Monday, March 17, 2008

The Monday Mixtape

Welcome to this week's edition of The Monday Mixtape, a weekly update of songs, both old and new, that have been on my own personal heavy rotation.



This week I’ve got finals, I’m heavily under the weather and my selections are definitely an effect of that.

Bela Lugosi’s DeadBauhaus
Though I’m pretty certain this tune doesn’t need an introduction, here’s the first single, recorded in one take, from the goth-rock band Bauhaus. The song’s minimalist and drones – perfect for those grey days intermitting spring.

Don’t Talk (Redux)ADULT.
Here’s a take from Detroit-bred ADULT. The band is made up a husband/wife duo and they’ve got a very much electro-punk sound to them: heavy on the analog synths, drum machines and lead singer, Nicola Kuperus’ scowl of a voice.

Little GarçonBorn Ruffians
Everything I had to say about Born Ruffians’ latest record on last week’s Monday Mixtape, still applies here and I’ve found myself digging the band’s latest LP, Red, Yellow and Blue quite a bit, especially in the sun, particularly in the car. This track’s rather different from last week’s “Kurt Vonnegut.” It’s much more sweet and subtle with a sunny disposition; it’s has a quaint, little sound and is a relaxing track if nothing else.

Left BankAir
Air’s Pocket Symphony from last year was a record that marked a change in their sound. They dropped a lot of their up-tempo electro and focused much greater attention on somber, ballad-esque tunes. “Left Bank” is a great example of their new direction and it sounds like a rainy day.

The Lord God BirdSufjan Stevens
Is there anything I can’t say about Sufjan Stevens? Here’s a track about an ivory-billed woodpecker of the same name. It was recorded in conjunction with a NPR segment about Sufjan’s songwriting. It’s got all of the standard Sufjan-accoutrements including banjo, a catchy lead-guitar melody, and a gentle, harmonious vocal track from Stevens himself.

Modern Love - Syme
Marking an up-tempo note on this week’s playlist is Syme’s “Modern Love,” which is off their 2006 remix EP, simply called Modern Love EP. Yes, it is a David Bowie cover and the song is heavy on the synthesizers and barbershop harmonies. There does seem to be a bit of Radiohead somewhere in there too, but this song is a sugary convection, like “Electioneering” chalk full of candy. It’s rainbow bright. Dig it.

Sun Spots
No Age
I’m still enjoying No Age’s compilation LP, Weirdo Rippers, quite a bit. This is just a quick instrumental cut. It’s straightforward with looped guitar feedback and reverbed synthesizer, but the bass-line is what sells me every time. Simple, yet lush, the song sounds like an dream ending.

Got ItSebadoh
One of the pioneer bands of lo-fi indie rock music, Sebadoh’s been around for quite a while now. This track is off of 1994’s Bakesale. The tune’s melancholy guitars combine beautifully with lead singer, Lou Barlow’s soft vocals. Less noisy and more melodic than previous efforts, “Got It” is an exemplary Sebadoh song none the less.

Bem, Please Come Home
Pas/Cal
Well, what do you know, another Detroit band on this week’s mixtape. This is an intricately webbed together track from the Detroit six piece’s second EP, Oh Honey, We're Ridiculous. It’s a short instrumental take delivered sunny-side up.

Hospital Rooms Aren't for Lovers
Bear Colony
Bear Colony’s lead vocalist is Vince Griffin and his role as such includes acting as the band’s primary songwriter. In 2005, Griffin was misdiagnosed with Crohns Disease. He spent a whole lot of time in the hospital as a result and wrote nearly all of 2007’s We Came Here to Die while bedridden; the experience comes through in almost all of the album’s tracks. Most of the record is positive or optimistic and the music itself is relatively solid, heavy on the electronics and takes a few cues from bands like Minus the Bear.

Waltze of the Tennis Players
Meg Baird
Last year, Espers’ Meg Baird released Dear Companion, a traditional folk album. With "Waltze of the Tennis Players," (a cover of Fraser & DeBolt, a Canadian folk-duo) that’s exactly what you get. The song is humbly straightforward, but romantically so and the gently strummed guitar chords accompany Baird’s ethereal and delicate vocals in a way that is both natural and eternal.

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