Kate Maki
You can just tell Kate Maki is smart. Her nostalgic country lyrics hit all the favorite targets, from loneliness to love to obsession, and the easy-going gait to her songs always manages to sound a step ahead of old fashioned. Check out how the restrained brushed snare and pedal steel guitar match so nicely with her quiet, clear voice on “First Impression.” Then, listen to the playfulness of all of those same instruments on “Sweet Time.” It’s no wonder — Kate Maki used to be a teacher. On her first two albums, she’s put together a fine country music primer.
Empress
Empress was the alter ego of that mad Leeds outfit Boyracer, with several members having stints in Hood. But while Boyracer has been fast, frentic, and fun, Empress was haunting and mesmerizing, with the stillness of Low and the sensuousness of Movietone. And if you haven’t heard Empress already, well, now it’s time.
The Dudley Corporation
The Dudley Corporation. The name alone sounds like something out of “The Office” (the original British series, which I just spent all weekend watching for the first time ever…eerily genius). Their website gives off a similarly ironic corporate vibe. Musically, these Irish lads have a wonderful pop-hazard sensibility, recalling at times The Smiths without being redundant. Watch for East Coast dates with Pinback in May. Album’s in stores today.
New Old New Pornographers MP3
The Foxymorons
While their name is more befitting a rec league softball team than a lo-fi pop duo from Mesquite, Texas, don’t go writing them off as a novelty act (unless, of course, you’re into that sort of thing — in which case you should skip straight to their covers album). These guys take their craft quite seriously, as evidenced by the warm, inviting hooks and smart yet honest lyrics. Their newer material is more polished, relatively speaking. “Harvard Hands” mimics early Wilco and “Hesitation Eyes” is pure power pop a la Posies, Cheap Trick, et al. But, no matter how you package it, the honesty goes down smooth and easy. As referenced earlier, the band’s site features an entire album’s worth of MP3 covers — including some fractured renditions of Sonic Youth, Christina Aguilera, Whitney Houston, and more. Play ball…
No New Sam
David Last
Is there such a thing as dumbed-down IDM? Not inferior, but approaching it from a slightly different angle is David Last, less brainiac and more booty-shaker, moving away from digital detritus and towards more organic dancehall rhythms. Perfect for intimate gatherings. Served to chill. I’m jonesin’ summer BBQs. Can you tell?
Lilys
I just love it when people ask me, “What’s your favorite kind of music?” It’s always people who really don’t know me, and I love it even more when my hesistation to answer immediately leads them to further clarify. “Rock? Rap? What about Jazz?” But I always answer, simply, “Lilys.” Kurt Heasley, the force behind Lilys, is a musical chameleon, changing colors and styles at will. He started as an American My Bloody Valentine, then shifted to psych-tinged Kinks, then drifted into Pink Floyd, came back again to the Kinks, then passed on into mellow pop-influenced electronica, and with the last release, 2003’s Precollection, touched on UK indie pop. Each shift usually throws me for a loop, but I keep coming back, and I keep answering, “Lilys.”
Someone Else
“An undying fear of commitment has fueled 24-year-old Sean O’Neal’s eclectic discography…” So began an interview I did with the Illadelph native, then of Flowchart, back in 1998 for URB. Seven years later, not much has changed — in that quite a lot has. Sean recently added netlabel unfoundsound to his stable of ventures (he also runs Fuzzy Box Records) while steering his music away from the richly layered drum ‘n’ bliss and quirky electronica of his Flowchart days toward wry, minimalist techno under the alias Someone Else. You gotta love a fool who can make your head bounce and put a smile on your face (just listen to those tweaked mouth noises on “Goofball”). These tracks make up the first of six unfoundsound releases to date; all are available as free, high-quality MP3s under a Creative Commons license (if anyone gets “sharing the sharing,” it’s Lawrence Lessig). There’s also an entire release of Philadelphia field sounds which unfoundsound invites you to mess around with and submit as a demo.