When you think of Seattle you think of Modest Mouse, Nirvana, Pearl Jam, Soundgarden, Mudhoney. Or you’re probably thinking of anything notable released by Sub Pop. And why is it that you’re still thinking about flannel? It seems that Seattle hasn’t been relevant since the early to mid nineties, a time that I suspect you remember faintly if at all. For the folks of my generation, Seattle barely exists but for what we know in our study of groups quickly becoming “classic rock”.

A band or particular scene takes the world by storm, overshadowing any development that fails to approach the drama and grandeur of the last. It seems that later national or international acts emerging from Seattle (cf. Fleet Foxes; Band of Horses; Death Cab For Cutie) don’t evoke the same association with place as their forebears.

This might have something to do with the way music is currently produced and consumed.

This may have something to do with the fact that Band of Horses is now based in South Carolina. And Death Cab For Cutie is actually from Bellingham, a town [1.5] hours North that a non-Northwesterner would have no clue about.

No matter what the reason for Seattle’s seeming invisibility on the modern music scene, the fact remains that good music is indeed being made there; music worth knowing about. A brief and biased overview of said music is presented below; my Somewhat Random Selection Of Music I Find To Be In Some Way Significant To Seattle As A City Where Music Is Made. This is by no means an exclusive list; nor is this a list that pretends to make any statements beyond vague impressions of like and dislike. These picks are heavily influenced by my personal relationships with the musicians themselves. I do not pretend that this list is either complete or accurate yet maintain that it is as good an introduction as any to Seattle music. Totally missing from this list is any representation of Seattle’s Hiphop and Americana scenes.

iji

iji

On his most recent release, Cool Dream, Zach Burba sounds like a combination of Edwyn Collins and Kevin Barnes. Or perhaps Stuart Murdoch minus perversion. Writing as iji since he was fifteen, Zach has like ten million self recorded releases and represents the music I like best out of Seattle. I saw iji play intensely to no one at the Ballard Mine—in my usual hyperbolic way I imagined that it was indeed something like what seeing early Belle & Sebastian may have been like. Now that I think about it, the B&S comparison doesn’t hold up compositionally or emotionally. I still, however, hold that there is a vague aesthetic resemblance—soft guitars, horns, and sincerity. Zach would later describe iji as a “Ska band”…

Live, iji is composed of friends representing 5-6 other projects (Sundance Kids, Megabog, Mill Kids, Huge Cookies, Gazelle), of which Zach is also a member, has been a member, or probably will be a member. He and his band are adorable.

Wet Paint DMM. Photo taken by: Ryan Furbrush

Wet Paint DMM

Wet Paint DMM is a three piece that sounds a little like DNA and a little like Ponytail. Their singer is theatric and their guitarist plays abrasive but effective lines and jabs under the singer’s yelping. Sometimes there is a neat delay effect on the bass drum. I’m telling you this once, and only once: this is going to be an interesting band to watch. I can’t wait to ebay their CD-R demo for 50-85 dollars next year.

Stephanie

Stephanie

Stephanie is a four piece that sounds a little like Joy Division with an iPod. The singer, however, is nowhere near suicidal. He wears fun costumes and is melodramatic in a self-aware fashion. The keyboardist is very tall and plays effective lines. Stephanie plays Cairo a lot. The bassist has strong cheekbones and was in a band called Dimples, since broken up.

Brain Fruit. Photo by bearclaw.

Brain Fruit

Brain Fruit play with a hand of bananas on their massive rack unit. They sound a little like something I would cite if I were on top of my electronic music listening. I think about the color ‘green’ when they are playing. They sound a little like this—lovely textures, repetitive patterns with minor alterations that build, moving the song to new places, sometimes a climax with a soloistic keyboard part or something. They play like two songs a set and look super professional and focused while they manipulate parameters and hit keys. They are my friends and are mixing my band’s record.

TacocaT

TacocaT

I want to marry every single member of this band. They sound a little like a faster, rowdier girl group in garage band formation. They are sort of flippant and very fun. I used to work with both the drummer and the singer. I utterly failed a job interview with the singer’s current employer.

Pill Wonder

Pill Wonder

They are good. Don’t know much about them besides that they are signed to Underwater Peoples, a D.C. label, have at least one good song (“Wishing Wale”) and have possibly broken up.

PWRFL Power. Photo by Anna Ryon.

PWRFL Power (Kaz Nomura)

Kaz is the reason I moved to Seattle. Really—while pondering my possible move, I walked into a café in West Philadelphia with the intention of working on a final. As it goes, there happened to be a show at the café and Kaz was on the bill. I found out that he was from Seattle and took it as a sign.

Butts. Photo by Kyle Johnson

Butts

Two-girl garage group sings about panty exchanges and smoking. Their band logo features the band name, a ¾ profile of a set of buttocks taking the place of the “B”. They are really funny and nice on stage. I have conversations with both of them on Facebook and in person and they both seem like genuinely nice people. Not sure if they are in it to “make it” or if they are having too much fun to even think about it.

Herr Jazz

Herr Jazz

We went on tour with them; they borrowed our drummer. In Portland, some Reed girl mentioned that his band sounded “a lot like Vampire Weekend”. Ben asked, “Who are they?” They are a wonderful band; Ben plays guitar like an Afro Jazz vampire (or something). Ben once stripped to briefs during a corporate sponsored show. This was after having us hoist him into the air during a song and before denouncing the sponsor.  He connects well with positive youth who’d like to dance hard in a consensual manner.

Flexions

Dave, who plays guitar in my band, and I saw them open for Gary Wilson at Nectar about a year ago. We thought it was OK but nothing to write home about. We agreed that they needed a drummer. I saw them last month at Cairo—they had a drummer and they were good. I think. I was squished in the storefront section of Cairo trying to talk to a girl. Still not terribly familiar with the music.

USF

USF

Half of this chillwave duo writes for the Stranger music section. USF was originally named Universal Studios Florida. Wonder why they changed it. I saw them and did not like them.

Big Spider's Back

Big Spider’s Back

I “did sound” for him at the Ballard Mine. Meaning, I made sure that his mixer was turned up. He was pretty cool. I was about to unfavorably compare him to Panda Bear but I’m caught wondering whether that’s fair or not. I hear he’s moving to Brooklyn. I should probably give him a fair listen.

PartMan PartHorse. Photo Gregory Perez.

PartMan PartHorse

I don’t know much about them but they are supposed to be a big deal. I went to a show they were headlining to see Stephanie but missed Stephanie. I watched Dimples and Butts then decided to leave for another show. They apparently put a song out in which they “talked mad shit” on other bands in Seattle or something. I think they may be badasses.

In an effort to raise awareness, the new Found Theater Company is organizing a benefit concert at Quig’s Pub on Friday August 13.

It looks like the line-up is:

Pete Bradley

Robert Carlton III

Claire Fuller (of American Idol)

Victor Gennaro

and DJ Sara Cederberg

With special performances by Found Theater Company members and friends; Kathryn Sullivan, Lee Minora, Claire Lenahan, and Sara Doherty.

It is certainly an eclectic mix of performers, ranging from the bluesy style of Fuller to Gennaro’s rock n’roll upbeat anthems. What’s exciting about the event is the fact that it is basically Found’s premiere event. Their 2010 production titled Tales is set to open on September 3rd, as a part of the Philly Fringe Festival. Under the directorship of Fullbright Scholar Felipe Vergara (Something with Wings), the show is sure to be a total mind-fuck.

On August 13, you can drink up and mingle with company members and the cream of the Philly Theatre crop. Only $7.00 gets you in the door and the event lasts from 7:00-10:00 PM. Also raffles will be given out (which should definitely include free tickets to Tales!).

Quig’s Pub is located at 1714 Delancey Pl. (above Plays and Players), Philadelphia, PA 19103. For more info go to talesatthefringe.blogspot.com.

Nouvelle Vague is a band that plays music that you love, but may not have heard yet. Far from being obscure, this band has been making their way in and around the music for a while; moving through the veins of Jazz, Folk, Pop, and virtually every other genre you can think of. I suggest that you give them a listen when you can. There’s a link below if you don’t fell like using google to one of our favorite songs from the band.

Check out this cover of “Killing Moon”. As an avid fan of the original, this song is damn near better than the first.

[Insert Video Gallery outsidevids]

They also have their own iPhone app.

And recently did an interview with BBC/The World which you can listen to here.

[audio: http://elitistmagazine.com/wp-content/uploads/2009/11/10292009.mp3]

As someone who searches for good music new and old, its always a surprise when you find something that makes you feel like the first time you heard (insert band name here)’s album. It’s the rush of finding something old and seemingly un-found or forgotten and being one of the few privileged enough to be a part of the “I heard it” club. Or something new that you can say “I heard it a long time ago” and get that awful stare from cannibalistic snobs that would sooner eat you for your knowledge and call it their own then revel with you in sharing good music. It’s the same process every time and there are two bands that we have discovered that elaborated the process once again for us.

The first is Former Ghosts:

Good bands creep up on you real slow and FG is no exception. The difference here is that: where other bands spit at you with a confounding salut, Former Ghosts waves at you with a sense of familiarity (albeit a slightly darker one) that allows you to walk in and get acquainted with the house of sound that they’ve built for themselves and for others. As for the overall sound itself, I’m struggling to find words. I keep wanting to strike comparisons to low, deep toned bands but comparisons don’t normally do sound justice. To try and compare this band to anything other than itself is unjust. The best way to understand this band is to just listen and wrap yourself in the warm blanket of melody this that Former Ghosts has created.

Former Ghosts will be in town October 14 at the First Unitarian Church. But tix here.

The one thing that I can say is that this is the kind of song one may play sitting at home when you want to indulge in music and that I’m anxious to see how the sound translate to the ambiance of the show.

Take a listen:

Former Ghosts – Us And Now

Hold On

Netherfriends consists mostly of, like NIN, one guy: Shawn Rosenblatt. But more along the lines of more recent solo turned group efforts coming out of music right now (i.e. Dirty Projectors and Grizzly Bear) may come to be more of an actual band. The bands so new, there’s no Wiki for him yet and, even though it’s impossible not to compare him to Animal Collective (somewhere between Sung Tongs and Merriweather…) there is still a sound yet to be discovered in tracks like TAC TAC. Check out their MySpace and click TAC TAC. You will not regret it.

http://www.myspace.com/netherfriends

River

I decided to check my gmail a few days ago and got a present. It’s a pretty decent present; “River”, the second track from Akron/Family’s album, Set ‘Em Wild, Set ‘Em Free

Right off, I realized that if this song has two things going for it, its 1) shakers, doubled, panned hard left/right and loud; great when turned up. And 2) throbbing one note/simple bass; nice when coming back to verse sections. It’s like “here come the shakers…here comes the bass”.

1:00. A rollicking guitar roll (lol) that fades into the chorus, which sort of disappointed me. I feel like the song was sort of sweet and earnest, the vocals were nice, simple, building, going somewhere. Then the chorus came on—a little too sweet, sort of cloying. No clue; maybe it’s the almost overlapping vocal lines that are bothering me. I’m not sure how wise it is to have whistling in a song that already sounds a little like Peter, Bjorn & John (lots of bass, percussion, simple singable vocal melody). “Young Ones” was really famous right?

This woodwind section kicks in at 1:38. Makes things a little better. To borrow a term from HRO, 2:22 is where “River” gets all “vulnerable”; the drums drop out, winds and guitar noodle about. Shakers bring us back to business time (those shakers!) This is nice, if only because you get to hear the winds again. But then that chorus comes back, goddammit.

It’s all “triumphant ending” mode after that. Which means that they repeat the last lyric of the chorus (“You and I and a flame (?) make three”) and a brass section comes in. Everyone gets loud; it’s either a good or a bad way to end the thing depending on how you liked the chorus.

Overall, the song disappoints me a bit. I’d like to think of this as a compliment. It’s only disappointing because of the surprising/awesome guitar motif that springs out, almost out of nowhere, and makes me wish for similar moments to happen in the song. That guitar line comes back around, but the surprise is (obviously) gone.

Harriet was sweet as hell ad Neil was very witty... witty indeed.

Art by Sara Hudak

Undeniably adorable seven headed Welsh (they just live there actually) monster known as Los Campesinos! breezed through Philadelphia for their third and most triumphant visit yet. Lead singer Gareth regailed the crowd with the stories of their first 2 disastrous stops (one ended with stolen tires, and the other being largely ignored in a bad neighborhood). Well, third times the charm. Openers Sky Larkin were lovely. Sweet pretty english rock’n'roll that makes you snag a cd at the merch table. Then Ponytail….see my whole other review for that trip.

Him! Him! Just him... dancing...

The seven (4 boys, 3 beautiful girls) took the stage claiming their stakes on instruments from violin to glockenspiel (2 of them actually, but only one A key to share). The first 2 were a slow kickstart, but again, 3′s the magic number and the crowd began to loosen up. Each member intricately weaved their part in and around the other six’s creating even more spirited takes on the studio versions. The boy/girl vocals were just as infectious and coy as the record, perhaps even more so when seeing the dynamic of the two primary singers. On one hand there’s Aleks, absolutely gorgeous, all smiles and cutesy dance moves. A lovely counterpoint to Gareth’s more spastic nature that’s also mirrored lyrically. Just about everything about them onstage can sum up their music, and attitude it exudes. Clever, fun, and dynamic. The stage banter eliciting much laughter (response to an audience member’s plea of “i love the bass player” was dryly “I don’t love you”). The instrumental intro to “You! Me! Dancing!” became a giggly inpromptu take on a Pavement song yelled out by the audience at Gareth’s request. Much dancing about stage (and in the audience) ensues, as they tore through highlights from the 2 album deep (and one song off an early EP) catalog. You can tell these kids are having fun, and the exuberance spills all over the crowd in an infectious outbreak of have a good time. By the end Gareth had leapt into the crowd and shook it down to the cheap seats. Guitarist Neil stayed strong continuing to play as he crowd surfed , and everyone came together for “Sweet Dreams Sweet Cheeks”. Monitors turned on end and mounted by the singers while the rest of the band linked arms around each other and shouted along with the crowd the title’s mantra. Danceable good time with some talented kids from across the sea, who clearly (despite what they say) love their audience.

Nina (far right)

Art by Brian Lipko

Portishead, TV on the Radio, The Decemberists, Clap Your Hands Say Yeah, and Animal Collective share something with this band. It may be hard to belive that, seeing as none of these bands have too much in common in their own right, but all of these artists have managed to take the “unconventional” and turn it into something endearing that you want to hear over and over again. Basically, when you first hear it,  giant “What the fuck?” may cross your mind, but over some period of time (varies by degree of iPod shufflage) you begin to like them. And, if you’re like me, you ebgin to like them a lot. That’s what Rings has done to me, much like the bands mentioned before. These three artists have managed to put together what some may call “the avant-guardist’s dream”; which is to make art that sounds like it has never been heard before (but not sounding like shit). We’ll have more on Rings in the discovered section, but for now, let’s focus on our interview with Nina Mehta (pictured here in the far right).

Chris: First off, could you tell us something about Rings? There’s not a lot on the internet.

Nina: Well, what do you to know? It’s hard to say…

Chris: Well, where’d the name come from. I know you guys switched the name, right?

Nina: Yeah, we switched the name. It’s really hard when you’re trying to be super-intentionally collaborative about a lot of things [especially] to agree on name. Well, at least for us. A lot of us had not been agreement about the last name. so, it was really important for us to kind of come to some common ground, but we were gonna call the album “Rings”. That’s just what the name of the band ended up being. After weeks of going back and forth between many different names, we were like: “You know what? This was the one thing that was definite and it could change for the next record, or it could change in the future…whatever.” And it also reflected, you know, the circuitous process of the name finding; as well as, the music making, and the ways we relate to each other, and things like that. So, it may be a little bit too neat of name, but it’s cool for now.

Chris: It is the hardest to find on the internet, though.

Nina: I know. nobody can find it, ever.

Chris: Searching for the name I came across a lot of Kay’s Jeweler’s.

Nina: Yeah…

Chris: What’s your approach to music.

Nina: I don’t think I have one single approach to music, but I think my approach in the bad is, again, really being collaborative, really being open, and really not having fixed ideas or ideals. Because I think there’s a place for that and I hope in the music I would make by myself or with other people there’d be different intentions and different approaches, but I think with this band… with the ways we relate to each other it’s about being really open/communicative; it’s about hanging out… being friends.

Chris: You’re scaring me. It’s almost seems like you’re making Rings a fluid concept.

Nina: No….

Chris: Like it could fall apart at any moment.

Nina: Well, it could.

[I tear up a little inside...]

Nina: But it could always be built back up. It’s really strong. Our friendships are super, super strong. The way we relate to each other is super strong, but it’s flexible. So, that doesnt mean it’s, ya know, falling apart. It just means that

Chris: Your music promotes the idea to create something new, but… I’m not gonna lie. I had a hard time when I first listened to your album. But that’s just because I never heard anything like it before… literally. And that’s hard to say. I’m curious because I read an article in Village Voice about how you have exude the “Avant Guardists’ Dream”. In which it sounds like music is being made for the first time. Is that an intention or does it come out of collaborating?

Nina: Yeah. It’s not intentional. I think we’re all really critical in some ways or whatever. I think we’re always pushing ourselves and we’re always trying to break apart things we think are easy or make “sense”. I don’t think there’s any intention of doing things for the “first time” or doing things in a unique way. I know it sounds naive, but it’s really just about us feeling or whatever. Of course, there’s a lot of intension or thought in the process, but there’s not an intention to be avant-guardists, but just to be critical. To think  passed our blocks or something.

Chris: How was the New York concert?

Nina: It was so weird. It wasn’t a great show. We kind of never got into it. I think we’re really sensitive to environments and what’s going on with each other. We haven’t been playing music together, the three of us, in a while.

Chris: Have you guys ever been on tour?

Nina: Abbey and I were just in LA playing music without Kate. She didn’t come with us. And then, I don’t know… we played some shows together in the fall. Then in the Summer, they played some shows without me. And this Spring, Kate and I went on tour without Abbey. So, we’ve kind of. Since, last February or March we haven’t been playing much with the three of us, but we are starting again. But [back to the point] the venue was weird. There was, like, carpeted floor and college kids sitting on the floor. It was a weird environment. But it’s cool to do things like that. It’s cool to play at places that aren’t ideal and see how you react to them. We need to get better at not caring or not being as sensitive. I think it’s good for us to play weird venues in front of weird people.

Chris: With you going, hopefully, to London-

Nina: We’ll see. I’m not sure about that. I’m going to the interview to see if I love it. If I don’t love it, then Im not going. I would really have to love it. I have a lot of other things I’m involved in here.

Three kinds of awesome

Chris: So, is music your one goal or is this something you do on the side?

Nina: It’s not my one goal, but it’s not my side thing either. When I’m doing it, I like to be in it, but I like doing other things too. I study anthropology.

Chris: Is art work or is work art… or is it either? Is it more of a job? I find that more independent bands almost see it as a job; as if, they could be working a dead end job in some cubicle, but instead, they picked up a guitar. And it comes at about the same pay. What do you think?

Nina: I don’t really know… those are both shifting. I don’t have expectations. I’m not trying to make money, but I want to keep doing it. I want to keep making art and making music. The reality of survival means I do need to make money in some ways; whether my other jobs or by putting more energy into this.

Chris: On a lighter note, is the femininity in your work intentional? Everytime I read an article it always having something about a feminist quality. I’m not sure if they’ve labeled you that because you’re women or you actually exude some kind of feminist view

Nina: I think the categories people put on it are their own, but I would say: sure. We each have our own connections to feminist thought as a political way of dealing with the world, but femininity is inevitable in some way. Whatever people’s ideas about what being feminine are I think we fit into a lot of those ideas.

Chris: Do you think there’s an objective way of looking at music as far as femininity goes?

Nina: Noooo. I hope not. I mean, objective? I want to reflect my experiences in life; my outlook. And it happens to be very much filled with experience of being a woman and having feminist politics and having feminine qualities.

Chris: In a male dominated world could a feminine, in general, view be seen as universal?

Nina: I think shifting the reference point is important, but not looking at that as an objective I think is really important for me, also. I want our reflection to be able to have a place in the world, but not in opposition to male-centric [view]. You know what I mean?

Chris: I understand.

Nina: It can’t be seen as in opposition or fighting or whatever. I think ideologically that would be less feminist. I think it’s approaching it differently and not seeing one as a stronger reference point.

Chris: When you guys do make music, how is the collaborative process?

Nina: It really comes out of just jamming together; liking something and telling each other we like it. I mean, it changes. Sometimes it’s more verbally communicative, other times it’s been more musically. There are times when one of us will have an idea and bring it in, but we bring it in knowing it’ll be changed and knowing that it’ll be maybe torn apart. We’ve definitely struggled with that; holding on to things or holding onto ideas we have about what we wanna make, but doing this together kind of means letting go of thata little bit and it definitely works out the best. We’re open to having a beat just changed I guess that’s why we haven’t writing as many songs; we haven’t been playing with each other as much as we did last year. We need to to be together more; we need to play together more.

Chris: We should send some sort of P.I. to make sure you guys make music.

Nina: You can come in and see us.

Chris: I’d love to. I’m really enamored by the fact that I had no idea what to do with [your music].

Nina: How did you find out about us?

Chris: Insound.com. I usually go on there and download whatever they have. One of them said “Rings” and it was the only thing I couldn’t find anything on. So, I had no idea what preference it would be or what genre… and when I downloaded it, I… I was confused, but in a good way. Kind of like TV on the Radio; as soon as you hear, you kind of don’t like it, but it grows on you. Do you ever feel to put in code in your music? If you consider your music art, that is.

Nina: Do I feel like encoding it?

Chris: Like, for people to understand.

Nina: The more people hear something, the more people read something the more they can fit it into their codes they already have or possibly expand it through recognition, you know? Through integrating slowly, but I guess for me I just want to keep on playing and keep on making things that maybe end up forming or adding on to whatever vocabulary we’re making or whatever influences we’re associating with. I think it is a lot about references and connections to other things.

Chris: That’s pretty interesting. What type?

Nina: There’s so many. I think we all try hard not to associate with really easy-

Chris: -I was gonna say that’s ironic because [your music] sounds like something so new. For you to have so much influence is really…

Nina: I mean influence as in, we all walk around and live and listen to things and that can all influence you, but it’s not about emulating or trying to be like that but it’s about connecting the things.

Chris: So, with your last name, did you grow up in traditional Indian household?

Nina: No, I wasn’t. My dad is Indian and I grew up in a mixed household. My mom is [from] New York; white, Jewish.

Chris: Second part Indian, part Jewish person I’ve met in two months.

Nina: Really? Interesting…

Chris: Good combination.

Nina: But, for sure, my dad influenced me in many ways. He didn’t really listen to Indian music. That came afterwards for me, I think. Probably that came, he married my stepmom when I was like 11 or 12, and she listened to Bollywood soundtracks or Hindi music and traditional religious music sometimes. So, I think that started coming into my life.

Chris: Well,  what was the day you were like: I definitely need to make music?

Nina: I don’t know. I definitely don’t remember the day. I always thought about music and always was connected to music in some way, but definitely not in any kind of serious way. I guess what happened into North Carolina for a job when I was like, I don’t know, when I was 24. It was an awesome job, but I was far away from my friends and far away from people that I experienced music with and played music with… I pretty much decided I would leave North Carolina to New York and put more attention into making music. Kate and I had been sort of talking and we would jam a little bit. Like, super simply: singing or playing guitar or something. And when I came back from North Carolina we started to play more. So, I guess that would be the moment. It was making the decision to not have a job or career path that would give me less time to do music.

Chris: Is there any priority in music as far a life goes or as far as your career can be?

Nina: There is a priority. I feel like I need to  keep on doing it as long as I can keep doing it. Right now, I feel like I can make music. There’s people I can make music with, there’s  people around me who are making music. I think that it’s important to do the things that are happening around you because they reflect the choices you made and the things you care about. I’ve always sort of cared about many different things, but I guess these last few years putting more time into music does reflect certain ways I want to live creatively, as far as art and work stuff. I feel like it’s a good way to live creatively; to feel like you’re reflecting… like your experiences or your relationships or something. I think, for sure, our band reflects the interactions I have right now at this time in my life and I think that’s real important to have that be; to put energy into that.
Chris: In a perfect world, I wish everyone could do that.

Nina: For sure, I need and want to do other things, but I think it is also about how much attention you put [into it]. Even if I only have two hours a week to play or something; if those two hours are really mind expanding or really important they could end up taking more time, memory, or my experience of that week. So, it’s also about prioritization.

Chris: Is it a hard thing to balance?

Nina: Sometimes, totally. It’s been really hard for me. Like this last year, I was really intense with school and just didn’t have time at all for music.

Chris: Where do you attend school at?

Nina:  But I’m leaving there, now. I’m leaving in May.

Chris: So, you’re graduating soon?

Nina: Yeah. I’m taking one credit, now. So, I’m kind of coming to my end. I’m not doing my ph.d anymore. I thought I was going to; I thought I was going to. And this is all in some ways, because I do want to be able to still do music in my life.

Chris: Doctor and musician.

Nina: Yeah, well… this particular program wouldn’t let me do that, so I’m not doing it.

Chris: Would’ve been nice, though.

Nina: Yeah.

Chris: Would’ve been a good story to tell.

Nina: Maybe one day…

Super Furry Animals is one of those bands that music reviewers just love to praise and glorify, and I’m not going to lie, I’m kind of drooling a little bit over their latest treasure, Dark Days / Light Years. It being their ninth studio length album and all, you’d think the material would be a little stale and recycled, but SFA have managed to reinvigorate all their best qualities, adhering them into a cohesive piece that undoubtedly deserves to be listened to all the way through, from start to finish. Taking their prog-rock roots and fine-tuning them to a perfect pitch, the Welsh fivesome adds a dash of enchanting pop and a bit of psychedelic funk to perfect the mixture.

The album first launches into “Crazy Naked Girls”, a funky, solid song that is oddly upbeat despite the lyrics: “Don’t slit the wrist, just work those lips, sink the ship” (who knew suicide could be so cheerful?). The tempo swings up and down throughout the track, and overall has a classic ‘70s feel, with a sense of humor… these guys definitely don’t take themselves too seriously. “Mt.” is another notable piece, beginning with the strum of a folky acoustic, followed by fat guitar riffs that punctuate absurdly comical lyrics about climbing “a big fuckin’ mountain”. “Moped Eyes” follows with a soulful guitar and bleepy keyboard medley, creating a splendid cocktail of juicy glam rock and funk perfection. “Inaugural Trams” is a personal favorite, loaded with heavy electronics and a mid-song cameo by Franz Ferdinand’s Nick McCarthy getting German on everyone’s ass with a short and sweet robotic “rap”. “Cardiff In The Sun” is quite epic, starting off with an eerie, trippy sonic hum that quickly progresses into a relaxed melody of overlapping pop vocals. “Cardiff” is expertly crafted and chock-full of whirling riffs that create the centerpiece of the album, and the feedback-drenched outro will echo in your head as the guitar parts melt dreamily over one another. “The Very Best Of Neil Diamond” has a fantastically exotic Indian-inspired flavor, which is quite unexpected, yet funky and delicious nonetheless. “Helium Hearts” employs sublime synths and bubbly percussion, and the strings that emerge halfway through add a romantic touch. “White Socks / Flip Flops” includes lots of background singing that adds depth and richness to the chorus, topped off by plenty of airy electronica. Although I know this track is meant to be ironic, I still can’t get the image of a white-socked flip-flopped foot out of my head (as if flip-flops aren’t bad enough on their own… thanks SFA). “Where Do You Wanna Go” has a Beatles meets the Beach Boys type of California-sun-soaked melody that makes it impossible not to bop around and hum along to.

After their past two lackluster albums, it’s safe to say that the Furries Dark Days / Light Years makes up for past missteps by packing an eccentric yet endearing punch.

I got to see this band from Oakland (soon to be from LA) this past Tuesday. They’re called Cryptacize, and they played a great set at the Saint March Collective‘s gallery space on Fourth and South. They did pretty well for a band that had two days to prepare for tour—when Ariel Pink asked the band to tour, Nedelle (vocals/keys) and Chris (vocals/guitar) decided to quit their jobs and set off across the country. It’s all cool though; Chris tells me that they hated their jobs anyway.

They had some off time in Philly, so Herbie of Brown Recluse Sings whipped up a last minute show with local bro/dettes Cheap Dinosaurs and Layers/Quake, who attracted passerby, both civilians and bike cops, to the space.

One of the first things that struck me about Cryptacise! was the size of their amps; they looked like (nice) practice amps. Nedelle plays a little baby Alesis synth. Fuck, even Nedelle’s a little shorter than the band’s promotional picture implies. For some songs, the drummer used half a high hat cymbal perched on the bass amp as, well, a high hat cymbal. Either way, the set up was probably best concerning the (gallery) space.

But hey, it’s not the size that matters, it’s what comes out—the music. And it was good. These are three of the songs they played:

Tail & Mane

Blue Tears

One Block Wonders

This makes sense, given that they’re easily the catchiest songs on their new album, Mythomania.

Besides those three, I was really into “The Cage”. The whole thing’s a bouncy buoyant pop tune, combining two of my favorite things ever: tambourines, and female/male vocal harmonies. And loud, rough edged guitar. All the time. The recorded version breaks into three part harmony (round about 1:55) for later verses.

I bought a copy of the album. It’s got a bunch of moods working through it. Mainly, though, I’d say it’s subtly theatrical; like, Sondheim theatrical. Not that I’m actually comparing the album to Sondheim. More like I feel pointed in that direction when I listen to, say, “Gotta Get Into That Feeling”. That song, and the others like it (more on that later), have this lilting, sad thing going for them, as if they’re giving us an in media res to some love story. Of course, I guess that could be said about most pop songs.

I’m pointed ‘there’ by their rhythmic choices in “One Block Wonder” and “New Spell”. The drums beat out something that sure as hell doesn’t sound like your average four or three, but something more like the crazy mixed up shit you hear in the Musical (or Math Rock, I guess). After a few counts, though, it seems to me that “One Block Wonder” just sounds mixed-up, probably because the bass drum’s hitting on the upbeat. “New Spell”, on the other hand, has a nice okay-we’re-in-three-now-let’s-throw-in-a-two-beat-measure thing going on during the chorus.

The songs fit together all too well; they all seem to refer back to a certain something that perhaps would be clear if I sat down and transcribed the lyrics. Given this and the above (and possibly the fact that I’ve got sitting next to me a copy of a cast recording for a musical in which Nedelle sang and Chris played), I hereby declare Mythomania a Theatrical Concept Album. Just get rid of all the shitty things you might associate with “Theatrical” and “Concept”.

Note: I’m sorry if you’re waiting for some kind of harmonic analysis. I’ll just say that it sounds “complex and pretty”. There are odd chord/changes, and not so odd chords. It’s not a basic pop palette. More of an advanced “so called intelligent rock” palette. The kind of music that dorm-living freshmen will probably be drunk dancing to in about a year after the band blows the fuck up 2k9 or maybe 10 style.

The album opens with a fast propulsive beat (“Tail & Mane”), which for lack actually knowing what I’m doing I’ll loosely compare to something between Deerhoof and latter day Radiohead. The Deerhoof reference might be a bit easy. Chris played in Deerhoof on Apple O and The Runners Four. You’ll recognize the tone. “I look around, it’s very clear/Everyone belongs somewhere”, the run up to the chorus sounds absolutely triumphant to me, for some reason.

The title track is tinged country with auto harp and big bass drum. We get three drumless ballads (“The Loving Sun”; “Galvanize”; “Gotta Get Into That Feeling”). “Galvanize” is down right desolate—mostly soft high synth and some piano/bass accents. It sounds like the love song from some musical that has yet to be written, the kind of “I’m just a girl in this big city but it has so much promise”. I mean this in the best way possible. “The Loving Sun” is warmer, but darker; it’s filled in with double track guitar and bass, Chris’ harmonies, and something that sounds like the strings of a piano being strummed. This could be Broadcast’s “Tears In The Typing Pool”‘s cousin, sister to Mythomania‘s “What You Can’t See Is”. “I’ll Take The Long Way” is this spacey dirge that breaks into beautiful all-Nedelle harmony at the chorus. I have no fucking clue what the drums are doing here. I can’t find my feet, floating somewhere between the instruments and Nedelle’s lines.

Let’s summarize:

1. Mythomania is worth buying.

2. You missed a great show.

Mythomania comes out this month on Asthmatic Kitty Records

Without those tragic little war torn tots, the world would be missing what I’m saying is already one of the best albums of 2009 (yeah I am staking that claim only 3 months in). War Child: Heroes does something almost no other Various Artist album has pulled off: IT DOESN’T SUCK! Let’s face it, compilations, and charity albums have maybe 3 good songs usually. The rest: filler, and flavor of the month poptarts or flash in the pan douchebag generic rock (see Instant Karma: The Amnesty International…. John Lennon tribute).

So what the hell makes this one so special? The concept. The idea was simple: a legendary musician picks something out of their catalog, and then chooses a current artist that they trust to cover it. Yep, you heard me, legends picking new kids to rework their tracks. By it being in their hands you avoid cliche chart toppers, and crap bands buying in (you think Dylan really would called Panic at the Disco, or the Clash call the Fray? screw that).

Beck starts by covering “Leopard-Skin Pill-Box Hat” by Bob Dylan (imagine that phone call). The stomping scuzzy version across one of Bobby’s first electric era makes you happy you bought the album even if every other track after it sucks. Then the Kooks kick the Kinks’ “Victoria”. Presumably picked since it’s mad fun to say “Kooks doing the Kinks”, but deliver a solid, bubbly chunk of brit.mod.pop. Then the Hold Steady, get the other name you can’t read a review of them without seeing: Springsteen. Seems too obvious a choice (perhaps Bruce called the Gaslight Anthem and they were busy), but the Hold Steady syre live up to and earn the constant comparison. Hot Chip swoops in and works their nerdy magic for Joy Division’s “Transmission”. The Clash choose late frontman Joe Strummer’s god daughter Lily Allen to work out a beautiful “Straight to Hell”. Could seem nepotistic, but Lily’s best efforts are happy fun pop with the edge of sassy/darker lyrics, so perfect fit. Perhaps the most perfect ‘new/legend’ match comes from the Yeah Yeah Yeahs making sweet sweet love to the Ramones “Sheena Is A Punk Rocker”. Fairly straightforward version, but who other than Karen O has the balls to make it not sound like a cover (and clever enough to leave in the “what is she Johnny?” line). In the spirit of ‘let’s change the lead singer’s gender for the remake”, Franz Ferdinand injects super sexy brilliance into Blondie’s “Call Me”. Then two very new girls take two very big boy’s tracks. First: Duffy, beautiful sultry completely souled out reworking of Paul McCartney’s “Live and Let Die”. Estelle then funks Stevie Wonder’s “Superstition”, even with no Kanye in sight. Rufus Wainwright does a nice medley from Brian Wilson’s album Smile, while the Scissor Sisters super gay disco the Roxy Music cut “Do The Strand”, who better to make it impossible not to dance to a song about a dance than the SS? Next super highlight comes in Peaches plus the Iggy and the Stooges classic “Search & Destroy”. Her androgyny and attitude matching Iggy’s own punkness], and “seriously what the hell am I looking at” appearance wrapped into a sweet electrorocker. Then the only skippable track (all Spanish Leonard Cohen cover by Adam Cohen) makes way to Elbow’s effectively minimalistic “Running To Stand Still” (U2), that could count reverb as it’s own instrument. Elvis Costello gets the prize for picking least recognizable current act. The Like can stand tall next to more famous peers by rockin a little girly punky pop magic on “You Belong To Me”, while adding new depth to a track about not wanting to be possessed by someone else. Wrapping things majestically is an inspiried version of Bowie’s “Heroes” courtesy of TV On The Radio. The reworking is classic slow building multi level greatness, only question is why “Heroes”? There’s already been at least 2 high profile covers David. Why not getTOTR to throw their weight behind “Golden Age”, “Modern Love”, maybe “Let’s Dance”? Man that woulda been sweet. Long story short this record is easily the best, most positive thing to ever emerge from the ashes of war.