Few people understand my love of this woman. I'm going on record now to say that Joanna Newsom is one of the best songwriters currently working right now, and she's definitely my favourite (sorry, Spencer Krug. We can still have sex, right?). Newsom's Ys is easily my favourite album of all time, and since her Joanna Newsom & the Ys Street Band EP came out last year, a steady trickle of new material has surfaced from various bootleg recordings, like this number right here:

Now, I don't think I've really followed an artist's live material as closely as I have Newsom's (with the possible exception of the heyday of my Yeah Yeah Yeahs obsession [who I still love]), but it seems I'm not the only one. In the first video, she makes mention that people have been angry when she's made changes to her new songs in concert, even though they haven't even been recorded yet. Holy ownership debate, Batman.

I find it really strange that fans who catch glimpses of new material on YouTube feel entitled to dictate what this material should sound like when all is said and done. The great thing about music is that it isn't set in stone. Bands themselves rework their own material for live recording. A band like Xiu Xiu will have live versions that sound nothing like their album counterparts and are still amazing. Joanna Newsom herself re-wrote a lot of her harp parts for her solo ventures and performances with her touring band. Some artists do covers of songs that completely rethink the original, and though you're bound to find people who scoff at the idea of covers and outright loathe when they sound too different form the source material, you're bound to find a few fans here and there who appreciate the de-/reconstruction. I would be honoured if someone read something of mine and decided to completely recontextualize it (for the sake of their art), and I think artists themselves should be able to make changes to their music as they see fit. We'll always have previous recordings if we really love a certain version.

I am incredibly excited for Joanna Newsom's upcoming album, in spite of a lack of release date. This country/folk vibe is totally working for her. I highly doubt that she'll match up to the grandiose arrangements of Ys, but I don't think that's the point and the growth she's shown as an artist so far makes think I'll be spinning new records from Ms. Newsom for a long, long time.

Welcome to the final part of my latitude review!

Sunday (a.k.a the better get up early and see Joanna Newsom Day)

I decided that after the meagre amount of bands I saw on the Saturday that I would make more of an effort on the final day and I was very glad I did.

The person I was looking forward to the most this entire weekend was Joanna Newsom and it seems i wasn't the only one as the main stage was rammed. Added as a special guest, Joanna Newsom got the sort of reception legends get, with people clapping like their life’s depended on it, which in turn helped to create a humongous smile on miss Newsom's face . It must be a weird position for this young Californian harpist to be in. Being critically acclaimed and selling out anywhereshe plays but yet still relatively unknown in the commercial sense but this didn’t seem to faze her too much. Well, apart from during 'Sawdust and Diamonds' when she had to stop quite a few times due to forgetting lyrics. Usually this is the sort of thing that would kill an artist but for Newsom it only added to the overall experience as various members of the audience would shout out the lyrics to try and help her “I’ve never done this before in my entire life, I’m so nervous” This statement only endeared her more to the crowd. Not only did she treat us to songs from both of her amazing albums, she also swapped the harp for a piano for a three new songs, which all sounded amazing. A truly magnificent hour which made the previous nights bands look like amateurs (7/5 yes 7/5)

Next up was a band I’ve liked for some time now but i never really listen to anymore. The band was Fields and they tried their hardest to win over the main stage crowd but it didn’t seem to work. Songs like 'If You Fail, We All Fail' worked perfectly but overall the performance seemed a bit lack lustre (3/5). After that I ran over to the Sunrise Arena to catch Jeremy Warmsley. Last year he was one of those people I wanted to see but also one of those people i wasn’t that bothered about if I missed but this year I was adamant that I would see him, even if it was just to put that ghost to rest. Luckily he was well worth seeing. The old songs like 'Dirty Blue Jeans' sounded great but it was the newer songs that really got everyone going. Imagine Get Cape Wear Cape Fly but not annoying and actually good (4.5/5). Next up was Noah and The Whale. To be honest at this point I was sleeping outside of the Uncut Arena so I will have to go by the two songs I heard and say that they were surprisingly good. Often they get recommended to me by people I don’t trust the music taste of but those people are acquitted for this one! (Not fair to give a rating). Once I woke up I headed over to the main stage for the middle of the afternoon double header of Nada Surf and Foals.

Nada Surf were very good, especially for a band nobody seems to know about. Personal highlight was during 'Inside Of Love' when they got the entire crowd to do a two step, it was just one of those perfect festival moments seeing everyone dance like that. (3.5/5) Straight after that was Foals, a band I hate one day and love the next but thankfully it must have been a day of love for me as they pulled of one of the performances of the weekend. Playing mainly from album Antidotes, Foals felt like seasoned professionals, despite only just arriving in time from Spain after their appearance in the early hours of the morning at Benicassim. Personal highlight was 'French Open' (4.5/5). The main talk of the day was about seeing Blondie that night but not caring either way I decided to check out Okkervil River for a few songs before heading back to the tent to cook. They seemed pretty good but to be fair I only saw a couple of songs so I wont judge.

Once I got back to the tent and drinking with friends entered my agenda the idea of seeing Interpol was shut short, add this to the pouring rain I just don’t think I was meant to see them play. So that was that, another year over, and yet another great experience. Easily still the best festival I’ve ever been too, this includes Glastonbury and I really can’t wait for next year to make it four out of four!

Come back on Sunday for my Latitude Mix-Tape!

Oliver

Joanna Newsom: Somerset House 21st July 2008 (2)

Originally uploaded by Andy Waterhouse

Armed with just a harp and a grand piano Joanna Newsom submerges Somerset House in playful folk mysticism. Playing solo is a bold move. It is also beset with the potential pitfalls of self aware postulating and showing off (witness Beck’s one man band show at the Albert Hall several years ago – immense though it was, there was an underlying atmosphere of smug self serving cleverness). None of that is witnessed here. Joanna immediately transports the audience to a folk alterna-verse. For this brief hour and a half we are moved to another metaphysical dimension. Intensely oblique lyrics and multi faceted melodies are the modus operandi here. There is a mesmerising and hypnotic quality to her performance. The sprawling and densely layered songs lend themselves to these paired down interpretations. The mixing of flavours and orchestral filigree which defines her Ys album is absent this evening. This absent audacity could be lamented and it is undoubtedly missed. However the removal of these layers allows the underlying core strengths of the songs to emerge. The melodic profusion and momentum which can be smothered by Van Dykes 'throw in the kitchen sink' arrangements come to the fore. The songs also benefit from allowing the lyrical saturation to be appreciated.

Although this is Joanna's second gig in one day she is still adapting to the British weather. On a chilly summers evening she is definitely feeling the cold. Yet somehow this fails to stultify either her or the rowdily deferential audience. The bare bone sound offered does require much more palpable attention from the audience. The surrounding hush and awe magnifies the focus and sense of event.

The set is a mixture of old with a sprinkling of new "work in progress." Emily and Cosmia are both distinct pivotal points of greatness. Particularly haunting and propulsive is Colleen which is a driven yelping polka. This song shares some common ground with Kate Bush's "Jig of life". It has a madcap edge of cliff ferocity matched by the uplifting string plucking. On recordings Joanna's voice can present as somewhat girlish yet live the high tones are welcome and warming.

Half way through Joanna swaps the harp for a grand piano. At this stage she performs several new songs one of which she says the ending has changed (she suggests the audience compare it with other versions available in cyberspace). The new material is striking and instantly consuming. At this stage I realise that these piano driven songs are comparative to seeing Brian Wilson perform "Surfs Up" alone on the piano. Although perhaps they will gain added dimensions and authenticity with a more developed arrangements, they are miniature uncut diamonds already. In this particular case less is definitely more.

Vision (9/10): Harp Americana folk with a psychedelic sprinkling for seasoning (in other words unique)

Ability to execute (8/10): Mildly hampered by a chilly summer evening and being solo (Just Joanna and harp/piano evident) Yet, despite the self imposed minimalism, hypnotically engaging throughout.

Crowd symbiosis (8/10): Fanatical and diligently in rapture

Would see again (9/10): Like an inexplicable excursion to a tone poetry/harp dreamscape... Undefinable, intangible yet warm and wildly welcoming.

I haven’t been to any of the Somerset House series of summer concerts in many a year, which is unsurprising given that they appear to have descended to the booking of identikit guitar-toting kid-pleasers.   I suppose that keeps the money flowing through its grand arches; Somerset House having once been the administrative centre for the nation's tax take.  In fact they still have a presence there, and on our way in, we all grudgingly handed over our bottles of water – truly one of the most pernicious of modern taxes.  

Last time I saw Joanna Newsom, she esoterically asked British folk artist (and master of the twixt-song extended digression) Roy Harper to support, and he obliged with a startling reading of his classic album Stormcock.  I’m not sure if she hand picked the Red Krayola to support, in what was their first London show in twenty years, but it was another fascinating choice.  I have no idea what Mayo Thompson has been up to in the last forty years, being familiar only with his late ‘60s output, and sadly my wishes for a reprise of their freewheeling psych-rock debut The Parable of Arable Land were not to be fulfilled.  Instead, with Thompson on guitar, along with a drummer and saxophonist, we got some shorter, more fragmented songs, which grasped at the blues, free jazz and musicals for their inspiration.   Unfortunately they decided to supplement this with the vocal “stylings” of a woman who appeared madder than a treeful of biscuits, whose contributions were alternatively swinging her arms about and forgetting her lyrics. The highlight came when they introduced a song about a “bird called John”, and right on cue a pigeon launched itself from the stage and swooped over an excitable crowd to cries of “there he is!”.

Teleporting into London (I can’t imagine this unearthly creature on anything as mundane as a bus) after a set earlier that day at the Latitude festival, Joanna Newsom thumbed her nose at the traditional British summer weather (gusty wind, a threat of rain, not at all warm) in a flimsy, pastel-striped bit of a dress.  The she had a go at us: “you all look so pink!  So many white people!”.  How exciting: this was clearly going to be the night when she was to unveil her new Harp’n’B direction.  Or perhaps not. In fact, the seventy-five minute solo set (each fifteen minute interval was intrusively marked by the tolling of the House’s bell) was split roughly three ways between the highlights of The Milk Eyed Mender (“Bridges and Balloons”, “Sadie”, “Inflammatory Writ”, “Peach, Plum, Pear” and “Clam, Crab, Cockle, Cowrie”), a couple from Ys  (“Emily” and “Cosmia”) and – excitement up on excitement – new stuff.  Piano-based new stuff at that.  

The solo delivery of the older material (she had a band last time I saw her) meant I was better able to focus on what she was actually doing.  The intricacy of some of her harp-playing was dazzling; in particular, the outros of a goosebump-inducing “Emily” and of “Peach, Plum, Pear” bordered upon ornate.  Her singing seemed less mannered too; true, “Emily” still featured that delicious squeak, and “Colleen” that startling Celtic yelp, but otherwise the edges had been slightly filed down.  It felt a bit less forceful too, although this may have been a result of the wind which was by now whipping the sound around the square - the rippling of stage canvas was a less welcome addition to the sound mix.

The still unfinished new material was a treat, both for us and it seemingly for her too. It sounded to me like a more epic and strangely bird-obsessed Carole King, although the milkman’s genre-dar was picking up a country vibe.  One of them, about a cuckoo, had her singing in a gorgeous falsetto, while another, about a baby bird, rambled endlessly (as in it had no end, or not one she was happy with at least) and somewhat typically (for her) across multiple sections.  My itching for the new album starts here.

Sadly, and quite possibly as a function of her ill-advised selection from her wardrobe - seriously, she must have been bloody cold - there was to be no twenty minute “Only Skin” encore this time, and we were forced to pick out way out through the debris of discarded pear cider bottles (when did we stop calling that “perry”, by the way?).  Having paid our dues, the sea of white faces flowed out with a satisfied sigh into the gutters of WC2.

"Young Folks (Peter Bjorn & John Cover)" - The Kooks

"Rich Girls" - The Virgins (left)

"Gravity Rides Everything" - Modest Mouse

"Agoraphobia" - Deerhunter

"The Book of Right-On (Pocketknife's Scowling Owl Remix)" - Joanna Newsom 

How's it going?

I've just got back from Latitude 2008 in Southwold "the heart of Suffolk". It was actually closer to a place called Wangford but I don't think it would have had the same poetic ring to it.

Had an absolutely amazing time there. I arrived on the Friday afternoon and was down to play the bbc introducing stage (ie: the lake stage) at 7.30pm. Well...it should have been renamed the bbc intimidating stage as it was massive....and there were loads of people there. The stage must have been one of the best placed in the festival as it was right in the middle and everyone had to walk past it to get to the other stages/away from them. This meant there was a huge passing business potential.

I set up my tent (the pop up kind - we'll be hearing about this in more detail as i describe how to fold it away) and went on my way to the backstage bit....and yes...before you ask. I had a dressing room...so yeah...let's say I've finally made it. inside said room was a sofa and a pot plant from ikea, some drinks, mirror, and some sweets....absolutely none of the crack i asked for in my rider...I know we were some distance from camden, but it could have been flown in by helicopter or something with an equally high carbon footprint.

So the time arrived for me to perform and I did so. It went well and I believe I even saw some people dancing out the corner of my eye.

After playing it was such a relief to have my nerves calmed and therefore enjoy the rest of my time there.

I must just say that I saw the tail end of Errors set and they sounded fantastic. I'm definitely going to be buying their album.

Day two got off to a good start as the heavens opened whilst queing for a coffee. God must be a tea drinker. (note to self: must use that line in a song....possibly about god and his drinking habits...maybe with a reggae beat?)

Saw Sebastien Tellier who was brilliant even though he only had time to perform four songs. not really sure why that was, but there were a few french gesticulations in the direction of the stage manager. After a bit of a break we (me and my posse) went to watch aforementioned posse's friend Miles Jupp in the comedy tent. fantastic comedian so check him out. Stayed on to watch Rich Hall who made it look all too easy.

Finishing off the night was a double bill of Elbow followed by Sigur Ros. Now...I've never seen elbow play live before, but my manager has been raving about it ever since I met him. And he was right. a truly stunning performance from the most underrated band in britain. Sigur Ros was just something else. equally as good but in a completely different way.

day three (the third and final day) was a corker. (note to self: you can't get away with using corker in a sentence...never try again). Joanna Newsom, Sam Isaac, Luke Leighford, Midnight Juggernauts, the cocknbullkid and the wave pictures all sounded great. but the icing on the cake was seeing Rod Thomas perform his best set ever. Definitely the festival highlight from me and my posse.

The evening was rounded off nicely with a Caribbean goat curry and dancing to the Moshi Moshi Djs. 

A great time was had by all.

thanks Latitude! (although next time make the programmes cheaper...punters have already paid to come and see the bands...the least you could do is let them know when they're on.)

Word

James

Oh yes...the tent....well to cut a long story short...we struggled to fold it up until a kind fellow came to our aid.

Key Tracks: "Constructive Summer," "Sequestered in Memphis," "Lord I'm Discouraged"

Older: Joanna Newsom - Ys.  In 2006 there was a lot of hype surrounding the young harpist, but for various reasons I decided that itYs (pronounced "ees") was not worth my time.  I think it was mainly her voice that discouraged me at first, but it is definitely something worth listening to.  I will admit, it can sound a bit annoying at first listen, but if you stick it out past more than 30 seconds, that goes away quickly.  The complex arrangements, even more complex lyrics, and overall aesthetics of the album are extraordinary. 

Key Track: "Emily"

Nuevo jueves, nuevas basuritas.

Panasonic, Toyota y Warner se lanzaron un publicity stunt divertido al poner a competir al Batmovil en la fórmula 1. Los pilotos de la escudería japonesa: Timo Glock y Jarno Trulli, pudieron competir contra el vehículo del hombre murciélago y manejar el bat-pod respectivamente.

La nueva edición de la revista Empire tiene la primera foto de la cinta "X-MEN Origins: Wolverine", a estrenarse el 1 de mayo del 2009. Es cualquier vaina la foto, pero bueno.. acá les va igual para que se emocionen porque son unos geeks.

El 4to video journal de Watchmen está online en este link. Pueden ver a Dave Gibbons hablando sobre la peli y ver imagenes nuevas de los sets de la cinta, que a mi parecer estan bien arrechos. Pueden volver a ver los 3 primeros episodios en la página oficial. Una buena noticia relacionada: Warner confirmó que el primer trailer de Watchmen será estrenado en las salas de cine con la película Batman: The Dark Knight. (Aún no se sabe si eso va a ser solo en USA, esperemos que no sea así)

Y lo más divertido para el final. Si, como yo, son fans del indie, les gusta colorear, o simplemente simpatizan con la organización (RED), entonces seguramente sueñan con poseer COLOUR IT, un libro para colorear inspirado en bandas como LCD Soundsystem, Sufjan Stevens, Animal Collective, Grizzly bear, Joanna Newsom y más. El catch está en que en verdad no lo pueden comprar en ninguna parte porque no es mas que un proyecto universitario de un ilustrador inglés, pero bué... esperemos que pronto lo saque al mercado.

El muxtape de esta semana va dedicado al libro COLOUR IT y tiene canciones de los artistas que salen en el libro( y cuyos discos deben estar en sus librerías musicales) Pueden escucharlo acá.

- Portishead in working-on-new-album shocker
- Juana Molina to release her fifth album in October
- Polaris Music Prize shortlisted nominees announced
- All-star tribute to Judy Collins out in August
- Leonard Cohen's touring partner Sharon Robinson to release debut album
- Ladyfest Manchester 2008 fundraising compilation goes on sale
- Joanna Newsom and Feist immortalised in a children's activity book

* * * 

Perhaps buoyed by the astonishingly positive reception afforded to their comeback album, Third, Portishead have reportedly begun working on a follow-up. Speaking to BBC 6Music, guitarist Adrian Utley said the band were already "getting a bit of a plan together," adding that the limited touring behind Third was so that the band could focus on other projects and spend more time with their young families. His bandmate Geoff Barrow had already expressed a desire to write some new tunes in a blog posting in May; Beth Gibbons, as ever, has maintained a dignified silence on the matter.

* * *

Our favourite Argentinian Juana Molina has announced details of her upcoming fifth album, Un Dia, due for release on October 6th through Domino Recordings. The album is said to forego the meandering field recordings of the brilliant Son for more rhythmic fare. Fans should get a taste of the new material when Molina heads over to the UK for the Electric Picnic festival in Ireland on August 30th and a special show at the Regents Park Open Air Theatre in London on August 31st.

Un Dia
01 Un Dia
02 Vive Solo
03 Lo Dejamos
04 Los Hongos de Marosa
05 Quien (Suite)
06 El Vestido
07 No Llama
08 Dar (Que Dificil)

* * *

Basia Bulat, Stars, Kathleen Edwards and Black Mountain are among the ten Canadian acts shortlisted for the third annual Polaris Music Prize, the equivalent of our Mercury. The winner of the $20,000 prize money will be announced on September 29th. Caribou, Holy Fuck, Plants & Animals, Shad, Two Hours Traffic and The Weakerthans make up the rest of the numbers.

* * *

Dolly Parton, Joan Baez, Chrissie Hynde, Shawn Colvin, Dar Williams, Amy Speace and The Webb Sisters and are among the 15 artists contributing to a new tribute to folk legend Judy Collins. Inspired by a casual compliment from Chrissie Hynde in which she revealed that Collins's ‘My Father' was among her top ten favourite songs, independent label Wildflower Records set about crafting the all-star tribute due out August 5th in the US. Leonard Cohen, an old friend of Collins, also makes an appearance, reciting the lyrics of her early song ‘Since You've Asked'. The full list of contributors looks a bit like this:

Born To The Breed: A Tribute To Judy Collins
01 Joan Baez - Since You've Asked
02 Jim Lauderdale - Easy Times
03 Dolly Parton - Fisherman Song
04 Chrissie Hynde - My Father
05 Shawn Colvin - Secret Gardens
06 Kenny White - Song For Martin
07 Amy Speace - Born To the Breed
08 Rufus Wainwright - Albatross
09 The Webb Sisters - Fortune Of Soldiers
10 Jimmy Webb - Fallow Way
11 Bernadette Peters - Trust Your Heart
12 Dar Williams - Holly Ann (The Weaver Song)
13 Ali Eskandarian - Song For Sarajevo
14 James Mudriczki (Puressence) - Che
15 Leonard Cohen - Since You've Asked (reprise/dialogue)

* * *

Speaking of Leonard Cohen, his longtime musical partner Sharon Robinson is set to release her debut solo album, Everybody Knows, once she finishes touring with the venerable Mr Cohen at the end of November. Well, it may be sooner, we haven't quite been able to figure that out. As it happens the album is already available in the US, having been released at the beginning of June, but this isn't the US so this is still news, right?

Anyway, three of the songs were co-written with Leonard, including the title track (from his classic 1971 album I'm Your Man), ‘Summertime' (later recorded by both Diana Ross and Roberta Flack) and ‘Alexandra Leaving' from Robinson and Cohen's collaborative album Ten New Songs. Also included is Sharon's version of ‘The High Road', covered by Bettye Lavette on her brilliant album I've Got My Own Hell To Raise.

Everybody Knows
01 Invisible Tattoo
02 Party For The Lonely
03 Everybody Knows
04 The Train
05 Secondhand
06 Forever In A Kiss
07 The High Road
08 Sustenance
09 Alexandra Leaving
10 Summertime

* * *

Bearsuit, Vile Vile Creatures, Penny Broadhurst and The Bobby McGees are among the acts featured on a new compilation released through Cherryade Music to raise funds for Ladyfest Manchester 2008. The three-day festival takes place at the Zion Arts Centre in Hulme at the beginning of November. Find out more here.

The tracklist in full:
01 Bearsuit - Chargr
02 Das Wanderlust - It'll Never Be Yours
03 Shrag - New Favourites
04 The Bobby McGees - Bumhead
05 Town Bike - Trouble Fuckin Rocks
06 The Lovely Eggs - I'm In Your Scene
07 Amy Pennington - Dirty L'il Secret
08 Blockshot - GPS
09 Penny Broadhurst - Team Leader [MinuteToWinIt edit]
10 Hotpants Romance - We Used To Meet
11 Kids Love Lies - Hex
12 Vile Vile Creatures - Break Like Bones
13 Violent Vickie - Knock You Out
14 The Seven Inches - Cashback
15 STeLLa PaCe - Luv Yr Self
16 Pianofingers - The Bone Palace

Available now at the Cherryade online shop for a mere £5.

* * *

A design student from Huddersfield University has come up with a novel colouring/activity book based on images from the songs of some of our favourite indie rock stars, including Feist and the inimitable Joanna Newsom. Andy J Miller created the book as a potential fundraising idea for the HIV/AIDS charity (Red). At the moment these little beauties are prototypes only, i.e. you can't buy one, sorry. Pitchfork have some great scans though, if you want to take a closer look.

* * *
Alan Pedder 

E o que fazer com este tal livrinho? Bom, ele vem acoplado em forma de encarte ao CD e vem junto com um giz de cera vermelho. Aí você escolhe entre levar James Murphy pelo labirinto até os seus amigos, ou colorir o carrossel do Beirut ou até mesmo procurar as palavras no caça-palavras da Feist.

O melhor de tudo é que além de extravassar sua estripulias infantis, você fica com a consciência limpa e ajuda a instituição (RED), que se dedica no combate à AIDS em Gana. Além da idéia genial de Miller, a (RED) conta com produtos exclusivos de marcas famosas como GAP, Emporio Armani e Apple como contribuintes na arrecadação do dinheiro.

Conheça mas sobre o trabalho artístico de Andy J. Miller clicando aqui

Autor: Cédric Fanti

Fonte: Pitchfork

I have a feeling none of us are actually cool enough to listen to her music.

That being said, wow.

I have to second Jordan's Scarlet bashing. Who the hell does she think she is, covering Tom Waits? And what is with these hipsters buying into it? If you actually like music, you would just buy some Tom Waits albums and actually enjoy his music the way it's meant to sound- the jagged, gravelly voice of a deranged pianist, not some actress singing from the bottom of a tin can, or a toilet. There's a reason they had Scarlet singing karaoke in Lost in Translation. It was karaoke. She isn't a real singer. Get over it.

I guess I'm only partially surprised that the album hasn't flopped completely. Scarlet is Woody Allen's new muse, apparently. And before that, she starred in the aforementioned Lost in Translation, so she had that working in her favor.

(Unless we mention The Perfect Score...but I guess hipsters forgive her?)

Honestly, the carelessness of indie music is starting to bother some people (i.e. my boyfriend, Alex, who argued with me about the state of indie music for 45 minutes the other night). I figured that I could segue way into this since I think it's safe to say that Scarlet is not a classically-trained singer, unless we map her progress from Obama's "Yes We Can" video in which she made an appearance. But I digress...

Position 1: I stumbled upon MGMT and The Black Kids recently. I don't really think it's music to live your life by, but I think it's fun to dance to.

Position 2: Alex thinks that this careless attitude has started to infiltrate a lot of the music that is a part of the whole indie genre, and that it instills this sort of hipster attitude in you if you listen to it.

I agree with Alex's first point in his position, not only because I understand that Alex comes from a musician's perspective (he goes to school for Music Therapy, with a concentration in guitar), but because I can honestly say that there isn't a hell of a lot of spectacular talent in a lot of indie genre bands. I used to like Tilly and the Wall, and it's still a fun idea, but the only thing setting them apart at all is, well, tap-dancing. This whole shouting thing on the other thing, a la Black Kids "DANCE, DANCE, DANCE, DANCE!" has become sort of a trademark (at least in what I've heard) and annoyingly non-musical.

But! I am not inclined to go around wearing day glo kerchiefs and sweatbands screaming "DANCE, DANCE, DANCE, DANCE!" to people on the street. I like to think that my musical taste has some integrity. (Hence preferring Tom Waits, to backtrack a little bit. I'm not trying to toot my own horn here because I would hope that everyone would prefer Tom Waits). But c'mon, I worshipped Zeppelin when I was eleven!!!

I don't even know, guys. I'm still confused about the exact definitions of the indie genre. I know that indie (as in on independent labels, THE WAY IT WAS ORIGINALLY INTENDED) artists should be set apart not only for innovation, but for their talent (in my opinion, Joanna Newsom, Cocorosie, Deerhoof, Neutral Milk Hotel). Obviously, you can argue my tastes. I'm just a confused, artsy little gal who is attracted to the indie movement, but frustrated by its definitions. I won't even really get into the other aspects of the indie movement, like fashion (BIRD TATTOOS, BIRD TATTOOS, BIRD TATTOOS) and the minimalist (silhouetted) artwork

that keeps showing up as prints or on shirts (that makes my panties a little wet). I'm just gonna end this by saying that, you can't entirely define a culture when you're in the midst of it, and it's still going on. Do you really think people would have worn leggings and headbands in the 80s if they had actually thought about or understood the culture of the time?

Oops.

Not exactly 'asked', more encouraged. It seems people get interested in my tales of woe surrounding a magazine I started.

Perhaps not 'woe' (I hate inverted commas and I've used them plenty in this first post), perhaps tales of the rollercoaster of running a project set up out of love and a desire to help the people who matter most in this world get a break from the advertising hungry, big label hugging music publications of yore without any tiny element of business sense.

This sudden burst of inspiration could be triggered by a desire to get said magazine wider coverage, it could be a result of my own personal narcissism, to get more relevant results when you type my name into Google (although if you look at Google images, the first result is of me clearly telling a fabulous joke - I come in ahead of Gareth Gates too, which is nice).

Searching for myself on Google, aside from the obvious personal insecurities this may or may not highlight to the casual reader, it gives me a chance to take a glance back at my personal triumphs and tribulations of what <John Peel Quote>we'll laughably call my career</John Peel Quote>.

For example, I noticed that in 2006, when I did the odd bit of scribing for the still excellent music website Twisted Ear, there is a list of what we/are my favourite albums of that year. They were, in a particular order:

1. Joanna Newson - Ys
2. Scott Walker - The Drift
3. Kazoo Funk Orchestra - Midnight Finger Painter
4. Sufjan Stevens - The Avalanche
5. The Flaming Lips - At War With the Mystics
6. Fucked Up - Hidden World
7. Thom Yorke - The Eraser
8. Coachwhips - Double Death
9. Calexico - Garden Ruin
10. Venetian Snares - Cavalcade of Glee and Dadaist Happy Hardcore Pom Poms

Which, although I tend to wildly vary my musical tastes at times, is a pretty accurate reflection of how I feel 2006 probably was for music - not that great. If I were to rewrite the list, the lovely Joanna would still come first as Ys is probably one of the greatest records ever made. No ifs, no buts, any record that has an orchestral score written by Van Dyke Parks is well deserving of greatness.

What I feel would change is Calexico and The Flaming Lips would drop off to be replaced by Alela Diane's The Pirate's Gospel and Trunk records' amazing compilation Fuzzy Felt Folk would rocket up the chart to number three (because The Drift is a phenomenal piece of work).

As much as it pains me, the genius of Venetian Snares would probably drop off the list too, if only to squeeze in Bill Wells & Maher Shalal Hash Baz's quite astounding Osaka Bridge. Other notable mentions from 2006 go to David Shrigley and his spoken word record Forced to Speak With Others, Grandmaster Gareth's The Party Sounds of Grandmaster Gareth, Wisby's Dirty Fan Male and Yppah's You are Beautiful at all Times.

In fact, what do all these changes tell us about music in 2006? That is was pretty good? Or is there a different lesson to be learnt? The fact that no matter how forward thinking you are, the more you look for the next great record, there is probably a huge trail of ingenious music lying hidden in the past.

Currently listening to: Dawn of the Dead - unreleased incidental music (Trunk)

Three Covers That Make Me Want To Gouge My Eyeballs Out:

1) Scissor Sisters - Take Me Out (Franz Ferdinand)
2) Madonna - American Pie (Don Maclean)
3) Razorlight - Hey Ya (Outkast)

Four Hilarious Covers:

1) Snow Patrol- Crazy in Love (Beyonce)
2) Yael Naim- Toxic (Britney Spears)
3) Petra Hayden - Don't Stop Believing (Journey)
4) Frente! - Bizarre Love Triangle (New Order)

Five Kickass Covers

1) Cake - I Will Survive (Gloria Gaynor)
2) Nada Surf- Where is My Mind (Pixies)
3) Nouvelle Vague - Too Drunk To Fuck (Dead Kennedys)
4) The Decemberists - Bridges and Balloons (Joanna Newsom)
5) BOTH Jeff Buckley AND Rufus Wainwright - Hallelujah (Leonard Cohen)

Michael-Bradley's Picks

1. Liars - Plastic Casts of Everything

This is the opening track off the the noisey New York rockers Liars' latest and self titled album. This album terrificly just drudges along, with robust smears of melody and rhythm. Even though I've heard comparisons to newer noise rockers Health (who I admit share some styles  occasionally [less so in this album]), this album reminds me more of SF punkers Flipper, in their sludgy sounds. Plaster Casts of Everything is a great opener, setting up momentum that carries through the whole album.

2. Sebadoh - Not a Friend

This may not be the best song to be singing by a friend. But i can't help myself right now, so I apologize in advance..... Sebadoh is a wonderful band from the 90's with a sort of post-punk sensibility, that are really important for the development of lo fi and indie music.  Their soft analog distortion used on the guitar is part of that patented Sebadoh sound that had me hooked early on.  Bakesale is I think their finest album, where I think their style really came into it's own- mixing between real rocking songs, to quieter jams like Not A Friend.  The open writing style of Sebadoh's lyrics are really refreshing.  Sometimes it's nice to have a singer talk to you in the way you would to them. The final track off this album, Together or Alone can just melt me down.

3. Suffocate For Fuck Sake - Blue Lights and Sunshine

Woah, right? Either you're incredibly interested, or you've already moved on.  Suffocate For Fuck Sake is a really great band I just discovered from Sweden. This clearly won't be for most, but I suggest giving the song a whole play through, cause you're not going to find stuff like this on the radio.  They go from quiet and beautiful post-rock pieces with clips of Swedish talking sound bites (anybody want to translate), to some really heavy stuff! Post-Rock has been a genre that always bothered me. Bands like Explosions in the Sky and Mogwai always just frustrated me. Maybe I could just not appreciate their minimalism, but I found them totally boring. Their music never went anywhere. I always thought Post-Rock would be amazing if you use it in parts, while not being afraid to blast through others. I started finding a few bands like *Shels [sic] [http://www.myspace.com/shels], who did that, but was never satisfied with the results. UNTIL, i heard SFFS, and their brief titled first album "Blazing fires and helicopters on the frontpage of the newspaper. There's a war going on and I'm maching in heavy boots." They've found the perfect match of Post-Rock and heavy-[something] for me!  Don't be afraid of the scream.This album is mind blowing. Interesting fact is that they are the poster child of music globalization. Swedish band, with a label and publisher in Mexico? Pretty cool.

Jonathan's Picks

1. John Legend Feat. Andre 3000 - Green Light

I like John Legend. I've liked him since I first heard "Used to Love U" back in 2004. And I continued to like the man and his music through his first two albums, Get Lifted and Once Again. In fact, the first time I heard "Ordinary People" and "Again," I think I was ready to add them to the pantheon of all-time great love songs. (Or at least all-time great lovers quarreling songs). I never minded the fact that Legend seemed basically stuck in one gear all the time, never venturing far from his R&B/Soul sound, even when it meant some of his material sounded borderline repetitive. But the man is a crooner. He's old-school like that. And I like that about him. So when I heard the first single off Legend's upcoming third studio album, "Green Light," I was confused. Something like: "Wait, this is John Legend? Really? Wow, dude's really going in a different direction on this one, huh?" And that he is. "Green Light" is a catchy uptempo synth-fest, which still allows Legend to get on his love story tip, yet sounds unlike anything he's ever done before. And this new, loosened up John Legend is brought out of his shell by a jocular (and literally laughing at times) Andre 3000, whose guest verse appears to slip away from him towards the end, only for him suddenly reveal he's been freestyling the whole time. Jokester. But Andre's "throwaway" line directed at Legend as the track rides out really says it all: "Sometimes you gotta step from behind that piano!" He definitely did.

2. Lady GaGa Feat. Colby O'Donis - Just Dance

There's something I want to say that applies to both my second and third picks: there was a time when "pop" music (aka "popular" music) meant that the music itself was easily accessible and enjoyable to the average listener. But it absolutely did NOT mean that the music had to simplistic, dumbed-down, or mediocre, and it did NOT mean that it was to be made largely by talentless artists with no skills or ideas of their own. The Beach Boys and The Beatles were a far cry from the modern-day no-talent-ass-clownery of Paris Hilton and Lindsay Lohan. Thus, I want to highlight two new "pop" singers who bring a little more to the table. First, Lady GaGa. Horrible name aside, this 22 year old New York City lifer and downtown scenester actually possesses far greater talent than our average pop singers of today. The girl went to NYU's Tisch School of the Arts at age 17 and Tisch isn't like a record company -- they don't just let anybody in and hand 'em a mic. You gotta have more talent than 99 percent of the population, and Lady GaGa (sorry, but my god I hate that name) certainly has talent -- the girl's got a powerful and clear voice built for tearing down arenas and stadiums (in a good way). Her lyrics are fun, playful, and poppy to be sure, but they're also slightly wacky and even a little edgy (gasp!) at times. "Just Dance" is the first single off her debut album, and it features rising male pop star Colby O'Donis. It's just funny because I've never noticed that O'Donis had a weak or lousy voice before --and he doesn't, really -- but he is COMPLETELY outgunned and gets COMPLETELY shown up by the overly talented newcomer, Lady GaGa. So just try to forget about the clothes, the hair, and the makeup. That isn't the point of pop music. Instead just remember the voice.

3. Keke Palmer - Bottoms Up

An even more interesting case of a new pop singer with a little too much actual talent is Keke Palmer, who's still known mostly for her roles as a child actor in films like Akeelah and the Bee and Jump In!, though now seems to be transitioning into the music world. Now I haven't seen either of those movies, so I have no idea if she can act. (I bet she can). But damn can she grab hold of song and take it for a ride under her control. And it's not just that Palmer can actually sing well, it's that she easily flits back and forth between her singing and some shockingly convincing rapping, which somehow (I have no idea how, seriously) manages to avoid sounding the least bit awkward or forced. "Bottoms Up" is clearly just a fun party track with a better-than-it-has-to-be beat before anything else -- the title says it all --regardless of how you interpret the type of "bottoms" Palmer is encouraging us to raise. But here's the thing: Palmer's still young. How young, you ask? Very young. So now I ask that you take a good listen or two to "Bottoms Up" before running over to "the Google" to find out just how old the lovely and talented Ms. Palmer actually is. After hearing the song for the first time months ago and doing that very thing, my jaw practically hit the floor. Her self-confidence on the mic and her natural command of the song is utterly incredible for anyone Palmer's age, so if this girl doesn't become a star now, she damn well should be one someday.  

JustJake's Picks

1. Fiona Apple - Extraordinary Machine

This weeks picks are from my two favorite females in pop (I guess that's what it's called). This first one is the title track off Fiona Apple's extraordinary 2005 album, Extraordinary Machine. Time and again, I keep coming back to this album which has proven that it deserves every bit of credit that it got when it was released. Under the tutelage of superproducer Jon Brion, Apple broke new ground on this record, not only for her but for female pop stars in general. This song, by far my favorite of hers, is just one example of the album's quirky-beautiful arrangements and Apple's subtly-perfect timing.

2. Joanna Newsom - Bridges and Balloons

Another opening track to a strange, sensory, and groundbreaking album, "Bridges and Balloons" is a fantasy and a journey. I haven't really figured out where Newsom and her nymph-like voice is taking us, but it's somewhere quiet, fluid, and pretty. Her harp is a flurry of beautifully constructed melodies and is the true star of Newsom's music, although many don't get beyond her voice. Her style can seem queer or even creepy, but after watching her captivate an entire opera house, with standing ovations to boot, I will defend her magic and its power, however odd they may appear.

roswellmueller's Picks

1. Vampire Weekend - Oxford Comma

I'll start off by saying that I do not like Vampire Weekend. While I can sort of understand their appeal, I just really am not impressed in any way by this album - the exception being Oxford Comma. For the life of me I can't decide why I like this song, I just know that I can't get it out of my head and have kept it on my commuting playlist for weeks now. It might be the irritatingly catchy lick at the center of the song, or the simplistic drumming reminiscent of Ringo at his most unimaginative, I'm not sure. I just hope I either get sick of the song, or it stops getting stuck in my head sometime soon.

2. Maps & Atlases - The Ongoing Horrible

A month or so ago, Mr. Michael-Bradley put up Maps & Atlases - Trees, Swallows, Houses on Quick Hits. Now, I've never listened seriously to math rock but this record completely sold me, unbelievable musicianship. An early favorite (probably because it's the most accessible from an outsider's perspective) is "The Ongoing Horrible." Lacking the frenetic pacing of the albums other tracks, the song highlights Maps uncanny ability to create intricate harmonic landscapes through crisp, meticulous technique and complex rhythmic structures.

3. Peter Gabriel - That Voice Again

I'm currently in the midst of a nostalgia binge, reverting back to some of the old chestnuts from my childhood. Specifically, the period where my parents' music was still the only stuff I was listening to (I'll spare everyone the Kenny Loggins and Gordon Lightfoot my dad was partial to around this time period). But, it should come as no surprise that Peter Gabriel was in heavy rotation for as long as I can remember being able to recognize the music that was playing around me. Either by osmosis or on its musical merits, which are considerable, "So" remains one of my favorite touchstone albums to return to every now and again.

Carman's Picks

1. Lizzy Mercier Descloux - Sports Spootnick

The story of Lizzy is pretty cool actually: hot French chick comes to New York in the '70s, befriends Patti Smith and Richard Hell, and records cool mutant disco. Mambo Nassau, her second album, was a departure from the sparse sounds of post-punk disco (like the ESG and Bush Tetras I posted before) that she helped establish with her debut album Press Color. Instead it was a globetrotting pastiche of world music that sounded like the Talking Heads on acid. Interestingly enough, it was recorded at the same studio in the Bahamas where Tom Tom Club recorded their debut album and Wally Badarou contributes synths to both Mambo Nassau and the Heads' Speaking in Tongues.

2. Alice Coltrane - Sita Ram

Alice Coltrane is an unusual and incredibly influential figure in the jazz world whose impact cannot be minimized by the enormous shadow cast by her husband. Not only was one of her main instruments of choice rather unusual (harp), she was one of the primary figures in developing fusion by introducing Eastern spirituality to the music and also emphasised the organ (much like Larry Young and Jimmy Smith, but in a different way) as a lead instrument. On top of all that, her free jazz leanings not only continued to the idea of spotaneous spirituality and expression that John showcased, but also made emphasized the peaceful and meditative qualities of the style with her gorgeous string arrangements. Universal Consciousness, the album from which this cut appears, is her finest of these early records.

Download this week's Friday Writers' Bloc Playlist HERE

You'll really have to excuse my bad pun of the day but I couldn't resist. You're probably wondering why I embedded a video of Arcade Fire playing at an Obama rally in March when it's ...well June.  See, I was watching clips of performances from Bonnaroo (since I sadly was not there to witness it myself) and I found a lovely bootleg of Broken Social Scene performing for Obama too. I'm sharing the link so you can listen to it as well.

Other musicians to endorse Obama include Bruce Springsteen, Mos Def, Joanna Newsom, Common, and a mess of other people.

On the other side, arists like Nirvana bassist Krist Novoselic and TV On The Radio's Dave Sitek have endorsed Ron Paul.

Note: I've been searching and searching for musicians that support McCain , but no such luck.  Apparently musicians love liberals and libertarians.

Broken Social Scene Obama MP3

"YOU HAVE TO UNDERSTAND, I THOUGHT I HAD SABOTAGED THE SYSTEM. I COULDN'T BELIEVE THAT I'D BE GETTING UP IN FRONT OF PEOPLE  AND PLAYING MY HARP AND SINGING MY WEIRD FUCKING SONGS"

A Joanna foi capa da revista em abril e o site  disponibilizou um vídeo com os bastidores da cover shoot, onde ela conta uma piada. Sim. Foi uma das primeiras vezes que eu vi a Joanna Newsom falando sem muita timidez, ou sem um chapéu esquisito, ou sem o Devendra tirando o microfone da mão dela, ou sem ela citar "wild horses" a cada duas frases. Leia aqui.

Here's a tip for you: Joanna Newsom, The Milk-Eyed Mender.
Ok, so I know it's not a recently released album (if I'm not mistaken, it came out in 2004), and I guess some, or even most, of you already know it, but for those of you who don't: what are you waiting for?!This is another one of those albums that I once gave half a listening to and then just left it there, on the shelf to collect dust. I have no other excuse other than supposing that I must've been drunk. Or just completely out of my mind.Looking for something "new" to listen to the other night, I decided to give Joanna another shot.And it was about time. I am completely spellbound: and this by a voice that at times could be considered one of the most annoying in the history of music. With all due respect.At first I wasn't really concentrated on listening, I just put it on as background music; but it didn't take long before I was all ears and totally mesmerized.Joanna has the voice of a little girl (hence why at a first listening it can come off as a bit annoying), but with a timbre so personal and strong that it sweeps you off your feet (unless you are drunk or mad, that is); and most songs being just her and her harp or a solemn piano, gives it all a very intimate and personal touch.
And the lyrics, ah the lyrics! Every song is a little masterpiece, each giving you a clue to who Joanna is, revealing a sensitive spirit and a very peculiar mind, without ever telling too much or getting overly emotional. She has a way with words worth of envy and I must confess to rarely having seen a songwriter more able at writing rhymes.

"The sight of bridges and balloons
makes calm canaries irritable;
they caw and claw all afternoon:
Catenaries and dirigibles
brace and buoy the living-room --
a loom of metal, warp - woof - wimble.
And a thimbles worth of milky moon
can touch hearts larger than a thimble."

Finally, some poetry on this blog!

So, off you go now, my little darlings, hurry up and get this album.
And if Joanna is a new discovery to you, please remember to send me a thank you note, for having opened your eyes to this remarkable artist.

Eccovi un consiglio: Joanna Newsom, The Milk-Eyed Mender.

Ok, so che non è un album uscito di recente (se non mi sbaglio è del 2004) e credo che alcuni o la maggior parte di voi lo conoscano già, ma per quelli che ancora non l’hanno sentito: cosa state aspettando?!
Questo è un altro di quei dischi che ho ascoltato una volta a metà e poi li ho lasciati lì, sullo scaffale a prendere polvere. Non ho altre scuse se non in quel momento dovevo essere ubriaca. O completamente fuori di testa.
L’altra sera, cercando qualcosa di “nuovo” da ascoltare, ho deciso di dare a Joanna un’altra possibilità. Ed era proprio il momento. Sono rimasta completamente ammaliata: e da una voce che a momenti può essere considerata una delle più fastidiose nella storia della musica, con tutto il rispetto. All’inizio non ero davvero concentrata sull’ascolto, l’ho messo come musica di sottofondo; ma non c’è voluto molto perché diventassi tutta orecchie e restassi totalmente ipnotizzata. Joanna ha la voce di una ragazzina (per cui al primo ascolto può sembrare un po’ fastidiosa), ma con un timbro molto personale e forte che vi fa perdere l’equilibrio (a meno che non siate ubriachi o pazzi); nella maggior parte delle canzoni ci sono solo lei e la sua arpa o un piano solenne, per cui hanno un tocco molto intimo e personale.
E i testi, ah i testi! Ogni canzone è un piccolo capolavoro, perché vi lascia una traccia di chi è Joanna, rivelando uno spirito sensibile e una mente molto particolare, senza dire mai troppo o diventare eccessivamente emotiva. Ha un modo di usare le parole che fa invidia e devo confessare che raramente ho trovato un’autrice più abile nello scrivere rime.

"The sight of bridges and balloons
makes calm canaries irritable;
they caw and claw all afternoon:
Catenaries and dirigibles
brace and buoy the living-room --
a loom of metal, warp - woof - wimble.
And a thimbles worth of milky moon
can touch hearts larger than a thimble."

Finalmente, su questo blog c’è della poesia!

Quindi, uscite subito, miei piccoli cari, fate in fretta a procurarvi questo disco.
E se Joanna per voi sarà una scoperta, vi prego ricordatevi di mandarmi una nota di ringraziamento, per aver aperto i vostri occhi su un’artista tanto notevole.

By Mal the Gal

Well, this week I finally got around to purging a couple of hundred cds. It's been a long time coming, and not a job I've been looking forward to. I've changed my mind about albums in the past, and the thought that I could be tossing out one of my future favorites has always given me pause. But sometimes you just have to say goodbye.

Here are a dozen albums I decided to send packing...

Shabba Ranks * Rough & Ready Vol. II - ME NO WANNA ROCK THE SHABBA RANKS STYLEE!!!

Belly * Star - This one was a gas for about 10 minutes in the early-90's. And then my music collection grew beyond 25 cds...

Metallica * S&M - Can't... stop... laughing...

Joanna Newsom * The Milk Eyed Mender - AKA The Bad Voiced Singer.

The Wallflowers * Bringing Down The Horse - For pretty much the same reasons we don't have the plumber's kid in here fixing the toilets.

R.E.M. * Monster - My limited interest in R.E.M. doesn't really extend beyond Murmur. I'm not even sure how this one wormed its way into the collection. Mr Stipe, the bouncer will now see you to the door...

The Cult * Ceremony - I thought one lousy Cult album was enough for our collection, so I kept Sonic Temple and pitched this one.

Limp Bizkit * Three Dollar Bill, Y'all$ - Take your shots now jerkos, because this one is crapper-bound. And I understand that behind your jeers and jests lies the insecurity of those who weren't cool enough to own a Limp Bizkit album... fo shizzle...

AFI * Sing The Sorrow - Because these guys are local, and kinda scary, I'm just going to say that I respectfully decline to continue owning this album. But thank you anyway...

Erasure * Crackers International - I spent $5.95 for an Erasure ep during college, when that kind of money actually meant something. I'd like to go back in time and slap myself...

Air * Pocket Symphony - Kind of boring, but I'm actually ditching this one because we have two copies. These things happen when your music collection is scattered and unorganized - hence the purge...

Sahara Hot Nights * Kiss & Tell - This one was a freebie, but that doesn't make it right...

The Cranberries * Bury The Hatchet - On second thought, I take this one back. Where do I buy a cd-frame?

*****

AND THE OBVIOUS QUESTION: What's the worst cd currently hanging out in your music collection?

Mia Doi Todd

Come Out of Your Mine

http://www.divshare.com/download/4701213-9fb

It is such a shame that this is the last album of hers that I can recommend because her first two albums are some of the most literate, melancholy folk/indie-pop albums of the past decade. She still possesses that otherworldly voice, but attempts at commerciality have eroded her vision and voice. However, her followup to The ewe and Eye continues the grand steps of the debut. It is a shame this was released in the late 90s because woodland youngsters of all shapes and sizes would swoon for the sounds found herein. If you have love in your heart for the Meg Bairds, Joanna Newsomes, and Fern Knights of the world, then you should nuzzle up this warm, homespun recording.

Songs of murdered lovers, battleships parked in the Charles River, unrequited affections and broken bones litter her lyrics. At times, her fantastical lyrics remind me of the Handsome Family and to a lesser extent, the Harry Smith Folk Anthology. Anyway you slice this loaf, it is an inviting album that creates a soothing cocoon for all who listen.