Under The Rotunda

So, I know I've said this before, but I'm serious this time. After more than two years of writing about my favorite music, I've decided to put Under The Rotunda on an indefinite hiatus. It's been an absolute blast, but I've come to the same conclusion I did last August when I stopped for a few months. Which is that I could be -- and should be -- doing more valuable things with my time. Here's the story I shared last time:

As some of you know, I am a musician myself. It really hit me when I came back from Lollapalooza this year and I was talking to my dad. “Are you going to write about the fest for your blog?” he asked. I said I was. “Here’s the question, though. Would you rather be in the audience writing about it, or on the stage playing at it?” And there is no question about that. I would rather be performing.

In the past few months, I've decided that I should really be spending my time either working on music of some sort, or working a job to pay my rent. (It may be years until the day my dreams will match up with my pay...) Not to mention how incredibly frustrating it is to have a post completely deleted by Blogger without warning or notice, which has become increasingly frequent lately. So, I'm off. The main thing I'll be focusing on now is my band, Clatter Clatter. We're just about to release our debut album, the Too Many Boxes EP, which you can hear at our Myspace.

Thanks to everyone who has contributed to Under The Rotunda with photos and words in the last two years, you helped make it the best it could be. And for that, I am forever grateful. And like I said last time: Thanks for reading! It’s been fun, and I hope next time you hear from me it’s in the form of my music on someone else’s blog. Peace.

[EDIT: Sigh. This post was deleted by Blogger recently, without warning or notice, as usual. They don't tell you which posted MP3 caused the deletion, so I'm just going to try putting this post back up intact. We'll see what happens...]

Are we at the end of this year already? It's seems like just the other day I was working on my list of the best albums of 2007 -- any yet, here we are. As the year draws to a close, I'm happy to present you with one final article, the best albums of 2008. Although I don't think this year was as strong as it has been in the past for indie music, there were still a few stellar albums that saw release. What were your favorites? What are you upset that I left off this list? (I know, I know -- I didn't get into TV On The Radio, Fleet Foxes, Bon Iver, etc.)

With this, I'll be on break for two weeks, until January 5th. Thanks for reading, and I'll see you in 2009!
When the new Sigur Rós album came out over the summer, one of my friends told me it was the best record of the year. Although he has since changed his mind, I have not. For me, Með Suð Í Eyrum Við Spilum Endalaust is the most thrilling bit of music to be released this year. It is a masterpiece; Sigur Rós manage to capture so much energy and enthusiasm and emotion, it's absolutely stunning. The instrumentation is vibrant and the arrangements keep everything interesting. Then come the moments that just blow you completely out of the water, such as the swelling grandiose ending of "Ára bátur". Every single song on the album takes the listener on a beautiful, majestic journey. And yes, it's different for Sigur Rós. There is more up-tempo, bombastic music than they have ever created. But there's still some classic, slow-building post-rock jams. With everything mixed up together, it still sounds like Sigur Rós at their best.
Sigur Rós - Inní mér syngur vitleysingur (from Með Suð Í Eyrum Við Spilum Endalaust)
Sigur Rós - Gó›an daginn (from Með Suð Í Eyrum Við Spilum Endalaust)

Headlights are a band on the rise, and they should be getting more recognition for their outstanding sophomore album, Some Racing, Some Stopping. I'd never heard them until I saw them opening for Via Audio in Boston, but I was immediately intrigued. And later in the year, when they played my favorite show of 2008 in Chicago, I was done -- hooked. This band is so good at what they do, it's astonishing. The songs are mostly simple, straightforward indie pop tunes, but they arrange everything marvelously. The melodies will stay in your head for weeks, and you'll keep going back to listen to how well they fill out the sound as a band. It's cleverly composed and produced, and this keeps it interesting at all times. No one else could do as much with these songs as Headlights can.
Headlights - Get Your Head Around It (from Some Racing, Some Stopping)
Headlights - School Boys (from Some Racing, Some Stopping)

By now you probably know that Department Of Eagles is three quarters of Grizzly Bear. With that in mind, it's easy to see why the new album from them sounds quite a bit like a new Grizzly Bear album. But that's a good thing, not a bad thing. If you were one of the music listeners who fell in love with Yellow House, then you'll do the same for In Ear Park. It's a warm record, full of emotion, energy, and dynamics that lull and swell to take you over. The style of their production is important too, making you feel as if you're in right in the room with the band. Listen intently to their every move, and the music won't ever stop rewarding you.
Department Of Eagles - Teenagers (from In Ear Park)
Department Of Eagles - Classical Records (from In Ear Park)

Death Cab For Cutie's sixth full-length, Narrow Stairs was not well received by all. Some hailed it as their best work to dates, while others claimed the band had lost their charm and wasn't going anywhere. When I first listened to the album, I must admit I fell closer to the second category. But somehow, I became a big fan. Over more listens and time, I started to really dig Narrow Stairs. I still think it doesn't come close to Transatlanticism, but that's a hard album to match. The production on the new record is some of Chris Walla's best yet, with everything gelling into just the right sound. It's is one of their darkest works to date, less poppy than Plans -- and that's not a bad thing. It's a new direction for the band, sure, but it's still a strong album.
Death Cab For Cutie - Cath... (from Narrow Stairs)
Death Cab For Cutie - The Ice Is Getting Thiner (from Narrow Stairs)

The Lucksmiths have been one of my favorite bands for many, many years. Ever since I first heard 1997's A Good Kind Of Nervous, I've been infatuated with their folky goodness. They've made some truly stellar albums and EPs throughout their 15 year career, and with that being said, their new album, First Frost, may be the best album they've ever made. Songwriting-wise, the Lucksmiths always capture their personality -- the music is fun, it's clever, it's catchy, it's beautiful. But arranging wise, sonically speaking, their latest offering is far and above what they've done in the past. Part of it is due to their progression from acoustic to electric; it's not that they've dropped acoustic guitars, but their sound is definitely more electric this time around, and it suits them well. Never before have I heard a song from them with such beautiful feedback laced around their always captivating songwriting, so powerful that I smile. Listen to "How We Met", below, and you will understand. The Lucksmiths have always held a place in my heart, but with First Frost, they've never been better. If you haven't been captivated by them yet, now is the time.
The Lucksmiths - How We Met (from First Frost)
The Lucksmiths - A Sobering Thought (Just When One Was Needed) (from First Frost)

Yup, just like everyone else, I enjoyed the debut album from Columbia University grads Vampire Weekend. I must admit I'm not completely blown away by the band as a whole (meaning I was bored to tears by them live), and I'm not quite sure what they can do to keep their audience interested on their sophomore album. I mean, once you listen to them for a long time, every song kinda starts to sound the same. With all of that being said, I truly enjoy Vampire Weekend on its own as an album. The arrangements are great, with strings coming in and out, the songs are catchy, and the music is fun. It's not rocket science, but it's enjoyable.
Vampire Weekend - Campus (from Vampire Weekend)

I wasn't very interested by Frightened Rabbit's debut album in 2007, Sing The Greys. But this time around, they got everything just right. The Midnight Organ Fight is an outstanding quirky pop effort, showing off unique songwriting and vocal delivery. All mixed atop a bright folk/rock landscape, produced exquisitly by Peter Katis (who has also worked with the National, Interpol, Tokyo Police Club, Mates Of State, etc). His voice on Frightened Rabbit's new album can be heard through layers upon layers of melodic instrumentation, which add wonderful textures not heard from them in the past. Some of the songs especially stand out, such as "My Backwards Walk" (listen below), which became an immediate favorite of mine, with wonderful delivery of rather ingenious lyrics.
Frightened Rabbit - My Backwards Walk (from The Midnight Organ Fight)

Spiritualized are a band that I didn't really hear until this year, when I was blown away by their live performance at the Pitchfork Music Festival. After that, I checked out their discography, including this year's Songs In A&E. It's an incredible album, with layers of strings and background vocals filling out an already powerful band -- and all of this supports Jason Pierce's vocals and songwriting. Spiritualized can leave you hushed, pining for more. Or they can rock out and make you want to run through the streets. And when an album can do that, it's a success.
Spiritualized - Soul On Fire (from Songs In A&E)

At first, I was underwhelmed by Beck's new album. The album is rather subdued, but as it settled with me I began to appreciate its subtle tastiness. Modern Guilt relies heavily on the songs' grooves, simple as they may be. These grooves are complimented by production from Danger Mouse, who created beats and loops that fit right in with Beck's songwriting this time around. The record is filled with taste, as psychedelic soundscapes and 60s-esque pop pour out of the speakers. Modern Guilt clocks in at just over half-an-hour -- less than half of 2006's The Information -- and this seems to mirror the album's complexity. That is, most of these songs are simple and right to the point. But it works.
Beck - Modern Guilt (from Modern Guilt)

I'm new to get on the Dr. Dog train, with Fate being the first record of theirs I've really gone crazy over. The songwriting is so amazingly Beatles-esque, and the arrangement of the music is even more captivating. As layers grow and weave in and out, you won't ever get tired of the music. I don't know how it compares to their earlier records, but I will be checking out their entire discography due to how strong Fate is.
Dr. Dog - Breeze (from Fate)

Juana Molina's music is a wonderful blend of her roots (she's a native of Argentina) and indie folktronica, and it meshes together perfectly. The songwriting shows influence in classic Brazilian music, but she fills up the record with electronic soundscapes and hypnotic repetition. Molina sings in her native tongue of Spanish, but that's no matter for non-fluent listeners. In fact, I think it may be better that way, since she uses her voice so rhythmically and texturally, almost as if it is in fact an instrument. Layers of her looped melodies (many non-verbal) float around together, weaving in and out of the accompaniment. What this creates is a rather warm, complex palette of sound, expertly manipulated by Molina. It's not exactly like her work in the past, but she is certainly jumping in head first -- and it's for the best.
Juana Molina - Un Día (from Un Día)

Combine some serious influence of classic Brazillian music (i.e. Tom Jobim, etc.) with contemporary pop, and you've got an excellent album. Stir up a little Elliot Smith-like vocals over the top, and baby, you got a stew going!
Melpo Mene - Hit The Boy (from Bring The Lions Out)

Jason Collett is a simple songwriting man. When you listen to Here's To Being Here, you can't help but think of Dylan. The songs tend to be simple, but the lyrics are tastefully artistic. His backing band lends some wonderful textures behind his voice, to keep everything spiced up and interesting. With both of these elements melding together as well as they do on Here's To Being Here, you can't help but have a great record.
Jason Collett - Roll On Oblivion (from Here's To Being Here)

Matt And Isom's debut, August Jesus Depression, is one of those albums that fills your head up with a wall of sound. The music showcases excellent songwriting around folk/electronic soundscapes, and it never lets up, keeping you interested and captivated at all times. There are some really amazing moments on the album where the layers of sound just explode and take you over. And did I mention that they are giving it away for free at their website?
Matt And Isom - Math Equation (from August Jesus Depression)

Loyalty To Loyalty an excellent follow-up to Cold War Kids' 2006 debut, filled with just as much creativity and energy. They manage to retain their signature sound, filled with grit and ever-so-slight sloppiness. And yet, at the same time, this record sounds so much more mature. Some guitar lines are more groovy and tasty than anything they've ever played before. Their songwriting continues to be varied, and that's certainly not a bad thing. "Something Is Not Right With Me" the first single from the album, is filled with bouncy bass lines and frontman Nathan Willett's soaring vocals; the keyboard hook in "Relief" sounds like something Radiohead would have come up with; and "I've Seen Enough" grooves hard, complete with a dissonant, glitchy guitar solo. Still, I must admit I'm not as hooked as I was with Robbers And Cowards. But this is a different record, and it catches on in different ways. It's still Cold War Kids doing what they do. And they do make excellent rock music.
Cold War Kids - Against Privacy (from Loyalty To Loyalty)

Apollo Sunshine continue to amaze and fascinate me with their music. I loved the psychedelic madness that was their debut album Katonah, and I continued to enjoy their creative output on their sophomore effort Apollo Sunshine. They still sounded spastic and energetic, but they had slightly refined their sound. Now, with their third album, Shall Noise Upon, they have come even further. This album finds Apollo Sunshine exploring new musical territory and maturing their sound like they never have before. While I dearly love Katonah, they sound more in control these days as their sound continues to “grow up”. The spastic, wild attacks are less frequent on this album. Instead, they are replaced with musical explorations in a variety of different styles. When I first heard “Happiness,” where an acoustic guitar progression is surrounded by beautiful woodwinds and strings, I could hardly believe that this was the same band that produced the intense aural attack that is “Happening” (from Katonah). There are moments, full of majestic melodies and lush orchestration, that I’ve never heard Apollo Sunshine do before. And it sounds wonderful. Now, they’ve still got their energy, don’t worry. There are still times on the album that remind you of their roots. But, with Shall Noise Upon added to their discography, Apollo Sunshine are sounding better than they ever have before.
Apollo Sunshine - Breeze (from Shall Noise Upon)

Alas, I Cannot Swim, Laura Marling's debut album, was released this past February via Virgin, and it's an impressive start for an eighteen year-old. I mean, I hate to focus on her age like so many other reviewers -- but really, what had you accomplished by that age? I always love to see artists that discover their passion so early. Miss Marling writes earnest folk music, and with some production help from Charlie Fink (of Noah And The Whale), she's made a truly great album. Fans of singer-songwriters and pop alike, take note.
Laura Marling - Ghosts (from Alas, I Cannot Swim)

On Talkdemonic's third album, Eyes At Half Mast, they keep doing what they do best at. This is electronic ambient folk music, driven by Kevin O'Connor's powerhouse drumming skills and Lisa Molinaro's beautiful violin playing. This an album that is all about production and layers, and that's what makes it so much much fun to listen to. Each song is a new creative blast of energy and ideas, and the sound textures are majestic and captivating.
Talkdemonic - Ending The Orange Glow (from Eyes At Half Mast)

I didn't know of the Submarines until I caught them opening up for Headlights in Chicago, but I immediately loved their sound. It's straightforward pop music, but it's catchy and fun as hell. And even in it's simplicity, the music is well-produced and arranged, with layers and sound textures constantly changing.
The Submarines - Submarine Symphonika (from Honeysuckle Weeks)

Shearwater's latest album, Rook, came out this summer. And, in an almost perfect evolution, this fifth full-length promises to be their best. Shearwater could be called a spin-off of Okkervil River, as it was formed by two key members, Jonathan Meiburg and Will Sheiff. Initially, this second group served as a chance for songs that didn't work with Okkervil River. While Will takes the frontman spot in Okkervil River, Shearwater is Jonathan's chance to be in the spotlight. Through the years, the group has grown more and more into its own true band, and Jonathan officially left Okkervil River last May. With that act, and a stunning new album, Shearwater seem poised to make a name for themselves. I think they're going to do just fine.
Shearwater - Rooks (from Rook)

As a longtime fan of the Mountain Goats, I'm always eager to hear their new records. Heretic Pride, the latest, is not quite as strong as past albums from John Darnielle, but it's still worth listening to. His songwriting is honest and emotional, and it's at the heart of any Mountain Goats album. Heretic Pride is no exception.
The Mountain Goats - San Bernardino (from Heretic Pride)
Local bands don't often make it onto my best of lists, but Boston-based This Car Up definitely deserve a mention. I was lucky enough to hear them open for Via Audio, and that was enough to hook me. Once I heard their debut album, Smile When You're Alone, the deal was sealed. This is excellent indie rock, and I can't help but be reminded of early Death Cab For Cutie albums, mixed with a little more pop sensibility.
This Car Up - Tarzan vs. Graham Chapman (from Smile When You're Alone)

When I first listened through to Ratatat’s new album, the immensely creatively titled LP3, I was unenthused. The first few spins through, I was just bored – this was not the bumping band I was used to. The opener, “Shiller,” left me less than thrilled, and set the pace for most of the album. LP3 was just not holding my interest, as much as I tried to like it. However, there was a track that caught my attention: “Imperials,” which rides a wildly exciting keyboard line in the second half of the song. Still, I was not in love with the music. But as I gave a few more listens, it started to grow on me. The record is not as immediate as Classics or Ratatat, but you’ll enjoy the subtleties of the songs if you’re open to Ratatat’s changes in their sound. That being said, there are still a few that I really dislike, such as the 80s groove of “Shempi” and the reggae stylings of “Flynn”. Ratatat opened up their influences wide on this album, and those are a few of the songs in which it didn’t turn out so well. For the most part though, the new album is an exciting, mature effort. Just give it some time.
Ratatat - Imperials (from LP3)

E-603's first album is a masterpiece of a mash-up album, and it's the best thing to hit the scene since Girl Talk. A good mash-up album should be something exciting for a music fan to listen to, as you should keep hearing things you know. It's like "Where's Waldo" for your ears, really. And E-603's new album, Something For Everyone, stays true to its title. He throws in so many samples into such a short amount of time, you can't help but be amazed. There are so many songs that I recognize -- let alone songs that I dearly love -- that it's a blast to bump through the album. The transitions are seamless, as he rolls through an outrageous amount of samples, sometimes only sampling something for literally a second. But it works. And that is why this is exquisite work. As far as his sampling choices, the record is incredibly rock friendly, featuring a vast array of samples from both the mainstream and the indie world. I mean, it's a blast to listen to contemporary rap tunes blended flawlessly with Spoon, Wilco, Sigur Ros, The Strokes, Tokyo Police Club, Vampire Weekend, The Flaming Lips, Beck, Coldplay, and countless others.
E-603 - Money And Girls (from Something For Everyone)

Dan Bejar's latest work with Destroyer is one of his strongest yet. His quirky songwriting and vocal delivery is filled out by a magnificent backing band that sits in with the songs just right. The music is captivating, and the melodious musicians in the background keep everything interesting.
Destroyer - Dark Leaves Form A Thread (from Trouble In Dreams)

In the past year, Under The Rotunda has grown quite a bit. As several contributing photographers joined the team, the concert photography increased in quality exponentially. And while you saw the list of my favorite shows yesterday, today is reserved for the visual representation. Here's the best of what was featured here in the past year -- the best of Under The Rotunda's concert photography of 2008.

Photos by Malora Mcintosh (The Mountain Goats, Headlights, Mock Orange, Amanda Palmer, Talkdemonic), Cassandra Marino (Shearwater), Erick Dela Rosa (Islands, Jaymay), and myself, Keith Nelson (John Vanderslice, The Kills, The Dresden Dolls).

THE MOUNTAIN GOATS (W/KAKI KING) -- 10/13/08 @ PARK WEST IN CHICAGO, IL
SHEARWATER -- 10/19/08 @ CAFE 939 IN BOSTON, MA
HEADLIGHTS -- 05/22/08 @ SCHUBAS IN CHICAGO, IL

ISLANDS -- 06/02/08 @ LOGAN SQUARE AUDITORIUM IN CHICAGO, IL
MOCK ORANGE -- 09/18/08 @ SUBTERRANEAN IN CHICAGO, IL
JOHN VANDERSLICE -- 01/16/08 @ SCHUBAS IN CHICAGO, IL
THE KILLS -- 08/01/08 @ LOLLAPALOOZA IN CHICAGO, IL
JAYMAY -- 06/16/08 @ SCHUBAS IN CHICAGO, IL
AMANDA PALMER -- 08/08/08 @ LAKESHORE THEATER IN CHICAGO, IL
TALKDEMONIC -- 10/07/08 @ SCHUBAS IN CHICAGO, IL
THE DRESDEN DOLLS -- 01/05/08 @ VIC THEATRE IN CHICAGO, IL

John Vanderslice - The Minaret (from Emerald City)
The Kills - U.R.A. Fever (from Midnight Boom)
Jaymay - Gray Or Blue (from Autumn Fallin')
The Dresden Dolls - Gravity (from The Dresden Dolls)

For an added bonus, this photo by Malora Mcintosh was taken at the Empty Bottle in Chicago. And it is killer.

In case you haven't figured it out, I got to a lot of shows. More often than not, you can find me in the local rock club several nights of the week. There were quite a few extraordinary shows that I was lucky enough to have been in the audience for this year, and these are my personal favorites. As always, the list is given a strong boost from the summer music festival circuit in Chicago, from stellar performances at both the Pitchfork Music Festival and Lollapalooza. All in all, this list below is a representation of some truly incredible live performances, and subsequently some of the best moments of 2008 for me. What were your favorite shows you saw this year?
1. Headlights -- 05/23/08 @ Schubas in Chicago, IL (Full Review)
2. Sigur Rós -- 09/19/08 @ Bank Of America Pavilion in Boston, MA (Full Review)
3. Apollo Sunshine -- 10/30/08 @ Middle East Downstairs in Cambridge, MA
4. Animal Collective -- 07/19/08 @ Pitchfork in Chicago, IL (Full Review)
5. Deerhoof -- 10/23/08 @ Middle East Downstairs in Cambridge, MA
6. Caribou -- 03/26/08 @ Paradise in Boston, MA (Full Review)
7. Spiritualized -- 07/20/08 @ Pitchfork in Chicago, IL (Full Review)
8. The Kills - 08/01/08 @ Lollapalooza in Chicago, IL (Full Review)
9. Broken Social Scene -- 08/02/08 @ Lollapalooza in Chicago, IL (Full Review)
10. Blonde Redhead -- 01/20/08 @ Paradise in Boston, MA (Full Review)
11. Wilco -- 08/02/08 @ Lollapalooza in Chicago, IL (Full Review)
12. St. Vincent -- 09/25/08 @ Museum Of Fine Arts in Boston, MA (Full Review)
13. Caribou -- 07/19/08 @ Pitchfork in Chicago, IL (Full Review)
14. Jaymay -- 06/16/08 @ Schubas in Chicago, IL (Full Review)
15. Feist -- 07/11/08 @ Ravinia in Highland Park, IL
16. Elizabeth & The Catapult -- 01/24/08 @ Paradise Lounge in Boston, MA (Full Review)
17. Nomo -- 02/09/08 @ Middle East Upstairs in Cambridge, MA (Full Review)
18. Mucca Pazza -- 05/31/08 @ Do/Division Fest in Chicago, IL
19. Rogue Wave -- 04/11/08 @ Paradise in Boston, MA (Full Review)
20. John Vanderslice, The M's & Heypenny -- 01/16/08 @ Schubas in Chicago, IL (Full Review)
21. Keren Ann -- 02/07/08 @ Museum Of Fine Arts in Boston, MA (Full Review)
22. Via Audio, Headlights & This Car Up -- 02/27/08 @ Middle East Up in Cambridge, MA
23. The Dead Science -- 05/31/08 @ Logan Square Auditorium in Chicago, IL (Full Review)
24. A.A. Bondy -- 11/18/08 @ Great Scott in Allston, MA (Full Review)
25. The Hold Steady -- 07/19/08 @ Pitchfork in Chicago, IL (Full Review)

Animal Collective - Peacebone (from Strawberry Jam)
Caribou - She's The One (from Andorra)
Elizabeth & The Catapult - Momma's Boy (from Elizabeth & The Catapult EP)
Keren Ann - It Ain't No Crime (from Keren Ann)

In this day and age, the YouTube phenomenon is still alive and kicking. A prime example of this is Canadian sketch comedian Jon Lajoie, who has become an internet personality due to his numerous videos online, many of which are songs. And quite hilarious songs at that. Just take a few minutes and watch a couple of my favorites below. Lajoie is on tour as we speak, if anyone wants to find out if he's just as good performing stand-up.



Jon Lajoie - Everyday Normal Guy

Labels: YouTube

It has been said that I am a Christmas curmudgeon. A scrooge, if you will. This is merely because I can't stand listening to Christmas music. That's right, I absolutely hate it. I joined a group on Facebook called "I Will Maim The Next Person To Make Me Listen To The Holiday Lite". With all of this being said, here are a few of the tunes that relate to this holiday that I actually enjoy. I know I'm a little early, but this blog will be on vacation in a week and half when the day actually hits. And if you're Jewish -- sorry dude, I've got nothing.

Bright Eyes - Little Drummer Boy (from A Christmas Album)
Sufjan Stevens - Put The Lights On The Tree (from Songs For Christmas, Vol. 2: Hark!)
The Beatles - Christmas Time (Is Here Again) (from Free As A Bird EP)

Aaaaand, a special bonus, for which I do not know the artist at all:
Christmas Techno Extravaganza

If you poke around We Are Scientists' website, you'll find numerous blurbs and segments that will make you laugh out loud. Whether it's in their "Advice Column" or just poking around anywhere, their unique sense of humor is ingrained. And every time I've seen the band live, their banter is always entertaining and quite hilarious. So, with all of this being said, I was looking forward to sitting down with bassist Chris Cain. He did not disappoint, keeping his wit and sarcasm sharp throughout the interview. For example, when I asked him about the recent changes in the band's lineup, he quipped, "Oh, I thought you were talking about my shoes." For those who haven't been following the news, former drummer Michael Tapper left the band last November, and they have since been playing with two new members -- Adam Aaronson on drums and Max Hart on keyboards and the occasional guitar. "We actually started playing with Max before Michael left the band, and Max was a friend of our producer -- a guy named Ariel Rechtshaid -- who produced our two records. And Max has been in a band with Adam for many years, a band that is essentially on permanent hiatus, now that we've destroyed it. Sorry, bass player of High Speed Scene, if you're listening. We took everyone but the bass player. I decided, on reflection, not to replace myself. It was close, though. It was an eleventh hour decision."

While they have yet to officially name Adam as their permanent drummer, Chris had no qualms about his future with We Are Scientists. "I mean, we're definitely not actively searching for a replacement for Adam. At the same time, I think Keith [Murray, vocals and guitar] and I still are not really clear about what we want to happen with the band in the future, in future albums. Right now, both Max and Adam are great and have been not only excellent performers, but have been really integral in a creative way -- when it has come to doing acoustic arrangements and even new b-sides and things like that. We do have a good working relationship with those guys." And just when I thought the conversation was settling down into more standard fare, bereft of wit, Chris continued. "But, if we become a hip-hop duo, that might not be the crew we need. 'Cause it'll all be you popping the minidisc into the front of house, and you get up there and you rap. And you need other rappers, guys who can sing the hook out of tune. And Max and Adam can't do that, they're always in tune."

We Are Scientists' latest album, Brain Thrust Mastery, was released in March, and it was fairly successful, debuting at #11 in the UK. In recent years, We Are Scientists' popularity overseas has grown tremendously, providing them with a much larger fan base than they have in America. "I think our music fits more into the mainstream over there, where as it doesn't really here. The kids are a little more nuts, a little more surprised to see us, maybe? I dunno, as I say that, it doesn't seem true, they can't be surprised to see us. And yet, they sure do act like it. Here, we get a lot more conscientious music listeners who have found We Are Scientists because they seek out music that's kind of on the fringe. And in the UK, as I said, we get more of a mainstream crowd who often does not appear to be there just so they'll have an excuse to drink, if I can be honest. The shows are definitely more electric, but it's nice to have a variety. It's nice to come back to the states and play smaller venues. 'Cause you do miss the intimacy of a smaller club. So, that's the nice thing about playing the states. The rabid fans are the nice thing about playing the UK."

While Brain Thrust Mastery has been well-received, it still sounds like a new direction for the band. "There was definitely a conceptual change. We decided that we weren't gonna restrict ourselves to arrangements that three people could conceivably play. The first album, the idea was for the songs to sound essentially like the best possible live set that we had ever played. And with this album we have strings, we have the odd horn, and we had lots of keys -- before we had a keyboard player. We ended up feeling that to play the songs live, to even have them be recognizable from the album we would need a fourth person. So that's when we added Max, when we began to move into the tour cycle. That was the big conceptual difference. In terms of how we wrote it -- we had the luxury of more time, we weren't working jobs, so we actually did it faster than the last record. And spent a little more money on it but still tried to be fairly -- what's the word -- greedy, with our money. But I say we spared no necessary expense. It sounds like a million bucks. And it only cost three quarters of that."

We Are Scientists - Worth The Wait (from With Love And Squalor)
We Are Scientists - Ghouls (from Brain Thrust Mastery)

Labels: Interviews

In the wake of everyone's "Best Albums Of The Year" list, sometimes EPs get left behind. Too long to be a single, not long enough to be considered an album, the EP is still pretty important. Especially in the indie scene, many artists release an EP before they have enough material or clout for a full-length album. 2008 saw the release of many stellar EPs, here are my top picks. What are your favorite short-playing releasing from this past year?

Joe Pug - Hymn #101 (from Nation Of Heat EP)
Joe Pug - Nobody's Man (from Nation Of Heat EP)


Ivan Colón - Gabriel (from Despite The Atlantic EP)


The Peasantry - Tie Off Before You Out Go (from Don't Harm Barbara Gordon EP)


Maps & Atlases - Artichokes (from You And Me And The Mountain EP)


Passion Pit - Sleepyhead (from Chunk Of Change EP)

As I gear up for posting my favorite albums of this year, I like to take a look back at the previous year, and see what I missed. There are always some albums that you don't find out about until later, or maybe an album that takes you awhile to get into. In the past year, my 2007 list didn't change too much -- my top four are still exactly the same. Last year's list can be found here, but in hindsight, here are my choices for the best albums of 2007. New to this list are Feist, A.A. Bondy, Animal Collective, Via Audio, Jaymay, M.I.A., Ryan Adams, and Deerhoof, bumping off my bottom eight.

1. St. Vincent - Marry Me
2. Spoon - Ga Ga Ga Ga Ga
3. The National - Boxer
4. Radiohead - In Rainbows
5. Feist - The Reminder
6. Kings Of Leon - Because Of The Times
7. Wilco - Sky Blue Sky
8. A.A. Bondy - American Hearts
9. John Vanderslice - Emerald City
10. Andrew Bird - Armchair Apocrypha
11. Sondre Lerche - Phantom Punch
12. Animal Collective - Strawberry Jam
13. Stars - In Our Bedroom After The War
14. Of Montreal - Hissing Fauna, Are You The Destroyer?
15. The Arcade Fire - Neon Bible
16. Caribou - Andorra
17. Kevin Drew - Spirit If...
18. Via Audio - Say Something
19. Keren Ann - Keren Ann
20. Jaymay - Autumn Fallin'
21. Rogue Wave - Asleep At Heaven's Gate
22. M.I.A. - Kala
23. Ryan Adams - Easy Tiger
24. Exploding Star Orchestra - We Are All From Somewhere Else
25. Deerhoof - Friend Opportunity

St. Vincent - Paris Is Burning (from Marry Me, #1)
Feist - So Sorry (from The Reminder, #5)
A.A. Bondy - American Hearts (from American Hearts, #8)
M.I.A. - Come Around (from Kala, #22)

Verb The Adjective Noun have been quickly building a local fanbase here in Boston with their exciting take on indie folk. The songwriting is excellent, and everything is performed with conviction and with emotion, and this shines through as one of their best features. You can't help but be roped in by the personality of the music. There is energy and excitement here, and that's exactly what the doctor ordered. If you're local, I'd highly recommend checking out their Myspace and taking a look at when their next Boston gig is. Their recordings only hint at how powerful their live shows are (which I can vouch for), and you won't regret checking them out.

Verb The Adjective Noun - Hooker Song
Verb The Adjective Noun - Liar's Song