Monday returns and Saskatoon is kept in it’s deep freezer temperatures.  No matter, I’ve got some hot new music care of Voyno from Iceland.  Presumably it’s colder out there than it is here and that’s nice to think about.

So, the band is called Who Knew, they’re from iceland and they sound somewhat like Wolf Parade who I also like. Their Myspace is Here.

Take a listen, drink something warm and keep your toes attached to your body.

Peace,Love&GoodVibes
SnowDove,ArmsUp

p.s. Happy B’day G’pa!

SOUNDTRACK: The Believer June 2005 Music Issue CD (2005).

The second annual Believer CD ups the ante from the first by featuring all previously unreleased songs. And, just to put more of a twist on things, the artists were asked to do covers of songs that they have been listening to lately. There was only one song that I knew the original of (The Constantines’ track), so I can’t say a thing about how well the covers were covered.

This becomes something of a fun rarities mix CD. As with the previous one, there’s not a huge amount of diversity in the musicians, but given the target audience of The Believer, it all seems to make sense.

We get The Decemberists (actually Colin Meloy solo) covering Joanna Newsom (who I don’t know but whose song I liked quite a bit). The most interesting track to me was by a band called CocoRosie who I’m totally unfamiliar with. The song is recorded as if it they were using a 19th century recording machine. It sounds so far away and yet it feels modern at the same time. I have no idea what they normally sound like, but I’m certainly intrigued.

There’s a few parings that are practically predestined: The Mountain Goats cover The Silver Jews, The Shins cover The Postal Service and Devandra Banhart covers Antony & the Johnsons. There’s also a track from Wolf Parade, a band I have recently gotten into. Only two bands perform and are covered on the disc: Ida and The Constantines.

It’s an interesting assortment of songs. As with any cover, it’s hard to know if you would like the original artist or if you just enjoy the new artist’s’ interpretation. But a song like “Surprise, AZ” by Richard Buckner is so well written that I don’t think it matters what Cynthia G. Mason’s cover sounds like (which is quite good).

The disc is largely folky/alt-rock, but once again, it’s a good distillation of the genre, and a very enjoyable collection.  The track listing is available here.

[READ: December 10, 2009] “Kawabata”

This story had the (in my estimation) fascinating attribute of reading as if it were written a long time ago. The writing was very formal. It also centered around a man and a woman who meet at a bed and breakfast and do little more than walk around town. Since no real clues as to the time it is set are ever given, I could imagine them dressed in nearly turn of the (20th) century garb.

A few things do dispel this fantasy: the use of the word “tits” for one, and the fact that no married woman would have been seen out with a widower while her husband was away. But despite that, I enjoyed the formality of the story. I’m also not sure what the title means.

In a B&B, Bernard Crowe (who is in town on business) is introduced to Mrs Andrews. She is in town for her father’s funeral. The funeral plays a big part in the story. And it makes Bernard reflective about his wife’s funeral two long years ago.

Since not a lot happens, I’m going to spare any more details. Suffice it to say that these strangers have an impact on each others’ lives and then move on. It is the insight into Bernard’s mind that makes the story enjoyable.

There’s not a lot to this story, but I found its formality to be a very cool technique for showcasing grief.

For most of the year 2000, I was thirteen years old. That is so young! Just-turned-a-teenager-me liked many different things than current me. I just started playing guitar and my band was really putting together a great rendition of Papa Roach’s “Last Resort.”  There were a lot of different notes in that song. Also, we did not have a drummer. So that complicated things. I was so young!

Now, I am young but not as young as when I was thirteen (obvi). That’s part of the reason I can’t get totally behind the idea of “Best of Decade” lists.

Theses lists confuse me which is weird since I love year-end lists. LOVE. EM. All is full of year end list love. Maybe I have been conditioned to make musical sequences out of years because of this. I could probably tell you my favorite album for a given year. However, if asked for my favorite album of this decade, I would not know how to respond.

Years fit pop music. The Grammy’s seem strange to me mostly because they happen in February and cover a weird, not-exactly-annual time interval. For me, at least, the discussion about the year’s best music ends in December when people have had their say and make big sweeping generalizations about the year.

It is harder to make big sweeping generalizations about a decade.  The beginning is tied to the previous decade for a bit, the middle comes into its own, and the end is filled with a sense of nostalgia. At the end of the decade, a collective question of “What just happened and how can we make sense of it?” is asked. The answers seem rushed and do not satisfy everyone. So, the decade is carried over for a little bit to the next decade, just to figure things out.

A lot of things change over ten years, especially personal taste. For a large part of the 2000’s I could not stomach bands or artists that did not use distortion or overdrive. The slow, quiet songs I could bear seemed like intermissions between power chords. For a while, I said the White Album was the best more for “Yer Blues” than the album as a whole. When I first heard some of my (now) favorite albums, I waited for the loud. When the loud never came, I scratched my head. During college, there was a running joke that I hated certain bands because they used distortion. The way things change!

It’s also interesting to note what parts of my tastes stayed the same. When I was listening to (a lot more) Brand New and Saves the Day, I loved how honest the lyrics seemed. There was a release in hearing the bands sing things that admitted weakness, obsession, fear, anger, and longing. The heart-on-the-sleeve approach still gets me these days.

The Best of Decade list is also complicated by discovering things out of order. Some of the strongest feelings I have had towards albums this decade came from hearing albums five, ten, or twenty years after they were first released. I started listening to Elvis Costello in high school. I connect certain emotional aspects from those songs with parts of my life instead of the years his albums were first released.

I never thought about this with things like Best of the 1990’s or Best of the 1980’s. When I saw lists about those decades, I accepted them based on the credentials of people who lived through the times. They were a part of those times. The 2000’s feel like the first decade of which I was a part. It makes it hard to try and sever my emotional connection with the decade to make a purely critical list of music.

I might try to name some albums that are my favorites of the decade. I don’t think I’ll be able to say whether Know By Heart is better than Yankee Hotel Foxtrot. I don’t think I can choose Hold On Now, Youngster. . . over Apologies to the Queen Mary. Some of my favorite albums of the decade are my favorite because they blew my fucking mind. Others are my favorite because I listened to them driving to high school.

Would thirteen year old me like the same things I do now? I can not know (until time travel). However, I do know one thing about thirteen year old me; He would be amazed that I can play “Last Resort” now (barely).

50. Super Tarantas- Gogol Bordello
WonderlustKing

49. Return to cookie mountain- TV on the Radio

48. Pixel Revolt- John Vanderslice

TranceManual

47. Beirut – The Flying Club Cup
Nantes

46. Emotionalism- Avett Brothers

45. Sung Tongs- Animal Collective
LeafHouse

44. Vespertine- Bjork

43. Andrew Bird and the mysterious production of eggs- Andrew Bird
TablesAndChairs

42. Quiet is the new loud- Kings of Convenience
IDon’tKnowWhatICanSaveYouFrom

41. Michigan- Sufjan Stevens

40. ( )- Sigur Ros

39. Yellow House- Grizzly Bear
Easier

38. Hazards of love- Decemberists

37.Extraordinary Machine- Fiona Apple

NotAboutLove

36 Broken Social Scene- Broken Social Scene
7/4Shoreline

35. Antics- Interpol
NextExit

34. Eraser- Thom yorke

33. Lifted orthe story is in the soil- Bright eyes
LoverIDon’tHaveToLove

32. Boxer- The National

31. Everything all the time- Band of Horses
TheFuneral

30. Visitor- Dodos
RedAndPurple

29. Illinois- Sufjan Stevens
Chicago

28.Apologies to the queen mary- Wolf Parade
YouAreARunner

27. Plans- Death Cab for Cutie

26. You forgot it in people- Broken Social Scene
AnthemForASeventeenYearOldGirl

25. Neon Bible- Arcade Fire
AntiChristTelevisionBlues

24. Sea Changes- Beck

23. Feels- Animal Collective
PurpleBottle

22. Mignonette- Avett Brothers

21. Is this it?- Strokes
Someday

20. 3 rounds and a sound- Blind Pilot
OneRedThread

19. Hissing fauna, are you the destroyer?- Of Montreal
HeimdalsgateLikeAPrometheanCurse

18. Fold your hands child, you walk like a peasant- Belle and Sebastian
There’sTooMuchLove

17. Alligator – The National
AllTheWine

16. Dear Science- TV on the Radio

15. Armchair Apocryphia- Andrew Bird

14. Chutes too narrow- The Shins
KissingTheLipless

13. Kid A- Radiohead
NationalAnthem

12. Sharpen your teeth- Ugly Casanova
ThingsIDon’tRemember

11. Fleet Foxes- Fleet Foxes
WhiteWinterHymnal

10. Turn on the bright lights- Interpol
NYC

9. Hail to the thief- Radiohead

8. Give up – Postal Service
SuchGreatHeights

7. Takk- Sigur ros
Hoppipolla

6. Yoshimi battles the pink robots- Flaming Lips
FightTest

5. In rainbows- Radiohead
HouseOfCards

4. Moon in Antarctica- Modest mouse
3rdPlanet

3. Funeral- Arcade fire
RebellionLies

2. For emma, forever ago- Bon Iver
ForEmma

1. I’m wide awake, it’s morning- Bright Eyes
FirstDayOfMyLife

En esta ocasión, la recopilación no empezó por una canción, sino por la portada. Estaba repasando las fotos que hice los últimos meses y me topé con la que he utilizado para este disco. La retoqué un poco, elegí un nombre y, de ahí, surgió Prince y su Sign ‘O’ The Times.

Después, todo fue ir encadenando canciones, hasta que con el Mr. Suit de Wire se cerró la enésima recopilación que os dejo en el blog: una selección de temas más indie de lo habitual (con toques pop, punk, new wave, etc.) y muy entretenida desde mi punto de vista.

Haz clic en la portada para descargar Modern Times

Prince, Young Marble Giants, The XX, Giant Sand, Pavement, Stephen Malkmus, Iggy Pop, The Wave Pictures, Papas Fritas, Violent Femmes, Patti Smith, The Pastels, Nick Lowe, The Stranglers, Kashmir, Sebadoh, Wolf Parade, The Undertones, The Polyphonic Spree, The Raveonettes, Tegan & Sara, The Breeders, Veruca Salt, The Manhattan Love Suicides, Frank Black y Wire son los cantantes y grupos que he incluido en Modern Times, que, como siempre, os la podéis descargar pinchando en la imagen de la portada.

AQUÍ tenéis el listado de canciones. Espero que os guste.

P.D.: La foto es de una tienda de juguetes y objetos antiguos que está en el barrio de Chueca.

Recently I decided to turn on the radio in my car (my iPod was acting up.) The sound of Jack White’s voice immediately filled my speakers and flooded my car with noise. This was not the White Stripes. It was a side-act. I do not like side-projects. They are almost never as good as the genuine product, which is understandable, because their purpose is (mostly) experimental. Jack White is the perfect example for my thesis: Side projects are not good (or rather, not as good as the original act that they are replacing.)

Case-in-point: The White Stripes (a band consisting of Jack and Meg White.) They have released six (6) albums, which I will rank in order of best to worst (according to my opinion- not aggregate sales):

1. (Best): Elephant (Best Track: I Just Don’t Know What To Do With Myself)

2. Get Behind Me, Satan (Best Track: My Doorbell)

3. De Stijl (Best Track: Truth Doesn’t Make a Noise)

4. White Blood Cells (Best Track: Dead Leaves And The Dirty Ground)

5. Icky Thump (Best Track: I’m Slowly Turning Into You)

6. (Worst): The White Stripes (Best Track: Do)

At some point, Jack White decided he wanted to make music with a full band, and not just his percussionist (Meg White.) Enter: The Raconteurs. The Raconteurs are the most commercially successful Jack White side-project, as well as the most critically acclaimed. I understand why Jack decided to make music with them (the universal desire to explore his range as a songwriter with the addition of a bassist, keyboardist, back-up vocalist and guitarist, and a banjo.) The Raconteurs are (arguably) better than the White Stripes in some schools of thought, as their hit singles have become just as popular (if not more) as most of the the White Stripes’ material.

For instance, the following songs kick (fucking) ass: Old Enough, Level, Steady as She Goes, Broken Boy Soldier, and Hands, among others.

My gripe is not with the Raconteurs.

In exploring his desire to create music with other artists, Jack White became addicted to side-projects (to the point where the White Stripes have almost become neglected and forgotten.) I should note that their seventh (7th) studio album is in production, however. So, at the expense of the White Stripes, Jack White decided to create music with the following acts:

The Dead Weather, The Upholsterers, The Go, Loretta Lynn, Beck, Holly Golightly, Soledad Brothers, Alicia Keys

The success of these side-projects is mixed, at best. As a fan, it’s hard to quantify the way I feel about this. Yes, I love Jack White as a musician, and was (at first) interested and pleased at this newfound musical endeavors, but as the side-projects and collaborations pile up, and the 7th White Stripes album gets delayed, I find myself growing increasingly frustrated and turned-off to all these distracting duets and bands Jack has been flirting with.

Swan Lake: Better Than Sunset Rubdown

I have had these same feelings with Spencer Krug of Wolf Parade, and his subsequent side-acts:

Sunset Rubdown
Atlas Strategic
Handsome Furs
Swan Lake
Frog Eyes
Johnny and the Moon
Hot Hot Heat
Fifths of Seven

I would much rather hear a new Wolf Parade album, then another bizarre Sunset Rubdown single.

Side projects are not always bad. Sometimes they are AMAZING, and better than the original act. The best example I can come up with off the top of my head is The Postal Service. Ben Gibbard’s by-mail collaboration with Jimmy Tamborello has held up over time, and is (arguably) better than any album ever released by Death Cab for Cutie.

The case can be made for and against side projects all day long, but at the end of the day, I think artists should go the route of Ben Gibbard. Make one, solitary album that completely knocks critics out of their chair(s), while also knowing when to call it quits. Because, ultimately, if an artists strays too far from his flock, he will alienate his fan base (and probably his band mates as well.) This is why the Postal Service remains so awesome. They released one (1) album (which was incredible, and loved by fans and critics alike), and then went right back to creating music with Death Cab. Despite the (overwhelming) demand for a follow-up album, Ben Gibbard hasn’t budged. This is what makes a great artist. He knows how to toy with his audience (without upsetting them.) Ultimately, will there be a follow-up to 2003’s Give Up? Probably, yes. But in making us (the fans) wait so long, and by focusing on his primary band, Ben Gibbard has succeeded where Jack White has not: He created something amazing, took a step back, and went back to doing what his fans wanted – creating more albums with Death Cab for Cutie. I should probably also mention that Jenny Lewis of Rilo Kiley joined Ben Gibbard on vocals for this album – another successful side-act.)

Bravo.

Now let’s just hope that Mr. White “gets it” and the White Stripes‘ 7th album is better than their last effort (the progressive, experimental, and mediocre Icky Thump.) Also, let’s hope that the side projects end. Because, let’s be honest, The Dead Weather sucks, and will probably motivate tired acts like the Kings of Leon (who are already far too commercial) to set out on the side-act expedition (something that no one [see: the real fans] want.)

Final Note: Some of the best side-acts come from Canada. Leslie Feist (of Feist and Kings of Convenience, and formerly of Broken Social Scene and Wilco) is incredible.

This post is coming a little later in the day than I would have liked, but hey, shit happens.

AFI – Crash Love
Andrew Jackson Jihad, Mischief Brew – Split
Buck O Nine – Barfly
Buck O Nine – Songs in the Key of Bree
Buck O Nine – True or False
Chixdiggit – Born on the First of July
Chixdiggit – From Scene to Shining Scene
Chixdiggit – Pink Razors
Citizen Fish – Life Size
Diesel Boy – Rode Hard and Put Away Wet
Diesel Boy – Sofa King Cool
Diesel Boy – Venus Envy
Division of Laura Lee – Black City
Dutchess and The Duke, The – Sunset Sunrise
Eels, The – Hombre Lobo
Faith No More – Angel Dust
Lagwagon – A Feedbag of Truckstop Poetry
Mighty Mighty Bosstones, The – Where’d You Go
No Use For A Name – Leche con Carne
No Use For A Name – Live in a Dive
No Use For A Name – Making Friends
Noise By Numbers – Yeah, Whatever…
Specials, The – The Specials
Strung Out – Another Day in Paradise
Ween – Gabrielle
Wolf Parade – Apologies to the Queen Mary

And to go with the announcement last month of their new record, a coming soon page for:

Eels, The – End Times

Megan Jasper, VP of Sub Pop; image courtesy of mtv.com

So, perhaps ya’ll saw Claire O’Neill’s recent post on NPR about the release of Grunge, photographer Michael Lavine’s new book that documents Seattle’s halcyon days as alternative rock’s beacon on an isthmus. Coming out in time for the holiday season, something tells me many folks of my generation are curious to skim the pages and indulge their nostalgic impulses (though some acquaintances may be willing to wait for a book that lovingly recounts Matador in the early to mid-90s instead of Sub Pop at the turn of the 1990s).

While Lavine could be argued as the book’s actual subject, as his work is being catalogued, I’d like to spotlight another key player that O’Neill mentions in her post – Megan Jasper (link readers: apologies to those not charmed by interviewer L. Swain’s purposely crass introduction). She was a low-level employee at Sub Pop when grunge became popular and all the major media outlets were looking for a quote from someone affiliated with the indie label responsible for discovering Nirvana. When asked to relay some scene-specific slang to a New York Times reporter, Jasper made like a riot grrrl and shut the interloping media out. Her tactic was playful — make some shit up, all the better if they totally buy your line and publish it. Hence grunge speak. Use it to avoid personal contact with lamestains who tom-tom club your flippity flop and turn it into a harsh realm.

Jasper has long since moved up the label’s ranks, currently holding down her tenure as the Vice President of an indie mainstay that has since released albums by The Shins, The Postal Service, Wolf Eyes, Iron and Wine, Wolf Parade, Sleater-Kinney, and many others. Pretty awesome, especially considering that the lady who used to work out front answering phones has her own office out of which she can help run the label.

it might only be October, but i’ve perfected a good start for my winter playlist. all tracks remind me of the cold months, without being cliche. mostly memories, slow tempo, snowy nights, and sad piano inspired the track selection. enjoy.

1. Black Moth Super Rainbow “Smog in Cities”
2. Band of Horses  ”Snow Song (acoustic)”
3. The Bees “The Sky Holds The Sun”
4. Metric “London Half Life”
5. VHS or Beta “Dynamize”
6. Sage Francis “Broken Wings”
7. Cold War Kids “Hospital Beds”
8. Modest Mouse “Heart Cooks Brain”
9. Jay Z “Dead Presidents”
10. Tapes n’ Tapes “Omaha”
11. The Arcade Fire “Cars and Telephones”
12. The Rosebuds “Make Out Song”
13. Okkervil River “Get Big”
14. The Rosebuds “Silja Line (On Settling For a Normal Life)”
15. Stars “The Big Fight”
16. Why? “Yo Yo Bye Bye”
17. Wolf Parade “Dinner Bells”
18. Yo La Tengo “You Can Have It All”
19. Kanye West “Home”
20. Lil Wayne “Shoot Me Down”

Press play:

“Island IS” – Volcano Choir – My favorite part comes at 2:45 …. If you love Bon Iver, you’ll love Volcano Choir. Why? Because it’s the saaaaaaaaame guy, dude: Justin Vernon. His voice is undeniable.

“Poison Lips” – Vitalic – You can’t go wrong with anything by Vitalic, but I happen to really really like this track just a wittle more than some of the others. There’s a streamlined motion to this song that makes it soooo good … seamless transitions. Gotta love that kinda steady groovery. Yeah. I just made up that word.

“Heart Skipped A Beat” – The XX – Since I’ve heard them, they have not disappointed me. Their adolescent melancholy is haunting and attractive at the same time. This song in particular is in my special category.

“A Hundred Hearts” – The Swimmers – There’s a mature naïveté to this song that I can’t get enough of. That’s the best way for me to describe it.

“Service Bell” – Grizzly Bear feat. Feist – I can’t remember if I already posted this song, but then again, I don’t really care because it’s so damn good. The progressive intensity of the song and the calm at the end is the key to it’s effectiveness.

“Another Day” – Jamie Lidell – You know I have a weak little soft spot for that Motown goodie goodness sounding stuff. You KNOW this. So, of course I’m gonna post this. DUH. It’s happy with that soul flava that I love so much. And you will too … c’mon,  just press play.

“Decatur” – Sufjan Stevens – Who doesn’t like a song about hating on your stepmom, but really liking her in the end? Oh, Sufjan, I love you and your banjo music that tells me cool, random stories. 

“I’ll Believe In Anything” – Wolf Parade – Besides the vocals being unquestionably unique, what’s not to like about Wolf Parade? You like how the instruments are moreso the emotion of the song? Kinda strange being that his voice is so aggressive, but it works. It’s almost too much, but an acceptable amount of too much. Oh, and you gota love the lyric: “Nobody knows you and nobody gives a damn.”

“Be Set Free” – Langhorne Slim – When an artist can sit on the ground, in the dirt, wearing light colored pants, at night with untied dusty black boots and wrinkly shirt with a single light shining on their face and make music with nothing but the sound of their voice and a guitar … I’m so in. Langhorne Slim, man, you got soul, brotha.

“Volts” – Screaming Lights – bass, guitars, drums, redic. love this one.

“Gax” – Boys Noize – One of the hottest tracks on the album fo sho. Totally solid stuff right here. Enough venturing out to make it an “out-of-the-box” track but with enough musical smarts to make it equal parts stellar.

“Face To Face On High Places” – School of Seven Bells – This is a band that is so fantastically unique, I’m going to post two songs by them just so you can hear the array of instruments and melodies used. They’re pretty genius. I appreciate bands that use their resources and make a solid something out of too many everythings. Different is what counts. That’s talent.

“iamunderdisguise” – School of Seven Bells – this song rocks. period.

.do they know it’s hallowe’en? performed by the north american hallowe’en prevention initiative.

Bon bon, arrivée de nulle part, personne ne s’attendait à voir surgir ce groupe post-punk/pop du sud de Londres. Arrivée dans ce monde où tout le monde veulent remplir leur son d’instrument synthétique ou de million de bruits provenant de centaines d’instruments (en cherchant à être le plus innovateur possible), The xx arrive avec leur pop froide et vide mais tout aussi innovateur a nous offrir un album profond et foutrement bien foutu (Désolé pour l’expression). Plusieurs les considèrent comme les Kubrick de la musique.

En Effet, il nous tranporte dans un monde de suspense qui nous met mal à l’aise à la première écoute mais, qui, à force de découvrir les petits détails de cet opus, nous apparaît beaucoup plus familier et finit par nous envouter complètement.Tout flotte sur cette album, des voix qui nous transperce de pureté, des guitares qui laissent nous submergé de son, un vrai environnement monochrome.

The xx nous offre ce fabuleux premier album, sans prétention et sans frou frou. Titre à surveillez: Crystalized, Shelter et Infinity. Un dernier mot, TROUBLANT.

(8,2/10)

It starts off with a nice steady beat before Spencer Krug’s voice comes in, haunting and otherworldy. The song flows throughout, continuing to entice you within its rhythm. You truly cannot help but be hypnotized by the lyrics.

It’s a song about the dissapointments of, you guessed it, the modern world. As the beginning line is “I’m not in love with the modern world,” the song continues into a sad poem dedicated to the troubles various changes have brought to our world and it ends with Spencer Krug’s crooning, “Modern world I’m not pleased to meet you, you just bring me down”.

When I first heard this song it reminded my of the mysterious city of Atlantis, which was ironically fitting as it was supposed to be an advanced civilization that was lost to the sea. The concept paralles our current poilitcal sorroundings as the song shines spotlight in the direction of the dangerous social and environmental changes that our world is going through. Wolf Parade brings forth a socially relevent concept that resonates the opinions of the unhappy masses that make up this modern world.

http://www.youtube.com/watch?v=1nMHGyR_i8g

Peace out,
MAM

Those are the words someone used to describe this video when posting it on my friend’s FB wall. Big words to live up to and it did so gloriously (you have to watch the entire thing). Can’t embed it unfortunately so here it is.

Also I’m just going to vent here quickly. I am pretty sick of cool liberal hippy college kids and their obsession with all of the indie trash that’s developing in the 21st century. Grizzly Bear, Handsome Furs/Wolf Parade, what is this shit? And why the fuck does everyone like them? They can make song that is pleasant and “quirky” sounding… whoa. No

(This was secretly just an attack on one of my friend’s music tastes. )

I finally have some upcoming concert news for you guys:

Sunset Rubdown will be performing at Sonar on Saturday, October 17.

If you’ve never heard of them before, Sunset Rubdown is an indie-rock band out of Montreal. It originally started in 2005 as a solo project for vocalist/guitarist Spencer Krug, who was formerly a part of the band Wolf Parade, and eventually expanded to the full band it is today.

The music itself has a very distinctive style which some may consider a bit gloomy. A lot of their lyrics consist of metaphorical, surreal images and fantasy-like story lines. And it really works with Krug’s voice. His voice actually reminds me a little of Isaac Brock’s from Modest Mouse. I personally like Krug’s better though.

I found an old video of them acoustically performing one of their songs in the back of a cab for Black Cab Sessions, which by the way, is a freakin’ awesome idea to do. Anyway, check it out:

Oh and if you’re feeling lucky, Bmore Musically Informed is giving away two free tickets to the Sonar show so head on over there for more information on that.