Caribou on tour with Toro Y Moi

I love this double bill! At first they might seem very different, but when you think about it, the echoey trance-like softness of Toro Y Moi and the more earthy, rhythm-driven flourishes of Caribou make a perfect juxtaposition. I saw both bands at the Middle East in Boston the other night and it was a (literally) hot, frenetic, noisy (two drummers for Caribou!), and joyous experience.

And there's a lot more of the tour left to come. Check them out on the dates below:

May 6th - Cambridge, MA @ Middle East Downstairs
May 7th - Brooklyn, NY @ Music Hall of Williamsburg
May 8th - New York, NY @ Bowery Ballroom
May 9th - Philadelphia, PA @ First Unitarian Church
May 10th - Washington, D.C. @ Rock n Roll Hotel
May 11th - Charlottesville, VA @ Jefferson Theatre
May 12th - Carrboro, NC @ Cat's Cradle
May 13th - Atlanta, GA @ The Earl
May 14th - Baton Rouge, LA @ Spanish Moon
May 15th - Houston, TX @ Warehouse Live
May 16th - Austin, TX @ Emo's Alternative Lounge Outside
May 18th - Tempe, AZ @ The Clubhouse
May 19th - Los Angeles, CA @ The El Rey Theatre
May 20th - San Diego, CA @ The Casbah
May 21st - Mexico City, MX @ Teatro Fru Fru
May 22nd - Monterrey, MX @ Escenica
May 23rd - San Francisco, CA @ The Independent
May 24th - San Francisco, CA @ The Independent
May 26th - Portland, OR @ The Hawthorne Theater
May 27th - Seattle, WA @ Neumos
May 28th - Victoria, BC @ Sugar
May 29th - Vancouver, BC @ The Rickshaw Theatre
May 31st - Calgary, AB @ The Republik
June 1st - Edmonton, AB @ Starlite Room
June 2nd - Saskatoon, SK @ Amigos
June 3rd - Winnipeg, MB @ Royal Albert Arms
June 4th - Minneapolis, MN @ First Avenue
June 5th - Chicago, IL @ Empty Bottle
June 6th - Lawrence, KS @ The Granada Theatre
June 7th - St. Louis, MO @ Firebird
June 8th - Louisville, KY @ Zanzabar
June 9th - Cleveland, OH @ Beachland Ballroom

That same night, I picked up the 7 inch of Toro y Moi's dreamy "Blessa," which is probably one of my favorite songs of 2010 so far. Click here to download "Blessa" on MP3.

-- Anna K

JJ: Seaside Sounds

JJ no.3 actually came out last month, while winter was still lingering here in Boston. But as the sun re-emerges and the air warms with the promise of spring, I find myself listening to the Swedish duo’s third album more or less constantly—right now, their tropical-tinged, sample-inflected hazy pop songs just sound perfectly uplifting.

On “Let Go,” Elin Kastlander’s voice is as gentle as an ocean breeze and as gritty as sand—striking a perfect balance between sweetness and salty melancholy. When she sings, “Let go / let your skin show / that you’ve been in the sun today / let’s go / let your mind blow / all your sorrows away,” I’m ready to start making plans for my next beach vacation.

Download JJ’s “Let Go” on MP3 (sunscreen not included).

- Anna K

Patrick Watson Brings Distinctive Sound to US Tour

Montreal musician/self-titled band Patrick Watson—whose clanking, clattering, crooning, unpredictable Wooden Arms was one of my favorite albums from 2009—are heading out on their first US tour for a long time. Catch Watson and his band at the dates below… but why no Boston, hmm, guys? Don't tell me I'm going to have to go all the way to NYC to get my fix.

Patrick Watson - 2010 Tour Dates
Apr 21 Rimouski @ Salle Desjardins-Telus Rimouski, Quebec #
Apr 22 Sept-Iles @ Salle de Spectacle Jean-Marc Dion Sept-Iles, Quebec #
Apr 23 Baie-Comeau @ Théâtre de Baie-Comeau Baie-Comeau, Quebec #
Apr 25 Québec @ L'Impérial de Québec Québec, Quebec #
May 04 Laval QC @ Église Sainte-Rose Laval, Quebec
May 06 Brooklyn NY @ Bell House Brooklyn %
May 07 New York NY @ 92YTribeca New York %
May 08 Washington DC @ Rock & Roll hotel Washington %
May 17 Chicago IL @ Schuba's Chicago
May 19 Denver CO @ Larimer Lounge Denver
May 22 Los Angeles CA @ Hotel Café Los Angeles
May 24 San Diego CA @ Casbah San Diego
May 26 San Francisco CA @ Café du Nord San Francisco
May 28 Portland OR @ Doug Fir Portland, Oregon *
May 29 Quincy WA @ Sasquatch Festival Quincy
# w/ Timber Timbre
% w/ Doveman
* w/ Laura Marling

And to get a feel for the band's distinctive sound, download the rain-spattered, string-haunted lament “Tracy's Waters” on MP3.

-- Anna K

Eastergaze with Serena-Maneesh and the Depreciation Guild

Instead of hunting for eggs or using peeps to recreate 20th-century masterworks, I spent my Easter Sunday at TT the Bear’s, having my eardrums vibrated by the fuzz-drenched double bill of Serena-Maneesh and the Depreciation Guild .

The latter’s forthcoming Spirit Youth has already found a home on my spring playlist, especially songs like “Trace,” “My Chariot,” and the elated, giddy guitar-swirl of “Dream About Me.” Despite a slightly muddy live sound mix that buried Kurt Feldman’s soft vocals, the Depreciation Guild played a tight and energetic live set, with fluttery synths and tight drums sharpening the intensity of their blurred, noise-drenched sound.

Download The Depreciation Guild – "My Chariot" MP3

Meanwhile, headliners Serena-Maneesh started a little short-handed with the absence of core member Hilma—I have to admit I missed not only her distinctive stage presence, but also her whispery-soft vocals, which add a fascinating lightness to the band’s more abrasive moments. However, singer-guitarist Emile Nikolaisen more than made up for her absence, draped in a ragged blanket and shaking maracas frantically on new songs like the addictive “Ayisha-Abyss” from the newly released No:2: Abyss in B Minor. I picked up a vinyl copy after the show, and if it’s even half as awesome as their last, self-titled album, it will definitely be a worthwhile purchase.



The tour is almost over, alas, but if you move quickly you can catch both bands on these (non-religious-holiday) dates:

4.5 - Milford, CT @ Daniel Street
4.6 - Philadelphia, PA @ Kung Fu Necktie
4.7 - Washington, DC @ DC9
4.8 - New York, NY @ Le Poisson Rouge

-- Anna K

The Besnard Lakes Tour US, Make the Sound of Dreams

Last night I dreamed about watching the Besnard Lakes perform a live concert in a giant underground cave, stalactites dripping from the ceiling. It's not surprising, I guess, since their towering, cinematic new album The Besnard Lakes are the Roaring Night has been on repeat in my iPod since its release last month. The album sounds even better (and has a cooler title) than it did when I first heard some of it live last October.

Make sure you check out the Besnard Lakes as they embark on an epic tour across the US later this month. Not sure if any underground cave dates are scheduled, but they seem to be playing just about everywhere else. (Here's hoping they remember the fog machine this time.)

And finally, if you haven't yet enjoyed the bittersweet, soaring drone of their new single "Albatross", well, you've been missing out. Click here for the MP3.

Besnard Lakes Tour Dates 2010

04/27/10 Minneapolis, MN - 7th St Entry
04/28/10 Winnipeg, MB - The Royal Albert Arms
04/29/10 Regina, SK - The Exchange
04/30/10 Saskatoon, SK - Amigos
05/01/10 Edmonton, AB - Pawn Shop
05/02/10 Calgary, AB - Broken City
05/04/10 Victoria, BC - The Lucky Bar
05/05/10 Vancouver, BC - The Media Club
05/07/10 Portland, OR - Mississippi Studios
05/08/10 Eugene, OR - W.O.W. Hall
05/10/10 San Francisco, CA - The Independent
05/12/10 San Diego, CA - Casbah
05/13/10 Los Angeles, CA - Troubadour
05/14/10 Tempe, AZ - Sail Inn
05/15/10 Tucson, AZ - Plush
05/20/10 Dallas, TX - Granada Theater
05/24/10 Chicago, IL -
05/25/10 Bloomington, IN - The Bishop w/ Early Day Miners
05/26/10 Cleveland, OH - Beachland Ballroom
05/27/10 Washington, DC - Black Cat
05/28/10 New York, NY - Bowery Ballroom
05/29/10 Philadelphia, PA - Johnny Brenda's
05/30/10 Boston, MA - TT the Bear's Place

-- Anna K.

Phantogram rocks Boston, releases new album

When they stepped onto the stage at Boston's Great Scott last night, Phantogram's Sarah Barthel and Josh Carter looked remarkably young and fresh-faced, not unlike the college kids who made up the majority of the crowd. For some reason, I expected the duo to be older—maybe just because the assured songs on their debut full-length Eyelid Movies (released just in time for last night's show) seem to reflect the confidence of long experience.

Phantogram's sound--which whips together bright, ringing guitars, smooth vocals, and dense, hip-hop-esque beats--sometimes reminds me of vintage Portishead or Bowery Electric, minus the feeling of stoned relaxation. Instead, songs like "Bloody Palms" and "Running from the Cops" combine languid melodies with an edgy, beat-driven intensity, while even the slower tracks, like "You Are the Ocean," seem to throb with anxiety. Though a few songs (like album closer "10,000 Claps") sound less fully developed than others, Eyelid Movies makes for a cohesive whole, filled with a compelling, seductive energy.

That energy was on full display last night at the show, when a small but adoring crowd danced, bounced up and down, sang along, and otherwise displayed their devotion. It may have been the band's relative inexperience that brought a slight initial tentativeness to their live show; it took them a few songs to really pick up the energy from the album. Still, for a two-person band (Carter on guitar and vocals, Barthel singing and dancing behind a daunting bank of synthesizers) Phantogram generated a remarkably big sound. They saved "When I'm Small" for last, and with good reason: it's probably the best song they've written yet, and it sounded incredible live, closing the show with a sexy, energetic swagger. As time goes on, I have no doubt they'll be able to harness that potential over a long-lasting career.

Download "When I'm Small" on MP3

- Anna K

Reflections on a silver soul

In honor of yesterday's release of the new Beach House album, Teen Dream, thought I'd share the video for my current favorite track, "Silver Soul." Singer Victoria Legrand directed this video, one of several included on a DVD when you buy the album; it features some truly mystical hula hooping in, you guessed it, hues of silver:


Download: Beach House - Norway MP3

-- Anna K

Tomorrow, in a year

Last fall, a friend of mine traveled to Copenhagen with the express purpose of seeing "Tomorrow, in a year," the Knife's opera based on the life of Charles Darwin. (Apparently, it was well worth the journey.)

The rest of us fans of the Knife may not be quite as devoted, but we can at least share in the awesomeness on March 1, 2010, when the Knife will release "Tomorrow, in a year" in album form. A collaboration with the artists Mt. Sims and Planningtorock, the opera will also be performed live in select European cities in 2010, according to their website.

For now, you can sign up to their mailing list at the link above to get a free MP3 of a new song. Called "Colouring of Pigeons," the 11-minute epic rides a slow build of thunderstorm rainforest percussion into elegantly operatic vocals by an unknown singer, before the familiar voice of Karin Dreijer Andersson winds its way out of the shadows. Stream it below:

Colouring of Pigeons by The Knife

- Anna K

2009 highlights (with MP3s)

Favorite album (tie)

Fever Ray – Fever Ray. The Knife’s Karin Dreijer Andersson harnesses dualities— organic/artificial, animal/human, male/female, adulthood/childhood—to create a fascinating and cohesive whole. I haven’t been able to stop listening ever since I first heard “If I Had a Heart” back in January. This is music constantly revealing itself, forcing you to look deeper.



Sin Fang Bous – Clangour. The cover of this LP shows the song titles cobbled together from twigs, branches, paper, and bits of metal—a fitting metaphor for the layered and vibrant sound of Icelandic musician and artist Sindri Már Sigfússon. Meticulously crafted (but never twee) songs like “Carry Me up to Smell Pine” and “Clangour and Flutes” lead you along a forest path of unexpected twists and turns.

Sin Fang Bous – Melt Down the Knives MP3 courtesy KEXP

Other highlights (in no particular order): The XX – XX, Patrick Watson – Wooden Arms, Telepathe – Dance Mother, A Sunny Day in Glasgow – Ashes Grammar, JJ – JJ No. 2, Moderat - Moderat, Hope Sandoval and the Warm Inventions – Through the Devil Softly, Animal Collective – Merriwether Post Pavilion, Asobi Seksu – Rewolf

Favorite EP

Maybe it’s the predominance of song-by-song digital downloading—or maybe our attention spans are just getting shorter—but it seemed like there were almost as many EPs as full albums this year. Break out the long-players, guys!


Glasser – Apply. An irresistibly energetic blend of tribal percussion and soaring female vocals, combined with some awesome remixes (especially the John Talabot version of “Learn”), make this the perfect soundtrack for both a brisk run on the treadmill and a peaceful walk in the sunshine.

Glasser – Glad MP3 courtesy Stereogum

Other EPs: Phantogram – Phantogram, Memory Cassette – Call & Response, Washed Out - Life of Leisure, ZaZa – Cameo, Delorean – Ayrton Senna

Favorite songs

In no special order, here are five songs that rose to the top of my playlists this year:

Active Child – She Was a Vision MP3 courtesy Transparent blog

Phantogram – When I’m Small MP3

JJ – Ecstasy MP3

Speck Mountain - Angela



Atlas Sound – Quick Canal (w/Laetitia Sadier of Stereolab)




- Anna K.

New Portishead song - "Chase the Tear"

Just when I thought Portishead couldn't possibly get any more awesome, they've gone and released a new song in honor of International Human Rights Day: the propulsive yet hauntingly lovely "Chase the Tear."

You can watch a video of them performing the song below, and make sure you go to 7 digital and download the MP3; it's only 99 cents, and all proceeds go toward Amnesty International.

Portishead - Chase The Tear from Mintonfilm on Vimeo.

- Anna K

Active Child: making new memories

One of the most fascinating new artists I've come across this year, Active Child combines a warm, androgynous voice--reminscent of Antony Hegarty or Boys Don't Cry-era Robert Smith--with layers of cool synths and drum machines to produce a romantic, distinctive sound. For fans of machine-heart divas like Goldfrapp, people who still listen to Tears for Fears and A-Ha, or just anyone who wants to hear something new yet deliciously nostalgic. And to further the nostalgia vibe, his Facebook page promises a "cassette coming before the New Year."

If, unlike me, you don't still have your tape player handy (what??) you can download two Active Child mp3s-- "When Your Love is Safe" and the incredible slow-burner "Wilderness"--for free right now over at RCRDLBL.

Meanwhile, here's a YouTube clip of my favorite song yet, "She Was a Vision" (available for download here):



-Anna K.

Download a free haunted autumn mix featuring Fever Ray, Hope Sandoval, ZaZa, and more

I recently created a spooky mix for autumn, inspired not only by Halloween but by the whole atmopshere of the season: bright crumpled leaves, stone-gray skies, bare filaments of tree branches, and pumpkins collapsing in the chilly rain.

You can download the hour-long mix below, including new music from ZaZa, the Horrors, Warpaint, Fever Ray, and Hope Sandoval, among others. If you like what you hear, make sure to check out more from these amazing artists.



Cover image (above) by Noisette*.
And here's the track list:

1. Fever Ray - Here Before
2. Palms - Monte Alban
3. Dead Man's Bones - Lose Your Soul
4. Death in Vegas - Hands Around My Throat
5. The Big Pink - Velvet
6. The Raveonettes - Oh, I Buried You Today
7. Warpaint - Elephants
8. Chromatics - The Guest
9. A Sunny Day in Glasgow - Blood White
10. SALEM - Water
11. ZaZa - The Call
12. Black Rebel Motorcycle Club - Rifles
13. The Horrors - Sea Within a Sea
14. Hope Sandoval and the Warm Inventions - For the Rest of Your Life

-Anna K

Concert review: The Raveonettes at the Paradise Rock Club, Boston, 10/20/09

In an uncertain world, there’s something to be said for consistency. I’ve seen the Raveonettes at the Paradise three or four times over the last few years, and I always know exactly what I’m in for: noisy, gorgeously dark rock and roll, performed with energy and an irresistible coolness. Though a lot of songs from the brand-new In and Out of Control made it into the set list, last night the Raveonettes sounded basically unchanged from the last time I saw them, their sound as sleek and timelessly classic as a vintage black leather jacket.

It’s no coincidence, in fact, that the Danish band has always cultivated a distinct visual style. Last night, singer/guitarist Sharin Foo epitomized rock-star glamour with her sparkly black heels, one-shoulder dress, and chopped blond bangs; while singer/guitarist/songwriter Sune Rose Wagner radiated an elfin sexiness in tight black skinny jeans. Clearly, the Raveonettes are aware of the power of their personas as a selling point—at the merch table, you could find mugs, stickers, and bags emblazoned with a cartoon of the two band members, starkly drawn in perfect lines of black and white.

Which isn’t to say, though, that the band is all style and no substance. Accompanied by a drummer and bassist, they sounded great last night despite some early technical difficulties, drenching their trademark 50s-style girl-group hooks with fuzzed-out guitars and sweet yet affectless vocals. Many highlights came from 2008’s amazing Lust Lust Lust, with “Blush,” “Dead Sound,” and the eerie, Twin-Peaks-esque “The Beat Dies” sounding especially powerful. They slowed down for a spare, almost acapella take on new song “Oh I Buried You Today” and a hushed version of “Little Animal” that sounded almost like a lullabye—until you heard the lyrics.

The new song that probably left the biggest impression was “Boys Who Rape (Should All Be Destroyed).” With its addictive chorus and sweetly harmonious coda, I guarantee this is the catchiest song about sexual assault that you’ll hear this year (or maybe ever). Definitely worth a listen.

And in the meantime, here’s the Raveonettes’ video for “Black/White”—one that perfectly sums up their musical and visual style:


--Anna K

The Besnard Lakes debut new songs, reveal 2010 album details

Those of us who turned out to see The Besnard Lakes last night at TT the Bear’s Place in Boston got some cool surprises: the debut of some new material, plus a few tantalizing details about the long-awaited follow-up to their 2007 stunner The Besnard Lakes Are the Dark Horse.

Featuring a stripped-down four-person lineup—and, sadly, minus their usual smoke machine—the Besnards seemed a little tentative at first, with bassist/vocalist Olga Goreas confessing: “We haven’t done this in a while.” Even so, it didn’t take long for the band to showcase gorgeous blended vocals, shoegazing guitars, and cinematic, David Lynch-influenced atmosphere on live staples like “Disaster” and “And You Lied to Me.”

And they played new songs, too: four of them in all, two of which are so new, vocalist/guitarist Jace Lasek told me, that they don’t even have names yet. In general, the new material seemed more on the dense, noisy side, a la “Devastation,” though that could just have been the live setting; the nameless opening song featured gauzy, echoing feedback waves nearly burying overlapping vocals, while riffs from the more propulsive “Glass Printer” seemed to reverberate off the ceiling. My favorite new song, “Chicago Train,” had the epic feel of 2008’s excellent Casino Nanaimo, with Lasek gorgeously crooning “this is the last time I will follow,” while Goreas played the flute (!) along with some truly beautiful guitar melodies.

After the show, Lasek revealed that the band’s next album has a working title of Let the Night Roar—assuming he’s not joking around, it’s one of those titles that walks the fine line between awesome and completely over the top. After playing one more show in New York tonight, the band will go back to the studio and refine the songs for a tentative March 2010 release.

In the meantime, here’s my favorite song from Dark Horse and one of last night’s live standouts, the haunting, heartbreaking “For Agent 13”:



The Besnard Lakes - "And You Lied To Me" mp3

Phantogram on tour with School of Seven Bells

I’ve been obsessed with Phantogram ever since I heard a KEXP podcast featuring “When I’m Small”—an unforgettable blend of silky vocals, aggressive beats, and spy-movie guitar. Phantogram’s self-titled debut EP, available on their Myspace page, reveals influences from artists like Portishead and the Knife, but still sounds urgent and new.

I mention Phantogram because I just read that they’re touring this month with School of Seven Bells, whose dreamy, epic “Half Asleep” was one of my favorite songs of ’08. Check out dates for this promising double bill below; now, if only they’d come to Boston…

Phantogram & School of Seven Bells

Sept. 26 – Ottobar, Baltimore, MD
Sept. 27 – Rock n Roll Hotel, Washington, DC
Sept. 28 – Local 506, Carrboro, NC
Sept. 29 – Drunken Unicorn, Atlanta, GA
Oct. 1 – Emo’s Junior, Austin, TX
Oct. 4 – Casbah, San Diego, CA
Oct. 5 – Troubadour, Los Angeles, CA
Oct. 6 – Slim’s, San Francisco, CA

Learning to speak Ashes Grammar

Everything about A Sunny Day in Glasgow—from their too-long name to artsy song titles like “Panic Attacks Are What Make Me ‘Me’”—seems designed to be a little bit inaccessible. Though they’re often compared to fellow shoegaze-influenced, female-fronted bands like Asobi Seksu and Mahogany, their music tends to push the experimental boundaries further than either one, veering away from dream-pop and more into noise and abstraction. I liked their 2007 album Scribble Mural Comic Journal, but I found it hard to listen to from beginning to end: The songs were just too claustrophobic, packed full of dense noise and buried female vocals that hovered right on the edge of breaking free.

On their brand-new release Ashes Grammar—which comes out September 15 on Mis Ojos Discos—A Sunny Day in Glasgow open up some space in their sound, allowing daylight to break through. As the album begins, the gentle choral wash of “Secrets at the Prom,” showcases Robin and Lauren Daniels’ gorgeous harmonies. This in turn segues into the slow-building “Slaughter Killing Carnage,” which crashes into the joyous climax of “Failure"--only to dissolve unexpectedly into soft, hazy bliss-pop in the song’s second half. In just a few minutes of music, it feels like you’ve crossed an entire landscape.

There’s something unpredictable about the best moments of Ashes Grammar, something ethereal yet catchy, that demands repeat listening. On standout tracks like “Close Chorus,” “Shy,” and “Passionate Introverts (Dinosaurs),” disparate elements—electro beats, handclaps, lovely vocal loops, shivery guitar chords—build off and contrast with one another in subtly unexpected ways.

Yes, last third of album loses a little of the momentum, and some of the more abstract moments--with the exception of the hypnotic “Canalfish”—start to blur together. But beginning to end, it’s still one of the most interesting albums I’ve heard this year, and one of the hardest to pin down. Over a week after my first listen, I’m still discovering something new.

Listen to “Failure,” courtesy of Stereogum.

Live Review: Asobi Seksu @ the Middle East, Cambridge, 3/30/09

With this review, extrawack! welcomes new Boston correspondent Anna Kramer...

Asobi Seksu at the Middle East, Cambridge, March 30, 2009

Last night’s show began with an unexpected twist: A last-minute move from the 500-person capacity Middle East Downstairs club to the much smaller Upstairs section of the venue. But whatever this shift may have meant for Asobi Seksu, they didn’t seem to mind. “This show got a lot more intimate, but that’s okay,” said vocalist/keyboardist Yuki Chikudate. “Now we’re a whole lot closer together.”

Asobi Seksu’s music has always been about balance, especially on 2007’s stunning Citrus, which cut sweet vocals with all-out shoegaze guitars. With their latest album, Hush, Yuki and guitarist James Hanna turned the noise down a bit, resulting in melodies so ethereal they sometimes threaten to dissolve and float away completely.

Last night, though, the band set out to prove they were firmly anchored on earth. Armed with a bassist and drummer—and lit eerily by blue and pink Christmas lights—they opened with a pounding, percussive version of “Sing Tomorrow’s Praise” that set the tone for a noise-drenched, epic set. New songs like “Meh No Mae” and “In the Sky” took on added depth and resonance with a more prominent rhythm section, while Yuki’s vocals soared high and pure above the sonic assault, especially on the more melodic “Blind Little Rain.”

Citrus was well represented too, with the angular “Strawberries” and my personal favorite, “Thursday,” with its Slowdive-esque male-female vocals. But it was the combination of “Pink Cloud Tracing Paper” and “Red Sea” that brought the show to a climax. Strobe lights stuttered, James flailed his guitar madly, and Yuki even took a turn on drums as the last song veered into a ten-minute-plus monumental drone that still has my ears ringing the next day.

Despite a few seeming omissions from the set list—No “Me & Mary”? No songs from their self-titled debut?—I left feeling like I had experienced something unexpectedly special: The chance to see a very big-sounding band on a very, very small stage.