Not for the easily offended

Strip Squad really did quite an impression on the music scene in Sweden when they emerged out of nowhere a few years ago. With explicit lyrics, catchy melodies and bad grammar they took the lo-fi twee pop music from the fragile boys and girls and turned it into something somewhat more hardcore. I remember Dj-ing after one of their gigs about a year ago and that was really like the easiest thing ever. The crowd was exaggerated and everyone just danced all night.

Strip Squad is the kind of band that don't follow any kinds of conventions. They used to end all their concert with a sleazy cover of Christina Aguileras "Can't hold us down". The quality of their recordings are really shitty but I don't know, it doesn't really matter to me since the core of Strip Squads music consists of melodies, sex, masturbation, attitude and you know, sex.

The thing I really like is that they stole the lo-fi music from all those cry-me-a-river black haired boys and girls who "really know how it is to be different" and just did the exact opposite. Strip Squad makes music full of confidence. They are also kind of gender bender on stage (you really have to see it to understand)

I reckon most people will probably dislike this music. But I like it. If you break it down into pieces. It's just lo-fi pop with great melodies and som hilarious and explicit lyrics. It is the mix that's unfamiliar to most people, and it was certainly new to me the first time I heard them. But give them a chance. And if you don't like them right away, try the rest of the songs available on their web site.

Strip Squad - Unreliable Narrator
Strip Squad - Pervert/Expert
Strip Squad - Razor cuts
+ Myspace

- Eric

The RIAA did us, what what? In the butt.

As some of you may have noticed, WNR was shut down for a period of 4 days over one single song file. The RIAA, in all it's wonderful glory, decided to disregard our disclaimer which states to contact us if there is a complaint of copyright... and instead went straight to our host to cry like a baby. And what a way for a business to look out for it's customers! They shut us down and made us jump through hoops of fire for 4 days, when all the RIAA asked was that the file be removed from the server.

I do sincerely apologize for the rude interruption, but if you have a problem with it (like we do) - boycott the RIAA by not purchasing from major labels, and instead buying used albums. Also feel free to let our host know what sniveling bitches they are. Not the tech support team though... they were fantastic in helping bring together the lines of communication between us and legal (and even had a few negative words of their own to add about the RIAA).

This just goes to show the reasons for our mission statement. Major labels for far too long have been trying to keep their greedy hands all over their "investments", all while keeping their foot firmly down on the small guys. Did you know that the RIAA now also claims that it gives too much money to the artists, and seeks to reduce the royalties paid out to artists? Jesus. Like artists aren't ripped off enough already.

It's one thing to leak an entire album. I say sure, go after those people with a mallet... they're actually hurting the artist. But to go after someone for a single?

What the RIAA doesn't understand is that a single leak can help hype up an upcoming release. It's all the same as a single being played on the radio. And here I thought that money was their language. They're only hurting themselves by pissing off their fans, and deterring the people who provide them with free promotion.

Well, enough of the rant. I just wanted to take a moment to let you all know the reason why we were gone, and that we're now back up and running.

If you have any suggestions of hosts with a backbone, or thoughts about this situation, please feel free to rant in our comments.

And this one goes out to you, RIAA:


Love,
Lady Byrd
WNR Founder, WNR Fighter

EDIT: Thanks to theplugg.com for their comment about the RIAA Radar. You can use it to screen a release before you buy it. See more about it in their post here.

CHORUS!

Of Montreal were very awesome last Monday. They had a whole heap of technical problems and after two false starts, instead of abandoning the gig, they went out back and got some acoustic guitars, and played an acoustic set instead! It was one of the loveliest gigs I've been to for some time. Kevin Barnes didn't get naked though, more's the pity (warning: NSFW). Afterwards, I had a chat to Brian the guitarist, who told me they didn't have a British record deal at the moment... That's absolutely criminal.

Anyway, today I'm going to talk about two electro tracks with good choruses. The power of the chorus in a dance song is absolute. There's something very special about being on a dancefloor when everyone's singing along too. In the cases of both these songs, they've been remixed from the originals. There's a bit of a dull verse to get through before you get to the real gold, so be prepared to potentially not like these songs for about 30 seconds before you adore them.

Under The Influence Of Giants - Mamas Room (Weird Science Mix)

(Edit: Bizarrely when you use the little play clicky thing, this plays really slowly. The MP3 itself is fine when downloaded, so I dunno what it's all about. I'd recommend you download this one, rather than playing it on the website.)

This remix was constructed from a remarkably slow original (which can be heard on the band's MySpace if you're so inclined). Weird Science's remix has pretty much doubled the speed and introduced squelchy bits that make things sublime. There's not a lot they can do about the verses, but the chorus twinkles and sparkles like a glitterball.

Snowden - Black Eyes (Le Castle Vania Remix)

Snowden are another band who I don't really get excited about until they issue remixes. Le Castle Vania have done an awesome job here - they've pretty much injected an awesome chorus that wasn't even in the original song. It's half crafted out of the outro on the original fed through a vocoder, and half pretty much entirely new. Check out the original on Snowden's Myspace.

Finally, on a sneaky side plug, I put together a mix the other day and posted it up on RAD!O ED!T. It's got both the above tracks on, as well as some other awesome tracks, and is about 45 minutes long. If you're into your internet DJ mixes, especially good electro stuff, then have a look and a listen. :)

- Duncan

Solace

So Iceland has pretty much been put on the map, Bjork, Sigur Ros and Mum have all garnered it something ethereal, unique an special.
Not only is Iceland's scene a fruitful ground for the above mentioned, but it has also become a destination for collaborators and recording. The last Album leaf album was finished up there too.

Which brings me to Mar, an artist hailing from the Ozark Mountains, Arkansas in the United States. It's taken me about a year and a half to post on Mar. So here I am finally getting to it especially since his album is getting a bit more attention these days. And it is really a hushed masterpiece.


Mar is Kyle J Reidy and his album The Silence was recorded at Sigur Ros' studio in Mosfellsbaer, Reykjavik, but finished up in Syrland Studio (Emiliana Torrini, Bjork, Sigur Ros) due to Sigur Ros having to finish mixing Takk. Mar was his mother's name who passed away of cancer in 1999 and inspired by the ridiculous dreams that she always had even towards the end.

The Silence (out on Ring Road Records) features Samuli Kosminen of Mum and Jimmy LaValle of The Album Leaf and Black Heart Procession. Gunnar Tynes of Mum produced and it was his first effort producing alongside Iceland's Axel Árnason, Jimmy LaValle, And Samuli Kosminen.

The Silence's writing duties were contributed by the musicians that went on tour with him under the Mar guise, up until the tour that ended in April 2005 with The Album Leaf.

The result as you will hear below is breathtakingly beautiful and serene.
They are songs of solace.

Patience
Sigga
The Liar
+ Myspace

PS - finally got internet up at new shop so expect more elaboration and even more artists per posting.

yours
Ri.

Just keep going from here

Shade Tree is a band from the city of Gothenburg in the west of Sweden. The name origins from an article written by legendary songwriter (Do Right Woman, Out Left Field) and producer (The Letter) Daniel Penington a.k.a. Dan Penn and if you are familiar with him, you will probably be familiar with the kind of music shade tree is trying to win your likings with.

Shade Tree has been around for about four years now and with a history of 5 EPs you can really hear that the band has improved with every year that has gone by. The idea is to combine soul, pop, catchy melodies with some choir singing and it sure is hard to go wrong with that combination. I wasn't very fond of them until I heard "Where Do We Go From Here" which is just a GREAT song. You know, not great or Great but GREAT. It isn't great in an obvious way (which only will make you listen to it 10 times per day for a week and then never listen to it again), it is just a nice little tune with lovely lyrics and a neat melody, a song that really grows on you with every listen.

Sorry for posting their christmas single two months late but maybe you can save it until next christmas. But go on, give it one listen right now before you put it away in your christmas folder. And I almost forgot, more songs are available from their website.

Shade Tree - Where Do We Go From Here
Shade Tree - Killing Time
Shade Tree - The Sweetnes Left Behind

And a late christmas bonus
Shade Tree - The Sweetnes Left Behind

And I read Amy's post about The Sweptaways, they toured Sweden a couple of months ago but did not get very good reviews. Maybe because too many people had listened to too much of the Belgian choir Scala and Kolacny Brothers and got tired of the whole choir-sings-pop-songs-thing. But I hope no one missed their version of The Knife's Heartbeats when it hit the blogosphere some while ago. You didn't miss it? Good. Well, if you did, don't worry, here is another chance.

Scala and Kolacny Brothers - Heartbeats

- Eric

The Universal Language

After desperately searching for new (any?) information on my favorite Scandinavian stud Jens Lekman's* forthcoming album, I began, as I often do on Myspace, perusing some of his top friends.


Unintentionally and perhaps providentially, I stumbled across an unusual musical discovery: The Sweptaways, a Swedish cover band of 30 harmonious women reinventing the wheel. Ok, maybe not the wheel, but they are transforming modern conceptions of the traditional choir.

Though this elusive girl group initially caught my attention because its members dress in garishly colored gowns and equally demonstrative headdresses, that isn't the sole reason I was so quickly charmed. That this bevy of young women have found a way to link Black Sabbath and the Pet Shop Boys without resorting to any hokey six-degrees-of-separation antics is quite enchanting to me.

The Sweptaway ladies have even stranger moves up their bell sleeves. A cappella renditions of ditties like "Let My Shoes Lead Me Forward," by fellow Swedish chanteuse Jenny Wilson, as well as the classic "You Don't Own Me," by candy-coated '60s chart-topper Lesley Gore (of "It's My Party" fame) are unexpected treats to say the least.

This odd assortment of tracks is sure to make for great conversation. The Sweptaways' sound isn't for everyone - I wouldn't expect any TV commercial spots a la The Polyphonic Spree anytime soon - but it's worth a listen simply based on intrigue alone. Peep the Kate Bush cover below.

From Ooh Aah (Buy @ Hybrism)
Wuthering Heights
+Myspace


And in other exciting girly singing news, the release date for Feist's latest, The Reminder, has been set for May 1. While I'm going to have difficulty waiting so long for fresh material from Canada's most capricious crooner (try to say that five times fast), I'm digging the preview of "My Moon My Man" on her Myspace. You'll probably dig it, too, if you hop on over.

Keep bootscootin',
Amy

*Speaking of Jens Lekman, in case you were wondering he has moved his "Myspace" here.

The Evil Empire

Inspired half by Cristin's post yesterday, half by the fact that I'm seeing them on Monday, and half by the message board post on the subject, today I'd like to talk about Of Montreal.


You've likely heard of Of Montreal by now. The enormous coverage they've seen in the blogosphere of late has exposed them well, and after I bought (and loved) The Sunlandic Twins last year I just had to pick up their new album, Hissing Fauna, Are You The Destroyer? I bought it off Polyvinyl Records and with the album they threw in a bonus ep called Icons, Abstract Thee. Bonus EPs are usually rubbish. Full of off-cuts that didn't make the album for a reason, so I didn't expect much when I put it on...

Of Montreal - Du Og Meg

Wow. Wow. I was blown away. This got under my skin the moment I pressed play, and I haven't loved a song quite so instantly in a while. It tells a story of an American girl who falls in love with a boy from 'The Evil Empire' and goes to live with him. They end up getting married and living happily ever after. It's not even 2 and a half minutes long, so it's practically over as soon as it's begun, but it still manages to fit in a saxophone solo. This is the sound of a band with more great songs than they know what to do with.

Of Montreal - The Past Is A Grotesque Animal

This track, on the other hand, is off the album itself. It simultaneously marks the climax of the album, as well as its midpoint - building up and up over twelve minutes, it reflects the boiling over of the dark undertones evident up to that point. Singer Barnes grows increasingly agitated - getting angrier and angrier, at one point shouting 'We want our film to be beautiful, not realistic!'. Before this point on the album, the darkness is overwhelmed by the pop melodies, and after this point things get, well... funky, but during this one twelve minute window we peer deep into Barnes' soul and it's not a pleasant place. It's almost as if the entire rest of the album is pointing, hinting, towards this one song.

I realize all this is more than a little geeky of me, so intense examination of album themes aside, I ought to just say that it's a fantastic album, more than worthy of a purchase, and it'll probably end up in my top 5 albums of the year. It so often happens that I love an album and then the following album enormously disappoints me (I'm looking at you, Bloc Party), so it's refreshing to have this one utterly eclipse its predecessor. Thankyou Of Montreal - may you be utterly wonderful when I see you on Monday :)

- Duncan

P.S. Slightly off-topic, but OH MY GOD, BRITNEY - WHAT ON EARTH HAVE YOU DONE?!

I'll Take It, Thanks...

I can't decide whether the Montreal music 'scene' has a horseshoe up it's ass... or sold it's soul to the devil in exchange for the Demi-European allure it exudes.

I grew up there, and the only way I can explain it is that the city has more soul on a street corner than most metropolitan cities have in a quarter mile. And the soul of the city inherently transfers to its residents. Its musical contingent particularly. Just go through the Rolodex of your favorite Canadian bands du jour. Chances are they're from La Belle Province.

Patrick Krief is best known as the guitarist of The Dears, a band graced with the soulfully cool talent I speak of. Oh, they're also at the forefront of the Montreal 'scene' too. He's about to release his first solo EP - Take It Or Leave - on Feb. 20.

I don't gush, but this EP will most likely make my Top 10 for the year.


A lucent seven song collection, Take It Or Leave is a lateral departure for Krief. It maintains the musical integrity of his work with The Dears and Lesley Lane (the first collaborative effort of Patrick's work) while delving further into his repertoire and perhaps demanding more of his talents as a multi-instrumentalist and songwriter.

Krief plays virtually every instrument on the EP elegantly woven with vocals both pleasant and understated, to me it is the ideal Sunday morning listen.

Patrick graciously submitted to a Q & A about his career and such with The Dears, Lesley Lane and the road to his solo debut for Who Needs Radio.

WNR: So, how would you describe yourself today?

Patrick Krief: Neurotic, paranoid, emotionally unstable, and full of love and rage.

WNR: How would you say your upcoming solo EP compares/contrasts with things you've done with Lesley Lane and/or The Dears?

PK: The songs on this EP are pretty stripped down. Not too many elements going on. On the Lesley Lane record I had written these massive arrangements, and had extremely climactic structures. It felt like a lot of the song itself got lost in it the clutter. For this EP, I laid down the acoustic and vocals and built simple arrangements around it to decorate the song. I also decided that I would sing it myself, which was a huge move for me.

As for The Dears, I guess the only common element there is that Murray mixed some of the record. I also used some samples from Murray [Lightburn, vocals/guitars for The Dears], so some of the textures are similar, but the writing is extremely different (even though The Dears have inspired me).

WNR: How have these other bands influenced you personally as a musician and songwriter?

PK: Well, Murray has been a huge influence. He's been pushing for me to sing my own songs for years! I gave him a CD of me singing about 40 of my songs acoustically a couple of years ago. He listened to it on the plane on our way to Paris. When we got there he was like, "DUDE!! We need to talk, seriously". I thought he was going to tell me to give up writing or something. We sat over drinks and he was like, "I fucking like your voice, you have to sing your own songs! I don't see why you're going through all this trouble of having other people do it." At the time I was working with Elizabeth Powell (Land of Talk's singer) she was singing my songs. Then he went on to say, "If I were you, I'd ditch the whole lot of them, you're a good drummer, go make a record yourself." Being the paranoid Jew that I am, I thought he was trying to sabotage me! -Hehe- But I guess he planted the seed. Took me two years to build the nerve to do it though.

Working with Lesley Lane was a huge learning experience too! I learned a lot about myself and my leadership skills or lack thereof. Most of those guys are involved with this new project (playing it live that is).

WNR: You seem constantly busy with vastly varied musical projects, how do you stay inspired?

PK: I listen to people, I'm inspired by people's lives and stories. I stay close to my friends and family who keep me grounded.

WNR: How do you feel about the often-held idea that a song only comes together after it has been played live? Do you plan to tour after the EP is released?

PK: I think the songs take on a new shape live and it's a whole other level. But capturing that on a recording is tough. I find a song is at its best for recording the first few times it's played after being written. Everything is fresh and raw. Live is a different beast all together, and in a sense the songs do get better, but there's nothing like the magic of the first recordings.

I do plan on touring, I had a rehearsal tonight, and it's slowly coming together. Hopefully there will be an audience for us.

WNR: Jeff Buckley once said, quite adamantly too, that there was music he would never share with or sell to others. And for you?

PK: There are definitely some songs that I could never play live, or sing in front of people. But recording them and putting them out there has yet to be an issue for me.

WNR: Tell me about the first band you were ever in?

PK: Hmm, well I was 14. I put a band together with this drummer, Mathew Bell. He was 18, so it was super "cool" to be hanging out with this "older" dude. We'd jam in his basement just the two of us for hours two or three times a week. We'd mostly play Jimi Hendrix songs.

WNR: Tell me about the first song you remember writing?

PK: I wrote my first riffs when I was ten. I still remember it. But, the first song I wrote with words and music came along when I was 14. I had a 4-track and I played all the instruments on it. I may actually re-record that song one day.

WNR: When you joined The Dears, what were your expectations? How has the experience been?

PK: I was expecting Murray to be a complete dick! Some people had warned me that his character and mine were too strong and that we'd hate each other. That wasn't the case at all; we got along amazingly right off the bat. He's a good friend. I also had this vision that the band was huge and we be playing these sold out 3000 seaters! -Hehe- The first tour was a US tour, and we were opening for Stars, and we played for about 30 people a night.

The experience has been absolutely priceless! Even if I'm not rolling around in gold, I fucking love it! And I hope my music can give a chance to my musicians to experience it for themselves. I also wish I can continue to do this forever. It's such a beautiful thing, the synergy of being on stage and having a loving audience in front of you. Whenever I get back from tours I spend the first week on a drinking binge, it's like I'm feeling withdrawal.

WNR: How do you think the Montreal music scene has influenced your music and aesthetic?

PK: Well, I'm really close to a lot of these people. Last night I got stupid drunk with Patrick Watson, Dave Hamelin (The Stills), and Trevor Anderson (The High Dials). We started the night at an Arcade Fire show -that's about as Scenester as it gets hehe- Before the show I spent some time on the phone with Chris Seligman (Stars) trying to convince him to come out. This evening I saw Eric Fares (Sam Roberts Band) at his apartment (our manager lives with him) I mean it's pretty ridiculous how closely knit this city is.

We couldn't avoid each other if we tried. We influence each other on social levels and we love to challenge each other. There's also the unspoken competitiveness. No one will admit it, but it's there. There's also loads of jerking each other off (excuse the expression) going on. But the "'you're great!', 'No, you're great!'" thing does happen when we're all drunk and hugging each other a little too often. That kind of crap is never constructive for any artist.

I do feel, however, that Montreal is not that much of a "scene". Every band sounds so different! And we all work in such different manners. I rehearse next door to The Stills who share a space with Sam Roberts. We hear each other creating music, so there must be some level of inspiration there, whether it's subconscious or not.

WNR: If I were to pick up your iPod, what artists/bands would I find on it?

PK: Hundreds, but to name a few: The Beatles, Beethoven, Air, Arcade fire, Serge Gainsbourg, Jimi Hendrix, Led Zeppelin, Radiohead, Blonde Redhead, Bob Dylan, Bob Marley, Ray Charles, BB King, etc.

WNR: Tell me what makes you feel a sense of accomplishment as a musician?

PK: Well, anytime I meet a person who digs my music I feel like I'm doing something meaningful. I love hearing that the music has brought joy to people or helped them through tough moments. That and cooking something that people agree with is amazing.

WNR: What song by another artist or band do you wish you'd written?

PK: I wish I had written Happiness is a warm gun - The Beatles. Then I could brag about having written the most out there song ever. Or Strawberry Fields Forever.

WNR: So do you still think there is power in independent music? Or has it just become a dirty word?

PK: The word "Indie" should never have become a style of music! It should simply mean that you're signed to a smaller label that actually gives a shit about you and your art. Lately it feels like you got to a have an army of triangle players on stage to be hip. Anything that remotely sounds mainstream is "un-cool" and that does bother me. I love pop music, and I love off beat weird stuff too. Being on an independent label should have nothing to do with any of that. It should just mean that the label is not corporate and gives the artist the freedom to do what they love without breathing down their necks. That still exists and it is powerful. But a lot of it is formulaic at this point. The six-plus-piece band with strings & quirky vocal cliches is what a lot of these labels are after.

No matter what though, I do love the concept of Independent music and the idea of not getting screwed over by a major is quite nice too.

WNR: If you were to reflect on the music and career of Patrick Krief so far, a) how has it been?, b) How is it now? and c) How will it be?

PK: a) It's been a beautiful learning experience with painful moments that were all alleviated by a strong sense of accomplishment. b) It's still great and expanding. c) That I can't say, I can only say that I'll die trying.

What We Wanted
La Verite (The Truth)
In This World
+ Myspace

Buy the EP @ www.kriefmusic.com

+ Myspace - Lesley Lane
+ Myspace - The Dears

- CA

Presenting: Tortoise spelled backwards...

Apparently named after the Roald Dahl novel of the same name, Brighton's sunny soaked indie kids - Esiotrot - their catchyness is quote unquote imminent with the release of their upcoming EP Schmesiotrot.


Having gigged alongside Danielson, Jens Lekman, Clearlake and Jeniferever to name but a few, there are definite Sweden twee superstars coarsing through the blood of this ever expanding little but not so little band...

Stephen Mulkmus gets jiggy alongside Suburban Kids with Biblical Names on many of the tracks, but more lo-fi though...

Chipper and chiming all breezy with horn sections ala Belle & Sebastian on Marianne they give you that lovely warm and fuzzy feeling with cute heartfelt lyrics that we've grown to adore about the Swedes.

On There'll be a time for nice guys (my theme song at mo'... don't ask... or do...), incidentally, they tend to remind me a little of South Africans Eat This Horse (whom I posted on two weeks ago). It's kinda like The Strokes Spooning with the Microphones on a sunny holiday trip somewhere in Stockholm, along some Sunday drive daydreaming. Well, swerving short of crashing into The Velvet Underground...

Maybe Johnathan Richman would make some Modern Lovers of them yet!

Marianne
There'll Be A Time For Nice Guys
+ Myspace

The nice guy
- Ri

Uffie in concert and some Valentine treats

Hello everyone, I hope you had a great week. I have a BIG haunting exam next weekend, and it has been on my mind for quite some time now. Therefore, I had great hope about last Friday because Uffie was finally coming to Stockholm again... and since I haven't seen her live yet, I thought this would be a great excuse to leave my books behind and have a few (make that a lot) of beers and just have a great time.

Feadz was djing but it was some guy from odd at large who really stole the show. He did a great job behind the turntables and if Uffie would have started her show right after this the concert would have been a whole lot better. Unfortunately, Feadz did some halfassed performance and the atmosphere was a bit dulled out when the concert finally started.

I take it that Uffie is 50 % irony, 25 % postmodernism and 25 % wholelottafun. I mean, a small, seemingly fragile 19-year old standing in a blue half opened tracksuit shouting "Stockholm! Are you ready to go gangsta?" right when the beat to "pop the glock" starts is kind of my idea of irony. I'm sure that the Miami born, Hong-Kong raised Uffie has got tons of attitude but I am also sure that she has got a great deal of humour and she really gets away with it.

It's probably something like four songs that has emerged from her myspace so she was bound to perform some of the songs from her hopefully soon due album (which she also did) to make the concert last over 15 minutes. But overall, I was a bit disappointed. It seems like the music will evolve from her "old" songs (which I really like) which are more electro-pop into something that seems to be a blend of grime, baltimore and a hint of something resembling melodies. I think she should stick to the original kind of music and keep her distance to somewhat similar artist like Lady Sovereign, M.I.A, Spank Rock and maybe even Peaches.

Uffie did what was expected of her, she did her thing, charmed the audience with her shallow innocence while trying to convince everyone that she really was ready to fuck. Unfortunately, the bouncer were a bit anal about cameras so I never had the chance to take any photos but I'm sure there are tons of videos on youtube for you who are more curious of her live performances. For the rest of you, here is an early rough version of pop the glock.
Uffie - Pop the Glock (Early Version)

And as promised, here are some small Valentine treats for every flavour. First, here is an old classic for our happy readers in love:
Lesley Gore - Sunshine Lollipops And Rainbows

And here is one for our heart-broken readers:
Timo Raisanen - Didn't We Almost Have It All (Whitney Houston cover)

And here is one for all of you who are just tired of it all:
The Pipettes - Your Kisses Are Wasted On Me

- Eric

Voxtrot, Voxtrot

If I read one more review that refers to fill-in-the-blank band as the "darling" of the scene, I might lose my lunch. The patronizing, cutesy term is so lazy and overused it's turning into the Britney Spears of music journalism jargon. (Scoff if you will, because all this is coming from someone who has sourced the word far too many times herself.)


And yet, when searching for descriptors to properly portray Austin, Texas band Voxtrot, I come up short. To call this quixotic quintet the reigning darling of feather-light indie pop seems trite, but in some sense, it's the only fitting label. A perfect package of melancholic yet blissful vocals, wispy, '60s-sounding refrains and Belle & Sebastian-style sappiness (a trait I harbor no objections to), Voxtrot is nothing if not precious. And don't forget "darling."

The proof's in the pudding. Not only did Voxtrot recently get a nod for New Artist of the Year by the PLUG 2007 Independent Music Awards (Artic Monkeys took the title home); the group rocked U.S. and UK audiences without even having to release a full-length album. Save three fantastic EPs - Your Biggest Fan; Mothers, Sisters, Daughters & Wives; and Raised By Wolves - Voxtrot has yet to make its official debut.

Behold the power of Internet promotion! Thanks to Myspace, word-of-mouth and lots of dedicated fans, Voxtrot is the biggest little sensation since - eh, why not? - sliced bread. I even have a friend who let the boys crash at her place during their climb up. On the road to notoriety, these guys haven't met a single enemy, only friends.

Voxtrot will likely gain an even greater following as it returns from Europe for a full-on U.S. tour, which starts at SXSW in Austin March 12. The band's limited edition UK 7-inch (only 1,000 copies) out February 26 is also sure to stir up more positive press.

If you are itching for a greater wealth of material - mayhaps in the form of an LP, you say? - Voxtrot's freshman effort is set for arrival sometime this spring via Playlouder, the label with which Voxtrot has already signed a contract. May 22 is the fateful day touted by the blogs, so tenatively mark your calendars.

From Your Biggest Fan:
Trouble
From Mothers, Sisters, Daughters & Wives:
Mothers, Sisters, Daughters & Wives
From Raised By Wolves:
The Start Of Something

(Buy all @ Voxtrot.net)
+ Myspace

And for fun, check out frontman Ramesh Srivastava's blog.

Keep bootscootin,
Amy

Turn The Music Up

The Hourly Radio is a name not unfamiliar to me, but one I hadn't actually listened to until today. Now that their touring and hitting NYC very soon, I decided it was time to finally sit down and take a listen.

Singer Aaron Closson has a voice very similar to the somewhat nasally vibrato of Brian Molko. But then in Means To An End, it sounds as if he's channeling Geddy Lee of Rush. I'd definitely recommend this if you're a fan of Placebo... or in a mood to brood. I always like brooding, so you can count me in as a fan.

From History Will Never Hold Me (buy @ Amazon):
Deaf Ears
Means To An End
+ Myspace



The WinterKids hail from the UK, and apparently are already stirring up a lot of buzz around them here in the States. Surprise, surprise. I may be horrendous at describing this sort of poppy delight, but others have made the mistake of comparing these Kids to Pulp... which is not at all correct. I can't give an exact comparison here, other than to that of a sort of mid-nineties, pop-punk type of revival. And even that only applies to some of the album. On other songs, like Who Am I Kidding, Hannah Snider's vocals get to shine through and add a softer side to the music. WinterKids are a hard band to place, and one that I'm still letting grow on me.

The Kids will be playing a few shows here in NYC before heading out to SXSW, so check their page for dates.

From Memoirs (buy @ Myspace):
All The Money
Who Am I Kidding



Let it be known now that I am the farthest thing from a Kings of Leon fan, so this album isn't going to get any glowing reviews from me. I'm sorry, but I just cannot grasp how Caleb came to be a singer, or how these guys ever got so big. No offense. That said, I just got an advanced copy of the new album (due out April 3rd), and I figured that some of you may be interested in a preview.

Now even though I don't like the Kings, this was definitely the standout song on the new album for me. The drums and bass lines are reminiscent of an old Nirvana track, and Caleb's vocals actually fit in with it.

From Because Of The Times (pre-order @ Amazon):
Charmer
+ Myspace

After checking out that Royksopp track that Duncan posted on Saturday, I was quickly reminded of a lovely couple of gents from Berlin that remade the very same song in their own blippity-bloopity way. I was impressed when heard them perform this cover live on the Faint tour in either '02 or '03. If you like the cover below, then be sure to give a listen to the other stuff on Myspace.
The Light 3000 (Remake by Schneider TM & KPT.michi.gan)

Also, The Avalanches created this mashup, and it's my new favorite mashup. Check it out (if you haven't already), and you'll see why:
Ray of Zdarlight (Wham vs Digitalism)

In other news, if you've recently submitted music... don't worry, we're getting around to it. There are around 300+ emails sitting in our inbox right now, and slowly but surely I'm getting them sorted about. We may not get everything reviewed, but we're trying.

Love,
Lady Byrd

Soundtrack for a Hungover Morning

It sucks being hungover. There's a wealth of conflicting feelings going on in your head. One is 'ow', obviously that one's quite persistant, but there's also a big feeling of 'what on earth did I do to deserve this? I just had a few beers... is that a crime?' and I think that's the worst part. A hangover is more than just a pain in your head, it's an injustice. A deeply unfair affliction. If last night I'd cheated on my girlfriend, run over an old lady, and robbed a petrol station at gunpoint, then karma would at least be neutral. Or perhaps today is going to be an awesome day to make up for it?

Well, your day is about to get a whole lot more awesome. On some TV ad at the moment, the song "Remind Me" by Royksopp, off their delightful 2002 album Melody AM is featured. It reminded me of the genius of Kings of Convenience's Erlend Oye, who put out a DJ-Kicks album in 2004. That album was one of my highlights of the year, yielding a perfect Scandinavian blend of bleepy electro and gentle atmospherics. It also happens to be the soundtrack for this morning's hangover.

Sheltered Life / Fine Day (A Capella) - Erlend Oye
Poor Leno (Silicone Soul's Hypno House Dub) / There Is a Light That Never Goes Out (A Capella) (The Smiths cover) - Royksopp

As this is a DJ mix album, the starts and ends of the tracks are a little abrupt, but let that be more of an incentive to buy it. The beauty of the album comes not just from the song selection and mixing (both of which are spot on) but also by the way Erlend sings little bits over the tracks himself. To introduce a song, he'll sometimes sing the chorus of the new song over the previous song before kicking it in. Sometimes he'll double the vocals already being sung, and sometimes as in the cases above, he sings an entirely different song over an intrumental version of the first song. These little sparks of ingenuity are what really mark the album way above others of its type. Anyone can put together a DJ mix of songs they like. Not everyone can do it quite this amazingly well.

- Duncan

Meet The D'Urbervilles...

I guarantee you that you'll want to skip the Cole's Notes for this band, and opt for the unabridged listen... these kids are your new breath of fresh air from the oft haughtily chastising overtones of meaningful indie rock.


The D'Urbervilles are Guelph, Ontario, based four piece who take their name from a Victorian tragedy by Thomas Hardy that challenged modernism and sexual mores of the era.

While the world may seemingly have moved on from some of Hardy's themes, the band could not pay more fitting tribute to their namesake through their socially motivated and thought provoking self-titled debut EP that mashes together pointed lyrics about poverty and class disparity with a brand of sophisticated, upbeat musicianship.

I sat down with guitarist Tim Bruton and singer/guitarist John O'Regan, one half of the band, in their home base of Guelph, Ontario; a sleepy suburban town about an hour outside of Toronto. It's not typically known as a musical mecca, but has had a profound impact on the band. It's a small scene, the kind they say that affords them musical latitudes that have help shape them.

"There is really a big variety of music here I think which sometimes you don't get in other cities," says O'Regan. "Like in Toronto, or at least where there is so many people where you can kind of afford to get lost in your own scene playing your own type of music with your own kind of people. But Guelph is so small by comparison that all the bands kind of have to help each other so it's not weird for there to be a rock band, a folk band and a hip hop band or anything all on the same bill at the same time and all those people to know each other and help each other out."

Both Bruton and O'Regan along with bassist Kyle Donnelly and new drummer Steve Hesselink are fond of their suburban lives, the same which many fledgling bands such as theirs would be jumping the gun to leave. Whereas others feel the need to expand beyond their surroundings, The D'Urbervilles draw a great deal of lyrical inspiration from their suburban setting and the social issues it raises in their eyes.

"We were in class the other day and we were talking just about the world and our professor kind of saying he was feeling really not optimistic about the future of things and he used the word 'shit pickle' to kind of coin what he thought the world was becoming, a big 'shit pickle" explains O'Regan. "It's kind of hard not to feel that way I guess, and for me it is taking those influences of living in a suburban community having that kind of lifestyle and realizing how crazy things have gotten."

"Things like that that seem so out reach and impossible to even really change or do anything about, and boiling those feelings down to kind of make sense of some of that is what we really try to do."

Listening to songs such as We're Blowing Up, People Helping People, and W.O.T.P resonate with educated condemnation of social injustices, shining a glaring light on themes of poverty.

Even O'Regan admits though, newer material, while still maintaining a social conscience has ultimately shifted lyrically to focus more on the parts, rather than the sum of the problem. "I think moreso the lyrics are starting to scale down a little in terms of these big grand visions for an awesome world to more like what can we do that is small and reasonable and meaningful with out friends in our own community that is going to make people feel better for themselves. Whether that is making posters, or putting on a show or taking out the garbage."

The band's social stances go beyond their lyrics, and into even their choices to support and play at venues they believe in. "There's this club called The Velvet Elvis, and it's the most queer-positive place in that whole fucking town," says Tim of the Oshawa venue. "When I discovered it was there, that there was this community in Oshawa, I was like holy shit! That's the only place that we'll play because the people that work there and the people that go there are part of this wonderful community that is so isolated. It creates a space where people who might not be so like minded might come together."

But don't let the serious overtones of the band fool you, they maintain a balance of humor at all times. Just take a look at their CBC Radio 3 profile where they list their influences as bears, Oshawa, Guelph, strip malls and unrequited love. Curious choices, non? Well for band that used to play shows in giant Care Bear suits (black market purchases from a store where Tim used to work), I suppose they're more than appropriate.

And perhaps that is one of the best parts of The D'Urbervilles, watching them play live, or talking to them, they convey a newness that is both refreshing and exciting .They typify what is essentially the best part of music, the thought that it is both a social motivator, and a way to just make the most out of a moment. For The D'Urbervilles, heading on a tour of Eastern Canada shortly, and about to record new material this moment is filled with contentment with the goals they have set out for the band in 2007, "I want to make sure the album we put out is the best we can make it," says Bruton.

Similarly O'Regan echoes, "To be able to get paid to do music and to eat peanut butter sandwiches for a year, while not having to work a crappy job would be amazing but at the same time, just playing a show in Guelph and having your friends come and see you. To know that everyone is having a good time is a total success. And whether it's in the activist community or the music community, you really have to measure your so called victories every step of the way."

We're Blowing Up
People Helping People
W.O.T.P.
+ Myspace

Want to know what the D'Urbervilles are listening to these days? Email me at cristifraser@whoneedsradio.com for their playlist... including music from The Germans, Ohbijou, and Cuff The Duke.

Yours Independently,
CA

With Everything we talked about yesterday, I just swallowed hard like I understood...

Hmm... better late than never I hope. Apologies dear readers, my hard drive crashed and my internet is still getting installed at my new shop so had to rush to some gloomy printers now and jump online to do my post.

Unfortunately all the songs I wanted to post of some new artists were also on the hard drive, but luckily I heard the fantastic news that Manchurians 65DaysofStatic are releasing a new album April 30th. Yip, indeed it's rather a long time away, but I guess a little backtracking is in order to familiarize yourselves if you don't know them yet. I do need to mention though, this is one of the most anticipated albums for me since I am, of course, a humungous fan. I mean, what is there not to like about a band that's so unique and diverse, that you have to name drop on artists as varied as Roni Size, Massive Attack, Radiohead, Mogwai, Part Chimp, Four Tet, Manitoba (yes, pre-Caribou i.e. Up in Flames) and Autechre.


Effortlessly blending instrumental rock with some math rock and drum and bass and some glitchy electronica, this band has ushered in a new era of what you can and can't put into a single cohesive unit. Live, their execution is flawless as they bombard you with sonics and visuals, leaving your jaw on the ground to be trampled on by punks and chinstrokers alike. Their live video Await Rescue proves just that.

They also tend to give their tracks rather spiffing titles like, Massive Star at the end of it's Burning Cycle...

You can check them out on their Myspace, then try these out. And be sure to get your hands on everything they've done!

Face of the Earth (Dismemberment Plan Cover)
Massive Star at the End of it's Burning Cycle

drove through ghosts to get here
- Ri

Karolina sings Steso songs

Photo by Lisa Arfwidson
Please, correct me if I am wrong when I say that Steso Songs is an unfamiliar name to most of you readers out there. But please remember it. This girl has some serious talent for making great melodies.

Steso Songs, or Karolina, is 23 years old and has been in different bands for half of her life. But Steso Songs is her solo project which has been going on for a couple of years and she has received some well deserved recognition the last couple of months. Last fall she opened for another one of my favourite artists, Marit Bergman, and it is Marit who we have to thank for dragging Steso Songs into the spot light. When Marit first heard the wonderful pop music of Steso Songs on myspace it wasn't long until Marit had convinced Karolina to join her tour.

I don't really now what to say about the music. Just notice these great intertwining melodies and odd sounds which all come together in a great mix in her songs. I actually think Karolina defines her music in a very accurate way on her website: "a girl who plays the piano and sings in your bedroom," a girl influenced by "dancing, idiots and hospital history." Anyway, here are two songs for you to enjoy... one upbeat and one little more mellow. More songs are available from her web site and myspace.

Steso Songs - The Worse
Steso Songs - This Is For You Girls
+ Myspace

- Eric

Sea Change

As a native Floridian, my recent relocation to Atlanta has me feeling a little cold. At times it's almost unbearable. Ok, so my feet and hands are frozen, you guys. Seriously!

Perhaps that why there's nothing I crave more right now than some sand beneath my feet, the sea breeze nipping at my heels and the kind of oppressive sun that now seems like a distant memory.


This also might explain why, after months and months of Internet raves, I finally broke down and listened to Baltimore band Beach House. Though some of you probably think I'm behind the times, I figure this review will still be news to our international readers: Beach House's self-titled debut will be released in Australia this month on Mistletone Records, the label also responsible for discs by AM radio junkie Ariel Pink and the artist formally known as Panda Bear.

Despite these ties to the kings of fuzz and scratchy, muffled vocals, Beach House share more similarities with that other coastal crew, the Beach Boys. Moving melodies intersperse with jangly beats and wisps of airy sound to create tunes that are emotionally charged, not theme-y.

To enhance that point, it's important to make certain distinctions. For instance, Beach House's sound evokes feelings one generally associates with being in nature, particularly the type made of sun and surf. From a stylistic standpoint, however, guitarist Alex Scally and singer/organist Victoria Legrand are the farthest thing from flip-flop wearing, bear-guzzling beach bums as is humanly possible. The two visually and in song channel a young Karen Carpenter and co. They're the kind to don flow-y frocks on the sand rather than bathing suits and tan-ready skin.

Similarly, the duo's debut is not really reminiscent of summer itself, but the sinking sentiment that comes when warm season is nearly over; the swelling sadness that arrives when the days are suddenly shorter and gray, chilly skies have started to encroach on the leisurely pace of holiday life.

Much like Yo La Tengo and Mazzy Star, Beach House lets notes breathe. Scally and Legrand's individual contributions complement and intertwine with one another effortlessly without ever competing for domination. Space - particularly vintage-sounding, rustic space - is an important tool, one Beach House uses to tantalizing effect.

If you are only now gaining the opportunity to take an aural vacation with Beach House, make haste. Your ears will thank you. And if you're lucky, they might even bring you along for the ride.

From Beach House (Order @ Carpark Records):
Apple Orchard
+ Myspace

Keep bootscootin,
Amy

Manic Monday

Many times too often, I see people slapping the Joy Division comparison on anything with a morose tone. I'm sure it annoys you as much as it annoys me... but when I first heard Sweden's Audionom, it was the first thing to cross my mind. Unlike other comparisons, however, this one actually makes perfect sense. And it's not the only thing these guys can do apparently. Audionom's Retrospektiv (due for US release 2/20/07) is a collection of their material spanning from 1999 to 2002, and the influences heard can go anywhere from the post-punk Joy Division to Neu!'s krautrock sound.

Sadly, I'm not sure if these guys may be releasing anything new soon. The info sheet I got with the album says that the status of the band is "up in the air" due to internal tension, but the Myspace says they're working on a new album. Hmm. Well, here's to hoping that their Myspace is more up to date than this info sheet.

From Retrospektiv (pre-order @ Amazon):
And You Said I Was The Only One
Kristall
Han Gar Och Fiskar
+ Myspace



The Privates were a pleasant indie rock surprise to hit the snail mail box recently. When I first read the bio sheet they included, I have to admit that I was leery after seeing that some of the members also shared their time with pop-punk acts. I'm not the biggest fan of pop-punk, but I'm also not a fan of judging a book by it's cover... so I popped the CD in to give it a try. This, folks, is why you should never assume anything. The album is quite wonderfully done from start to finish. So well done, that I actually had a hard time choosing just which songs to post. Their sound is a mixture of Decemberists and The Walkmen, and One Piece even has a touch of Neutral Milk Hotel to it. I definitely recommend getting your own copy.

From Barricades (buy @ Mean Buzz Records):
Despite The Snake
One Piece
Barricades
+ Myspace

On a side note, and some of you may have already noticed, but there is now a WNR forum for us all to use. Feel free to post about music, talk about the weather, post up your upcoming shows or sell something in the classifieds. All you have to do to get there is click the "message board" link in the sidebar. Enjoy!

Love,
Lady Byrd

Half-Glassed

Apologies that I didn't manage to get a post up yesterday, I've been hellishly busy the last half-week or so. Still, hopefully the awesomeness of The Glass will make up for it.


The Glass are from NYC. Comparable to The Rapture, LCD Soundsystem, Daft Punk, etc... they're a veritable bloggers delight. If you're a fan of that sort of stuff, then I'd strongly urge you to check out the following tracks:

Fourteen Again
Mad At You

Fourteen Again sounds like a journey into a neon canyon full of static at midnight. The insistent chiming guitars and synth build up to a stunning climax that fades away leaving just an echo in your mind. Like looking at an intensely bright light that suddenly switches off, leaving the image imprinted on your retina. Mad At You, on the other hand, is a bit more disco-punk. Full of dancing-robot synths and angular guitars, the pace isn't quite as frenetic as Fourteen Again, but it's no less appropriate for dancing around your room in your underwear to.

I'm not entirely sure when their album is due out, or for that matter a tour, but I'll give you guys a heads-up if I hear anything.

- Duncan

Something old can be something new. And something to answer last week's riddle.

This week in my musical life was a seven-day sojourn of sifting through my CD collection in an effort to re-acquaint myself with some old friends I'd lost touch with.

The funny thing with writing about music is that with new bands, new material and new shows popping up on a daily basis... it seems I have a tendency to be overwhelmed with a sense of what's coming up next, and unfortunately some favorites get temporarily buried in the shuffle.

I was almost equally overwhelmed by the amount of records and CDs I'd nearly forgotten I owned. It was staggering.

Among my favorite (re)discoveries was a cd called The World Is Saved by Scandinavian songstress Stina Nordenstam. Released in 2004, it is my something old AND something new for this post.


Stina is a haunting talent in many senses. The thematics of The World Is Saved are mellow, somber and quietly brooding. Her voice is superb and the arranging skills are reminiscent of Feist. At times Stina can be heard as an elegant precursor to current ingenues like Cat Power. Considering I bought it on a whim one day while shopping if memory serves, I'd say its one of my most enjoyable random purchases.

If you indeed like the sampling below, I'd also suggest going out to find a copy of the Parliament Square Remix by The Knife.

Get on with Your Life
Winter Killing
Parliament Square

And now, as promised.... The answer to our fun game of "Guess That Playlist" last week.

Major kudos to El Jefe for being the Hardiest Hardy Boy by guessing Erik Appelwick (bassist of Tapes 'n Tapes) as our mystery playlister. Something tells me your Minneapolis roots helped you with this one Mr. Jefe.


Erik Appelwick, for those of you who are not familiar, is essentially the Kevin Bacon of the Minneapolis music scene; any two bands can be connected by using his career as a conduit. Suffice to say... he gets around. No, not that way. Or maybe. I honestly don't know. I make reference exclusively to his musical philandering.

The man of a million and one musical projects may have recently found his stride taking over bass duties with Tapes 'n Tapes after producing the band's stellar debut The Loon, but his story begins long before he became a Brother Tapes.

He has been a staple on the Minneapolis music scene for some time with success as a member of a deliciously poppy outfit, The Hopefuls (referenced in clue 3 from last week), and equally ear-pleasing Alva Star. In his own right, Appelwick is also an accomplished producer, having lent his skills to a number of bands such as Fitzgerald and White Light Riot.

My affinity for Appelwick's work began well before Clell Tickle threatened me with bodily harm if I didn't blog glowingly about Tapes 'n Tapes.
But alas, the purpose of this post is to shine more light on my favorite Appelwick project, his solo moniker... Vicious Vicious. Sincerest apologies to Mr. Tickle.

I would be seriously remised if I didn't suggest getting your mitts on a copy of either VV release, the debut Blood and Clover (2003) or follow up Don't Look So Surprised (2005). Both efforts shine a different light on Appelwick's formidable talents. No, he's not just that guy who plays bass in Tapes 'n Tapes, take one listen to Shake That Ass on the Dancefloor, and you'll see he's also a clever and witty songwriter.

By all accounts, Appelwick would appear to be a relatively uncomplicated guy. Our conversation started with the dreaded task put forth for him to describe himself. He was not quite sure how to answer the question. "I'm a normal guy. I prefer summer to winter," he says perceivably half joking and perhaps all uncomfortable. He finally settles on, "I'm a laid back guy."

Through our interview I would say his simple self-assessment prevails. In fact, the only real sensitivity I feel throughout our conversation is when I ask a question I ask everyone because of the variety of answers it spawns, from the quietly contemplative to the downright incited.

"If you were made to choose, which would you rather: a good show review or a bad album review?"

"WHAT?" His voice jumps. He sounds shocked I would even ask the question. "I'd like all good reviews." Fair enough.

When asked about his particular influences, he is reluctant to name names specifically. "My inspiration generally comes internally, or things that are happening in my own life." When listening to either Blood and Clover or Don't Look So Surprised, you best see his point. Both offerings are personal and reflective, while still maintaining a wittiness and playful quality.

Perhaps the most enjoyable element of listening to a Vicious Vicious record, and what makes Appelwick such a relatable songwriter, is the honesty conveyed in hypothesizing that he might be just thinking out loud to better acquaint himself with the goings on of his life through his music. As a listener you're privy to this internal voice, like the soliloquy of a play, an auditory "voyeur" as the dramatis personae of his scenes unfold at his feet. It can be easy to construe this about many musicians, but there is an ease and effortlessness with which he accomplishes this that makes it genuine and not smarmy or self-indulgent.

While winding things up I settle on one final question, which opens up the most formidable part of the conversation. I ask what his plans are for the upcoming year. He eventually says that while recording new material for and touring with Tapes 'n Tapes, that he is also set to begin recording a new Vicious Vicious album. "It will be a departure I think. A good departure."

He finally also has plans to tour with Vicious Vicious, something he's been hoping for, but not as of yet been able to do (mainly because of the grim realities of touring sans booking agent).

In the mean time, while you're chomping at the bit to see Vicious Vicious in concert, delight in the fact that Tapes 'n Tapes might be coming to a town near you in the spring, having just announced new tour dates here.

Shake That Ass on the Dancefloor
+ Myspace

**I must caveat this post by saying that since I did this interview, my laptop crashed and I lost all my bloody notes. Assy. I've tried to reconstruct the jist of the conversation through the shitteous notes I wrote by hand. Note to self: buy a digital recorder...**

Yours Independently,
CA

Have your Horse and Eat it

I am sitting at my house amidst a certain chaos (I've been entertaining a delightful bunch of chaps, 2 lasses and a sidekick for just over half a week now and they'll be crashing at my house til Sunday it seems...) pondering the following thought: Who will cut my hair when they're gone? You see, I am currently getting my hair cut by one of the dames accompanying the Eat This Horse boys on their Tight Fit tour in Gauteng.

Conducting games of broken telephone with speech bubbles filled with silly adventures of battling it out at the kots olympics with kots trol champions and kots cacoons and coming while you cartwheel (don't ask me, rather message them on their Myspace if you're curious), I'm left in stitches and in contradicting awe between the wacky banter and fluid blues jams ringing through the lounge. Tonight, for the record, might be an exception to the previous nights though.

Straight fom the mother city, these Capetonians recently played at my relocation party, Shut Up I'm Dancing, where they definitely left some impressions that should see an entourage of new groupies at the 2 dates they have left over this weekend. Whether it will be the tights in shocking variations of colours or the unison of fro's and curly hair that get the people talking, what should be on the tip of everyones tongue is the sound these boys and their noise generate.


Going shopping has the keyboard doodling quite cheerily throughout, with the rhythm section bobbing along while the vocalist heartily narrates of 2 maybe fictional characters, or unintentional housewives out on a shopping spree... Come and Dance in the Wooden Halls sets a killer pace as a dancefloor filler and might just be an indie anthem to be recognized and reckoned with around here. Sean MacGinty's vocals are slightly reminiscent of a mix between Spencer Krug (Wolf Parade / Sunset Rubdown etc.) and the more falsetto stylings of Alec Ounsworth (Clap Your Hands Say Yeah) dare I say... Even some Jim Morrison beat poetry permeates throughout the live sets... Throw it in with John Withers (a.k.a. MC Post-Modern Cage Lion) on lead guitar & synthesizer, Rey invisible fire Hulme on rhythm guitar, Alex Montgomery (the most genuine of the genuine groove clan) on bass, keys and xylophone (also adding backup vocals), sex god JamieO on skins (get your cowbell on mr. Faull!) and you get something of a bastard child of their beloved Talking Heads, The Strokes and the afore referenced Wolf Parade and CYHSY. For locals, they fit nice and snug between cohorts Desmond and the Tutus and The Wild Eyes.

They are still as independent as they come and as you will hear from their demos below, they are definitely on the road to more than just a local tour...

You can check out more at their official website here. Enjoy!

Going Shopping
Come and Dance in the Wooden Halls

I ain't quite the beauty
Pulls out two guns and shoots at the pretty, pretty view
- Ri