Finest Dearest

Listening to San Francisco’s Finest Dearest is like taking a trip back in time–not so far back that it’s obvious that you’re in the past, but far enough to give you a real sense of deja vu.

They remind me a little of Shonen Knife without the histrionics, and a little of Throwing Muses, in mood if not sound (although there’s definitely a touch Tanya Donnelly/Kristen Hersh in the mix). Bloodtown Records is set to release what I believe is their first full-length (the only other mention of releases in their material is an EP) on the street April 8th, with a digital release a few weeks before. Finest Dearest is Carly Schneider (vocals), Christine Bolghand (guitar), Josh Luke (guitar), Steve Treffors (drums), and AJ Dickerson (bass).

Finest Dearest “Your Hometown” (Finest Dearest, 2008, Bloodtown)

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Another brilliant Contrast Podcast is up, with this week’s theme continuing the CP study of the Seven Deadly Sins. Swallow your Pride and head over for a listen.

You Ain’t No Picasso has Belle & Sebastian covering “Space Oddity” and I have an erection. Oh wait, is that too much information?

I Guess I’m Floating have proven why they’re the gold standard of the music blogiverse. Go check out their recently updated site/look. Damn, them boys is good!

Vampire Weekend

Tomorrow–when Vampire Weekend’s self-titled debut album is finally available–marks the official start of the end of 2008. From this point on in the blogosphere, it’s going to be fair game to start talking end-of-year lists, and “best of 2008,” even though we’ve only just finished counting down and debating 2007.

A number of its 11 tracks have been available in some form or another for a while now, but familiarity doesn’t diminish their impact when placed alongside the newer material. It is truly a record you can listen to from start to finish without ever feeling the need to hit the forward button. The combination of a African influenced pop and city slicker sophistication is so organic in the hands of Ezra Koenig, Rostam Batmanglij, Chris Tomson, and Chris Baio that you wonder why we ever doubted Paul Simon’s sensibilities back in the 80s.

Of the new tracks (at least new to me) “One (Blake’s Got A New Face)” is quickly becoming my favourite thanks to its plucky little keyboard line which could have been lifted straight off an early New Order record. “M79″ expands the VW sound with added strings and harpsichord in it’s first 30 seconds. The rush and intensity of “Walcott” stands in contrast to their more familiar laid-back playing; its tempered by a string interlude mid way that puts the brakes on only slightly before revving up full steam ahead for the album’s closing track, “The Kids Don’t Stand A Chance.”

Blog buzz band they may well be, but based on the strength of this album, you can’t deny that with Vampire Weekend, the hyperbole is well deserved. If this is any indication of the year to come, 2008 looks set to be one for the ages.

Vampire Weekend “A-Punk” [Vampire Weekend, 2008, XL]

Breakfast of Champion

I was never particularly impressed by Test Icicles, and therefore didn’t really blink an eye when I heard news that they had split up and gone their separate ways. Now, I’m sort of glad that events transpired in the way they did, allowing ex-Icicle Devonte Hynes to re-emerge as Lightspeed Champion.

Falling Off The Lavender Bridge is his debut full-length, recorded in Omaha, Nebraska with Saddle Creek producer Mike Mogis. The influence of Mogis and many of the Omaha-based guest musicians is all over these arrangements, but Hynes is no slouch in the songwriting department. Without his strong writing as the foundation, Lavender Bridge would probably just sink to the bottom of the alt-country pond.

First single “Galaxy Of The Lost” sounds like The Dears with slide guitar; Hynes and Dears front man Murray Lightburn have a very similar timbre in their voices. By the next track, “Tell Me What It’s Worth,” Hynes reminds me of Conor Oberst accompanying one of the best pop tracks I’ve heard so far this year. Then once you get down to “Dry Lips” you can’t help but feel the influence of Bloc Party (if only faintly). The genre-hopping doesn’t detract from the overall impact of the album, though. If anything it makes …Lavender Bridge a journey through the city, into the countryside and back again, with the scenery changing at every bend in the road.

Thank God it’s Friday the 25th

Since Monday I’ve been hearing on the radio that researchers, in their infinite wisdom, have determined this week to be the most depressing week of the year. But the worst part, my friends, is already over, because January 24th (which was yesterday) is the most depressing day of the year, so now things an only get better.

What better way to toast your impending happiness than with some music. Chase away those winter blahs with The Billie Burke Estate, the creation of singer-songwriter Andy Liotta. Liotta’s attention to detail, and the inspired craftsmanship of his music sets The Billie Burke Estate apart from the rest of the pack. There’s echoes of The Beatles in his arrangements, the wit of Elvis Costello in his lyrics, and a sense of fun that seems to be missing from a lot of peoples’ iPods these days. And you have to admit that the irony in the song title for today’s download just couldn’t be ignored.

The Billie Burke Estate “Everybody’s Gonna Die” [Let Your Heart Break, 2008, self-released]

Taped crusader

Cassettes Won’t Listen is Jason Drake’s electro-pop secret identity. By day, he’s the mild-mannered Director of Marketing at Def Jux records, while at night he single handily combats musical complacency with his arsenal of hip-hop inspired bleep-pop songs.

On March 11, Cassettes Won’t Listen releases Small-Time Machine, his first ever physical release. Entirely written, played and produced by Jason Drake, Small-Time Machine deals with love, betrayal, hope, disappointment and the quest to find what’s missing in each of our lives.

Cassettes Won’t Listen “Paper Float” [Small-Time Machine, 2008]

For more Cassettes Won’t Listen, download his One Alternative EP of covers here.