The Duke Spirit - Neptune

The only reason you would think The Duke Spirit is from the planet Neptune is due to the fact their music is out of this world. Ok, sorry for that. But in reality I'm not far off in saying The Duke Spirit may take off into stardom. The first chapter of the British band starts when lead singer Liela Moss was attending art school for photography and became friends with guitarist Luke Ford who was studying painting at the same school. The two began writing music together and soon after ditched school to move to London. Once there, Liela and Luke recruited fellow friend Toby Butler to be the bassist, and a new roommate Dan Higgins became the second guitarist. Olly Betts joined the lineup and then the band was complete. Their first EP Darling, You're Mean (2003) was released in the UK by the City Rockers label. The band's second EP of that year Roll, Spirit, Roll (2003) was met with critical acclaim by the likes of NME. As the band was still recording and touring with the intention of releasing their debut in 2004 their label City Rockers folded early in 2004 leaving the band without a musical home. After signing with Loog their debut Cuts Across The Land (2005) was finally released. But tumultuous times still lay ahead for the band as they toured the US supporting Ted Leo after signing a U.S. distribution deal with Startime International. During 2006 tour they played to a raucous crowd at Coachella, but had huge bumps when Toby broke his arm in Vegas and their gear was stolen in Portland. Needless to say, things were a bit rocky. Just as momentum would start swinging their way they were derailed. But thankfully, the train has been righted and is charging full-steam ahead.

The Duke Spirit return with their long-awaited follow up Neptune (2008) released on their new U.S. label Shangri-La Music. First of all, Liela Moss has one of the most powerful, bluesy, seductive, and entrancing voices in modern rock music today. There are few that come close to the exuberance she puts through on every track. The closest would probably be Karen O, minus the crazed yelling and hysterics. The music produced is in the mold of My Bloody Valentine, The Pixies, and Sonic Youth. Those bands are pretty illustrious company, but they're really not that far away from getting to that level. Their polished grunge sound that is infused with the blues even hearkens back to - dare I say - The Rolling Stones. While this was a long awaited follow-up I'm sure fans will be satisfied with the finished product. Neptune has 11 proper songs and short lead-in diddy at the beginning. Overall, this is an album that you can listen to all the way through and be begging for more by the end. With most albums there are a few standout tracks, including "The Step and the Walk," "This Ship Was Built to Last," "My Sunken Treasure," and "Lassoo." All the songs are pretty tight, coming in between 2.5 and 4.5 minutes each. I've been lucky enough to see them live in a compact setting and I was blown away. The sheer energy Liela projects to the audience is a true gift. Some performers know how to please an audience and really put on a show. This talent can't really be learned, but Ms. Moss is blessed to have been born with that natural talent. And while I kind of dismissed The Duke Spirit upon first spin (I think just a little more vocal harmony would go a long way for some songs), I'm now firmly in hanging onto their bandwagon rooting for them to hit the big time.

Cadence Weapon - Afterparty Babies

Rollie Pemberton, born in Edmonton, Alberta, Canada is only 22 years old and he goes by the stage name of Cadence Weapon. With many great young musicians, he creates music that sounds well beyond his formidable years. Having grown up in Canada one might think there would be few opportunities to listen to hip-hop, or be influenced by others. In fact, his father Teddy Pemberton is credited with bringing/introducing Edmonton to hip-hop and rap. The elder Pemberton grew up in Brooklyn, NY and created a radio show devoted to the genre in 1980. While his love for hip-hop grew through his teenage years, Rollie's mom wanted him to get an education and he enrolled at college in Virginia to pursue journalism. By the time he was 19 he was established as a stingy music critic most notably for Stylus Mag (R.I.P.) and Pitchfork Media (fired after editor-in-chief called his reviews too vague). Being out of school and out of writing gigs he immersed himself in lyrics and his own beats to finally create his own music. He posted writings and tracks to his blog and gained notice from labels such as Def Jam, that eventually had him produce tracks for Lady Sovereign. After his critically acclaimed debut Breaking Keyfabe (2005) he is back with the follow-up.

Afterparty Babies (2008) ventures into new territory for Cadence Weapon. Whereas his debut album was heavily influenced by UK grime and garage rap, this newest effort has much more techno and house music conventions. The former had deep heavy beats and Babies sees more electronic and synths for the basis of beats and hooks. But what it comes down to is Cadence Weapon's lyrics. He's the embodiment of what hipster hip-hop fans love. He's hip without trying too hard to be hip. He's smart but doesn't come off as pretentious. He's knows a good beat has massive and widespread appeal. And he's witty enough to have biting pop culture references that you may miss on the first spin. You can listen to this album over and over and find new wrinkles and meanings with each listen, and that is where Cadence Weapon really grabs hold of the neurotic indie audience; more bang for your buck (although it's probably been illegally downloaded, so...yeah).

School of Language - Sea from Shore

School of Language is actually a side project by a member of Field Music named David Brewis. He's the singer/guitarist responsible for every sound on his debut solo album Sea from Shore. Having not been familiar at all with the work of Field Music, this album was basically like a blind date; I had high hopes but also wanted to reserve judgment until I got to the end of it. The album is creative, melodic, and a bit different from "normal" solo artist work. Brewis layers sounds and vocals to create interesting and catchy rhythms on many tracks. Immediately you think that this is an artist exploring musical territory that wasn't possible in the confines of his regular band. Sometimes you just need the freedom to explore individual thoughts without having others changes and mold your song ideas. Brewis definitely explores new areas that is at the same time intriguing and exciting to hear.

Sea from Shore is anything but straightforward. Brewis isn't just jamming on his guitar through typical singer-songwriter chord changes. Instead, there are cut up vocal loops, banging piano splashes, and catchy guitar riffs. Best of all, these elements keeps you on your toes and makes you listen closely. Even when you get into the album and try to predict what's coming next you may be surprised to hear something that is exactly the opposite. In addition, Brewis consistently comes through with sterling melodies. All in all, this record was a pleasant change of pace.

The Historical Conquests of Josh Ritter

It's somewhat stupid to be reviewing this Josh Ritter album here. Mainly because I feel like a moron for not championing Ritter's music sooner. In addition, this album is somewhat of a departure for Ritter. I had read that after recording and touring with his previous effort Animal Years Ritter was looking for something new and different. He took some time away from it all and travel and listened to different music. But before jumping into the newest effort, you may be wondering where Ritter came from. He was born and raised in Moscow, Idaho and attended college at Oberlin in Ohio. While in the middle of his studies of neuroscience at Oberlin he began writing songs after listening to Bob Dylan, Johnny Cash, and Leonard Cohen. Soon enough he changed his major to one he created himself that was basically American History through the eyes of folk music. His most important break came in the form of opening for Glen Hansard and his band The Frames (of Once fame and notoriety) in a tour of Ireland. To this day, Ritter has a devoted following in Ireland.

On Ritter's previous albums he creates great folk/singer-songwriter music. On his newest release he branches out, turns up the volume and really shows off his skills for arrangement. This is definitely not the Josh Ritter the audience is used to. From the first track you can tell this album is a treat. Ritter has taken a great big musical step forward. Ritter has traded in his acoustic guitar for electric and in doing so he sings with great analogies from all points of literature and personal experience. One of the best parts about this album is that volume is no object; soft or loud it works. Overall, the album sees a successful artist taking his game to another level which is always fun to listen to over and over.

JayMay - Autumn Fallin'

Jamie Seerman is better known in the musical world as JayMay. I've kinda had my eye on her ever since I stumbled upon her Sea Green, See Blue (2006) EP from a couple years ago. She immediately reminded me of other folksy, sweet and slightly raspy voiced female singer-songwriters like Feist, Emily Haines, Eleni Mandell, Jenny Lewis or Cat Power. Each of these ladies has a distinctive but similar voice. Their approach to songwriting and overall melodies make them interesting listening material. JayMay stood out for her insightful and smart lyrics that seemed like a breath of fresh air and her pleasant arrangements incorporating strings (and vibraphone I think). Her early work garnered enough attention to get her a record deal with UK-based Heavenly Records which is distributed through major label EMI's subsidiary Blue Note (same as Norah Jones). She moved to London to be in closer proximity to the label in 2007. She recently appeared on Late Night with Conan O'Brien on March 11, 2008 and if I could find video of it I would share it with you.

Her debut album Autumn Fallin' is a promising debut from another talented female singer-songwriter. When/if people find her and seek out her album they'll be pleasantly surprised by how easy this album is to put on and leave on the stereo or iPod. Personally, I hit play and kind of knew what to expect. You may catch yourself drifting off but her lyrics will make you listen closer. I'm sure with a bit more exposure and a US tour she will gain some notoriety and a honest fanbase, which she has already developed. Hope you enjoy the track below.

Vampire Weekend

For the love of all things holy and sacred, what hasn't been said about Vampire Weekend. Can I possibly enlighten you further? I first wrote about them back in August of '07 and was anxious to see how things shook out for the current indie darlings. Well, like many indie darlings before them they've hit mainstream with an appearance on Letterman and when you do a simple "vampire weekend" search on YouTube it returns ~665 results. I genuinely like Vampire Weekend. I'm not going to sit here and write that I know where their career is going to go, or say they suck because I want to be edgy, or say they have room to grow. It's just irritating in some ways to see a band become successful and then get dissed because they're successful. Isn't that what all artists want anyway? Don't they want to be acknowledged for doing good work? Don't they want to actually make money doing what they love? I totally understand people enjoying the feeling of "discovering" a band and claiming it as their band baby. They tell only their closest friends, and spread the gospel sparingly because they see them as a crown jewel in their indie music crown of smugness. I can admit to doing this on occassion. I'm okay with saying that, because I enjoy the music. I'm not saying a band is great just to say I know them, or just to impress another music geek. I want to tell people about music I enjoy, music that I can listen to over and over. Vampire Weekend is a solid young band. They manage to sound "fresh" because they drawn from less likely predecessors like Paul Simon or Peter Gabriel. It's not only this fact, but also they mostly manage to do it well. They aren't going to change the world. They aren't going to sell out The Meadowlands. They're going to be played on the radio and people that don't know much about music will like them. Their music is fun, smart, and generally happy sounding. I could tell this was most likely going to happen when I saw the in concert a week or so ago. I had gotten wind that the audience was a mix of longtime fans and newbies just by overhearing conversations and looking around. I kinda knew it was downhill when a friend told me that her mom "really liked this new, cute band named Vampire Weekend." OF COURSE your band is going to lose street cred when moms start liking them. Nothing is as cool when your mom likes it at the same time you do. That is an immutable law of nature. (Love you mom).

Anyway, enough of my ranting and raving. Vampire Weekend's debut self-titled album is really good. It's not going to blow your mind or make you change religions, but it may perk up your ears and put a little bounce in your step. Because I have an affection for cover songs the song posted below is Vampire Weekend covering one of my favorite Radiohead songs. I know, I know it can't possibly do the original justice, but it's still interesting to hear their take on a classic song that is (already) 10+ years old. I could go on and say how much I was appalled by the review of the concert I went to in Variety by Steven Mirkin. I swear, the review is so bad and scathing I wouldn't be surprised if the dude is 45 and stayed for the first 3 songs and left to beat traffic (very L.A.). Hope you enjoy the track below.

Georgie James - Places

I have an automatic affinity for Georgie James because they are from the same place as myself (relatively): Washington, D.C. I wouldn't go so far to say that the District of Columbia is a hub for indie pop rock, but then again I never explored the underbelly of it's music scene to find out. The band is made up of John Davis (formerly of Q and Not U) and Laura Burhenn. When Davis' band dissolved in 2005, he met Burhenn through the D.C. music scene and they bonded over similar tastes in pop music from 1950s-1970s. They self-released a demo in 2006 titled Demos at Dance Place. Either way, Georgie James came to my music collection because I heard a song they composed for NPR's Project Song series from All Songs Considered called "Monument." This track isn't on their album but sparked my interest enough that I sought out the album. In no way was I disappointed.

Their debut album on Saddle Creek Records is Places. It's a solid album through and through. Places is nice. A perfectly nice debut album. Georgie James doesn't try to be anything but themselves, which is admirable in and of itself. It sounds nice. It's well recorded. It's well produced. It's nicely arranged. It's nicely sung and played (even nice enough for a 7.4). For the most part, Davis and Burhenn alternate who sings and who sings harmony. This works out well as their voices mesh in a unique way that doesn't sound too perfect, but doesn't make you want to stop listening. Overall, the album is listenable all the way through, and may stick with you or it may not. But I've come back to it when I want something nice and familiar and I don't have to think about too much. As I said, it's quite a nice listen. Now it's your turn: