The holidays are soon approaching and we here at Modern Mystery have just the right thing to get you into the Christmas spirit! Holiday music is one of the best things about the season and we hope you enjoy this little, well, er, big mix. It’s our second Mixmas and we went all out with 38 songs this year. Everyone from Matt Pond PA to Of Montreal, you have to check it out below to believe your little eyes. This is the one gift you can peek at this Christmas!

Dressy Bessy- All the Right Reasons
The Sixth Great Lake- Always After Christmas Boring
Asobi Seksu- Merry Christmas (I Don’t Want to Fight Tonight)
Belle and Sebastian- O Little Town of Bethlehem
Blitzen Trapper- Christmas is Coming Soon
Bright Eyes- Have Yourself a Merry Little Christmas
Casper and the Cookies- Kiss Me Beneath the Christmas Tree
Ladybug Transistor- Christmas Extravangza
My First Keyboard- Christmas is Only Good If You’re a Girl (Boy)
Of Montreal- Christmas Isn’t Safe for Animals
Essex Green- Deck the Halls
Denison Winter- A Christmas Song
Drive-By Truckers-Mrs. Claus’ Kimono
The Features- Christmas Wish Book
Felice Brothers- Murder by Mistletoe
The Music Tapes- Freeing Song for Reigndeer
Frightened Rabbit- It’s Xmas So We’ll Stop
Fun.- Believe in Me
Gentlemen Auction House- Don’t Want Another Christmas Like Last Christmas
Marbles- Gift for You
Fabulous Bird with Bill Doss-It’s Christmas Time Again
Long Winters- Sometimes You Have to Work on Christmas
Low-Just Like Christmas
Matt Pond PA- Holiday Road
My Morning Jacket- Christmas Time is Here
Of Montreal- My Favorite Christmas (In a Hundred Words or Less)
Reigning Sound- If Christmas Can’t Bring You Home
Rilo Kiley- Xmas Cake
Robbers on High Street- Seasons Greetings
Ryan Adams- Hey Parker, It’s Christmas
Summer Hymns- Santa Couldn’t Fit You Under My Tree
Slow Club- Christmas TV
Sufjan Stevens- That Was the Worst Christmas Ever!
The Wedding Present- White Christmas
The Raveonettes- Christmas (Baby Please Come Home)
The Wombats- This is Christmas
The Damnwells- Xmas Eve
The Knife- Christmas Reindeer

Ah, CMJ week. We kind of miss it and the great bands we had the pleasure to work with. One of our favorites of the week was Robbers on High Street. Not only did they put on my personal favorite show at CMJ, but somehow we roped Ben Trokan and Dave Sherman into performing for us in an alley/bus washing station in Park Slope, Brooklyn that night. Robbers played two new songs for us including “Watch Me Disappear” which will sure to be placed on the next record. Everytime I watch this video I’m amazed by the fact that Dave did not pass out from blowing into that keyboard.  Enjoy watching one of the greatest indie bands of the past 10 years getting creative on the street.

“Watch Me Disappear”

Another New Robbers on High Street Song!

Robbers on High Street seem to be one of the most overlooked indie bands around, but the truth is they put on one ofthe greatest shows you will ever experience. The band only played one show of the CMJ marathon this year and they certainly made the most of it. Displaying new songs from the album they are currently heading back into the studio to record, this was truly a treat for the packed room of Robbers fans at the Bell House Thursday night.

If there was one way to describe the band, it would be a more soulful version of Spoon, though when it comes to song writing Spoon has nothing on them. Singer/guitarist Ben Trokan sings his heart out no matter what the song calls for. The most standout new track from the band is a tune called “Watch it Disappear,” which is filled with melodic vocals, haunting yet beautiful keyboard parts mixed with upbeat strumming.  The glimpse of new songs during their CMJ showcase has fans excited to hear the studio versions.  On a personal note, this was one of my favorite sets at the marathon this year, highly recommended!

MORE ROBBERS ON HIGH STREET LIVE PHOTOS AFTER THE JUMP!

We’ve been working feverishly to get all of our CMJ stuff done. Check back later today was we start to post a ton of photos, reviews, interviews and very special sidewalk performance videos from bands like The Spinto Band and Robbers on High Street! Be on the lookout! We have it covered!

CMJ is in town this week and we can’t be more excited. 1,200 bands, 100s of venues, total overload. Sorry we were sort of sparse in content last week. We’ve been setting up some awesome (yes awesome!) interviews and performances with some amazing bands. Be sure to check back for updates! Today’s Secondhand Sunday comes from a band we’re excited about seeing at CMJ, Robbers on High Street. One of the greatest bands that the city has to offer. Off of Grand Animals we bring you “Crown Victoria.” An artsy little video that is pretty awesome if you ask us! Robbers will be playing this Thursday at 8pm at the Bell House in Brooklyn. Nice!

Recently I had the chance of interviewing one of my favorite bands, Robbers on High Street. The main duo of Benjamin Trokan and Stephen Mercado are undeniably funny and told us all of their little secrets. You’ll have to read on to find out all of the details but let’s just say it involves Jordan Knight, a Liver, and Zero Population. The band is preparing to release their third record, the follow up of ‘Grand Animals’. Here is what the band had to say…

So you guys grew up in Poughkeepsie, New York, right?

Benjamin Trokan: No

Stephen Mercado: No

BT: You just jumped right into it! (laughs)

Did you guys play any shows around there or was it just strictly talent shows, those kind of things?

BT: No we played our first show there…

SM: Yea that was our first show…

BT: ….and then Stephen was our sound guy for a while and uh…What was that place called?

SM:  Club Crannel.

BT: We played the Chance.

Its pretty much obligatory that you play the Chance and The Loft!

BT: We only just played The Chance. Last November or December we played The Chance. You have to be a band for like seven years or ten years, something like that.

I didn’t know that!

BT: We played with Perfect Thyroid. Ever hear of those guys? No? Sorry! (laughs)

SM: Maybe its because, well I don’t know. We’re not really from there, well, we are, but we’re not.

BT: Well yea, that’s fair.

How did the rest of the band come together?

BT: Uh….(silence)

SM: Okay, well…

BT: You go for it!

SM: Um well it started out with Ben and I playing songs together, then we went to college. Then he knew this guy Tomer who played drums in another band and we got our buddy Jeremy to play bass. Then after that, Tomer left and we got our buddy Mike in to play drums and Jeremy had left previously before Tomer had left, and then a  bunch of our keyboardists died (laughs)Looks at Keyboardist Dave Sherman It’s not looking to good for you dude! (laughs) But yea, that’s how the lineup came together.

BT: Yea!

SM: You got all that?

I think so, but the recorder does!

How has the relationship in the band changed over time?

BT: It’s gotten better.

SM: I think so, um we don’t want to kill people (laughs) A lot of bromance.

BT: No it’s totally like a serious group on the road.

SM: Yea like you hear horror stories about bands touring and maybe we’ve had some rough spots in the beginning…

BT: We, in the beginning, used to have knock out, blow ups like people wanted to kill people before we got home.

SM: There was a rough patch.

BT: No but like with this one…

SM: Yea this one is like so harmonious. Like the last tour we went on was actually almost  like hanging out at the same time. We all live within a mile of each other, but it’s very harmonious. We all love each other.

How does the songwriting process occur for the band? Is it a collaborative idea?

SM: Well Ben does most of it, but he’s never one to riot, and let’s us give ideas and change things. He’s very good about that. But he does most of it. Sometimes I’ll throw in a couple of ideas and he’ll finish the song. He’s good at it.

You have been working on your upcoming third album. How has that been going?

BT: It’s going pretty good. I think. I mean, the songs are done. I think we’re just sort of fleshing them all out. Fleshing or flushing? I never know. Flushing right?

That sounds about right.

SM: Flushing sounds so gross, like we’re flushing it out.

DS: I’d stick with flushing. I’d say we’re flushing them out.

SM: Flushing them out means like ‘oh we’re cutting songs’

BT: Okay then, we’re fleshing, not flushing!

SM: Either way! (laughs)

Do you feel any pressure releasing your third album since the first two were rather successful?

BT: I don’t feel that at all. I really wouldn’t say the second was big (laughs).

I liked it!

BT: People liked it more maybe, but we loved it more so I can only assume it was successful.

SM: Yea I think everyone is really excited about it (the 3rd record)

BT: Of course it will be like finalized in the studio with handclaps like we just…

SM: Me, you and Morgan.

BT: Yea we need to do a lot of overdubs but like, I mean I like the way it came out. It will be different. It will be better actually.

What is your favorite new song you’ve been working on?

BT: I know my answer.

SM: You first.

BT: I like this song called ‘Watch it Disappear’.

SM: That’s my favorite!

BT: It’s fun to play and fun to play live.

SM: I mean, it’s a great song, you did a great job!

BT: Did that exist? Can we play that back? Did that actually record? (laughs)

How does the new album differ from your previous releases?

SM: I feel like this album is more like the first album, where it’s just gotten a little, well it just rocks a little more. But I think there is a little more development in the songs themselves.

BT: Yea they’re a little trickier I guess. It’s definitely a little more upbeat.

Which do you prefer more, being in the studio or being on tour?

SM: I don’t know the last few tours were pretty rough.

BT: They have, but the last time we were in the studio was not fun.

SM: Well yea, but when we did the first record that was fun.

BT: Yea that was fun…

SM: And the tour we did then…

BT: …was not  fun. They both suck! (laughs)

Which is your favorite song to play live?

SM: It will probably be ‘Watch it Disappear’

BT: We do this Kinks cover. That may be my favorite song to play live (laughs). I hate to say it.

SM: That is a very good song to play.

BT: It’s very cool.

Who are your influences, either new or old?

SM: My Mom and Dad (laughs)

BT: I don’t know, I think it’s pretty obvious.

SM: I really like Ray Davies, he likes Ray Davies.

BT: It’s just, I don’t know, late 60’s.

SM: Paul Weller.

BT: Yeah, Paul Weller.

SM: I’ve been into a lot of power popish bands. I don’t know. I couldn’t tell you. The Clash?

BT: I hate The Clash!

SM: I think you’re influenced by what you know.

BT: I just say ‘Awesome’ (laughs)

How do you choose what tracks you want on the album, and do you ever plan to release the tracks that don’t make it?

SM: Its nice to think of the idea to release a 7 inch of stuff or something.

BT: Yea, I don’t know that we have so much. I guess we have some B-sides, I don’t know who would want to buy it!

SM: That’s fair.

BT: There is only one extra song from the last record I’d want to see the light of day. We don’t really keep track of a lot of songs.

SM: Maybe, it was like 20?

BT: No it’s like 3 or 4 songs.

SM: Really? (laughs)

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

BT: Yes!

SM: Yeah, the recent demos that we taped kind of got a little vocal happy so there’s like seven part harmonies that are not so easy to sing.

BT: I just like playing it back hearing myself like ‘Me times seven!’

SM: No it’s really, well we have this device that’s like a buddy of ours, and it’s a vocal harmonizer. We were like ‘You don’t need it, give it to Ben!’

BT: I just step on a button!

SM: And you immediately have five Bens! The vocals are tricky, we have to have little vocal sessions.

BT: It pays off.

SM: It’s weird sitting in a room with two to three guys.

BT: I like doing that ‘Ahhhhh’ (sings) It’s a good time.

SM: It’s hard, it’s tough but everyone is pretty crafty and we figure it out.

Do you have a title for the new album yet or is it a secret?

SM: ‘Strictly Business’?

BT: ‘Strictly Business’ or ‘Physics on Patrol’. Uh, ‘Big Sandwich’ ?

SM: Weirdest album title (laughs)

BT: Yeah!

SM: The cover concept is going to be Ben in a blazer, leaning on a piano.

BT: Though what was the other idea we came up with yesterday?

SM: There was one, ‘Robbers Vs. The Electric Eye’.

BT: Oh yea, that would be a good one.

SM: What was the one you came up with the other day?

BT: Oh yea! It was called ‘Your Face, My Fart’. There would be a fart of wind and all of our hair just blowing on the cover (laughs)

What was the first band you were a part of and was it completely awful?

BT: It was with you! (looks at Mercado) and it was completely awful.

SM: It was called Zero Population.

BT: Yea, Zero Population was our first band, but we never rehearsed, we would just write the lyrics to each other and sing how it would be and that was it.

SM: No we had a couple where we had bass and we just thrashed around not knowing what to do.

BT: Oh yea (sings) ‘Zero Population growth, everyone’s gone, nothing’s left, the bomb came down and we’re upset.’ (laughs) Early collaboration, bootleg!

What is the strangest thing that has ever happened to you while on the road?

BT: I may still have to say the Jordan Knight….

SM: Oh easily, we opened for Jordan Knight in Rock City?

BT: Rock Island, uh, Illinois.

Well you can’t say you opened for Jordan Knight and drop the story!

BT: Yeah next question! I got to cash in my tokens! No we were on tour and it was some kind of fair, county fair rock out. We were touring with that band Ambulance and they were playing some other stage with someone probably equally as questionable and we were like ‘What the hell is going on here?,’ and I think they hated us that’s why. We literally played at three in the afternoon to like a bunch of middle aged women with their fold out chairs that have the cupholders. You know, they just showed up. They didn’t know who the hell we are. They were lined up across the grass.

SM: That was really, really strange.

BT: It was weird.

SM: Then remember the guy before Jordan Knight? When we raided the stage and started dancing?

BT: Right so then some guy before him was this guy named ‘Jerry’ who was going for that tween angle, he’s got a headset and he’s got dancers and he (Mercado) was totally hitting on the guy’s mom.

SM: I was not hitting on his mom! She was very friendly with me. They were all pissed at us.

BT: Yea we danced across the stage.

SM: We had the van running and we were like ‘Okay, Ben was drunk enough to convince him’ and it was like we run in that side, we dance and run. We do it, we get in the van and security comes over and knocks on the window. We roll the window down and he goes ‘Thank You!‘ (laughs)

BT: And JK’s just back there dancing the whole time to Jerry. No he was just drinking beer in his SUV and every now and then he’d roll down the window. And his SUV just got there when Jerry went on and then he came out and was eating it, you know?

Wow that is something I sorry I missed. Best story ever!

What is you favorite album of all time?

BT: Of all time?

SM: Oh….(pause) Maybe my favorite current one…

BT: That’s a tough call, really? What’s your favorite album of all time?

I don’t have one, that’s what I ask everyone else!

BT: So you ask questions that you have no idea what the answer is yourself?

I’ve never had a solid answer!

SM: I don’t have just one.

BT: I mean there is a desert island theory which might include some things…

SM: I think there’s The Cure.

BT: This could be a whole hour!

SM: We could just go on and on.

BT: I still talk about this almost nightly and don’t have an answer.

SM: Definitely ‘Zeppelin III’

BT: I would definitely say ‘Physical Graffiti’. Well it was definitely a big record for me, I mean, it changed my life. I have fond memories of that record.

SM: This is why we should be on an island together!

BT: I might need, Big Star, the second Big Star Record. Anyway you should just go to the next question (laughs)

If you weren’t in Robbers on High Street, what would you be doing?

SM: Um probably what I’m doing now.

BT: Yea probably what I’m doing now.

SM: Bartending, I’d be a bartender.

Where do you see Robbers on High Street in 10 years from now?

SM: Woah um another question I don’t have the answer for!

BT: What did you get this out of a yearbook or something? Who has the best hair….(laughs)

SM: In ten years I see Robbers at either my funeral or Mikey’s funeral.

BT: That would definitely be bad.

You’ll be playing Jordan Knight’s funeral.

SM: No we’ll be opening for Jordan Knight.

BT: No we’ll be playing some sort of get well soon party for either you or Mikey because one of you just had a liver transplant (laughs) and it will probably be Morgan’s liver because that’s the only clean liver I think.

SM: Do you think he would give me his liver?

BT: No then actually he’ll die. You need a liver.

SM: Yea you need a liver.

Maybe a kidney?

BT: Yea a kidney right!

SM: Like I said attending mine or Mikey’s funeral.

You’re going to be attending your own funeral?

SM: Well obviously.

You really aren’t attending if you’re dead.

BT: You can’t really play then either.

SM: You could just pre-record my part!

BT: I’m going to play ‘Glad to See You Gone’ (laughs).

SM: I was not flirting with Jerry’s mom, she was flirting with me!

Was she drunk?

SM: What are you saying? (laughs

Usually when older women are friendly, they’re drunk.

BT: Maybe she was just friendly.

Maybe she just thought you were foxy (laughs)

SM: That’s probably it. Maybe she was lonely.

But could you really be a stage dad to Jerry? Could you give him the support he needs?

(Long pause. Mercado in deep thought)

SM: Clearly not!

Friday night team Modern Mystery had the chance of catching indie darlings Robbers on High Street at the Mercury Lounge. The band who is currently finishing up their third record hit the stage for a New York only show that was certainly a surprise.

I heard someone comment at the show that Robbers on High Street is ‘one of the great indie bands of our generation. I couldn’t agree more. The bond within the band seems stronger than ever and the musical relationship of Ben Trokan and Stephen Mercado is flawless. They know how to play off each other and the rest of the band is in on the game.

Robbers play like old pros. They know how to work the stage and put on a stellar show. Even when the amplifier went out on Trokan, the band handled it perfectly and with such humor! Robbers on  High Street played a variety of songs ranging from old favorites such as ‘Spanish Teeth’,  as well as classics such as ‘Fatalist’. The band also mixed in great deal of new songs that have us excited for the new album to come out. It changes things up a slight bit but it completely remains to be the Robbers sound that we know and love. Stay tuned for the interview with the band we did to be posted this week. You won’t want to miss out!

Watch Our Robbers on High Street live from the Mercury Lounge Video HERE

Check out More Pictures After the JUMP

The Setlist

Crystal Run
Unbelievers
Happy Horses
Electric Eye
Spanish Teeth
Fatalist
Across Your Knee
Letter
Crown Victoria
Face Fog
Watch it Disappear
Turnaround
Hudson Tubes
Married Young
*Also played was ‘Love Underground’, not on the setlist, as well as ‘Souls’ and ‘Achilles Last’ was listed.

This edition comes a little late, as I have been getting ready the review and interview from the Robbers on High Street show on Friday night to post within the new few days.

 Today’s secondhand Sunday is a band we haven’t heard from in a very long time, The Natural History. The Startime International band broke around the time of The Strokes and and were even featured on the ‘Yes New York’ compilation.  Sadly the band broke up in March of this year after looking for a new label and not being able to really work with a band member shake up.  The Natural History did make some amusing videos though that certainly reminded me of my college days.

Here is one of my favorites, watch The Natural History’s ‘Watch This House’ HERE

I’m a sucker for a good cover band. It’s true. Although I prefer to hear musicians perform their own music, every now and then I enjoy listening to an old, familiar song being played in a new and sometimes unexpected way.

Now, I’m not referring to the ridiculous lookalike-soundalike tribute acts like Beatlemania or some other godforsaken reincarnation that crisscross the country every summer proclaiming to provide “the ultimate concert experience” or somesuch nonsense. I’ve been to a lot of concerts and had plenty of “experiences,” but I can only imagine attending one of these shows would be like watching a wax museum come to life — or worse, and it smells like formaldehyde. That would be my ultimate, i.e. my last, concert experience.

(Although I might be talked into seeing something really bizarro, like Lez Zeppelin, an all-girl cover band for Led Zeppelin, or MiniKiss, reportedly the “littlest tribute band in the world.” The sideshow atmosphere surrounding such an event, both on the stage and in the crowd, has an appeal all its own.)

No, what I’m talking about here is a good bar band that knows its sweet spot and plays songs by artists that fall within that range. I know several people who play in bands that, when everything comes together, make me say, “wow, you sounded just like Johnny Cash,” for instance, or “thanks, I had almost forgotten about Hootie and the Blowfish.” It also can be entertaining to hear some band stretch a bit, try something they don’t normally do but could still carry off, to honor a request shouted from the audience (yes, that was me).

Even better still is the moment when you hear an established band or artist, one that has carved out a niche using their own musical talents, break into a cover song. It can be a truly great “concert experience” when the band uses their unique sound to rephrase or reinvent someone else’s song. R.E.M was always good at this. I’ve seen them play songs like “Toys in the Attic,” “See No Evil,” and even “Radar Love” so convincingly live that I’ve thought to myself, I know that’s not their song, but it could be one of theirs. They even managed to use this chameleonic trait to achieve a certain level of success and notoriety by including cover songs on several albums. Despite what the critics thought of their decision, R.E.M.’s treatment of “Superman” by The Clique peaked at #17 on Billboard’s Mainstream Rock Tracks and is arguably one of their most popular songs.

It shouldn’t surprise you to learn that, over the past few years I have been collecting cover songs, old and new, and storing them in a playlist on my iPod. For one thing, it helps me keep track of all the music I have on tap. For another, it makes for a great party soundtrack. For instance, everyone likes hearing The Sundays do a twangy, slightly spaced-out, cheeky-chicky cover of The Rolling Stones’ “Wild Horses.” It sounds to me the way Mick and his mates might have done it for MTV Unplugged, given the chance. It’s both a faithful and unfaithful rendition, which is the ideal mix for a good cover song — close enough to remind you of the original, yet different enough to let you hear the song in a new way. The same can be said for Franz Ferdinand’s swaggering version of “All My Friends” — when I first heard it I didn’t realize it was LCD Soundsystem’s song. Or The Futureheads’ manic, Madness-like take on “Hounds of Love” by Kate Bush. Or the thumping, upbeat discotheque remake of the Violent Femmes’ downer “Gone Daddy Gone” by Gnarls Barkley, which got a lot of airplay a few years ago. All crowd-pleasers, and mainly because they offer a refreshing turn on the familiar.

Sometimes a cover can be so fickle, as it were, and provide such a unique perspective on a song that it tops the original. That can be a boondoggle or a blessing, depending on your preference. One of the best examples of the latter case that I have on hand is the Aztec Camera cover of “Jump” by Van Halen. The original has always seemed like a fortunate accident to me, a near-parody even at the time it was released in 1984, when the band was already over itself. So it was ripe for renewal when Roddy Frame reworked it a year or so later with a nylon string guitar, slowing the pace, silencing the synths, and bringing the song back down from its big-hair-band heights. Aztec Camera’s f-you version is so good, in fact — especially Frame’s deadpan singing of the chorus punchline, “Well, you might as well … jump” – it makes me forget the original. Brilliant.

The late Johnny Cash accomplished this feat quite a few times, recording other people’s songs in a way that makes you think he wrote them. His five-album collection of “American” recordings is full of such cases in point, the most popular of which is probably “Hurt.” Whether or not you know or like the Nine Inch Nails original, you have to concede that once Cash cut his faltering, ragged version it became his song. Somehow, at the end of his career, and near the end of his life, he just seems to know the song better than the songwriter. John Cale did the same thing with his haunting, piano-only rendition of the Leonard Cohen chestnut “Hallelujah,” which may be topped only by Jeff Buckley’s graceful electric guitar take. Ironically, Cohen’s original version, in comparison, now seems like an overproduced cover.

And speaking of Cohen, sometimes cover songs can introduce great music to a new generation of listeners. About 10 years ago I picked up I’m Your Fan, a tribute record for the legendary singer-songwriter. I didn’t know much about Cohen’s work back then, so having bands I liked do updated versions of songs I had and hadn’t heard, like the rousing “So Long Marianne” by James and an edgy version of “I Can’t Forget” by The Pixies, helped me to see why Cohen is so popular and still relevant. Even my kids have gotten into new music through cover songs: The soundtrack to “Sky High,” one of our favorite movies, is chockablock with great remakes of ’80s classics, some well-crafted enough to stand on their own, like Bowling for Soup’s slightly (and deservedly) goofy reworking of “I Melt With You” or Elefant’s mopier-than-Morrissey’s version of “Please, Please, Please Let Me Get What I Want.” It’s a clever ploy to hook the moms and dads, and it works. Not surprising, other Disney movies of late, such as “Shrek” (which features Buckley’s “Hallelujah”), have included covers of “oldies,” too.

That might help explain why there seems to be a sudden surge of interest in cover songs. Over the past year or so, I’ve encountered several young artists who seem to believe in imitation as an art form of flattery. And a handful of new compilations have been released that include or are exclusively based on cover material. A lot of what’s out there is really good, faithful and otherwise, and has wound up on my playlist. Here’s half a mixtape’s worth of recommendations for you to start your own collection.

“The Last Thing I Needed (First Thing This Morning),” Phosphorescent, To Willie. Willie Nelson has spent much of his career covering and messing around with other folk’s songs. So it seems only natural for Matthew Houck (aka Phosphorescent, with backing musicians) to devote an entire record to fairly faithful renditions of songs Nelson made famous. Musically speaking, and likely culturally, too, I imagine, these two men have little in common. For one thing, Houck’s voice is softer than his tributee’s and he doesn’t try to twang-up his folk-rock sensibilities. But this album works beautifully, perhaps because of these contrasts. I first heard Phosphorescent play some of these songs, including this one and “Reasons to Quit,” live in the studio at KEXP, and they quickly became the next thing I needed first thing that morning.

“Rave On,” M. Ward, Hold Time. M. Ward is a multi-talented musician and producer with an old soul whose music often sounds like it belongs to (and, with so much tube-amp reverb, literally comes from) another era. So it’s no surprise he likes to cover old songs — he is the male half of last year’s release She & Him, which included remakes of a Smokey Robinson song and “Swing Low Sweet Chariot.” Ward has mastered the mannerisms of early guitar guys like Dwayne Eddy and Buddy Holly, and he turns the latter legend’s rocker into a countrified, gospel, moonlit two-step on his latest release. It’s got a crazy feel, but it will send you reeling for more M. Ward.

“Atlantic City,” The Hold Steady, War Child – Heroes, Vol. 1. Who else these days is better qualified to cover The Boss but his roots-rocking torchbearers, The Hold Steady? And though they don’t deviate too much from the original outline, Craig Finn and gang fill up the spaces in this song and make it more of a rocker, throwing down some muscle-bound, Thin Lizzy-like guitar solos that should make Springsteen sneer in delight. Another standout on this amazing benefit compilation, which features many of the original artists contributing to their songs’ covers, is “Straight to Hell” by Lily Allen. Dressed up in frilly dance-club duds, this remake nonetheless works beautifully because Mick Jones, who plays and sings on the recording, was heading The Clash in that sonic direction long before the potty-mouthed Ms. Allen (or M.I.A., who sampled the original guitar lines on her infectious hit “Paper Planes”) was speaking King’s English.

“Comfortably Numb,” The Bad Plus, For All I Care. Perhaps because they are a musical mutation by nature, this jazz/rock trio, with guest Wendy Lewis on vocals, seem well-equipped to reinterpret other people’s music. Their smooth, slowed-down version of “Comfortably Numb,” for instance, is remarkable for the way the instrumentation, particularly the soft piano arpeggios, draws out the silent disaffection intended in the lyrics but understated in the original by Pink Floyd. It’s a far more interesting and haunting song in their hands. Also notable on this record is “Long Distance Runaround,” by Yes, which gets a much-needed face-lift, placing greater emphasis on the tempo changes and mood swings, highlighting the workmanship and artistry at the heart of the original.

“Train Song,” Ben Gibbard and Feist, Dark Was the Night. I have to admit that when I first heard this duet I was not aware it was a cover song. I have not paid much attention to the 1960s British folk music scene, particularly the work of Vashti Bunyan, who wrote and recorded it. But after listening to the original once or twice, and the lush treatment given it by this unlikely pairing of singer-songwriter Leslie Feist and Ben Gibbard of Death Cab for Cutie, I think they should collaborate on a full recording Bunyan’s songs. Look what such a project did for the careers of Alison Krauss and Robert Plant. There are plenty of other notable cover collaborations on this double-CD benefit collection — I also like the remake of Nick Drake’s “Cello Song” by The Books and Jose Gonzalez — as well as new material by the likes of Arcade Fire, The Decemberists, Bon Iver, Grizzly Bear, The National, Spoon, and Sufjan Stevens, and many others.

“Under Pressure,” Xiu Xiu, Women as Lovers. Although this cover by experimental indie-rockers Xiu Xiu (sounds like “shoe-shoe”) hews closely to the original David Bowie and Queen collaboration at the start, especially in terms of tempo and tone, it gradually opens up in more expressive, exciting ways. At one point, the song seems to come undone, with an outburst of wild, wailing sax and guitar riffs, as if the band members are overcome by the tension inherent in the title. But the multi-vocal chorus (I count at least three, including Caralee McElroy, who provides a nice contrast) leads all the instruments back together, and the song ends as satisfyingly as it began.

“In the Air Tonight,” Takka Takka, Guilt by Association, Vol. 2. OK air-drummers (and you know who you are), download this song, pull out your “sticks,” and get ready to pound the aether the way you did when the Phil Collins original battered the airwaves in 1981. I’m telling you, this cover by a young Brooklyn-based quartet who updates it by sharpening the song’s edges, is so good it will make you want to do some risky business of your own. This compilation, in its second incarnation, is loaded with new and established acts covering what one Amazon reviewer called “songs we are all scared to admit we like,” including Robbers on High Street doing a groovier “Cool It Now” and My Brightest Diamond’s supercharged version of “Tainted Love.”

Collecting, listening to, and writing about these covers reminds me of Melanie’s 1966 hit, “What Have They Done to My Song, Ma,” which chronicles a songwriter’s dissatisfaction with the way her song was recorded by others. And I imagine many bands must feel this way at some point. Perhaps even some of the artists I’ve written about above. But a bad cover can still produce record sales, even if for the wrong reasons. Of course, as Oscar Wilde once quipped, only one thing is worse than being talked about, “and that is not being talked about.”

As for Melanie, who also wrote “Brand New Key” and several other popular hits, and has released more than 30 records in her career, not to worry. Her little song was covered numerous times and became a big hit for Ray Charles, no doubt eliminating many of the worries she had to write home to mom about. And as for the singers and songs mentioned here, which have been “tied up,” “turned upside down,” etc., I suspect that “it’s all going to be all right,” as Melanie sang, everything is going to turn out all right.

As always, feel free to leave a comment and let me know what you think of my selections. Do you like hearing musicians playing other people’s songs? What cover songs do you like, or are there songs that should never be revisited?

The Silent League make beautiful, beautiful music.  Often garnering comparisons to the Flaming Lips, The Silent League’s songs are huge, dramatic orchestral pop.  They swoop along with horn swells and pianos.  Maybe not for everyone, but certainly easy to listen to for anyone.  The New York Times even goes as far to say, “Brian Wilson’s legacy shimmers through the songs of The Silent League, which uses a few musicians to create grandly expansive orchestral pop.”  It’s hard to get a better recommendation than that.  They are playing with Robbers On High Street, and the show starts at 8pm.

…because I got an assload of discs for review this week and I’m only one man. Of course, sometimes I’m only one woman, but that’s another story.

Here we go!

Sonic Bliss “Loved to Death” - In one disc, Sonic Bliss somehow manages to sound like Guns N’ Roses, The Proclaimers, Dokken, Kansas, Queen, Blue Öyster Cult, Living Colour and Stone Temple Pilots… and that really makes it up to you to decide if that’s a good or bad thing.

Peel “Die in June” - I bet all the kids are gonna go ape-shit for this album that sounds exactly like all the other “Twilight”/”Underworld” soundtrack bands that all the kids are currently going ape-shit for!

Steven Wright-Mark “Sideshow Freak” - When it comes to criticism, I can never do power pop justice because it’s just not my cup of tea; but, genre of music aside, Wright-Mark gets points because he wrote every song, sang every lyric, played every instrument, produced the entire album, and handled the disc’s artwork.

Clue to Kalo “Lily Perdida” - A clever concept album (each track is “told” by a different character close to the story’s main character, Lily Perdida) from a duo who know how to slowly pour acoustic folk over a foundation of synthesized noise, erecting a sound structure that exists somewhere between the ground of Yo La Tengo and the atmosphere of Stereolab.

The Dutch Uncles “The Ghost of Everything” - This disc starts out with the same-old pop you’ve heard a hundred times over (“Everything”), but halfway through the album a hint of country twang comes into the mix (“A Million Years” and “Safe at Home”); the few times the pop mold manages to break is when things get interesting.

Beast “Beast” - The Lo Fidelity Allstars + Amy Winehouse + The Disposable Heroes of Hiphoprisy + Portishead = BEAST!!! Yes!!! (And yes, I know that was two sentences, but I really liked this disc so LAY OFF!)

Various Artists “Guilt by Association: Vol. 2″ - Fourteen cheeseball hits of yesteryear covered by bands of today, like New Edition’s “Cool It Now” (Robbers on High Street), INXS’ “Need You Tonight” (Cassettes Won’t Listen) and Toto’s “Africa” (Lowry).

Mr. Meeble “Never Trust the Chinese” - This album fits nicely between the worlds of souped-up tunes from Air and watered-down instrumentals from Nine Inch Nails, but falls just short of being as cohesive as either; still, it’s a solid album that avoids unnecessary vocals (i.e. sticking lyrics into every song just to fill space), and I applaud that.

Eulogies “Here Anonymous” - A solid quartet of musicians who produce keyboard-laced melodies that are more spacious and ethereal than they are eye-rollingly arm-huggy, further proving that not all white boy guitar-bass-drum-and-vocal bands have to sound the same… now if they could only spread the word to the rest of the music industry.

The Hot Puppies “Blue Hands” - This Welsh five-piece does have a unique sound, and I think front woman Becky Wood’s voice is a nice change from primarily male lead vocals, but I wish they would have stripped all things “eighties” off the album (synthesizer, theremin, etc.) and instead stuck to their conventional instruments (cello, drum, etc.) because they play them well, and that just makes the other stuff come across as being gimmicky and dated.

Kenneth Pattengale “Stories Places” - The press release for this 26-year-old singer/songwriter states that Pattengale hopes to “…follow Tom Waits, Gillian Welch, Chris Smither and Loudon Wainwright in their ability to conjure a unique American voice,” and while the road to that goal may be a couple decades and a dozen or so records long, he’s definitely at least on the right path.

Gavin Castleton “Home” - In order to deal with the end of a six year-long relationship (bear with me), Castleton created this fifteen-track concept album that tells the story of a doomed boyfriend/girlfriend “team” as they try and survive a zombie invasion; pretty sweet story, and not a bad “soundtrack” to back it up. (EXTRA “MORE THAN ONE SENTENCE” NOTE: Castleton isn’t a newcomer to clever ideas, as his previous album was also a concept endeavor that recounted his life backwards, beginning at the moment of his suicide in the year 2054.)

Jeremy Jay “Slow Dance” - Jeremy Jay is a whinier version of all of those eighties crybaby bands that people love (Joy Division, The Cure, etc.) but I just don’t get.

-Shady

I guess its the Holidays that have my head in a fog, but somehow there were a few Christmas songs that I forgot to add to the list this weekend. One of them being a current favorite, ‘Seasons Greetings,’ by Robbers on High Street.

Speaking of Robbers on High Street, we here at Modern Mystery have some Holiday surprises up our sleeves for the next couple of weeks. Not to give anything away, but it includes bands such as Robbers on High Street,  Someone Still Loves You Boris Yeltsin, Phantom Planet, Sloan, Miniature Tigers, Of Montreal, and more…….

Its pretty awesome if I may say so myself, and you will just have to wait and see what some of these bands had to share with us.

Merry Mixmas Part 2

Robbers on High Street- Seasons Greetings
Belle and Sebastian- O Little Town of Bethleham
Feist- Lo, How a Rose E’re Blooming
Great Lake Swimmers- Song for the Angels
Blitzen Trapper- Christmas is Coming Soon
*The Hives with Cyndi Lauper- Christmas Duel
Low- Just Like Christmas
Long Winters- Sometimes You Have to Work on Christmas
Pedro the Lion- God Rest Ye Merry Gentlemen
Polyphonic Spree-Merry Christmas (War is Over)
Rufus Wainwright-Spotlight on Christmas
Of Montreal- Christmas Isn’t Safe for Animals
Marbles- Gift for You
Fabulous Bird with Bill Doss- Its Christmas Time Again
Summer Hymns- Santa Couldn’t Fit You Under My Tree
The Sixth Great Lake- Always After Christmas Boring
Elf Power- The Winter is Coming
Jet- Back Door Santa
Belle and Sebastian- Santa Claus

RAC is André Allen Anjo = Remix Artist Collective. He is a 23-year-old Portuguese artist who became famous by remixing Bloc Party and Tokyo Police Club. Now Stereogum, who always presents us with good compilations, has released a RAC special, with free 9-track for download

Here’s the tracklist (all mp3):

1. Bloc Party – “Helicopter (Intro) (RAC Mix)”
2. Bloc Party – “Hunting For Witches (RAC Mix)”
3. Au Revoir Simone – “Sad Song (RAC Mix)”
4. Tokyo Police Club – “Nature Of The Experiment (RAC Mix)”
5. Ra Ra Riot – “Manner To Act (RAC Mix)”
6. Robbers On High Street – “Across Your Knee (RAC Mix)”
7. You Say Party! We Say Die! – “Like I Give A Care (RAC Mix)”
8. Femme Generation – “Orlando Boom (RAC Mix)”
9. Chromeo – “Fancy Footwork (RAC Mix)”

Or the full album here:

* ZIP – Stereogum Presents RAC Vol. 1

Check here the full Stereogum post and a player to embed in your website!

Hudební blog stereogum.com přináší album mp3 remixů od Remix Artist Collective. Mezi skladbami nechybí okořeněné vypalovačky od Bloc Party, Tokyo Police Club, Ra Ra Riot, You Say Party! We Say Die! a dalších.

Exkluzivní mix si můžete v zazipovaném souboru ztáhnout zde

Přímo v článku na Stereogum si pak můžete stáhnou jednotlivé skladby, nebo poslechnout stream.

Today i’m listening to:

Ray LaMontagne – Trouble (i woke up with it in my head…had no choice.)

Robbers on High Street – Fine Lines EP (Thanks Kelli! This album is super good…and so indie that it hurts. If you like The Shins, The Strokes, The Bravery, Louis the VIV, etc, you’ll like this.)

Remy Zero – The Golden Hum (Also very indie, but they don’t hesitate to put aside the cuteness and just rock out either.)

Vampire Weekend – Self-titled (They’re on the tipping point of blowing up right now so i need to hurry up and listen so i can pretend to be totally over them by the time you start liking them…pretentious? You betcha.)

Photos: Great Northern w/Robbers on High Street, 11/7/2007

Note to venues – please bill your shows correctly. Mixups don’t usually happen at the Casbah, but Wednesday night, the bill looked as though Robbers on High Street were the headliners, but when I got there at 10, they were just taking the stage. Fortunately, I didn’t miss any of their somewhat folky pop rock sounds.

Robbers on High Street, shot by Natalie Kardos

Robbers on High Street, shot by Natalie Kardos

The New York band has garnered many comparisons to Spoon, mostly due to the lead singer’s similar voice, but I think they sound more like Dappled Cities than anything. Quite a good comparison, in my book. Their show was filled with songs from their most recent record, Grand Animals, and the highlight of their set for me was definitely “Crown Victoria,” which builds from single-strummed chords to a dancey beat. This is the song that most reminds me of Dappled Cities, with its nasal “ahhh ohhhs” in the chorus. The dance floor went from sparsely populated to comfortably crowded by the time they were done playing.

Robbers on High Street, shot by Natalie Kardos

Robbers on High Street, shot by Natalie Kardos

After their set was over, the stage was cleared, and Great Northern began setting up their equipment and lights. Have I mentioned that I love it when bands bring their own lights to shows? By this point, the crowd had all gathered in front of the stage, and there seemed to be plenty of Great Northern fans in the place.

g, shot by Natalie Kardos

Great Northern, shot by Natalie Kardos

They wasted no time settling into their dreamy indie rock, and I think their sound carried a bit better in the smaller Casbah than it did when I saw them at the Belly Up earlier in the year. People were definitely digging it, and I liked the trade off between male and female vocals that they employ. Alas, it was getting late in the evening, and I left fairly early into their set, but not before hearing their most recognizable song “Home.”

Great Northern, shot by Natalie Kardos

Great Northern, shot by Natalie Kardos

Acquire and read the Heroes graphic novel.

Watch Sicko (just rented it).

Start reading The Gum Thief (just bought it).

See Robbers on High Street at Bottom of the Hill.

Finally get my California driver’s license.

Overall, not too shabby.

Day #2
Day #3

Frederick Foxtrott’s CMJ Music Marathon Review

This year I had three days in my schedule to attend College Music Journal’s annual marathon of music that takes place all across New York City. Over a thousand bands played over 200 venues over the past week. This does not even count the hundreds of unofficial CMJ events featuring a myriad of other shows. As a former server in New York’s late night Meatpacking District, I have come to value my nights and weekends. Now that I have a right and proper day job, I could see three nights of shows in a row. This is unheard of people.

It would have been great to have had the CMJ pass so that I could wander from venue to venue seeing only the bands I personally chose. However, I did not and was left to spectacles that only chance would provide. Sometimes, when I go to shows, I catch the rare opening act that blows my mind, or at least provokes me to think about buying their next EP. Other times I shake my head and wonder what possessed me to show up early yet again. This year at CMJ there was plenty of both scenarios. Over-all it was a great experience. I not only saw some of my favorite bands, but I also got the opportunity to introduce them to others as well. I wasn’t the least bit afraid that I had over hyped them, and they did not disappoint. The following reviews are from my notes, diligently taken over three nights and over many, many beers.

Wednesday October 17th 2007
The Mercury Lounge

Rock and Roll

This band is as generic as their name implies. They deliver the expected. Suited in tight, tight, tight, tight jeans, open chest (un)buttoned down shirts, pointy shoes, and Asian scarves stolen from some poor schmuck off Bedford and 6th Street, these guys go straight for the fuck factor. Their sound combined grit and fashion, which can be appealing when remembering the commodified New York “indie” rock sound of 2003. In this way they sound a bit dated. There was a time when I would limit my presence at any given bar to the number of times that one Jet song was played on the juke box. That number was three, and it occurred far more often and quickly than one would suppose.

For their part, this Parisian quartet is good at what they do. Every song that passes another piece of clothing came off, perhaps under the impression that a little skin can only improve a rock show. The band occupies the nexus where mod-style meets sex-rock, not a bad place to be when you are hard up for a blow job. They are danceable and rhythmic, arrogant and out for a good time. In retrospect this was a good band to have as an early opener. I asked two of the band members who they would like to see on the evening’s line-up. One mentioned Robbers on High Street, although I don’t believe he got the chance, and the other didn’t seem to know anyone else was scheduled to play. How Rock and Roll is that? What Rock & Roll needs to understand is that beyond the manufactured New York socialite costume and the ease with which it is taken off, a rock band still has to rock.

5/9 (4/9 if you absolutely can’t stand tight pants)

The Rosewood Thieves

I’ve never quite understood how original music can harken back to anything, as is often touted for The Rosewood Thieves, much less music from the 60’s, perhaps the decade most responsible for modern music. But I’ll look past this contradiction because this bluesy, folksy, tres cool turtleneck rock band is pretty damn good.

The stage featured two performance artists, one reading on stage and the other committing his deepest thoughts to paper, or at least that is what his expressions would have you believe. The actors were a bit dramatic. I imagined their inner monologue, “Okay Peter, just remain contemplative.” The natural motor response to this motivational thinking was a shrug of the brow and tap of the pencil to the lower lip, until the actor burst into a furious fit of a creative writing exercise. This was novel for a moment, but I found myself so desperate to ignore the act that I pondered whether the lead singer’s hair was more Iron Butterfly or Carol Brady.

I got it though. The rattle and hum vibe of this band was meant to embody creativity receiving inspiration. This is from where the 60’s-early 70’s harkening is derived. The obvious influences of Bob Dylan and Lou Reed ooze from the stage as The Rosewood Thieves performed their act. I was reminded of Blond on Blonde as I listened to their set. They have what I have termed the “Dylan Phono-Aesthetic,” or DPA. I think it is a quality that Dylan popularized, but ultimately is inherently found within many artists from many generations. From this perspective I understand The Rosewood Thieves originality.

6/9

The Airborne Toxic Event

The next act casually came out wearing black outfits, unconcerned with whether they made people horny or not. Despite the captivating reverb layering their vocals, I felt that their first song fell flat and that the band was uncomfortable on stage, which is completely understandable. The stage can be an incurably frightening place. The music was not extraordinary, as they kept a safe distance form anything approaching experimental. Throughout the set, the songs would stop abruptly, seeming to sever the moody atmospherics with an unexpected and sometimes clumsy collapse of structure. After listening to four tunes, I needed more substance to keep my interest.

I must say however, that my experience with The Airborne Toxic Event would be likened to a glass half full, rather than one half empty. The signature element from this band is the vocals. You can tell he means what he sings. They have the pop-sense to authentically navigate the balance between a timid and frank melody and an intensity that accompanies aggressive sincerity. I see the severed endings as an attempt to contextualize these moments of pure intensity in the all-too-often reality of failed resolution. I can’t wait to see where these guys go. They are most certainly on my watch list.

5/9

Eagle Seagull

It is hard to watch this band in any venue and not think to your self, “Could they build any bigger wall of sound?” This is a most pleasing aspect to Eagle Seagull, especially when you are all the way up front getting pounded by the speakers like a dusty carpet on a porch column. I danced like a mad man as usual, but this time I made a conscious effort to tone it down as much as possible. It is slightly frustrating to see these guys play such great songs with such ease. Carrie was always displayed in a nonchalant pose, while Eli shuttled between his roles as an emotional wreck and chic piano man, occasionally smiling as if to internalize the band’s collective brilliance as he looked above and beyond the crowd. Complimenting Carrie’s soft stance, Austin played his guitar with such a heartfelt fervor, angulating toward the ground as his body shivered to Brit’s high-hat roll.

The band ran through their set, again keeping only Your Beauty Is A Knife… from their debut. The rest of the tunes were from their upcoming record The Year of the How-To Book due out early next year. Eagle Seagull’s new songs are nearly as familiar to me as the older ones, which speaks to the infectious nature of Eagle Seagull’s melodies. I hope I can get my hands on a copy of the new record as soon as possible. It was produced with Ryan Hadlock who worked with one of my favorite bands, Blonde Redhead, on the release of Misery is a Butterfly and Melody of Certain Damaged Lemons. The only real flaw of their evening at The Mercury Lounge was the length of their set. Not only did they start ten minutes early, but they finished after only 35 minutes. I know that CMJ schedules can be tight, but who couldn’t use a little more Eagle Seagull…I mean really people.

8/9

The Little Ones

Named after two little pug dogs, this ultra-annoying LA jam squad were the worst! When I think The Little Ones, I think Hootie and The Blowfish, or Big Head Todd and the Monsters. They just couldn’t bring their summer keg-party to my cold, cold heart. To be honest, and I hate to say it, they smiled too much! No one can be that happy. I was taken from the great show I paid for, was then boxed-up and shipped off to some Hawaiian luau…Yuck! Hillary, my fiancée looked to me with a flat expression and said, “These guys suck.” She may have been a little harsh. At best I can say that they just aren’t my style. That’s fair right? But I’d also say that they shouldn’t be anyone else’s style either. Everyone has their own taste, but I found myself pitying their overtly transparent happiness and manufactured good-times. Did I mention that the keyboardist looked like a Hanson brother?

3/9

Robbers on High Street

Apparently what ever crowd that had amassed during Eagle Seagull agreed with my stellar review of The Little Ones. The venue was definitely beginning to clear out as Robbers on High Street took the stage. It is a pity that there were not more people around. Not even a trace of Rock and Roll. I guess given the nature of CMJ, people had moved to see what ever show was to float their proverbial boat. These cats didn’t dance, they didn’t strut, and they didn’t even cock-walk. There was an element of sophistication in their lack of showmanship. Before I get myself into trouble, I mean to say that they put on a great show because they didn’t try too hard. They were simply a good band. Robbers on High Street have pop rock roots utilizing layered vocals and a dense rhythm section. In the most unimaginable way, they are what I might imagine the bastard child of Portishead and Voxtrot would sound like.

5/9

Eskimo Joe

Unfortunately I lapsed into a social coma and am not able to report anything useful concerning this band.

Click for Review
Day #1
Day #2
Day #3

CMJ Music Marathon October 16th – 20th 2007

I have chosen these three venues and evenings to check out what CMJ has to offer. I’ll be seeing three of my favorite acts along with many others. Click on dates for reviews of the shows.

Wednesday October 17th 2007
$12.00, 21 and Over

Mercury Lounge NYC
217 E. Houston St, New York, NY
(corner Ave A & Houston)
(212) 260–4700

Rock And Roll 7:00
The Rosewood Thieves 8:00
The Airborne Toxic Event 9:00
Eagle Seagull 10:00
The Little Ones 11:00
Robbers on High Street 12:00
Eskimo Joe 1: 00

**************************************************************

Thursday October 18th 2007
$17.00 Doors Open at 6pm, 18 and Over

The Bowery Ballroom
6 Delancey St, New York, NY
(212) 533-2111

British Sea Power
Pela
1990s
Tiny Masters Of Today
Stardeath and White Dwarfs
The Grey Race

**************************************************************

Friday October 19th 2007
Unknown Price, 21 and Over

Arlene’s Grocery
95 Stanton Street, NYC
212.995.1652

RWIM Chicago Showcase
Tom Schraeder & His Ego 7:30
Unique Chique 8:15
Skybox 9:00
Brighton, MA 09:45
Head Of Femur 10:45
Catfish Haven 11:45
Hollywood Holt 12:45

Come to these shows people…