Youtube Playlist of Early Summer 2013 New Music Songs

With the redo (or upgrade if it's fine by you) of YouTube channels, I had a bit of a learning curve putting together another playlist for my latest collection of new music.  Again, I never know what I'll find online there to check off the list of sixteen songs.  There are some live, some officially live and some videos with the recorded music showing live concert video.  All of my fave online radio stations are represented this go around, from KCRW and WFUV to KEXP.  Plus there are a few other outlets that were new to me and a fan's entry in this visual representation of my Early Summer 2013 New Music Playlist. Link here to the YouTube page or watch below.

Early Summer 2013 New Music Playlist

With Memorial Day the official start of summer, it’s time for another playlist of new music to indulge in over the long weekend (along with the long awaited, new episodes of Arrested Development).  Highly anticipated albums by Vampire Weekend and The National, were released this month, along with new music by Deerhunter and Dale Earnhardt Jr. Jr.  Newcomers such as CHVRCHES and Hands fill out the list with new music from Yo La Tengo, Foals and Telekinisis and more.  Time to fire up the grill and crank the tunes.  Link to listen here, enjoy!

1.  “Varsity” – Smith Westerns

Chicago-based band Smith Westerns return with their sophomore album in June, called Soft Will.  This teaser single “Varsity” shows the songwriting chops of brothers Cullen and Cameron Omori, as they embrace a classic pop ethic with their indie rock quartet.

2.  “Argonauts” – The Little Ones

The Little Ones are a six-piece indie pop band based in L.A. “Argonauts” provides a quirky, memorable tune for their sophomore album, The Dawn Sang Along.

3. “Ghosts and Creatures” – Telekinesis

Telekinesis is the musical project of Seattle native Michael Benjamin Lerner.  For his third album of indie rock, Dormarion, he traveled to Austin, Texas to record with Spoon drummer Jim Eno. (Eno’s studio is on Dormarion Lane.)

4. “My Number” – Foals

English indie rock band Foals recently released their third album, Holy Fire.  Singer Yannis Philippakis leads the charge over tightly wound layers of percussive instruments in “My Number.”

5. “Penny” – Hanni El Khatib

Hanni El Khatib grew up skateboarding in San Francisco and wrote music on the side while working at the skateboard fashion label HUF. Now a singer-songwriter based in L.A., he continues a cool skater vibe for his second album, Head in the Dirt (produced by Dan Auerbach of the Black Keys).

6. “If You Didn’t See Me (Then You Weren’t On the Dance Floor)” – Dale Earnhardt Jr. Jr.

Detroit’s indie pop songwriting duo, Daniel Zott and Daniel Epstein, expand their band to a four piece for their Patterns EP.  This single showcases their vocal harmonies and electronic embellishments plus a welcome sense of fun.

7. “Diane Young” – Vampire Weekend

NYC’s alt rockers Vampire Weekend released their third studio album this month, Modern Vampires of the City.  The four piece made a deliberate decision to expand into other genres as influences as evidenced in the rockabilly attitude of “Diane Young.”

8. “Never Seen Such Good Things” – Devendra Banhart

Prolific singer-songwriter and visual artist Devendra Banhart has released his eighth album of folk-inspired rock, Mala.  His minimalist approach showcases the vocals and carefully edited instrumentation.

9. “Trouble” – Hands

Hands is an indie rock band from L.A. formed by Geoff Halliday and Ryan Sweeney in Philadelphia, before switching coasts.  “Trouble” is the catchy single for their debut full-length, Synesthesia, full of swirling synths and intertwining melodies.

10. “Demons” – The National

Indie rock royalty The National just released their sixth album, Trouble Will Find Me, with “Demons” showcasing Matt Berninger’s melancholy baritone.  Backed by two sets of brothers, Berninger and band are now based in Brooklyn after finding each other in Cincinnati in 1999.

11. “Holy Roller” – Thao & The Get Down Stay Down

“Holy Roller” is the stand out single from San Francisco-based Thao & The Get Down Stay Down’s fifth album, We the Common. Thao Nguyen’s eccentric vocals allow a playful provocation within the alt folk/rock continuum. 

12. “The Missing” – Deerhunter

Deerhunter’s sixth album, Monomania, contains a collection of ambient noise rock along with shoegazing tunes such as “The Missing.”  The indie band was founded in 2001 by drummer/keyboardist Moses Archuleta and singer Bradford Cox (who also has a solo project, Atlas Sound).

13. “Recover” – CHVRCHES

Scottish electro pop trio CHVRCHES (pronounced Churches) have already made an impact with their debut EP, Recover.  The song "Recover" charges along with breathy vocals by Lauren Mayberry, with bandmates Iain Cook and Martin Doherty to complete the sound, recorded in a Glasgow basement.

14. “Before We Run” – Yo La Tengo

Indie rock stalwarts Yo La Tengo have released their thirteenth album since forming back in 1984, called Fade.  “Before We Run” provides closure as the last track, a floating meditation sung by Georgia Hubley, sweetly building with percussion, horns and strings.

15. “Here I Am” – Adam Green & Binki Shapiro

“Here I Am” is the first track from the duet album by Adam Green (of the Moldy Peaches) and Binki Shapiro (of Little Joy), appropriately titled Adam Green & Binki Shapiro.  Their minimalist approach recalls a 1960s baroque pop, their voices melting together effortlessly.

16. “Plastic Cup” – Low

Indie rock band Low formed in 1993 with a “slowcore” mantra of slowed down tempos and minimal instrumentation, manifest here in “Plastic Cup.”  Based in Duluth, Minnesota, the group has released their tenth album, The Invisible Way (produced by Jeff Tweedy of Wilco).

New Song by Honeymoon "Sure Stuck"

Here's another song for the summer 2013 soundtrack.  "Sure Stuck" by Honeymoon has that laid-back groove of 60s and 70s psych pop without being stuck in the past, which is always a fine line. This catchy tune begins with a buzz of synths that weaves throughout vocal harmonies and a percussive swagger.  It luxuriates to almost seven minutes, enough to lounge outside and get a sunburn.

Honeymoon is a new musical project by two Australian LA-based producers, Aaron Shanahan and Benjamin Plant.  After years producing and writing electronic music, they decided to indulge in their love of lo-fi psychedelia. The full length debut album is due later this year, but "Sure Stuck" is currently available as a free download on the band's Soundcloud page.

Another Summer 2013 Anthem, "Dumb Disco Ideas" by Holy Ghost!

Here come the summer anthems -- Daft Punk's "Get Lucky" and Empire of the Sun's "Alive" are already getting plenty of airplay, and now there's "Dumb Disco Ideas" by DFA artist Holy Ghost! If you haven't checked out the recent Red Bull Academy film, "12 Years of DFA Too Old To Be new, Too New To Be Classic,"  I highly recommend it.  Why do I love this record label? Let me count the ways via fave bands... home of LCD Soundsystem, YACHT and Holy Ghost!  Their credo is basically that all music is dance music if it's any good.

Holy Ghost! is a synthpop duo comprised of Nick Millhiser and Alex Frankel, classmates back in elementary school on Manhattan's Upper West Side and now bandmates based in Brooklyn since 2007. Their song, "Do It Again" from their self-titled debut, punched up my Summer 2011 New Music Playlist. "Dumb Disco Ideas" is from their next album, Dynamics, due later this year.  The song passed my kitchen solo test right away -- I had no choice but to stop what I'm doing, crank the music and dance.  Bonus points for making me take off my shoes, glasses and a layer of clothing (after all, it's over eight minutes long!) This tune is crafted with a DFA requisite dance beat and tongue-in-cheek mode, as in clear the floor to get ready for some fun. You can even snap up an instrumental version along with the single on iTunes.  Now we just need some sun.

New Song by Pete Yorn's Latest Project The Olms, "Wanna Feel It" (Album due June 4 plus NYC Tour Dates June 10 & 11)

Peter Yorn & J.D. King

When people hear I'm a music blogger, I get all sorts of reactions.  Sometimes I try to explain my preference on new indie pop by up-and-coming bands, but usually I just wince through stories of "awesome" bro rock concerts at huge arenas. (I was once asked if I liked "jam," which by itself made me think of the kind that comes in a jar.)  However, there is always room for a song on my playlists by the heart-on-the-sleeve troubadour or a fun, jangly group jam.  The Olms' new song "Wanna Feel It," perfectly sits in this latter category, ready for my summer soundtrack.

The Olms is the latest project of Pete Yorn, whose 2001 solo album, Musicforthemorningafter, brought wide acclaim as that singer/songwriter troubadour type, even going gold.  His 2009 album with Scarlett Johansson, Break Up, continued the theme of deeply personal songs about relationships.  Here Yorn teams up with musician, artist and photographer J.D. King, enjoying the partnership of a band.  

"The album has an old-sounding feel, but I feel like it still sounds really fresh,” Pete Yorn writes on the band's Facebook page. “It sounds uniquely like us and a hybrid of our influences, from my love of Brit-pop and groups like The Beach Boys and The Kinks, to J.D.’s love for British Invasion bands like The Animals, as well as bluegrass and country music.”  As friends, Yorn and King decided to write a song together that quickly let to enough to fill and album.  They decided to record on tape, utilizing a vintage AMPEX 440 analog recorded that provides the "warmth and hiss," according to King on Facebook.  “It gives the sound a transience and depth that you don’t get when you track straight to digital,” he explains.  The full album is due out June 4, but there is a three-song EP available with art nouveau-inspired cover artwork by King.  The band is the first signing to the newly re-launched label, Harvest Records of Asheville, North Carolina, home of classic 70s albums by Pink Floyd and ELO.

The kicker tune, "Wanna Feel It," is on heavy rotation on KCRW's "Morning Becomes Eclectic," where it caught my ear. Its golden SoCal feel belies the themes of "numbness and apathy" (according to the band), with lyrics wistfully asking for "time for a conversation."  The song is available as a free download when you sign up to their newsletter on their website, theolmsmusic.com. Take a listen with the retro black and white video and check out tour dates below. 

TOUR DATES:

5/21 San Jose, CA - Blank Club

6/03 Hollywood, CA - The Troubadour

6/06 Asbury Park, NJ - The Stone Pony

6/07 New York, NY - Housing Works Bookstore Cafe

6/08 Philadelphia, PA - Prince Music Theatre

6/10 New York, NY - The Gramercy Theatre

6/11 Boston, MA - Brighton Music Hall

6/12 Washington, DC - U Street Music Hall

Shazam Continues Expansion For Better Or For Worse

Since my husband Paul has been a part of the commercial music business forever, we have never muted or skipped over ads in our household.  Each spot brings a lively discussion analyzing choices in underscoring and sound design (often offering more conversation than the TV program we're watching).  With my phone at the ready, the Shazam app is a useful tool for identifying synch music placements, or if there is a error message it usually means the track is an original composition.  Shazam is also a great way for this new music fiend to tag new discoveries, expand my consciousness into other genres or refresh the brain about older tunes.  I admit to using it often in the car while listening to the radio, or holding it up in a retail store if my "name that tune" game isn't going well.

The London-based Shazam company was founded in 1999, but it wasn't until smart phones appeared that it took off.  Using an acoustic fingerprint to match a ten-second sample to a database of over 11 million prerecorded songs and counting, the service now boasts 300 million users in 200 countries. The company is considering an IPO, having announced a new CEO just a few days ago -- a former Yahoo Executive with an appropriately similar comic book sounding name, Rich Riley. 

Shazam has recently expanded into cross promotions with television programs and advertisers themselves, and I've noticed it's taking longer to load with all the extra banner ads and notifications.  Many times I've missed the opportunity to identify a song waiting for it to load. I used to get handy emails with my top tags, but that information is still kept on my phone.  And these emails used to link to interesting lists of top tags across the world or by country, although all this can be found on the Shazam website.  (For example, two of the top three tags in the world are the same for Switzerland! Who knew?) 

Of course, sometimes Shazam just seems confused.  Recently a commercial that we were not sure if it was original or an "inspired by" track gave many answers.  Since it was a video found online, we could use the app over and over again to mixed results.  From electronic musician Azymuth's "Man with No Name," to Death Cab for Cutie/Postal Service Ben Gibbard's "Bigger Than Love," or The Ventures's retro "Ram-Bunk-Shush."  An error message showed up in the middle of all this, a hands held high sign of surrender to the complex language of music, universal though it can sometimes be.  I'm still thankful for this handy app, for when it does work, the simple task of identification brings order to my musical chaos.

BAM's Crossing Brooklyn Ferry 2013, Closing Night April 27 w/Highlights Video

Striking a People Get Ready pose with Steven Reker afterwards

Upon arrival at the Brooklyn Academy of Music for the closing night of Crossing Brooklyn Ferry, I headed up the escalator to the BAMcafé for a set by People Get Ready.  But after checking the schedule via overhead projector, I learned that the band had been bumped up into the Opera House space -- right time, wrong venue. This simply made me proud of the Brooklyn group, who I saw during the festival last year as well as a performance at New York Live Arts.  On this much larger stage as a six-piece, the band could better incorporate the choreographic embellishments to music by Steven Reker, who entered the stage with a microphone over his shoulder, dragging the chord. His solo singing introducing "A Squandering” quickly made way for a joyous group aesthetic, which incorporates movement as part of the music making.  Catchy tunes such as "Windy City" and "Uncanny" were punched up an extra notch with an unbridled percussion. I could have done without the guitar solo however, (it was slung over a dancer's shoulder and banged around) as both the sound and thought of injuring an instrument pained me.

Projected schedule for handy reference

The larger crowd for a Saturday night made it more difficult to skip back and forth between spaces, so I opted to stay put for rest of the night.  Another Brooklyn-based band, Here We Go Magic, was next up in the Opera House.  The quintet began with a slow instrumental jam that launched into one of my favorite songs, “Make Up Your Mind.”  Loose live jams built into wild crescendos of sound, as the orchestra pit began to fill with people from their seats.  A cover of Robert Wyatt’s “Just As You Are” brought an impassioned plea by singer Luke Temple and a weighty emotional response from the band.  The group ended their set with the frenetic energy of “How Do I Know?”

Matthew Hauk of Phosphorescent followed, opening up with the alt-country twang of “Terror In the Canyons (The Wounded Master).”  He asked everyone how they were doing, flaunting his Alabama roots in a Southern drawl and nodding his head with the answer that came in applause.  Hauk admitted to having a cold but his voice’s raw power was still in evidence and there was quite a back up band behind his own guitar: organ, piano, drums, bongos, and bass. “Song for Zula” did not disappoint as an anticipated highlight of the set. Hauk presented this tale of heartbreak with storytelling gestures while spotlights swirled on stage until it all plunged into darkness at the end.  “Ride On, Ride On” followed with a thumping pulse and Hauk’s blistering guitar solo.  Another dream sequence appeared with the floating harmonies of “Sun, Arise! (An Invocation, An Introduction)” before the charge of “A Charm/A Blade.”  Hauk introduced the band with the flourish of a ringmaster, addressing the audience “Ladies and Gentlemen” and allowing each member to shine before ending the set.

Dance Party!

TV on the Radio also rose to the occasion as the headliner for the night, playing old as well as some new songs.  Filling the stage with seven members with ample equipment, the band lit into a hyper version of “Halfway Home” to kick things into high gear.  Singer Tunde Adebimpe strutted the stage to engage the fans immediately, flailing his long limbs and keeping that sinewy body in constant motion.  Hits such as “Wolf Like Me,” “Second Song,” “Will Do,” and “Caffeinated Consciousness” were rolled out like shiny trophies, before making way for a Prince cover and some “fresh cuts” as Adebimpe called them.  The music rumbled through the Opera House like a subway train, as both fans and band worked up a sweat.

Since this year’s crowd skewed a bit older, I was wondering if the dance floor at the after party in the BAMcafé would be very crowded but not to worry.  Baio (as in Chris Baio, bass player for Vampire Weekend) kept the music flowing, pulsing beats echoing the twinkling lights in the arched windows.  Members of Here We Go Magic looked like they had been celebrating in earnest since their set – their casual stage look now a rumpled mess.  Also on the floor were both curators for the festival, Aaron and Bryce Dessner, dancing while receiving earfuls from various well wishers.  I hadn't spied them since they bounded into the lobby on opening night, after playing a few songs with The National for Jimmy Fallon's "Late Night" show.  It was nice to see that they could actually relax a little bit, with another Crossing Brooklyn Ferry in the books.  Highlights video as well as one of a favorite moment from the festival, Phosphorescent's "Song for Lula," below.