Ted Leo & The Pharmacists - Timorous Me

A problem with the whole indie scene is that you find some really great bands that just fall through the cracks and never seem to get the acclaim or popularity that they deserve. Sometimes this happens because the band takes the indie tag too seriously and purposefully avoids the mainstream, but more often it's just because they never get the exposure they're worthy of. I first saw Ted Leo & The Pharmacists in 2006, when they opened for Death Cab for Cutie at Madison Square in New York, and left after a stellar performance by both bands, wondering why I'd never heard of them before. I vividly remember Ted Leo, standing on the edge of the stage wearing a bright orange jumpsuit, striking driving guitar chords and belting out a powerful rock falsetto, flanked by a bassist who reminded me of a teenage Jimmy Page and a drummer who looked for all the world like a lumberjack (see pic above). Definitely one of the best live shows I've ever been to.

Ted Leo & The Pharmacists - Timorous Me


This song was one of the highlights of their set that night, and still remains my favorite. It's uplifting and nostalgic at the same time, especially when you pay attention to the lyrics, which speak of relationships lost and found. Musically, it's Ted Leo's distinctive guitar playing that gets me from the start, channeling a little of Jimi Hendrix's technique of playing lead and rhythm parts simultaneously into his own indie-punk roots. The song kicks off with a rhythmic bluesy riff that is pretty awesome on its own, and then Leo's fiery voice drops in from above, setting the momentum. Lest we forget, he does all of this at the same time (live), which any singer-guitarist will tell you takes no small amount of skill. I dig the way he drags this part out quite a bit before a handclap-worthy beat drops in from the rhythm section, turning the song into a proper indie jam. Try to sit still while you listen to it. You will not succeed.

Slightly overboard?

Anyway, do yourself a favor and get hold of either The Tyranny Of Distance or Shake The Sheets (both on Lookout! Records), both of which are great albums. Or you can do what I did, and get their whole discography. It's all good.

The xx

I'm not usually one of the first to jump on the bandwagon when it comes to the latest buzz, but I get the feeling that The xx are going to be making some substantial waves in the near future. I can't decide which of these tracks I prefer, so consider yourself lucky.

The xx - Islands
The xx - Crystalised

While I don't really like to compare two bands side by side, the reference can't be avoided. Ever since I got to know The Whitest Boy Alive, I've been waiting for an equal band to come along. The xx have risen to that challenge, and then some. The minimal, reverb-tinged guitar, rhythmic bass and laid-back drums are taken to a deeper level, creating a really sparse soundscape that is dark and beautiful. I can imagine this band playing in a dimly lit cave to an audience of none.


The male-female vocals really set these guys apart. Both vocalists have sublime voices on their own, but their ability to complement each other is what gives this music such an uncommonly ethereal sound. Every note sounds personal, as if they're singing to each other, and the lyrics, jumping expertly between metaphor and literal meaning, often add to that effect. There's also a veil of electronic ambience in the background, almost unnoticable at times, that subtly completes the dreamlike atmosphere. Midnight music at its best.


Interesting fact that I had to mention: these four 19-year-olds met at Elliott School in London, the same institution that produced Burial, Four Tet, and Hot Chip. Those of you who know any of these artists will be familiar with the unique sound that each has. Do we see a trend developing here?

If you dig, their debut album, xx (Young Turks/Rough Trade) was just released earlier this month. Get it.

DJ Shadow - Building Steam With A Grain Of Salt

If you know DJ Shadow, chances are you love him. The legendary DJ and producer from California revolutionized the world of alternative/instrumental hip hop with his landmark album, Endtroducing..... (Mo' Wax/Island), a record made up entirely of samples and put together using only a set of turntables, an AKAI MPC60 sampler/drum machine, and an early version of Pro Tools. His music has influenced countless musicians as diverse as RJD2 and Radiohead, and still sounds original and experimental even in today's eclectic music environment.

DJ Shadow - Building Steam With A Grain Of Salt


In case you didn't catch it the first time: this track (like the whole album) is made up exclusively of samples. There is no element in here that Shadow came up with himself. And while that may sound like criticism, it couldn't be further from the truth. The way the track is put together, combining musical fragments from a wide variety of other artists to create an entirely different, highly creative piece of music, is a testament to the validity of sampling as a true art form.


Even the spoken-word samples in this track are carefully chosen to add to the effect, and they have a real impact on the track as a whole. In particular, the opening and closing words (taken from an interview with jazz drummer George Marsh) contain some profound thoughts about music that I often find myself referring to in my own thoughts or conversations.

The music's coming through me...

Another great part of the track is the breakdown that drops in about halfway through, one of my favorite examples of breakbeat. It's a drum solo in its own right, just as dynamic and energetic as if it were played on a kit. Another example of DJ Shadow's unique sampling technique and musical creativity.

There's a reason this is one of my favorite tracks. If you find it as well, let me know.

Ghostland Observatory - Silver City

Ghostland Observatory is officially one of my favorite bands right now. I can't really put my finger on just why that is, but if the above image doesn't illustrate how cool they are, I'm not sure if I can do much better. I also don't know exactly what to call their music. It's definitely rock-based, with a lot of electronic elements and some occasional funk influence thrown in, but to try and categorize it seems a bit futile. A few things I do know, however: it's melodic without being oversimplistic, groovily energetic (is that a word?), and somehow manages to remain organic and industrial at the same time. Bionic rock, maybe. You decide.

Ghostland Observatory - Silver City


This is a travelling song for me. It's about leaving one place and arriving in another, trying to find something new, something beautiful. Just getting out, being free, and discovering yourself. There's no regret involved, just a bright sense of optimism and the courage it takes to be a stranger in a new city. Uncertain, but uplifting. That's where this is at.


The beats are very cool, keeping things grooving along rhythmically without being too heavy or overpowering. I particularly like the vox synth that starts this track off and just keeps going in the background, providing the foundation for a number of melodic synth lines which do a great job of complementing the vocal melody. In short, a well-constructed song that makes me feel good every time. Mad respect.

If you dig, get hold of their gloriously titled debut album, delete.delete.i.eat.meat (Trashy Moped Recordings) and work from there. These guys are known for their versatility, so don't expect to hear the same thing every time. Prepare to be impressed.

Ezra Furman & The Harpoons - Take Off Your Sunglasses

Every so often I come across a band that I really dig despite the fact that I know they should annoy me. Having said that, there's something about the cheese factor of a band like Ezra Furman & The Harpoons that I just can't ignore. With a song structure you could write on a post-it note, a total number of chords you can almost count on one hand, a harmonica hook straight out of any Bob Dylan song ever, and vocals that sound like a confused cross between Clap Your Hands Say Yeah and Cold War Kids, this song is awesome.

Ezra Furman & The Harpoons - Take Off Your Sunglasses


Just face it. No matter how hard you try not to, there's something about this track that will make you smile. Maybe it's the the nonsensical, rambling lyrics, the singalong-worthy chorus, or the fact that whoever's playing the harmonica appears to know only one way of doing so. Whatever the case, it's whimsical, uncomplicated, and above all, fun. Isn't that what music's supposed to be about?


If any sense can be found in the lyrics, this track seems like a pretty cool metaphor for the reclusive state of mind we all fall into from time to time. Hiding behind our sunglasses, as it were. However, while it's nice to think that everyone taking off their sunglasses would lead to mutual love and understanding among people, how this relates to taking out shoelaces is anyone's guess. Still, perhaps it's the irrepressible silliness that makes this song so much fun to listen to in the first place. Good times all round.

Friendly Fires - Your Love (Frankie Knuckles Cover)

I dig me a good cover. And by "good", I mean when a band takes an original song by another artist and plays it in their own style (as opposed to a note-for-note copy of the original). A good cover is a great way to hear a different interpretation of a song you love, and a great way for the covering band to pay tribute to an artist that influenced their own music. And quite often, these revealed influences can come as a surprise from a band you never imagined would dig the kind of music that they're covering...

Friendly Fires - Your Love (Frankie Knuckles Cover)

...like Friendly Fires covering Frankie Knuckles, for instance. In case you're unfamiliar with the original track (which I include below for your added enjoyment), a little backstory may be in order:


Meet Frankie Knuckles, house music pioneer and regular cool cat. While resident DJ at The Warehouse, a nightclub in Chicago, in the late 70s and early 80s, Knuckles began to create his own electronic tracks, sampling the R&B and disco singles popular at the time and splicing them together with uptempo, four-to-the-floor beats and analog synthesizers to create a revolutionary dancefloor sound that quickly made The Warehouse a Chicago hotspot. "Your Love" was one of the first tracks to become widely recognized as 'house' - which, if you hadn't guessed, was shortened from the name of the club where it originated.

Frankie Knuckles - Your Love

Friendly Fires, an indie dance-punk band from England (think Klaxons, Foals, etc.), take the original track, up the tempo a bit, translate it to their own instrumental setup and launch into a really sick version of a classic track which is just as much their own as it is Frankie Knuckles'. Sure, it sounds a bit raw and slightly underproduced, but being off their very first Photobooth EP, I'd say it's a pretty fair effort. Tell me you wouldn't dance to it. I dare you.

Oh yes.

If you dig, I highly recommend their self-titled debut album. Like that, and then some.

Doveman - Castles

One of the most amazing things about music is its ability to mould and shape itself into so many new and different forms, some of which can energize you like a shot of adrenaline while others send you to sleep like a powerful anaesthetic. Doveman, a.k.a. Thomas Bartlett and co., have created some surreal music which clearly falls at the far end of the latter category. Their self-described brand of "lamp rock" is some of the most gentle, ethereal music I have ever come across, weaving half-whispered vocals through ghostly piano lines, sleepy guitars and barely audible drums against a backdrop of soft, ambient sounds, to create an intensely subtle musical experience. I'm writing this post in the dark, because there's really no other way to experience the fragile magic of this track.

Doveman - Castles (Removed by request)


There's so much intensity in the silences between notes, it's almost painful to listen to. And Bartlett's voice; an emotional, beautiful whisper that barely carries over the soft tones of piano and acoustic guitar. Sorrow, love, peace, happiness, all wrapped in a cocoon of the most delicate music imaginable. Indescribable.


There's really not much more I can say about this one. I hope you enjoyed it as much as I do. If you dig, get hold of With My Left Hand I Raise The Dead (Brassland), half of which consists of spectral instrumental tracks (differentiated only by different numbers of full stops) which are even more sparse than this one at times. Just let yourself slide...

I'm going to sleep now.