Reports from those who have seen Le Loup live say the album sounds thin compared to their shows. That’s because the album, The Throne of the Third Heaven of the Nations’ Millennium General Assembly, is the handiwork of frontman Sam Simkoff pre seven-piece live band. Simkoff, if you buy into the focal points of the band’s promo shots, looks like the indie rock version of Woody Allen: horn-rimmed glasses, basic collared shirts and khakis. In fact, the band’s bio, not to mention the album title, reads like a set up to a Woody Allen joke: inspired by Dante’s Inferno and and ’50s folk artist James Hampton, Simkoff the banjo player… The outcome is anything but comical. Flying solo, Simkoff succeeds at creating small epics like “We Are Wolves! We Are Gods!” spaced-out pop songs sounding like a hybrid of Devendra Banhart and Say Hi To Your Mom with the jamming tendencies of Animal Collective. With his trusty troupe of troubadours in tow I have no doubt he can translate his bedroom vision into something grand.
Bella
My most awesome musical dream right now is of Bella and Mighty Six Ninety doing a “Battle of the ’80s Cover Bands.” How cool would that be? M-690’d take on “Love Will Tear Us Apart,” and Bella would do “Fascination.” Certainly, I could die a happy man after that show. I actually can imagine keeling over while dancing to “Give it a Night,” off Bella’s Mint Records debut No One Will Know. It’s a super-pop retro-blast, like a “Sweating to the 80s” exercise video soundtrack made in heaven (or would it be nirvana). All this means, of course, that Bella’s about to get a hundred million plays on the family iPod.
Jens Lekman
This, people, is the post I have been waiting for. It’s no secret that I love me some Swedes and even less of a secret that I adore what shall heretofore be referred to as “The Gothenburg Sound.” (see: El Perro Del Mar, Love is All, Jose Gonzalez, Detektivbyran…) Above all, though, I love me some Jens Lekman. In the world of “Lisa Likes” regulations, artists should be a little nuts, a little grounded, part innovative freak genius and part renegade throwback revisiter. Jens, for sure, is all of these things. It’s a rare day that the hype aligns with the music. Hype, meet music. Music, meet hype. You two shall surely be friends. On a personal note, Jens Lekman’s music feels connected with my recent personal history and I couldn’t be more happy–it’s wistful, charming, silly, sad, bombastic and, occasionally triumphant. We all need something to listen to for all of these moments. And I’m grateful to Mr. Lekman for making such sounds that match up with more than one of these moments at the same time. Just listen. And try to love. I really want you all to.
Cale Parks
Cale Parks — multi-instrumentalist for the band Aloha — released a solo album — Illuminated Manuscripts — about a year ago. It’s shimmery and delicate and quivery and pretty much electronic, save for the snappy live percussion. These characteristics contrast so nicely with the rasp and grit of the acoustic folk rock that’s lately been pouring through my earbuds that I don’t care how old it is; I’m just happy to be in the haze.
The New Pornographers
The New Pornographers were one of the earliest posts on 3hive, back three and a half years ago when Sam and I tossed up a handful of MP3s from some of our favorite albums from the year previous. We didn’t offer much in the way of commentary back then (not that we do presently either), so for those who’ve been hiding under a rock for the last three years, and have missed out on The New Pornographers, here’s a bit more to chew on. The sequence to their new album Challengers threw me off on first listen. It starts off with “My Rights Versus Yours” a familiar, subdued type of Carl Newman tune, complete with a french horn (used, surprisingly, for the first time in a New Pornographers’ song). It builds like a rock opera opener and sets up me up to bounce around to a frantic track like “All The Things That Go To Make Heaven And Earth” or “Mutiny, I Promise You.” But my patience is tried and I have to wait through three more songs, including Dan Bejar’s “Myriad Harbor,” before my expectations are rewarded. Dont’ get me wrong, this is not necessarily a bad thing. Each song is great! It’s just going to take repeated listens before I can appreciate the album as a whole, unlike the first listen ecstacy I experienced hearing Electric Version. Considering today’s song-based attention span, I must sound like an old man, talking about spending time with a whole album! Well, this codger appreciates the fact that Newman, Case, Bejar & Co. continue to create whole albums worth those repeated listens.
Lavender Diamond
Where’s the “Easy Listening” genre when you need one? I remember seeing Lavender Diamond once on The Lawrence Welk Show in 1977, when I snuck out of bed to hide behind the couch and see what my parents were watching. Then again, Becky Stark almost certainly wasn’t alive in ’77, so maybe it’s just the big yellow smiley-face sound that’s taking me back. These tracks are from the band’s 2005 EP The Cavalry of Light; a full-length album, Imagine Our Love, was released by Matador in May of this year.
Deer Tick
My first experience with Deer Tick was a prime example of the “please listen more than once phenomenon”. Upon first listen, I was impressed by the intro’s twangy vibe… and then singer John McCauley’s voice began to sing. My heart sunk. “Too raspy,” I thought. “Discordant!” I proclaimed. Then I gave it another shot. And another. By the fourth play, I was not only digging the delicious twanginess behind the singing, but I was swooning on McCauley’s gritty voice and stylistic odes to a day long gone. I got on board whole hog–music, lyrics and voice. I was passing the song to friends. I was soliciting Shan’s advice. (He said of “Art isn’t Real”–“its a great summer twilight tune” but then wanted to make sure “Art isn’t Real” wasn’t the band name. It’s not.) And so in this, the twilight of our summer, the ‘Hive gives you summer twilight tunes to ride out on the August wave to. Do me proud and listen no less than three times.
The Caribbean
The Caribbean’s Michael Kentoff is man enough to admit Washington DC cliques like the Teen Beat, Dischord and Simple Machines crews intimidate him. Who wouldn’t be? Those three labels have fiercely defined, executed, and promoted the D.I.Y. aesthetic-ethic. You don’t get “cooler” than those folks. In the face of it all, risking potential hip-ness, Kentoff and his band mates, have consistently created smart, personal pop songs. Gentle, comfortable music you can cozy up to like you would with a “friend with benefits.” I get the same warm, fuzzy feeling from listening to The Caribbean as I do shuffling through discarded peanut shells and sitting down to a cheeseburger and bag o’ fries at Five Guys Burgers & Fries. I can’t hear about anything happening in DC without thinking about my favorite burger. The Caribbean may not fit in with the usual DC suspects, but they can take solace in their mutual vicinity to a tasty burger (I should never post while hungry…).
Pinback
Like just about everyone, I often think of bands in terms of the other bands of which they remind me. For Pinback, I picture them as a West Coast Sebadoh. Even though it’s meant in the most admiring way, such a classification is not fair because it may make it sound like they’re somehow aping the discordant yet melodic Bostonians who like their Splatter Technique lyrics with healthy doses of punk guitar and punker feedback. Plus, there’s the whole repetition thing that Pinback takes much further than Lou and the gang: chords, chorus, repeat. You can hear it all the way through Pinback’s discography and right up to their most recent, Autumn of the Seraphs. And contrary to every track sounding the same, each one finds a new way to make the same old thing sound totally original. No wonder Pinback’s following is so loyal. Check out a new track and some older ones, then check out Pinback guy Rob Crow, whose recent solo release kinda-sorta sounds like Pinback but kinda-sorta covers even more new territory.
ORIGINAL POST (9/17/04):
For those who consider “indie” a genre rather than just a classification, it’s probably such lo-fi, wounded-guy sounds as Sebadoh, Built to Spill, and Modest Mouse that come to mind when you hear the “I” word. But don’t forget about Pinback, who return to rock your world — well, that may be a bit overstated — with some loopy, melancholic, melodic pop. What’s new is “indie” again on the splendid single “Fortress.” The others are just for nostalgia’s sake.
The Airborne Toxic Event
Any band using Don DeLillo references for their nom de plume are friends of mine. The Airborne Toxic Event is named after a chapter in DeLillo’s 1985 novel, White Noise. Their EP sounds as if it was recorded during that same era. The band has been wafting across Los Angeles airwaves and blogwaves with their upbeat yet dour songs, the tempo made for the dancefloor set, the lyrics for the brokenhearted. It’s still too early in their career to determine how things will pan out for The Airborne Toxic Event, they’ve only released four songs, but considering they’ve had a run of shows and a single release in the UK there’s a good chance they’ll be affecting a lot more people with their own White Noise.