Each week I'm posting a random or not-so-random cover song. Only the current week's track will be available but if you see a past one you'd like, contact me and we'll make arrangements.
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Sunday, March 25th, 2012
Chairlift covers Prince & The Revolution
WikipediaIt’s not secret that Prince is no fan of people covering his songs (though I suspect his lawyers are because it gives them something to do) but when Spin marked the 25th anniversary of his masterpiece Purple Rain back in 2009 with a cover story and tribute album – Purplish Rain – I assume it was with his permission, either overt or tacit. Because, well, otherwise the whole endeavour would have been kind of dumb on their part.
One of the artists who contributed to said comp was New York’s Chairlift, who at the time were still a trio and still riding high on their iPod ad-powered debut Does You Inspire You?, who opted to dial down the overt lasciviousness of the original “Darling Nikki” and give it a bit of a slower, synthetic makeover – more literally “Computer Blue”?
Chairlift are in town at The Horseshoe on Wednesday night, March 28, in support of album number two, Something. Prince wrapped up his “Welcome 2 Canada” tour last Fall and has gone back into seclusion. As he does.
MP3: Chairlift – “Darling Nikki”
Video: Prince – “Darling Nikki” (live)
Friday, March 23rd, 2012
Howler, Team Me, Tashaki Miyaki and more at SXSW
Frank YangOstensibly, SXSW is a festival meant to expose new music to the world and vice versa, so the fact that I’d spent the past evening and afternoon seeing established artists – I think Springsteen counts as established – rather than seeking out something new wasn’t lost on me. So the festival’s Friday night was devoted wholly to discovery. Onwards!
Los Angeles’ Tashaki Miyaki are working the “mysterious” angle, declining to offer information about their identities – she sings and drums and goes by Lucy, he plays guitar and is called Rocky and at Latitude 30 they were joined by an unnamed bassist/vocalist – and letting the music speak for them. I’d briefed myself with their debut EP on the way down to Austin and was led to expect some lo-fi, fuzzy garage pop but live, they were much cleaner and more precise with the vocals more up front, the harmonies intricate and the guitars reminiscent of Neil Young at his Crazy Horsiest. Their debts to The Velvet Underground are obvious – “If Not For You” is basically “Sweet Jane” – but they spend it in a boutique dealing in ’90s shoegaze. Despite looking, um, great, they weren’t the most charismatic outfit and are operate in a pretty clearly defined niche – it just happens to be my niche.
The longer you go to SXSW, the more venues show up on your no-go list; some rooms are just terrible for seeing a show. Of course, that the rooms seem to change names every year or so makes it difficult to maintain said list – it has happened that I’ve gone to what I thought was a new room and discovered it was an old hated room, Vice/Exodus I’m looking in your direction – but rarer is finding the same name in a different location. So it was that I gave Karma Lounge another shot, seeing as how it was no longer a gross upper level on 8th St but a new (?) street-level bar on 5th. So of course when I got there, everyone was dancing to Ginuwine. Maybe ironically. I don’t know. The point of this story is also unclear to me. But I was there, I was a bit confused and I was waiting for New York’s Fort Lean, whom I’d not heard but had heard good things about. And once they got underway, they were fine but not especially inspiring. The musicianship was impressive and there was clearly lots of ideas and creativity at work, with a base of old school rock’n’roll and jazzy/r&b flourishes to the vocals, but the songs seemed to lack passion. It’s not something that I’d say was specific to Fort Lean but is rather endemic in American indie rock nowadays. Wonder what things are like in, oh, Norway?
Well if Razika, playing the Iron Bear not far from where the original Karma Lounge was, were any indication, ska-pop is much more in vogue in Bergen – at least amongst the early-20’s girl-band set. Okay, probably not a good sample group but still a fun time. They were playing their seventh and final show in three days and despite being justifiably and visibly tired, they mustered up the energy for a strong finish. They played simple, bouncy pop tunes – clean and strummy without a distortion pedal in sight – and though the Norwegian half of their bilingual set was incomprehensible to me, the singalong qualities were pretty clear – you don’t need Google Translate for “whoa whoa whoa”. Basic but plenty likeable, even beyond the foreign novelty factor.
Here’s a thing about SXSW – where else can you see two young Norwegian bands, back to back, in different venues? Besides in Norway, that is. Post-Razika, I hoofed it back to the chaos of 6th St to see Oslo’s Team Me, whose debut To The Treetops! had gotten a worldwide release at the end of February. The musical gang of exuberant youths angle isn’t any new thing – every country seems to have at least a few – but if you were to put Team Me into a Hunger Games/Battle Royale scenario against, say, Los Campesinos!, I would give the edge to the Norwegians and not just because they come from Viking stock. Like their peers, they specialized in amped up twee-pop that made it feel like a drag to be old, but they managed to keep things on the right side of the enthusiastic/annoying line throughout the course of their set. I’d only heard their EP before arriving in Austin so I was pleased to hear by way of the unfamiliar material that they’d already matured in the songwriting department from those tunes. It’s to their credit that the irresistible fun of their performance was able to get me to shelve my, “I’ve seen/heard this before” reservations and just enjoy it.
Minnesota’s Howler came into the festival with a pretty good head of hype behind them – mostly thanks to the enthusiasm of the UK music press – and were perhaps even ready for the backlash stage of the media cycle; I get the sense that some would have been perfectly happy for them to fall flat during SXSW so they could play the “overrated” card. That backlash may yet happen, but it wouldn’t be because of their official showcase back at Latitude 30. They looked a combination of stylishly tousled and lazily disheveled but didn’t come with any sort of pretense – the Strokes comparisons they’re frequently saddled with certainly didn’t extend that far. Instead, they were exactly what they purported to be – five young men with a sharp if occasionally sophomoric sense of humour and a propensity for writing and playing good rock music and having a blast doing it. They blew through their 30-minute set with gusto and no small amount of anarchy – more than you might expect from their debut America Give Up and largely thanks to the axe flailing – meant in the best way – of lead guitarist Ian Nygaard. Despite liking the record, I counted myself somewhat skeptical heading into the show – consider me convinced. Howler play The Drake Underground on April 5.
The venue went from Brit-beloved to Brit-bred for the final act of the night, 2:54. Led by a pair of sisters, the four-piece has been framed as a dreampop/shoegazey kind of band but really, they’re more aggressively seductive than dreamy, with dark, goth-y tones. Lead guitarist Hannah Thurlow might prefer to examine her shoes than put on a show, but guitarist-vocalist Colette Thurlow has no problem making eye contact and holding it, all with a bit of a snarl; certainly more Siouxsie than Slowdive. I could do with a little more melody and less moodiness in their sound, but with the band having just signed with Fat Possum for the North American release of their self-titled debut on May 28, I’ll probably be hearing more of them either way.
See? All new bands on Friday night. Get off my case.
Elsewhere: Brendan Perry and Lisa Gerrard have reconvened as Dead Can Dance and are targeting a Summer release for a new record. So confident are they that this will be the case, that they’ve booked a North American tour – their first in some seven years – for late Summer that includes an August 23 date at the Sony Centre in Toronto, with tickets at the $49.50, $67.50, and $99.50 price points.
Video: Dead Can Dance – “The Carnival Is Over”
Florence Welch of Florence & The Machine tells NME that there may some sort of collaboration with Dev Hynes of Blood Orange in the works. Blood Orange is opening up some of her dates this Summer, though not August 2 at The Molson Amphitheatre.
eMusic and The AV Club chat with David Gedge of The Wedding Present. They’re at The Horseshoe on Sunday night, March 25.
So those My Bloody Valentine remasters/reissues that have been promised since the band reunited four years ago but have been constantly pushed back? Well DIY reports that they’re finally really truly going to come out on May 7, and in addition to the double-disc sets of Loveless and Isn’t Anything, there’ll be a third release entitled EP’s 1988-1991 which, as the name cryptically implies, collects the EPs and singles of the era as well as some unreleased material. I guess we may as well believe it will happen because it doesn’t really make a difference if we don’t.
Video: My Bloody Valentine – “Soon”
Whilst we’re back in the UK of the ’90s, let’s meet up with PopMatters who’ve a piece on the greatness of Swervedriver and another one that celebrates the 20th anniversaries this month of The Charlatans’ Between 10th and 11th and Ride’s Going Blank Again. Twenty. Yes. Old. You. Me. All.
Taking the noise-pop and eading back to Norway, Drowned In Sound talks to The Megaphonic Thrift, who’ve just released their second self-titled album last week.
Stream: The Megaphonic Thrift – “Raising Flags”
Video: The Megaphonic Thrift – “Moonstruck”
The Village Voice and The New York Daily News profile First Aid Kit, in town at The Great Hall on April 4.
eMusic talks to the founders of the great Swedish label Labrador. Who’d have guessed that a desire to not sign Stars would lead to their “Swedes only!” roster policy!
Sunday, March 18th, 2012
The Wedding Present covers The Monkees
rateyourmusic.comI had actually intended for some time to post this cover today, but the untimely passing of Davy Jones sadly made it all the more timely.
It was going to go up because the new Wedding Present album Valentina comes out this week and the band are in town to perform it at The Horseshoe next Sunday, March 25. And though they’ll be marking the 20th anniversary of Seamonsters by playing it in its entirety at that show, it actually came out in 1991. 1992 was the year of their Hit Parade singles series, which saw them release a new 7″ every month of the year, all of which entered the UK top 30 and each of which was b-sided by a cover. For May 1992, it was “Pleasant Valley Sunday” by The Monkees.
And yes, I know that Jones didn’t sing lead on the original version of the song – that was a Mickey Dolenz tune – but as the video below shows, he included it as part of his own solo shows and did a pretty good job of it. Rest in peace, Davy Jones.
MP3: The Wedding Present – “Pleasant Valley Sunday”
Video: The Monkees – “Pleasant Valley Sunday”
Video: The Davy Jones Band – “Pleasant Valley Sunday”
Sunday, March 11th, 2012
Fanfarlo covers The Smashing Pumpkins
iTunesBack in high school, like many others, I was a huge Smashing Pumpkins fan. Siamese Dream was the jam. Played the cassette to death, eventually replaced it with a CD and if it were possible, the laser in my discman would have burned right through it. And yet, I didn’t take to Mellon Collie & The Infinite Sadness at all – too many reasons to get into here, but they’re probably the obvious ones. In fact, I think I listened to the whole thing maybe once, ever, and cherry-picked the songs I liked onto mix tapes before falling off of the Pumpkins bandwagon completely.
All of which is to say that I have no recollection of the existence of the song, “We Only Come Out At Night” whatsoever. It wasn’t a single, so it wouldn’t have been inescapable on MuchMusic and the radio and whatnot, and yet the jaunty little tune seems to have become enough of a favourite that it was the band’s encore closer around 2008 – maybe they even closed their V Fest 2007 appearance with it, I don’t know, I’d left by that point – and spawned countless amateur covers on YouTube. And also this one by Anglo-Swedish pop outfit Fanfarlo. They recorded it for a 2010 iTunes session and, while on paper the idea of a pop band such as they covering an ’90s-alt band such as the Pumpkins would seem irreconcilable, this one quite suits their sound. See above about “jaunty”.
Fanfarlo released their second album Rooms Filled With Light last week and will be in town at The Mod Club next Saturday – March 25 – as part of Canadian Musicfest. Smashing Pumpkins – that is to say Billy Corgan and whomever is playing with him at the moment – have been busy both releasing new music – Teargarden by Kaleidyscope is an ongoing 44-song series/album that’s being made available free to subscribers – and an album comprised of songs from that series entitled Oceania is supposed to be due out this Spring. Oh, and both Siamese Dream and Gish were reissued in fancy deluxe formats last year… I think I may have to get that Siamese Dream one. High school me would have loved it.
MP3: Fanfarlo – “We Only Come Out At Night”
Video: The Smashing Pumpkins – “We Only Come Out At Night” (live in New York – June 11, 2008)
Sunday, March 4th, 2012
The Magnetic Fields cover David Bowie
rateyourmusic.comWith the release of their tenth album Love At The Bottom Of The Sea upon us this week, I figured that I should have a wealth of Magnetic Fields covers to choose from this week. After all, Stephin Merritt is one of the great pop songwriters of our day and he’s released no shortage of songs rich with melodic and lyrical gems that are ripe for reinterpretation. And no question, there are covers out there but not nearly as many as you’d expect – or I’d expect, at least – and most of the good ones, I think I’ve already posted. That there’s not been a good tribute album to Stephin Merritt’s many projects bewilders me.
So I figured if I was going to post something that’s gone up before, I may as well go with an especially good one – as I think this track from a 1996 David Bowie tribute entitled Crash Course For The Ravers is, remaining faithful to the greatness of the original whilst enfolding it completely within the Magnetic Fields aesthetic. And it last went up over four years ago, which I think puts it beyond any statute of limitations for repeat covers. So says I.
Love At The Bottom Of The Sea is out on Tuesday, March 6, and they are in town at The Sound Academy on March 30; Tiny Mix Tapes, Chronogam, and The Skinny have interviews with Stephin Merritt. All David Bowie has done this year is turn 65, but you can be sure that he did it awesomely.
MP3: The Magnetic Fields – “Heroes”
Video: David Bowie – “Heroes”
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