Cat Power’s been napping. By the time her new album, The Greatest (not a greatest hits record — boy I’m sure her label friends will tire quickly of repeating that mantra), hits stores in January three years will have passed since her last album. Not bad really. The space between her last albums lasted about four years. I should cut her some slack. The wait is always worth it. This time around she taps the Memphis soul scene for her backing musicians, with, among others, Al Green’s boys, Teenie Hodges (who co-wrote “Take Me to the River” with Green) on guitar, and Leroy “Flick” Hodges on bass. Judging from the small sample offered, Chan Marshall may be on her way to creating a timeless work of art.
The Tah-Dahs
So you’re making a mix CD for your latest stalking victim…er, love interest and you need to add that perfect dose of humor and hooks to make it clear you’re not taking yourself too seriously. You’ve already run through your Weezer and Jonathan Richman collection. Where do you turn? Tah dah! Meet The Tah-Dahs.
Jupiter One
I’ll admit to occasionally hatin’ on NYC bands, usually of the gratuitously post-punk variety, what with their fashionable arrogance and snarls of prissy posturing. But, these days, it appears that “fun” is the new black. Case in point, Jupiter One, whose bounce-on-the-balls-of-your-feet numbers can stand tall alongside new wave forefathers like The Cars with nary a double-take. Lead singer K’s low tenor is as crisp as a starched white shirt and he can dodge canned guitar riffs (that’s a compliment), B-movie synth sounds, and even an electrified violin much the way Dave Derby did in the Dambuilders. All of it makes for great music to drink coffee to — or possibly a coffee substitute. Either way, things are looking up in downtown NYC.
Voicst
Voicst is a decade ahead of themselves. Pop music takes about twenty years to recycle its sounds. Punk came back around in the mid-nineties and new wave’s back today with a vengeance. Voicst’s Mid-’90s-Alternative-Radio-Power-Pop sound was cycling through a second generation comeback ten years ago with bands like Presidents of the United States of America, The Posies, and Sparklehorse (from whom Voicst keenly, and wisely, lifts key riffs for “Whatever”). Can Voicst stick it out long enough for power-pop’s scheduled resurrection, or do they have the chops to usher in the third coming right now?
Numbers
NPR a few months back had a big piece on Mr. Moog, you know, the electronics wizard who a million bands owe a great deal of thanks to for his wonderous synthesizers, keyboards, and other musical instruments, if we can call them instruments. Turns out it’s pronounced Moog as in “toad”, not as in “moo.” Numbers, the band, are also indebted to Mr. Moog. This San Fran outfit churns out catchy tunes driven by pulsating keyboards, with a quirkiness that can be better understood by imagining Kraftwerk coming of age in the City by the Bay, where a bit of eccentricity is required by city ordinance.
Self
Back it up about 10 years when Sam, Jon and I were all being paid for what we do now for free, a young man by the name of Matt Mahaffey was also, theoretically, getting paid for what he now does for free. His collage of organic and digital instrumentation, pop and hip-hop sensibilities, and his playful use of harmonic and discordant elements won us over immediately. Self was an essential artist in our soundtrack of those days at Acme. With Jon’s usual sarcasm, he remembers this time as “misty watercolor memories.” It took a loyal 3hive reader (thanks Josh!) to bring us full circle, back to Self. While selfies.com offers a veritable smorgasbord of free tunes, here’s a brief sampler of his classic and newest works. “KiDdies” was a literal hit on my nightly radio show in Salt Lake City and a great Halloween track, “So Low” and “Cannon” the singles from Self’s first album. The rest are from his most current album, this year’s Porno, Mint & Grime.
The Deadly Snakes
Propers to Grant Lawrence for kicking off his latest CBC Radio 3 podcast with this sad, pretty gem from The Deadly Snakes. The format switch from honky tonkin’ garage to straight-up freeform is official with their latest, Porcella and I’m officially okay with it. On “Gore Veil” you’ll hear Donovan or Love or Neil Diamond, but what’ll stick in your head is that recorder (or is it flute?) melody line just begging for a Wes Anderson movie to call home.
Ladytron
If Ladytron had gone to my high school, they would have been those ultra-stylish new wavers who never went to class and never associated with the decidedly less-stylish new wavers like me. So, I should have written them off as some aloof, unironic Human League tribute band just to make myself feel better. But the fact is, they’re more than that and even if they weren’t, we’re talking Dare-era Human League and, frankly, you could do a lot worse… If you can’t tell, I’m fighting back a bit of a crush and not just on the ladies of Ladytron, Helen and Mira, but the whole lot of them. Their latest, Witching Hour, features a lot more guitar than ever before, which is a welcome expansion to their sound. That said, I will always be a sucker for their soaring synths as showcased on the monster single, “Destroy Everything You Touch.” The video is nice, too. See what I’m saying, though? They’re ice queens/kings, even they admit it.
The Earlies
There is a God! And he’s not just talking to George Bush. He’s obviously tipping off Secretly Canadian to rare, indispensable music. Yeah, I’m slightly excited this record is finally coming out here in the states (October 25th). I missed them this last year at SXSW because frankly, I just couldn’t stand up any more. The five pounds of succulent BBQ from The Salt Lick didn’t exactly help the cause. So I can’t vouch for the band live, but I can vouch for the psychedelic groove you’re about to ride.
Clue to Kalo
You know that expression “the cobbler’s children have no shoes”? That’s kinda been the story of my household on the digital music front…until yesterday, when the Bose Sound Dock and my wife’s silver iPod Mini showed up on our doorstep. I don’t know who was more excited, her or me, but let’s just say I already had a 125-song playlist ready to for the occasion. The pulsing strains of Clue to Kalo’s “Empty Save the Oxygen” were the first to emerge from the Sound Dock. Velia’s jaw dropped as she turned to me and said, “This sounds amazing.” I’m sure she was talking about the speakers but she was right on both counts.