I had the pleasure of seeing Valdosta, GA’s Ninja Gun last week when they opened up for Tim Barry. I was already a huge fan of the band’s Restless Rubes (Suburban Home) album and the live show did nothing to deter me. The band that I’m constantly reminded of when listening to Ninja Gun are Old 97’s. Both bands have a way of melding alt-country/power pop to perfection. On Restless Rubes you can hear The Shins, Drive-By Truckers and just about everything in between. Ninja Gun’s live performance was surprisingly tight and the band definitely has a certain southern charm to say the least. I can’t help but humorously wonder how the band is perceived outside the south though. Regardless, more people should be listening to Ninji Gun as I like to call them! The band has a new EP coming out on Sabot this Summer.
Archive for the ‘Music Musings’ Category
So, I didn’t really know how to handle Goodbye God, the new release from Paper The Operator. Mainly because I reviewed virtually the same album when it came out (with very limited release) as Jon Sebastian’s solo affair two years ago. The new version of Goodbye God is a bit different as it does add two additional tracks and new artwork to boot. Sebastian plays in The Color Wheels as well and both bands live off his knack for writing memorable pop hooks. While I do miss the rockness of the band’s previous release, Solemn Boyz, Goodbye God perhaps showcases Sebastian’s talents a bit more as it tones down the guitars and ups the intimacy. And if you want a taste of Paper The Operator and Sebastian’s songwriting prowess you can download Mount Bounty, which is a collection of demos, studio recordings, covers, and unreleased tracks recorded between 2000 and 2005. You can get that for free from the fine folks at Viper Bite Records who have released all of Sebastian’s endeavors to date.
We went to a show at Art Bar in Columbia, SC last night just for the main reason of wanting to hear some live music. I haven’t gone to a show without really knowing who all was on a bill in ages but it was a good decision as I got to witness the dexterity skills of one Matt Kurz. If you don’t know, Matt Kurz is literally a one man band playing drums, bass, guitar and a little keyboard all at once. The setup is crazy and actually watching Kurz go about playing his songs will leave you with nothing but appreciation for the man. The toe-tapping on the bass is enough to impress. But, what puts Kurz ahead of just being a side show is the fact that his songs are actually pretty good. Think Ted Leo mixed in with a little soul & blues. Hell, Kurz even covers Prince without an ounce of irony. So, yeah, needless to say, I bought Kurz’s album Debt Sounds from the man himself. You can get it for free from Quote Unquote but, I promise you if you ever see The Matt Kurz One perform you will want to give this man your money.
Definitely one of the first great albums of 2010 is The Monitor from Titus Andronicus. If you are still mourning the loss of Desaparecidos after all these years, well, you should probably get over it already. But, regardless Titus Andronicus should fill that void at least a little. I enjoyed the band’s 2008 album The Airing of Grievances but The Monitor seems a bit more refined in its approach and more countrified as well. That might turn off some previous fans of the band but these guys are still sharp in my book. They got that ramshackle guitar indie rock thing going for them quite well. And you can definitely feel the Springsteen/Jersey influence here as well as a little Neutral Milk Hotel at times. I can dig it all. The Monitor is out March 9th on XL.
It’s not often I cover a band that has just one recorded song but I will make an exception this time cause I simply love this song. Outdoor Voices hail from Olympia, WA. Because the band members are in other projects, most notably Desolation Wilderness, it has not left much time for the group to come together. The band is hopefully going to record more in the Spring. Did I say I love this song!?
I have no idea whether Dead Pan Rangers are still active or deceased but this is a band I have listened to off/on for the last year plus and always enjoyed. The only thing I have by the New Zealand band is an EP called Not Much Less Further Than Last Time. The first two songs are instrumentals and while those are solid the band makes much more of an impact on the songs that feature vocals. This is kind of darker, noisier indie pop similar to Sonic Youth or Calla or The Muggabears (who sadly broke up I just discovered). Although my favorite song, which is posted below, sounds like a more instrumentally inclined Nada Surf perhaps? I don’t know, it’s good stuff. If anybody has any more info on the band feel free to share in the comments.
My buddy Jason over at Viper Bite Records put Midnight Folly out last year and I failed to ever mention it here. Auld Lang Syne are definitely a band that I have to be in the mood for as they don’t really fit into my casual listening interests. This is dark, rich Americana with vocals that would make Tom Waits curl his brow. The band was even invited on the road with The Avett Brothers last year. File this in your late-night-drinking-in-the-dark stack of albums. Great packaging as well.
I have always been sort of ambivalent towards Beach House. I’ve enjoyed the band’s material but nothing ever really seemed to stick with me. I saw the band open for The Rosebuds a few years ago and can’t remember for the life of me anything about their live show. That’s not usually a good sign. But there is something about the band’s new album, Teen Dream, that I find intriguing and intoxicating. Maybe I’m way off but Beach House remind me of the lovely Mazzy Star. Or even a more lush Band Of Horses (with female vocals of course). Teen Dream is out today on Sub Pop.
Album cover controversy? Give Up The Ghost anyone? Wow! Anyway, in regards to Alkaline Trio’s new album, This Addiction…I think I’ve about had it with this band. Bands, just a word of advice: you set yourself up for failure when you talk about how you’re returning to your “roots”…don’t do it! So yeah, there is some solid stuff here but some cringe worthy songs as well. The new wave tendencies of the band rear their ugly head too often and there’s a song called “Draculina” for crying out loud. One thing I really liked about the last album was it felt like Dan Adriano’s songs were given more weight in the band but This Addiction sadly reverses that trend as it is very heavy on Matt Skiba material. And that my friends, is not a good sign for the future of this band.
Our Noise: The Story of Merge Records is a book that chronicles the history of one of the most successful independent record labels who have been releasing excellent music on their own terms for the past 20 years. John Cook wrote the book with help from Mac McCaughan and Laura Balance and offers an inside look at not only the success of Merge Records, but the hugely influential band Superchunk. Aside from chronicling the story of Superchunk and the early days of Merge Records, the book looks at how Merge was able to become successful and offers profiles on some of Merge’s notable releases including Neutral Milk Hotel’s In The Aeroplane Over The Sea, The Magnetic Fields’ 69 Love Songs, Arcade Fire’s Funeral, and Spoon’s Gimme Fiction and Ga Ga Ga Ga Ga.
The great thing about this book is that it also focuses on important bands to the label’s early history, which is great for people who are new fans of the label that may want to check into earlier releases. The book is filled with excellent interviews with Mac, Laura, members of the Merge Roster, and other people who were around to watch the label grow. One thing that really stood out was the excellent pictures. The book is filled with excellent photos from throughout the label’s history, and really brings the reader inside the world of Merge.
I am a huge fan of many of Merge’s bands and have always been fascinated with the background stories behind my favorite labels and bands and how they were formed. I found myself having a hard time putting the book down and I enjoyed reading more details about some of the bands I was less familiar with.
This book is an essential read not only for rabid fans of Superchunk and Merge artists, but for anyone with an interest in independent record labels in general and possibly for those looking to start a label. Even with the music industry struggling to survive, Merge Records is still going strong and releasing excellent records.
According to Pirouette’s myspace I think the band might be done which is a bummer. I’m listening to this new (?) EP, Sometimes Sad Isn’t Funny, and I can not find any info about it online. Regardless, it is probably my favorite set of songs from the band. If you don’t know, Pirouette are (maybe were) a wonderfully sloppy (and I mean that in the most lovable way) mix of indie, pop and emo tendencies.

Tin Armor are so freaking good! Seriously! I can not wait for an official release of new material. Til now this is one of my favorites out of the new demos that are floating around. I must admit these feel slightly different from the band’s earlier material but nevertheless outstanding. They are definitely near the top of my list of bands to see at Rad Fest in May.

Not sure why I never covered Slingshot Dakota’s Demo #3 which came out last summer and is still available for download on IYMI. It rules much like everything else Slingshot has done. And they cover Fugazi’s “Waiting Room”…badass. So, ready for a new album!

I realize that my previous Emusic post may have been a bit short sighted because I was only coming from a consumer’s point of view. So I also wanted to delve into how the changes at Emusic might affect indie bands/labels that I love, support and even work with at times. Needless to say, I think it’s a lose/lose for indie supporters. I will be very interested to see if indie labels will make more per download under the new price structure. I would venture to guess not. The price increase and slashing of downloads was obviously made to facilitate Sony’s arrival on Emusic. I do hope that indie labels/bands will make more starting in July because I fear the quantity of their downloads is about to drop do to Emusic’s downsizing of plans or subscribers canceling their accounts.
Take me for example. My current plan is $14.99 for 50 downloads. To keep my current download status of 50 I would have to pay close to $6 more per month starting in July. That’s a 40% price increase. Or I can keep my current price but lose 13 downloads. If I choose to do that, that’s one entire album (at least) that I won’t get to download. That is twelve albums in a year. Multiply that by a ton more Emusic subscribers and you can see how much downloads will actually decrease. In comparison, my cut of 13 monthly downloads was rather small. I’ve seen people who will have to take 100% monthly download cuts in their plans to stay at their current price points. And like a lot of subscribers, I usually used my last remaining downloads to take a chance on a band/album. That luxury will surely end for many come July 1st.
So, what about the new customers that Emusic will attract with the Sony back catalog? Does anyone honestly think these music buyers will pay attention to indie music as much as Emusic’s current subscribers already do? I mean, I sure hope they do. Perhaps they will stumble upon a great independent release as they download Kings of Leon. That would certainly still be a wonderful thing. I Just worry that it’s not going to happen as often as it already does within the existing model. Emusic’s devotion to push indie bands into the spotlight was gratifying to see and was a big factor in what initially attracted me and many others to the download site. But all of the upcoming changes seems to show Emusic slowly turning their back on the community that made them who they are.
Note: Some indie bands/labels might counter that the changes will be negligible because Emusic already pays labels significantly less than big boys like Itunes and Amazon. I guess that can be the next topic for debate.
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