was your experience like the first time you played live?

Scott H.: Huge guitar solos basically. When you're fifteen years old and playing for your friends then that can really win the audience over. My first experiences were just about being loud and stroking the old ego.

Scott M.: Who writes the music/lyrics in the band? Describe the songwriting process?

Scott H.: It's all me.

Scott M.: What do you think are the biggest drawbacks, and rewards, of self-releasing music in an age where there are little boundaries and so many bands to keep track of?

Scott H.: The drawbacks ... just getting your foot in the door is really difficult. The mechanics of releasing a record is hard at first, especially when you're self-releasing it, a label has a broader spectrum of contacts. It's definitely an uphill battle at the start because there are these marketing and promotional aspects that you learn yourself, but labels have no trouble with that.

Scott M.: Name three of your favorite hometown places that a traveling music fan should visit (record store, restaurant, bar, etc.).

Scott H.: I'd definitely drop into Nice N Sleazys, then there's Variety Bar - which is my favorite -- is still an untouched place that has an old charm and clientele you can't find anymore. The Doublet is a cool little dive bar as well.

Scott M.: You get to create a "dream band" with four additional musicians. Who would they be?

Scott H.: Right, I'd personally not be singing. I'd maybe have Matt from The National on vocals, keep my brother on drums, Ben Folds on Keys, Warren Ellis from the Bad Seeds on Violin, and PJ Harvey on guitar and backing vocals.

Scott M.: If you could change any aspect of the Music Industry what would you do?

Scott H.: To a certain extent the dictatorship of publications -- the NME is one of them. The buzz is always going to be around bands, that won't really change, but the quick rise and fall of artists is a big problem I'd like to see go away.

Scott M.: What's the best piece of advice you could give to a band starting out?

Scott H.: Being in a band, you're part of a community, and everyone's career is going to move at a different pace. Just understand that a career can sometimes require different paths and you just need to stick with it and support your fellow bands.

Scott M.: Outside of music what do value the most?

Scott H.: I love spending time with my girlfriend, which I don't get to do when I'm out on tour. And seeing friends ... yeah, that's pretty much it really.

Scott M.: What artists are you listening to at the moment?

Scott H.: The new Portishead, which is really intense. The Crystal Castles stuff, which I was sort of again st first, but it has grown on me, and I'm a huge Nick Cave fan.

Album Review: The Notwist - 'The Devil, You + Me'

The Notwist: The Devil, You + Me (Domino)
8/10


It's been six years since the German trio's 2002 masterpiece Neon Golden, and the indie/electronica act take its first steps away from that release without losing any of the subtly, tension or originality that made that record a crossover classic.

It begins with exceptional, and subdued, "Good Lies." A bright guitar line stabbing gently while the rhythm repeatedly knocks away. Markus Acher ponders, "I remember good lies, when, we carried them home with us. To our bedside tables and the coffee sets." He's calling out the simple truths, and failures, in relationships, and the mood fits the topic perfectly.

On the cheery (kind of) and simple "Gloomy Planets," Acher asks, "Why is everything so locked up?" The dreary vocals are set against a glimmer of hope -- and a few rhythmic elements add some much-needed flavor to the singers voice and lone acoustic guitar progression. But, overall, the track is a sunny one that works with its minimalism.

Along with "Good Lies," "Your Alphabet" is the best moment on the disc. The unnerving rhythm that's set against an eerie synth creates a tense feeling that The Notwist do better than any band out there. Guitars eventually come screeching into the mix, and the vibe gets even more horrifying; various instruments become power tools for a gruesome murder.

After a six-year break, the typical routine for some critics is to pick apart a band's effort -- assigning blame and dissatisfaction to the tracks that could have possibly been constructed better or sounded more like past favorites. But the Notwist's approach on The Devil, You + Me is a consistent listen that draws its own boundaries, yet never forgets to cross them now and again. The music continues to explore space and electronic tinkering without going into complete IDM mode, and never forgets the value a guitar can bring to a song.

Live Photos: Frightened Rabbit and Oxford Collapse (The Roxy, Los Angeles - 6.23.08)

Along with fellow Scottish artists Mogwai, The Twilight Sad and Belle and Sebastian, Frightened Rabbit proved that they belong in that stable of talent. Their latest album, The Midnight Organ Fight, which is one of this year's strongest records so far, provides a deep range of mood, driving rhythms and emotional vulnerability that comes across perfectly in a live setting. Songs like "The Modern Leper," "Head Rolls Off" and a tough-as-nails rendition of "Fast Blood" couldn't have been executed any better.

Interview: Sunny Day Sets Fire

After a successful run at SXSW, remixes from CSS, The Cool Kids, Diplo and Spank Rock producer XXXChange and glowing press that has caused a commotion all over the blogosphere, Sunny Day Sets Fire are poised to become the next big thing -- and they have the tunes to prove it.

The British pop sensations are in town this week, playing its first West Coast dates ever. We recently caught up with the band to find out how they got started and what drives them to create such blissful pop.

Scott: At what point in your life did you decide that you wanted to be in a band, and not just a fan? Was it a particular show, event, person?

Mauro: I think I always wanted to form a band with other people. I like the idea of sharing ideas, you always get something you didn't expect out of it, and it can't just be about your little world. Otherwise, you don't discover anything about yourself, you just confirm you are there.

Matthew: I used to play the tennis racket while listening to the Beach Boys and dancing in front of the mirror. That was the seed. Listening to Sonic Youth, as a kid -- particularly Sister and Daydream Nation would have been the sunshine.

Max: I think I never really decided to be in a band I always found myself in bands before knowing it!

Ed: I was twelve and my mates wanted to form a band and told me if I bought a bass I was in. We indiscriminately massacred anything from Chuck Berry to Metallica, and we were easily the coolest dudes in Weybridge! Guns N' Roses live at Wembley Stadium 1992 blew our minds and fueled our inspiration, which meant that our parents then had to continue to endure years and years more terrifying screaming -- what we called "singing" -- coming from inside the garage.

Scott: What was your experience like the first time you played live?

Mauro: We couldn't handle it at the beginning; towards the end we were actually doing a good job not falling apart. It was like being on a ship in the middle of a storm. I liked it a lot.

Matthew: The first time I ever played live would have been with my first band: The Outskirts. We were invited to play a school assembly for a group of young children (five and six year-olds) in a town just north of Toronto. We played on the stage in the school gymnasium and the kids sat cross-legged on the floor holding their hands to their ears. We were a group of fifteen year-old noise-punk freaks, and whoever thought it was a good idea was likely fired. We even filmed it, but sadly, nobody has a VHS player anymore.

Max: A total nightmare! Me and the other guitarist in the band were plugged to the same amp and I guess what was coming out of the speakers was an indistinguishable blast of noise. There was no stage so people were wandering around us. The floor was sticky. That was probably the first time I got drunk in my life.

Ed: AMAZING! We were fourteen and hired the town hall with our parents serving lemonade to our fans. We all did solos in between obscure covers like "Smoke On The Water" and "Purple Haze" and our singer said some swear words. All captured on VHS, now heavily guarded in a secret location!

Scott: Who writes the music/lyrics in the band? Describe the songwriting process?

Mauro: I write the songs and lyrics. Usually, I bring a song in the studio and all together we make it special. It's always a surprise to hear how a song can come to life within few minutes we started jamming around it.

Matthew: Mauro generally writes the music and lyrics and the band creates the arrangements. Sometimes a song is finished in an evening and other times it goes through five or six very different treatments over a number of months before it feels right. We all feel an equal amount of pride in the song once it's finished, but Mauro is usually the one who gets things started.

Max: Mauro is the main songwriter. He always comes out with a melody or two. If we start playing straight away while he's singing and strumming his twelve-string guitar, 90% of the times we have a new SDSF song.

Ed: Mauro is a really good songwriter and prolific with it so provides a steady stream of songs that we then flesh out and arrange collectively. A few of us also have our own music lurking in the shadows that I'm sure shall somehow seep into repertoire at some point but let's wait and see.

Scott: What do you think are the biggest drawbacks, and rewards, of self-releasing music in an age where there are little boundaries and so many bands to keep track?

Mauro: When you self release music you have a direct contact with the audience or with people in general. You have more chances to see who they are to talk to them, via emails or MySpace or after a gig selling singles. Everything is less far, more down to earth somehow.

Matthew: Biggest drawbacks are that it's difficult to keep people's attention. There are so many good bands to listen to and it gets easily to focus on breadth over depth. People don't listen to music the way we did when we were teenagers. I used to get a weekly email from Other Music and would generally listen to almost everything included. That's hundreds and hundreds of bands to keep track of per year. I made a concerted effort to stop doing that recently; to only listen to a handful of bands and appreciate them deeply rather than have a cursory knowledge of everything under the sun. It's much more rewarding.

The rewards are that, as a band, it's much easier to get people talking about you. The whole Kevin Kelly concept of "one thousand true fans" is perfectly realistic in an environment where just about anyone with a computer can know everything about you. Things travel so much quicker that you can be a phenomenon for a group of people and not even know it.

Max: Self-releasing music is way easier than it was only ten-to-fifteen years ago. From the point of view of being in a band, I like the fact that you don't have to obey to any rule and just let the creativity flow. The biggest drawback is probably the risk of becoming self-referential, but of course it's up to you to keep your eyes and ears open to the rest of the world.

Ed: On the plus side, the democratization of technology empowers the marginalized fringes of music and takes the final say away from the majors but it also brings with it a swathe of pretty unoriginal music as well. Sadly, this is exacerbated by commercial forces that, in an age of celebrity culture, exploit everybody's desire for their fifteen minutes of fame and profit from filling people's heads full of vacuous rubbish. Thankfully, it's a problem solved by us all being a bit more discerning.

Scott: Name three of your favorite hometown places that a traveling music fan should visit (record store, restaurant, bar, etc.).

Mauro: London -- Rough Trade in brick lane. OTO cafe in Dalston is an amazing place, great space, they organize weird experimental gigs and the people are really into music.

Matthew: Stoke Newington Cemetery, Electric Avenue, and The N11 from Liverpool St. Station.

Max: If we were talking about London I would say Rough Trade in Neil's Yard and The Luminaire in Kilburn. Onyee can certainly enlighten you better than me about restaurants.

Ed: Spitalfields Market on Thursdays (all sorts of curios, and charming sights and sounds). LMNT in Hackney (food's good, not great but the place is amazing! It has mezzanine booths like tree houses and boasts two sphinx fireplaces!) and last but definitely not least The George Tavern in Stepney. Always the same, but always different. Scattered hospital wheelchairs, a burnt out ford Capri tiled like a glitter ball out the back and at least three generations of hobo at the bar. Amazing.

Scott: You get to create a "dream band" with four additional musicians. Who would they be?

Mauro: Come on man other four mouths to feed? We already starve enough in five, you crazy dude.

Matthew: John Cale on viola and bass, Steve Shelley on drums, Tom Verlaine on guitar and Mick Jagger on vocals and tambourine.

Max: A dream (or a nightmare) band would probably be a choir of death metal vocalists singing a capella. Do I necessarily have to be in the band?

Ed: Rolf Harris on xylophone, Clara Rockwell on Theremin, Lee Perry on whatever he happened to have in his pockets at the time and Bobby McFerrin.

Scott: If you could change any aspect of the Music Industry what would you do?

Mauro: A&R people are a joke and record labels don't risk much. The music industry is changing and I do hope corporate record labels will fall in to the void the helped to create. That said, I still believe there are good people working for the music industry, people who really care.

Matthew: Dissolve the RIAA.

Max: Too many things to mention! Anyone knows how sick the whole industry is. So I would mention a silly one: no more radio edits!

Ed: Introduce way more regular state-sponsored but artist-curated events big or small free from any corporate hijacking whatsoever.

Scott: What's the best piece of advice you could give to a band starting out?

Mauro: Play live shows and go and see other live shows.

Matthew: Concentrate on the songs and only the songs. Don't wait for things to happen.

Ed: Take all advice with a pinch of salt. It's just one perspective.

Max: Don't try to jump in the last bandwagon. Be yourself.

Scott: Outside of music what do value the most?

Mauro: CISUM (music backwards) I value that a lot. Also I like who can tell the truth in your face without vomiting words to you just to liberate him or her self from the weight they had inside. "Listen I really need to tell you this" that kind of stuff. We can really tell some truth (if there is one to tell) caring about the people we are talking to.

Matthew: Dogs, biking, good food, being good to people.

Max: People who are constantly digging their own (positive) obsessions and don't need to talk too much about themselves.

Ed: Tomorrow.

Scott: What artists are you listening to at the moment?

Mauro: Ruby Suns are amazing, I'm also into this band called GOLF CLUB, and you should check them out, amazing live shows.

Matthew: Devo, They Might Be Giants, Bon Iver and Lucinda Williams.

Max: Fleet Foxes, Atlas Sound, and Mahogany.

Ed: Fleet Foxes, Ruby Suns and Grizzly Bear.

Interview: Chikita Violenta

When was the last time you heard an artist from Mexico City that rocked your world? If the answer is "never" then get ready to meet your next favorite band.

We introduced you to Chikita Violenta last week on its recent collaboration with Broken Social Scene. The Stars and Sons Sessions shows the group churning out tense melodic rock jams like "War" and "Undecided," but it's the ultra-catchy "Laydown" that we couldn't get out of our heads.

We caught up with Luis "RC" Arce (vocals, guitar and bass):


Scott: At what point in your life did you decide that you wanted to be in a band, and not just a fan?

Chikita Violenta: There was never really an exact moment when we decided, "hey, we should form a band," it evolved very naturally. All of the band members have been great friends for several years now, more than fifteen years. We all played instruments and were drawn to the same music. Ever since we started high school, we would get together and hang out -- and just play all the time. Before we knew it we were writing our own songs and playing in most of Mexico's major bars and venues. We weren't even old enough to get into most of these places.

Scott: What was your experience like the first time you played live?

Chikita Violenta: It was both nerve racking and the beginning of an addiction. You never know what to expect that first time you get on stage. Luckily, we were surrounded by friends during our first show, and they probably felt obligated to cheer us on. I'm pretty sure it wasn't that good. We were all over the place in terms of the music we played. We really lacked a clear direction and played everything from rock to rap.

It's quite funny when I think back at the kind of songs we used to perform. Before, we used to beg people to come to see us play, and now they actually pay to get in. I guess we've gotten better!

Scott: Who writes the music/lyrics in the band? Describe the songwriting process?

Chikita Violenta: The songwriting process usually starts with someone bringing in an idea, which later gets morphed by all the other members of the band. It's a very creative process, which involves a lot of trust and respect. You may not agree with all the changes, but in the end -- when you hear the final outcome -- it all makes sense.

A lot of what we do is done in a live setting by jamming them out, that's usually how most ideas come about. Later, we track the songs and see if they make any sense. Lyrics are always the last thing we work on, but we take our time with that, and even then it involves the input of all the members in the band.

Scott: What do you think are the biggest drawbacks, and rewards, of self-releasing music in an age where there are little boundaries and so many bands to keep track of?

Chikita Violenta: The major drawbacks usually come from the lack of funds to properly promote a release. There's definitely a risk of your album getting lost in the crowd, especially because radio airplay is practically monopolized by the major labels. However, we believe that if you do things correctly, work with the right people, and work you ass off you'll see rewards and eventually people will catch on.

There is definitely a lot more feedback now thanks to the Internet. The best part of self-releasing though is that you control what's going on, we decided who we would like to record the album with and saw through all the aspects of the release from the art all the way to the distribution. Luckily, we've formed strong bonds with everyone we work with. We really trust them and they have lots of faith in what we are doing.

Scott: Name three of your favorite hometown places that a traveling music fan should visit (record store, restaurant, bar, etc.).

Chikita Violenta: Well that's a tough question if I have to narrow it down it would be:

Plaza Garibaldi: In this plaza in the heart of Mexico City lots of traditional musical groups get together to see if people will hire them for private shows. You get to here lots of different types of traditional mariachi music. People dance, sing and drink tequila -- who can beat that?

Multiforo Alicia: Located in the Roma district of Mexico City this venue has been around for more than a decade and has seen the birth of some of Mexico's best bands. It's not pretty to look at, you could say it's Mexico's version of CBGBs.

Xochimilco: Located in the southern part of Mexico City this is a series of canals where you pass the day. People get on Trajinera boats and eat, drink, and listen to music. Definitely one of a kind, and a great place to visit.

Scott: You get to create a "dream band" with four additional musicians. Who would they be?

Chikita Violenta: My four additional musicians for my dream band would be: Kim Deal on bass, an insane power duo on guitars composed by Thurston Moore and Johnny Greenwood, and on drums my good friend -- and brilliant drummer -- Justin Peroff. Now doesn't that sound like an amazing band?

Scott: If you could change any aspect of the Music Industry what would you do?

Chikita Violenta: Pirate CDs, they are a plague. In Mexico, for every album sold there are eleven pirate albums not purchased. It's insane, and it's killing the music industry in the country. You walk out of a concert and you can basically get the entire discography of the artist for five dollars. These people are accounting for more than thirty percent of the world's CD purchases without sharing their profits with the artists. We are cool with p2p, we think it's an amazing tool used by the fans to learn about new music, but piracy hurts the bands.

Scott: What's the best piece of advice you could give to a band starting out?

Chikita Violenta: Lots and lots of patience, love, hard work and dreams.

Scott: Outside of music what do value the most?

Chikita Violenta: Friends and family, it's what moves my life, and it's the reason Chikita Violenta even exists.

Scott: What artists are you listening to at the moment?

Chikita Violenta: The Helio Sequence's Keep Your Eyes Ahead, Portishead's Third, Andrew Bird's Armchair Apocrypha, Cut Copy's In Ghost Colours and Elbow's The Seldom Seen Kid are a few to come to mind.

Album Review: The Twilight Sad - 'Here, It Never Snowed, Afterwards it Did'

The Twilight Sad: Here, It Never Snowed, Afterwards it Did (Fat Cat)
9/10


Here, It Never Snowed, Afterwards It Did is a "re-working" of tracks from the band's amazing 2007 debut, Fourteen Autumns and Fifteen Winters -- plus a few new cuts. This time around, the Glaswegian quartet strip-down the layers of distortion and overlapping delays to add space via droning experimentation, and the use of classical instruments.

The decision to use fan organ, accordion and glockenspiel was a wise one -- especially once the melodies get colored in a sea of dark tones. The result doesn't typify the "less is more" approach; the music is too dark for that. Instead, the new versions reveal the strengths, and possibilities, in every song.

"We wanted to record re-worked versions of some songs from Fourteen Autumns and Fifteen Winters as we felt there was another side to some of them that worked just as well as the originals. We developed that sound in the recordings by plugging the fan organ through effects, adding guitars, drones, violins and experimenting with the alternate sound," states guitarist/multi-instrumentalist Andy MacFarlane in a recent press release - and he couldn't be more accurate. Songs like "Mapped By What Surrounded Them" might be the heaviest slice of heaven they've ever created. The instruments can be pointed out after the first minute, but the collection of drones and dark frequencies make the song moodier than before.

While this mini-album has been described as a "stripped-down" approach to the band's material, they actually create a sonically rich tapestry that is dense and darkly painted, yet suited perfectly for James Graham's intense wail. Whatever "alternate sound" that MacFarlane and the boys were thinking of, I'm ready for a lifetime subscription.

Interview: Blackstrap's Jonatan Westh

Our first introduction to Swedes Blackstrap was through its infectious track "Repulsion." The song blends a helping of fuzzy keys a la Stereolab, the choppy guitars of Bettie Serveert and a touch of BRMC-inspired grit. The group's debut album, Steal My Horses and Run, continues their foray into lush, expansive pop mixed with sweet male/female vocal harmonies.

We caught up with Blackstrap vocalist-guitarist Jonatan Westh in our 'Getting to Know You' interview series:


Scott: At what point in your life did you decide that you wanted to be in a band, and not just a fan?

Jonatan: I grew up with music all around me. It has always played a big role in my family. I also have two bigger brothers who feed me up with dark tunes since I was a baby. I think it came naturally, and I have always singed and played instruments. Our former bass player, Henrik Rubensson, decided to start a band after hearing Guns N' Roses Appetite for Destruction in a record store for the first time. We were about 10 years old when that record came out, and it totally blew us away. Blackstrap is more than a band, it's like a cult -- or a bunch of gypsies.

Scott: What was your experience like the first time you played live?

Jonatan: Henrik and I played some covers of different bands on a youth camp not long after we decided to go for a band ... there were no boundaries, and I think some of the kids still have nightmares since then.

Scott: Who writes the music/lyrics in the band? Describe the songwriting process?

Jonatan: On Steal My Horses and Run, it was Maria and I who wrote all the songs. We arrange everything with the band in the rehearsal so everyone can contribute.

The songwriting process is different depending on the songs ... I can do ten versions of the same song, or the same riff until I get satisfied. Sometimes it all comes together at once ... but I always try to reach for tunes, soundscapes and harmonies that I haven't done before, therefore it can take some time.

Scott: What do you think are the biggest drawbacks, and rewards, of self-releasing music in an age where there are little boundaries and so many bands to keep track of?

Jonatan: The biggest drawback is that you must push yourself harder, but I don't see it as a drawback. Great bands will survive and bands that suck may have 100,000,000 "friends" on MySpace, but no real fan base. There will always be people like myself with a genuine interest in music -- not dependent on hype and bullshit.

The biggest reward of self-releasing your own music must be that if you really get things going you're not stuck with boring contracts, and other business mumbo-jumbo. You can do things quicker and decide for yourself.

Scott: Name three of your favorite hometown places that a traveling music fan should visit (record store, restaurant, bar ...).

Jonatan: I actually hate my hometown, and I think our hometown feels the same about us. We grew up in the "bible belt" of Sweden, and the bands and artists that were successful all sound pretty 'Christian' to me. I think the music we produce is too dark and noisy for the citizens of our hometown.

The only record store there closed down a couple of years ago, but if you really should go there I think you should visit our former bass player, Henrik Rubensson. He can take you out fishing and make sure that you get home safe -- and not too late. You can also have a beer at Bongobar; it's a pretty safe zone for the few normal people in the town.

Scott: You get to create a "dream band" with four additional musicians. Who would they be?

Jonatan: I think I'd want to have Steve Albini on guitars, Yngwie Malmsteen also on guitars, Dave Lombardo on drums, Barbara Streisand on vocals, Lemmy on bass and Andrew Lloyd Webber on keys. If that group ever happens then I will be the first to buy a ticket to their concert.

Scott: If you could change any aspect of the music industry what would you do?

Jonatan: Make the industry pay back for all the years they have been ripping bands and artists off. After that I will kick everyone with shitty taste out.

Scott: What's the best piece of advice you could give to a band starting out in the business?

Jonatan: Don't listen to anyone else than the people in your band -- It's your vision. Try to find your thing -- what you like the most -- and then go for it. Try to do your best songs, and make them even better. But, most importantly, don't listen to industry people if they try to change you.

Scott: Outside of music what do value the most?

Jonatan: Late nights with good friends, family and my faith that the best is yet to come.

Scott: What artists are you listening to at the moment?

Jonatan: I found a zine made by my friend Hanna Rebecka more than ten years ago. She did an interview with me and asked what I was listening to at the moment. I answered Joy Division, My Bloody Valentine and The Cure. Pretty interesting that these are the same artists that rotate on my stereo more than ten years later. Right now I also listen to a lot of The Swans, Daf, Spectrum, Cluster, Franke (Swedish band), Bauhaus, etc.

U.S. Noise-Pop Essentials

If British shoegaze taught Americans anything it's that music can be embraced, and re-shaped, through noise. Check out the top ten bands that were immediately influenced by shoegaze -- giving the genre a fresh new haircut. While the rest of the country was wallowing in the dull and average 'Grunge' genre that swept MTV and radio, bands like Medicine, the Flaming Lips and the Swirlies were making out-of-this-world noise-pop albums that actually have a purpose. Thanks to Brad Laner's unbelievable guitar sound and Beatles-influenced harmonies, Medicine are -- without a doubt -- the most groundbreaking band of the early-to-mid 1990s.

1. Medicine: The Buried Life (American)


A killer follow-up album, and America's answer to My Bloody Valentine, Medicine was the first band to really blend Beatles-influenced songwriting with progressive guitar experimentation. I'd argue that the group's music was more urgent and experimental than anything being produced at the time.

2. Swirlies: BlonderTongueAudioBaton (Taang!)


Appealing to both shoegazers and indie-rock kids, The Swirlies used unconventional tunings, odd time signatures and loads of noise. The use of the whammy bar is an obvious nod to MBV, but it won't bother you.

3. Bowery Electric: Beat (Kranky)


A loose, and severely heavy, dream-dub album -- Bowery Electric brought shoegaze into the 21st century, and after-hours clubs, when all is chill. This band's sophomore record sounded way ahead of everything that was being released at the time -- without relying on keyboards, synths or studio wizardry. They stuck to a repetitive layering structure of guitars and looped rhythms. Beat is a classic.

4. The Flaming Lips: Hit to Death in the Future Head (Warner Bros.)


The Flaming Lips are up there with Medicine for the group's uncanny ability to make noise exist within a pop format. Not a "shoegaze" band by any means, but this is certainly their most "noise-pop" album. The Ronald Jones period is The Lips' most progressive and best material. Jones created amazing guitar sounds and solos that the band has never been able to duplicate.

5. Lilys: In the Presence of Nothing (Spin Art)


A complete rip-off of MBV's Loveless in terms of sound and its approach to songwriting, but still an amazing record nonetheless. Kurt Heasley would go on to make several albums that specifically borrow form other genres, or artist's, signature sounds.

6. A Sunny Day in Glasgow: Scribble Mural Comic Journal (Notenuf)


As time passes this album will age like a fine wine. Last year's excellent Scribble Mural Comic Journal draws on so many shoegaze contemporaries, yet feels indescribable and refreshing on songs like "C'mon" and "5:15 Train."

7. All Natural Lemon and Lime Flavors: Turning into Small (Gern Blandsten)


I initially heard these guys on KXLU a while back and was startled by how detailed and rich their sound was. They were an east coast shoegaze band that seemed to come out of nowhere; utilizing more keyboards and quirky sounds than most of their peers did.

8. The Lassie Foundation: Pacifico (Grand Theft Autumn)


If you like Spiritualized space-rock mixed with the Beach Boys' harmonic pop then this disc is for you. Bassist/guitarist Jason 71 now has a band called Eskimohunter, while guitarist Jeff Schroeder plays in the newly reunited Smashing Pumpkins.

9. Glifted: Under and In (Martians Go Home)


One of the most creative guitar-based albums in years. Tim Lash, former shredder of the amazing HUM, mixed My Bloody Valentine's dense guitar saturation with Slayer-like distortion and sustain. The drums are simple and looped, but it still comes off like a bone-crushing rock album.

10. Starflyer 59: Americana (Tooth & Nail)


Not many great rock bands come from Orange County, but Starflyer 59 changed that by making several great albums in early-to-mid 1990s. Americana is the band's best.


More recommendations ...

Lovesliescrushing: Bloweyelashwish (Projekt)


Paik: Satin Black (Strange Attractors Audio House)


Velocity Girl: Copacetic (Sub Pop)

Mahogany: Dream of a Modern Day (Darla)

Album Review: My Morning Jacket - 'Evil Urges'

My Morning Jacket: Evil Urges (ATO)
6.5/10


Is it good enough that a band like My Morning Jacket has released several magnificent full-lengths, built a reputation as the premier live rock band in the biz and still drop an average album -- which will definitely bother purists? Yes. Evil Urges isn't the band's best effort -- not by a long shot -- but most of these songs resonate with the same feel as Z or At Dawn.

The follow-up to 2005's outstanding Z marks a bit of a departure on cringe-worthy tracks like "Highly Suspicious," which is how I felt after the first couple of listens, and the title track, "Evil Urges." Musically, there's nothing to write home about, with the exception of the guitar mania that grabs hold of you on "Evil Urges." Jim James' over-stretched shrieking (falsetto) is the only flaw on Evil Urges.

Once you've moved past the group's "experimental" tracks, then the disc gets better. "Touch Me I'm Going to Scream," "I'm Amazed," "Remnants" and the blistering "Aluminum Park" strike familiar chords. James' voice reverberates more clearly, adding depth to every verse, chorus and bridge.

People in general hold My Morning Jacket in such high esteem that when they slip a little it can be difficult to understand, like when your favorite team goes down 2-0 in the NBA Finals. But that doesn't mean all is lost, and there are obvious hints in many tracks that demonstrate the MMJ's knack for soothing Southern rock jams that erupt into guitar solo fury. No other group can do that as well as My Morning Jacket, and those are the moments that kept me interested after repeated listens.

U.K. Shoegaze Essentials

Some big changes are happening in the music world right now. Bands of a bygone era are reuniting, recording new material and touring the world. Film maker Eric Green is also putting the final touches on his Beautiful Noise documentary, which will feature new interviews, live footage of classic bands and highlights of more recent purveyors of noise-pop; Autolux, Serena-Maneesh, Asobi Seksu, etc.

If you're wondering what happened to The Verve and Swervedriver on this list don't be alarmed, I left them out on purpose. I've always felt that those two acts were more "rock," in the classic sense of songwriting and musicianship. Swervedriver always sounded closer to glam-rock version of Dinosaur Jr., while The Verve proudly display its Pink Floyd/Led Zeppelin influence in everything they do. And unlike all of the bands listed on this list, both groups feature guitar players who are technically brilliant and dynamic.

Here we go ...

1. The Jesus and Mary Chain: Psychocandy (WEA)


Straightforward noise-pop/feedback from the Reid brothers. JAMC is arguably the most copied and influential band in alternative/indie music in the past two decades -- The Pixies are a close second. This is the album that got the ball rolling, influencing every other band on this list. Classic.


2. My Bloody Valentine: Loveless (Creation)


The most groundbreaking pop album ever made. After almost seventeen years, no band has come close to creating such a brutally physical listen that doubles as chill-out music. Amazing.


3. My Bloody Valentine: Isn't Anything (Creation)


The only real difference between this disc and Loveless is the vocal layering and mastering levels. Isn't Anything delivers more "punk" rawness underneath the heavy coats of reverb and distortion.


4. Cocteau Twins: Heaven or Las Vegas (4AD)


Whether you're a goth, or some half-emo-ethereal hybrid, The Cocteau Twins will appeal to you. Liz Frasier's unbelievable voice floats over miles of Robin Guthrie's delayed guitar. People fell head-over-heels for this trio, or maybe your ex-girlfriend just forced you to listen them. Still, this album is a must-have.


5. Slowdive: Souvlaki (Creation)


Souvlaki is a tougher, and all-around "better," album than the band's disappointing debut, Just For a Day. One could argue that Souvlaki is more varied and experimental, simply because Brian Eno got involved. However, Neil Halstead claims Eno only aided the group on a two tracks. Regardless, this is an outstanding record.


6. Spiritualized: Lazer Guided Melodies (Arista)


A truly cinematic album that made Jason Pierce look like Mozart compared to fellow Spacemen 3 bud Sonic Boom. Spiritualized bring orchestrated layers of strings, horns and percussion to a genre that relied on waves of guitars and noise. Pierce is still making solid records to this day.


7. Ride: Nowhere (Creation)


Ride's live shows were some of the best ever. They were Alan Moulder's right-hand band of the time (overdriven preamps, loads of effects, and a busy drumming). The Oxford quartet were poised to be "the next Beatles" here in the United States. That obviously never happened. You can find singer/guitarist Andy Bell playing bass for some band called Oasis.


8. Lush: Gala (4AD)


When it comes to Lush, always go back to this Gala. I think it's mainly because one can hear the transitions between their punk-influenced material from Scar and the ethereal dream-pop that follows -- especially on the group's following albums. Gala is a collection of their first three EPs, an Abba cover, and a remix from Robin Guthrie (Cocteau Twins). As time went on, Lush became the only shoegaze/dream-pop band of this era to really progress, hitting the billboard charts in the U.S.


9. Pale Saints: In Ribbons (4AD)


Ian Masters left Pale Saints after this release, but at least he bailed on a high note. If a band like Mew ditched their prog-rock approach for more ethereal tones they'd sound something like this.


10. Catherine Wheel: Ferment (Fontana)


This is the band that united jocks and music nerds. For some odd reason, the average, casual alternative rock listener gravitated towards songs like "Texture," Intravenous," and their swan song, "Black Metallic," yet completely avoided more popular and socially acceptable groups like Ned's Atomic Dustbin. Go figure.

More recommendations ...

Moose: Sonny and Sam (Virgin)



Flying Saucer Attack: Rural Psychedelia (VHF)



The Boo Radleys: Giant Steps (Creation)



Curve: Doppelganger (Virgin)



Secret Shine: Untouched (Sarah)




... Next week, our Top Ten lists continue with America's answer to shoegaze.

Album Review: Spiritualized - 'Songs in A & E'

Spiritualized: Songs in A & E (Fontana International/Spaceman/Universal, 2008)
7.5/10


After a five-year absence, Jason Pierce was hospitalized with double pneumonia for long period of time, our favorite spaceman comes down to Earth with an album of mellow, clean-rock. In the past, the word "space" would usually sit right in front of that term, it's become an automated reflex over the years, but Songs in A & E does a better job at creating open space and peacefulness, rather than working up a fever of delay and fuzz. I'm sure it will be debated for the next few months whether or not Pierce's hospitalization had any effect on the overall writing and recording of Songs in A & E, but after two so-so Spiritualized albums, and a tour dubbed 'Acoustic Mainlines,' this record was expected.

And that's my only problem with Songs in A & E; the music is too ... comfortable, not surprising, and nowhere as magnificent as Lazer Guided Melodies, or even Ladies and Gentlemen We Are Floating in Space for that matter. Pierce sings about the same topics, the same problems and it gets old. Aside from that, the music is beautifully detailed (ghostly vocals, strings, etc.), but the triumphant, spinning psychedelia, the miasma, the wall-of-sound that defined the band's sound has been re-worked and sterilized.

This may be dandy for some folks -- several tracks do justify the iTunes price. The upbeat "I Got a Fire," the sing along campfire ballad "Soul on Fire" and the Stooges-inspired "Yeah Yeah" all make waves without resorting to multiple effect pedals, and each song builds with a similar momentum and feel. Then there's the double whammy of "You Lie You Cheat," which is the dirtiest jam on the entire disc, and the sparse "Baby I'm Just a Fool." Both tunes share the consistent "floating" theme while Pierce continues his confession regarding love and his struggle with drugs.

There's an ongoing debate in music; an artist will create his/her best work when they can easily tap into the feelings and memories that cause the need to create art in the first place. But, after nearly two decades of work, this seems like too easy a task for Pierce. As good as Songs in A & E is, and whatever pain helped to fuel this release, it feels like the tempo has shifted for good.