In last month’s Q magazine, I read with some surprise and not a little disappointment, their (rather early) list of the top 50 albums of 2009. Although these lists are by their very nature incredibly subjective, I found myself taking issue with the vast majority of their choices. Florence and the Machine at number 2? Kasabian at number 1? The Decemberists skulking around just outside the 50? All quite laughable.

But at least it prompted me to start thinking about my own choices, and encouraged me to compile my list. At the outset, I will explain that it contains several albums that were not released this year – in fact, in at least one case, not even this century. However, they are all albums that are new to me this year, that I had not previously heard until 2009. In the interests of fairness I did try to keep the older ones out of the top 20, and in fact only one managed to sneak in.

I will present the list in full, without comment, and maybe revisit that decision and add a brief note to each one when I have more time.

I’d be more than happy to receive your thoughts on my choices, and your suggestions of glaring omissions.

In the interests of suspense, I will present them in ascending order of merit, from 50 to 1.

50)  Staff Benda Bililli – Tres, Tres Fort

A group of paraplegic street musicians who live in the grounds of Kinshasa Zoo in Kenya, including a 17 year-old performing incredible guitar-like solos on a one-string electric lute he designed and built himself out of a tin can. What’s not to love?

49)  Wilco – Yankee Hotel Foxtrot

My introduction to the wonders of Wilco – the American Radiohead, according to some.

48)  Vetiver – Tight Knit

One of many new bands I discovered this year, and a pleasant record, but probably not their best. Enjoyed their set in the Big Top at the End of The Road Festival in September.

47)  The Low Anthem – Oh My God Charlie Darwin

If more of the songs were as good as the title track, this could have been a top 20 contender. An odd mix of lo-fi nu-folk (a la Fleet Foxes) and growly mad stomping blues (like Tom Waits let loose in a potting shed).

46)  The Broken Family Band – Welcome Home, Loser

One of three of theirs in the 50, and full of very fine songs with the trademark BFB witty lyrics and a fab cover photo and title to boot.

45)  The View – Which Bitch?

Lots of tracks, most of them very good and a step up from their quite listenable debut.

44)  Taylor Swift – Fearless

Stands out from the rest in this list as rather poppy and young, but Ms Swift does write a fine tune and lyric. Although this was purchased for Mrs Cook’s birthday the sheer catchy-ness of these songs has infected me too.

43)  Yo La Tengo - I Am Not Afraid Of You And I Will Beat Your Ass

Undoubtedly the best album title in the list, and packed with some fantastic songs. As ever with Yo La Tengo, they manage to sound like at least five different bands over the course of the same record. Never a dull moment.

42)  Cat Power – The Greatest

Spurred on by her great version of ‘Amazing Grace’ on the ‘Dark Was The Night’ compilation, I got this for a half price itunes bargain and was not in the least disappointed. Great voice, great piano, and a number of fine songs.

41)  Great Lake Swimmers – Great Lake Swimmers

Haven’t had time to listen to this one as much as the other two in the list by this fine Canadian band, but their debut showed signs of the huge promise that has been fulfilled on the subsequent records. Folky acoustic songs of the highest order.

40)  Great Lake Swimmers – Ongiara

This one had me from the opening seconds of the opening song ‘Your Rocky Spine’, discovered on Spotify on my birthday using my new laptop speakers. Was enthralled by this album for most of that afternoon. Sounded even better with the backdrop of the Canadian Rockies that inspired it on our trip in June.

39)  Woodpigeon – Songbook

Another Canadian band, and one of my first Spotify discoveries. ‘Death by Ninja (a Love Story)’, ‘A Sad Country Ballad For A Tired Superhero’ and ‘A Hymn For 2 Walks In Different Cities’ are all quite brilliant songs, in very different ways. Fast becoming a favourite band of mine.

38)  The Broken Family Band – Please And Thank You

Their most recent, and sadly their last album as they split up in October. The usual reliably great tunes, combined with the occasional barbed lyric, this would have been higher but for the fact I haven’t listened to it as much as my favourite of theirs, ‘Balls’, that appears further up the list.

37)  Band Of Horses – Cease To Begin

So much fuss is made of the Fleet Foxes, but I actually much prefer their Sub Pop label-mates BOH: there is more to the music, the instrumentation is better and the songs are a bit more interesting than the Foxes pastoral by numbers. For me, not as immediately satisfying as their debut, which appears higher up, but definitely worth a listen or several.

36)  John Martyn – Solid Air (Remastered)

Sadly I’d never heard any of John Martyn’s music until after he died earlier this year – this remastered version of one of his most popular records was a great starting point. ‘May You Never’, ‘Over The Hill’ and ‘I’d Rather Be The Devil’ are all stand-out tracks and I love his distinctive guitar playing style.

35)  The Acorn – Glory Hope Mountain

Checked this out after a very good set they played at the End Of The Road Festival: intriguing acoustic rock – a bit of a grower.

34)  Cage The Elephant – Cage The Elephant

Brash, noisy, full of energy and highly enjoyable.

33)  Bill Callahan – Sometimes I Wish We Were An Eagle

Love the cover, love the title, love his voice, adore ‘Rococo Zephyr’ and this would have been higher except one or two tracks are a bit too weird for my taste.

32)  Bat For Lashes – Two Suns

Think I need to give this more time, especially as many people have raved about it, but it is a step up from her debut and contains some great moments.

31)  She Keeps Bees – Nests

Another itunes bargain following a sterling closing set at the EOTR Festival, this is well worth checking out. A band to watch out for.

30)  The Decemberists – The Crane Wife

My ultimate discovery of the past year, as regular readers will know, Portland, Oregon’s finest are very much my favourite band these days. This was the first album of theirs I heard and there are a number of outstanding tracks here, such as ‘Crane Wife 3′, ‘The Shankhill Butchers’, ‘O Valencia’ and ‘Yankee Bayonet’. A good starting point for new listeners, but not my favourite, as will become apparent.

29)  The Decemberists – Picaresque

28)  The Broken family Band – Balls

27)  Neko Case – Middle Cyclone

26)  Conor Oberst & The Mystic Valley Band – Outer South

25)  First Aid Kit – Drunken Trees

24)  Grizzly Bear – Veckatimest

23)  Band Of Horses – Everything All The Time

22)  The Duke & The King – Nothing Gold Can Stay

21)  The Airborne Toxic Event – The Airborne Toxic Event

20)  Loney Dear – Loney, Noir

19)  Regina Spektor – Far

18)  Joyce, Nana Vasoncelos & Mauricio Maestro – Visions Of Dawn

17)  Great Lake Swimmers – Lost Channels

16)  Woodpigeon – Treasury Library Canada

15)  Muse – The Resistance

14)  Slow Club – Yeah So

13)  Monsters Of Folk – Monsters Of Folk

12)  Wilco – Wilco The Album

11)  The Leisure Society – Sleeper

10)  Emmy The Great – First Love

9)  Joe Gideon & The Shark – Harum Scarum

8)  Dirty Projectors – Bitte Orca

7)  Yo La Tengo – Popular Songs

6)  Various Artists – Dark Was The Night

5)  Yeah Yeah Yeahs – It’s Blitz!

4)  The Cave Singers – Welcome Joy

3)  Loney Dear – Dear John

2)  Mumford & Sons – Sigh No More

1)  The Decemberists – The Hazards Of Love

In der wirklich einzig relevanten Konzertlocation in Duisburg treten heute abend die Great Lake Swimmers auf.

Wikipedia.com fällt folgendes dazu ein:

“The band’s style has been compared to Red House Painters, Nick Drake, Iron & Wine and Neil Young,^[3] as well as Will Oldham^[4] (Bonnie “Prince” Billy) and Sufjan Stevens.^[5] Dekker has said his influences include Gram Parsons and Hank Williams.^[6]“

und auch die  Kollegen von laut.de sind vom aktuellen Album Lost Channels angetan:

“..Da dachte man, in Sachen Sakralität könne den Fleet Foxes in den nächsten 10.000 Jahren niemand das Wasser reichen. Und dann das: Das vierte Werk der Great Lake Swimmers. Fürwahr ein schönes Album, im wahrsten Sinne des Wortes, für das sich die kanadischen Folkrocker nach Thousand Islands begeben haben.”

Wer also mit einem der genannten Künstler etwas anfangen kann sollte sich zum Duisburger HBf begeben, von wo aus ein Shuttlebus die Konzertbesucher bequem zum Steinbruch transportiert.

Einlass: 20 Uhr

Click the media player above. Do it. Seriously.

Did you do it yet? Come onnnnn.

In all seriousness though, this is a great song. I really feel good when I listen to it… and not just because I’m baked!

The song is called “I Am Part Of A Large Family” and it’s by the amazing Canadian band Great Lake Swimmers. If you’re not familiar with them, I highly recommend checking them out, as they are completely and utterly mind-blowingly awesome. The lyrics are so well-written and the music and vocals combine to create the most powerful, yet fragile sound. If you really want to dive right in to Great Lake Swimmers, I suggest you check out their latest effort “Lost Channels” which was released earlier this year.

That’s all for now, I’ll leave you with some lyrics and a music video… AND.. below all that, is a video I took while on my mini-vacation this weekend!

(Lyrics written by Anthony M. Dekker)

Why are we fighting, why are we fighting?
Kicking and screaming, scratching and biting.
Keeping it going, wherever we’re going.
Generations are generating,
And what am I supposed to do
But take good care, good care of you?
We have a lot of work to do,
Me and you, and you, and you.

Brothers and sisters are in my arms.
Brothers and sisters are up in arms.
Mothers and fathers, sons and the daughters.
Up in the army, the men and the ladies.
And we have a lot of work to do,
Me and you, and you, and you.
Out of the money and into the storm.
Brothers and sisters are in my arms.

I am part of a large family.
I am part of a large family.
I am part of a large family.
And that’s enough for me.

Drop the axes, and recheck the facts, I said.
Brothers and sisters, telling the story.
Out of the money, and into the storm.
I said my piece, I said
I said my piece, I said peace, I said peace, I said.

I am part of a large family.
I am part of a large family.
I am part of a large family.
And that’s enough for me.

As promised above, a video taken from my mini-vacation in Toronto/Port Perry, Ontario:

GOODNIGHT!

Show #47 features the new CD by DAVE RAWLINGS MACHINE called A Friend of a Friend.  Also new releases from  CORRINNE WEST and STEVEN CASPER & COWBOY ANGST. The full playlist is posted below.  Here’s the iTunes link to subscribe or download the show and here’s the direct download link to listen right now on your computer. Check the artist’s websites and order their CD’s or downloads and tell ‘em you heard the songs on the FTB podcast.  Please  email me with any questions, comments or suggestions for the podcasts.

Show #47

DAVE RAWLINGS MACHINE - How’s About You A Friend of a Friend
DOUG & TELISHA WILLIAMS -  Kitchen Light Ghost of the Knoxville Girl
GREAT LAKE SWIMMERS – Still Lost Channels
CHRIS SMITHER – I Told You So Time Stands Still
(mic break)
CORRINNE WEST – Lily Ann The Promise
JOHNSON’S CROSSROAD – Those Lonesome Blues Blood in Black and White
MATT URMY – Renaissance Rodeo New Season Comin’ (East Nashville, Volume 3)
DAVE RAWLINGS MACHINE - Sweet Tooth A Friend of a Friend
(mic break)
STONE RIVER BOYS – Bluebonnet Blue (EP)
BETTY SOO – Get Clean Heat Sin Water Skin
THE COALMEN – Houston Memory Kids With Songs
STEVEN CASPER & COWBOY ANGST – Takes Me Back Topanga Ranch Motel
(mic break)
DAVE RAWLINGS MACHINE - Bells Of Harlem A Friend of a Friend

Bill Frater
Freight Train Boogie

There are only a handful of bands touring these days that make music as beautiful, gracious, and tender as Great Lake Swimmers.  To say I was looking forward to seeing Great Lake Swimmers is an understatement, as this band has been on my radar for years, but our paths had never crossed until October 21st at The Larimer Lounge.  The weather leading up to the show set a perfect stage for the Toronto band’s cool but warm style of folk; typically dry Rocky Mountain air was now swirling – pungently damp, while low lying clouds established misty halos over the not-so-distant foothills.  In short, our Indian Summer was quickly transitioning to full-on winter, and the Great Lakes Swimmers were going to play “master of ceremonies” in welcoming the first highly saturated polar air mass into the great state of Colorado.  Could there be a better band to fill this role?

The show opened up with Austin-based Wooden Birds who did a good job packing the stove tight with wood for the GLS to jubilantly burn throughout their 90 minute set.  The Swimmers’ set meandered mostly through songs off their recent release Palmistry, with highlights including Everything Is Moving So Fast, Pulling On A Line, a solo version of Concrete Heart, Rocky Spine, Changing Colours, and I Am Part Of A Large Family.  What struck me most during the show was the strong presence of the fiddle player, giving each song a Rocky Spine-like character, which is not evident on the album versions of most GLS songs.

Everything Is Moving So Fast

My personal highlight of the night was The Chorus In the Underground, in which lead singer Toney Dekker explained that the roots of the song lye in a small club called The Underground where he used to have jam sessions with an Ontario band called A Northern Chorus (no longer in existence).  I was pretty surprised to not hear Catcher Song or Rivers Edge (which I wanted for the encore oh so badly), but due to the Swimmers lengthy catalog of incredible songs it’s hard to be disappointed in their song selection for the night.

While my expectations were completely fulfilled, the GLS’s leave many reasons to see them next time they decide to grace a stage in the Mile High City (or better yet Telluride Town Park).  With that being said, DJ PJ officially certifies the GLS as “The Real Deal”, sustaining the test of time through quality albums and an excellent live show.  Check below for the Pulling On A Line video shot in mystical Topanga Canyon… It might remind you of a movie that’s currently out at the theaters.

If you can’t get enough, click on another hair-raiser below, as it’s my version of the encore from the show.  You can imagine the room glowing right?

River’s Edge

Toronto’s Great Lake Swimmers live on npr’s Mountain Stage. Their four song set list includes: Your Rocky Spine, Everything Is Moving So Fast, Bodies and Minds, Still. Enjoy!

These guys:

Trailing off from the last post from the summer breeze that Light In August created, is Great Lake Swimmer’s new video, “Palmistry”, which takes that breeze a turns it into a gale of warm summer thoughts and feelings…

Check out the track listing for Lost Channels and another video from this album posted on YATM earlier this month.

Here’s the brand new video for Great Lake Swimmers‘ “Palmistry,” off their Polaris-nominated album Lost Channels.

Thanks to @kn0ttyn3rb for bringing this to my attention!

Giornata interminabile.

Culminata con il crollo di un elemento decorativo del mio salotto che mi ha distrutto un tv da duemilioni di pollici e un paio di occhiali da vista, ferendone gravemente un paio da sole, lasciando miracolosamente illesi MAC e mamma mia.

(L’elemento decorativo è rimasto intatto. Ovvio).

Poi Ballarò, dove ho visto La Russa, filtrare spudoratamente con la Bindi.

Poi sempre Ballarò. Ha telefonato Berlusconi. Ha detto che la Bindi deve vergognarsi come tutti gli elettori del PD. Perchè in realtà è tornato il PCI.

Ci azzeccasse. Una volta. Una.

Quindi adesso mi merito sano cazzeggio. Libro. Musica. Una canzone rilassante.

Dedicata a tutti i nervosi che hanno avuto una brutta giornata.

It’s late on a Saturday night, but just in case you’re interested, I thought I’d let you know about Amazon’s Free Song of the Day over at their MP3 store. Today’s special is “Pulling On A Line” by Canadian folk group Great Lake Swimmers. I came across them earlier this year and they’re great. If you want to check out a free song from a great little band, click here.

This is a really good one: Download “Pulling On A Line” by Great Lake Swimmers for free from Amazon.

Temo que la caída de la hoja propicia en mí cierto efecto subconsciente: al parecer, me sienta maravillosamente escuchar discos de grupos canadienses. Debe ser que los bosques de aquél país (en el que por cierto nunca he estado, lamentablemente) envían reflejos de hojas ocres a través del Atlántico, en fin…El caso es que, si ayer os hablaba de la gira española  de los Sadies, hoy os pongo sobre el mostrador el último disco de sus compatriotas los Great Lake Swimmers,  grupo de Ontario liderado por la pulida voz de Tony Dekker. Estos nadadores del gran lago han facturado en este Lost Channels (cuarto disco ya en su discografía) una cuidada selección de temas defensores del folk-pop más esmerado en seguir la estela de Gene Clark, Gram Parsons y, cómo no, Neil Young.  Ahora que el folk es bandera de la modernidad más tendenciosa, sorprende que a un grupo como éste no le den más coba. Al parecer, los bosques canadienses son demasiado frondosos para algunos oídos… Lost Channels de los Great Lake Swimmers: una auténtica delicia que debería estar entre los mejores discos del 2009.

In honor of “Where the Wild Things Are” theatrical release, and the incredible Karen O soundtrack, this week’s mixery theme has gone “wild”.

Wild Mixery [zip]
MP3: Patrick Watson – Where The Wild Things Are
MP3: Blitzen Trapper – Wild Mountain Nation
MP3: Great Lake Swimmers – I Saw You In The Wild
MP3: Tilly and the Wall – You And I Misbehaving (From Wild Like Children)
MP3: Karen O and the Kids – Capsize (From Where The Wild Things Are)

I’ve always liked the word quietude. I like the way it sounds. I like the way it feels when you say it, the way your mouth makes a series of quick shapes, from a pucker to a smile and back again.

I like the way the word sounds like it means — it’s a grander, more elegant way of saying “be quiet.” I also like quiescence for the same reasons (you gotta love those ancient, timeless Latinas), but quietude is a little stronger, a little more emphatic. It’s like quiet, but with a ‘tude (which is really attitude with a ‘tude).

Mainly I like quietude because it describes my normal state of being when I write “Scribbleskiff.” I don’t know what time of day you regularly read this (that’s the naive optimist in me, peeking out, believing you do read this gibberish and regularly, at a specific hour — you do, don’t you?), so I have no notion of your habitude: with a coffee cup in the early morning, on a rattling commuter train, over a salad plate at lunch, at your computer late at night, etc. But when I gibber it’s usually in the wee small hours (either morning or night) or during a lull in my day. At that time, my world is characterized by the mouth-shaping, antediluvian, presumptuous “state or condition of being calm or quiet.” Full of it, in fact, saturated with it, overwhelmed by it.

That is, except for the music. As I have written before (here, for instance), having some tunes playing while I work helps me focus and stay on task. And much of the new music I’ve lately been drawn to, picked up, and played has a grandiloquent air of tranquility about it. In other words, it too is ruled by quietude.

Have I mellowed in my middle age? I don’t think so; just the other day my tweenage son and nephew asked if I had heard “Bullet With Butterfly Wings,” which is the theme song for “Whale Wars,” one of their favorite TV shows. Not only had I heard it, I could produce it on my iPhone, and we three proceeded to head-bang our way to soccer practice. Nonetheless, I can’t do my best work with pumpkins smashing and crashing loudly in my ears. I need something, well, mellower to accompany me.

So I recently pulled together a playlist of new songs that scream “calmness,” songs that are perfect for the time of day when you are seeking a little repose, some serenity or heartsease for the soul, etc. However, these songs are not intended to quieten or tranquilize anyone (that would be my “Songs of Somnolence” mix, a playlist for another state of mind). Some of the cuts for this week, in fact, border on being a little raucous — but that’s my subtle way of reminding you that, no matter how mellow the music may get, it’s still rock and roll to me.

Be sure to click on each of the links below to sample the songs (open each as a new tab or window), and then follow the threads to find out where you can download them. Or you can listen to the playlist in its entirety, though in a randomized order, at the Scribbleskiff page on the 8tracks Web site. Just click here, open as a new tab or window, and let the music play as you read along. Enjoy!

“Holy, Holy, Holy Moses (Song for New Orleans),” Alec Ounsworth, Mo Beauty. As the frontman for Clap Your Hands Say Yeah, Ounsworth’s singing style is an acquired taste for some (think bad Dylan impersonation). But this song, from his new solo release, is a good illustration of why I really like Ounsworth’s work. Beneath the edgy, flaky surface — just a softly fingered nylon-string guitar and piano duet — lies a deeply felt, sublime requiem for a post-Katrina Big Easy.

“The Field,” Mason Jennings, Blood of Man. This song is a fairly straightforward, lo-fi, guitar-based ballad about a lost loved one (a la Nebraska). But what makes it stand out from its predecessors, and what gives it its punch, is the way Jennings slowly builds tension by switching from a muffled, flattened strum to full-on ringing chords — yet never really lets it go. It’s an old trick, but it’s a hauntingly beautiful one, too.

“Infinity,” The XX, xx. It’s rare to hear song sampling used outside of rap or hip-hop. It’s even rarer when it’s handled with such sophistication. The sultry, reverb-laden guitar hook that forms this song’s backbone, and is what first caught my attention, comes straight out of Chris Isaak’s catalog. And yet it’s somehow catchier here, turning one man’s longing into a hypnotic-erotic, wicked game for the male-female vocalists.

“Everything Is Moving So Fast,” Great Lake Swimmers. Lost Channels. This song, by a young Canadian five-piece, has all the right folk-pop ingredients — breezy harmonies, smooth acoustic guitar-picking, brushed snare drums, and a slightly jazzy rhythm — to make you think (and hope) that a Crosby, Stills, Nash, Young and Joni Mitchell reunion/revival tour is not just a thing of the past.

“Hands,” The Dutchess & The Duke, Sunset/Sunrise. The psych-pop “royal couple” is back with a follow-up to their infectious self-titled release, a favorite of mine from 2008. They’ve retained their stripped-down, Beggars Banquet-era mood and mannerism, but filled out their sound a bit, with the addition of a few more instruments (such as an organ and a searing electric guitar lick on this track) and a knack for ending (or not ending) a song properly.

“Know Better Learn Faster,” Thao with The Get Down Stay Down, Know Better Learn Faster. Another one of my favorites from 2008, these guys make upbeat music with meaning but not a heavy hand. Returning with more learned, more intricate melodics — including Andrew Bird-supplied violins and whistling — they still manage to maintain the light touch that made songs like “Bag of Hammers” so instantly likable.

“Leap,” The Cave Singers,” Welcome Joy. I love the old-timey locomotion of this song, the way the circular guitar-picking seems to pick up speed when the snare drum snaps in, the bass begins to bounce, and the harmonica starts chugging. It’s like a countrified, cotton-eyed, foot-stomping sonic ride back to another time.

“Relator,” Pete Yorn & Scarlett Johansson, Break Up. This year’s indie-music “it” couple seems to relate surprisingly well together. This swinging, bluesy duet, which nimbly marries Johansson’s throaty vocals with Yorn’s urgent, slightly distorted guitar flare-ups, creates one of the happiest-sounding kiss-off songs I’ve heard in awhile. It (almost) makes me think I’m over last year’s movie-music power couple, She & Him. Almost.

“Pariah,” Natureboy, Natureboy. At the beginning, this song by Natureboy (the alias of Brooklyn-based artist Sara Kermanshahi) sounds like a clash between Chrissie Hynde and Neutral Milk Hotel. But eventually the wavering, plaintive vocals sync up with the rhythms of the strumming guitar, tambourines, hand-claps, and swelling keyboards, turning this from frazzled solipsism to folk-pop parity.

“Fake Blues,” Real Estate, Real Estate. Sometimes it’s hard to say why I like a song. Sometimes, I just like it. Like this one by a new-to-me N.J.-based foursome. Maybe it’s the simple construction — guitar, bass, drums — and solid harmonies. Or the way the repetitive guitar riff sounds like a cartoonish Japanese folk song. Or the fact that a tune this charming could be considered the blues, real or otherwise. Please, take a listen and tell me why I like it.

“Horchata,” Vampire Weekend, Contra. The indie-rock heroes (or heretics, depending on your perspective) are back with a new, free teaser (the new LP won’t be out till 2010). Although they’ve expanded their sound and instrumentation (for instance, eschewing guitars here in favor of kalimbas, marimbas, and the like), they’re still serving up the same frothy, world-pop-influenced concoctions that made them an Internet buzzword last year.

“Here to Fall,” Yo La Tengo, Popular Songs. I fell for this song almost at first listen, though I thought that, with its trilling violins, rat-a-tat snares, funky fuzz guitar lines, and spacey grooves (with waves of wah-wah pedal and synthesizers), it might be the theme for a kitschy 1970s-era cop show. But, not to worry, it’s just a love song. One that, once you listen to several times, you’ll be falling for, too — “what else is there for us to do?”

“Silver Amongst the Gold,” Grand Archives, Keep in Mind Frankenstein. Here’s a band whose name aptly describes its musicality: an oversized, opulent sound that feels like an old standby. Think a fizzy, dream-pop version of The Beach Boys, or a mash-up of ELO and Ride. Whatever you call it, the only thing more appealing than this buoyant, wispy song is the name the Seattle-based musicians gave to its album.

“Tin Man,” Animal Kingdom, Signs and Wonders. As power-pop bands go, these London-based newbies don’t stray too far from the familiar pathway cut by the likes of Coldplay or Snow Patrol. But what sets them apart here, aside from the wistful Steve Perry-like vocalist, is the way they wizardly spin heavy, reverb-laden guitar lines into an enchanting, heartfelt rock ballad.

“Fables,” The Dodos, Time to Die. Few bands could place the drummer in the foreground (in this case, a propulsive percussionist) to match the syncopated strumming of the guitar and still sound as loose and ebullient as, say, The Shins or Fleet Foxes. But this San Francisco-based trio keeps things simple (with the added exception of a vibraphone) and that’s the key to the creation of this bouncy, roomy romper.

“Rosalyn,” Thad Cockrell, To Be Loved. I’d never heard of Thad Cockrell before, but as soon as I’d played this song I felt like I’d heard his sound before. “Rosalyn” skirts along the country side of American roots-rock, with enough acoustic guitars, power chords, plucky banjo, and vocal twang to please fans of Ryan Adams or Caitlin Cary (with whom he has apparently shared the mic).

“I and Love and You,” The Avett Brothers, I and Love and You. I don’t normally care for piano-based rock and roll (blame it on Elton John or that guy from Long Island), but this slow-moving waltz is one of the loveliest songs (regardless of its base) that I’ve ever heard, and I couldn’t resist it. These N.C.-based siblings may sound a little old-school here (like The Band, but with more warmth and better harmonies), but sometimes that’s exactly the love that you and I need.

“For You,” Big Star, Third/Sister Lovers. OK, I’m being totally self-indulgent here (in a crucible of self-indulgence) but this is an old song I’ve enjoyed for decades that has finally become available on iTunes (as part of the omnibus collection Keep an Eye on the Sky). Big Star was an essential influence on many bands I admire. Now, with the aid of an iPod, I can follow Paul Westerberg’s advice and never travel far without a little Big Star. And, if you’ve gotten to this point, faithful reader, then I dedicate this song to you.

As always, tell us what you think. Is there a new band that you’d like others to know more about? What’s your favorite song of quietude? Let us know by leaving a comment below.

And be sure to visit (and join) the Scribbleskiff page on Facebook (find it here), where you can partake in wall-to-wall conversations, find additional information and suggestions from readers, and more.

The past week in a nutshell:

♦ I had two glorious days off this week, which has been a rarity the last few months. I cooked enough tofu stirfry and rice to last a week, set up recycling at the Globe-News (albeit on a small scale, as in two plastic bins) and did my first laundry at the new house.

Shelly wasn’t kidding when she said the washer sounds like a monster. You also have to sort of beat it up, literally, to get the spin cycle to actually spin, but I’m more than willing to put up with a few eccentricities if it’s free.

I don’t like to put my clothes in the dryer because they wear out faster and it’s a waste of electricity, but my admittedly cheap dryer rack broke when Mouse tried to use it as a jungle gym.

Instead of just buying a new one, like any sensible person, I decided to use a 20-foot ethernet cord as a makeshift clothesline. I stuck one end behind the tight-fitting closet door, lodged at the top, then stretched it diagonally across the room to the adjacent wall and nailed the other end.

It actually works pretty well.

♦ I’m officially signed up for  health insurance through the Globe-News. It seems really expensive. Turns out that with my miniscule pay raise, plus the cost of health insurance, I’m actually making less money as a full-time employee than I did as an intern. Dear Economy, how I love thee.

♦ My time off to visit Lincoln was approved yesterday! I’ll be in town the 20-26th (ish), and I can’t wait. Other trips planned include to Austin with Brittani in November or December and to Milwaukee/Madison for the winter holidays. Thanksgiving will be a glorious day of holiday pay/overtime. I’m mostly likely working on Halloween, too — but I doubt I get holiday pay for that.

Going to see the Great Lake Swimmers while in Lincoln

♦ Although until this point it’s been much warmer here than where most of you are (I didn’t have to wear a jacket outside til a few days ago), yesterday we had freezing rains and near-record low temperatures. After stopping by IHOP to grab some post-bar munchies, April, Brittani and I had a major scare when April’s SUV spun out on a patch of ice on a freeway overpass, did a 360 and slammed into the guardrail. We were all OK, thank god, but April’s car wasn’t so lucky. It wasn’t totalled by any means, but it took a beating.

I was pretty shaken afterward — I hadn’t been in a car accident since I was eight, and right before we hit the concrete barrier I was convinced we were going to catapault over the edge.

♦ Finally, note to self: Don’t skimp on the apples. Whilst grocery shopping last week I opted not for the tried and deliciously true Pink Lady or Honeycrisp — no, instead I sought to save money by purchasing the much cheaper Fuji.

Never again.

Sunday night we had the amazing chance to experience The Wooden Birds open for Great Lake Swimmers at the Bowery Ballroom. Okay, as soon as we found out that the band had both Andrew Kenny from American Analog Set and Matt Pond in it, we were intrigued.

The band, which is the brain child of Kenny, released Magnolia (Barsuk) back in May and have been supporting the album ever since. This is one of the greatest records I have heard all year, hands down. At their live show, the band gives even more life into the songs. Listening to the record, the first thing you notice that there are no drums on any of the tracks. A careful decision made by Kenny.

Onstage the band brings on drummer Sean Haskins to liven up the live show.  Guitarist and sometimes vocalists Leslie Sisson has one of the most beautiful voices you’ll ever hear, especially on stage. Matt Pond makes a nice addition to the live lineup, playing the new songs like an old pro. Kenny takes on the part of lead vocalist and bass player, with the most infectious bass lines you’ll ever hear. The Great Lake Swimmers had a hard act to follow that’s for sure.

Check out MORE LIVE Pictures of The Wooden Birds @ The Bowery After the JUMP

Check back later on in the week for our exclusive interview with Andrew Kenny!

Andrew Kenny has to be one of the most interesting figure in music today. Formerly of the American Analog Set, Kenny is currently on the road with his new band, The Wooden Birds. There’s quite a difference between the two bands,  and there is a bit of reasoning behind that. Recently we sat down with Kenny to talk about the past, present and his very scientific future. This is one interview you don’t want to miss!

Modern Mystery: What made you decide to start The Wooden Birds after American Analog Set who were pretty successful?

Andrew Kenny: Well, they were kind of separate decisions first of all. American Analog Set didn’t want to tour any longer, and it’s not a very responsible thing to do to try put out your records or find somebody to put out your records and not follow through and support them. So that kind of was a door that was closing. In the meantime, I had been putting songs aside for slightly more up tempo, maybe a little more poppy, a lot more vocal project. I said since this can’t tour anymore we’ll have fun and record every once in a while, still record songs, stuff like that. But this is a really good time to start this other thing that was always going to take time away from American Analog Set, but not any longer. The timing is just right.

How did you get involved with the musicians you wanted to make up The Wooden Birds, like Matt Pond?

Well I had to stumble through making the record on my own. I wanted it to be very small and I had a good idea of what I wanted it to sound like so I just kind of did it. And then when it came time to put a band together, I found people. I played them the record and then I said, not even asking “What do you want to play?”, it’s more like “Do you like the record? Could you see yourself being something in this band?” and then I got those people together and said “Alright, somebody’s got to play the guitar, somebody’s got to play the bass.” And there’s no drums on the record, but you got to have drummers these days. Kids like the drummers. But seriously, unless you want to play in cafés and Barnes and Nobles, you got to have a drummer. So Sean plays drums, he was my drummer when I did solo shows in Austin. Leslie sang on the record and I asked her if she wanted to join up and have your pick of guitar, other guitar, bass, whatever you want…she picked guitar. Originally the guy who helped me produce the record, Chris Michaels, played steel guitar and he wasn’t able to come on this tour, and I was literally just like the day he told me, I was on the phone with Matt Pond and we were talking about he has a record coming out in the fall and I said “You got nothing to do, you should join the band!” and he said “I can’t believe I’m about to say ‘Yes’ to this but I am.” So yea, that’s Matt Pond. But really it was always made, the music is especially made for friends to play, right? It’s not a showcase of anyone’s musicianship, it’s more like, very short vocal heavy songs. I knew that putting a band together after the fact, I’m not going to get it right the first time, I’m not going to get it right the second time. I’d rather have people coming and going and having a good time, then I would be trying to find the exact lineup forever and forever and forever. Music is made to have fun with.

Do you find that a lot of American Analog Set fans are receptive of The Wooden Birds?

Well, yes, but in my experience, and my experience isn’t endless. I’m only so old and I’ve only been at this so long…in my experience people don’t usually come up to you and tell you how disappointed they were by a show. It’s usually them saying “I really enjoyed that” or “I’ve enjoyed your music for a long time, thanks for coming.” That don’t say “Really? What was that?” Something about your voice and an organ, nobody says that. So yes , people have said “Wow” I feel like I waited almost ten years to hear you play “Aaron & Maria” and now you’re not going to play it. This band is made to play “Aaron & Maria”. It’s always thumbs up in every way. Not so much on this tour because we’re supporting another band, but when we did the tour to support the record and we would play an Analog Set song it was obvious there was obviously a portion of the audience there to see what we are up to now. Speaking about the Analog Set as a really popular band, I mean we only played The Bowery opening for other bands. We were kind of a small band, we were just around for a long time.

 How has your songwriting evolved over the years?

 I’d like to think that it has a lot, but truthfully it really hasn’t that much at all. There’s a song on the record called “Hometown Fantasy” that sounds like The Wooden Birds, and it was the first song I wrote over twenty years ago. I found it on a demo tape I made, literally right after high school and I put it on the record and it fits perfectly. So really I guess I haven’t grown that much. I’d like to think that my lyrics are better than they were on the first Analog Set record but then again, I think by the time I hit maybe Know By Heart I think I was taking my lyrics a lot more seriously and doing a better job. So really I’m happy with every comment and everything on the record. Really songwriting wise, my songs are my songs. If I made them sound different it wouldn’t sound like me anymore.

 How long did it take you to record Magnolia?

 I guess when it finally came down to it, maybe a couple of months. Like maybe just under three months. You know on the record how there is the hammered out percussion on the guitar, the bass always sounds the same and fits in that little palm muted pocket, the rhythm guitar always sounds the same, so I recorded the songs many times over the previous year until I figured out okay, this is how the pieces fit together. And once I enjoyed how they were put together the rest of the dominos just fell, and like okay now, I think it took me about three months to get it right. When it probably came down to it, the reason that it took longer than it really even should have is because we recorded it all on a piece of tape. We pieced it together as a demo and then when it came down to it, let’s get all of these performances. We stripped everything down and built the songs up again, so all of Leslie’s performances are a vocal performance. So it took a little bit longer than normal, like a Frankstein job. But some bands take years to make a record.

Was having Leslie’s voice very prominent on the record something you had planned or did it just happen?

 I wrote…. As I was writing these songs and picking the songs that I wanted on the record, I wanted every song to have a female and a male part. It’s not always call and response, although it does happen, but I wanted two voices to be there, and the backup vocal I wanted just as strong as the lead vocal. I didn’t want to double myself at all, I wanted it to be something I hadn’t done before, I wanted another human voice. I loved Leslie’s voice for a long, long time and I have recorded her over the years in her projects. I played the demos for her and got her involved really early, and she just kind of hung in there with me recording. The first half of the demos were written with her in mind, and she sang them so beautifully that the second half of the songs were written with her exact voice. I know where your range sounds good and I’m writing this part for you to sing. If she hadn’t it wouldn’t have come out the same way. She’s awesome.

 What inspires you to write a song? Is it always personal or is it sometimes a story?

 It’s a house card, I don’t want to think about it too much. I don’t know where it’s from, and I’m just glad that I get to write songs and I really have a lot of fun doing it. But some of the time I think that’s a good idea for a song, sometimes it’s a melody, sometimes it’s a guitar part, I have no repeatable method at all. The fact that they actually do come out so much specifically is always a huge surprise to me. But as far as lyrically they’re all heartbreak and heartache and lost love, love….this is my bread and butter.

 You lived in Brooklyn for a while, what made you decide to move back to Austin?

Well, I love Brooklyn. The rest of the band still lives in Brooklyn, obviously I have roots here, as so many do as well. But it was a small apartment and my wife and I decided it would be nice to have a window and a dog, trees and a garden and stuff like that, it’s all stuff you can have here, but it takes a lot of work to pull it off and we’re closer to family down in Texas, so it wasn’t like “Brooklyn?!” it was more like “Brooklyn is awesome and we should come back and visit,” but we’re getting on in years, and we’re not going to be pushing a stroller down 7^th Avenue and Park Slope.

Down Park Slope doesn’t sound like a good idea!

 Maybe not down Park Slope, maybe just the sidewalk down 3^rd Street (laughs).

 What is your favorite thing about being in the recording studio, or recording in general?

 My favorite thing about recording is, it’s making something from nothing. Like before you begin, there really is nothing, nothing exists, but when you’re done, a song exists, and it’s almost like magic. You’re like “I like this a lot” and a few minutes ago, the music didn’t exist and now it exists and I like it. It’s so valuable to me it should have a raw material, it should have a coal turned into a diamond. It costs time, that’s the raw material, but I just like the magic.

 What’s your least favorite and favorite part about being on tour?

 Wait my least favorite, or favorite?

 Both!

I think my favorite part is getting to kind of experience the culture of music in a way that makes me feel comfortable. Like if I don’t have a reason to be in the club I am the most uncomfortable person there. I’m always against the wall or I’m too tall and I’m in somebody’s way and I want to leave. Unless I absolutely love a band, I will never go out and see one. I always feel that I’m in somebody’s way and I’m dealing with loud people and drunks. For some reason when I go on tour I get to see bands every night and for some reason being contractually obligated to be at the venue makes me comfortable to be there. You can all think I’m not cool enough to be here, and you’re right, but the fact is, on September 26^th, or 27^th, A.K. can be at this location and it’s going to be okay. That’s the way I think about it, is that I have a reason to be somewhere. My least favorite thing is that I miss my wife a lot and we’ve only been married for three years so I feel like I’m missing a lot, well what I think is a lot, like 3 or 4 months out of the year, I feel like I’m missing out.

 Who are your influences, or artists that inspired you to play music yourself?

 Probably the ones that you would think…

 Like Black Sabbath? (laughs)

 (Laughs)  A little Sabbath, a lot of Angular Maps, no I think it’s not always music. I think Chris Leo, Ted Leo’s younger brother. He’s the first Leo brother that I met. I think Chris Leo is the most inspiring person I’ve ever met in my life. He’s basically a cartoon character of himself, he’s just so creative and so out there that everything he touches just turns beautiful, it’s great. He’s probably my number one inspiration even though I never played guitar with him, he’s number one.

 Do you ever find it hard to bring what you did in the recording studio onto the stage?

 Well, yes, but not anymore because when I made this record I thought how it was going to be on the record, but really when it comes time to I also knew what the guitar was going to be, what the bass was going to be. I kind of made these songs with a separate live version in mind. It’s just experience. I don’t really get on and go I put the kitchen sink into this record and now how am I going to do this with 3 people, 4 people. I chose songs that I thought I could bring out live. Back in the Analog Set we would just plow them out in the studio, and whatever we came up with was what the songs were and when it came time to play them live that was kind of a holy shit moment. So we could maybe play like 50% of the record, and the other 50%, sometimes my favorite 50% got canned. So this project was live and learn.

What was the first instrument that you learned how to play?

The first instrument that I played was violin and that was in grade school, and I was made to play it and I haven’t picked it up since grade school. I really didn’t enjoy it at all. I hated it. I remember I was in 5^th grade, and you might be too young to remember, but there was this show called “Real People,” and there was a show called “That’s Incredible.” One was on ABC and one was on NBC. “Real People” was just like poor country reporters like “We’re going to go to Waco, Texas and meet a little lady that can sing like the dickens!” and they would find a girl who sings in a church choir. Then they’d meet a guy that was like turned license plates into bird houses, he’s a real person! You know the program I’m talking about. This was a nationwide program. My Dad loved it. He also watched “That’s Incredible” from time to time, but less often. So one night I was practicing in my room and he was like “Hey Andy get in here, get in here,” so I walked in there and he’s like “I’m just watching TV, I’m watching “Real People,” and there’s this little girl playing the violin. Now she’s 2 years younger than you, and she plays like she’s a songbird. Listen to this, she’s a virtuoso! And if you just practice a little harder, you can be on “Real People” you can be a real person if you just practice a little more.” Then it was like “We’ll be back with more musical savants on “That’s Incredible”” and it was like “Okay Dad, you want me to be on “Real People” but that was “That’s Incredible”, this incredible, gifted, savant child and all she could do was play violin and she couldn’t like use a fork and a knife. Then he never made me practice again. He realized the absurdity of his perspective and he was like “You can go and play soccer.” I also sucked at soccer by the way. I found it upsetting. But I played violin first and I didn’t even buy a guitar until I was out of High School.

What is the weirdest thing that has ever happened to you on tour?

I don’t know. Weird is sort of a broad thing. I get really weird around guns. I grew up around guns and a lot of my major Birthdays were “Gun Birthdays” like I got my first shotgun. But there was a long period of time when I never touched a gun, and at some point guns started to freak me out. If there’s a gun in the room, then I my eyes is always on it, do you know what I mean? So you can have a gun in the back of your pickup truck, you can have a license to have a gun in your house, you can have a license to carry a concealed weapon, you just have to let the powers to be know that it’s happening. You can do that, it’s not a crime. At some point I got weirded out by them, a couple of times if there’s been trouble at club with payment or parking, they’ll pull a gun as a sort of leverage, and that’s the weirdest thing that’s happened to me. Whenever guns are produced to make an argument more, I don’t know, I kind of turn into a person who wants to get the gun, because I’m not going to fire the gun. My reaction is to get the gun away from the person that might fire the gun, and not shoot it. That’s probably a weird feeling, I’m not myself.

At what point did you think that music was something you wanted to pursue as a career?

Well that never happened before, but the closest it ever came, was I moved to New York to go to graduate school for biochemistry, and even though I like making music, science is the only thing I’ve ever done in my entire life that I ever felt good at. Like I can do this, “I’m doing science!” I can run my bench, I can execute whatever calls, I can help my lab manager see a project through. From beginning to end I feel very accomplished, I’m a published author when it comes to science anyway. I feel good about it. I left my graduate program to make the last American Analog Set record, because I thought I really, really wanted to…I couldn’t see myself not making that record, so I think that was the moment when I put my boat in the dock and just sent it down the river. I don’t have any regrets exactly but that was probably a hard moment. I was 32 then, so it wasn’t like I was 16.

Do you ever think you’ll go back to finish graduate school?

I don’t know. If you’re invited into an Ivy League graduate program and then you bail to make a record, I don’t think they’re going to let you go back to them. I will go back to science definitely. What I gave up was a Ph.D. and a really good job, and what I got on the flipside was some time to make music and still work in a laboratory and be a good employee. I’ll probably never do my own science, and that’s fine, but I traded one for the other, but I’ll still do science one day, as long as people are catching cancer, they’ll be people like me to look after them.

What’s next for The Wooden Birds after the tour?

Well after the tour ends, I’ll just drive home, and I’ll be tracking our second. This is the first tour I’ve taken a guitar along in the van, and I’m just making sure I have all of my ducks in a row for the new songs I want to do. So when I get home I want to just start banging on the guitar again, working on songs and rhythms and start writing and recording. That’s definitely the next step unless we get offered another tour, I don’t know if we’ll play it, but they’ll be more recording.

Where do you see yourself musically in 10 years?

In 10 years I really don’t see myself making music in 10 years, and the reason being is I know people that do it at that age for that long and they’re way more talented than I am. I’m not saying I’ll be weeded out by that time but I think at some point I’ll need to…I’ll say okay “I’ll make songs, but I’ll just play them at home for my wife and that will be fine.” Right now I really enjoy this project and being in a band and I’ll see it through to a logical conclusion musically, maybe three more records or something, and then I think I’ll find something better for me. I can’t be in my forties without health insurance, it’s just not right. It’s not right for my wife. She deserves better than a gypsy husband, so in 10 years I will definitely not be making music continuously, but not in a bad way just because I’m looking at myself when I was 20 like “Would I trust a later 40 something writing songs about boys and girls being in love, who’s like 30 years removed?” I wouldn’t trust that person, I wouldn’t trust person that now!  So once I run out of stories and songs that will be it.