“Held”
by Smog
There are certain bands whose musical output is of a developed, acquired taste. And then there's Smog. Bill Callahan's voice is as deadpan as a Wes Anderson character, his music sounding equally understated, often characterized by lo-fi recordings of guitars oddly out of tune. “Held,” though, is something to behold, a rollicking piece of folk rock guided by loud, echoing drums. But even if this song -- from the Knock Knock album -- sounds different from typical Smog, it's hard to dismiss the vocals. That's all Bill Callahan. Regardless, it's a great tune, and Smog is worth checking out. Just don't be surprised if you end up not liking it.
“My Father's Son”
by Ryan Adams
It's not always a compliment to call someone prolific. Uwe Boll, for example, puts out several movies just about every year, and they are all remarkably terrible. But in Ryan Adams' case, his fevered approach to music is something we can appreciate. Though I do enjoy much of his new work, for me his best period will always be the Love Is Hell years. This song is from the same sessions as that album, but it's difficult to track down, available exclusively on a Japanese bonus disc. For such a buried track, “My Father's Son” is pretty darn good, and who can argue with the greatness of a line like “honey, I'm not going to make it out of this bar this time?” This guy sweats music. He literally cannot get away from it.
“The Fear Has Gone”
by Engineers
I really like shoegaze. A lot. Ever since I heard that first Verve album, I've been hooked, and Ride, Slowdive, and of course, My Bloody Valentine never get too far from any of my playlists. There's just something about heavy distortion fading into tons of layers of decaying delay that hits the spot every time. Engineers are a new band in the Slowdive mold, making classic ambient noise with a greater level of accessibility than other bands in the same genre. This song is from their latest, Three Fact Fader, and it also shows a heavy Ride influence with its slow build from the string introduction. If you like what you hear, you might also want to check out The Meeting Places.
“Ladies And Gentlemen (Roll The Dice)”
by Kasabian
The members of Kasabian are now three albums deep into a sound that pulls from sources as diverse as Massive Attack, Primal Scream, Oasis, and The Stones. (Well, maybe that isn't so diverse, but you get the idea.) Their latest, the bizarrely titled West Ryder Pauper Lunatic Asylum, might be their most focused album yet, in spite of the heavy psychadelia and instrumental experimentation. Most of the band's music gives the impression of a soundtrack to a soccer fight on a dance floor -- with lyrics to match. (A new song, “Where Did All The Love Go?,” starts with the line, “Ever take a punch to the rib cage, sonny?” Awesome.) The track here is one of their quieter ones and, I suppose, perfect for a post-fight recovery. Maybe that was the point. Anyway, the album comes out next week. Go buy it.
“Death And All His Friends” (Live)
by Coldplay
Believers in the trite saying that “nice guys finish last” cannot account for Chris Martin's existence. By all accounts, the guy is completely unassuming. Self-depricating, witty, and rarely appearing haughty, Martin and his bandmates seem the very opposite of arrogant “rock stars.” Maybe I'm naive, and this is all some artificial construct, a very intentional creation for fans who enjoy their “nice” music. But it's hard to deny niceness when a band as massive as Coldplay gives away a live album for free. That is cool any way you slice it. This version of “Death And All His Friends” is from LeftRightLeftRightLeft, available here, and it confirms what everyone probably suspected after hearing the so-so X&Y. Coldplay sounds better live. Their songs were made to be yelled in stadiums everywhere by tons of fans. Somehow, the nice guys pulled off the giant rock star thing. Somehow, I still don't find them annoying. Here's a hilarious clip from the TV show Extras, where Chris Martin makes fun of himself:
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