Category Archives: general

Nada Surf on KCRW


Nada Surf made its KCRW Morning Becomes Eclectic debut Monday morning. I was looking forward to this set, especially because the band skipped Arizona on its current tour. I’ll forgive them this one time.

Anyway, they played eight songs, pretty much equally split between The Weight is a Gift and Let Go (and, surprisingly, they did NOT play the single Do It Again). They did play Stalemate from High/Low, which I won’t include because Nic Harcourt starts talking over it near the end in a frantic attempt to wrap up the show.

I didn’t think the interview was very probing, although the band did touch on the whole aspect of being judged based on the song Popular.

In a cheap attempt to lure return visitors, I’m splitting the seven tracks into two posts. Enjoy.

Nada Surf | Blizzard of ’77 (on KCRW)
Nada Surf | What is Your Secret (on KCRW)
Nada Surf | Always Love (on KCRW)
Nada Surf | Hi-Speed Soul (on KCRW)

capitalSTEPS


It’s rare you’ll find me listening to/posting about electronic music. Typically, it just ain’t my thing. That is, unless a Nintendo GameBoy is being used to create the sounds. Which brings me to Seattle’s capitalSTEPS (born Matthew Kenall).

In a stroke of MacGyver-like wit, Kenall composes, manipulates and squeezes sounds out of a GameBoy and Nanoloop, a sound editor for GameBoy. Kenall calls it “gritty, 8-bit techno.” I love it because it appeals immediately to my jones for video games and rhythmic drum beats. And it’s just unique, a totally refreshing change of pace.

Matthew was cool enough to hook us up with two mp3s he didn’t post on his MySpace page, where you can stream four more tracks. While there, you can also purchase his July release, Stacy, a 10-track LP for only $10. Dig it.

capitalSTEPS | Evelyn’s Ride
capitalSTEPS | Stinky

The Jade Shader

Hailing from Encintas, Calif., the Jade Shader brings together parts of popular San Diego bands, Boilermaker, No Knife and Tanner.
Chris Prescott (of No Knife) and Terrin Durfey (Boilermaker) got together in 2003 while on hiatus from their respective bands. That was the genesis of what would be become a seven-song EP released this month: Curse of the Tuatara (out now on Seattle’s Sonic Boom Recordings).

There are traces of the members’ roots in previous bands. But — and I can only compare to my fondness of No Knife — the Jade Shader has a more open-ended feel to it: great tempo shifts, stops and starts and layered guitars. “Dissonant while tuneful,” is how the band’s bio puts it.

Visit the Jade Shader My Space page here to stream two songs. Buy Curse of the Tuatara here for $8 (that’s only 800 pennies, people).

The Jade Shader | Eraser


By the way, thank you to all who took part in the sound test for me. You all were correct: The No. 1 tracks were recorded using the M-Audio device. In other words, Griffin’s iMic is shoddy at best, although I see now it has been updated.Whatever, I did some more digging and bought this precious piece of machinery from XPSound through Blaze Audio. RIAA-calibrated preamp? USB? With Bias SoundSoap software? Sold. I’m eagerly awaiting shipment, and I’m predicting much better sound quality on the vinyl-to-digital conversions.

Halloween, Alaska


On Tuesday I stumbled across Halloween, Alaska, thanks to an NPR interview at its Web site. The four-piece from Minneapolis formed in 2002, and recently released the full-length Too Tall to Hide.

The music is a compelling marriage of acoustic instrumentation and electronic technology; a Powerbook is listed as an instrument on the bio. What sold me was a low-key — albeit truncated — cover of LL Cool J’s classic I Can’t Live Without My Radio. Granted, an indie act covering a hip-hop song isn’t all that novel these days, but I find this version absurdly endearing. That could be because I love Cool J’s album Radio or, more likely, it’s because singer James Diers somehow pulls off some of the lines with total sincerity: “Don’t mean to offend other citizens, but I kick my volume way past 10.” Great stuff. Even if you don’t like it, they get points for having the cajones to tackle it.

Buy the CD here, which includes enhanced content and instrumental mp3s.

Halloween, Alaska | Drowned
Halloween, Alaska | I Can’t Live Without My Radio
Halloween, Alaska | Call it Clear (from self-titled debut LP)

For comparison’s sake …
LL Cool J | I Can’t Live Without My Radio

Flashback Friday: Lucy’s Fur Coat


It’s been a few weeks for a flashback post, and I’ve been meaning to pull out my Lucy’s Fur Coat for some time now.

In retrospect, I’m not really sure what drew me to this San Diego group. I suppose I was coming off an early 90s grunge high, trying to keep with those thick guitars and and strained vocals. But there was some melody hidden in there, I swear.

Anyway, the band’s debut, Jaundice, is one of those I owned on cassette and then — if only for nostalgia’s sake — had to track down on CD years later (OK, so it was like, um, last year). I even have a couple of the group’s indie releases on 45.

Regardless, I like Jaundice because, even if the music hasn’t stood up for the past 10 years, it always takes me back and puts me in a different place. It’s one of those albums that I’ll likely be able to recite some of the lyrics no matter how much time passes in between listens. I think we all have some albums like that.

Lucy’s Fur Coat | Treasure Hands
Lucy’s Fur Coat | Elementary

Black Rebel Motorcycle Club vinyl B-side

This is why I love Zia Records, a fantastic independent record-store chain in Arizona: I dropped by there last week, as I am wont to do (just ask my wife), and I ended up buying the new Black Rebel Motorcycle Club CD and an old Dios CD. As I’m leaving, the clerk asks if I have a record player. Uh, yes. Definitely. He then gives me a BRMC 7″ for Ain’t No Easy Way and a Death Cab 7″ for Soul Meets Body — both promo giveaways that Zia was probably just looking to rid themselves of.

The BRMC 7″ has a B-side Grind My Bones. As I’m fairly new to BRMC, I’m pretty sure this is an unreleased track, a mellow offering that’s heavy on the slide guitar.

Black Rebel Motorcycle Club | Grind My Bones

Rob Dickinson on KCRW


Catherine Wheel was one of my favorite bands of the 90s (and early 2000s). The UK-based group was part of the “shoegazing” movement: big, sweeping songs that were moody and pensive yet strangely melodic.

It seemed Catherine Wheel never earned its due. In his interview with Nic Harcourt on KCRW, lead singer Rob Dickinson admits the band had, in essence, runs its course and done all it could do. That sort of admission was kind of sad to hear because Ferment, Chrome and Happy Days are some of the greatest CDs I own.

Alas, it’s good to see Dickinson going solo. Although I have yet to buy his solo debut, Fresh Wine for the Horses, his set on KCRW’s Morning Becomes Eclectic was inspiring enough to believe I could really get into it.

Both tracks are from his KCRW performance.

Rob Dickinson | My Name is Love
Rob Dickinson | Black Metallic (my all-time favorite CW song and in my all-time Top 10 for sure)

Chris Walla’s Hall of Justice


My wife and I just finished watching the Death Cab for Cutie DVD Drive Well, Sleep Carefully. It was good: lots of interviews and great live footage. We have yet to tackle the bonus material, which includes an acoustic set.

A small part of the doc showed Death Cab guitarist Chris Walla at his Hall of Justice recording studio in Seattle, where he recently recorded and produced Nada Surf’s The Weight is a Gift, among others.

Walla blogs on his Hall site and has a few mp3s stashed there as well, including two he just posted on Tuesday. One is The Rhone Occupation, a “superhereo theme song” in honor of Nada Surf. Pretty funny stuff.

He also keeps a MySpace page.

Chris Walla | The Rhone Occupation
Chris Walla | Note to Self

David Garza


I’m having issues with Blogger uploading my final ACL photos. So, I’ll just scrap that and send you to Dodge for photos. Be sure to check out Kaiser Chiefs pics; they rocked. And, hey, if you were kind enough to pocket one of my cards at ACL and not toss it on the ground, I thank you.

In the meantime, my trip to Austin got me listening to David Garza all over again. I’m not really sure what happened to him after he released Overdub on Atlantic; I know he released a four-disc set A Strange Mess of Flowers. But I got pumped when he made a cameo with Hairy Apes BMX at ACL. So I checked his Web site and he’s offering a download of a five-song EP Chuy Chuy Yall.

Check the EP, but This Euphoria is a great introduction to Dah-veed.

David Garza | She’s My Ocean
David Garza | Float Away (from This Euphoria)

Karl Marx Stadt

Karl Marx Stadt has evolved into the solo effort of Christian Gierden, one half of Society Suckers, who describe their music as, “precisely arranged psychedelic pogo trash music. born out of a frustration with emotionless dance music.”

In Gierden’s solo work he humanizes the manic breakbeats of Society Suckers. In the track 7.000.000.000, the grandeur of a movie score builds into an eruption of b.p.m.’s. As much emotion as electronic blips, Gierden gives insight of what electronic music can and should be.

Karl Marx Stadt – 7.000.000.000
Karl Marx Stadt – Geht Das Zusammen Oder Getrennt