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Read Robot David B. elsewhere
The Robot Mark has a tumblr.
Well, this is interesting. Before Beachwood Sparks was a sparse alt-country quartet, they had six people and made bouncy pop, a different kind of a Beach Boys sound than the one that influenced Beachwood Sparks, Once We Were Trees, and The Tarnished Gold.
Desert Skies was untitled when it was recorded in 1998, and this is the first time the whole thing is being released. You can find it on Alive Naturalsound Records on November 26.
listen: there’s no way around it. These dudes, like lots of dudes before them, have listened to a lot of Weezer. A lot. And Pinkerton in particular. This is old news. It has been cited time and time again as an inspiration for countless Say Anythings and Get Up Kidisms. But where Porches. differ is that they are clearly, clearly fans of Matt Sharp and his high harmonies. This is not the slick pop of the Green Album et al. This is the rough-around-the-edges stomp of El Scorcho, of which this is almost a cover. But I’m fine with this, and find myself getting caught all up in it just the same. I want them to succeed. I want the song to be good. And it is! It’s a good song. Let’s live with it and be happy.
I love it when songs are simultaneously homogenous but full of separate moving gears, clicking away behind the musical blur in the forefront. Tonight Sky, the name of Seattle producer and composer Jason Holstrom’s newest project, fits that description.
“Flight of the Falling Star” is an apt name for this track, which sounds like it’s flying by before you have a chance to take it all in. You can find it on Tonight Sky, which is available on iTunes and CD Baby.
My inbox has been killing it lately. With a timeless riff and a pounding beat Joyland have created an anthem. They don’t stray too far from the palette they dabbled with for last year’s equally-excellent Whitebate, but if it ain’t broke don’t fix it. They have a fantastic grasp on fuzz-laden heroics without ever going over the top into full blown drama. We’re prone to hyperbole around these parts, but these guys from North Ireland should be huge.
Can anyone comment on the live show? I’m curious how loud shit gets live…
It starts slow, is admittedly sloppy, isn’t recorded particularly well, but the bedrock of this is undeniably Wilco. You might even persuade me into believing their favorite album is Summerteeth, what with the swirling keyboards and the fuzz. But these kids have their own voice, and they have something to say. Their earnest midwest sentiments (the way they emphasis fucking around is just perfect) and their jubilance with having found an excellent chorus are easy to get caught up in. There’s a lot to love here, and I bet they have the best time playing live.
I don’t know anything about this band. They emailed me with a simple link to their bandcamp, but honestly what else is there to say? The double A-side single speaks for itself. This is the sound of young midwesterners indie rocking the fuck out, and for whatever reason that’s just a sound I never tire of.
There’s so much to like here. The slavishly recreated After Hours homage. The New Order-style guitar riffing midway through. The way they sing “drive me crazy” with a laid-back ennui making me question whether they’re actually being driven crazy. Even the fact that Au Revoir Simone are still at it. Leaner. Tighter. Better. They’ve always been good, but this is the first thing of theirs that’s really grabbed me and hasn’t let go.
Also, who know that you could adequately recount the bananas plot of that movie in a brief three minutes and twenty-seven seconds? They cover everything!
Driving around my new home of Nashville, heading north on the 155, it’s not so hard to imagine you’re driving up the 2 into Eagle Rock; rolling hills dotted with radio towers and homes, the sprawling concrete superstructure that is the backbone of america. But the dead heat and the roiling humidity are giveaways that this is a different home. Ten years ago I moved to Boston, right around the time Dismemberment Plan released Change. In the intervening years we’ve both moved around a lot, made changes. Got married. Had kids. Made lives for ourselves.
And here we are again. Maybe we don’t have quite the strength and urgency we did as young men; a little more gray hair, deeper bags under the eyes. But we’re also smarter. No longer just sad literary men with a borrowed sense of ennui, but men of purpose. Men of family and industry. Like he says over and over again, “What have I got to lose,” knowing full well that answer is “a whole fuck of a lot.”
So this is home now, and this is the new D Plan record. Here’s to new beginnings.