Charlotte Gainsbourg & Calexico: "Just Like A Woman"

Last week I picked up the soundtrack to the new Bob Dylan biopic, I'm Not There, and I just wanted to take a second to get a few songs out to the Rockist faithful and finally let you know if it's cool or not. And it is quite cool. First off, there are over thirty Zimmy covers by some of indie rock's most revered acts - Stephen Malkmus, Sonic Youth, Cat Power, etc... Somewhat surprisingly, though in a good way, this doesn't play as a greatest hits collection - no "Blowin' in the Wind", no "Like a Rolling Stone", no "Masters of War". The title song is a good indication of the type of songs found here, as it was an unreleased outtake from the Basement Tapes (!). This is what us Rockists live for.

To be honest, Charlotte Gainsbourg's cover of "Just Like A Woman" probably isn't my favorite song on the album. Probably not even in the top 10. But when you get a chance to post a picture and talk about Charlotte Gainsbourg, you take it. You take it. Seriously, have you seen Science of Sleep?! If you haven't, do it now, and thank me later.

That's not to say her cover is bad, but it doesn't really stray too much from the original. And her breathy delivery feels a little forced at times. Perhaps it's a French thing, I don't know. Ooh, that makes me think, though - what if she had sung it in French?!?! Oh man, that would've been awesome. Of course I would've exploded. From all the sexiness.

Calexico as the backing band was a good choice though.

I've also posted The Hold Steady's version of "Can You Please Crawl Out Your Window?" Which, if you've heard the orignial song and anything by The Hold Steady, then you'll know EXACTLY how this will sound. And that's quite alright by us.


Charlotte Gainsbourg & Calexico - "Just Like A Woman"

The Hold Steady - "Can You Please Crawl Out Your Window?"

All Roads Lead to Duck: The National - Boxer

There's nothing like a new album to get you through standstill traffic. The Rockists took yet another road trip. This time it was to OBX (or the Outer Banks for you less dignified folk). Thinking we could beat traffic the Friday of Memorial Day Weekend by leaving at 1pm (didn't happen) we waited hesitantly to start Boxer until after our Sonic trip. Realizing that it wouldn't happen for at least 2 hours (it took 4), we hooked up the iPod to hear the rhythmic piano chords of "Fake Empire."

Following up Alligator shouldn't be an easy task. After listening to the first two songs you can sense the natural progression of their music (the constant crescendo into horns in "Fake Empire" and the off beat percussion with little more than monotone lyrics in "Mistaken for Strangers"). On first listening, though, the rest of the album was a little disappointing. There aren't any balls out, heart on the table rock songs like the ones that peppered Alligator (which is what drew me to The National in the first place). The vocal melodies seemed lazy and unenthusiastic. Hell, there are even pitch problems in "Start a War." Maybe I'm wrong and Matt Berringer likes singing in a sliding diminished key, but it just isn't pleasant to my ear.

Now, before you crucify me for hating on these guys. Like Mr. Holland with John Coltrane, the more I listen to the album the more it grows on me. I now think it's a fantastic release. I think the musicality of "Ada" finally sold me on the album. So there you have it. I like it.

Oh, and the Outer Banks is gorgeous this time of year.

New Magic Numbers LP to get US release

Pitchfork broke the news that the Magic Numbers' sophomore release, Those the Brokes, will hit US shores on July 3.

Lucky for you all, the Rockists have had it for a while, on account of some insider trading and a little thing called "imports." We're happy to announce that it sounds almost exactly like the last one, maybe with a little punchier production, but ultimately lots of boy-girl vocal trade-offs, harmonized breakdowns mid-song, and lots of tunes about falling in and out of love. You probably either missed or dismissed their first, self-titled album, but I found that one to be a real winner, and paired with a warm and engaging live show, they ranked amongst my favorite acts for a while.

To be honest, the new album runs a little long, but the first two singles -- or what should be the first two singles -- the cleverly named "This is a Song" and "Take A Chance" are pretty great. They're probably out there for listening somewhere. Oh, wait, look...they're right here. If you can hold out though, you can be celebrating your Independence Day with the best British brother-sister band of -- at least -- the last decade or so.

And if you're bored with all that, here's a cover the Numbers do of Beyonce's "Crazy in Love."

The Magic Numbers - "Take a Chance"
The Magic Numbers - "This is a Song"
The Magic Numbers - "Crazy in Love"

David Vandervelde: The Moonstation House Band

If you know the Rockists then you know that we love bands that ape Big Star, the Beatles, and the Beach Boys. Our love for Power Pop is unadulterated and undeniable. Though slightly less public, our love for the glam-rock of the 70s is equally as intense and equally irrational. Unlike Power Pop, Nu-Glam doesn't have entire collectives devoted to it, though there are still a number of notable devotees. The Darkness are usually the first band that come to mind, though The M's are probably our favorite. Our favorite until now, that is.

David Vandervelde's debut, The Moonstation House Band, has got to be one of the best albums of the fledgling (and probably, nay definitely, made-up) Nu-Glam genre. He's got the swagger and overt sexuality to make Jagger blush and his Bolan-cum-Bowie vocal delivery is delightfully delicious. Album opener "Nothing No" is the clear standout and will be released June 19 as a single. "Can't See Your Face No More" is my personal favorite and has been on infinite repeat lately; it showcases the biggest hook - monstrous even - on the entire album.

If there's anything that fails on this album, it's the few throw-away tracks (unfortunate that there are any, as it's only eight songs long) like "Corduroy Blues" and the aptly-titled "Moonlight Instrumental". But we'll let it pass as this reverb-soaked debut from the 22 year old Vandervelde is about as good as it gets. Our friends over at Daytrotter describe it as "every bodily fluid known to man personified into music". I think that's about right.

Catch David Vandervelde on tour as he's supporting Richard Swift and Spoon in the upcoming months. DC locals can see him with Swift at the Black Cat on April 19.

David Vandervelde: "Nothing No"

David Vandervelde: "Can't See Your Pretty Face No More"

David Vandervelde (from the Daytrotter Sessions): "Fuckin' Around"

*photo courtesy of David Vandervelde's myspace page

The Shins: The Rockist Verdict

You've got to be kidding me. Phil Spector gets charged with murder, and all the sudden everyone on the planet is copping his licks all over the place. The Clientele swiped the catchy guitar figure from "And Then He Kissed Me" to great effect on the chorus of "Since K Got Over Me". The Pipettes namedropped Spector in their mission statement. Every band and their brothers are opening songs with that familiar "bum bum-bum thwack" drum part. NYC shoegazers Asobi Seksu are taking Jesus and Mary Chain one further by actually covering ATHKM in concert. If Modest Mouse play the Shirelles' "Will You Still Love Me Tomorrow?" on tour this summer, you'll know we're in trouble. And now you can add the Shins to this list.

"Turn On Me" -- one of the stronger tracks from their latest Wincing the Night Away -- opens with a sort of disfigured version of that same ATHKM guitar lead, then has the temerity to call in the aforementioned drum beat. As for the rest of the album, it lives up to its billing as having a deeper, thicker sound than their previous two efforts. "Sleeping Lessons" is a terrific opening track, megaphone vocals over spacy keyboard patterns before it lifts into an Arcade Fire-like manic finish. "Australia" is strong too, and would've sounded at home on Chutes Too Narrow, but beyond that, there isn't too much to hang your hat on. "Sealegs" is experimental only if you think using a drum machine and synth-strings is way out there, and "A Comet Appears" is a nice closing acoustic ditty, but maybe too predictable.

The production values are certainly higher on this record, and everything does sound good. If anything, what's missing are the clever songs, the unexpected hooks, and their trademark quirkiness. But they've got this craftsmanship thing down.

The Shins - "Sleeping Lessons"

The Shins - "Turn On Me"

The Shins - "Sealegs"

*photo by Brian Tamborello, from Sub Pop page.

Arcade Fire - Neon Bible

Thank God the second coming of Springsteen, sponsored by the Church of Finn, has ascended into heaven. It's about time we get someone else seated at the right hand of the Father. If anyone would have requested a requiem by Bruce on his deathbed, Neon Bible would be it. After a solid trip pop opener with "Black Mirror," "Keep the Car Running"'s two chord mandolin opener, driving 2/4 drum beat bring you back to the days when Reagan was seeking reelection and this blogger was one and a half.

Arcade Fire slows it down a little with the title track and immediately brings us to the cathedral with huge organs and a call and response between Win and an impressive string section in "Intervention." After moving through the half 80s pop hit, half AF classic "Black Wave / Bad Vibrations" and dipping (ahem!) in the "Ocean of Noise," "(Antichrist Television Blues)" is literally a (successful) melding of "Born to Run" and "Thunder Road."

While most Springsteen references coin bands as the Boss of a new generation, this reference isn't anything like that. Neon Bible is literally the Boss v2.0. Maybe I'm wrong in this comparison, but before you dismiss this as amateurish, make a playlist with Neon Bible, Born to Run and "Dancing in the Dark," set it on shuffle and just listen...

I'm not saying Arcade Fire is the next Great American Rock Band (mainly because they're from north of the border). Let's just say they've made a Great American Rock Album.

Arcade Fire - No Cars Go
Arcade Fire - The Well and the Lighthouse

Super Bowl Sunday: Field Music - Tones of Town

The members of The Rockist Society meet at least once a month to listen to a new or generally unknown album to which none of said members have listened and drink genre/band fitting beverages.

I don't know if it was the strength of the G&Ts, anticipation for the Super Bowl or the company of my fellow Rockists, but good goddamn, I friggin love Tones of Town.

Ok, I have a confession to make. Before the listening, I actually had listened to the album no less than 7 times total. The first I had ever heard of Field Music was when the video to "A House is Not a Home" was released on youtube. I was hooked. I subsequently looked up anything I could find from this band and was not disappointed.

With it's seemingly manic drum beat and driving 12 beat guitar riff, "Give It Lose It Take It" opens the album with force. The album goes straight into "Sit Tight" with a Modest Mouse sort of feel developing into a breakdown of layered beat box, keys and their ever present "ooooooooo"s. Alternating from poppy licks to mellow harmonies, many songs on the album are supplemented with strings, which makes this amateur blogger wonder what the trio will do for their show at the Rock and Roll Hotel in March.

Tones of Town times in only 32 minutes and, much like a third of a gopher, it arouses your appetite without bedding it back down. No song is over 4 minutes, which leaves the listener wanting more. This is most true on "A Gap Has Appeared," whose powerful rhythmic composition section lasts for a meager 75 seconds.

The album isn't released in the States until 2/20, so if you want it now, you'll have to shell out a couple bucks to Mr. Jobs or send some quid over the pond. It's worth it.

Also, check out their earlier stuff. It's just as quality.

Field Music - Closer At Hand
Field Music - She Can Do What She Wants
Field Music - Tones Of Town