After ten years of recording their own spastic, elastic brand of pop, The Dismemberment Plan “open sourced” 11 of their songs and let the public have at them in a sort of remix-off. Some notable — and wildly eclectic — results were released on last fall’s swan song, A People’s History of The Dismemberment Plan. Me? I can’t decide between the breakneck bricolage of “Pay for the Piano” (featuring cameos by Elvis Costello’s “Pump It Up”) or the strolling mash-up of “Superpowers” (built on the guitar line from the Faces’ “Ooh La La”).
(The Sounds of) Kaleidoscope
(The Sounds of) Kaleidoscope excel at producing that whirling, swirling D.C. (okay, mid-Atlantic, maybe even all the way up to Boston) indie sound. With ex-members of The Ropers and The Still joining founder Damien Taylor, and Lilys Kurt Heasley lending a helping hand, how could they not?
Your toes are gonna be tapping in no time. I guarantee it.
The High Dials
Each of these harmony-drenched psychedelic pop romps tells a chapter in the story of a fictional character named Silas. Does that make it sound any sweeter? Not really, but it’ll give you something to talk about as you play this for friends.
Juana Molina
In Latino circles, this same Juana Molina is best known as the star of “Juana y Sus Hermanas,” an Argentinian sketch comedy TV series. In my circle, she’s famous for delicate, undulating serenades that are both timely and timeless. Talk about range…
The Autumns
Soaring vocals, soaring guitars, soaring pop.
Mantler
Some songs inspire me to write music. Mantler’s like that. Simple melodies I can get my head around. I imagine myself sitting down at the piano and fiddling around with a few keys until a riff comes to life. If only I could pull myself away from this QWERTY keyboard for two minutes…and I’d have to find a drummer (ain’t got a lick of rhythm).
Asobi Seksu
With one eye on their shoes and the other trained on the stars, Asobi Seksu blissfully revive their genre of choice through cloudbursts of fuzzed-out guitars juxtaposed against sometimes hopeful, sometimes forlorn (and sometimes Japanese) vocals.
Midsummer
Midsummer are just that, midsummer. Fun, refreshed, probably sunburned, a little sweaty, a little lazy, with just a touch of apprehension cause school starts in six weeks.
Spiraling
“Nostalgia” has always been the phrase at the heart of what could be called the entertainment equivalent of conservatism, i.e., it’s a dangerous reaffirmation of not just the status quo but of “the way things used to be.” Yet I just can’t fight that good ol’ feeling Spiraling gives me: classic keyboard melodics, arena-rocking riffs and cymbals — heck, there’s even an organ in there. Tom Brislin knows his history, that’s for sure, but I’m ready to throw down with anyone who tries to call these tracks, as much as they’ll make you think of the glory days of new wave, anything but the new new thing.
Blue-Eyed Son
California South Bay punk rocker ditches his band (40 Watt Domain) and gets in touch with his melodic, singer-songwriter side. The preferable results fall on the pop scale somewhere between the Judybats and a more cheerful Elliott Smith.