photo / theblackkeys.com

Coldplay or Radiohead? Stupid question, right? (Cause it’s obviously Radiohead!) This aside, Stereogum is celebrating Coldplay’s new album, Mylo Xyloto (what?) with what they consider to be the ten best Coldplay covers on their site. If you’re into Coldplay or covers that are more interesting than the original, check Noah & the Whale’s version of “Paradise”. The clean and simple instrumentation (no synth!) and unassuming voice of Charlie Fink blows pompous Chris Martin out of the water, at least for me.

photo / theblackkeys.com

Speaking of synth, I feel that my last column may have been misleading. In what I wrote about Bon Iver, it may have seemed that I think he is of the same kind and caliber as Elliott Smith. This is not true. I am simply saying that those who enjoy Elliott Smith may be interested in Bon Iver’s Justin Vernon. Admittedly, this is a point that makes more sense in relation to Vernon’s earlier albums. The common connection is the theme of desperation that both musicians pour into their music. Both musicians appear to lend pieces of themselves and their hearts to each song. They sing in higher registers without whining, a huge feat many male singers fail to accomplish. However, they are also vastly different reasons that go without saying. Another note, the last track on Bon Iver’s self-titled album should be disregarded. I do think the album is good overall, but the last track “Beth/Rest” takes the eighties homage too far with an opening that sounds like the Doogie Howser M.D. theme. It has no redeeming qualities and becomes even sadder when one remembers that this man also created songs like “Re:Stacks” and “Beach Baby.”

photo / last.f

Music I’m Stoked On:

Listen to Dirty Beaches! I saw this greaser performer at the Billiken Club with Dum Dum Girls and the Minx last winter. His early rock ‘n roll, sometimes surf sound combined with Jesus and Mary Chain-like reverb was a show in itself. His voice on the tracks sound faraway with the simulated instrumentation (when I saw him, all he had was a guitar, a mike, and a tape machine with some recordings standing in for other instruments) crashing over it like the surf-inspired waves. Listen to “Lord Knows Best,” “Sweet 17” and the new single “Lone Runner” to get a taste.

photo / beirutba

Representing the 505

I had the pleasure of seeing Beirut when they came to the Pageant early last month. I hadn’t been to a show that large in a while and was reminded of how much teenyboppers and their stoic boyfriends annoy the pants off of me. As I was in the standing, general admission area (the only place worth being at a show, really), it was a problem. However, I did not let this or the inevitable wall of tall guys stop me from enjoying Beirut and the opening performer, Laetitia Sadier. Sadier was the lead female vocals for the band Stereolab, an early nineties band from London. (Don’t know Stereolab? I can’t say that you’ll like it, but if you want to find out, start with the album Dots and Loops). Sadier filled up the stage with just an acoustic guitar and her voice. She sang beautifully in both English and French and regularly thanked the audience for their smiling faces. After the stage was set and Sadier was done “warming us up” as she said, Beirut walked out on stage. If you ever get the chance to see them live, I highly suggest it. Although they do not put on an over-the-top show (see Gogol Bordello), they are all amazingly talented musicians that understand how to work together. Their timing and harmonies were wonderfully in-sync. The horn players and the accordionist brought everything together under and over Zach Condon as he sang and played his own horn. The song list was long, and, as per usual, I did not remember most of the ones they played besides the tracks I consider to be my favorites. (These favorites being “Postcards from Italy”, “Nantes”, “My Night With the Prostitute from Marseilles”, which is actually a song from Condon’s side project Realpeople, and “Santa Fe.”) It was, indeed “A Sunday Smile”. (The allusion to this particular song is amusing since it is by Beirut and the concert was on a Sunday night. You’re welcome.)

(Concert List and Tracks to Listen to list to Follow):

Nov. 15- Paul Simon- The Fabulous Fox Theatre

Nov. 16- Chuck Berry- Blueberry Hill

Nov. 21- The Coathangers- The Firebird

(Notice this list is small? I encourage you to look on the websites of the many St. Louis venues on your own to see if any of your favorite groups are hitting up the area. Don’t just look at The Pageant. Look into venues like The Firebird where the shows are usually $10-15 and the Billiken Club, a subsection of Wash U where the shows are always free.)

Tracks to Check Out:

Panda Bear’s a cappella version of “You Can Count on Me”

Florence & the Machine “What the Water Gave Me” and “Shake It Out” from their recently released album Ceremonials

photo / dva2.bandcamp.com

Odd Future’s Tyler, The Creator dropped the album Goblin and it’s as disturbing and fascinating as his previous releases. His rhymes are intense and are not meant for the easily offended. Take a listen if you are into old school, no censorship rap with a hipster spin. The disclaimer at the beginning of the third track, “Radicals,” addresses society’s tendency to blame music for turning children into delinquents. The statement undermines the chorus and turns the riot into a farce. If that’s not interesting enough, consider the throw down between artists Tegan & Sara and the kid in question concerning his hateful content. Although I wouldn’t want the guy to be my bud, I’m with feminist icon Kathleen Hanna on this one. If you don’t like it, don’t listen to it. But if you do, I won’t judge, the kid spits mad rhymes.

photo / oddfuturetalk.com

The new Bon Iver album Bon Iver dropped and I doubt that I have to let you know that it’s good. If you are unaware of the gentle magnificence of Justin Vernon, listen up: it exists. If you think the Elliott Smith sound would be cool if it was cut from a crunchier and folkier cloth, check Bon Iver. It is best for rainy Sundays, while doing homework, or whenever a melancholy mood seems like the right mood.

photo / boniver.org

Rilo Kiley officially broke up, and with them a part of my early high school years died. The White Stripes breaking up was certainly not fun, but this was Rilo Kiley and “Portions for Foxes” was my theme song for longer than I’d like to admit. Although the band members (Jenny Lewis, Blake Sennett, Pierre de Reeder, and Jason Boesel) had not created much of anything together, I still found myself deeply affected by their spilt. I had seen Rilo Kiley my freshman year when More Adventurous came out, and also in my senior year for Under the Black Light. I had caught Jenny Lewis (the little red-head down front belting out the songs) with the Watson Twins after their album Rabbit Fur Coat and with her boy Johnny Rice after her last album Acid Tongue. Even if they did hate each other by the end, I think they had a good run. The four albums they put out (Take Offs and Landings and The Execution of All Things being the other two) were stellar. If you’re interested in checking them out, consider starting by looking up the video “Frug” off of The Initial Friend E.P., dancing to “The Moneymaker” or simply standing with your arms reaching up to “With Arms Outstretched.” The diversity in songs, both instrumentation and seriousness, is beautiful and worthy of a variety of listeners.

photo / stereogum.com

Dum Dum Girls have a new album entitled Only in Dreams and yeah, I knew I was going to like it even before it dropped. The album has the same reverb twist on all girl group sounding sixties songs as the E.P.s and albums before it. Although, I have to admit there is a weak link found in “Bedroom Eyes.” This was the second single released from the album and it was far from as good as the first single, “Coming Down.” Coming Down” seems well thought out, which is good considering it clocks in at 6:31 and really speaks to the listener of the silent heartache one endures as they are leaving a relationship with things left unrequited. “Bedroom Eyes” is more of a poppy song with all the lyrics stuck in a thick wad of pink bubblegum. It really just isn’t as good as any of the previous tunes (seriously, listen to “Jail La La” off of their first album I Will and try and tell me “Bedroom Eyes” is as good). The rest of the tracks on the album do have pop tendencies, but, thankfully, the hard punches provided by the instrumentation (especially from the ever super rad drummer Sandy) keep those songs from being as simple as the aforementioned disappointment (check “Wasted Away” and “Always Looking”).

photo / myspace.com

Hopefully, the album will have more of the first kind of track than the latter.

Florence + the Machine have a new album, too and Florence Welch appears to be prepared to throw down some outrageous vocal abilities over emphatic and encouraging instrumentation, again. A video for “What the Water Gave Me” can be watched on Stereogum, the same place where you can check “Shake It,” the other single that she has dropped. If you’re ready for some more Lungs-like beats, pick up Ceremonials when it hits stores and iTunes on 11/1.

Jack White is getting together with ICP and I am scared.

Music I’m Stoked On Right Now

The Coathangers:

If you’re not down for crazy punker girls rocking out on instruments they arguably cannot play very well, do not listen to The Coathangers (or any riot grrrl group for that matter). The Coathangers are the kind of band that teenage girls pretend to have with their best friends as bandmates (yeah, I had a band called The Spoons in which I would have played bass had we ever had a rehearsal or written any songs), which is to say the lyrics and subject matter are often crude and childish in a way that makes the band completely hilarious and awesome (check “Parcheezi” and “Stop Stomp Stompin”). Case in point, this band of Atlanta locals includes Crook Kid Coathanger (guitar), Minnie Coathanger (bass), Rusty Coathanger (drums), and Bebe Coathanger (keys). All of them take turns on vocals, Crook Kid being the most predominately heard except in songs like “Hurricane” and “Shut the F**k Up” where Rusty is lead vocals with a loud, screamo wail. The latest album Larceny & Old Lace is out on Suicide Squeeze Records. Check it, if you dare.

What first grabs me about this song is the way it builds. The track starts with a single xylophone (or a keyboard imitating those pling-plang sounds) that seems in the midst of being played, making the beginning a smooth transition from the silence that had occupied my room before I turned on TV on the Radio’s latest release, “Will Do.” As the song continues, more instruments and Tunde Adebimpe’s voice join the xylophone-like sounds, creating the complete sound that typifies every track by TV on the Radio. The lyrics are comforting and personal, which is no way uncommon for Adebimpe (check “Young Liars” and “Wear You Out”). If this song is any indication of what the rest of the album is going to be like, I am more excited than I thought I could be for its release on April 12 via Interscope. The album is called Nine Types of Light, and you can listen to this particular track at stereogum.com.

Music Videos

Music Videos can be weird, but they can also be hilarious and awesome. What makes them super exciting? Muppets. Yeah, that’s right. Muppets were an integral part of an unofficial video done for “Dance Yrself Clean,” with Kermit singing lead vocals, not that that is super surprising. I mean, that’s just how he rolls. The best part? A large section of the video is of Kermit and friends performing from a balcony for the sidewalk and window folk in a British seaside town called Brighton. Why this did not go down somewhere on Prin campus, I’ll never know. The townsfolk do seem to love it, though. Wouldn’t you? Walking down the street, being British (drinking tea and eating crumpets), and then, BAM—Kermit appears and starts singing a brilliant song by that James Murphy chap of that good ol’ LCD Soundsystem. Love it. Watch it at pitchfork, and you’ll love it too. You can also check the Muppets out in ESCORT’s video “All Through the Night,” or slow it down with LCD Soundsystem’s other video with the Muppets, “New York I Love You But You’re Bringing Me Down.”

If Muppet’s aren’t your thing and epileptic seizures are, check out Kanye West’s new video for “All of the Lights.” It’s a trip.

If that doesn’t cut it, what about hitting up the Radiohead vibes? See Thom Yorke dance to “Lotus Flower” in black and white and a bowler hat. I mean, I want to join his dance party. Especially if we’re listening to his tunes, old or new. The new album is called King of Limbs, and you’ve probably already heard it or at least about it. In all honesty, I have not yet had the time to listen to the album in its entirety. I will therefore not form an opinion since it would be solely based on their past releases and the excited responses that people I know have had to it. I’m ready to become a part of the party people are having over it. Want to join me?

Getting out from under the rock

In case you haven’t noticed, I respect a good cover. One that gives a nod to the original artist while allowing their own sound to infiltrate it and make something new. You’ve gotta love that kind of appropriation. Well, apparently an all-girl group called Girl Crisis has been making covers that have been strictly in video form for some time now. The women come from various bands, and yet their voices seem to flow together, leaving no one sound louder or more forceful than the rest. The videos make the viewer feel voyeuristic. The cheap-looking recordings seem similar to home movies from the 70’s, and the living room setting makes them feel even more like a moment captured at an eclectic dinner party. This and their voices give the covers a subtle eerie feel, but it’s more beautiful than scary.  The latest song they covered was Black Sabbath’s “Paranoid.” However, they have done various other covers including Chris Isaac’s “Wicked Game,” Nirvana’s “Come as You Are,” and Jefferson Airplane’s “White Rabbit.” Watch their videos at stereogum.com or on YouTube. Don’t worry about finding a favorite, they’re all good.

The Mountain Goats, “Damn These Vampires”

photo // pitchfork.com

I’ve often been told that the Mountain Goats are an acquired taste. I suppose there is something eclectic in John Darnielle’s voice and in the subject matter of his songs—they can seem a bit strange. ”Damn These Vampires” does not stray from that oddness. This song is the opening track to their upcoming album All Eternals Deck. The beginning incites a level of nostalgia for a western themed past, arguing that, “someday we won’t remember this.” The song then turns to discuss the pesky vampires infiltrating this picture that Darnielle has created. Although vampires are often sung about throughout the song, they do not compare to those skulking around in the Twilight films. The vampires in this song appear to be more of a metaphor for the undying problem that grips our lives if we allow it to. However, Darnielle has hope for us and for our eventual recovery (and when the sun comes/try not to hate the light/someday we’ll try to walk up right). Listen and download it at stereogum.com

Peter Bjorn & John, “Breaker Breaker”

photo // stereogum.com

Mass hysteria! Well, not really. The song follows the normal pace and amount of enthusiasm present in their previous releases. It’s really the video that has them moving in fast-forward that evokes the hysteria. As their bodies move, their limbs mesh with the background, becoming the trails of color that can be found in photographs that have captured a moving subject. The hands of the drummer, John Eriksson, seem hardly attached to his body as he furiously bangs his sticks on his kit. Watch the video at stereogum.com and download the song at the band’s website for free. Check out other songs from the new album Gimme Some while you’re there.

Just in Case You Were as Clueless as I Was:

Sleigh Bells, Treats

Apparently the noise pop duo called Sleigh Bells released their debut album, Treats, this past year. Sleigh Bells consists of Alexis Krauss doing vocals and Derek E. Miller as guitarist and producer of the sounds they write together. They have played CMJ and Coachella, worked with M.I.A, and received a great deal of attention from Pitchfork media. Their reception and the amount of attention given to them makes my lack of unawareness of their existence feel like a tremendous oversight.

photo // stereogum.com

Their ways were introduced to me no earlier than last week when their latest video dropped for the song “Rill Rill.” The song is dedicated to the, “so this is it then?” look at the high school experience. The video contains clips of Krauss and Miller riding around in a car and is interspersed with still shots of lockers, mascots, popping balloons and other things that have high school written all over them. There is darkness in the video, which fits for a group that places faceless cheerleaders on the cover of their album. The lyrics seem indistinguishable in the swelling sounds Miller produces around Krauss’ semi-breathy drawl. The lines speak to the lack of authenticity and the insipidness of the high school experience (you’re all alone friend/pick up the phones then/ring ring call them up/tell them about the new trends). There is also a sense of humor in what Krauss is saying (wonder what your boyfriend thinks about your braces/what about them/I’m all about them/six straight As/cut em in the bathroom).

After I watch this video (let’s just say more than five times), I began to look into other songs from their album. They did not disappoint. The nod to the anti-quintessential high school life permeates, as does the noise. The ratio of noise to pop (lyrics not included) may be a bit too much for some in songs like “Kids,”  “Run the Heart,” and “Tell ‘Em,” seeing as the beats certainly make “Rill Rill” seem like bubblegum. “Infinity Guitars” sounds like a remixed version of itself. The disjointed drum and tambourine playing around Krauss’s vocal improvisations seem too cacophonous at first listen. Watch the video to see a badass chick rocking a Catholic schoolgirl jumper, complete with hoops, shades, a letterman jacket, and a baseball bat. If you did not notice her intensity in the “Rill Rill” video, know now that she is a force to be reckoned with.

All in all, these tunes pervade your consciousness even when you have no idea what Krauss is talking about. Check the lyrics (or make up your own), grab a trashcan to bang, and turn the volume up.

Dum Dum Girls — I Will Be

Ever hear of Grand Ole Party? It was a tight three-piece group that featured the fairly normal combo of drums, bass, guitar, and vocals, except that the drummer, Kristin Grundred, also performed lead vocals as she rocked out on her kit. The band was I.N.S.A.N.E. But sadly, good things do come to an end. Luckily, the break-up came after their sole album, Humanimals went public. Now Grundred has a new band called Dum Dum Girls. This band’s influences include the Ramones, The Jesus and Mary Chain, and Patti Smith. The name itself is an homage to a Vaselines album and the Iggy Pops song “Dum Dum Boys.” Oh, and they can play. Swell, eh? Grundred, or “Dee Dee,” as she is known in this group, sings the lyrics with a level of nonchalance popular with the post-punk crowd years before her (check “Jail La La” and “Everybody’s Out” chorus: “My baby’s better than you”) as Bambi and Jules provide the bass and guitar and Sandy pounds a steady drum beat. See their black tight wearing, leather jacket rocking, and deep red lipstick applying ways for free at the Billiken Club in St. Louis on Wednesday, February 23. Their second album, He Gets Me High, is dropping on March 1.

The Black Keys — Brothers

Dan Auerbach and Patrick Carney have done it again. It is more than likely that you have already heard a quarter or so of Brothers due to heavy radio play of “Tighten-Up” and a few TV show previews and phone commercials that used a couple of their songs. Opinions on selling-out aside, this is a great album that certainly ranks with their five other studio albums. If you haven’t listened to the full album, I suggest you do so. Pay attention to “Unknown Brother” and “Everlasting Light” in particular.

LCD Soundsystem — This Is Happening

I’d like to think that at this point James Murphy is in need of no introduction. I sincerely hope that somewhere between “Daft Punk is Playing At My House” and “Someone Great,” a friend, sibling, or Internet pastime has opened your eyes to the electronically infused tracks that are LCD Soundsystem. If no bells are currently ringing to alert you of a possible contextual relationship between you and this group, please right yourself. To do so you can begin by shaking your body to the sick beats of Murphy’s latest album This Is Happening, which should make you want to dance without being likened to the raver kids still busting out to techno. This is not in any way like techno. In the couple months or so leading up to the album’s release, it was available for free streaming on the artist’s website, gaining a level of buzz around new tracks like the opening “Dance Yrself Clean” and “Pow Pow.” Overall, it is a great album, and although I would not consider it any better than Sound of Silver (check “All My Friends,”) there is still no sign of a bad track.

Girl Talk — All Day

Love it. Greg Gillis is the man behind the computer, doing all the slicing of the pre-existing songs, and he is simply awesome at it. The album is a major nod to top 40, but it’s a nod worth joining in on. The album is a free and easy one-track download of the best mash-ups found on Girl Talk’s website.

Individual songs worth listening to:

Horse Feathers’ cover of Nirvana’s “Drain You”

The folk-y tone of this slowed-down cover finds new meaning when accompanied by a cello, tambourine, acoustic guitar, ukulele, and violin. Download at killrockstars.com and check their original material while you’re there.

Crystal Castles and Robert Smith’s cover of Platinum Blonde’s “Not In Love”

I feel like it is songs like this that keep me from frequenting clubs since this is what I would want to dance to and I do not think any St. Louis clubs would deliver. It’s a bit of a downer lyrics-wise, but the hyped Crystal Castles beats that encompass The Cure front man’s quintessential melancholy moan is awesome on way more levels than one. Download it at rcrdlbl.com

Local Natives — “Airplanes”

Listen to this song. After that, watch the music video and if the end of it confuses you then I have one word for you: compost. Also check out their song “Wide Eyes” and their acoustic cover of Simon and Garfunkel’s “Cecilia.”

Far Eastern Movement — “Like a G6”

Yeah. You heard me. I do like this song and I do think that being fly like a G6 would be super chill. So step off if you are hating on my….never mind. Happy Birthday “Girls FM.”

There is something that is silly and fun about this mildly repetitive song. I think it’s the mad vocals that are both boyish and high pitched. You can get it at Rcrdlbl.com.

Laura Marling — “Devil’s Spoke”

The pure quality of this Brit is simply divine. With an acoustic guitar and drums played by palms and fingers, not sticks, this song seems far from “My Manic and I.” However, it just shows that the musical skill and style of Marling is not contained to any one genre.

So that was some of my 2010. Keep listening to the music, friends.

I’m a fan of Girl Talk and Diplo, and I like the way they adapt, remix and mash-up their music. However, I’m kind of tired of remixes as a whole, especially since most of them lack the authenticity that was portrayed within the original track. I guess I am a bit of a traditionalist in this respect. I cannot even listen to whole remixes anymore. You may not agree with me on this, but let’s compare some recent remixes and consider how good they are when they’re not bending songs to complement their own needs.

Spank Rock “Tell Me What It Look Like” vs. the Todd Edwards Remix

photo // spankrock.net

Mr. Edwards may be a big time producer who is partly responsible for Daft Punk’s “Face to Face” number one spot on the billboard chart in 2004, but he is out of his league when dealing with Spank Rock. The angelical vocals and electronic back-beat do not make any sense coupled with Naeem Juwan Hank’s rough lyrics. The repetitive gibberish from this other-worldly female becomes more jarring than the explicative dropping done by Spank, and the confused nature of the house electronics creates a dichotomy that is in no way enjoyable. (For a good remix of Spank Rock and other musicians, check out Diplo’s Decent Days and Nights.)

Florence + the Machine “Heavy in Your Arms” vs. the C-Berg Remix

photo // florenceandthemachine.net

Everyone needs to stop trying to remix Florence Welch. Besides the xx remix of “You’ve Got the Love” off of Lungs, the attempts to make a remix worth listening to have just been depressing. These remixes are especially depressing because this artist does not need her concepts re-imagined because these “re-imaginings” often butcher anything that was once good about her songs. Case in point: “Heavy in Your Arms.”  This song hails from the Twilight soundtrack (yes, it does make me a little bit more than sad to know that some of the most important musicians are opening their veins for the biting saga that will never end), which may be why no one over the age of 12 has heard it. The song itself is eerie and foreboding from the beginning (pre-vocals) and escalates as the chorus rolls around and the accompaniment swells. For some reason, the remix attempts to make the song even creepier by adding horror movie-like comparable beats over and underneath the vocals. This convinces me that listening to this song in the dark would not be the best idea. The remix’s resemblance to music on Halloween film soundtracks undercuts the gripping lyrics.

Final summation? Remixes have a high margin of error in my mind. Subjective or not, some things just are not as good as the original. So the next time you get stoked about a new rendition of your favorite hit, consider that it may be just as awful as these remixes. Be cautious in order to prepare yourself for the slaughtering of the original song’s integrity.

On a lighter note…

It’s funny how new singles related to forthcoming albums often remind me more of the previous songs by a particular group than their current sound. I mean, what can you really say about an album that has not dropped yet when you have only one song to talk about? Not much. Any premature notions that I may have about the new album would most likely become totally irrelevant after hearing the album in its entirety. That is, unless the album is just a concept album, but even then, concepts intermingle to a point that one song can surely not represent everything that will be said. So let’s look back instead of forward, and let this new release remind us of how awesome a particular band has been previously.

Cold War Kids is coming out with a new album in January of 2011 that will be called Mine Is Yours. Will poignant togetherness be considered? It could happen.

Song that you can listen to and/or download: “Louder Than Ever” http://rcrdlbl.com/artists/Cold_War_Kids/track/Louder_Than_Ever

photo // coldwarkids.com

Reason why this album may be worth listening to: Did you ever hear their 2008 album Loyalty to Loyalty? Maybe “Something is Not Right With Me” rings a bell. That song is the pop end of a narrative-filled introspective album that involves the lead singer, Nathan Willet, taking on several different personas. The best persona is his embodiment of a woman who is summarizing the unhealthiness of her relationships with the men she loves in the song “Every Man I Fall For.” The rest of the album dips in and out of seriousness and understandability, but the stressed vocals and varying instrumentation is enough to feel a level of anticipation for what the next album could hold within its tracks. For a teaser of this album to be and their upcoming tour dates visit the band’s website, http://www.coldwarkids.com/.

photo // thethermals.com

Who was ready for W6? Me, that’s who, and do you know what goes well with excitement? I’ll give you a clue. It’s not hearing the disappointing news that Sufjan Stevens will not be dedicating to any of the states you grew up in (sigh). Since I assume that news has left you as disheartened as it left me, I won’t make you guess anymore. The correct answer is summed up below.

The independent record label killrockstars does not often disappoint. With an artist list that includes Elliott Smith (may that lovely tattoo-of-Ferdinand-sporting, sad, sad, singing man rest in peace), Bikini Kill, Sleater-Kinney, and Stereo Total (yeah, we’ve digressed to name dropping), there are high expectations places upon every album they release to be nothing less than freak out fantastic. The Thermals’ fifth album “Personal Life” that came out early last month does not break from the krs trend. This album, their second with krs, is filled with songs that connect genuine declarations of feelings, drummed up, and bass-full instrumentals that give the lyrics a sense of meaning without the heaviness of the lo-fi indie kid crying about the last girl that broke his heart. So it’s not the album you listen to if you want to Bon Iver it with your feelings.

The lead singer, Hutch Harris, has a zany and off-kilter voice that puts him closer in sound to The Mountain Goats John Darnielle then the Ben Gibbard types which gives each song a sense of authenticity and humor over the sad and mellowness that is often attached to indie men. Plus Hutch Harris looks like he and that Lonely Island guy (Jorma Toccone, anyone?) could be twins which is a little more than amusing. Mix that in with Kathy Foster’s mass of curls and complementary vocals and grounded bass riffs, it is a party that’s worthy. Foster was the co-founder of The Thermals and only other consistent member of the group. There has been a rotating door of drummers and extra guitars (Harris takes care of the guitar parts as well as the vocals). Westin Glass (a member of the group since 2008) was on percussion for this album and his ability to manipulate his kit strongly and subtly should not go unnoticed (listen: Never Listen to Me: http://hypem.com/search/never%20listen%20to%20me/1/ ).

For a visual of The Thermals, check out their video for I Don’t Believe You which features both Carrie Brownstein of Sleater-Kinney (this is the second time I am mentioning this band. If you do not know who I am talking about, you should correct that by checking out their album Dig Me Out to resolve your ignorance) and Isaac Brock of Modest Mouse (appreciate). The video can be seen here.  To buy the album hit up the killrockstars website here or for just a couple of downloads from this album and previous ones check out their page atbetterpropaganda or RCRD LBL (definitely download “Now We Can See” from the album of said name and check out the video for the full experience of The Thermals and their stunning attractive unattractiveness). For more on krs, download the free sampler they put out a while back.

Who wants to go to a show?

Well if you do, I have a suggestion. Janelle Monae with Of Montreal at the Pageant on the 21st of this month, seriously. Yeah, seeing Of Montreal would be filled with indie fun and bizarrely named songs, but in this case the opener, Janelle Monae, could potentially be the main event. This chick took Barney’s advice and suits up (except for her video Cold War-link where she is possibly in the buff) and rocks a hairstyle that looks like she has wrapped her hair on top of her head in an old-school microphone that resembles the ones that Elvis sang into. Combine all of that action with her skilled dance moves (she can do the moon walk forward in the video Many Moons) it is epic, and I can only imagine that seeing it live makes it even more awesome. Oh, and I almost forgot, her voice is a gorgeous alto and her lyrics are poignant, so there is no down facing side to this coin. Watch the videos she has out and you’ll understand. And if she doesn’t do it for you, go to the show for Of Montreal, they do bring the crazy fun.

Feel better? Eh, smile, kid. You’ll get there. If you need extra help, check out Stereogum’s free mixtape of the 40 best bands of 2010.

Artist – Ben Folds & Nick Hornby / Album – Lonely Avenue

photo // benfolds.com

Yeah. That’s right. Nick Hornby, the writer of several novels including High Fidelity – a music-saturated telling and retelling of the narrator’s experience with women in comparison to his record collection – got together with Ben Folds, the ever-talented singer and piano-tickler (he seriously knows his way around the keys).  Once these two were in close proximity, they made an album with songs about not knowing people as well as you thought, a blues musician, and the Alaskan kid who got Palin’s daughter preggers (it’s called “Levi Johnston Blues,” and it should be listened to immediately). The album came out very recently, so go forth and listen, because two writers of this caliber do not make an album everyday.

Artist – Cee Lo Green / Album – Lady Killers / Song – “F*** You”

photo // ceelogreen.com

Do not be repelled by the title. Although the strategically placed asterisks may hold a certain degree of aggression, do not be fooled. Yes, this musician who is responsible for songs like “Crazy” from his time with Gnarls Barkley is not currently enthused about the termination of his relationship with a particular female, but can you blame him? After listening to his interpretation of her reason for ending it, I would also consider cursing in the general direction of her and her new boyfriend. However, this is not an angry song.  The Motownesque tune has a cheerful melody and encouraging backup singers who are oddly uplifting. It is difficult to resist the urge to shimmy in time to the tambourine or at least keep time through snapping or foot tapping. The good vibe instrumentation combined with the receptivity of this grave expletive adds a sense of humor to an otherwise sad and unfair state of affairs. So turn up the volume and use a different word while you sing along if you’re not into the one he uses.

Artist – Chromeo / Album – Business Casual / Song – “I’m Not Contagious”

photo // chromeo.net

Ever since the Jewish/Arab combo Dave 1 and P-Thugg started making music, someone has been dancing. The lyrics in their songs are by no means deep or meant for a late night ponder of subtly. Instead they are merely something to chant as you two-step. For instance, the chorus of “Night by Night” (she says I’m [not romantic]/ I say she’s [too dramatic]/ I tell her while we’re at it we can work it night by night) is sung as a call and response between the two, which they have their audience sing at their shows. And that’s the purpose of electrofunk—to make you want to dance. Chromeo has got it down, so check out this album as well as the ones before it, and if you really want a trip, look up the video of “Don’t Turn the Lights Off.”

Artist – Johnny & Jenny / Album – I’m Having Fun Now / Song – “Big Wave”

photo // sfcritic.com

Former child star Jenny Lewis has a trail of musically inclined boyfriends, who include Blake Sennette, her co-founder Rilo Kiley, and Conor Oberst (he’s the guy from Bright Eyes, ‘nuff said). Her not-so-new-beau is a not-so-known singer/songwriter named Jonathan Rice, who she’s been touring and collaborating with during her solo time with the Watson Twins and her 2008 album Acid Tongue. Unlike Lewis’ past projects, this album appears unfocused with tracks that do not fit in the same album. Breezy summer songs are alongside jarring tracks of introspective and at times it seems inauthentic. I would suggest buying individual tracks over committing to buying the entire album.

Oh, and just in case you were under a rock last May, check out The Black Keys album Brothers and listen to it all the way through.

I have never forgotten that interaction. Because I DO love music! I really do! But I understand why people might think I don’t after I have written a bad review or verbally degraded a treasured artifact from an artist or group of artists that they hold dear to their hearts. I want to make sure I leave this column letting people know that I do have a heart when it comes to music. I don’t criticize everything I hear. I don’t strictly like certain music because it might be “culturally relevant” or innovative in style or craft. To prove it, this last column is about ten songs that I will always love, because they played a part in my experience at Principia, and not because they tickle my propensity for deconstructing music. Consider this a mix-tape for the Principia community. I’d burn every reader a copy, but I think that would be illegal and a bad promise for me to make through this publication. (You can find all these songs on just about every digital music distributor.)

In this last column, I would like to thank my parents, fellow Pilot columnist Alice Stanley, and Dinah and Paul Ryan for their support of my writing. And most importantly, I would like to thank former Pilot editor Abby Becker and former Pilot faculty adviser Craig Savoye for giving me this column. I’ve loved writing it, and thank you to everyone who has ever read it. Keep listening.

1. Wilco – “Hummingbird”

I’ve probably listened to Wilco more than any other band in college. I also saw them live twice. It is hard to pick one song from Wilco’s deep catalog because so many of their songs will forever be engrained in many of my experiences with people and places from ages 18-22. I chose “Hummingbird” because of the first line of the song, “His goal in life was to be an echo.” Everybody has wanted to be an “echo” at some point in their lives – to be remembered for something, or even to be so good at something that people forget all your “competitors” and you stand alone in their memories. I think my education at Principia has really taught me to let go of this desire, and I’m always humbled by the chorus of this song: “Remember to remember me / standing still in your past / floating fast like a hummingbird.” The reality is that we’ll never be bigger than our expressions. Even Paul McCartney will be forgotten someday, but the influence of his music will live forever.

2. Pavement – “Gold Soundz”

I once had a radio show at Principia and named it after this song. I remember being angry when the radio station put up an advertisement in the concourse for my show and spelled it “Gold Sounds” with an “s.” The radio show was a lot of fun – it was mostly playlists with a dumb theme and my friends calling in to heckle me. I also skipped a lot of the promos so I would have more time for the music. (Sorry, Rick!) I only had the show for one quarter, and I wish I could have kept doing it. Instead, I kept busy with the idea of being busy. I think most of Pavement’s music is about being preoccupied with ideas, rather than actual tasks. You can hear the apathy in Stephen Malkmus’ sarcastic voice.

3. The Shins – “Australia”

The first concert I ever attended in college was the Shins at the Pageant after they released their third and still most recent album, Wincing The Night Away. I think all freshmen have that moment when they are like “COLLEGE! I AM FREE TO DO WHATEVER I WANT AND NO ONE CAN STOP ME!” I had many of those moments, but I’ll always remember when the Shins tore into this song after their mellow introduction. I looked at my four other friends bobbing next to me, and thought, “I am so glad that I am here.” I later went on an abroad to Australia.

4. Spank Rock – “Bump”

I’d say the first half of college is at least 70 percent dance party. At these dance parties, there are way too many awesomely inappropriate and vulgar rap songs that get played, and for those readers who may or may not know, these awesomely inappropriate and vulgar rap songs are heard at Principia. So to refrain from mentioning the long list of songs and artists that will always remind me of dance parties at Prin, I’d say this song pretty much sums them all up.

5. Tokyo Police Club – “Nature Of The Experiment”

I was training for a triathlon spring quarter of my freshman year, and this song always sent a charge through me before bike rides or runs. I had a single on the first floor of Anderson, and my friend Ezra had one across from me. When we weren’t having dance parties to awesomely inappropriate and vulgar rap songs, like Spank Rock’s “Bump,” we were blasting this song into the hall from our speakers. What a fun time that was. Really, anything the two words “freshman year” conjure up for you can be heard in this two minutes and two seconds of pure head-shaking, arm-flailing pop punk.

6. Sigur Ros – “Svefn-g-englar”

I never had much of a connection to this Icelandic band until I saw the music video for this song during the spring quarter of my junior year. I was lying in bed with my laptop and reading a music blog that claimed Sigur Ros made some of the most moving videos to accompany their music. Little did I know when I began watching one of these on YouTube that a music video would affect me in such a way that I would begin to see art differently. Maybe it was special needs acting group dressed up like angels in the video. Maybe it was the lead singer Jonsi’s celestial croon, or maybe it was the stellar hum that sounded like a spaceship making a delicate landing periodically throughout the song. Maybe it was something entirely separate from the experience. But after I watched the video, I remember crying for a good five minutes. Then I went for a walk around campus in the early evening and came back feeling unusually grateful and optimistic. For the rest of that quarter, I listened to the song over and over and was really grateful for the grace that artistic freedom can bring.

7. Animal Collective – “Summertime Clothes”

I was on my abroad in Australia when I first heard this song. I had counted down to the release of the album, Merriweather Post Pavillion, and I decided to skip my internship to grab the CD at a record store. I spent the morning walking around Sydney, but I only listened to the album up until “Summertime Clothes.” I listened to it on repeat until I needed to meet up with the abroad group again. It was one of the most beautiful experiences of my life – walking through Sydney’s fish market and hearing Animal Collective’s ethereal noises swim through me. Ironically, the internship in Sydney got me an interview with Animal Collective – a dream come true. And I did the interview inside the Chapel because I needed good cell phone reception and it was raining.

8. Caribou – “She’s The One”

One of the greatest discoveries I’ve ever made was when I found the Billiken Club at Saint Louis University. This small venue, similar to our Pub, hosts about five to eight shows every Prin quarter. Some of my favorite live music experiences have happened there, but one of my favorites was seeing this band perform this song during my sophomore year. I went with my roommate, Greg, and we stood in front of the drummer who pounded the crap out of his poor drum set. Greg and I spent the rest of the quarter going to sleep to this song in our room on the second floor of Syl. Remembering how calm those spring nights were, hearing the vocal falsettos and swirling orchestra strings, makes me wish I could go back to being a sophomore instead of being a senior, scrambling to finish my capstone.

9. Silje Nes – “Ames Room”

Winter quarters have been tough for this California native. One of the things that brought me comfort on cold nights was this song from Norwegian singer-songwriter, Nes. Her light guitar picking and adorably imperfect voice whisked me off to dreamland, especially during my sophomore year when I was tired after swim practice. The first line, “We go ashore / to a place that is warm” could never have been more relevant after dragging myself out of the pool, walking hungrily to dinner through the cold, then into my bed for the night.

10. The Flamingos – “I Only Have Eyes For You”

If I remember any song I’ve enjoyed the most while being a senior, it’s got to be this one. My final year at Principia has been one of much growth socially, artistically, and spiritually – and the summation of this year could be described the same way I would describe this song. There’s an eerie uncertainty in the melodies and doo-wop vocals, but it all eventually culminates into a gorgeous wave during the chorus. “I Only Have Eyes For You” has also kept me great company at all times of the day – prepping for class in the morning, procrastinating after lunch, and studying late into the night. The song just sounds like a memory, and I’ll never forget how special it has been to hear it on a daily basis as I overcame challenges here at Prin. To me, “I Only Have Eyes For You” sounds like coming home after participating in the Iditarod.

Based in the Netherlands, 22tracks is a collective of prominent Dutch DJs and music journalists who handpick 22 of their favorite contemporary songs for 22 respective genres. Created by Amsterdam hip-hop DJ Venz, the playlists are updated throughout the week. The playlists are diverse so that you are guaranteed to find something new that you like. Unlike Pandora where the streaming capabilities are endless, 22tracks is limited to how much music you can hear in one sitting – there are only 22 tracks per genre. However, while they are featured on the playlist, you can listen to the songs as many times as you like. And with so many genres to choose from, it’s inevitable that you will explore new musical territories. You don’t need to register or create a profile, but if you like a song you can add it to what is called “My22,” a personal playlist compiled from the favorites you find. Songs can be streamed on your “My22” for a month, but the song info remains on the list for referential purposes.

All Music Guide

The All Music Guide is one of the most comprehensive and credible sources for information on any type of music – popular or obscure. The editorials, reviews, and biographies are written by professional music journalists and writers from around the world – you might have seen their reviews when purchasing music on the iTunes Music Store. The All Music Guide is especially helpful when exploring artists with whom you are not familiar. For example, if you are interested in exploring the Rolling Stones’ deep anthology, the All Music Guide aids the consumer by recommending the definitive albums and songs, along with reviews and editorials on the significance of these works. Someone who doesn’t know the music of Mick Jagger and Co. can hear samples, read about their career, and learn about their works in a matter of minutes. If you have the time to read more, there are also fascinating essays on music culture and genre by many renowned music writers. 

Awesome Tapes From Africa

Since 2006, Brooklyn blogger Brian Shimkovitz has uploaded full recordings of music from just about every country in Africa. As Shimkovitz’s blog states, “This is music you won’t easily find anywhere else – except in its region of origin.” Featuring contemporary and older artists, the blog provides listeners with a context of the native sounds in each country of Africa without homogenizing culture. Updated every week, Awesome Tapes From Africa has an impressive back catalog of music that will change the way you think about harmony and rhythm. And it’s free to listen and download!

Pitchfork Media

Considered in some circles to be the “Rolling Stone of the Internet,” Pitchfork Media is a haven for all things related to music culture. With an obvious slant toward indie music, Pitchfork promotes all the current trends occurring in the contemporary avant-garde. While it is a site founded first and foremost in music criticism, the combination of digital media and journalistic quips makes the site very accessible. With two offices based in Chicago and Brooklyn, there are updates every day about new and established artists, new record reviews, new songs, new interviews, new music videos, and new columns – all of which can be seen and heard on the site. (And yes, all this music can get overwhelming.) Pitchfork’s “Best New Music” section has been a major factor in propelling bands like Animal Collective, Grizzly Bear, and Beach House to larger audiences. A quick visit to this site can give you a good sense of what music is being buzzed about on the Internet.

Robert Christgau

The self-proclaimed “Dean of American Rock Critics,” Robert Christgau is one of the country’s first music critics, starting his career in 1967 for Esquire magazine. He is most known for his monthly “Consumer Guides,” in which he gives grades to albums along with short whimsical reviews. While some critics of Christgau might consider him to be outdated, one thing is for certain – this guy has listened to A LOT of music. He does know the context of where releases fit into the whole body of music. If you’re looking to hear music recommended by an expert, look to this guy. His site also features archival music articles from magazines like Rolling Stone, Playboy, and most years of his famous Pazz and Jop Critics Poll from the Village Voice.

Stereogum

If Pitchfork is the Rolling Stone of the Internet, then Stereogum is its hipper-than-thou younger brother, Spin. Many people prefer one to the other, but like Pitchfork, Stereogum’s content is primarily indie music. Unlike Pitchfork, Stereogum is more of a community-based site, due to its allowance of comments on stories, news, articles, etc. This makes for a fun playground of conjectures, insults, and compliments (rare) that color the site and its commentary on music topics. As one of the first “MP3 blogs” or a blog that allows readers to download free songs for “sampling” purposes, it has helped many artists get their music heard outside of hyper-critical platforms, like Pitchfork. Stereogum also has fun columns like “Quit Your Day Job” where artists are interviewed about their prior jobs before playing in a band. If you like expressing your opinions about music culture and don’t mind being verbally abused for them, Stereogum is the place for you.