Photo by Martin Hausler, courtesy of Sneak Attack Media

Jack Dishel (or, if you will, Yevgeny Leondovich Dishel) — best known as the former Moldy Peaches guitarist, is off to those indie rock races again, this time on his own under the name Only Son, and this time with a new album. As a preview for his forthcoming Searchlight, to be released Jan. 18, 2011, check out “Magic.” If the rest of the album continues with this pop nous, there will be something very good here, no doubt. For a video of the track, read after the jump, or just check out this mp3.

Only Son — “Magic” from Searchlight | download
[audio:http://www.musicgeek.org/wp/wp-content/uploads/2010/11/magic.mp3|titles=Only Son — “Magic”]

SomaFM features a multitude of stations, and while most of its offerings are electronic in nature, some other notable stations with which I find interest include the recent Noise Pop Radio!, Covers — a station devoted to cover songs, and a dance rock station, PopTron! Across all its stations, SomaFM showcases artists from the obscure to the instantly recognizable.

Where something like last.fm or Pandora may offer some computer-generated discovery, the guided discovery of radio is where it can cull real power. Where most over-the-air radio has fallen into the mundaneness of the mainstream, SomaFM stands strong. For some, the variety may seem overwhelming — but with some time and patience, it transforms from something disparate and unrecognizable to the familiar.

Nouela and Brian at The Sunset (credit: Christen Shaw)

People Eating People is the solo piano pop project of Seattle artist Nouela Johnston, and it is absolutely astounding. Johnston has gone through much turbulence to arrive at her current position. In 2007, Johnston was locked into a contract with Mon Frere, the band who won the SoundOff! Battle of the Bands in 2007, which she immediately regretted. Johnston dropped from the band which caused her “[…] a shit-ton of legal messes,” as she explained to The Stranger earlier this week. Unable to release her own music until, among other things, the sum of $5,000 be paid to Cake Records, and she played and toured for-hire with three other bands: Say Hi, Fall of Troy, and Creature Feature. All the while, Johnston was recording a demo which eventually reached the hands of Nabil Ayers, current label manager for 4AD, who offered to release her full-length album.

Her self-titled album, People Eating People, released in November 2009, is an emotional outpouring of jazzy vocals and piano. Johnston is classically trained in jazz piano — she began performing recitals by the age of 4. Being that she is classically trained, her music is technically masterful and complex — her vocals are to match. Her lyrics are personal and emotionally driven; we can see such in “I Hate All My Friends.” Pounding and fast jazz keys supplement her apparent anger as she sings a tale of lies and deceit. With “All The Hospitals,” Johnston shows her flexibility as a jazz pianist. Fluctuating, complex rhythms, all the while delivering the similarly fluctuating jazz-style vocals. A highly emotional tale of depression, making references to suicide amongst other things; “don’t cut too deep, take all those pills…don’t swallow… everyone you love is on your side.”

People Eating People — “All the Hospitals,” from People Eating People (2009) | download
[audio:http://www.musicgeek.org/wp/wp-content/uploads/2010/03/PeopleEatingPeople.mp3]

See below for upcoming shows, live videos, and a video interview.

People Eating People is being very well received in the Seattle music scene and have what seems to be a glowing career ahead. People Eating People are not currently on tour, but frequently play shows locally at just about all the venues here in Seattle. Information about show dates/times are frequently updated on People Eating People’s myspace page, myspace.com/peopleeatingpeople.

Upcoming Shows

Mar 9 2010 8:00P
Chop Suey Seattle, Washington

Mar 13 2010 8:00P
Sunset Tavern Seattle, Washington

Mar 26 2010 8:00P
The Moore Theater Seattle, Washington

May 14 2010 8:00P
Chop Suey Seattle, Washington

Band Members

• Nouela Johnston
• Recorded Drums: Mark Gajadhar
• Recorded/live Drums: Ben Libay/Brian Turner
• Recorded Guitar: Christiaan Morris

Minus the Bear

Today Minus the Bear have premiered “My Time,” the first track from their upcoming album, Omni, due May 4, 2010. Immediately noticeable is the lack of guitar playing from Dave Knudson which we hear none of on the first track. Instead, Knudson has integrated a new instrument into their arrangement: the Omnichord. With the introduction of the Omnichord and lack of guitar, Knudson brings a much stronger pop sound to the track than ever before. We’re unsure of what to expect for the rest of the album, but it is likely that we will still hear the guitar on the other tracks based on Dave Knudson’s chat with Spinner.

Radiohead – “No Surprises”
A veritable classic of our time, “No Surprises” floats you into a waking state with a staccato bell-like guitar introduction. There’s a reason it’s one of the most recognizable introductions in modern rock music, and when I’m waking up, I always find it important to listen to something at least vaguely recognizable. I hate being startled into my day.

Arcade Fire – “Wake Up”
Is this one too oblique? Maybe, but it’s still a damn good song to hear as you drift back into consciousness. There’s something about the driving guitar, the faux-choral arrangement, that blanket of warm distortion. Give this a whirl in your wake-up routine, and I’m sure you’ll notice a certain hopefulness pervade through your day.

At the Drive-In – “One Armed Scissor”
When you just can’t bring yourself to wake up normally to something a bit more calm, inject some energy into your day with this frenetic piece of post-hardcore goodness. If you’re prone to startling as you wake, this might not be the best choice, and it might not be the most calming musical choice for your routine. Still, if you’re either just waking up too late and need something, take this route. Or some nice black metal; that would work, too.

Yo La Tengo – “Beanbag Chair”
From 2006’s I Am Not Afraid Of You And I Will Beat Your Ass, “Beanbag Chair” is among the best of Yo La Tengo’s pop-laden work. The bouncy piano and simple harmonies may provide the needed boost for you to get up, get your day in order, and get out of the house. Clocking in at three minutes, this song has the perfect balance for the average sleepyhead. Alternately, if you want something a little earlier in Yo La Tengo’s catalog, try “Autumn Sweater,” from 1997’s I Can Hear The Heart Beating As One.

Broken Social Scene – “7/4 (Shoreline)”
The bass line that dominates this song’s feel is more than just effective for waking up — it’s damn catchy, too. Try not to put too much bounce in your step as you head off to your next coursework — it’d be a shame to put a damper in your day by tripping.

Belle and Sebastian – “Step Into My Office, Baby”
Everyone loves Belle and Sebastian, right? This is Belle and Sebastian at their pop-laden best, unafraid to be seen smiling and whistling in the early morning — not even thinking to grumble about coffee. Maybe it’s infectious.

Weezer – “Surf Wax America”
I should probably make some joke here about surfing into your morning … but I’m not even going to try.

While Valentine’s Day holds a certain appeal to many in love with love, for others, it serves as a precursor to a nasty hangover. It’s inevitable when you drink that much. Hey, lucky us, Valentine’s Day fell the day before Presidents Day! Working while nursing a pounding headache and a churning stomach doesn’t exactly improve mental productivity.

Spiritualized – “I Think I’m In Love”

I think this song is most potent with lyrics like, “I think I’m in love — probably just hungry.” The song continues in this vein. It’s pessimistic, and when hung over, who isn’t pessimistic?

The Rural Alberta Advantage – “Drain the Blood”

If you’re not so hung over that you can’t bring yourself to listen to some frenetic indie pop, this short, not-too-distressing tale of vague heartbreak isn’t so abrasive as to provide a new approach to your relationships, but it won’t make you vomit (more) from overt enthusiasm.

Matthew Montgomery, 2009

Back in September 2009, I had the opportunity to spend a lot of time in my car while traveling across the western half of the United States. During this time I discovered that when speeding down a side road in Iowa, not all songs were created equal. Here is a list, in no particular order, of the 10 best songs for driving to.

1. The All New Adventures of Us – “Firetruck”

This song is wonderful to say the least. It meets all the requirements to be a good driving song: sonic guitars, blasting horns, enough changes to keep you interested and of course, a beat you can tap your gas pedal too. The song speaks of never missing another adventure, and that really embodies what this article is about: adventures.

2. The Beatles – “Two of Us”
“Two of Us” is one of those jangly guitar songs you just can’t do without on a good drive. It’s stood the test of time and after nearly 40 years it is just as valid as it was on its release. The song itself induces images of driving on a winding backroad with the windows down and the sun shining.

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3. Cake – “Shadow Stabbing”
With equal parts heavy bass, clean drums, and smooth vocals, there was no way I could leave this off the list. It’s the kind of song that makes you turn the stereo up and tap your steering wheel. Listening to this song generally leads to everyone in the car dancing, singing and having an all around good time.

4. Grizzly Bear – “Two Weeks”
The song opens with staccato piano with bass and drums accenting it. This song made the list more for the musical content than anything else. Something about the flow of this song lends itself to the idea of driving away and letting go. It’s a wonderful piece and a great way to start a long drive. Just turn this on and pull out of your driveway; you’re good to go.

5. Hot Hot Heat – “Middle of Nowhere”
“Middle of Nowhere” is another foot tapping tune with more “windows down” potential than your run-of-the-mill song. It speaks of heading out to the middle of nowhere, not because you have to, but because you can. The lyrics are intensely catchy and bring a level of intensity to the list we haven’t had so far.

6. Ben Kweller – “I Gotta Move”
“I gotta move while the streets ahead are sunny” is the first thing you hear out of this song. It continues to send a none to subtle message that he has outgrown his small town home and needs to get out and get his life on track. Complete with crunchy guitars, tambourine and a classic rock and roll guitar solo, you can’t go wrong with this song when speeding down the interstate.

7. The Lodger – “The Good Old Days”
Twinkling guitars and dance-beat drums slam into the list with no remorse. The bass has a endearingly thin yet full tone and reminds of 1960s pop songs. This is one of those songs that makes you want to dance in your seat. The message of the song is essentially that things have been pretty terrible for a while, but they’re finally starting to look up and perhaps these could be the good old days everyone is always talking about. Why would you not want to hear that as your driving on the open road?

8. Nada Surf – “I Like What You Say”
This song comes from Nada Surf’s 2008 album, Lucky. This is the album that took Nada Surf from being a mediocre alternative rock group to a wonderful pop outfit. Sweet vocal harmonies dominate this track along with clean electric guitars strummed throughout. The drums make this another hit when it comes to the steering wheel tapping, windows down crowd.

9. This Will Destroy You – “Quiet”
“Quiet” is the first song on this list with no vocals. The song begins with echoing guitars, strong chords on the piano and a persistent beat on the drums. After a while, it breaks down into a giant chorus of distorted guitars and cymbal heavy drumming. A solid post-rock track is a must on every long drive and it doesn’t get much better than this.

10. Weezer – “Holiday”
There was no way I could complete this list without this song. It was hard enough to narrow it down to only one Weezer track. A classic power pop track with sonic guitars and aggressive drums, there is no song on this list that matches the raw emotion and power of this song. Great songwriting and intensity guarantees it a spot on any playlist for the open road. However, when listening to this song on the interstate, be careful. It may lead to excessive speed, and from personal experience, the authorities don’t take “I was listening to Weezer” as a valid excuse.

Elizabeth & the Catapult - Taller Children

Despite what could be construed as a strangely typical name for this era of music, Elizabeth & the Catapult are hardly the typifying outfit of the accompanying sound. Inflected with vocals with a style more keen on jazz than post-punk and an outright affinity for Cocteausian dream pop, Taller Children is something “new” from the outset.

Elizabeth & the Catapult — “Taller Children” | download
[audio:http://www.musicgeek.org/wp/wp-content/uploads/2009/06/TallerChildren.mp3]

Produced largely by Saddle Creek alumnus Mike Mogis — the one exception is the titular track, which was produced by Jim Eno of Spoon and the dubious-careered Jon Kaplan (who has produced such masterworks as … the Jonas Brothers!) — Taller Children is a solid pop record with a cheerful melodic bent taking the musical front seat in the recording, and the production supports that without becoming intrusive. Never does a song sound overproduced or forced, much to the album’s benefit.

Elizabeth & the Catapult take their good pop sensibilities, merge them with good songwriting, and top it off with gentle, proven production to create a record that will satisfy the appetites of pop-lovers across the globe. Taller Children — replete with catchy hooks, engaging rhythm, and vocals that occupy a new niche of indie pop — is memorable for the best reasons. It shifts seamlessly between being upbeat and infectious and taking a more slow, introspective approach.

Taller Children has tracks ranging from pure, innocent indie pop (“Momma’s Boy”) and seductive neo-jazz (“Right Next to You”) to a string-laden Leonard Cohen cover (“Everybody Knows”) and jazz-inflected bluegrass (“Complimentary Me”) — the diversity isn’t overwhelming, but it is refreshing, and it keeps the album from becoming yet another homogenous effort from a promising act. Elizabeth & the Catapult now have a real task ahead of them: Produce a second album that’s engaging, interesting, and different enough from this release to make a mark on the dense landscape of indie pop. If I’m to guess, this act is up to it.

Released June 9, 2009 on Verve Forecast

What Laura Says opens their second release with a collection, of sorts, of musical styles: “Couldn’t Lose Myself If I Tried” opens with a gentle folk-inflected tune before it transitions (with a door knock, of all things) into an a capella medley, then making a segue into a Ben Folds Five-style piano-romp, complete with the group’s trademark vocal harmonies.

Thankfully, What Laura Says doesn’t keep up this strange method for long, opting to not make such bold breaks in style mid-song but still keeping the music convincingly engaging. “Fashionably Moral,” dark Western mood and all, bursts with acoustic energy midway through the song before settling down again, and the following track, “Illustrated Manual” marks another appearance of some nice piano-based pop — it’s clear that What Laura Says either get bored with a single style of music rather quickly, or they simply wish to showcase a bit of diversity in the music.

What Laura Says – “July 23” | download
[audio:http://www.musicgeek.org/wp/wp-content/uploads/2008/09/july23.mp3]

If it’s the former, the latter is still true: There is a certain element of diversity here that’s very hard to ignore. Alongside that diversity, serving to create a more complete package, is a skillful use of vocal harmony to provide layers of depth (see “Wish I Could Fly,” in which the vocals serve instrumentally both as added percussion and a melodic device.)

What Laura says continue their diverse display throughout: “Dot Dot Dot” involves a well-managed duo of acoustic guitars showcasing some beautiful melodic strain against soft, harmonizing vocals.

Even if What Laura Says aren’t the most consistent in style, they are fairly consistent in quality — and they do deliver interesting song after interesting song, rarely faltering from their pursuits. All told, Thinks and Feels is a solid release, but finding a common thread throughout proves a little difficult.

Parenthetical Girls – “A Song For Ellie Greenwich” | download
[audio:http://www.musicgeek.org/wp/wp-content/uploads/2008/08/a-song-for-ellie-greenwich.mp3]

From the first seconds of Parenthetical Girls’ third release, it’s clear that Entanglements isn’t going to be one of those albums that starts with a track that doesn’t fit the rest of the record. The over-the-top, theatrical approach taken with “Four Words” marks the band’s theatrical approach as they provide an endearing twist on indie pop.

Entanglements is an exciting album for enthusiasts of the style: There isn’t a track on the album that feels out of place, there’s instrumental, eomtional and compositional variety, and there’s an intricate care here that marks a regard for consistency.

From energetic songs that keep a level not far from a circus extravaganza to more somber arrangements, Parenthetical Girls display a rare musical talent with Entanglements. Instrumentally, the record is carefully composed, featuring a distinctive orchestration that sets this band apart from its peers.

The bottom line? Parenthetical Girls have hit musical gold.