Monday, November 30, 2009

Current Obsession - Tinted Windows

It's bad enough when I find out about a new band well after I should already know, but when they're smack dab in the middle of one of my listening sweet spots it's even worse.  If I haven't mentioned it before, I love Cheap Trick.  They are one of the purest pop bands of all time.  Most of their early back catalogue holds up ridiculously well compared to a lot of the blues based rock foolishness that was happening in the 70's, and to this date they still write some very solid songs that sit nicely along side alt-pop stuff they helped to influence.  So yes, I'm very aware of the album they released this year.  What seems to have slipped by me is a little project called Tinted Windows.

James Iha, formerly with Smashing Pumpkins, grew up in Chicago in the 70's so my assumption is he had  Cheap Trick fairly ingrained in his musical subconscious from an early age.  So pretty cool to recruit Adam Scheslinger from Fountains of Wayne for bass, also clearly influenced by CT.  Then enlist a mature young singer named Taylor Hanson who was destined to outgrow and re-surface from his boy band Hanson, and now very much resembling in sound and stature a young Robin Zander from CT.  Then for shits and giggles, why not just get Cheap Trick's drummer.  The one and only Bun E. Carlos, who to this blogger's opinion is probably the most solid and consistent drummer of all time (Ringo Starr's tempo but with skills).  Nice work James, and that's before even hearing a note.

So this thing sounds like Cheap Trick.  A whole bunch.  It's taken years of maturing as an aspiring critic to appreciate that when a band has been ripped off that much and referenced as often by critics for their influence in the hard rock/pop genre sphere, that maybe more bands should in fact rip off Cheap Trick, and if you are then at least your band is trying to sound like something special if not particularly unique.  So young bands listen loud and clear (since so many of you read this everyday).  If you're stealing from Cheap Trick, keep doing it.  You're on the right track.

I picked this up on the weekend and I can't say if I'll still be listening to it at this pace in two weeks, but right now it's about as well crafted a guitar pop disc as I've heard this year.  Iha's technique creeps in on some of the solos where you can tell his ability outweighs that of a typical pop lead guitarist.  It's his simple chord progressions and warm distortion that surprised me.  I mostly assumed he followed Corgan's lead, but depending on his involvement in the writing for this project, he has a natural knack for hooks.  This goes without say for Hanson and Schlesinger, who've made careers of sugar sweet three minute pop gems.  As for drums, it's Bun E. Carlos, and no one is cooler than Bun E.  No one.

So at face value, some will call this disposable, but that's the trick.  To make something so familiar listeners find comfort, yet fresh enough and contemporary enough that the album can find a special quiet spot that only a handful of people will remember 10 years from now.  I don't think any of the band members are counting on this project to make them rich.  In fact the youngest member is probably the richest and still cashing Mmmmbop cheques (I never know how many "m's").  So with little at stake other than to just make the album all four cats want to make, there's no pressure.  Just like there's no pressure to write Radiohead calibre lyrics.  Young kids like Britney Spears because they think her music's fun.  Fair enough, I agree.  Just the same, what if you could capture that same sense of fun and playfulness, with equal parts cleverness and sincerity?  You get something like Tinted Windows.

For all the pretentious interesting ground breaking music I find in the run of year, there is very little that gets me more jazzed than stuff like this album.  No one makes an album like this unless they genuinely love making music keyed in on melody, cohesion and saying everything you need to in 3 minutes or less.  These albums inevitably get lost in the shuffle, if they're even lucky enough to register on any mass listening radar.  Hopefully enough people will buy this record so the Tinted Window lads will consider doing it again at some point.  Well done lads (when you get music like this just right, I get to call you "lads" - check the music nerd handbook under "slang for dudes in good pop bands")

Here's the video for their lead single, "Kind Of A Girl"

Thursday, November 26, 2009

Wednesday, November 25, 2009

Heavy Fives - Week of November 23/09

Polvo - In Prism

Dinosaur Jr. - Farm

Cold Cave - Love Comes Close

And You Will Know Us By The Trail of Dead - The Century of Self

The Clean - Mister Pop


Tuesday, November 24, 2009

U2 Are Not The Best Band In The World

I don't actually get up in the morning, look in the mirror and convince myself to be more contrarian or grumpy than a day earlier.  It just works out that way some days.  What I do seem to have less and less time for when I over analyze insignificant concepts like the best band in the world, are notions that arise from short cuts to reasonable thought or consensus through strong marketing or pack mentality.  Basically, just because a lot of people like to call U2 the greatest band on earth, don't make it so.

I don't hate U2.  Okay I might...but I didn't always, and I still have a special spot in my mental musical vault for all the wonderful art they created when they truly were brilliant.  Those who remain hardcore fans will debate what are the truly great moments in U2 sonic history in similar fashion, even if they include some of the output that a critical eye might be quicker to call crap.  I'm not so obnoxious to suggest that Boy or October is U2 at their best.  Even I have some boundaries for naturally latching onto a band's earliest work and clinging to some notion of that being "their real stuff".  However, save some bright spots along the last 25 years, I still contend The Unforgettable Fire was the band's last true masterpiece.  It bridged the grit of the previous three albums with a melodic capability they've only showcased sporadically since.

So why does older U2 resonate so much more favourably for these ears?  I think it lies within what so many bands struggle with after about five albums and that's legitimacy.  Particularly if they create such a noteworthy splash that the bar is set forever at a height that's unrealistic.  To varying degrees, those first four albums by U2 have a raw, reckless abandonement they'll never match again.  The birth of the band amidst late 70's punk and their beginnings as key players in early 80's post-punk were moments in time that would actually seem forced if they even tried to recreate a similar vibe today.  The passion of their words, bundled in youthful naivete.  Bono's voice, so ridiculously powerful not even he really knew what direction it might fly, often teetering on the brink of cracked notes.  The collective sum of their parts demanded to be heard, because they had something fresh and interesting to say with their words and sounds.

On The Unforgettable Fire you hear that proverbial band coming of age.  Much has been made of the Eno/Lanois production partnership over the years, but to me, nowhere is it more evident than on this album.  For years I stuck with the idea War was their best work, probably because they were the first singles I heard as a kid.  Admittedly, The Joshua Tree suffers from my own self imposed overplay fatigue.  Still, it doesn't have the same curiousness coupled with the urgency of its predecessor.  In general, Coldplay make much better U2 albums these days than U2 do, largely because they have such love and respect for The Unforgettable Fire (not sure how much they openly admit it, but come on!).

 I have not seen U2 live, and I'm sure again most diehards will suggest that is at the very core of what makes them the greatest.  It is fair that in many ways U2 find themselves in a number of no win situations.  When they played the Verigo tour and opened shows coming on stage with the lights on and a much stripped down stage than on previous tours, it was deemed to be both refreshing and contrived.  I'm guilty of saying for years they should go back to Lillwhite's production to recapture some rawk, and when they did, it was one of their worst albums (That Atomic Bomb foolishness that gave us a cool iPod commercial for our trouble and a quick Spanish counting lesson.  Still better than this most recent Crazy Tonight disaster that Blackberry paid for).  The one thing I'm certain of, is no matter how big this silly thing is , it still isn't large enough to fit Bono's ego inside.  I saw Depeche Mode this summer, and for a band of similar vintage, it was cool to see them act their age for the 20,000 faithful and to play new material that was still fresh and relevant in 2009.  Unlike U2 , who are now fortunate enough that they get to close concerts for superior bands like the Arcade Fire.

So, I'll give them "Beautiful Day", "The Fly" from Achtung Baby and a few other tidbits since The Unforgettable Fire (pretty hard to carve up "With or Without You", so I'll refrain, and Zooropa and Pop were at least admirable in principal if not execution I suppose), but if you step back with a truly balanced view and evaluate U2's collective output, it truly is weighted heavier toward those first four albums.  You could even offset their first two with their most recent two and focus in between, which would leave you with 1983-1987 as the signature years.  In fairness, this is one of the purest historical stretches for creative music and if you did a similar exercise for say New Order, it would play along the same lines.  New Order however, never had the good or bad fortune of being the self proclaimed best band in the world, even at a point when they might have been.  They did however do us the favour of breaking up before they could release anything as completely unecessary as "I'll Go Crazy If I Don't Go Crazy Tonight".  I'll go crazy if one more person calls U2 the greatest band on earth just because they've heard fifty other people say the same thing.

Wednesday, November 18, 2009

Heavy Fives - Week of November 16/09

Rakim - The Seventh Seal

Julian Casablancas - Phrazes For The Young

Miracle Fortress - Five Roses

Junior Boys - Begone Dull Care

Slayer - World Painted Blood

Monday, November 16, 2009

Underrated Bands

Trashcan Sinatras

Two of my very favourite bands of all time, perhaps not so coincidentally, come from Scotland.  Trashcan Sinatras and Teenage Fanclub.  Without doing a full inventory in this post for all the amazing Scottish pop bands, there is clearly a guitar pop gene that seems to roam freely through northern UK, and both of those bands have it in spades.  In their respective early to mid 90's heydays, the two bands were both rooted in guitar pop, but attacked it from very different angles.  In recent years they seem to have arrived at a more similar vibe, with the Fannies dialing back their trademark distortion, and the Trashcans re-embracing their jingle jangle sweet spot.  TF would likely ring more bells among the slightest of music nerds, but if TCS tweak any memories at all, it would be for their far too often forgotten mark on the years that led to the peak 90's BritPop period.

I was introduced to The Trash Can Sinatras (as they were coined at the time, prior to the recent abbreviated version of their title), buy a work colleague in and around 1994-95 and soon had their brilliance confirmed and reiterated by the young woman who would become my wife.  Of the thousands of reasons for which I knew she was special, her taste in music and this band in particular may have placed top ten.  What is unfortunate, is just how many people have never and will never get to hear how fantastic these guys are.  To this point, the Trashcans are not some obscure indie band that would work for only very selective ears.  This is music your parents could enjoy easily if you didn't tell them what it was, while never treading into a campiness you might otherwise associate with music that fits that bill.  You can describe their music safely as "beautiful" or "gorgeous" without drumming up images of James Blunt followed closely by images of me setting him on fire as he dives off a cliff naked, engulfed in glorious flames.

Wow.  That can't be healthy.  Sorry James.  Although I might suggest you stop making bad music and creepy videos where you disrobe without context, and people won't want to set you on metaphorical fire.

So yeah, Trashcan Sinatras make clever and very pretty jingle jangle pop music with lush strings and hooks aplenty.  Like a select group of bands in this genre, what makes them most special to me is how absolutely unapologetic they are for their unrelenting approach to melody and listenability.  Many an aspiring guitar pop band have started out with a wonderful jingle jangle song, only to get caught up in machismo or prevailing trends, resulting in knee jerk cliched distortion.  Don't get me wrong, I'm all for fuzzed out riffs over pop hooks (old Teenage Fanclub), but sincerity always wins the race.  The Trashcans have never made any concessions for their sound.  The Smiths influence is still there is you think about it enough, but the band truly has evolved into one with their own signature sound and trademark brand.

Part of why TCS seem to have largely fallen just short of the radar for many is a combination of bad luck and timing.  With their debut, Cake, being released in 1990 they sort of pre-date BritPop's stride years.  As their third album, A Happy Pocket, was being released in 1996, their North American distributor decided not to release the album.  Any momentum they had was stalled with this business challenge and the general ascendence of grunge.  By 2000 their label was bought by Universal and they were subsequently dropped.  Shocker.  Bankruptcy ensued, and it took until 2004 for them to get all the pieces back together and release Weightlifting.  I think there may have been another business issue with spinART, their licensing company, but with In The Music coming out this year, it seems they may finally have found a good spot musically and hopefully financially.  Core fans also seem to have stuck with them.  A true testament given how long we've had to wait for new TCS music on occasion (well worth it).

I'm glad these gents have been able to work through adversity so they could continue sharing their fabulous music with those of us that are listening.  I hope more people will discover them, either on-line or in the used CD bins where they unfortunately reside semi-frequently.  It's safe to say that anyone who found Trashcan Sinatras along the way are still very much diehard fans.  It's also safe to say there's a young woman who still has amazing taste in music, and introducing me to this band was one of the best gifts ever for a music nerd who already thought he knew all the great bands.

Sunday, November 15, 2009

Top 100 Canadian Songs of the 2000's

This is the third or fourth list of 100 ranked songs I've assembled recently, and perhaps the one I'm most uncertain about.  The given is you'll miss something.  It's also a given that sequencing is so arbitrary after a point.  It feels like most Canadian artists of relevance are here even if their placement might be suspect.  IT is a list focused on songs of reasonable brevity, so brilliant artists like Godspeed You! Black Emperor really didn't fit on here.  Anyway, enough with the qualifying and second guessing................

100    Land of Talk - Speak to Me Bones
99    Robin Black - So Sick Of You
98    Rush - The Larger Bowl
97    The Ladies & Gentlemen - Stay
96    In Flight Safety - Coast Is Clear
95    Matthew Good Band - Anti-Pop
94    Matt Mays - City of Lakes
93    Cuff The Duke - The Ballad of Poor John Henry
92    Neverending White Lights - The Grace
91    Tangiers - Shoestrings

90    Tegan & Sara - Speak Slow
89    The Cash Brothers - Take A Little Time
88    The Priddle Concern - Care About You
87    The Organ - Brother
86    Woodhands - Dancer
85    Jim Guthrie - All Gone
84    Born Ruffians - Hummingbird
83    Islands - Don't Call Me Whitney, Bobby
82    Hot Little Rocket - Like Killers
81    K'Naan - Soobax

80    Billy Talent - Surrender
79    Boy - Same Old Song
78    Fembots - Count Down On Our Days
77    Mother Mother - Verbatim
76    Chad VanGaalen - Clinically Dead
75    Burdocks - Pop Cult
74    The Lovely Feathers - In The Valley
73    Handsome Furs - I'm Confused
72    The Hidden Cameras - Awoo
71    City & Colour - Save Your Scissors

70    K-os - Crabbuckit
69    Mir - A Day In Your Life
68    The Remains of Brian Borcherdt - Can't Stop Loving You
67    Jason Collett - Fire
66    A Northern Chorus - Prisoners of Circumstance
65    The Salteens - Let Go Of Your Bad Days
64    A.C. Newman - Miracle Drug
63    Hilotrons - Born A Dancer
62    Mike O'Neill - Alsatian
61    Shout Out Out Out Out - Run

60    Emm Gryner - Beautiful Things
59    Code Pie - Laundry List
58    Feist - I Feel It All
57    Grand Theft Bus - Don't Go Say That
56    The Grapes of Wrath - Black Eye
55    The Super Friendz - Not The Love
54    The Most Serene Republic - The Men Who Live Upstairs
53    Meligrove Band - Now Look What You've Done
52    Peter Elkas - In My Den
51    Think About Life - Sweet Sixteen

50    The Tragically Hip - My Music At Work
49    Wooden Stars - Blackout
48    Chromeo - Fancy Footwork
47    Duotang - The Evidence Comes From All Directions
46    Matthew Good - In A World Called Catastrophe
45    Golden Dogs - Birdsong
44    Death From Above 1979 - Romantic Rights
43    Young Galaxy - Searchlight
42    David Usher - A Day In The Life
41    Holy Fuck - Lovely Allen

40    The Besnard Lakes - For Agent 13
39    Buck 65 - Protest
38    Stars/Apostle of Hustle - One More Night
37    The Flashing Lights - Been Waiting
36    MSTRKRFT - Easy Love
35    Sam Roberts - Brother Down
34    Howie Beck - Alice
33    Blurtonia - Foxy By Proxy
32    Caribou - Melody Day
31    The Diableros - Working Out Words

30    North of America - Keep It On The Download
29    Metric - Combat Baby
28    Constantines - Long Distance Four
27    Tokyo Police Club - Citizens of Tomorrow
26    Sara Harmer - Don't Get your Back Up
25    Sloan - Rest of My Life
24    Kevin Drew - Lucky Ones
23    Cadence Weapon - Oliver Square
22    Hot Hot Heat - Bandages
21    Andy Stochansky - Stutter

20    Wolf Parade - Fancy Claps
19    The Stills - Lola Stars & Stripes
18    Stars - Your Ex-Lover Is Dead
17    Wintersleep - Dead Letter & The Infinite Yes
16    Russian Futurists - Paul Simon
15    Do Make Say Think - White Light Of
14    Contrived - Celebrate
13    Brendan Canning - Church Under The Stairs
12    The Dears - Ballad of Humankindness
11    New Pornographers - The Bleeding Heart Show

10    Miracle Fortress - Have You Seen In Your Dreams
9    Novillero - The Hypothesist
8    Joel Plaskett Emergency - True Patriot Love
7    By Divine Right - Soul Explosion
6    Apostle Of Hustle - National Anthem of Nowhere
5    The Weakerthans - Pamphleteer
4    Arcade Fire - Wake Up
3    Broken Social Scene - Stars & Sons
2    Raising The Fawn - The Matador
1    Junior Boys - In The Morning

Thursday, November 12, 2009

Heavy Fives - Week of November 9/09

These are the five albums I have in heavy rotation this week.  Sort of a European kind of week.  Easing into a real Swedish zone at the moment.

Lykke Li - Youth Novels

Sigur Ros - Takk

The Knife - Deep Cuts

Mew - And The Glass Handed Kites

Fever Ray - Fever Ray

Wednesday, November 11, 2009

The Greatest Song of All Time: "Love Will Tear Us Apart"

If you've ever contemplated the absurdity of trying to narrow down something as ridiculous as the greatest song of all time, you'll know that there is a certain amount of comfort one can take in always arriving at the same answer whenever you ask your self the question.  That is, if everyday I consider a vast landscape of music and consistently land on Joy Division's "Love Will Tear Us Apart", then there must be something to it all, right?

When I ask myself that very question of what is the greatest song of all time to me, the short list is probably no less than ten songs, and no more than twenty at my most critical swipe.  Probably 90% of the candidates would be British and from the 1980's, but that is perhaps another post waiting to happen, as to why that particular era is so compelling as holds up so well over time unlike other so called classic rock.

"Love Will Tear Us Apart" is classic I suppose, but not in the Steve Miller or Eddie Money recycled FM radio staple sense, but more with the consideration that when the boys wrote it in August/September of 1979, something changed in music, and that pinpoint on a musical history timeline is very much a "classic" event.  The song has been covered much too often, whether by worthy interpretors or otherwise.  It has also landed at or near the top of compiled lists over the years, often with a rejuvenating effect, acting as an introduction to a new gaggle of fans with an ear for interesting music.

Part of the reason this song still remains largely unknown in mainstream music circles, is the very esthetic that Joy Division was part of creating, and is so prominent now in alternative type music.  It doesn't sound like something that should work.  Of course, this would be largely due to Ian's vocals.  If someone was already a JD fan, or had managed to descensitize themselves to vocals far less polished than Steve Perry and Dennis DeYoung (of Journey and Styx respectively - the box office draw at the time), then perhaps this song wasn't a stretch to get your head around.  Consider timing context however (my favourite measure for great music), things were really just starting to get strange around 1980, with artists like Talking Heads, XTC, Gary Numan, Echo & The Bunnymen, and Psychedelic Furs to name a few.  Punk had laid the groundwork for music that didn't sound perfect in the traditional sense, and the raw energy of punk was still there with "Love Will Tear Us Apart", but with just enough new polish and redefined angst to make a person take a closer look.

The band was so young and really just hitting stride, that one could almost suggest without the benefit of hindsight that they got lucky.  All cylinders fire perfectly on this track.  Ian's vocals sound wounded and weary, the weight of his health and the topic of his conflicting love interests playing out in every breath.  Hook's bass line mostly mimics the synth and really sets the melancholy tone that anchors the whole song.  Sumner's guitar is placed more obviously at crescendo parts of the song, much like the Morris drum builds at the start and end of the song.  Martin Hannett's production is perfect to capture the natural effortlessness with which the track flows, and not allowing for any unnecessary spikes when the song gets occasionally frantic.  This is the balance of warm production with stripped down values that the best indie type bands strive for even today.  This song showed you could strip it all away like punk, but build enough melody, vibe, cohesion and art back in without losing any of the urgency or sadness in this case.

I was eight years old when "Love Will Tear Us Apart" was released, so even if I were to offer my best old school hipster swagger and suggest I bought either the 7 or 12 inch releases in 1980 when they were released, it would be full on fibbing.  I'll even go so far as to confide that I may have heard the song in the mid 80's, but my true reckoning would come years later with the benefit of my own musical maturity and descentization for awkward baritone vocals and sad bastard singers.  Better late than never as they say.  I've now propped the song on top of a fairly hefty heap of great songs, and can categorize it along with only a few others that I can safely say I could listen to at least once a day for the rest of my years and never get tired of hearing it.  Perfectly constructed, emoted and executed at every turn and every note.  No wonder the kids are finally ripping it off so much.  A far more validating tribute than an overblown blog post from a moustachioed avatar buried away in the internet.

Wednesday, November 4, 2009

10 Coolest Bands

For my money, I would say these are the ten bands I would most consistently point to as being the coolest active bands on the planet.

10.  Junior Boys

9.  TV On The Radio

8.  Do Make Say Think


 7.  Trashcan Sinatras

6.  Minus The Bear


5.  Phoenix

4.  Spoon


 3.  Interpol

2.  Broken Social Scene

1.  Radiohead


The Worst

So with a 38th birthday closely approaching, it seems as good a time as any to ponder my role as a fan in the vast and ever growing space of pop culture related interests.  With music, for right or wrong, I seem to have chosen a path where it honestly has not been a concerted effort to abandon the classic rock faves of my childhood or to ignore the current mainstream music network best sellers.  It just seems my taste has taken me in a direction where I can count on both hands the number of artists before 1977 that I still actively listen to, and aside from maybe the first few seasons, I really have no sense for which artists in mainstream music have come from shows like American Idol.

I was scanning TV channels recently and landed on one of the music networks, and in a weak moment where they seem to have accidentally played a music video somewhere between episodes of The Hills and Brooke Knows Best, I suddenly became aware of quite possibly the worst band I've ever heard.  Something called Daughtry.  So the first self check I perform in these situations, is the Old Guy Reasonableness test.  Is this band or song really that terrible, or am I becoming that guy who just doesn't get this wacky rock and roll the kids are listening to these days.  I've had some reasonable feedback from twenty somethings or younger over the last number of years to suggest that my cred is still pretty decent and my taste is fairly progressive and evolving.  So, I move along from a possible knee jerk reaction to the conclusion that Daughtry are in fact just shitty.

What makes music like this the absolute worst type of sonic landfill is the complete uncompromising lack of sincerity.  When you have to work so hard through contrived vocal gymnastics to give the illusion of emotion, in absence of anything remotely sincere to sing about, it's usually a clue that a major label is about to call, and you're about to get a contract.  Apparently this guy was on Idol.  Now that I know that little tidbit, it all makes a bit more sense, but no less forgiveable.  It also prompts a common chicken egg question.  Do people like music like this because they're not being given more interesting options by mainstream providers?  Or, does mainstream media produce such uninventive music because the mass audience has become incapable of digesting anything other than spoon fed faux emotion? A third alternative is that most people don't obsess over every detail in music like some arseholes with blogs, and just enjoy whatever's playing the background.  Also fair.

What I do know is when an artist is trying too hard, because they know what they want something to project rather than just being themselves.  The guy seems to have good pipes, but the soft vocals over basic acoustic chords, with a build to power chords over the money vocals is just part of what makes music like this the absolute worst.  The over polished videos with close ups on the singer's face as he puppies up on the soft parts with big eyes and then grimace with eyes closed over the parts that are supposed to drive home all the really important things he has to say.  But that's the thing.  I don't believe these guys and they don't make me want to care about them.  Not for a second.

"Well, I never saw it coming.  I should've started running.  A long, long time ago.  And I never thought I'd doubt you, I'm better off without you.  More than you, more than you know."

Is he really better off without her?  Personally, whoever she is, I think she might have gotten the better end of things in that split.  Even if you allow for people who just like how stuff sounds, don't care about words, and love music as background distraction - all fair enough, what about the people who have been duped to think this guy really is speaking some heavy truth because some high priced producer has created enough formulaic peaks and valleys that it somehow must legitimize Daughtry as this generation's Dylan for people who've never heard The Weakerthans or Death Cab For Cutie.

What has happened with the inevitable recognition of my vintage, is that I've mellowed and matured enough to recognize music like Daughtry with much improved perspective.  It used to be if someone didn't want to hear Radiohead, there was a good chance they wouldn't, but if I didn't want to hear Celine Dion, inevitably walking through a mall I would hear her over the top screeching blasting through a ceiling speaker.  Now, the tables have turned to a more equal footing.  Daughtry is clearly a star with hits and sales, yet I had never heard of him because now you can bury yourself in the internet with all the interesting and ground breaking music, and never ever have to hear stuff like this.  I'm glad the guy's making a buck and I hope his music makes people happy, but this sound is the epitome of what's wrong with modern music and why major labels aren't signing bands like Pixies or The Cure anymore.

Monday, November 2, 2009

Heavy Fives - Week of November 2/09

Heavy recent play and there's five of them.

Think About Life - Family

The Clientele - Bonfires On The Heath

Do Make Say Think - Other Truths

Memory Tapes - Seek Magic

Maps - Turning The Mind