Bad Haircut Blues

I got, just now, what may go down as the worst hair cut in the history of the free world (Communist China and other dictated nations such as Venezuela probably have some bad government-issued haircuts). I mean this thing was a hack job, friends: Uneven, misshapen, and generally shabby. I’m pretty freaking down in the dumps about it, so I figured there would be no better way to exorcise my hurt and anguish then with a sweet bad haircut mini-mix. My loss is your gain, turn lemons into lemonade, and all that junk.

[mp3] Cold War Kids – Hair Down
[mp3] Pavement – Cut Your Hair
[mp3] Beck – Devil’s Haircut
[mp3] Sufjan Stevens – I Can’t Even Lift My Head

Sufjan <3’s the Urban Sprawl

Via Suf’s label Asthmatic Kitty:

On November 1, 2 and 3rd Sufjan will be pairing orchestrated selections of both new and old material with the 25th Next Wave Festival commission/world premiere of The BQE-a symphonic and cinematic exploration of one of New York’s least celebrated monuments: the Brooklyn-Queens Expressway. Robert Moses‘ controversial 11.7-mile roadway tears through neighborhoods in Brooklyn and Queens with the brute force of modern urban planning, and in Stevens’ hands becomes an evocation of the intersection of intimate experience and the American Dream.

Merging a virtual road trip shot on film with a live band and orchestral ensemble, The BQE discovers abstract patterns and stories in the snaking traffic, potholed pavement, billboards, badly marked exits, and beautiful city views, revealing what happens when Manifest Destiny converges with urban blight.

Sounds pretty cool: too bad I’m not in NYC. Oh yeah — and then there’s this new Sufjan track which sort of takes it back to A Sun Came’s dirty garage-rock feel, a strange feeling after the last few albums of marching band dance-pop and hushed orchestral folk. I’m a Michigan guy myself; I was never that big of an Illinois fan. I much prefer the simpler side of Suf’, which is perhaps why I liked the Illinois outtakes more than the album itself. Anyways some of those, the new track, and some standouts from Michigan can be found below, although it’s not like more then four of you don’t have everything in the guy’s catalog.

[mp3] Sufjan Stevens – The One I Love (R.E.M.)
[mp3] Sufjan Stevens – Lakes of Canada
[mp3] Sufjan Stevens – Springfield
[mp3] Sufjan Stevens – Saul Bellow
[mp3] Sufjan Stevens – Niagra Falls
[mp3] Sufjan Stevens – Wolverine

via blogotheque

Underneath a Willow Fading

Sholi, as capture by sarah klinger

Not long after moving to Northern California in 2004, I got talked into walking to a house party following dinner with an acquaintance in downtown Davis. I was reluctant, but I went anyway, convinced I’d only have to stay for 10 or 15 minutes; I ended up wishing I’d gotten there much earlier, because Sholi was only three or four songs away from retiring not only for the night, but for the next two years. I’ve never before or since been as impressed by a band on first listen as I was in that dimly lit, uncomfortably crowded house adjacent to the University of California – Davis. I haven’t seen the band live since then — as I said, it was their last performance for two years, and was held as a going-away show for their former bassist — but I ended up spending numerous hours in that sonically perfect house, practicing for shows with Garrett Pierce, a friend and sometimes-roommate of Sholi’s singer/guitarist, Payam Bavafa.

Since ending their hiatus in 2006 (and adding bassist Eric Ruud, formerly of the Zim-Zims and Legubitron), Sholi has played shows with Casiotone For the Painfully Alone, celebrated avant-garde guitarist Marnie Stern, and Seattle’s experimental jazz/pop outfit The Dead Science, with whom Sholi released a split 7-inch late last year. They’ve also received extremely positive press from the usually dour Pitchfork, as well as the San Francisco Bay Guardian, which called them “mathematically ethereal and strangely danceable.” I would typically consider that sort of description to be complete nonsense, but listen to the mp3’s below and you’ll find out how accurate it actually is. Sholi now reside in San Francisco, and thus within the rapidly expanding (but long stout) Bay Area music scene; this should assure that you’ll hear much more from them in the future.

[mp3] Sholi – Any Other God
From their self-released EP (issued during the band’s hiatus in 2005), Any Other God occupied a spot as daily required listening for me for a few months. While this song has its indie-pop elements, it also has somber, cryptic lyrics and manic-depressive drumming.

[mp3] Sholi – All That We Can See
From the above-mentioned split 7-inch, this song easily represents Sholi’s most accomplished recording to date. The abrupt changes in dynamics, along with lyrics you’d read through in one sitting were they stretched into a novella, interact to create an emotionally exhausting, complex, and ultimately rewarding and impressive piece of music.

*Clever Title Involving the Word Cover* : Ben Gibbard

Ben Gibbard at the Metro in Chicago
photo by matt arends

I hope no one will take offense at this late edition to Covers Week, which is, at least officially, now past. I mean, there’s a certain intrinsic value to following a schedule — though I have yet to personally discover just what that is in my own life — but when you have something this exceptional to share, I’m all for violating whatever schedule it is that we were on here at HTFAF.

For any of our readers who aren’t caught up, you can view this post (and listen to the accompanying mp3’s) to learn why Caleb and I are big fans of Creeper Lagoon. By sheer chance, I recently found out that Ben Gibbard is, too. He covered the opening track to Creeper’s first full length record, I Become Small and Go, at a recent show in San Francisco. With determination , I tracked down the mp3 (thank you, AJ), and Covers Week — yes, the officially over Covers Week — seemed the proper time to share it.

[mp3] Creeper Lagoon – Wonderful Love
This song represents what is, to me, the best of the late-1990s indie sound: weird tape loops and out-of-place synthesizer noises, samples of some Amazonian tribal singer, and perfectly recorded angular (thanks, Caleb) guitar during the verses.

[mp3] Ben Gibbard – Wonderful Love (Creeper Lagoon)
Same song, but forget the above description. This is just Gibbard and a handful of chords on his Gibson J-45. Not a bad rendition, and it’s interesting to hear one of Creeper’s songs stripped down to its essence. Recorded at the Fillmore in SF on May 18 of this year, during his solo tour with David Bazan and Johnathon Rice.

HTFAF Lovesongs: The Mixtape

In honor of today being my two year anniversary with my wonderful girlfriend Savannah, I have compiled a small anniversary mixtape, and it’s fantastic. Some of these are obvious, some are not: but that’s the way it should be — a mix full of sappy power ballads gets old fast.

Also, there is a YouTube of the worst love-song moment ever at the bottom: John Stamos (As Jesse Katsopolis of Full House with his fake band, The Rippers) in all his mulleted glory singing a shirtless Beach Boys cover with candles, a power-ballad facemelter, white linen, gratuitous black and white glamour shots, the whole nine yards. Man is it painful.

[zip] Link is dead

[mp3] Sondre Lerche – The More I See You
[mp3] Postal Service – Nothing Better
[mp3] Iron & Wine – Love & Some Verses
[mp3] Band of Horses – Part One
[mp3] Death cab for Cutie – Lovesong (Cure cover)
[mp3] Ella Fitzgerald & Louis Armstrong – Isn’t it a Lovely Day
[mp3] Clem Snide – I’ll Be Your Mirror (Velvet Underground cover)
[mp3] Julie Doiron – The Sweetest Eyes (When You Laugh)
[mp3] Rufus Wainwright – Tower of Learning
[mp3] Bright Eyes – Lila
[mp3] Centro-Matic – Love Has Found Me
[mp3] Ray Charles & Betty Carter – Everytime we Say Goodbye

Feel free to leave all additions or criticism in the comments.

Buy all these records (except Ella and Ray’s) at amp camp.
Buy Ella’s here.
Buy Ray’s here.

*Clever Title Involving the Word Cover* : M. Ward

M. Ward is sort of huge around here in case you haven’t noticed it yet. I mean, if my frequent posting didn’t give it away, perhaps the fact that I own five M. Ward show posters and each album he has released on both Vinyl and Compact Disc does.

Anyways, since you already know all of that, I will get right to business. Have you enjoyed covers week at all?

[mp3] M. Ward – Buckets of Rain w/ Beth Orton (Bob Dylan)
[mp3] M. Ward – Sentimental Blues (Ray Charles)
[mp3] M. Ward – Story of an Artist (Daniel Johnston)
[mp3] M. Ward – Let My Love Open the Door (Pete Townshed)
[mp3] M. Ward – Someday (Louis Armstrong)

Buy M. Ward records

A Conversation With Andrew Kenny

American Analog Set is sort of a big deal. For over a decade they’ve made music that’s incredibly respected by fans and artists alike. Most people consider them to be pioneers of the Lo-Fi/Indie Pop sound that they so effortlessly mastered, and frankly I still can’t get enough of them after all this time. I count Know By Heart as one of my ten favorite albums ever (and I own a lot of albums), and consider frontman/singer/songwriter/guitarist Andrew Kenny to be one of my favorite songwriters ever so this was really a treat for me. The band is on a hiatus of sorts right now, and has been for about two years — which made for an ample opportunity for me to sit down with Andrew and talk about music.

[mp3] American Analog Set – Born on the Cusp
[mp3] American Analog Set – She’s Half
[mp3] American Analog Set – Aaron & Maria

Caleb (HTFAF) : Hey Andrew, thanks for doing this.

Andrew Kenny: Sure thing, how are you?

Caleb (HTFAF): Quite well, yourself?

Andrew Kenny: I’m gonna make it.

Caleb (HTFAF): So I get the impression that AmAnSet is sort of in a weird perpetual state of hibernation over the last few years. Would this be accurate? I mean I’ve read all the announcements but would you care to explain to the good readers what’s going on with you guys right now?

Andrew Kenny: Yeah, I think that’s always been the case in a way. The first two albums were a year apart, but every record since has been at least two years apart. That being said, we don’t have a record coming out in the fall of ‘07 so this time it’s definitely different. We’re not touring so there’s no real pressure to release a record or stay on the road.
We’ve talked about recording again; I was in Austin last month for a wedding and we [Andrew, Lee, and Mark: The American Analog Set] played a few songs at the reception for fun. Even before that we were about making another record in Austin. Chris Michaels, who helped us record Set Free, just moved his studio to Austin so that’s going to be the spot for sure. I definitely feel like it’s time to shake things up again.

Caleb (HTFAF): Very cool, this makes me happy to hear!

Andrew Kenny: Me too, I’m a big fan of our little band.

Caleb (HTFAF): I suppose that’s an important thing …

Andrew Kenny: Yeah, it’s overlooked I think, but I believe it to be very important.

Caleb (HTFAF): Ya know, it might not be a bad idea to keep doing that wedding thing: I hear they pay nice. You guys should learn some covers and come up with a cool name like “The Best Men” or something.

Andrew Kenny: [Laughter] Totally! Actually I’ve got another lined up for September. But I should say that these are both people in our family.
My toast was something like: “Suzanne, you are always the most beautiful woman in the room and yet you chose John, and we dig that about you. John, you like really inappropriate wedding reception music and we dig that about you, thanks for having us. Cheers!” I mean, the songs just aren’t very happy, although we had some people dancing during Born on the Cusp.

Caleb (HTFAF): [Laughter] Nice! I think Aaron and Maria would be a fitting wedding song, you could just change the “no one gives a fuck” line to something a little happier and more wedding-oriented.

Andrew Kenny: I thought about that one!!

Caleb (HTFAF):So besides booking and doing press for the American Analog Wedding Band do you have a day job?

Andrew Kenny: Well, my “trade” or whatever is biology; I’m a lab tech. But when I got back from our last tour a year and a half ago I started working for my sister-in-law’s company. She and her man sell iPod accessories and handbags and I run their office for them.
So, I’m not a biologist right now and have no idea how I’m going to put my career back together.

Caleb (HTFAF): Do you think iPod accessories and handbag sales will find their way into the next record’s songs?

Andrew Kenny: God, i hope not.

Caleb (HTFAF): Have you been writing any since Set Free?

Andrew Kenny: I didn’t for a while, I was really worn out after that record and it’s subsequent touring— we got back right at the end of 2005 and I got married the following summer, [and] I only demoed one song that whole time. Last summer I got the wind back in my sails a bit though, and I got my small home studio put together again. I started working on songs that I knew wouldn’t be AmAnSet songs and recorded those songs this spring. I hope to be done in a few months. I also started playing in a friend’s band called Ola Podrida here in Brooklyn as well. I’m really just trying to get them all completed [the songs] and remain proud of them. I’ll pass them around when they’re done though.

Caleb (HTFAF): Sounds great, I had no idea you were involved in Ola!

Andrew Kenny: Yep! i joined up last fall.

Caleb (HTFAF): How did this happen?

Andrew Kenny: David passed his CD around last year to a bunch of friends and said, “Honestly.. I need a lanky, mysterious, bass player that can sing a lot of falsetto harmonies.”
So Lee sent me his old bass, the Thunderbird he played in the AmAnSet for so long, and I joined up.

Caleb (HTFAF): Awesome, that is a pretty magical way to join a band!

Andrew Kenny: Yeah, it’s a good story, so you’ve heard the Ola record?

Caleb (HTFAF): I have yeah, I like it a lot. Did you play on the record?

Andrew Kenny: Oh no, that record was more or less completed before we ever spoke about it. I just “operate” the bass if you know what I mean [laughter].

Caleb (HTFAF): [laughter] I do know. Do you do the old Walkman behind the amp trick?

Andrew Kenny: Totally! With a smoke machine, that’s the “mysterious” part: “Why is only one person in the smoke?”

Caleb (HTFAF): [laughter]

Andrew Kenny: Yeah that’s the mystery.

Caleb (HTFAF): I’ll look forward to seeing that. I’m gonna see you guys open for Apostle of Hustle at Schubas in Chicago this summer.

Andrew Kenny: Oh, cool! I think Whiteman really figured something out on this record,
both in songwriting and in production: they’re both stepped up and married a lot better.

Caleb (HTFAF): Getting back to you guys, is there a particular AmAnSet song you enjoy more than others?

Andrew Kenny: Well, I think the songs we took with us on the last tour were the road tested “best of the best” so to speak. I don’t think I have any one favorite, although I really like the way She’s Half turned out.

Caleb (HTFAF): That IS a great one.

Andrew Kenny: I played in Mexico City last weekend, at this festival and She’s Half was the only song I had to end up bailing on. A word of advice: if you are ever in Mexico City in front of 1000 or so people that REALLY want to see The Dears but there’s about four to five hundred people up front that are pretty jazzed that you’re there: just stick to the upbeat stuff.

Caleb (HTFAF): [Laughter] Thanks for the advice, ’cause there’s a great chance I’ll end up in that situation someday.

Andrew Kenny: I led that crowd into a dark, dark forest with no bread crumbs on the trail back. “Kenny… where’s the crowd?” I LOST the crowd.

Caleb (HTFAF): [Laughter] So there are lots of Indie-rock fans in Mexico?

Andrew Kenny: Oh man … I was shocked. Myspace and blogging have totally turned that scene on it’s ear.

Caleb (HTFAF): It’s always so strange to me when I see pictures of like … Broken Social Scene playing in Scandinavia or something and there are like 1000 little Scandinavian Indie kids singing along. I guess it’s just weird to get used to, that this whole little scene has such a reach now. It’s super cool though, that’s for sure.

Andrew Kenny: Totally. Even five or six years ago it was still kinda taboo to sing in English, I’d love to go back with a whole band … and some bread crumbs just in case.

Caleb (HTFAF): [Laughter] Did you consider doing a mariachi set with some locals? That could have worked nicely.

Andrew Kenny: Oh man, I always get the jeebies with they stand behind you at a restaurant.

Caleb (HTFAF): [Laughter] They’re pretty fearless, those guys. They thrive on playing to confused and unexpecting crowds … sort of like playing at a Mexican Indie rock festival would feel I guess.

Andrew Kenny: Exactly.

Caleb (HTFAF): Okay, time to play fast money.

Andrew Keny: Nice!

Caleb (HTFAF): What are you listening to lately?

Andrew Kenny: The new Feist album, The Reminder; Clipse’s Hell Hath No Fury; Phoenix’s album, It’s Never Been Like That; The White Birch’s Star is just a Sun; and Patton Oswalt, Werewolves & Lollipops.

Caleb (HTFAF): What was the last book you read, and do you have a favorite book?

Andrew Kenny: The last book I read was Chris Leo’s “57 Octaves.”
Man this is lame but my favorite is probably something like “The Giving Tree” or some worldly-wisdom-in-a-kids’-book kinda deals…strategy guides for video games don’t count probably, huh?

Caleb (HTFAF): [Laughter] No, I don’t think so.

Andrew Kenny: Yeah … you’re gonna hate, huh?

Caleb (HTFAF): What was the last film you saw?

Andrew Kenny: In the theater I saw Great World of Sound; if you don’t know what that is, I’m not going to say anything about it because I don’t want to slant you one way or another…but you should see it. Gosh, other than that we’ve been doing the Arrested Development season DVDs.

Caleb (HTFAF): Oh wow, you’re an Arrested Development fan?

Andrew Kenny: I am now. When it was over I felt sad and embarrassed that I didn’t watch when it was around.

Caleb (HTFAF): In all the years of American Analog set if you had to choose one memory as your fondest, what would it be and why?

Andrew Kenny: Whenever I think back, the first thing I think of is that everyone that makes music should get to be in one of their favorite bands or they should get to make music for a decade or more with their best friends. I got to do both and I feel pretty fortunate. That’s hell of lame, huh?

Caleb (HTFAF): Not at all, I shed a single tear just now.

Andrew Kenny: [Laughter]

Caleb (HTFAF): Yeah, just the one: two would be excessive, but that was touching.
So there is no official time table or “Hey we should start then” for anything American Analog Set-related, correct?
Cause if not I’ll just make something up like “American Analog set will release a three-disc collection next week that is exclusively available in BP stations along I-5″ to end the article.

Andrew Kenny: Man, BP don’t want none of our mess. Seriously though, not at the moment but I definitely see the guys in my future, as I said earlier!

~ ~ ~ ~ ~ ~

Buy American Analog Set records here.
Buy American Analog Set shirts, posters, and other stuff here.

*Clever Title Involving the Word Cover* : Drag the River

One of Drag the River’s frequently shifting lineups

If you’re a frequent reader here at HTFAF, you may already know the following: first, I was a big Drag the River fan, and wrote about the band in a guest post, my first for HTFAF, here. If you know that, you also probably know that, unfortunately, this band no longer exists. I try not to mention or think of the aforementioned fact too often, as it tends to make me sad. Finally, as Caleb warned in my first post, Drag the River played “for real country … not like Ryan Adams, (but) the real deal, so be careful if you can’t handle that.”

And now, readers, no matter how frequently or infrequently you visit us here at HTFAF, you know everything you need to know to enjoy this post … except this one thing that I’ve yet to mention: it’s still Covers Week at HTFAF, so below you’ll find three live covers recorded at the Starlight in Fort Collins, Colorado, in July 2002. These traverse the songwriting spectrum from Glen Danzig to Steve Earle, but they all share Drag the River’s booze-tinged, no-frills country/punk touch.

[mp3] Drag the River – Hybrid Moments (Misfits)
This song first appeared on The Misfits’ 1985 release, Legacy of Brutality. And it’s scary — lyrically, but not musically, in this rendition. Listen to Drag the River’s Jon Snodgrass agree with me after they play it.

[mp3] Drag the River – Indianapolis (Bottle Rockets/Henneman)
An autobiographical tale of life on the road, written by the Bottle Rockets’ Brian Henneman when he was a roadie for Jeff Tweedy (Wilco) and Jay Farrar’s (Son Volt) groundbreaking Uncle Tupelo. If you know who Bob is, don’t tell him that I prefer this version to that of the Bottle Rockets.

[mp3] Drag the River – Johnny Come Lately (Steve Earle)
The UK’s Irish-folk/punk band The Pogues backed Earle on his original recording of this song, which appeared on his more-rock-than-country record, Copperhead Road; it was released in 1988 and won Earle some brief mainstream notoriety with its title track. And then he went to jail a few times.

You can still buy Drag the River records (and other stuff) here, and Bottle Rockets records (and, again, other stuff) here. And you shouldn’t have much trouble finding records from Wilco, Uncle Tupelo, Jay Farrar, Son Volt, Steve Earle, or The Pogues online or at your local independent record store. Please support your local shops when you have the chance.

*Clever Title Involving the Word Cover* : The Flaming Lips

Does he realize … how hard it is to decide on which picture of his band to use?

Hi. I’m excited. Maybe it’s the fact that I was on the air today (radio) for the first time in almost 10 years. Or maybe it was the peanut butter Twix I enjoyed a little while ago (I rarely allow myself to consume that kind of delicious junk). But most likely it’s the fact that Covers Week continues here at HTFAF, and I have a special treat for you tonight: a trio of quality covers from everyone’s favorite psychedelic middle-aged indie rockers (albeit on a very major label): The Flaming Lips.

That excitement I mentioned above is preventing me from saving this one, so I’m gonna go ahead and drop the most clever of the three on you: The Lips cover Kylie Minogue’s Can’t Get You Out of My Head, recorded live at KEXP in Seattle.

[mp3] The Flaming Lips – Can’t Get You Out of My Head (Kylie Minogue)
According to Wayne Coyne, the Lips’ lead singer and fake guitarist, the band was on its way to KEXP and knew they needed a cover to perform when Minogue’s track of dance goodness came on the radio. And now you get to download the result of Coyne’s eccentricity.

[mp3] The Flaming Lips – Knives Out (Radiohead)
Recorded live at KCRW in LA, an impressive take on maybe the best tune from Radiohead’s Amnesiac. The abstract guitar work blends well with Coyne’s raspy, straining voice.

[mp3] The Flaming Lips – The Golden Age (Beck Hansen)
Finally, The Lips do an abbreviated version of the lead-off track from Beck’s Sea Change. This was recorded in Columbus, Ohio.

All of the covers were recorded sometime during the month of August 2002, and appear on The Flaming Lips’ Fight Test EP. You can buy it, and all sorts of other strange Flaming Lips gear, here. Please, enjoy, and don’t cover your ears … ohhhh!

Feist – Le Grand Rex: Paris, France, 4.26.2007

Continuing a series of excellent live shows, it makes me happy to offer for your listening pleasure this wonderful audio recording of Leslie Feist and her band of traveling minstrels playing to a warm and receptive crowd at the Le Grand Rex in Paris, France. Tis an audience recording, but it sounds pretty good to me!
If you don’t have Leslie’s newest album, The Reminder, then you’re pretty unintelligent.

[zip] Feist – Le Grand Rex: Paris France 4.26.07

[mp3] Feist – I Feel it All
[mp3] Feist – My Moon, My Man
[mp3] Feist – The Park
[mp3] Feist – The Limit to Your Love
[mp3] Feist – When I Was a Young Girl
[mp3] Feist – The Water
[mp3] Feist – Fighting Away the Tears
[mp3] Feist – One Two Three Four
[mp3] Feist – Banter / Introductions
[mp3] Feist – Brandy Alexander
[mp3] Feist – Sea Lion Woman
[mp3] Feist – Let it Die
[mp3] Feist – Intuition
[mp3] Feist – Mushaboom
[mp3] Feist – Now At Last