Monday, July 30, 2007

10-Song Introductions: Belle and Sebastian

Getting into an artist, especially an established one, is no easy task. There's often a daunting amount of material to sift through, along with the possibility of being called a bandwagon jumper. With this feature, I'll try to introduce you to the best aspects of an artist, with the hope that you'll hear something you like.

1. The State I Am In
This perfect example of Stuart Murdoch's wit and knack for a tune introduced Belle & Sebastian to those lucky enough to have heard "Tigermilk" when it was first released. Besides being the opening track on that no-longer rare, yet still much-coveted, debut album, an earlier demo version appears on the "Dog on Wheels" EP. Both are equally good, although if pressed, I'd have to say the EP version gets my vote.

2. Get Me Away From Here, I'm Dying
A bouncy, upbeat track that sums up the Belle and Sebastian ethos in its opening lines: "Get me away from here I'm dying...paint me a song to set me free...nobody writes them like they used to so it may as well be me." In the hands of a lesser songwriter, such a line could come off as pretentious. With Murdoch, it's more of an 'aww shucks' moment that's helped by a simple fact: it's true.
3. Sleep the Clock Around
This song has a subtle, insistent momentum to it that's quite unique: Stuart and Isobel Campbell share vocal duties over a bed of keyboards; threadbare, electronic-sounding drums; and some downright weird sounds. This is an interesting tangent for the group, one that they would never duplicate on later recordings. It's a shame, because it's one of their most infectious and endearing pieces.
Influence Note: "Hooligans on E" by Pete Doherty of The Libertines, particularly the version heard on "The Sailor Sessions", bears an unmistakable resemblance to this song.

4. Dirty Dream #2
This upbeat number is possibly the finest moment on "The Boy with the Arab Strap", with the ensemble trying their hand at soul music. A dramatic, if playful, string section floats over a steady backbeat provided by Richard Colburn. Even with Campbell's sumptuous harmonies further contributing to the romantic musical atmosphere, Murdoch can't help being a little devious: "Could you put a name to someone else's sigh? Could you put a face to someone else's eyes?"

5. String Bean Jean
Another highlight from the excellent "Dog on Wheels" EP, this fits the early Belle and Sebastian mode of Murdoch singing like Nick Drake whilst describing his interactions with an eccentric girl. Of course, if as many beautiful, well-read indie girls with pixie haircuts existed as he would have us believe, the world would be a much more interesting place. As it stands, we'll have to settle for Murdoch's colorful imagination:

She asked me "Do I need to lose a bit of weight?"
And I told her "Don't be stupid 'cause you're looking great"
And I call her String Bean Jean because the label on her jeans says
Seven to eight years old - well that's pretty small

6. The Boy Done Wrong Again
When it comes to the best B&S ballad, the possibilities are numerous, but this one probably deserves special mention. "Hang your head in shame and cry your life away", Murdoch sings, and many are probably tempted to think he's singing about his sorry lot in life. But that would be a shallow reading of the song's intent--if anything, Murdoch is tenderly poking fun at himself much like Morrissey did in "Please, Please, Please, Let me Get What I Want":

All I wanted was to sing the saddest songs
If somebody sings along I will be happy now

The woodland spring will put the darkness from your thinking
If this town's your sinking ship
Then you know where to jump


7. Judy and the Dream of Horses
This whimsical jaunt rounds out B&S's masterpiece "If You're Feeling Sinister". Even in a band known for its great trumpet solos, Mick Cooke's part here really stands out. Building from a delicate strum into an undeniable toe-tapper, this is a persuasive example of Murdoch's ability to craft big music from limited means. It's also wickedly funny:

The best looking boys are taken
The best looking boys are staying inside
So Judy, where does that leave you?
Walking the street from morning to night
With a star upon your shoulder lighting up the path that youwalk
With a parrot on your shoulder, saying everything when you talk


8. I Know Where the Summer Goes
A simple, easy ballad just like its name suggests, this is undoubtedly one of the most beautiful things Belle & Sebastian ever committed to tape. As a b-side to the "This is Just a Modern Rock Song EP", it also represents a time just before the disastrous end of the band's musical winning streak.
9. I Fought in a War
Another album opener, another whispered intro. Being perhaps the only song on "Fold Your Hands Child, You Walk Like a Peasant" to climb the heady heights of the band's previous output, this song is both a high point and the beginning of the end. The conclusion of Belle and Sebastian's virtually unparalleled songwriting run unfolds like a slow-motion car crash over the course of "Peasant"; "War", however, is a marvel: a touching story conveyed with a brilliant melody, it's deceptively simple like all the best B&S songs are.


10. Another Sunny Day
As an infectious burst of jangly pop brimming with spot-on three-part harmonies, this song puts most of its musical brethren on "The Life Pursuit" to shame. The band's unsung hero, guitarist Stevie Jackson, really shines here. Murdoch, meanwhile, tells the story of a doomed love affair--from the first moments to its last throes--like very few are capable of. The song ends on a particularly poignant note:


The lovin is a mess; what happened to all of the feeling?
I thought it was for real; babies, rings and fools kneeling
And words of pledging trust and lifetimes stretching forever
So what went wrong? It was a lie, it crumbled apart
Ghost figures of past, present, future haunting the heart




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Sunday, July 29, 2007

Blur: Parklife Demos

(Thanks to "trevordewane" on the Libertines.org forum)

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Saturday, July 28, 2007

13 + God: Perfect Speed

Dead Flowers: Now Powered by FeedBurner


Hello friends. This is just a quick note to tell you that the Dead Flowers feed is now being delivered by FeedBurner. This will give me more possibilities when it comes to delivering content, so I heartily recommend switching over by clicking the link below.

Cheers,
-Mike

Subscribe in a reader

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Babyshambles: Sedative (Promo)

Friday, July 27, 2007

Arnold: Climb (Classic MP3)

Thursday, July 26, 2007

Paul Weller and Graham Coxon: This Old Town

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Wednesday, July 25, 2007

Sigur Ros: Hoppipolla and Meo Blodnasir (live on Later)

Cat Power: (I Can't Get No) Satisfaction

Tuesday, July 24, 2007

Yeti: Never Lose Your Sense of Wonder (Demo)

Fire: Father's Name Was Dad

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Sunday, July 22, 2007

Hey, that sounds like Muse!
The Darkness: Street Spirit (Radiohead Cover)

Alex James: The Cheese Diaries


The Guardian Writes:
From Blur bassist to farmer, Alex James has now turned to his first love - cheese. Watch the trailer and subscribe below to our free vodcasts to follow him on his voyage of cheesemaking discovery...



[Subscribe to the vodcast]
[Original Story on how James started making cheese]

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Saturday, July 21, 2007

The Thrills: This Year

Notes from the Underground


LA native Jake Drake, a friend of and early contributor to Dead Flowers, has finally struck out on his own with The American Underground. Although it's still in the embryonic stage, the site is a great survey of American indie music, especially alt-country. Recent posts include Jake's thoughts on Ryan Adams, Devendra Banhart, and Paul Chesne. This is definitely a site to keep your eyes on.

Here's a Brian Jonestown Massacre song in tribute:

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Friday, July 20, 2007

Mum: Green Grass of Tunnel

Belle and Sebastian: She's Losing It

Wednesday, July 18, 2007

DJ Shadow: Fixed Income

Tuesday, July 17, 2007

Godspeed You! Black Emperor: Motherfucker=Redeemer (Part One, Edit)

Monday, July 16, 2007

Lali Puna: Left Handed (Single Version, Classic MP3)

The Notwist: One with the Freaks (Classic MP3)

Under Byen: Batteri Gernerator

Sunday, July 15, 2007

Mew: Web

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Grand National: Drink to Moving On

Stars: Ageless Beauty

Saturday, July 14, 2007

Mew: Panda

Friday, July 13, 2007

Interpol: Mind Over Time

Thursday, July 12, 2007

The Rolling Stones: She Smiled Sweetly

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Can: Paperhouse

MP3 Help

Hello friends,

Just a quick note on mp3 streaming. As you may have noticed, the Google audio player I've been using seems to be out of commission. Either they figured out what I and others were up to (using their flash player for our own selfish ends), or it's just some routine change in the software. In any event, I think the lack of a flash player takes away from this site's functionality.

The problem is, I'm not competent enough in programming to cook up a new solution. I've seen other sites using decent flash players, but these seem customised for WordPress, while I'm on Blogger. Ideally, I'm looking for a player than I can easily embed in each post. I have FTP space, so I can host the flash player if need be.

If you have any idea how to remedy the situation, please drop me a line.

Cheers
-Mike
mike@sendmedeadflowers.com

Update: I figured it out. Thanks to the good folks behind the JW MP3 Player.

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Tuesday, July 10, 2007

Thoughts On
Interpol: Our Love to Admire

"Admiration is a very short-lived passion that immediately decays upon growing familiar with its object, unless it be still fed with fresh discoveries, and kept alive by a new perpetual succession of miracles rising up to its view."

-Joseph Addison


One aspect of rock music that's often overlooked is that some of the most memorable groups have something distinctly awkward about them, be it the melodies, the arrangements, or the overall songwriting style. The converse is also usually true: if a band is too polished or lacks spontaneity, one should be suspicious.

By this Libertines fan's own admission, Arctic Monkeys have made better 'Libertines' music than The Libertines ever did. Morrissey has made more perfect 'Smiths' music solo than he ever did with Johnny Marr. Not to be outdone, Coldplay and Muse have sanded off the rough edges of Radiohead and Jeff Buckley into an easily accessible musical product.

In the past few years, we've seen Interpol's formula "Edited" into the blueprint for a host of other groups. These sort of rock simulacra are of course built into the system, with the majors and indies trotting out countless imitators in the off-years between albums by the Radioheads, Oasises, and Interpols of the world.

So what's a band like Interpol to do when so many of their contemporaries have stolen from their playbook? There's the Oasis model: confronted with groups like Cast, Hurricane #1, and Ocean Colour Scene, they simply put their head down and trudged ahead making 'Oasis' music. Then there's the Radiohead model: go off on a wild tangent that leaves other groups (and many fans) scratching their heads. Interpol have chosen the Oasis route, and to be sure, there is some fine 'Interpol' music on this record. After verging on self-parody for much of "Antics", Paul Banks and co. would seem to be back on track.

"No I in Threesome"'s expansive chorus evokes the sort of sun-drenched despair that one might find in a Bret Easton Ellis novel. "The Heinrich Maneuver", the album's first single, is punctuated by Banks's dramatic guitar stabs and Sam Fogarino's military-like precision on the drums. Lyrically, Banks has moved away from the pole-dancing-of-the-stars absurdity of "Slow Hands": the chorus's refrain of "today my heart swings" exudes the sort of easy cool he achieved consistently throughout "Turn on the Bright Lights".

"Pace is the Trick" is simple and all the better for it. Built around a circular, arpeggiated guitar figure, the song unexpectedly bursts into one of the strongest choruses ever found on an Interpol record. "Pioneer to the Falls", meanwhile, offers incontrovertible proof of the band having developed its palette (on this one song, at least). Built around a haunting piano figure and including what sounds like a melodica, it has the sort of widescreen melancholy one wishes had made up the whole record.

While the rise of the Internet and music blogs has had the inarguably beneficial effect of exposing eccentric acts to a wider audience, it has also enabled a troubling synchronization of opinion. A quick tour of the blogosphere reveals a flurry of sycophantic posts and a disturbing lack of dissenting views. The band of the moment becomes infallible, bathed in the warm glow of breathless hyperbole, just as those who say otherwise are ridiculed.

So at the risk of subjecting myself to further bullying by internet taste makers, I'll say that "Our Love to Admire" just ain't good enough. Listen to modern third records like "OK Computer" or "Urban Hymns", landmark achievements striking for their depth and ambition, and "Admire" seems like a bit of a cop-out. It offers no sustained musical progression: on most of the songs, the band play it safe; when they try to strike out into uncharted territory, they usually do it unsuccessfully.

The intricate "Mammoth" is like a finely crafted piece of origami, impressive in its complexity, yet ultimately hollow. "Rest my Chemistry" and "The Scale" are uneventful retreads of songs done better on "Turn on the Bright Lights". "Wrecking Ball" tries to incorporate compelling elements like a brass section, minimalist drums, and multi-tracked vocals, but the end result is a musical mess. This sort of failed experiment is why God created b-sides; for Interpol, a band never known for its prolificacy, it has become a crucial album cut.

Make no mistake, this album will probably do quite well. Capitol is no doubt betting that there are enough people not familiar enough with Interpol's debut to be truly excited about "Our Love to Admire". But for this listener, who's been watching the group since their unsigned days in NYC, there's something deeply unsatisfying about this record. One can only hope this a case of course correction, rather than a sign of what's to come.

Rating: 6 out of 10

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Monday, July 09, 2007

Paul Weller, Graham Coxon, Zak Starkey & Mani: This Old Town (Live on Jonathan Ross)

Thursday, July 05, 2007

Tokyo Police Club: Your English is Good