It has been one freaking hot summer, pardon my French. I couldn’t get enough air conditioning. Hot, hot hot! It became my mission to find air conditioning.  Industrial strength air conditioning. Anywhere and everywhere I could. So, I crept into various retail stores, nearly every supermarket, movie theatre and drugstore insight, slowly (painstakingly slow if it was a scorcher that day) perusing the merchandise and enjoying the cool,  cool chill of  what one could only equate with that of a meatlocker. I just chill out, take my time, enjoy the feeling of the air blowing the sweat off my face and listen to the ultimate mix: my summer cool-ada…

MY-POD: The Sound-track: ULTIMATE SUMMER COOL-ADA MIX

(1)MARK RONSON/Q-TIP/THE BUISNESS INTERNATIONAL

Bang Bang Bang!

Hot. Hip. Boppy!  On behalf of your ears and feet, you may just want to, ahead of time, thank god for Mark Ronson. It seems everything he touches turns to sonic gold . Here, he turned out another rollicking groove fueled with a lickety split rhyme by no other than Q-Tip (and featuring The Business International) get ready to jump up and down!!!

“Bang! Bang! Bang!”

Spoiler alert: Heed QW-tip’s warning: “Un Deux Tois, turn it up”!!!!

(2)LET’S GET LOST- Bat For Lashes and Beck

On paper, it is a collaboration of the sublime. But once the song comes on, you are instantly entranced by this love struck Romeo and Juliet pairing. Both take turns inviting the other to succumb to 1 night of ecstasy.  Turn it on, tune in, give in and get ‘lost’ with this tween soundtrack standout.

(3)CHEMICAL BROTHERS  Swoon

This is the perfect time for a breathtaking, fresh update on the whole, ‘all you need is love’ message that the Beatles started 40 some years ago. Here is an energizing reminder from the Chemical Brothers that in this life, as you venture out into the world, “just remember to fall in love, if nothing else.” (Consider it advice from your nagging, rave-club mother.)

(4)DEPARTMENT OF EAGLES Brightest Minds

This melodious, haunting ditty about an improvised battle of the wits face-off, creeps up slowly. And just as you start to tap your toes, it is already too late: you’ve fallen victim to the clever seduction that is this unassuming spellbinder. Even if it happens to you again, on repeat listen, (and it WILL) Department of Eagles are there to encourage you not to worry your pretty little head.- That this happens to some of the best, some of the ‘BRIGHTEST minds’….

(5)BASEMENT JAXX/ SANTIGOLD  Saga

Basment Jaxx places Santigold in front of a mirror to face her demons , invoking a new wave voodoo vocal snake dance.  Confronting her inner cynic, ‘Saga’, Santi calls out her trouble making critic, with a fun shame and blame game. “Your just limiting all the possibilities!”  she warns. Tisk, tisk. Mama puts drama to task! Oh, snap!  This one is a literal exercising of the demons…

(6)Portishead- Chase the tear

The artists formerly known as the soundtrack to your sex life in the mid 1990’s just got spicier. And dicier. Imagine Giorgio Moroder of Donna summer fame giving Beth Gibbons a make-over. Oh yeah, baby. It is risky and frisky and…wait. Where is the air conditioner? It is hot in here. (Get ready for a whole new soundtrack…)

(7) Dan Black CIGARETTE PACK

He mashed up Notorious B.I.G and Rhianna to create a great, harmonious symphony. Here, Dan Black paints a picture of a youthful day-dreaming tenor whose vengeful ambitions are chronicled on said cigarette dispenser.  Detailing his big picture plans, he maps out the rest of his life and plots the perfect strategy to leave home and take over the world. It’s a heartbreaking exit plan. One that you somehow know will never take place. Oh, the possibilities…

(8) AU REVOIR SIMONE   The Last One (Mack Winston dub)

A whimsical but sultry tango takes place in a smoke filled Brooklyn bar, where saying and doing don’t really seem to correspond. The whole, ‘you don’t really know me’ thing has never been sexier as the girls coyly plead to be released from your un-accountable clutches. Au Revoir Simone slowly reject you, passing it off as their defeat, all the while entrancing you, giving new meaning to “no means yes’,  (yes, yes, YES please!!)

BZZZZZ:

M.I.A   Queen of mesh, mish and mosh

WARNING: On her latest album, M.I.A clearly indicates once and for all that she is not gunning for some sort of Joni Mitchell Lyrical Laureate Prize. If this is not a bone of contention for you, the listener, (or you the b.s police) , if you can begrudge her this one relatively small oversight,  if you can sign on for her so called subversive style(i.e. rhyming ‘free country’ with ‘chicken factory’), if you are willing to make these concessions, than READ ON: you may discover that she (a) actually has an interesting point of view, contrary as it may be.  (b) you might even enjoy her clever lyrical content, though the social/ politcal  aspects may be contradictory….Hell..at the very least, depending on how discerning your ear actually  is, you might enjoy the sonic pleasures of ‘Maya”, M.I.A’s third album.  After all, what “Maya” does provide is a unique (in the context of what is popular music today) composition of vocals paired with an array of sounds.

Her style has always been a blend of hip-hop, rap, auto tune and sound effects. This process, seemingly built from the ground up, is almost rare for an artist these days.(Especially a solo female artist.) And, though she doesn’t play an instrument, her unique methods of music making haven’t really been practiced recently, certainly outside of Bjork.

(Translation: Sorry, Lady Gaga. You may be more skilled as a musician, able to sit at your piano, crafting radio gems, but M.I.A ‘s music making process proves far more progressive.)  And she certainly would like you to think they are far more progressive than Gaga. M.I.A’s knack, not totally unlike Lady Gaga(Sorry, M.I.A-Don’t go ballistic and Tweet my cell number for the world to see!) lies in the art of wordplay, phrasing and catchy sing-song repetition games. One could even say that she likes to mesh.

Even point of view is meshed up with sound effects and distortions, though it doesn’t fare as well as, you get the impression, she would like it to. Then again, the impression she makes is enough to start a dialogue: Is it good? Is it crap? Is it pop? Is it art? Is it pop-art?

It is mesh. (Not pastiche, mesh!)

“It Takes a Muscle” may be a cover of an 8o’s Dutch pop ditty, but is a delight, where an artful use of auto-tune meets her reggae, Rastafarian sunshine, summer groove.

“Xxxo” is her best claim to pop radio stake, (Including a Jay-Z remix to boot ) with Maya all up in da club and  a top 40 jingle hook that could be double as her bling-tone. She ‘tweets’ on the ‘iphone’, casts herself as a Tarrantino-esque muse and shrewdly plays a cat and mouse game: ‘Xxxo xxxo You want me be somebody who I’m really not’.

“Lovealot” is the kinda stuff Eminem would have been praised for: Calling out Ghandi and Obama, all the while claiming to be a real softie, with a lot of love to give, yet a lot of people to fight.

“Born Free”, fueled by a sample of suicide’s “Ghost Rider”, has the thrash- rock dance abandon that recalls the days of Violent Femmes and The Ramones. She even has a message to give, though, again, it is intentionally distorted

Though many songs here play with her as M.I.A The social critic, disenchanted with the culture of modern connectivity( the tweeting on twitter,  google-ing Facebook-ing, iphones and itunes), it is her escape from that conceit where her meshing works to best effect.

“It iz what it iz” almost has Maya, along with an electro-Bollywood score, bouncing her voice around the room as if it were a super ball. And “Space” has her disconnect from her agenda completely: She can’t answer the phone, retaliate or even politicize. She even states that she wants to introduce her point of view, but gets distracted and fails to.  This is some of the best work on the album and the least complicated, not rife with conflicting messages/lyrical content.

By albums end, if you can  accept the contrarian that is M.I.A and permit yourself to float along with her,  disconnect, dance and sing along with utter, shameless abandon, “Maya” just might be your summer jam.

YOUTUBE: Under The Covers

Sneaker Pimps Cover David Bowie’s “Ashes to Ashes”

Here is a random and rare cover from one hit wunderkind Sneaker Pimps. They channel the Ziggy Stardust vibe of glitter and glam rock and even manage to sound like young Bowie himself.

Arcade Fire cover Violent Femmes “Kiss Off”

Wyn Butler and company take on the anthem of your teenage years with verve and gusto. Who gets this physically close to the audience AND conducts a sing along?

Sia covers Madonna’s ‘Oh Father’

Digging into Madonna’s archives doesn’t sound like something to expect from Sia’s set list.

But don’t doubt this talent-she channels her daddy issues and the heart Madonna displayed when singing this, re-creating a classic father/daughter tale. She is simple, raw, pure and soulful.

Vampire Weekend covers Fleetwood Mac ‘Everywhere’

Those boys known as the inventors of upper west side afro-pop bring their graceland feel to a forgotten Fleetwood Mac song and give Christine Mcvie a little run for her money.

Fanfarlo cover Smashing Pumpkins ‘We only come out At Night’

This brit Indie/rock import proves what a great song Smashing Pumpkins created back in the day (and doesn’t make you miss Billy Corgan’s rarely displayed falsetto.) Lush, sweet and dreamy. Night-night.

Sting covers Human League “Don’t You Want Me”

It feels like 80’s karaoke night at sting’s house. The yoga aficionado himself turns in  a ham-tastic rendition / Interesting choice of cover tune, if not just for the mere novelty.

(Wonder if he ever would have covered this bubble gum classic back in the day when the Police ruled stadium rock…)

This Month, we look at 2 rock bands who have been building their audience over the last 10 years (The Black Rebel Motorcycle Club and The Black Keys) as well as Indie Pop’s latest darling (Surfer Blood).  And, as always, some unique and daring cover tunes of a few beloved classics.

MY-POD: THE SOUND-TRACK

BLACK KEYS: I’m black and I’m proud

About 10 years ago, 2 funky White guys from the Midwest, Dan Auerbach on vocals and guitar and Patrick Carney on the drums, with a penchant for blues rock (and a constant comparison to The White Stripes) made their debut as The Black Keys!    ‘Brothers’ marks their 6^th full length LP.

Chalk full of those guitar riffs and those falsetto growls that have captivated fans, the title ’Brothers’ could easily be a nudge-wink to the unknown listener wondering what entitles 2 white bread guys to record blues rock.

5 seconds in, those suspicions easily fade.

‘Everlasting Light’ the album’s opener could be this generations ‘Amazing Grace’, a soulful and selfless ditty, fueled by a dire need to be your everything. Followed by a complete 180 degree turn: ‘Next Girl’, an edgy rebound kiss off, where Auerbach vows that his “next girl will be nothing like my ex-girl.” ‘Tighten Up’ is an attempt at self restraint amidst submission to a devouring love. Although Songs like “She’s Long Gone” won’t help all those comparisons to The White Stripes, there are some surprising tunes: ‘Too Afraid To Love’ has a macabre gospel feel that is almost haunting. And ‘These days’ channels the touch of 1970’s folk rock.

A collection of songs detailing the fine line between love and hate, pleasure and pain, The Black Keys know this story all to well. They could be like family. Think of them as a ‘Brother’ from another mother.

SURFER BLOOD: Everybody’s gone surfing

Indie rock comes in all shapes and sizes. So, it should come as no surprise that the 5 man lineup known as Surfer blood is, from all places, West Palm Beach, Florida. (Which begs the question: can you even surf in a place like Florida???) A sleeper hit, their debut, ‘Astro Coast’ is a psychedelic throwback to bands like Built to Spill and Pavement: Indie, sparse, clever lyrical content, full of summer sun, surf ready tunes and love, love love!!!

‘Floating Vibes’ finds a dejected lover abandoned for the west coast, though sure it is only a matter of time before she returns. ‘Swim’ is pure ingenuity, a simple homage to stick to it-ness. ‘Take it Easy’ is the beginning stages of love: fresh, neurotic, vulnerable and terrified. And ‘Harmonix’ should wet the appetite of Interpol fans, full of guitar riffs, distorted sounds and a vehement promise to “not wait around for you to figure it out.”

The second half of the album, sticks to the same storytelling, though musically takes a cue from 1980’s alternative British pop rock: ‘Fast Jabroni’ summons up the summer of love, sounding like a lost Modern English track and the sad sack character of ‘Catholic Pagans’ juggles his devotion to his girl and his drink, not with much success. Best of all is ‘Twin Peaks’ a bewildering date involving un-clear boundaries, mixed signals and a David Lynch screening on the couch.

Recently dubbed the “best new music” by Pitchfork, it looks as though, Florida or not, surf’s up. Way up.

By album’s end, the 10:20 track ‘Half State’ is a psychedelic journey through loss and regret where “it’s a cruel world that let’s us go.”

BZZZZZZZ: UNEXPECTED ROCK STARS

BLACK REBEL MOTORCYCLE CLUB: Their the rebel yell

Originally from San Francisco and now based out of Los Angeles, rockers Black Rebel Motorcycle club’s 6^th album, “Beat the Devil’s Tattoo” could possibly be their best effort yet. Named after Marlon Brando’s motorcycle gang in the classic film “The Wild One”, Black Rebel Motorcycle have spent the last 12 years building their name.

(And having a track on the latest Twilight soundtrack certainly can’t hurt matters.)

The title track opens the LP, full of vintage jangly guitars and rock star growls. It is followed by ‘Conscience Killer’, a rollicking rock and roll romp that takes pride in being the ultimate spirit killjoy.  ‘Bad Blood’ is almost a departure for the band; their attempt at infectious pop rock with a catchy hook that ruminates throughout “I could see it in your eyes and now it’s gone.” ‘War Machine’ is all swagger, a soul baring strip tease for the masochist.

‘Sweet Feeling’ is a bittersweet dedication to the dissolution of a relationship, melodious and heartbreaking.

And ‘Long Way Down’ is a doom and gloom ballad of loneliness, the last track you would expect to find on one of their albums.

With their mixture of garage rock jam and sweet melancholy ballads, “Beat the Devil’s Tattoo” should cement their place in the rock and roll music cannon, once and for all.

YOU TUBE: UNDER THE COVERS

STONE TEMPLE PILOTS COVER THE DOORS ROADHOUSE BLUES

Scott Weiland and company are back.  Fans of STP will get a kick out his rousing take on Jim Morrison, as Weiland digs into the pit of his soul to give you the guts of rock and roll.

MACY GRAY COVERS ARCADE FIRE WAKE UP

Macy Gray makes the most out of her raw, rough voice, bringing some grit, funk and uncanny style to an un-expected cover.

THE LEMONHEADS COVER CHRISTINA AGUILERA BEAUTIFUL

Evan Dando has never been this benevolent, taking an overdone, melismatic- pop ditty and infusing it with a little touch of emo, a bit of heart and a whole lotta angst.

FLORENCE AND THE MACHINE COVER ROBERT PLANT ADDICTED TO LOVE

A tune synonymous with 1980’s cheese is revamped into a sultry come on, Florence brings her come hither vocal styling, transporting you to Ibiza and beyond.

SMASHING PUMPKINS COVER BLONDIE DREAMING

Smashing Pumpkins eerie, moody take on sweet, pop confection.  In an instant, the song becomes virtually unrecognizable.  Until you start grooving to the lyrics…

This month, the latest and greatest happen to be at the top of their game (MGMT), are getting better with every album (LCD Soundsystem), waiting in the periphery (Beach House) Or are doing whatever the hell they want with whomever they want to,  just because they can (David Byrne & Fatboy Slim).

Plus Friendly Fires re-invents that overplayed Kings of Leon song and Hot Chip cover Shakira.

MY- POD: THE SOUND-TRACK:

MGMT: Managing risk, maneuvering stardom

Partway through MGMT’s second LP, comes the single ‘Flash Delirium.’ The time warp rock anthem paints a picture of a distraction addled culture, obsessed with consuming, looking to escape.

It’s a sound we haven’t heard since The Who’s Tommy and the Rocky Horror Picture show. Not the sound of a major label band recording their follow up to a wildly successful debut. It’s than that you start to wonder, perhaps, if even MGMT themselves are suffering from a case of flash delirium.

Their first album, ‘Oracular Spectacular’ put them on the map and fast, catapulting the band to ‘IT’ status fast. Grammy awards, fame and invitations to open for the biggest stadium names soon followed (Coldplay, Lady Gaga, U2 and Radiohead.)

Intent on the career trajectory motivated by art and amidst internet backlash, the band turned away from it all, went into the studio and came out with the, risky surf inspired album ‘Congratulations.’

‘It’s Working’, the opening track, is pure California pop, complete with 1960’s style instrumentation and harmonies.

‘Dan Treacy’ is a summer groove detailing a writer in a fantasy world waiting to fall in love with the perfect song.

And ‘Someone’s Missing’ is a beautiful eulogy, short and sweet, complete with a disco-funk finish.

‘Flash Delirium’ is a contemporary spin on Pink Floyd’s The Wall, a soundtrack for the Obama era of economic crisis.

And by album’s end, the boys are “looking down from their own temple” measuring their success and giving themselves a lovely dedication, ending with the sounds of their own applause on the title track ‘Congratulations.’

Well played, MGMT.  Well Played.

BEACH HOUSE: Love’s a Beach…and than you fall in and out with one…

They have been called Chamber pop, Dream pop and sometimes baroque pop.

Baltimore’s Beach House has been on a slow rise over the last few years and recently released ‘Teen Dream’, an LP laden with the above type pop sounds the band has become synonymous with. The third album for Beach House is nothing more than a collection of tunes to make out to, as well as a few songs to underscore your next break-up with.

Recorded in a converted church and sounding like an indie soundtrack for summer, the album conjures up images of amusement parks, cotton candy, cool breezes and a blazing hot sun. And all the while, you are falling in and out of love.

‘Zebra’ is an airy homage to authenticity, the millennium B side to Billy Joel’s ‘Just the Way you are.’ ‘Silver Soul’ is a lugubrious reconciliation and ‘Norway’ is a lush, breathtaking ode to vulnerability.

‘A walk in the park’ is devastating; a catchy heartbreaker, with slow dance appeal.

And by album’s end, you are negotiating the specifics of a relationship, slowly falling in love to the mesmerizing ‘Take Care’.

In and out of love, wistful and haunting, ‘Teen Dream’ has me hooked: Is it too soon to call this one of the best albums of 2010?!!??

DAVID BYRNE & FATBOY SLIM: A Talking Head, A D.J and IMELDA MARCOS?

David Byrne and Fatboy Slim, 2 names synonymous with risky and unconventional work, have teamed up for a very specific high concept album. Together, they have composed a double disc set that features a soup to nuts laundry list of songstresses (from Santigold and Natalie Merchant to Kate Pierce and Sia to name a few). The end result is titled ‘Here Lies Love’ a song cycle inspired by the first lady of the Philippines, Imelda Marcos.

The title track ‘Here Lies Love’ finds Florence from Florence and The Machine invoking Imelda’s love declaration. (Don’t cry for me, Imelda.) Candie Payne and St. Vincent add a touch of calypso feel to the seductive ‘Every Drop of Rain.’ And Tori Amos cunningly maps out Imelda’s life vision to the kids in the quirky tango ‘You’ll Be Taken Care Of’.

‘How are you’ is Imelda’s clever Berlitz to English via Nellie McKay.

There are even surprising contributions from Cyndi Lauper (an electro tarot card reading of ‘Eleven days’), Martha Wanwright’s folk carnival ‘The Rose of Tacloban’), Sharon Jones(old school R&B swagger on ‘Dancing Together’) and Shara Worden of My brightest Diamond(futuristic falsetto on ‘Seven Years’)

Best of all is Santigold and David Byrne’s eccentric unexpected duet ‘Please Don’t’.

But it’s ‘A Perfect Hand’ for Steve Earle. The legend breaks up the girls club, bringing his down home country feel and stealing the show on this 2 disc set.

Not always the most effective history lesson, ‘Here lies Love’ relies heavily on groove and quirk. Something both David Byrne and Fatboy Slim carry in spades.

Bzzzzz: Party Music for The Lower East Side, NYC

LCD SOUNDSYSTEM:

When James Murphy co-founded DFA records almost 10 years ago, bands like Hot Chip, The Juan Maclean, Yacht, Holy Ghost and The Rapture were signed to the label, generating the dance punk genre to a more contemporary place. The label also quickly became home for his Murphy and his Band, LCD Soundsystem.

Their latest and third effort is the aptly titled ‘This is happening’.

The title may suggest something for those fans who were obsessed with the last 2 albums, longing for something new in their musical rolodex.

But upon further inspection, it is the insistence that LCD Soundsystem will have its way.

It’s a big punk disco tantrum with Murphy at the center, being the biggest baby.

And it’s never been more becoming.

‘Dance Yorself clean’ is an epic purge that begins as a waltz of passive aggressiveness and erupts into pure disco rage. ‘Drunk Girls’ is lower east side bar room mating call (“I believe in waking up together so, that means making eyes across the room.) And ‘One Touch’ entrances with Murphy having an aggressive dance hall fit, recalling the industrial sounds of Ministry and Nine Inch Nails.

Murphy does a bit more with his voice on this album, especially on songs like ‘All I Want’, where his version of a frank plea for sympathy is his best Thom Yorke impression, begging you to take him home.

But it’s on ‘I Can Change’ where you really feel Murphy. Here he tells you whatever you want to hear, need to hear, to help you fall in love.  “Never change/ this is why I fell in love.” Oh LCD Soundsystem. You’re preaching to the choir.

You Tube: Under the Covers

Devendra Banhart covers Lauryn Hill “Doo Wop (that thing)”

(for some reason, embedding has been disabled on this video, but you can follow the link and watch.)

A hippy dippy take on the song that made Lauryn Hill a star.

Rare footage of Devendra Banhart in Paris.

Frankincense and crystals sold separately.

Editor’s cover Gorillaz ‘Feel Good Inc’

All the bells and whistles from the quintessential Gorillaz hit have been sparred down and stripped away on this brooding acoustic cover.

The Editors cover is a winning combination of melancholy and irony.

Friendly Fires cover Kings of Leon ‘Use Somebody’

One of the most overwrought, over rated and covered to death songs of the last year receives a complete makeover from an unlikely source. Friendly Fires take the song out of a despondent last call, hole in the wall bar and into a kitschy club, where true love awaits.

Chip covers Shakira ‘She Wolf’

Electro geeks Hot Chip takes on Latin Pop princess Shakira?

The radio friendly ditty is transformed into an edgy, futuristic dance party.

When Hot Chip declares that they are ‘sending out an S.O.S’, just try to keep your toes from tapping.

Css covers Grizzly Bear ‘Knife’

The Brazilian rockers Css bring their fresh, energetic take on the Brooklyn rockers Grizzly Bear for an updated, synth tastic version of ‘Knife’.

From moody to groovy!

This month, we take a look at a band known for their collaborations (Groove Armada), a side project that runs the spectrum of guest artists (Gorillaz) and an exciting new Gnarls Barkley/ The Shins hybrid (Broken Bells).

Plus Goldfrapp provides you with a new gym ready soundtrack!

And, as always, some rare and inspired cover tunes.

MY-POD: THE SOUNDTRACK

GROOVE ARMADA: Groove is in the heart

Andy Cato and Tom Findlay, better known as Groove Armada, return with a collection of delectable tracks on the U.K club inspired ‘Black Light’. Since their debut over 10 years ago, Groove Armada has built a name for themselves blending Electronic and house music, via eclectic guest artists. ‘Black Light’, their sixth (potentially last) and possibly best studio album yet, sustains that legacy. Nick Littlemore (Empire of the Sun) and Saintsaviour both appear on 4 tracks, the latter act almost acting as the album’s front woman. ‘Warsaw’, the stellar electro opener, features both acts with Nick raging “I’ve got inkling that I’ve got an avalanche”. On ‘History’, British Pop Idol winner Will Young croons to a Bronski Beat sample of “history repeating itself,” cleverly summoning up those comparisons to Jimmy Sommerville.
‘I won’t kneel’, another Saintsaviour track, is a redemption song, a bid at a second chance, but with boundaries. Add to the mix Bryan Ferry, of Roxy Music fame, whose ‘Shameless” is pure, hypnotic trance. Best of all is ‘Paper Romance’ a catchy duet with a rollicking bass between Fenech Soler and Saintsaviour.

The Internet has been a buzz with talk of ‘Black Light’ being Groove Armada’s last studio LP, buzz that even the band has verified. I’m praying, hoping that they keep on grooving and don’t stop.

BROKEN BELLS: The chimes of the future

The idea of Gnarls Barkley and The Shins joining forces may, on paper, seem like an odd pairing. Or potentially a recipe for a sonic disaster. However, Danger Mouse and James Mercer have teamed up as Broken Bells in one of the year’s most unexpected yet highly enjoyable collaborations. “‘The High Road’ is hard to find”, wails Mercer in the soulful opening track, a soldier-on anthem. ‘Vaporize’ is a slick carpe diem ditty about not wasting your time and seizing your moments before they are gone. And ‘The Ghost Inside’ is the epitome of cool, destined to be mashed up with Dandy Warhol’s ‘We Used to be Friends’. Later in the album, Broken Bells change pace, sound and era; ‘Sailing To Nowhere’ is a 1970’s glitter rock ballad and ‘Citizen’ is a tranquil homage to vintage Bowie.

By album’s end, (a short 37:25 min) Broken Bells even revisit New Wave and leave you craving a (cross your fingers) follow-up LP…

GORILLAZ: Side project with staying power

It was nearly 10 years ago when Blur front man Damon Albarn and Tank Girl co-creator animator Jamie Hewlett created a virtual band. The side project, Gorillaz, was a blend of alt rock, electronic, pop and hip hop with Albarn acting as lead singer, ushering in various musicians to contribute. 10 years later, the most successful virtual band in the world returns with ‘Plastic Beach’. This time around, Albarn assembles Rock (Lou Reed, Mick Jones) Rap (Mos Def, Snoop Dogg and De La Soul) and Orchestral (Hypnotic Brass Ensemble and The National Orchestra For Arabic Music), and the results are entrancing. “The revolution will be televised” Snoop Dogg predicts in the trippy, hypnotic opener ‘Welcome To The World of Plastic Beach.’ ‘White Flag’ is a futuristic peace song, brilliantly blending hip hop and orchestral music. And ‘Stylo,’ the first single off the album, features the return of soul legend Bobby Womack and the sharp rhymes of Mos Def. De la Soul brings vibe and humor to the mock hip hop breakfast cereal jingle ‘Superfast Jellyfish’. But it is up ‘On Melancholy Hill’ where Albarn dreams of being close with you, and his sweet side really comes through:
“Are you here with me?” he asks twice.
Yes.
We’re here for you, Damon.

BZZZZZZ: Ear Candy

GOLDFRAPP: Sonic Sunshine

Somewhere between the aggressive club sexuality of Madonna and the pop kitsch of Lady Gaga falls Goldfrapp.
The duo consisting of singer Alison Goldfrapp and composer Will Gregory are back with their 5th studio LP in 10 years, ‘Head First.’ The last time we heard from Goldfrapp (2008’s ‘Seventh Tree) the band was playing with the inspired sound of the 1970’s folk/pop. Here on ‘Head First’, Goldfrapp revisits the new wave synth of the 1980’s, recalling the ethereal sounds of Missing Person’s and the celestial vocal styling of Kate Bush. ‘Rocket,’ the first single off the album, is an addictive, cosmic delight that’s sure to stick in your head. ‘Believer’ is a fast paced relationship test, where, in the end, she is “a believer in you now.” And the pure pop confection that is ‘Alive’ will re-invigorate you with its hooky appeal.

Later in the album, the mood shifts and the sound mellow. But the sensual electro vibe of ‘Head First’ still remains. ‘Dreaming’ is an ear candy seduction and the slow burn of ‘Hunt’ could even undress you. By the time ‘Voicething’, the album’s last track, plays, you are soothed and set for sweet sounding dreams.

YOU TUBE: Under the Covers

The former Tony! Toni! Tone front man brings his contemporary neo-soul vibe to the Sly and The Family Stone funk classic.

And it should come as no surprise – it’s a perfect fit.

Courtney Love and company are treading on sacred ground.
Any musician worth their salt knows an attempt at a Bob Dylan cover is risky business.
But Hole delivers – and Ms. Love has never sounded more suited to a song.
Who knew??

Dave Grohl and the gang take on the timeless Wings standard, giving it an updated dose of testosterone and fuel. The result is fresh, vibrant rock and roll. We wouldn’t expect anything less.

A Scottish singer-songwriter attempts Chaka Khan?
Say it isn’t so!
She doesn’t re-invent the song one bit, but she doesn’t take a bit of soul out of it either.
You go white girl.

I like to think of my work as a music trainer with a monthly plan to get your ears in the best shape possible.

I am setting up a regimen for what you should be listening to each month.

You could even look at me as your music doctor.

This month, I’m prescribing soulful R&B, Alternative Country Folk, Trip Hop and some Dance/Electronica.

Our next appointment is in a month……

MY-POD: THE SOUNDTRACK

MASSIVE ATTACK: Electro-ancestors and Trip hop forefathers

Massive Attack, the collective known for pioneering a unique style of sound, a genre (and a legion of copy cats) returns with ‘Heligoland.’

As with Sade, Massive attack has also only released a handful of recordings in its 20 year career, the latest installment being their 5^th.

‘Heligoland’ (named after a German archipelago in the North Sea) clocks in at just under an hour.

And in true Massive Attack fashion, it boasts an impressive roster of innovative collaborations.

Tunde Adembimpe of TV on the Radio kicks the album off with ‘Pray for Rain’ a haunting funhouse of spook and ethereal production.

Martina Topley Bird follows “hallucinating, chasing, changing and racing” through the industrial groove ‘Babel.’

‘Paradise Circus’ is a seductive incantation cast by a spellbinding Mazzy Star front woman Hope Sandoval.

And ‘Girl I Love You’ is a hypnotic reggae dub trance.

But it’s the eerie trip through ‘Saturday Come Slow’ with Blur’s Damon Albarn (backed by Portishead guitarist Adrian Utley) that cements the hour’s haunting mood.

“Do you love me?” Albarn pines endlessly, with a brooding desperation to summon every little piece of your withholding heart.

SADE:  Soldier of Love, Veteran of music

Sade is a rare breed of artist, one who has been able to endure in the Music Industry for some 25 years.  Despite her notorious disdain for promotional tours/ the press, she continues to sustain an audience without the gimmickry and slick media packaging that most of her peers have come to rely on.

Sade always relies on the music. And the source, her muse: Love.

‘Soldier of Love,’ the follow up to 2000’s ‘Lover’s Rock,’ is a solid collection of reggae groove redemption tunes. These songs are, of course, sensual though laden with a deep sense of heartbreak and loneliness; not the recording you expect from the artist widely associated with being the universal soundtrack for lovemaking.

Marking the sixth studio recording with her band, Sade takes on a darker side of love: the life after the demise of love. Love IS a battlefield. And Sade is your samurai princess.

‘The Moon and The Sky’, the album’s opener, is a eulogy for the end of a relationship, with the possibility of what could have been lingering on. ‘Soldier of Love,’ the title track and first single off the album finds Sade, the warrior, picking up the pieces and “still looking for the light.”

‘Babyfather’ is a heart-felt dedication to the apple of daddy’s eye, a love that comes with a “lifetime guarantee.”

By the time ‘Long Hard Road’ appears, Sade the samurai princess rocks herself to stillness with the sage wisdom to persevere.

She’s her own Buddha on the mountain top, or the female incarnation of Bob Marley, and she’s telling herself that every little thing is going to be all right.

By album’s end, Sade is likening memory of the way Michael Jackson’s songs used to linger everywhere. She is ready for the spiritual shower, to peel you away and wash you from her ‘skin.’

It is the trademark sensual, slow burn kiss-off that you have been tuning in for all along.

And as always, Sade doesn’t disappoint.

HOT CHIP: Dance-hall days with the Dungeon and Dragon dorks

From the beginning of Hot Chip’s electrifying fourth studio LP, ‘One Life Stand’, a series of chords played on an organ slowly steals your attention, taking you away to a galaxy of synthesizers, drum beats and  surprising harmonies. You are even discretely warned about delineating needs from wants as you fall prey to the sounds of Hot Chip.

And just as you are about to write it off as mere dance-pop trifle, you hear lead singer Alexis Taylor calling to you, saying “Happiness is what we all want! May it be that we don’t always want!”

For the next 49 minutes, Hot Chip ARE the thieves they warn you about-yearning about their desires, creeping up into your stereo speakers and taking over the movie in your mind.

Spending the last decade creating emotional dance electronica has been Hot Chip’s mission and ‘One Life Stand’ continues that legacy.

The title track finds lead singer Alexis Taylor on a soulful inquisition desiring a lifelong unconditional love.

‘We have love’ is an electronic after-thought to Donna Summer ‘I feel Love,’ and ‘Brothers’ is a sweet ode to those devoted, protective siblings.

Best of all is ‘Take it in’, with the boys in signature harmony, driven by pulsating stereo phonics and crooning “my heart has flown to you just like a dove. It can fly, it can fly!”

BZZZZZZ: Sleeper hit

WATSON TWINS

Identical twin sisters by day and burgeoning Alt/Country folk act by night, Chandra and Leigh Watson’s, better known as The Watson Twins, latest album might be their most personal.

Titled ‘Talking To You, Talking To Me’ the 12 song set features solid musicianship from the sister act, and even some new, unexpected sounds.

This is their 4^TH album, one with more of the Indie Pop feeling, and includes some of the riskier instrumentation the girls are playing with.

‘Harpeth River’ will “wash over you,” recalling the unique sounds of artists such as Tricky or the Sneaker Pimps. Even ‘Calling Out’ some might mistake for a lush Carole King cover.

‘Forever Me’ is a private moment and second look at the vows you take together.

And ‘Midnight’, a whiskey bar witching hour torch song during last call.

Later along the way, the girls play with more styles, namely blending Blues and Rock with Pop, to great effect:

‘Devil in You’ the first single off the album is a blues rock jam, with sultry vocals and a  rollicking killer hook.

Best of all is the stellar ‘U-N-Me’ an ultimate raw pained love rock ballad , driven by Linda Perry-esque vocal stylings backed by a lush, angelic harmony that will surprises you most.

YOU TUBE: Under The Covers

The Eels “I Could Never take the Place of Your Man”

Eels perform a majestic rendition of the beloved Prince single.

Front man Mark Oliver Everett channels some surprisingly rugged, Springsteen-esque vocals.

This features a string quartet and an audience of random kooky fans that even Central Casting couldn’t create.

Temper Trap “Dancing In the Dark”

Speaking of The Boss…  It’s those Aussie rockers du jour Temper Trap giving a soulful, variation look at what may possibly be the most covered tune in Springsteen’s collection.

Their rustic folk sound fits the song nicely: Earthy. Light. Infectious.

Radiohead “Union City Blue”

Thom Yorke and Company’s version of a much covered and coveted Blondie original. And Radiohead can do no wrong.

Jason Mraz “Peg”

The Pop star’s jazzified voice and high range are showcased to perfection on the Steely Dan classic. Playing up those hard to reach Steely Dan notes, Mraz rocks his higher register with an air of complete ease and some real impressive guitar strumming swagger.

JEFFREY MARSHEK is a self-professed music junkie who’s New Years resolution for 2010 is to discover more new music with you. And continue turning you on to great new releases from artists you know and love. And the artists you possibly never heard of who are making exciting music in Independent, Alternative, Folk Rock and Electronica. Meanwhile, he and his ears are looking forward to hearing from: Gorillaz, LCD Soundsystem, Hot Chip, Massive Attack, Sade, Amy Winehouse, an exciting collaboration with David Byrne and Fatboy Slim, Groove Armada, Black Rebel Motorcycle Club, Sia, Cake, MGMT and Interpol!! Here are some of the best that 2010 has to offer so far….

MY-POD: THE SOUNDTRACK

Charlotte Gainsbourg: Serge’s daughter (and Beck’s long last sister???)

Charlotte Gainsbourg had her eyes set on crafting an acting career. But being the child of celebrated singer songwriters, music was clearly in her blood.

Her first release, ‘5:55’ was a somber debut constructed by French producers, Air. Gainsbourg returns this time around with a sparse, slick collection crafted by Alt Rock pioneer Beck. And the pairing turns out to be a sublime collaboration.

Sounding like Beck’s female doppelganger appears to be an effortless task for Gainsbourg, whose opening track, ‘Masters Hands,’ is a bedtime prayer for the macabre, with a Beck-ified mantra hook – “breathe out-Come alive-give me reason to feel”.

Title track ’IRM’ is a Lewis Carroll look at Inside Charlotte’s Head during a routine MRI.

‘Trick Pony’ recalls the music of The Breeders: a mod groove with snares, drums and Ms. Gainsbourg doing a vocal snake dance. ‘Le Chat Du Café Des Artistes’ is the track that reminds you most that she is the offspring of 2 French singer songwriters.

Beck’s fingerprints are undeniable and his trademark production instrumental here. Finally making his presence known, Beck appears midway through the LP on “Heaven can wait,” singing along with Gainsbourg “heaven can wait and hell too far to go”.

IRM proves well worth the wait.

Charlotte on Myspace

SPOON: Music to spoon to

Britt Daniel and the gang, a.k.a Spoon, have come along way from their first studio album.

The Austin, Texas-based band may be Indie pop staples, but their music is currently heart throughout television shows, film soundtracks, commercials, video games and Starbucks compilations.

This kind of popularity would seemingly kill the unpredictable melodies and unique use of guitar that fans of Spoon have come to know and love.

But on ‘Transference’, their 7^Th LP, call Spoon anything but poppy, radio friendly, sellouts.

They are the antithesis: A dark, at times bleak (The opener is the gorgeously cynical ‘before destruction’), ‘Transference’ turns out to be a collection of questions pertaining to the certainty of love (on the simple groove ‘Is love forever’) as well as to what if we choose to live inside our heads (‘The Mystery Zone’)?

“I’m writing this to you in reverse. Someone better call a hearse” Daniel warns in a spooky suicide letter- after the fact in the terrific ‘Written in Reverse.’

But it’s ‘Got Nothin’, the album’s rollicking single where Daniel is willing to lose his darkness, to relinquish his bitterness and patterns. You will be too.

Spoon on Myspace

Photo by

VAMPIRE WEEKEND: Revisiting Graceland With The Kids

VAMPIRE WEEKEND’S ultra successful debut 4 years ago landed the New York Indie Rockers a level of notoriety and Critical Praise that an artist dreams of.

Naysayers predicted a short shelf-life for the catchy, sardonic social commentary scored to afro pop rhythms performed by the privileged white boys.

Their sophomore release, ‘Contra’, is an extension of that, a contemporary Baroque Pop/West African style take on California, again from a group of uber-privileged New Yorkers.

Opening track “Horchata,’ is a tribal jam, chalk full of xylophones, drums and a melodic chant-like hook.

‘White Sky’ is keyboard sunshine confection, a contemporary take on Paul Simon’s Graceland.

‘Holiday’ is a ska riddled groove and ‘Taxi Cab’ is a lullaby. ‘Run’ is a you-and-me-against-the-world type anthem for young lovers. And ‘Cousins’ cleverly addresses the elitist, Upper West Side, silver spoon heritage the band catches fire for. By album’s end, the Atari-esque ‘Diplomat’s Son’ grooves with a catchy MIA sample, inviting calypso feel and lead singer Ezra Koenig’s breezy vocals, daring you to sing along.

Vampire Weekend on Myspace

Photo by Bee Skutch at

YOU TUBE: UNDER THE COVERS

SNOW PATROL is giving a fresh updated take on the INXS classic ‘New Sensation.’

Lead singer Gary Lightbody smolders in a way that recalls the early days of Bono and U2.

I’m betting it is a cover version that would make even Michael Hutchence proud.

THE SHINS don’t immediately come to mind as a modern day version of the hippy, trippy 70’s rockers Pink Floyd?

Covering their ‘Dark Side Of The Moon’ track ‘Breathe’ seems like an odd choice on paper. The result is an impressive, pitch-perfect surprise.

WOLFMOTHER does emo epic spin on timeless Kate Bush track ‘Wuthering Heights’.

The Aussie rockers’ rendition could easily be on the soundtrack to the next Indie rock scored love story-Think ‘500 Days of Summer’ Pt2.

Also makes me curious to hear them do a couple of Velvet Underground covers…

JAMIROQUAI brings his unique tenor styling front and center for a funkified rendition of the Roxy Music favorite ‘Love Is The Drug’.

Complete with a soulful backing band and singers, the song is revived with some rhythm and feeling.

MY-POD: THE SOUNDTRACK

JULIAN CASABLANCAS: Stroke-ing off

‘Phrazes for the Young’, Julian Casablancas’ first solo effort, finds the former Strokes front man expounding on some of the same themes (and at times, sounds) that brought legions of fans to one of the decade’s most buzzed about bands.

‘Out Of The Blue’ is a stellar laundry listing of accountability, with Julian chiding that “I know I’m going to hell- in a leather casket, at least I’ll be in another world when you’re pissing on my casket.”

‘Left and Right in the Dark’ is a Casio recall of 1980’s youth gone by, courtesy of a clever Flock of seagull’s sample.

‘11^TH Dimension’, the first single off the album, is a kicky ode to closure, complete with a thumping New Order bass line and Casablancas as the ever bohemian life coach, advising to ‘forgive them, even if they are not sorry.’

And ‘Ludlow St’ is a waltzing serenade to that infamous East side locale where a night of drinking ends up in a beautiful downwards spiral.

Like the film ‘Casablanca’, this Casablanca is destined to become a classic.

Julian Casablancas on MySpace

THE DRUMS: Drum roll, please!

Photo by Dominick Mastrangelo

The Drums are a New York band capable of Lugubrious, affecting retro pop (Think a hybrid of Violent Femmes, The Cramps, Stone Roses and The Cure)

‘Summertime’ is their aptly titled breezy beach informed style EP.

The collection’s opening track, ‘Saddest Summer’, suggests you “kiss your boyfriend or your girlfriend/ hold your baby” if you actually have one, “because they need it” in celebration of summer.

‘Let’s Go Surfing’ is a cowabunga groove complete with catchy Peter Bjorn and John-esque whistle.

‘Make You Mine’ is a love sick loner insistent on winning your affection whose day to day minutia has been reduced to “sleeping in the kitchen and eating in the bedroom.”

By Albums end, you’ll find a throwback to John Hughes and General Public, where the musical proposal fetchingly longs to “hear every beat of your heart” and promises “Every key to my heart” in ‘I Felt Stupid’.

And on the drums…THE DRUMS!!!!!

The Drums on MySpace

GIRLS: Boys will be Girls

GIRLS (Christopher Owens and Chet White) have quite a fresh point of view, despite the fact that at the helm of the group is a man who spent his childhood with the Children of God cult.

Not exactly the starting off point for storytelling that reads very Elvis Costello, with a surfboard.

Nonetheless, their debut album is titled, well, ‘Album’, and it contains a collection of post break up ditties:

“Lust for Life” is a fairytale wish list of delusions, starring love as the be all cure all.

‘Laura’ is a humorous, sweet attempt at a truce with an ex-girlfriend, playing the blame game (“you’ve been a bitch, I’ve been an ass, don’t want to point the finger”) and ending in peace pop harmony.

‘Big Bad Mean M***********R’ is all surfing safari reverb rock and roll homage to Jerry lee Lewis and Beach Boys.

‘Goddamned’ is a childish tantrum for affection, shamelessly begging to “give all your attention to me, cause I want ya!”

Best of all is ‘Hellhole Ratrace’, a tender serenade where life begins at the invitation to laugh and dance with one another.

These Girls are going to have all the ladies (and gentleman) falling in love.

BZZZZZZZZZZ: STOCKING STUFFERS

Julian Plenti

Just call him ‘The other Julian.’

Laced with the same guitar licks, moody vocals and clever lyrics( try “I’ve tasted degradation and found the lace and candlelight”) he brought to Interpol, Paul Banks (a.k.a Julian Plenti) or Julian Plenti (a.k.a Paul Banks) delivers one of the years best with his solo debut ‘Julian Plenti is…Skyscraper.

Standout tracks include the rollicking ‘Fun that we have’, the driving, haunting ‘Only If You Run’ and best of all, is banks’ sexy, sultry swagger of declaration in ‘Fly As You Might’.

Highly recommended for Interpol fanatics who have worn out the bands other albums and are hungry and impatient for the next.

Norah Jones

Somebody gave Norah Jones a double espresso, some Red Bulls and a little tequila.

‘The Fall’, a 4^th album from the blues-y chanteuse finds her at her best.

No stranger to unexpected collaborations (having worked with both Dolly Parton and Q-tip recently) she called in a little help from Jacquire King, the production man behind those great rustic Tom Waits recordings.

Making one of the bigger sonic transformations in recent history, Jones abandons her Jazz sleep walk sonatas in favor of upbeat- experimental, guitar fueled break-up grooves.

Chief among them are Norah’s ruminating, restless night in ‘Chasing Pirates’, smoldering aggression of ‘It’s Gonna Be’ and the aching ‘Light as a Feather’ (co-written by Ryan Adams).

With ‘The Fall’, Jones goes from ‘snore-ah’ to NORAH!!!

YOU TUBE: UNDER THE HOLIDAY COVERS

The Donnas go glam-tastic for this holiday radio classic.

A re-vamped, energized take on The Waitresses ‘Christmas Wrapping’.

Guarantees some rocking around the Christmas tree and hall decking.

Band Aid included some of the finest male vocalists of their time on ‘Do They Know It’s Christmas?’

Could we even dream of assembling such talent today? George Michael, Sting, Bono and Boy George?

We would have to ‘Weird Science’ up a pool of talent to sing the various parts.

Years later, the hook ‘Feed the world’ still resonates.

Bob Dylan and Christmas? Oh yes.

Leave it to an artist who has built a career on defying expectations to release, of all things, a holiday album. (Though to really defy expectations, he should have recorded a Klezmer collection!)

‘Must Be Santa’ could be an SNL digital short. But instead, it is some holiday rock for from the high priest himself.

Dandy Warhols tripped out, space age attempt at ‘Little Drummer Boy’.

The Portland rockers channel Bowie/ Velvet Underground, while adding some much needed edge to your egg nog.

MY-POD: THE SOUNDTRACK

LE LOUP: A Loopy Group

Le Loup

Le Loup is an ensemble of musicians from Washington, D.C that sounds like the first cousin of Indie contemporaries Animal Collective.

‘Family’ their second LP, is chalk full of rustic beats and folk-y grooves the band first introduced a few years back on their debut.

This time around, Le Loup’s emphasis proves far more sonic than lyrical:

‘Saddle Mountain’ the opening track, imagines madrigals harmonizing at an ocean front bonfire. It is aptly followed by ‘Beach Town’, a mod nod to ‘Pet Sounds’, the Himalayan luau of ‘Sherpa,’ and pure sunshine pop confection displayed in ‘Grow’.

The title tribal hymn track ‘Family’ is an epic laundry listing of bloodlines, complete with cowbell and handclaps. Best of all is ‘Forgive Me’, a mesmerizing anthem that captures the ensemble striking an uncanny resemblance to classic Arcade Fire.

Here’s to hoping they stay in Le Loup!

Le Loup on Myspace

THE XX: SONIC X-STACY

The XX

THE XX hails from West London but built an audience across the pond, creating an Internet sensation with their unexpected Goth cover of a neglected 1990’s R&B ballad.

Their debut LP, XX, is a collection of seductive ditties, detailing the torment and passion of a devastating love affair.

‘Crystalised’ opens the album, best illustrating the push and pull of destructive romance, complete with a brooding back and forth between 2 lovers, both ending in a delicious rapture of ‘I –I-I-I-I’.

‘VCR’ is an infectiously sweet ode to kismet set to a New Wave Casio groove.

‘Basic Space’ is a smoldering tango, chronicling the negotiations between 2 lustful lovers.

And ‘Teardrops’, a pulsating duet between 2 contrite ruminators unable to evoke the magic of fortunes past.

But it is their voluptuous cover of a track originally penned in the late 90’s by Timbaland and Missy Elliott for R&B sensation Aaliyah that is the real star of the show.

Here a man and woman abstain, teasing one another seductively and crooning the promise of postponed pleasure to be scorching ‘Hot like Fire’.

XX marks the spot.

The XX on Myspace.

ISLANDS

Islands

ISLANDS are a Montreal Indie-Pop band who’s third full length release, ‘Vapours’ is a valentine to long distance love via the 1980’s: John Hughes movies, gummy bears, Atari and all.

It makes sense, being that this is a collective of musicians (including former Unicorn’s Mike Diamond and Jaime Thompson) who regularly cover songs in concert by such iconic acts as The Smiths and The Kinks. Sidebar: the art rockers are currently promoting ‘Vapours’ opening up for the 80’s wunderkind The Psychedelic Furs.

‘Switched On,’ the infectious opening track, takes a groovy spin on absence making the broken heart grow fonder (”You belong in the city, I‘m wrong for the city, switch on a sad song when I’m gone”) followed by ‘No, You Don’t’, a synth waltz of Independence to a hooky declaration, sneering “Your never gonna catch me, catch me, catch me”.

‘Vapours’ the title track is kicky simplicity, with Diamond cautioning you to ‘watch me venelate.”

‘Tender Torture’, the standout, is pure codependent kitsch, a deliciously sweet tribute to long distance love.

By album’s end, ‘Heartbeat’ is the digital dessert your ears have been waiting for and Islands deliver, taking you off to Vocoder heaven.

The Islands on Myspace.

BZZZZZZZZ/ GERITOL ROCK!!!!

MICHAEL MCDONALD

Michael McDonald

He has one of the most identifiable soulful voices in music.

And quite an impressive roster of collaborations, singing alongside such acts as Steely Dan, The Doobie Brothers, Patti Labelle and Aretha Franklin.

Now Michael McDonald joins forces with Folk-Pop darlings Grizzly Bear, for a surprisingly spellbinding rendition of their ‘While you wait for the others’.

Like a fine wine, McDonald’s robust timbre has only ripened, elevating this song to a place of electrifying ruin with the aching disclosure that “You will only bleed me dry-yy”!

Michael McDonald on Myspace.

THE OAK RIDGE BOYS

The Oak Ridge Boys

One of Country music’s longest running acts, known for such hits as ‘Elvira’(Giddy up oom poppa oom poppa mow wow’) seek to reach a whole different demographic, recording an eye opening cover of The White Stripes ‘7 Nation Army.’

This beloved classic is a guaranteed risky undertaking, especially given that this is a band NOT known for covers.

The track comes readymade with a natural twang-y edge to it, but in the hands of The Oak Ridge boys, it has an ominous feeling, like the listener has trespassed onto dark and dangerous territory.

Suddenly, the bass line transforms into a Gregorian Rock hook, complete with a rousing guitar solo.

The Oak Ridge Boys on Myspace.

YOU TUBE:UNDER THE COVERS

THE NOISETTES

The British Blues popster’s angelic riff on The Killers ‘When You Were Young’ brings the anthem away from the Rock stadium to a soulful, orchestral musing.

The Noisettes on Myspace.

LCD SOUNDSYSTEM

James Murphy’s disco-fied tendencies may cause you to tap your feet and drum along, forgetting all the while that this was once belonged to somebody by the name of Kanye.

LCD Soundsystem on Myspace.

DIRTY PROJECTORS

The art house bohemians re-visit Bjork’s ‘Hyperballad’, playing off it’s built in synth galaxy vibe to create a sweet, harmonious, forest jamboree.

Dirty Projectors on Myspace.

SHE & HIM

Zooey Deschanel and M. Ward’s pitch perfect take on vintage Joni Mitchell.

Breezy. Ethereal.

She & Him on Myspace.

JEFFREY MARSHEK is a self professed music junkie whose life changed dramatically after the creation of iTunes and the decline of chain music stores. He will forever miss the days of new music Tuesday and CD liner notes. He is also the creator and star of CUL DE SAC ROCK: A One Man Rock Opera about his dysfunctional Jewish Family in 1980’s Cleveland. He lives in New York.

MY-POD: THE SOUNDTRACK

The Shaky Hands

*THE SHAKY HANDS Clap Your Hands, Now!
Portland Oregon’s favorite Rock and Roll band, The Shaky Hands, offer up the sound of a Modern day Velvet Underground, by way of The Strokes. Their latest release Let it Die is a real homage to Rock music of the 1960’s.

Shaky Hands favor the sounds of vintage Blues/ Rock melodies and rustic tambourines best displayed on tracks like Allison and The Ancient Eyes as well as the keg party title track where lead singer Nick Delff dons an old school Mick Jagger growl begging you to “Let it Die.” Later in the album, the influences take a subtle shift where the band plays with Pop and Folk styles. Gonna Hold You Tonight is a slow dance at the campfire with a real sweet Beach Boys feel. Already Gone is full of piano playing/ hand clapping sounds reminiscent of E.L.O. And Leave it All features a Hare Krishna chant laden hook that is uncannily Crosby, Stills Nash and Young.

Drawing on great Rock music from the past with a modern feel, put your hands together for The Shaky Hands!

www.myspace.com/shakyhands

Zero 7

*ZERO 7: Trip Hop and you don’t stop
The Long awaited new release from Brit-electro Zero 7, Yeah Ghost finds the duo of Henry Binns and Sam Harderer challenging the spirit through day dream beats and irresistible grooves, as well as eclectic new guest artists.

The trip hoppers work wonders on their fourth LP, particularly with Eska, whose soulful styling’s on Mr. Mcgee is part funkified Marrakesh Express/part Brimful of Asha. The hypnotic vibe carries on into the brilliant self help mantra Everything up with Binns, backed again by Eska, chanting the affirmation “yes we can, imagine it if we can.”

Yeah Ghost doesn’t entirely abandon the formula proven successful for the band, with tracks like Pop Art Blue and Swing giving off a real identifiable Zero 7 ambient groove, featuring Sia like vocals by Martha Tilston.

By the albums end, Sleeper is dancehall ecstasy rebellion at the ashram.
Aided by Eska’s hook “I don’t sleep, I keep a radio on,” you just may be inspired to do the same.

www.myspace.com/zero7official

Kid Cudi

*Kid Cudi: Kid Incorporated
He’s Hip Hop. He’s Rap. He’s Alt. He’s Electro.

Influenced by Hip Hop fusion acts before him such as Neptunes and Outkast, Kid Cudi’s (A.K.A Scott Mescudi) style of music is ambitiously anti-pigeonhole. The Cleveland bred Hip Hop star on the make is experimenting with the genre to varying effects on his LP Man on The Moon: The End of the Day. Tracks like Simple as that and In My Dreams introduce his knack for catchy hooks, best displayed on the stoner anthem Day and Nite.

Having already collaborated on both Kanye West and Jay-Z’s latest releases, Cudi continues to expand on his ever impressive rolodex of superstars. Here, he joins forces with Kanye and Common, via a Lady Gaga sample, in the clever musical repetition game Make Her Say.

Kid Cudi’s hodgepodge flow of rapping and singing works wonders on the space age disco Enter Galactic. And to hypnotic affect on Pursuit of Happiness where he collaborates with MGMT, playing off the psychedelic rockers cosmic electro vibe and producing a double dutch chant for the ages.

Keep your eyes and ears open: This ‘kid’ is going places.

www.myspace.com/kidcudi

BUZZZ / RE-MIX!!

Yeah Yeah Yeahs

Heads Will Roll by Yeah Yeah Yeah’s as remixed by James Iha
The former Smashing Pumpkins guitarist takes Karen O and Nick Zinner out of the modern day mosh pit and into a 1970’s inspired roller boogie spectacular. The track has a natural rollicking rock beat and a dance feel as well. But it is Iha’s remix that really pulls the beats of disco and sounds of glam rock right onto the tips of your stereo speakers.

Suddenly, the track transports you to studio 54, giving new meaning to O’s belligerent order of ‘off with your head! Dance dance dance till your dead”

www.myspace.com/yeahyeahyeahs

Peaches

Lose You by PEACHES as remixed by Station X
The electro clash diva gets a fresh shot of adrenaline from the synth master minds. Lose You already comes with the feel of a contemporary torch song but in the hands of Station X the tunes gets a welcome seductive, Giorgio Moroder edge.

The remix takes the listener slowly into a private moment of vulnerable confession, where her sighs of rapturous delight become pure voyeuristic kink for your listening pleasure.

www.myspace.com/peaches

YOU TUBE: UNDER THE COVERS

MGMT

The new wave college sensation pays tribute to the original frontiersmen of new wave, The Talking Heads. MGMT is very well suited for the task of taking on David Byrne and Tina Weymouth’s definitive leisure song Naïve Melody and the result is sublime.

www.myspace.com/mgmt

DUFFY

The Welsh songbird takes on the Paul Weller staple, bringing haunting, lived in vocals and a pained point of view to the rock standard You Do Something To Me.

A real change of pace for those familiar with Duffy’s pop-ified radio friendly hit, Mercy.

www.myspace.com/duffymyspace

PETER GABRIEL AND HOT CHIP

The music legend teams up with UK dance hall geeks Hot Chip, picking up the natural Graceland sensibility from the Vampire Weekend signature tune. The unique collaboration infuses some world music flavor with a daring electronic touch on the indie great.

www.myspace.com/hotchip

FRANZ FERDINAND featuring La Roux

The Scottish rockers and the brit electro poppers pair up for the Blondie masterpiece Call Me.
A fresh, aggressive dose of testosterone revives a classic.

www.myspace.com/franzferdinand

JEFFREY MARSHEK is a self-proclaimed music junkie whose life changed after the first time he took a bath and listened to Nina Simone and Chet Baker. He is also the creator and star of CUL DE SAC ROCK: A One Man Rock Opera about his dysfunctional Jewish Family in 1980’s Cleveland. He lives in New York.

MY-POD: THE SOUND-TRACK

Bat for Lashes

Natasha Khan IS Bat For Lashes.
The Brighton U.K based relative of the legendary Khan Squash Dynasty has a brand of medieval fairy tale folk rock that is already drawing comparisons to (and admiration from) Bjork, Pulp’s Jarvis Cocker AND Radiohead’s Thom Yorke, the latter inviting her to open Radiohead’s ‘In Rainbows’ Tour, afterward saying she was the best opening act they had ever had.

Her live high-wire act involves risk-taking covers of Springsteen, The Cure and, most recently giving Kings of Leon a run for their money with her soulful rendition of “Use Somebody.” On her highly anticipated sophomore release, Two Suns, Khan elaborates on the earthy new wave chamber pop she played with on Fur and Gold. Like her predecessors, Kate Bush and Tori Amos, Khan’s musical storytelling employs haunting pianos, hand claps, swooning harps and lush, ethereal vocal stylings.

Standout songs like the synth mantra “Daniel”, ritualistic “Sleep Alone” and the mystic sensuality of “Pearl’s Dream” show you that she’s no Robin Hood. Bat For Lashes has a style all her own.

Lykke Li

Wise move.

Yttling, of the infamous Peter Bjorn and John knows something about pop, helping Lykke Li deliver catchy, delicious hooks sung in a simple, almost childlike tone. She almost seems as if she is intentionally under singing, as if to not upset the brilliant production and instrumentation on songs like “Little bit.” And on “I’m Good I’m Gone” her voice sounds almost as if it is starting to break off, just as it hits the high notes. But don’t be fooled- Lykke Li is in control of her instrument, intentionally sugar coating her voice, then unraveling under the strum of guitars and xylophones (especially on “Dance, Dance, Dance”). It’s that girlish softness that kind of makes Lykke Li’s breathy sweet songs a breath of fresh air.

Handsome Furs

Though “All We Want Baby Is Everything” is a downright salute to New Order, it is tracks like “Legal Tender”, the driving pulse of “I’m Confused,” and the antagonistic jump up and down/clap your hands feel of “Thy Will Be Done” that give Boeckner’s voice a Springsteen-at-the-punk-club feel.

THE BUZZZ

NERD, Santogold, & Julian Casablancas

Alice in Chains

YOU TUBE: UNDER THE COVERS


The Bird and the Bee (click here for song)
THE BIRD AND THE BEE
Covering Rihanna, Burt Bacharach style, the jazz pop duo The Bird And The Bee take the pop tart’s ‘Please Don’t Stop The Music’ out of the clubs and into a calypso induced cabana.
Recommended for a much needed hammock cat nap.

Faith No More (Click here for video)
FAITH NO MORE
Their covers range from The Commodores ‘Easy’ to the Nestles Candy bar theme song.
But it’s their cover of Lady Gaga’s overplayed ‘Poker Face’, complete with divulging confessional hook that reminds us why we have missed this rock band’s presence.

Built to Spill (Click here for video)
BUILT TO SPILL
An inspired take on M.I.A’s commercial swansong “Paper Planes” as a hoedown at the local Urban Outfitters, giving the funky hipsters edge.
And a first shot (devoid of accents) at really hearing what the song is actually about…

Katy Perry (click here for song)
KATY PERRY
Sultry. Smokey. Acoustic.
2009’s biggest pop act ”kissing” the year’s biggest alternative act: MGMT’s ‘Electric Feel.’
“And I like it!”

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Photos in order of appearance:

Pedro Figueredo CC-BY-SA-2.0

Courtesy of Converse

James Huckaby CC-BY-SA-2.0
Manfred Werner CC-BY-SA-3.0