Do You Hear What I Hear? Micachu Offers Up Delight For Your Ears

Micachu, aka Mica Levi, is a classically trained, British-born, indie experimental pop musician. She formed a band with Raisa Khan (keyboards) and Marc Pell (drums) called The Shapes, then released her debut fill length album, Jewellery, via Rough Trade Records on April 7th in the States. Their band page can be found here or on MySpace. Levi has been praised for her eccentric musical performance style. She "uses a modified guitar played with a hammer action called a ‘chu’ and a bowed instrument fashioned from a CD rack. She also uses improvised instruments, such as glass bottles or a vacuum cleaner." (http://www.roughtraderecords.com/micachu/1195/micachu-the-shapes)

Jewellery sounds like a quirky mix of noise pop scattered with electronica zooms, tinks, and dinks all the while incorporating catchy poppy hooks. "Lips" is a short groovalicious fuzz pop tune lasting only 1:20, just long enough to bob your head and tap your feet. In fact most of the first half of Jewellery is under three minutes. "Curly Teeth" is an indietronica track if I've ever heard one; however, it also falls in the realm of folksy pop (or freak folk) if you listen to the acoustic arrangement underneath. "Golden Phone" is more mainstream electronica with a funky handclapping edge, but even it has a distinct feel apart from what you may be used to. "Ship" sounds like 'video game sound'-infused, funky trip, britpop. "Just In Case" is another example of what seems like a simple acoustic track turned Micachu - the start and stop beat, the looped hip-hop inspired chorus backing, the lyrical quirkiness. "Calculator" is the lead single from this album. It can best be described as thrash acoustic indie pop with a "Tequila"-inspired hook that ends like a bad carnival ride.

Check Micachu and The Shapes out if and when they come to a city near you. You should be in for quite a show . . . and a musical epiphany as well!!

Indieface Show Review: Ladytron, The Faint, Crocodiles

Down for a bit of a dance party, I headed up to Stubb's Bar-B-Q in Austin, TX yesterday for a hip show. Here's what struck me, what stayed with me, and why I have a greater appreciation for R.E.M..

First up were experimental rock duo, Crocodiles. The San Diegoans threw down a funky mix of jam electronica and lo-fi noise, art pop/rock. For a twosome who have been playing as Crocodiles for only about a year, they did their best to entertain the crowds desperately awaiting the headliners and succeeded in at least my eyes. Check out their album here.

Up next were crowd favorites, The Faint. Straight outta Omaha, NE, these new waving, lo-fi jabbing, indie rock post-punkers thoroughly entertained. Around since 1994 in various forms, The Faint brought a high energy, bouncy set to the outdoor stage of Stubb's. "The Geeks Were Right" and "I Disappear" stood out as highly addictive diddys as much as they do when listening to the songs in your own backyard.

So this brings me to my freak out moment of the night as I waited for Ladytron to appear on stage. I positioned myself closer to the front and in doing so cuddled up with the other patrons. I noticed two seemingly recognizable gentlemen to my immediate left and slightly in front of me, but didn't think twice to investigate. As Ladytron took to the stage, I began to see these aforementioned guys bob and jam out. "Michael Stipe?", I said to myself. One of my friends doubled the inquiry soon after and I found myself distracted for about 10 minutes trying to figure out if indeed Michael Stipe and Mike Mills were partying it up in Austin, TX on a Tuesday night in April. Needlessly to say probably, it wasn't them, but merely a faux R.E.M. duo who could have easily passed for the two Mikes 12-15 years ago. A lack of photographic evidence may decrease the likelihood you may believe my story, but so be it!

Despite the sidetrack, I felt the musical warmth of Liverpool's Ladytron soon after. The ten year old group has been belting out the electronica greatness and turning lovers of early 80's synth pop into believers. Electroclash greats like "Destroy Everything You Touch" and "Ghosts" mixed with indietronica standouts like "Seventeen" and "International Dateline". The crowd was into the performance and the band did not disappoint. Here's some pics from my vantage point.

Take An Austrailian Walk On The Sun

The sound of Australian electropop duo Empire of the Sun feels like it's cut from the same alternative cloth as MGMT. The band creates an electronic pop rock sound all their own, modern and throwback at the same time. The CD release of their debut album, Walking On A Dream, was released today via Astralwerks Records.

"Standing On The Shore" starts off the groovy and catchy electrofied round of songs with a steady dance beat. The lead single and title track, "Walking On A Dream" carries on the dance party taking place in a 70's-styled living room with 1982 accents. "Half Mast" almost has bossa nova undertones accompanying the groovacity. All of the hooks on most of these songs grab you and get your body shaking. The five minute long instrumental track, "Country", slows down the party a bit, but in the way a trippy dance trance would. Other tunes worth a note are "We Are The People" and "Tiger By My Side".

If you're into the indie electropop sound, check out what Luke Steele (of The Sleepy Jackson) and Nick Littlemore (P'Nau) have done with Empire of the Sun. Dance your way to the album today!

Experience A Riot Grrrl 'Scramble'

The Coathangers fashion themselves a riot grrrl revival band. The Atlanta four-piece started out as girlfriends and in three short years have grown into the band mates they are today. Julia Kugel (guitar/vocals), Stephanie Luke (drums/vocals), Candice Jones (keyboards/vocals), and Meredith Franco (bass/vocals) say "every song is an art project, a starting over, a scramble". The fruit of their loins began with The Coathangers, released in November 2006, and has culminated in Scramble, released earlier this month (April 7th) off the Suicide Squeeze label. Stream their lastest album here.

The first track, "Toomerhead", is a piano-backed, artsy post-punk rock jam. "Stomp Stomp Stompin'" is a garage rock infused, Bikini Kill-inspired, musical art piece. Songs like "Time Passing", "Bury Me", "Pussywillow", and "143" mix the riot grrrl sound with modern garage rock and indie rock stylings. "Gettin' Mad And Pumpin' Iron" is a bouncy, energizing more-classic sounding riot grrrl song, complete with semi-incoherent screamed lyrics and blazin' guitar work. The overall album is quite a treat for fans of the riot grrrl sound and word is these girls put on a show. Be sure to catch them touring in a city near you!

Rockin' Around Tax Day!

Two big sounding indie rock releases today. Let's get right to the fun!

Silversun Pickups are a indie rock group from Los Angeles who have a shoegazing sound and lead singer who sounds like a less scruffy version of Billy Corgan. Swoon is the band's second full length album, released today on Dangerbird Records. Carnavas was released in 2006.

The mood is set right off the bat with the opening track, "There's No Secrets This Year". The instant awesomeness of this rockin', electromagnetic tune grabs your ears and wakes you up from your slacking slumber. However, the last minute or so of the 5 min, 33 second song slows down the pace in favor of an elaborate string-filled outro. Songs like "The Royal We", "It's Nice To Know You Work Alone", and "Panic Switch" (the lead single) continue the musical function of Swoon: hit 'em with that opening force of guitar and energy and groove throughout the duration, adding string instrumentation along the way. I also dig chill groove jam, a la Smashing Pumkpins, "Substitution". Critics of Swoon will say the formulaic nature and drawn out melodies of the album distract you from what you first may have liked about Brian Aubert's unique vocal stylings and forceful guitar work backed by Nikki Monninger's harmonic vocals and groovilicious bass. They may not be wrong. Only a few songs "fit" here; when your shortest track comes in at 4:39, you better bring supply something that keeps your interest in the remaining tracks. Swoon may swoon in that department. It's a respectable second effort, but sophomore slump is the right label IMHO.

Another indie rock sequel came out courtesy of Canadian electro rockers, Metric. The fearless foursome new wavers just released their fourth studio album, Fantasies, via Last Gang Records. Previous albums include Old World Underground, Where Are You Now? (2003) , Live It Out (2005), and Grow Up and Blow Away (released in 2007 but originally recorded some time after the band formed in the 1998). Since 2006, I have grown to discover and love Emily Haines and the boys for their mix of synthpop, indie rock, and electronica. Fantasies brings a pop rock feel with it, but not in a way that is totally off base from their previous efforts.

Tracks like "Sick Muse", "Satellite Mind", and "Gold Guns Girls" continue the catchy, upbeat rockin' nature for which Metric is known. "Twilight Galaxy" contains that synthy groove present on previous albums. Lead single, "Gimme Sympathy" IS more mainstream poppy in nature. In it, Haines asks the eternal question: "Who'd you rather be: The Beatles or The Rolling Stones?". The answer for Metric might be "neither"; the band is quite content being who they are. The last jam on the album, "Stadium Love", sounds like an arena rock anthem for the indie music genre.

The gem of the album is the opening track, "Help I'm Alive". Metric started promoting this song late last year as it helped to hype up a vinyl release to help raise money for charity when it was leaked by overseas manufacturers. Radio stations around the world and in their own native Canada picked it up and began playing it on-air. The song took off and Metric became yet another victim of leaked material. No matter though - the group embraced the early sneak peak at Fantasies and recorded an acoustic version of "Help I'm Alive", available for free download at their website. The album version is smooth, electro rock performance featuring the sweet and delicate, yet powerful and forceful vocals of Emily Haines. The acoustic version highlights her voice even more.

Check both of the new releases out today!

Chill Beats for Your Shoegazing Soul

School of Seven Bells is an electronic indie three piece who mesh elements of dream pop and shoegaze into their music. The band was formed in 2004 by Benjamin Curtis (Secret Machines) along with identical twins Alejandra and Claudia Deheza, formerly of On-Air Library!. According to their info page on Ghostly International (band's label), SVIIB (as those in the know call them) got their name after Alejandra discovered a 3 AM airing of a PBS show about the School of Seven Bells. Apparently, they were a mythical, yet-to-be-disproven South American pickpocket academy that may have existed in the '80s. The thought of "seven minds working as one appealed to her, as did the phrase’s cryptic musicality" and thus, the nucleus of creativity was spawned. (Source:http://ghostly.com/artists/school-of-seven-bells)

The group's full length debut, Alpinisms, explores the heights and depths of electronica. The album was released last October. Curtis overlays the double time, ethereal vocals of the Deheza sisters with multi-layered rhythms and beats as well as undulating guitar riffs. Tracks like "Face to Face on High Places", "Half Asleep" and "Connjur" (my own personal Everything But The Girl-styled jam) have a new rave quality to them and show that dance music need not be bouncy and high octane. After a string of EP's and single releases, SVIIB seem poised to capture the indie music landscape, one raver at a time.

Sweet New Indie Music Three Times Over

Three big albums came out today. First up is Portland punky popsters, The Thermals. "Now We Can See" is the first catchy, but 'more-down-beat-than-earlier-songs' single off the album of the same name (streaming now at their MySpace). "At The Bottom Of The Sea" is an awkward ballad offering from the album sitting at 5 mins, 43 seconds while all other tracks on Now We Can See come in under 3:36, falling in the punk tradition. The rest of the tracks on the album follow in the style The Thermals set forth since 2003-2004, including "You Dissolve". If you like "A Pillar of Salt" off their 2006 release, The Body, The Blood, The Machine, then you might get less than you desire from Now We Can See.

Together since the mid-1980's, The Tragically Hip from Kingston, Ontario, CA have been college radio favorites for a while. They play an aggressive form of R.E.M.- styled rock/alt-country music. The pop rock they produce is more rockin', less poppy. We Are The Same is their eleventh full album release, most of which have come out since 1996; it captures that light rock/alt-country feel in tracks like "Morning Moon", "Coffee Girl", and "The Depression Suite". The band is highly influential and popular in their native Canada, for good reason.

Last, but by no means least on the schedule of albums out today is Two Suns, the second full length album by Bat For Lashes, aka Brighton, England-based singer-songwriter Natasha Khan. Khan has been compared to the likes of Björk, PJ Harvey, Tori Amos, and Fiona Apple. The first single, "Daniel", incorporates elements of dream pop, synth pop, and ambient sounds while still producing a danceable beat. The video for the song gives you evidence as to why Bat For Lashes is immensely popular in the indie music scene, especially in the UK, ever since Fur & Gold was released in 2006.

Little bit of everything for ya today. Go out and get all three!!

Place Indieface Artist - April 3rd

A Place Indieface Artist you must associate yourself with is Bad Veins from Cincinnati, Ohio. Bad Veins consists of multi-functional vocalist/guitarist Ben Davis and drummer Sebastien Schultz. The twosome play their style of electro indie rock "backed by a reel-to-reel player that runs everything from keyboards to full orchestral sounds", according to an interview done with hometown publication, CityBeat. They call their unofficial third bandmate, "Irene".

Around since 2006, but mainly buzzed about since playing at SXSW last year, Bad Veins has recorded their first full length album, yet to be released. They have a quirky appeal to the steadfast performances surrounding their thought-provoking lyrics. Songs like "Falling Tide" and "Gold and Warm" make you groove out and listen up at the same time. Check out their MySpace and their personal website for songs and news concerning their music.

Best Indieface of March

March was a long month. Musically, it seemed like a lot was either released or announced this month on the Indieface.

Bell X1, Handsome Furs, White Lies, Yeah Yeah Yeahs, and The Decemberists all found themselves in my graces during the month. Several tunes produced from these new releases stuck in my head, found their way on my iPod, and resulted in me purchasing and downloading them. Always promote legal listening kids!

On a live music performance note, I was fortunate to see Tokyo Police Club, Ra Ra Riot, and Ruby Coast at The White Rabbit here in San Antonio. The highlight for me had to be Ra Ra Riot's unique brand of indie pop. Shown at right is lead singer, Wes Miles, and cellist, Alexandra Lawn. I look forward to seeing them again and reporting on more shows I attend in the future.

That's all for now! See you in April . . . .

Top Off Your Eggs With Some PB&J

Swedish indie popsters Peter Bjorn and John hit the mainstream music landscape in late 2006, early 2007 with the whistling phenomenon that was "Young Folks" off Writer's Block. Not many people may know that the quirky threesome have been together for 10 years. Their live shows get a lot of glowing reviews and for good reason; I was able to see them at Lollapalooza 2007 (not my video).

Out today is the new disc, Living Thing, off their label Almost Gold/Startime International. In this latest effort, they seem to want to bring hand clapping the same fame whistling received at their expense in the past because it pops up in almost every song along with sound sticks and synth. Some songs drag in mediocrity and musicality, but others find a way to make the syncopation work. This blend of lyrical content and sound production makes for one decent album. "It Don't Move Me", "Living Thing", "Lay It Down" and the lead single, "Nothing To Worry About" are standouts on this album. PB&J produce top quality indie pop here but if you weren't a fan after "Young Folks" died off, you may need some convincing to buy into Living Thing.

Also out today is the physical disc for the Yeah Yeah Yeah's It's Blitz!. You must hear this music. If you haven't already heard "Zero", "Heads Will Roll" and "Dull Life", now's your chance! Check out my review of the album before you venture out and pick it up.

A Few Tunes You Need to Put Indieface

Hear a hard edged, head boppin', raucous, rockin' out tune full of pop catchiness in O Shot by The Gay Blades. The song is off their debut album, Ghosts, out since last September and was released via 4Never Records through Triple Crown. They've been described as "trash pop", but any way you look at them, this is definitely a song worth investing in right now.

A band I'm really looking forward to hearing more stuff from is alt-indie band Company of Thieves from Chicago after hearing their song Oscar Wilde off their album Ordinary Riches, out since February. The lead vocals of Genevieve Schatz contain that "thing" that Suzanne Vega, Jenny Lewis, or Edie Brickell have when they sing.

Ok, the name got my attention, but the song kept me there. Having played at SXSW (their first shows outside of Europe), Dananananaykroyd from Glasgow, Scotland and their experimental, indie rock jam, Black Wax (which you can hear at their MySpace), garnered some buzz after the showcase in Austin. This tune is hand clappin' poppy goodness in the vain of Los Campesinos! and Tokyo Police Club. The track is off Hey Everyone!, the sextet's full length, debut album due out in April.

Finally today, I give you by All Too Well by Poorfolk outta Ontario, Canada. This chill groove of a throwback sounding song mimics the progressive rock stylings of bands who became popular in indie music in the mid to late 90's. They combine classic rock and alternative rock for their second indie rock album, Our Burning Street, out since October of last year off White Whale Records.

Place Indieface Artists - March 27th: A Little of The "The"

The highly praised L.A. area based band, The Henry Clay People, is an outfit you should be hearing in your ears right now via Autumn Tone Records. Their throwback sensibilities and infectious live performances make for a rockin' good time. I don't know if they should even be called "indie" because of the "classic" approach they take to rock music, but either way the "nothing extra" feel they take is what makes them stand apart in this indie rock landscape. They let out Blacklist the Kid with the Red Moustache in March 2007 and For Cheap Or For Free in November 2008. "Something In the Water" and "This Ain't a Scene" are standout songs for me off the former.

The Pains of Being Pure At Heart hail from Brooklyn and dabble in a form of indie pop music that is equal parts pop nostalgia, noise rock, and shoegaze. What makes them different is also what makes them interesting to listen to. Their music is upbeat, short and to the point, just the kinda music to get you hooked. They released their self-titled debut via Slumberland Records on February 3rd of this year and also have a few EPs they have released in the past available for consumption. "Contender" and "Young Adult Friction" demonstrate the tri-headed concept well.

'Hazards' of Being The Decemberists

Portland, Oregon's The Decemberists became indie stalwarts long ago, but what they accomplish with Hazards of Love is something worth of notice taking. The previous releases from The Decemberists, including Her Majesty and Picaresque, which followed a similar pattern: elaborate storytelling, conceptual in nature, but on a less ambitious scale, to bring about open interpretations of the albums' meaning behind the interaction of the characters to the setting within the album itself. The progressive, yet throwback sound and detailed instrumentation of Hazards of Love has to be audibly ingested in one sitting to fully appreciate what the band is trying to do. Some tracks land on your palate better if you know from whence they came . . . the previous song. Lots of transitional filler is in place here to keep the pace of this "love story" going.

This concept album outlined by 60's and 70's vibes is slightly more drawn out than previous releases in that the melodic nature of the songs stays on par throughout the telling of the story. "The Hazards of Love" series of songs, four to be exact, follow the story of William and Margaret and their love journey together. "Hazards of Love 2 (Wager All)" and "Hazards of Love 4 (The Drowned)" [spoiler alert!] are the highlights of this series. "The Wanting Comes In Waves/Repaid" is the folksy, harpsichord-led narrative tune that sets up the meeting of Margaret and William in a forest where William is turned from a fawn into a handsome young chap by Margaret's interest in him. "The Rake Song" is the first single of the album and is only one of two or three that could stand apart from the pack as a successful, indie pop single. The song's tells of the mauling of the married protagonists' surviving "pest" kids by their father, William, who places his wrath upon them after one child caused him much grief and sorrow as a result of his bride's death during the birth of another kid, who also died. Confused? Horrified? That seems to be the point.

Whatever you may think of The Decemberists, you can't say they're unoriginal. Fans who were fans before The Crane Wife, their last full length release in October 2006, will enjoy the ride this go round. If you are just coming into the band, you may wanna listen a few times through Hazards of Love to "get it". Thus are the dangers of thinking big.

The Decemberists - Hazards of ... Playlist

Blissful 'Blitz!' Clears A New Path for Yeah Yeah Yeahs

Whatever you may read (in just about every kind of publication right now) about the new Yeah Yeah Yeahs' album, It's Blitz!, know this: I have gone out of my way to avoid reading any blog, review, or musical analysis of It's Blitz! as well as hearing any verbalization regarding the new material since it has been leaked earlier this month. I wanted to decipher for myself the surprise I felt when hearing the new songs for the first time. As a result, listening to a legal download of the entire album now allows me to interpret their "sound". So follows my impressions . . .

Karen O, Nick Zinner (r), and Brian Chase (l) are the Yeah Yeah Yeahs, but their newest batch of tunes doesn't fall in line with what you may be used to from the garage/dance punk outfit also capable of engaging in expressive lyrical content. The days of Fever to Tell are over . . . at least for now.

The new found direction of the band comes about as a result of the trials and tribulations all musical acts experience when you have creative differences, personal growth, and of course, natural progression of the music and the scene itself. Since moving to L.A. in 2004, Karen O has gotten the much needed "rest, relaxation, and space" she spoke of in a recent interview with Spin. This "space" allowed the band to stay together and what came out of the relocation of one of the band mates across the country was Show Your Bones, a more mellow collection of songs from the no-less energetic trio, released in March 2006. After an EP of songs the YYY's played live, but as yet remained unreleased in Is Is came out in the summer of 2007, what did the band have left to offer? It's Blitz.

"Zero" is the first track off the new album and the first single 'purposely' released for mass consumption. Upon first listen, my heightened anticipation and excitement went from a tense state to total immersion in the sound. It took me exactly four listens on satellite radio over the course of a few days to accept that yes, this was in fact the Yeah Yeah Yeahs, and yes, Karen O can still vocalize unabashed sonic sex even if it is primarily over heavy synth and a lack of garage guitars backing her. It's not like we had never heard the YYY's do electronica before [see Is Is]. "Heads Will Roll" takes the electro rock/dance feel even further, but has a darker, new rave appeal to it. Thanks to Kayne West, we were all able to hear this track on the 21st of February before it was meant to be heard, thus forcing the release date of It's Blitz! up by a few weeks to March 31st. As a fan of doing things legally, but appreciating hearing new music whenever I can hear it sooner, I was conflicted over that fact until the digital album became available a couple of weeks ago.

Zero - Yeah Yeah Yeahs

"Soft Shock" is a nice blend of the new electro rock style and the melancholy nature of songs like "Dudley" and "Turn Into" off Show Your Bones. "Skeletons" sounds like a passion project piece that doesn't quite hit the mark; although, props are in order for incorporating the Zinner's keyboards prominently and in a way that highlights the haunting vocals of Karen O much in the same vein as Zinner's guitar did on "Maps" off Fever to Tell. "Dull Life" is the perfect number five track for this album of 10 if only that it almost separates It's Blitz! into a synth heavy, bouncy first half from a subdued, introspective second half. "Dull Life" does a good job of bridging the two sounds the Yeah Yeah Yeahs now have established: garage, art punk and electro rock dance - the old and the new.

Soft Shock - Yeah Yeah Yeahs

Dull Life - Yeah Yeah Yeahs

"Shame and Fortune" is a Zinner guitar influenced, electronic chill groove while "Runaway" is more genteel in nature and features the narrative of a relationship stylings of Karen O, at which she has proven to be so good at. We also get to hear Brian Chase's pacing on drums for one of the first times on the album in this tune. The groovy disco punk jam, "Dragon Queen", comes bopping on by next and makes you wanna clap along to the funkiness.

Dragon Queen - Yeah Yeah Yeahs

"Hysteric" has become a favorite of mine if only because it reminds me of how many times I've listened to Show Your Bones and songs like "Cheated Hearts" and "Way Out". Karen chimes in with another quotable lyric here: "Flow sweetly/Hang heavy/You suddenly complete me". The song makes you take notice once and for all that this band has versatility and cannot be pinned down by a single change in key, or keyboard in this case. Rounding out the album is "Little Shadow". Featuring an acoustic guitar in the lead-in, this track shines as an outro song should: melancholy, reflective, epic, and calming.

Hysteric - Yeah Yeah Yeahs

It's Blitz! does not simply continue the trend of indie rockers turning in their cords for keys. The Yeah Yeah Yeahs have come to a place where they want to share the experience of their new found direction with the fans who love all of the previous music released. The best thing about It's Blitz! is that it allows fans of the band to continue hearing the band. If you have seen them live, as I have been privileged to do, you know the tracks on It's Blitz! will satisfy greatly the bouncy, lyric-yelling, Karen O-gawking attendee in you. Listen with prejudice and alleviate that bias with the bliss of It's Blitz! when it is released in physical form on March 31st.

Place Indieface Artist - March 20th: Brooklyn Band Makes Heavenly Noise

Asobi Seksu (Japanese slang for "playful sex") released a new album last month (February 17th), but I missed out on reviewing it then. The shoegaze, dream pop labeled, NY based band has been around since 2004, having released their self-titled debut album via Friendly Fire Recordings in May of that year. Citrus came out in May 2006. Both collections demonstrate the multi-layered approach to indie music a band has the capability of turning out if they put in the effort. High-strung playing and pedal slamming on their guitar work and opaque, elaborate musicality for their more mellow jams make Asobi Seksu a place indieface artist.

Their first release off new label Polyvinyl Records, Hush, definitely contains more of a celestial feel to it. The ambient nature of the music and the ethereal sound of vocalist Yuki Chikudate truly place this musically educated group to the forefront of your attention. "Glacially" is a bouncy little diddy that captures the harmonizing nature of Asobi Seksu. "Me & Mary" follows in the tradition of the New York sound, with drum beats in a garage rock-like nature produced in unison with the post-punk swagger known to captivate many a listener. Other standouts are "Gliss" and "Sing Tomorrow's Praise". The whole album is a departure of sorts from previous work, but you can still catch their progression as it has developed naturally. Pick up Hush today!

The 80's Are Back! At Least In London . . .

More new music worth checking out today comes via London indie rockers, White Lies. To Lose My Life . . . was released in disc form today (tracks were previously available via digital download). These moody, synth rockers from London developed a sound more in sync with Harry McVeigh's purposeful voice after originally banding under a more poppy note as Fear of Flying.

The self-titled track recalls 80's synth pop with a modern indie feel much in the same manner as She Wants Revenge and Interpol. "A Place To Hide" features McVeigh's range more prominently, while "Unfinished Business" includes a church organ to frame the lyrical flow of the song. All the tracks on To Lose My Life . . . feel as if British indie rock has rediscovered its new wave/rave roots. "Farewell to the Fairground" combines old and new in the bouncy, yet rockin' sendoff message tune. Remember the dance music you can rock to? You have it here again with White Lies.

Ride the Wavves

Indie rocker and San Diego's own Nathan Williams performs under the title Wavves. He has released his second full length album, Wavves, available today. All I can say about Wavves' lo-fi/noise/art indie rock is that you might be sorry you didn't check their newest album out. "So Bored" and "California Goths" are among the more comprehensible tracks on the disc, but don't let the lack of clarity deter you. If your game is distorted sound, finding out what "beach goth" sounds like, and lots of bouncing up and down, Wavves may be the collection of tunes for you.

If I Were To Attend, SXSW Must See Bands

If I were lucky enough to have the time and funds to attend this year's South by Southwest Music Festival (just a short drive north), these are just some of the acts/bands I would love be in attendance for [maybe you'll get to go]:

Single Performances Worth Seeing - Wednesday March 18th

dd/mm/yyyy - experimental indie rock with a lot of percussion
SESAC Day Stage Cafe Austin Convention Center (2 pm) OR Emo's Jr (12 am)

Crocodile - quirky indie pop rock with bouncy beats
Wave Rooftop (8 pm)

Starf*cker - synth-heavy indie rock with catchy pop hooks
Radio Room (9 pm)

Winter Gloves - chill groove synth electropop
Habana Calle 6 Patio (10 pm)

Fol Chen - indie pop touching on indietronica sound with mainstream influences
Beauty Bar (10pm)

Port O'Brien - indie rock with a folksy twist
Buffalo Billiards (10pm)

Dan Auerbach - Black Keys guitarist/frontman goes solo
The Parish (10:45 pm)

Miniature Tigers - alternative, poppy indie rock
Spiro's (11pm)

Mother Mother - modernized take on indie pop rock
Habana Calle 6 Patio (1am)

If You Can Only Be One Place:

If you have limited time and money, plan on being at Vice where Cut Off Your Hands, The Von Bondies, Peter, Bjorn, and John, and Glasvegas are playing.

Single Performances Worth Seeing - Thursday March 19th

Arkells - Canadian indie rockers
Cedar Street Courtyard (8:30 pm)

Bishop Allen - rockin' indie pop from the BK
Mohawk Patio (8:50 pm)

The Wet Secrets - unique indie rock with horn section
El Sol y La Luna (9 pm)

Vivian Girls - Brooklyn punk outfit for indie music lovers
Aces Lounge (9 pm)

Dirty Projectors - Brooklyn experimental indietronica
Emo's Annex (9 pm)

Meat Puppets - classic grunge rockers re-up for reunion of band and sound
Stubb's (9 pm)

The Henry Clay Project - L.A. rock quartet much in fashion of The Replacements
The Independent (10 pm)

Crystal Stilts - indie psychedelic rock with punkish influences
Red 7 Patio (10 pm)

The Thermals - Portland, high-energy, alternative indie punk rockers
Red Eyed Fly (10pm)

Two Hours Traffic - alternative feeling indie rock
El Sol y La Luna (11 pm)

Golden Filter - NY based electronica/pop group with a lot of buzz
Beauty Bar (11:45 pm)

Blizten Trapper - Portland, Sub Pop indie rock artist
Radio Room Patio (12 am)

Blind Pilot - Portland, Oregon indie pop
Club de Ville (12 am)

Women - indie rock with a smoother, chill groove feel
Mohawk (12 am)

Army Navy - pop rock with melodic indie incantations
BD Riley's (1 am)

If You Can Only Be One Place:
La Zona Rosa with Dananananaykroyd (8:30 pm), Camara Obscura (9:30 pm), and Glasvegas (11:30 pm)

Single Perfomances Worth Seeing - Friday March 20th

Shiny Toy Guns - indie electro rock band based outta OKC
SXSW Live (The Bat Bar) Austin Convention Center (8 pm)

The Uglysuit - Oklahoma-grown indie rock Flamingo Cantina (9 pm)

Thao With The Get Down Stay Down - unique take on indie pop with banjo & horns

Momo's (9pm)

Datarock - indie rock electronica in fashion of DEVO and Talking Heads
Austin Music Hall (10 pm)

The Cute Lepers - mod styled, modern indie punk with pop tendencies
Red 7 Patio (10:45 pm)

Japanese Motors - beach version of The Strokes' kind of indie rock
Emo's Main Room (11 pm)

Grizzly Bear - experimental/freak indie folk rock
Cedar Street Courtyard (11:45 pm)

St. Vincent - Dallas songstress Annie Clark showing versatile indie rock flair
Antone's (12am)

Laura Marling - British singer-songwriter who delivers distinctive indie folk
Central Presbyterian Church (12 am)

The Bird and The Bee - melodic electropop
Karma Lounge (12 am)

Japanther - high-energy, goofball indie punk
Headhunters (12:05 am)

Asobi Seksu - sweet sounding Brooklyn indie rock popsters with shoegaze feel
Habana Calle 6 Patio (1 am)

Okkervil River - local Austin indie rock with a catchy nature
The Parish (1 am)

Single Performances Worth Seeing - Saturday March 21st

Say Hi - Seattle based rock sound by way of Brooklyn
SESAC Day Stage Cafe Austin Convention Center (1 pm)

Fastball - 90's Austin alt-rockers making noise on scene once again
Auditorium Shores Stage (Lady Bird Lake) (4:50 pm)

White Lies - indie rock that is dark, moody, and dense from London
Stubb's (7:40 pm)

Explosions In The Sky - Austin area post-rock band high on instrumentals
Auditorium Shores Stage (Lady Bird Lake) (8 pm)

Iran - indie noise pop-rock at its best
Club de Ville (8 pm)

Gentleman Reg - indie rock singer-songwriter
Beauty Bar (9 pm)

Harlem - Austin duo with indie rockness in their jamming bodies
Beauty Bar Backyard (9:05 pm)

Hollerado - quirky, catchy, on-the-fly Canadian indie rock
Beauty Bar (10 pm)

The Hours - British post-punk, alternative rockers
Dirty Dog Bar (11 pm)

Voxtrot - Austin indie pop rock
Emo's Jr (11 pm)

The Mae Shi - L.A. experimental, electronic indie rock
Mohawk Patio (11 pm)

Echo and The Bunnymen - Liverpool, England new ravers and rockers
Rusty Spurs (12 am)

Silversun Pickups - L.A. indie rockers who provide melodic tunes
Antone's (12 am)

Ra Ra Riot - Syracuse, NY indie pop featuring cello and violin
The Parish (1 am)

The Spinto Band - Wilmington, DE indie popsters with rock infusions
Room 710 (1 am)

If You Can Only Be One Place:

Maggie Mae's is the place to be on Saturday night. The Asteroids Galaxy Tour, The Little Ones, Anya Marina, The Republic Tigers, Youth Group, Your Vegas appear all in one venue from 8 pm - 1 am!

Indieface Show Review: Tokyo Police Club, Ra Ra Riot, Ruby Coast

I had the pleasure of being at The White Rabbit last night for a show featuring Tokyo Police Club, Ra Ra Riot, and Ruby Coast.

Although I have heard of Ruby Coast, I wasn't too familiar with their sound. Their music has been dubbed Canadian indie pop rock, so if you've read any of my recent postings, you may recognize the feel of Ruby Coast (as did I!). This unsigned, Ontario quintet played only a few songs, but I found their brief set to be a refreshing collection of head-bobbing, foot-tapping tunes. As the opening act, Mark Robert Whiting, Nathan Vanderwielen, Keith Bradford, Justice McLellan, and Corey Marshall made a good impression on the early, lighter crowd, "CAW! CAW!"ing and all.

A highly anticipated Ra Ra Riot went on next. This six-piece band from Syracuse, NY is Milo Bonacci (lead guitar), Gabriel Duquette (drums), Alexandra Lawn (cello/backing vocals), Wesley Miles (lead vocals/keyboards), Mathieu Santos (bass guitar), and Rebecca Zeller (violin). They are and will continue to be influenced very heavily by John Pike, a co-writer, lyricist, vocalist, and original drummer who unfortunately died tragically in June 2007. Putting sadness aside, Ra Ra Riot shows they can soldier on and produce unique, but highly infectious bouncy indie pop rock. Seeing them live really draws your attention to the fact that a cello and a violin in this band produce quite a sound and sight to behold. Songs like "Can You Tell?", "Oh, La", "Ghosts Under Rocks", and the closer for the night, "Dying Is Fine", really come alive with the musicality Ra Ra Riot can offer. Highly recommend seeing them on tour this spring.

Also hailing straight outta Onatrio, the final act of the night, Tokyo Police Club, shared their energetic, punkish indie rock with the patrons of The White Rabbit. Greg Alsop (drums/percussion), Josh Hook (guitar/percussion), Dave Monks (lead vocals/bass guitar) and Graham Wright (keyboards/backing vocals) brought it hard and those who strictly came to the four-piece jam act got their money's worth. Songs like "Tessellate" and "Your English Is Good" resonate well live. The band's self-titled single, "Tokyo Police Club", had the crowd shouting back at Monks as he and the boys provided the powerful set with a proper conclusion. Catch them in person when you get the chance!

[All photos courtesy shagatude's lame camara phone. Special thanks to Pip! 3.13.2009]