Martyrs - 2014

When I heard Tee Jay, the drummer for Walter Sickert & The Army of Broken Toys, had a side project described as "... early 90's melodic hardcore... blended with some shoegaze..." I knew I had to check Martyrs out. This is about as far from the folk/gypsy/punk/burlesque that defines the Army of Toys, and I'm thrilled to hear something so different come from a member of that band. The description the band uses is perfect, and it definitely has more of a At The Drive-In feel to it than Jawbreaker. Picture Dischord Records signing a shoegaze band. It's heavy and beautiful and just about perfect. The fact that it was recorded last month and is already out for free download is what I love about the current music scene.

I can't find any website or social media outlet for Martyrs, but they do have a Soundcloud where you can stream or download their debut for free.

Tom Morello & Zack De La Rocha Both Have New Songs Out

Tom Morello at the 2012 Newport Folk Festival

First up is a new song from Tom Morello's Nightwatchman persona, which has seen him dabble more in the acoustic folk song realm of music. "Marching On Ferguson" is, of course, a protest song inspired by the death of Michael Brown and the protests that followed it. It's available free at Ferguson October, but donations are being accepted to assist protesters in paying legal bills associated with any arrests during the protests. Politics aside, the song is good, but not great. It's the closest The Nightwatchman has gotten to Rage Against the Machine yet. It's basically a blues song with Morello's signature riffs and solos from his time with Rage. If you've read this far, you probably need to check it out.


Run the Jewels (aka Killer Mike and El-P) have a second free album coming out soon, and they just released a new song for it. If you're releasing a free album, why not include Zach De La Rocha in a rare appearance? "Close Your Eyes (And Count to Fuck)" is one of the best hip hop songs of the year. De La Rocha only appears on the final verse, and he's his usual brilliantly angry self. Run the Jewels is also one of the best hip hop collaborations out there, so you'll want to pick up their album as soon as it comes out. And, hey, it'll be free!

Monday Mix: Unexpected Duets

I love a good duet. It's no surprise that two of my favorite songs of all time (The Dears's "27: The Death of All Romance" and Hayes Carll & Cary Ann Hearst's "Someone Like You") are duets, so I figured this would be a good week to highlight some duets given the surprise of Best Coast's Bethany Cosentino singing on the new Weezer song "Go Away." With the exception of The Dears, I tried to keep the songs to surprising collaborations (like Pete Yorn and Scarlett Johannsen or Jack White and Alicia Keyes) or interesting combinations (Mark Knopfler and Emmylou Harris, Taylor Swift and Gary Lightbody). I also expect this to be the last time Taylor Swift makes one of these mixes.

With that said, enjoy!

The Dead Milkmen - Pretty Music For Pretty People

We're now two albums into the resurgence of The Dead Milkmen, and the band still hasn't slowed down. Most punk bands from the 80s and 90s started watering down their sound, becoming more and more mellow and generic. Happily, The Dead Milkmen still sound like The Dead Milkmen. It's almost like they didn't go away, they were just paused for a decade or so before coming back.

Somehow they still seem just as angry as ever. It could be because so many of the same issues they sang about 25 years ago are still relevant. A song like "Right Wing Pigeons" from 1985's Big Lizard in My Backyard still has some of the same themes as "Welcome to Undertown," 29 years later. They even still get to take shots at Ronald Reagan in "Ronald Reagan Killed the Black Dahlia."

It's not all politics that The Dead Milkmen rage against on their new album. "Pretty Music For Pretty People" criticizes today's pop (and rock) stars who don't seem capable or interested in making music that stands for anything besides being something for the pretty people to mindlessly enjoy. "The Great Boston Molasses Flood" remembers one of the more obscure but important historical events from last century and also name checks The Dresden Dolls. "Now I Wanna Hold Your Dog" might be the heaviest thing they've ever recorded. And it wouldn't be a true Dead Milkmen album without truly bizarre songs like "The Sun Turns Our Patio Into a Lifeless Hell."

For anyone worried Pretty Music For Pretty People will tarnish the legacy of The Dead Milkmen, don't be. This could have come out anytime during their entire first run. I can't wait to see what comes next.

For more information, and to order Pretty Music For Pretty People, head over to the band's website. They currently only have two tour dates coming up (10/25 Metro Gallery in Baltimore, MD and 10/26 at Chameleon Club in Lancaster, PA) but have promised more, hopefully soon.

First Listen: New Releases for October 7

A ridiculous amount of music came out this week, so let's not waste any time.

Flying Lotus - You're Dead!: This is my first exposure to Flying Lotus and his brand of electronic jazz/hip-hop. It's not an album I feel like I can give a fair shake to, as it's way outside my areas of knowledge and typical listening, but I will say that I was grooving at a number of points during my initial listen. It's worth tossing in your rotation just to see what the fuss is about.

O'Death - Out of Hands We Go: O'Death's third full length album continues to send them along the trajectory of this gothic-style alt-country that they do so well. Filled with a number of memorable songs and providing a bit of a unique atmosphere, this is an album that sounds unlike anything I've heard as of late, and really fits in well with a lot of what we tend to highlight here. Definitely worth a listen.

Vashti Bunyan - Heartleap: I remember when Vashti Bunyan's second album came out and how much of a surprise it was to many. A long-forgotten folk artist that came back into some sort of popularity with the rise of the indie folk movement, Heartleap is said to be her final album and continues along the same, meticulous, stark lines of her previous work. Essential if you enjoy folk music in any form, if only because of where she came from and who she has influenced.

Scars on 45 - Safety in Numbers: Scars on 45 had a debut album that I really loved. While it didn't forge much new ground, there's a place for the alt-pop rock in the canon, for sure, and Scars on 45 absolutely delivered. The follow-up album, with that in mind, is a massive disappointment, trading catchy hooks for what feels like the same tired radio retreads they did such a good job avoiding on their debut. A supreme step backwards for the group on a whole, you're better off skipping this.

Minnie Driver - Ask Me To Dance: Minnie Driver releases a new album of cover songs this week, her first album of music in quite some time. I actually liked her previous album and find her voice to be pleasant, as well as her take on many different songs (ranging from The Cure to Stevie Wonder) to be interesting. It's always a crapshoot when actors go into music (and vice-versa, for that matter), and Driver's music is inoffensive enough where it may not stir you up much, but I enjoyed this for what it was completely.

Minus the Bear - Lost Loves: I only recently got turned onto Minus the Bear, and was surprised that this post-punk-style indie rock album felt so uneven at points. It turns out that it's an album of extras from their first few albums, which explains a lot. The compilation is pretty solid without that information, and becomes all the more impressive knowing the details of what it represents. Minus the Bear probably deserves more attention than they've been getting as of late, so check this one out.

SBTRKT - Wonder Where We'll Land: SBTRKT (pronounced "subtract") is an electronic artist best known for his hip-hop remixes, and this album feels, in a lot of ways, like many of the electronic hip-hop albums of the electronica era back in the 1990s, with the rap elements being secondary to the electronic pieces. The guest list on this is impressive, and while it's a little longer than it needs to be and doesn't always work, it's a pretty solid achievement in and of itself, and worth a listen.

The Vaselines - V for Vaselines: After being dormant for something like 20 years, The Vaselines have now released two albums in a relatively quick succession. Sex With an X was awesome, this one is... not so much. It's a little more plodding at points, but when the songs feel like those classic Vaselines songs we've come to know and love, there's not much better out there. It's a step backward, but not a massive one.

Lewis and Leigh - Night Drives: This was a surprise release for me. Having been a fan of Alva Lewis in the past, this new EP from the London-based duo is, somewhat ironically, the purest form of Americana I've heard in some time. It's a solid, quick hit of four good songs that really just tease me into hoping there will be more coming from the two of them in the future. Highly recommended.

Childish Gambino - Kauai/STN MTN: Childish Gambino put out two pieces this week. I haven't listened to the STN MTN mixtape yet, although it's a free download off his website right now. As for Kauai, Ken found it to be boring but I found it to not be what I expected, but still having some good moments. It's clear that Glover is still trying to figure out the balance in his performing, and we all get to go along for the ride. His EPs and mixtapes have traditionally been the experimental grounds on these attempts, so, at the very least, he's left me interested in what comes next.

Johnny Marr - Playland: Who would have thought that my favorite things to come out of Johnny Marr would be his solo work. After The Messenger ended up impressing me more than I expected, I had forgotten how much I ended up liking it by the time Playland hit, and it turns out that it's more of the same quality pop rock coming from the former Smiths guitarist. In a time where Morrissey is really becoming a caricature of himself, it's interesting to see how Marr has, after some time with Modest Mouse and working on other projects, has translated it into some interesting rock music. Definitely worth a listen, but may be jarring to Smiths fans.

Zola Jesus - Taiga: I've spent a decent amount of time talking about the "dark" pop that we've seen, and Zola Jesus brings a more independent angle to that trend on her third, and arguably best, full-length. It's a solid album from start to finish, with equal parts accessible and challenging throughout. I'm not sure if she'll ever get the fame she deserves at this rate with how difficult some songs are in comparison to the stuff she's up against, but this is an album you need to give a shot.

Bela Fleck and Abigail Washburn - Bela Fleck and Abigail Washburn: One of the best banjo players going right now with one of my favorite Americana singer-songwriters? Sign me up. A long-overdue album, the two of them perform really well together and offer a mix of classic songs and some new takes. I first saw Bela Fleck close to 20 years ago when he toured with Dave Matthews Band, and it's great that his progressive-bluegrass-style play mixes so well with the more traditional stuff Washburn plays. Easily my favorite album of the week, and a must hear for fans of this blog, especially the opener, "Railroad."

Paloma Faith - Perfect Contradiction: Retro songstress Paloma Faith is back with another solid album, finally being released in the United States after a long delay and filled with songs that make you think they're takes on other things and yet still feel fresh and new. I enjoyed this for what it was, and I get that it won't be everyone's cup of tea (that the leadoff track feels like it's trying to be "Blurred Lines" was initally jarring, and that Pharrell Williams produced it is not a shock), but it's worth a shot in any regard.

Shakey Graves - And the War Came: Ken turned me onto this one and it came as a total and complete surprise how much I like it. A sort of stilted folk-type album, it has a lot of very strong moments throughout, especially the handful of tracks featuring Esme Patterson. In a crowded week, this isn't getting as much attention as I feel it should, but I recommend trying to find a place in your rotation for it.

Ex Hex - Rips: Finally, a full album from Mary Timony's (Helium, Wild Flag) new band. This feels like a clean punk album in many regards, and it's pretty much exactly what I hoped it would sound like and it works from start to finish. Truly, you're going to know if you're going to like it from the first moment, it's rock without any real pretense to it. Well done.

Allo Darlin' - We Come From the Same Place: Allo Darlin' is a band that is associated with musicians I love and sound like bands I adore, but I've never really been able to get into them fully. This new album seeks to change that a bit, as it's a very solid piece of work from start to finish, feeling very cohesive and sounding like it's all figured out. If it weren't for the Fleck/Washburn album, this would likely be my favorite of the week. If you like Belle and Sebastian, appreciate Darren Hayman's style, or miss the sort of twee pop of a decade ago, listen to this right away.

Philip Selway - Weather House: While Thom Yorke and Radiohead are Spotify-phobes, drummer Philip Selway apparently doesn't have that same problem, as Weather House is available for a listen. I've liked his solo stuff in the past, and this is no different, being a bit of an electronic Elbow-sounding affair. A pleasant palate cleanser for the busy week, in any regard.



Also out this week:

* Weezer - Everything Will Be Alright In the End (Ken covered this in depth yesterday.)
* The Dead Milkmen - Pretty Music for Pretty People
* Dinosaur Feathers - Control

Immediate Response: Weezer - Everything Will be Alright in the End

Every time a new Weezer album comes out, I anticipate it mostly with trepidation. I'd love for it to be the greatest album ever made, but I've been burned by a new Weezer album far too many times. I mean, "Pork and Beans?" "The Girl Got Hot?" The only good song Weezer have released since the not-too-bad Green album was "Perfect Situation" back in 2005. All the advance press for Everything Will Be Alright in the End says that it's a return to form, but anytime a band has been around for more than 10 years, every album is supposed to be a return to form, and it all ends up being more of the same drivel the band has been releasing. So how is Everything Will Be Alright in the End? Here are my thoughts as I listen to it for the first time.

1. "Ain't Got Nobody"
This is actually a good song. The lyrics tend to be on the cheesier side. "Ain't got nobody to really love me?" That'sbad, but "Ain't got no one to kiss and hug me" is the kind of lyric that makes you want to roll up your car windows so no one can hear you listening to it. Great Eddie van Halen guitar solo, though. Still the best song they've done in almost a decade.

2. "Back to the Shack"
I hate this song. This song has made me doubt all the reviews claiming this is a return to form. This is as bad as "Beverly Hills." Sample lyric: "... forgot that disco sucks." UGH. "... Turn off these stupid singing shows." Yeah... this one is just lame.

3. "Eulogy for a Rock Band"
Just an awkward song. The verses are annoying, but the chorus is pretty decent. It feels like they're holding back. I'm not feeling very positive about the album anymore. 

4. "Lonely Girl"
This is pretty much exactly what you'd expect from a Weezer song called "Lonely Girl." It's upbeat, formulaic power pop that makes me feel old. You can pretty much predict every single part of the song before it happens. Very boring.

5. "I've Had it Up to Here"
Just when I thought it would all be garbage, I like this one. It has a smidge of the old Weezer quirk, but kind of an Eli "Paperboy" Reed R&B feel to it. The guitar solo doesn't quite fit in. It feels like they tried to cram a Pinkerton tempo change in.

6. "The British Are Coming"
"One if By Land..." is seriously a lyric in this song. It's a pretty straightforward mid-tempo rock song, but damn good. The chorus is unbelievably catchy, and it has a killer double guitar solo.

7. "Da Vinci"
Opens with some whistling, but in a good way. This is the best Weezer song in over 10 years. It's a pretty straightforward rocker, but with a whistling bridge, which is much better than it sounds like it should be. It ends with some Pinkerton-esque quiet noise. Great song.

8. "Go Away"
This is the duet with Beth Consentino of Best Coast. It's a great break up song that is almost doo wop. It's simple and feels really organic. This feels on par with great Weezer b-sides from the first two albums, like "Jamie" and "You Gave Your Love to Me Softly."

9. "Cleopatra"
This song is just dull and sluggish. It's corny, and then this almost rap part with counting by five comes in with a metal riff. Somehow that's the best part of the song, and makes me wish they explored that more. It comes back at the end, but doesn't save this clunker.

10. "Foolish Father"
There's a promising first verse, but right when it sounds like it's building to something epic, it stalls on the chorus. The solo feels out of place, like it was added on from another session.

11-13. "I. The Waste Land," "II. Anonymous," "III. Ithaka"
Holy epic! This is a modern take on "Only in Dreams." It switches tempos and styles a lot, like it's their take on Queen. It's just a fun song.

Is this a return to The Blue Album and Pinkerton? No. But it's by far their best album since The Green Album. If they took out some of the weaker tracks, it would have actually added to the album. Definitely worth a listen if you're a Weezer fan.

Holy Crap and Drop Everything! The Juliana Hatfield Three Have a PledgeMusic Campaign!

Yes, you actually read that correctly. The Juliana Hatfield Three, who only released one album (Become What You Are) all the way back in 1993 are reuniting to record a brand new album. I never thought I'd see the day when Juliana Hatfield, Dean Fisher, and Todd Phillips recorded together under the old name, but here it is. They just started a Facebook page yesterday, and now have a PledgeMusic campaign to fund the new album. There are the typical levels ($10 for an Access Pass and digital download, $25 for Access Pass and signed CD) but they have some really cool extras, such as vintage Juliana Hatfield Three t-shirts (2 left as of this writing!), 1993 glossy publicity photo, alternate album cover art for Become What You Are, a tourbook from their 1993 tour with Grant Lee Buffalo (only 1!!!!), a Skype guitar tutorial, and more! You know you want to...

Go here for The Juliana Hatfield Three's PledgeMusic page. It also looks like they'll be touring in March, so keep your eyes on her official website for info on that.

Monday Mix: Favorite Dead Milkmen Songs That Aren't "Punk Rock Girl"

With tomorrow's release of the new Dead Milkmen album, Pretty Music For Pretty People, I wanted to explore their catalog a bit. Now, everyone knows "Punk Rock Girl," even those that have no idea who The Dead Milkmen are, which is why it's off this list. I'm in no way saying these are their best songs, but these are my personal favorite songs. I wanted to include some of their more obscure offerings, including their attempts at major label stardom. Of course, since Metaphysical Graffiti isn't on Spotify, this can't be a complete list. Hopefully this helps prepare you for tomorrow's fantastic new release!

Joe Fletcher - You've Got the Wrong Man

You've Got the Wrong Man might be the best album you'll hear all year. While I've always appreciated Joe Fletcher as an artist, I've never quite been a fan. This album changes it all, and has make me the most gushing, obsessive fan possible.

The album was self-recorded on a 4 track, first at his home in Warren, RI, then a farmhouse in Georgia, and finally at Fletcher's new home in East Nashville, TN. The majority of the album features only his voice and guitar. The effect is something that sounds so gritty, raw, and lo-fi in the best possible way. It feels more like you're hearing him play in the corner of some smokey not quite up to code dive bar for maybe 7 people who are just there to drink. 

It's an album of murder ballads, shanties, and songs of love lost that's closer to Johnny Cash and Hank Williams than anything else in decades. The most recent album that has this feel is Nebraska. Yes, that is absurdly high praise, but it's far past well deserved.

"I Never (Reprise)" is from the perspective of a mutinous sailor who doesn't want to return home. It's one of the few songs with additional vocals, from a group that includes John McCauley of Deer Tick. "Florence, Alabama" tells the tale of a romance that can never happen as a soldier has to return to the front. "The Wilsons" is one of the most haunting folk murder ballads you'll ever hear and could be the plot of a Cormac McCarthy novel. The album's closer, "Mabel Grey," is a Brown Bird cover, and a tribute to the late Dave Lamb.

You've Got the Wrong Man is due out on October 7. You can check out his website and pre-order the album here. Watch a performance of "Florence, Alabama" below, and after the break you can find current tour dates.

Oct 4 & 5 - Keepin' It Country Festival - Bandit Town, CA *
Oct 8 - Crepe Place - Santa Cruz, CA w/ JP Harris & The Tough Choices *
Nov 10 - Exit In - Nashville, TN w/ O'Death *
Nov 11 - The Earl - Atlanta, GA w/ O'Death *
Nov 12 - The Pinhook - Durham, NC w/ O'Death *
Nov 13 - DC9 - Washington, DC w/ O'Death *
Nov 15 - Cafe Nine - New Haven, CT *
Nov 16 - Atwood's, Cambridge, MA *
Nov 20 - Southgate House - Newport, KY *
Dec 11 - The Basement - Nashville, TN w/ Tim Easton, Aaron Lee Tasjan

+ Joe Fletcher and the Wrong Reasons
* Joe Fletcher solo

First Listen: New Releases for September 30

A good week for new releases overall. Let's get right to it.

Prince/Prince & 3rd Eye Girl - ART OFFICIAL AGE/PLECTRUMELECTRUM: Prince is back this week with two albums - one on his own, and one with his new side group 3rd Eye Girl. Prince is always interesting enough to give a listen to, but, truth be told, only the 3rd Eye Girl album, PLECTRUMELECTRUM, is something I see myself going back to for more. The releases are not nearly as unmemorable as, say, the new U2 from a few weeks back, but the solo piece certainly doesn't have the same flair to it. Give both a listen, but temper your expectations.

Kat Edmonson - The Big Picture: Kat Edmonson's new album continues along the fun, jazzy, classic singer path that she's been on for a while now, but this album is definitely a step ahead for her musically. A lot of really good, memorable tracks, and her clear, distinct voice doesn't feel overproduced at all in ways many of these albums tend to go. I genuinely like this album quite a bit, and it fills a nice hole in my listening that needed it. Truly, in terms of like things? It's a lot better than the Bennett/Gaga from last week, so if you're already feeling tired of that one, you've got a nice replacement here.

Tove Lo - Queen of the Clouds: The best way I can describe Tove Lo is as the European Charli XCX - a songwriter who had a few noteworthy hits to her name branching out into a solo album. In what is quickly becoming a crowded space of these sorts of darker pop singers, Tove Lo's debut isn't as good as Banks's, but is more adventurous. It's not as adventurous as Lana Del Ray's, but it's much more accessible. For the comparison with Charli XCX, there's no "Boom Clap" on this album, but there doesn't have to be, either. It's an interesting release, and one I'm curious as to see whether it has legs, as she seems to be getting more mainstream attention than many of her contemporaries.

Yelle - Complètement fou: My favorite French pop singer offers up a new album this week that is really a solid listen from her from start to finish. The leadoff title track is great and it just keeps going from there. Even though I have no idea what she's saying, I continue to love everything she puts out. Definitely recommended.

Wild Leaves - Hello Sunlight: While there's a reasonable fear that the market is being saturated by these sort of roots-rock bands putting out their own modern touches on the genre, I fully feel I'm not tired of it just yet. Wild Leaves, in their second EP, makes a superlative effort that is only lacking because of its four song length. It felt like it was over before it really started, which is typically a good sign for something I'll enjoy. If you like a lot of what's featured here at the blog, this EP is worth a quarter of your hour.

The Rural Alberta Advantage - Mended With Gold: Best release of the week is from a band I really wouldn't have ever explored if it weren't for First Listen. Mended With Gold is the third release from The Rural Alberta Advantage, and they straddle a line between more roots-based rock and indie rock incredibly well, and, in part by virtue of being on Saddle Creek, definitely have some of that sound coming from it as well. I couldn't even pick a favorite song, as the album really doesn't slow itself down from start to finish. It's really a great, cohesive unit with nothing to complain about on first listen. I expect this to stay in rotation for a while.




Also out this week:

* Lucinda Williams - Down Where the Spirit Meets the Bone
* Thom Yorke - Tomorrow's Modern Boxes