Yes, it’s true, the daughter of Republican Presidential hopeful John McCain likes to blog. And on her blog, McCain Blogette, she is also a huge fan of making playlists. Her latest one features some faves of ours: Au Revoir Simone, with “Sad Song,” George Clinton and his Gangsters of Love, with “Ain’t That Peculiar,” and “Passin Me By (Hot Chip RMX)” by The Pharcyde. As reported by Pitchfork, she also has some interesting tie-ins to make between what’s going on in the election and her choices for “Song of the Day.” See for yourself right here!
Italian DJ duo The Bloody Beetroots brought their masked faces to the post-Chromeo crowd at Webster Hall last night. Already a dancefloor smash in Europe, they’ve yet to make a huge splash Stateside – but you wouldn’t know it from the mesh of bodies on the floor at Webster. I haven’t spent too much time with their Rombo EP, merely because it’s not something you listen to unless you’re going to throw your hands up in the air, toss your hair around, and, of course, move your feet (which is why mine are throbbing right now); but, if you want a 25 minute escape, turn the EP up to 11 and make your living room a dance party. I guarantee you’ll feel exhausted and exhilirated when it’s over.
Don’t be surprised if you find yourself in a debate over whether this Brooklyn-based rock band’s funky harmonics are akin to Ween, 311, Janis Joplin or Phish. Their music teases between their male and female vocalists if they’re not meshing the two into a vocal instrument, while their bassist and drummer introduce highly controlled bouncing ear candy. If you saw them when they were in their early stages in Boston, you may have seen the lead guitarist restring his guitar mid song, unnoticed to anyone grooving to the recording. No wonder they won Best Boston Band and then went on to National Finalists, securing Best Guitar, at the international Emergenza band competition. Among their first shows in New York, they rocked Webster Hall and proved to industry vets that every song doesn’t require a predetermined path. If you’re the type to wonder off the beaten, check out their second album, Assemblage, out today. And don’t be surprised if your grandmother sold her household knickknacks to object assembly artist Tom Deininger who brought it all together for their album cover.
This week marked the release of The Sammies’ brilliant sophomore record, Sandwich, packed with tasty pop gems that won’t disappoint. The Charlotte, North Carolina quartet are no strangers to attention, having already enjoyed some success in 2006 when two songs from their debut self-titled album were featured in the Dane Cook / Jessica Simpson film “Employee of the Month.” Now Sandwich has got the blog chatter building for these garage rock enthusiasts.
Band members Frank Backgammon, Donnie Yale, Conrad Vacation and Bobby Freedom (yeah, right) recorded Sandwich at Winston-Salem studio Fidelitorium, run by famed producer Mitch Easter (R.E.M., Pavement, Helium). The record was produced by Ben Holst (Drive-By Truckers) and Billy Bennett (Drive-By Truckers, The Whigs), with equal input by The Sammies themselves.
MoRisen Records, also home to the band’s debut, released Sandwich this past Tuesday, September 23rd, and the band is going on a short Southern jaunt in support of it. Listen to the track that got everyone talking below, and if you live in any of the states between Florida and North Carolina (ie. Georgia, Alabama), go help yourself to a Sammies Sandwich in the next few weeks!
Chunk Of Change / Frenchkiss / BUY
Caffeine-buzzed, rainbow-saddling electro pop, peppered with squelches and squeaks, tugged along by a falsetto that sounds like a marvelously mangled indie rock take on Chipmunk Soul. All. That. And. More. On Chunk of Change, the debut from Passion Pit. A stick of dynamite. A punch in the gut. A perfectly potent introduction to one of 2008’s most exciting young bands, Boston’s crown jewel, and the owners of the best song we’ve EVER HEARD THIS MONTH, “Sleepyhead.” The EP descended last week via Frenchkiss Records, and should serve as plenty more than a taste of what’s to come on next year’s full-length debut. The New York Times loves it. And so do we. And so should you.