Monthly Archives: February 2007

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Baby Dayliner: Are You Looking at the Same Stars?

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Every once in awhile, MySpace bulletins can actually be good for something, like finding out Baby Dayliner has made a new track available for download.

I’m sure you already know I’m a fan of Baby Dayliner. So to see not one but two new songs up there hopefully is an indication that a new album is in the works.

Are You Looking at the Same Stars? shows Baby Dayliner in all his pompadoured coolness. He’s a hopeless romantic here, looking back with regret and longing on a relationship that didn’t work.

“Sometimes you catch yourself in a moment/
when you think about that woman/
how good she was to you/
when you were down and out and giving up.”

Check out Baby Dayliner’s catalog at eMusic, including last year’s great Critics Pass Away.

  • Baby Dayliner | Are You Looking at the Same Stars?
album review, scrubbles

Scrubbles.net says: The Bird & The Bee

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scrubbles

The Bird & The Bee
self-titled (Blue Note)

The Bird & The BeeYou might be forgiven for thinking that the bird and the bee come across as too, too cute on their self-titled debut, but surprisingly the most pretentious thing about them is their lower-case name. The duo of vocalist Inara George (daughter of Little Feat’s Lowell George) and instrumentalist Greg Kurstin craft music as clear and refreshing as a sunny Spring day, with George’s bell-like voice meshing perfectly with Kurstin’s bubbling synths. The resulting work on this album beautifully combine ’60s affectations with a modern edge. “I’m a Broken Heart” sounds like what might have happened if Lesley Gore collaborated with Ennio Morricone on one of his moodier soundtracks; “La La La” has all the effervescence of a vintage Pucci print. Despite the album’s distinctly retro feel, however, mostly it’s marked by contemporary electro-pop which calls to mind Scandinavian dance diva Annie. This is never more evident than in the self-explanatory “Fucking Boyfriend” and the brilliantly layered “I Hate Camera”. Athough brief (35 minutes) and concluding with a trio of so-so songs, the bird and the bee has already been shortlisted for my year-end Top 10. It’s excellent, and I can’t wait to hear what they’ll do next.

Buy the album at Amazon.com.

    The Bird and the Bee | I Hate Camera
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Josh Ritter: Live at the Record Exchange EP

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It’s always a pleasant surprise to swing into a record store and find something new that you never even knew existed. That was the case yesterday, when I found Josh Ritter’s Live at the Record Exchange EP at Stinkweeds.

I’ve been pretty wrapped up with all things Ritter since I finally wisened up and became attached to Animal Years. This EP, as its name might suggest, is a live recording from the Record Exchange in Boise, Idaho. (On a side note, I’ve been to Boise; very cool city.)

The EP has six tracks, including the previously unreleased Bandits and a John Prine cover of Daddy’s Little Pumpkin. According to Pitchfork, the EP is available only from Ritter on tour or select independent music stores. Um, yeah, or Amazon. Of course, the Record Exchange has it, too.

Ritter also is making available to stream “backstage recordings” he’s performing with support acts from his current tour.

  • Josh Ritter | Good Man (from live EP)

AT CIRCA 45: A live Guns N’ Roses B-side of It’s So Easy.

general, video

Phoenix concert update

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Good news and bad news.

First, the bad news: Apparently, the Richard Buckner show with Six Parts Seven has been canceled. Too bad because I was really looking forward to seeing Buckner perform with a full band.

Now, the good news: Silversun Pickups are playing May 4 with Elf Power at Clubhouse in Tempe. (Get tickets.)

Speaking of Silversun, Spinner has live footage on its 3×3 series (if you can get past the annoying credit card advertisement first).

And in absolutely unrelated news, here is the video for k-os’ Sunday Morning, which I previously wrote about here.

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Let’s try this again — Low: Breaker

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Sub Pop officially has made an mp3 available from Low’s upcoming new album Drums and Guns, which I wrote about last month and included a (short-lived) song. Anyway, it always looks so much cooler as a premiere on Pitchfork.

As it is, looks like the rest of Sub Pop’s roster can get the attention and resources being hogged by that other band. (If I have to see one more ironic photo of the Shins in swim trunks or life jackets, I may try hurting myself with a plastic knife.)

In the interest of time (and to prove, as always, that looking back on my own writing makes me cringe), I’ll show you what I wrote last month about Drums and Guns. This could be the first time I’m quoting myself:

“Low maintains its “slowcore” roots here, but this added layer of electronic assistance pushes the group into more a abstract place. Yet these ambient and almost incidental blips/bleeps (best appreciated on headphones) hardly clutter the sound; given Low’s minimal foundation, there certainly was room to add on without interfering with what they do best. Of course, Low likely threatens to turn off traditionalists with these new arrangements (if The Great Destroyer didn’t already), but, again, none of it feels excessive; the mood is still stark and haunting.”

A month later, I still feel the same (imagine that!) and this is my favorite release of this short year. In yo’ face, Mercer.

  • Low | Breaker
hip-hop

Cadence Weapon invading U.S.

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Thanks to Brooklyn Vegan (via Chart Attack), who reported that Edmonton’s Cadence Weapon, the man behind of one of my favorite hip-hop albums of last year, has signed to Epitaph.

Consider what Epitaph, a label rooted in punk, is doing here. The label roster now includes Cadence Weapon, Busdriver, DangerDoom, the Coup and Sage Francis. That’s an impressive group of underground hip-hop artists.

As for Cadence Weapon (born Rollie Pemberton), his stellar LP, Breaking Kayfabe, will see a U.S. release on March 13. Catch up with what I wrote about Cadence here.

And be sure to pour some out for the dearly departed Razorblade Runner, Pemberton’s one-time corner in the world of mp3 blogs.

If you can’t wait for March 13, eMusic has been hawking Breaking Kayfabe for the past year now.

arizona, general

Jon Rauhouse: Steel Guitar Heart Attack

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Other than the drums, which I once played in middle school but pretty much quit in high school when I realized I’d have to wear some silly polyester uniform with a tall feathered hat at halftime of football games, the pedal steel guitar is my favorite instrument. There’s a certain emotion to it, an instrument that really seems to have a voice of its own.

Nobody plays it better than Jon Rauhouse, a man we’re proud to call an Arizonan. Besides being a member of Neko Case’s band, Rauhouse’s extensive credits include playing with Calexico (whose John Convertino and Joey Burns are part of his band), Giant Sand, Waco Brothers, John Langford, Kelly Hogan and Sally Timms. He’s also a member of Bloodshot Records’ Grievous Angels.

One of my favorite projects Rauhouse was involved with was Sleepwalker, a three-piece (with Jamal Ruhe and Darren Henley) from Tempe that put out a somewhat hastily recorded yet beautiful one album called The Man in the Moon. (Previous post.)

After extensive touring with Neko Case, Rauhouse returns with his third solo album, Steel Guitar Heart Attack, due for release March 13 on Bloodshot. Appearances from Neko, Timms and Hogan prove the reciprocal nature of musicians and their fondness of Rauhouse’s craft.

If it has a string, Rauhouse – affectionately known as “Uncle Jimmy” for reasons I don’t know – probably has played it: banjo, pedal steel, Hawaiian guitar, ukelele, you name it. He’s talented as a technical player but never loses focus of the mood and substance his style carries. On 2004’s Steel Guitar Rodeo, Rauhouse reinterpreted the Perry Mason theme song into something much more romantic and intriguing than a cheese-ball TV theme. Apparently, he does it again on Heart Attack, taking on the Andy Griffith theme on The Fishing Hole.

Ballad of the Black Chihuahua, the first single off Heart Attack, is layered in lush guitar work and boasts a Southwest flavor that captures the essence of this arid atmosphere.

I don’t see a pre-order link yet at Bloodshot for the record. But Rauhouse’s catalog is available at eMusic.

  • Jon Rauhouse | Ballad of the Black Chihuahua

In a related matter, eMusic is offering a Bloodshot Records Honky-Tonk Compilation, which includes Rauhouse’s Grievous Angels, for free. Eleven tracks, all for free. Get it.

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Elvis Perkins’ Ash Wednesday out today

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Today marks the release date of Elvis Perkins’ Ash Wednesday. Technically, the album came out last year (self-released), but Perkins has since signed to XL, which is giving a standout record its proper due.

While You Were Sleeping already was my favorite song of 2006, and it wouldn’t be a stretch to think it could be my favorite song of 2007, too.

Do yourself a favor and buy the album. Elvis hits Solar Culture in Tucson on March 20.

hip-hop

DJ Jazzy Jeff feat. Rhymefest: Jeff N Fess

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Analog Giant already told you DJ Jazzy Jeff will be dropping a new album in March.

Here’s a track from his The Return of the Magnificent EP, released in January, that pairs Jazzy Jeff with Chicago’s Rhymefest, whose LP Blue Collar was an overlooked gem from last year. (Previous post.)

Not sure if this will end up on the new full-length, but I’m including the instrumental for you deejays and remixers. I love the almost reggae feeling to it and, of course, the James Brown-sampled hollers in the background.

And you just knew ‘Fest had to drop the “He’s the DJ, I’m the rapper” line.

  • DJ Jazzy Jeff feat. Rhymefest | Jeff N Fess
  • DJ Jazzy Jeff feat. Rhymefest | Jeff N Fess (instrumental)
album review, scrubbles

Scrubbles.net says: Sondre Lerche

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Sondre Lerche
Phantom Punch (Astralwerks)

Sondre LercheMy first thoughts upon hearing Phantom Punch, the latest release from Norwegian pop wünderkind Sondre Lerche: “This sure sounds a heck of a lot like Phoenix’s It’s Never Been Like That.” Both albums are characterized by bracing guitars and spiky yet safe New Wave-y pop (and, coincidentally, both are on the Astralwerks label). Briefly, if you enjoyed It’s Never Been Like That, you’ll probably also dig Phantom Punch.

On the surface, you might say that Lerche is spreading his wings here and attempting a harder sound. Once you get past the noisy façade, though, Phantom Punch continues the melodic accessibility of his 2004 breakthrough, Two Way Monologue. Tunes like “The Tape” and “Face the Blood” bristle with the crafty energy of This Year’s Model-era Costello. His lyrics are clever without being smart-assed, contributing to the album’s consistent quality. The only dissatisfying track is the 7-1/2 minute closer, “Happy Birthday Girl”. Lerche has talent to spare at the age of 24, but he seems too young for this kind of numbing self indulgence. Give him at least five more years before he does a lumbering double-disc Prog Rock tribute.

Buy the album at Amazon.com.

Sondre Lerche plays the Clubhouse in Tempe with Willy Mason on March 19.