Pretty Girls Make Graves - The New Romance (2003)

Intense atmospheric emotional indie rock from Seattle just at the turn of the century. 

It's raw but clean sounding, ragged yet polished. 

Highlighting bass player Derek Fudesco from seminal garage punk act The Murder City Devils as well as Jason Clark on guitar from post-hardcore cult band Kill Sadie and featuring the amazing vocal stylings of one Andrea Zollo, this band burned too bright and ended way before their time. 
Pretty Girls Make Graves - The New Romance (2003; Matador Records)

The Beta Band - The Three E.P.'s (1998)

Combining their first three EPs into a single compilation was a brilliant idea for these Scottish indie rockers dabbling in neo-psychedelia and electronica. 

One of the finer releases on either side of the pond of the late 90s.

The Beta Band - The Three E.P.'s (1998; Astralwerks Records)

The National - Alligator (2005)

I can listen to this album over and over again under the covers in a dark room for days at a time (I will never, ever be able to put into words what this record means to me; that one sentence is the closest thing I can offer you).

Maybe you'll have an Earth-shattering experience from it, too...

The National - Alligator (2005: Beggars Banquet)

Cap'n Jazz - Analphabetapolothology (1998)

I don't know if there's another band from the 90s that has spawned more imitators and at the same time gone so un-noticed; maybe because the imitators they spawned got it all wrong, or did it "cleaner", or were less about having fun and more into whiny self-involvement (you know who I'm talking about), but Cap'n Jazz were definitely one of the most original bands of the early-90s Midwest emo scene, probably because they took a medium that was used mainly for heartfelt self-expression and had a shitload of fun with it.

The brothers Kinsella (Tim & Mike; vocals and drums respectively) along with bass player Sam Zurick and guitarists Victor Villareal and Davey Von Bohlen laid the blueprint for what was to come (basically any "emo" band that can't be tidily described as some form of "hardcore") and all the bands that grew out of their eventual demise; The Promise Ring, Joan of Arc, American Football, Ghosts and Vodka, etc. Here's their 1998 compilation from Jade Tree Records, which basically culls all their tracks ever (except for one song; Naive) so you can trace the arc of their career from early 7-inches to a fully realized, tightly coiled pile of post-emo indie punk rock. 

So if you grew up listening to all that early-millennium whiny screamy shit, here's where a lot of it started; except this band was a joyful, shrieking catharsis of sloppy precision...

Cap'n Jazz - Analphabetapolothology (1998; Jade Tree Records)

Minus the Bear - Highly Refined Pirates (2002)

If you like catchy, guitar-based indie rock that borrows from both prog and math rock, then Minus the Bear's Highly Refined Pirates is the record for you. I'd say this is their masterpiece, it has an urgency missing from the follow-up, the more polished Menos El Oso. Maybe it's a component piece to that record, this is the happy mask next to the sad one; either way I'll take this one for overall hummability and pure enjoyment. It's still tight as all get-out, please don't misunderstand my previous assertion that urgency doesn't equal polish- it's been finely ProTooled for your listening pleasure, without jettisoning the warmth (I've always thought over-produced music felt a little cold).

Made up of former members of such bands as the seminal Botch (Dave Knudson, guitar); Kill Sadie & These Arms Are Snakes (Erin Tate, drums) and Sharks Keep Moving (Jake Snider, lead singer and guitar), the current members of Minus the Bear read like a Pacific Northwest all-star team in the mathcore/noise/post-hardcore scene; also with Cory Murchy on bass and electronics-tweaker Alex Rose rounding the band out. Matt Bayles left the band in '06 to focus on his career as a producer; you may be familiar with some of his work: Mastodon's Remission, Leviathan & Blood Mountain; Isis' Celestial, Oceanic, Panopticon & In The Absence of Truth; Russian Circles' Station; The Sword's Warp Riders; and some engineering work for some band called Pearl Jam (oh, and Queensrÿche. Remember them?)

So here's another one of my favorite records from this past decade...

Minus the Bear - Highly Refined Pirates (2002; Suicide Squeeze Records)

Sebadoh - Harmacy (1996)

It seems that the consensus pick among Sebadoh fans for their best album is 1994's Bakesale; but for some reason I always had a stronger bond with Harmacy. Probably because Lou Barlow and Jason Loewenstein's songwriting duties were split; Jason contributed nine songs here (making Sebadoh an actual "band" as opposed to a Barlow project) and the pair focused more on straight-ahead songs with better production values.

It also has a more cohesive blend of styles here; instead of the genre-hopping madness and the lo-fi experimentation they explored on previous records this is a really great pop album. Don't get me wrong, I'm not dissing Sebadoh's earlier work; those records all have a special place in my heart (and on my record shelf) but as I've said before I'm trying to get you, my regular readers, friends, fans, well-wishers, countrymen (as well as my enemies) into all this great music.

I feel this record is the best place to start with Sebadoh. Then work your way backwards...

Sebadoh - Harmacy (1996; Sub Pop Records)

Five Dischord Bands...

Dischord Records, god bless 'em; gotta love the business model that label heads Ian MacKaye and Jeff Nelson created way back in 1980 to get their Minor Threat records out to the public. It's been a wonderful American success story, maybe not in the monetary sense but in the stick-to-your-guns-no-sell-out success story: integrity at all costs. Or at very little cost to us, the general consumers.

I would feel bad about sharing these albums but a) these bands no longer exist and b) I own (or have owned at one time) these actual records or c) have spent money on these bands (via digital download, concerts, etc.) But it still feels like stealing from Robin Hood in a way.

Oh well, morality bullshit aside, let's start it off with one of my favorite bands to break up this past decade, Q and Not U. Post-hardcore-slash-dance punk group extraordinaire; I've chosen their 2000 debut record No Kill No Beep Beep for you- it's a tad rawer, fresher and more exciting than their other two records. Sadly, the boys broke up in September of 2005 leaving a three album legacy to the world, also leaving loyal Washington, DC fans wanting more.

Q and Not U - No Kill No Beep Beep

Next up is another DC band, math rock stalwarts Faraquet. They only put out one record, 2000's The View From This Tower, but it definitely left an impression. I'd chunk it right between earlier post-hardcore giants Quicksand and Dischord flagship band Fugazi- tight grooves, heavy drums but not afraid to get funky. Then the King Crimson-esque prog rock stop-on-a-dime staccato blasts. They recently reformed to play a string of shows and release an anthology of earlier singles, but no plans to record in the future. I think they should do it...

Faraquet - The View From This Tower

Black Eyes will straight up fuck your face into an oblivion. Two albums, markedly different- their self-titled debut is far more focused, dare I say listenable? Not that follow-up Cough isn't rad as shit in it's own right, I figured you weren't ready for it. Yet. That's another blog all by itself. For now, you'll have to get by on 2003's eponymous record; an arty, slightly pretentious and noisy version of hardcore punk.

Black Eyes - Black Eyes

El Guapo's Fake French might be the one album that you couldn't pick out from a police line-up, especially from a band that might not have the typical Dischord sound. A bit more heavy on the synths, call-and-response lyrics and electro beats placed here and there would have your scratching you head a little. That's okay; El Guapo wouldn't mind. They're technically the only band here that didn't break up per se, as they merely changed their name to Supersystem (and shedded their original drummer). Here's their 2003 offering for you...

El Guapo - Fake French

Antelope started as a side project for El Guapo/Supersystem/Edie Sedgewick member Justin Moyer along with ex-Vertebrates Bee Elvy and Mike Andre, and their sole offering to the world was 2007's Reflector. Heavy on the bass, the sparse drums interlock perfectly providing a pocket for Moyer's angular and pointed guitar lines. It's minimal, it's sleek, and they're gone...

Antelope - Reflector

Yo La Tengo - I Can Hear the Heart Beating as One (1997)

If I had to put together a list of the greatest records of the '90s, this would be right near the top. Yo La Tengo personifies that decade as far as American indie rock is concerned; I would also have to add Pavement, Superchunk and Sebadoh to that list (two of those three have been featured on this blog as well, and Mr. Barlow, if you're reading this- I'll be uploading some of your tunes as well...)

As for YLT and this album in particular, I don't have enough great things to say about it; I Can Hear the Heart Beating as One is their widest ranging record, stylistically speaking- there's some bossa nova, country, dream pop, folk, krautrock, noise, power pop, shoegaze, straight-ahead rock, tropicália, you name it- it's on here. That's why this is probably the best starting point for you kids looking to get into not only one of the best bands of the last twenty years; one of the best bands ever.

Listen to this gem of an album now, you shan't be disappointed...

Yo La Tengo - I Can Hear the Heart Beating as One (1997; Matador Records)

Galaxie 500 - On Fire (1989)

I don't know if Galaxie 500 can be credited with starting the slowcore movement, but they did more for its early development than anyone else. I think it was their intention to be an eighties version of The Velvet Underground; at least in the Velvet's quieter moments (think their 1969 self-titled album, the one with Pale Blue Eyes and I'm Set Free). Hey, if you're gonna copy someone, copy the best, right?

Shimmering and wave-like guitars set over slinky and growling bass lines locked into a steady drum beat; that's the Galaxie 500 sound that everyone after tried to copy as well; some got it right (Low, et al) and some didn't. But the fact remains that Galaxie was an awesome band, never trying to confuse the listener with tempo changes and stops and starts; just pop music slowed down enough to be covered in a sweet molasses glaze.

This is the 1997 Rykodisc re-issued remaster with three bonus tracks...

Galaxie 500 - On Fire (1989; Rough Trade Records)

Superchunk - Foolish (1994)

I went to a high school that had a radio station (in fact; the oldest high school radio station in the United States- there's even a Wikipedia page about it- Go WHHS!) and I signed up to take the class for my second semester of 10th grade; I've always had an un-natural attachment to music so I figured what better way to annoy hundreds (more like tens) of listeners with my music tastes? Back in those days (1992 to be exact) it was an actual credit class, now it's an extracurricular club run by the students (with a faculty advisor that doesn't have to do a whole lot). Anyway; you needed an actual FCC license to broadcast on the air ($35 back then was a lot of money) so I never got my license. But I was put on the air, and I got in a shitload of trouble.

The story goes: the teacher of the class was an on-air personality for the soft-rock radio station (I'm not going to name any names here) and she usually didn't come in until around 11:00 most days, she was the morning drive-time personality on that un-named station that operated near the Granite Run Mall. Anyway, the student director thought I was hilarious and wanted to give me ten minutes on the air. I went over to the racks of records, pulled two out (they were Public Enemy's It Takes a Nation of Millions to Hold Us Back and a 7" single of Superchunk's Cool). I had been learning things like how to load the PSA cartridges (basically see-thru 8-track tapes that had various anti-drug messages or anti-suicide slogans and whatnot with typed-out labels on them), get proper distance from the microphone and enunciate my syllables, and segue from one track to the next- all that radio shit.

So I did my ten-minute bit, played Bring The Noise and Cool, talked in between, told jokes, did impressions of teachers I hated, etc. When I was done (much to our surprise) the faculty advisor was standing outside the on-air booth door with the most livid expression on her face. She went into a tirade about "losing our station license, illegal broadcasting, yadda yadda, whatever..." I was laughing pretty hard. I was sent to the principal's office, got a day of in-school suspension and had to drop the class.

This story has a happy ending, but you'll have to stay tuned to a later blog entry to get the rest. At any rate, this Superchunk record does not have the aforementioned song on it, but it's my favorite of theirs. I'll probably do a massive 'chunk post one of these days, they always epitomized what "indie rock" is all about, and will forever remind me of my first attempt at being a disc jockey...

Superchunk - Foolish (1994; Merge Records)

R.E.M. - Chronic Town (1982)

This is the third-best EP of all-time, right after Mission Of Burma's Signals, Calls & Marches and Pavement's Watery, Domestic. Well, that's just my opinion- but hey, who's blog is this now?

That's right.

R.E.M. hails from Athens, Georgia- you probably already know all this. I'll skip the intros and niceties then.

I always thought this band could be split into two distinct halves, the first half (which runs from 1981's Radio Free Europe single up until around the mid-90's Monster/New Adventures in Hi-Fi albums) and the second half (the four albums since original drummer Bill Berry left the band). It's funny to trace their arc of trajectory; about an album a year until '94, then an album every 3 years or so. Michael Stipe could get away with the argument that everything he ever needed to say he said by Automatic For The People; the scope of their work could've concluded with that record and their legacy would remain forever unblemished by their more-or-less subpar work as of late.

Anyway; here's one of my favorite things they've ever done, an early snippet of the band they used to be, all jangly guitars and mumbled vocals...

R.E.M. - Chronic Town (1982; I.R.S. Records)

Unwound - Leaves Turn Inside You (2001)

Unwound was cut from the same mold as the two other '90s stalwart post-hardcore bands that got most of the attention; Fugazi and Quicksand. Unwound veered from the safer path those two took (albeit one by breaking up and the other maturing into one of the finest bands ever) and went a bit more avant in their approach.

They kept it subtle and airy at one end but made it noisy and grating on the other; taking the best attributes of post-punk and fusing it with the audacity of noise rock, all the while toeing the line between indie, post-hardcore and post-rock; this is definitely one of the best albums of the new millennium. It's a sprawling and expansive hour-and-seventeen minute affair that delves into both spacey atmospherics and punk rock riffing.

Bravo, Unwound. Nice way to go out- leave your fans wanting more and critics scratching their heads with the whole "what if?" question.

Unwound - Leaves Turn Inside You (2001; Kill Rock Stars)

Pavement - Watery, Domestic (1992)

If the four songs on this EP were included on Slanted & Enchanted, it would've been the greatest album ever.

Just think about that...

Pavement - Watery, Domestic (1992; Matador Records)

Camper Van Beethoven - Telephone Free Landslide Victory (1985)

My first week of middle school I met this kid named Matt; I think we sought each other out because he was wearing a Misfits' Fiend Club shirt and I was wearing a Sex Pistols' Never Mind The Bullocks shirt (the assistant principal made me turn it inside out, which ironically got it more attention than before- go figure...). Anyway, Matt had an older brother that was a DJ at his college radio station, so when I'd sleep over his house on the weekends (his mom was a nurse and she worked the night shift), we'd drink a ton of Jolt cola and eat candy and stay up all night listening to his brother's cool records.

This one from Camper Van Beethoven especially sticks out in my mind- I think we may have wore this one out. Anyway; Matt Ryan, wherever you are- thanks, man. And thank your brother for hipping up our ears at such a young age.

This is the 2004 re-mastered re-issue with bonus tracks (of course)...

Camper Van Beethoven - Telephone Free Landslide Victory (1985; Independent Project Records)

Bear vs. Shark - Right Now, You're in the Best of Hands... (2003)

My friend Conor turned me onto these guys a few years ago; I always thought they were like a poor man's Les Savy Fav- a driving rhythm section, distorted and screechy guitars and vocals alternating between shouts, barely intelligible screaming and melodic singing.

One of those bands that puts out two really good records, shows a shitload of promise and then goes and breaks up.

Go figure...

Bear vs. Shark - Right Now, You're in the Best of Hands. And If Something Isn't Quite Right, Your Doctor Will Know in a Hurry (2003; Equal Vision Records)

Butterglory - Crumble (1994)

Some wonderful indie pop from early '90s boy-girl duo Butterglory, hailing from Lawrence, Kansas by way of Merge Records. 

Sounds like a cross between Pavement and Archers of Loaf. 

Enjoy!

Butterglory - Crumble (1994; Merge Records)

Silver Jews - American Water (1998)

"Wild metaphors and dry wit..."

I'd say that's David Berman's mission statement. I was trying to think of the most American music possible; (Will Oldham's various projects and monikers come to mind) but Berman is way smarter and what's more American than rampant intellectualism? I swear half of these songs could be little snippets of college thesis statements...

Silver Jews - American Water (1998; Drag City Records)

Death Cab For Cutie - We Have The Facts And We're Voting Yes (2000)

I'm kind of embarrassed by Death Cab For Cutie these days. Having to defend their early work up against the awful pap they've been putting out the last few years has grown tiresome; I say give this record a listen and decide for yourself.

But hey, maybe you like the radio-friendly hits they're churning out, maybe you've put them on a mixtape for some chick your were trying to get with, I don't know...

I'll take their first five records (everything up to and including 2003's Transatlanticism) and make pretend they broke up before they had a chance to make Narrow Stairs. Sorry.

Death Cab For Cutie - We Have The Facts And We're Voting Yes (2000; Barsuk Records)

Destroyer - Thief (2000)

This should be subtitled: The Portrait of a Starving Artist at the Turn of the Century...

Destroyer (Dan Bejar) is the most talented of all his New Pornographer band-mates; that's right (I'm looking at you both, Neko and A.C.), and if you doubt this assertion, why are they covering a bunch of his older solo songs and playing them now? Because Bejar's tunes from 10 years ago are better then theirs now. Fact.

Anyway, Destroyer has three records from the last ten years that I consider my favorite of the decade, and I'll post them in the coming weeks. Just to let you know, they just re-issued this record as a 2xLP with 1998's City Of Daughters; buy it!

Destroyer - Thief (2000; Cave Canem Records)

Cass McCombs - A (2003)

Down-trodden, melodramatic and mildly stony hyperliterate piano-and-guitar driven indie folk-rock from Bay Area native Cass McCombs. 

What else do you need to know?

Cass McCombs - A (2003; Monitor Records)