D A Y D R E A M I N G

D A Y D R E A M I N G  is a post punk / shoegaze band from Edmonton, Canada.

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Dazed

Wild Moth - Mourning Glow EP

Wild Moth is a post punk band from San Francisco, whom I have talked about before when they released their demo. They recently put out this 7-inch, The Mourning Glow EP, on Asian Man Records. You can buy it now, and you should. I saw them play in Sacramento about a month ago and they played some of these new jams, all of which rip. This band is so fucking good, I'm even wearing a WM shirt right now. Shit rules, check it out. Four songs on the digital version, if you buy the 7 inch it has two songs on it, plus the digital b-sides. Word.

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Mourning Glow EP

Desaparecidos

Desaparecidos was a short lived punkish band featuring Conor Oberst of Bright Eyes fame. Now, say what you want about Conor being either annoying as fuck or a musical genius, I don't really give a shit either way, but the dude can write songs. I used to get down with Bright Eyes to an extent, but Desaparecidos blow Bright Eyes out of the water. If you don't agree I don't care and I certainly do not want to hear about it.

I heard that Desparecidos was Saddle Creek's super group, but I have never heard of any of the other people in the band and I have also never heard of any of their other bands. Wouldnt Bright Eyes be the super group because Tim Kasher toured with them or something? It doesn't matter. I first heard this band in high school and was into it but wasnt super duper into it for whatever reason. They always held a certain mystique because the band was short lived and their sound was so much different than Bright Eyes.

As you can imagine, the vocals and lyrics are a huge part of this project. Conor is still all sad and stuff, but alot of these songs have alot of social and political satire and commentary. Alot of Cursive-esque references to marriage and stuff, talks about money and stuff too. Musically its super 90's alterna-punk like At The Drive-In and stuff like that. Chordy rhthyems, hardcore and punk dynamics to an extent, keyboards, punk/pop punk drums with Conor Oberest singing in a bathtub full of ice.

The band got back together last year for some festival or something in Omaha. I havn't looked for videos of it but I can imagine it was pretty cool. I also read somewhere, but I didn't check the date of the article, that they may have another full length recorded and ready to go but they are just sitting on it because they feel like it.

Below is all of their songs. They were featured on like two additional compilations or something but the songs are all recycled. We have for your listening pleasure their fully "Read Music / Speak Spanish", their single of "The Happiest Place on Earth" which had two unreleased jams on the B- side, and a Saddle Creek compilation with two Desaparecidos songs, one of which was exclusive. All their junk is on Saddle Creek, listen to it and let the angst flow through your veins. Video is from that reunion show last year.



Word.


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The Happiest Place On Earth


Saddle Creek 50 part 1 & 2


Read Music / Speak Spanish

Q And Not U

It's often said that if L.A. invented hardcore, then it was D.C. who perfected it. Dischord Records has been a mainstay in the indie scene since it's inception in 1980, when two young men from the 'burbs named Jeff Nelson and Ian MacKaye were looking for an alternative vehicle to release and distribute material by their and their friends bands. Dischord's first release, The Teen Idles EP, which both Nelson and MacKaye played on before moving on to the enigmatic hardcore group Minor Threat, was recorded and released after the Idles had broken up and Minor Threat had formed. Several other bands had also appeared on the scene - bands like Government Issue, (which Minor Threat guitarist Brian Baker would play in while Minor Threat was on hiatus from 1981-1983), Youth Brigade, and a band called S.O.A., which featured a raucous man named Henry Garfield on vocals, who in a few years would be better known by the surname Rollins, as the controversial frontman of hardcore godfathers Black Flag.

Fast forward eighteen years and the makeup of the hardcore scene and independent music scene in Washington D.C. has changed drastically. Many have considered hardcore dead since around '84 or '85, when the genre became too formulaic and veterans like MacKaye moved onto emotive, less politically oriented music tagged "emo". Punk has been exploited and mass marketed, as something called pop-punk, engaging prepubescent teens in it's catchy hooks and misanthropic lyrics. About the only thing that has remained the same is the fact that the Dischord house still lies nestled quietly away on Beecher St. in the suburbs of Washington.

Enter Q and Not U onto the scene, whose debut in 1998 was as a band who apparently claimed to write music for house parties, a far cry from the visceral serious mindset of Mackaye's lyrics on the first Minor Threat EP. A new generation of Dischord bands was being born, and in the coming years groups like Q and Not U, Black Eyes, and Faraquet would re-establish D.C. as a booming hub of independent music, by making inventive and experimental post-hardcore without becoming disengaging, making connections to young and old alike that bands like Lungfish, no matter how critically acclaimed they may be, simply could not.

The band's 2000 debut No Kill No Beep Beep certainly would not sound out of place being played in the basement at a debauched house show. The sound of the record infused catchy post-hardcore with tinges of emo, a danceable beat, and socially and politically conscious (although often cryptic) lyrics. The album is unique in the band's repertoire because it is their only release (besides their debut 7") on which original bassist Matt Borlik appears, greatly altering the band's sound. Highlights on the record are, well, every single song, but some of the finer moments include the anti-fashion statement of "Fever Sleeves", the cathartic, introspective "Kiss Distinctly American", and my personal favorite song by the band, "Y Plus White Girl", a short snippet of a song with perfectly crafted guitar parts and edgy, emo-esque vocals.

Different Damage, was released in 2002 after the departure of Borlik. Guitarists Chris Richards and Harris Klhar would trade off guitar and keyboard duties both on the record and in live concert. The album is vastly different from No Kill No Beep Beep. The band is far more subdued, their melodies more off-beat, the music more challenging. The opener "Soft Pyramids" starts off with an odd sing-a-long: "S-O-F-T-P-Y-R-A-M-I-D-S-E-V-A-P-O-R-A-T-E at daylight," and is apparently about gentrification, or maybe homogeneous, planned communities. The second song, "So Many Animal Calls" is about the American healthcare system, and from there, the lyrics are a bit more open for debate, but obviously still retain the feel of their politically stamped trademark. The more experimental, indie, and keyboard driven sound of their second LP is something that would remain with them for the rest of their careers.

Unfortunately, their third and final LP, Power doesn't quite hold up to the first two albums. Maybe it's just me, but I've read plenty of other reviews that deem the album disappointing as well. Even if the band didn't quite go out with a critical bang, the album sold well, and Q and Not U had become established as an indie powerhouse before their breakup in 2005.

They deserve their recognition as one of the most influential D.C. bands of all time, and I have to say that their music makes me feel some weird sense of nostalgia, even though I was admittedly far too young to take any kind of part in what they or the Dischord scene at the time was doing.



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Hot and Informed (2000)



No Kill No Beep Beep (2000)



On Play Patterns (2002)



Different Damage (2002)



"Don't Let It Bring You Down" by Neil Young from Don't Know When I'll Be Back Again, Vietnam Veterans Benefit Compilation (2003)



Book of Flags 7" (2003)



Power (2004)

Carissa's Wierd

Here's Carissa's Wierd.

Featuring future members of the much-hyped Band Of Horses (who I have to admit I've never heard), and Jen Ghetto's solo project S, the band's sound was a blend of symphonic arrangements, delicately strummed guitars, and nearly whispered, fragile vocals that sets them apart from other bands in the Seattle scene that was awash in a tide of Mudhoney and Nirvana clones during an era of record industry exploitation of the area due to it's status as a musical hotbed.

Bands like Sunny Day Real Estate, early in the decade, and the Tacoma Area's Botch in the late 90's/early '00's blazed trails in the "emo"/hardcore genres, yet somehow seemed to become associated with a stereotyped image, which all too often happens when a band gets bumped from "cult" to "granddaddy shit" status. SDRE's rhythm section eventually would help form Foo Fighters with ex-Nirvana drummer Dave Grohl, and Botch went on to seriously influence bands like Norma Jean. That's kind of the how the scene seems to go. Carissa's Wierd's relative obscurity is a gift in a way. They carry no reputation and thus no baggage - the music seems to speak for itself. Unlike musicians like Elliott Smith, (who's rainy day lo-fi sound is somewhat akin to Carissa's Wierd aesthetic), who have biographies available in any major book store about them, which creates an almost overpowering individual aura that overpowers the music sometimes. Carissa's Wierd's music survives as a sole testament to their power of artists. Their power as musician's somehow seems to lie in their virtual anonymity - when you hear a Carissa's Wierd song for the first time you have no preconception about what the singer might be saying - you have no previous reference to go on except maybe the lyrics to another song. It somehow makes the recording seem just as intimate, if not more, as listening to a famous artist sing a famous song about a situation that is understood, because of their celebrity status, between the artist and the audience. The fact that you are somehow out of the loop about the true circumstance for the song being penned at all makes it seem all the more soul-bearing as an offering in this band's case.

Their delicate, tight approach results in lilting yet jarring melodies, and intimate recordings. Often referred to as things like "Sadcore", or "Slowcore", they truly sound as their fan-run Myspace heralds them as: "Punk kids grown up and gone sad." The male/female vocal is unique and well-played. Their two true full lengths show the fullest extent of their strength as songwriters; the guitar hook and complimentary melody in "Ignorant Piece of Shit" (2003's Songs About Leaving) is one of the most compelling riffs I've ever heard. Their use of orchestral instruments really gives the music a great atmospheric vibe, while remaining completely manic depressive - their prowess lies in their ability to absolutely mesmerize you with stunning instrumentation while at the same time singing, well, some of the most depressing lyrics I've ever heard. The aptly titled "Die" (2004's I Before E) is a perfect example with lines like:

I see you way out there
You’re standing on a lonely road
(suppose I had said that I had lied, just when you said that you were)
Die right now
I never asked to be here

A bit melodramatic at time, but it somehow never manages to seem cheesy. Their entire catalog is worth the download, and their Scrapbook b-side collection features some great covers that point you in the right direction if you're wondering about influences - a gentle acoustic version of "Asleep" by the Smiths as well as version of Leonard Cohen's "Chelsea Hotel" that features Sam Beam of Iron & Wine fame circa the time he was releasing his breakthrough album Our Endless Numbered Days, that would propel him to indie star status. The album also features some great demo and alternate versions of LP songs, as does I Before E, which also features the excellent aforementioned "Die".

And now, a shout out from Mike Teunis for shits and giggles:
"...woah... deep."



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Ugly But Honest: 1996-1999 (1999)



You Should Be at Home Here (2001)



Songs About Leaving (2002)



Scrapbook (2003)

Live in Denton, TX July 13, 2003



I Before E (2004)

Native's back catalog

Well, we haven't updated in a few days and I'm too lazy/buzzed to write any lengthy article type thingy. So, here's Native's back catalog, if you haven't stumbled upon the free downloads on their myspace.. Two demos, enjoy.

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Are You There? Hello? (Summer 2007 Demo)



Winter Tour Demo 2007/08

1994!

I haven't seen this album, or their demo, for that matter posted anywhere else, so here goes:

Two dudes! One plays guitar, one plays drums. Simple enough. This is what someone else had to say:

Intricate, melodic and mathy post hardcore from this Lancaster, PA drum and guitar duo. Imagine Hoover in overdrive or Ghosts & Vodka with vocals. Throw in the revolution summer influence of bands like Embrace and Rites of Spring and you will start to have an idea of what to expect.

Okay, I'm not really seeing it, but whatever. These guys have an original sound. It's mathy post-hardcore, I'll meet you half way. But I'm not seeing the whole Dischord comparison really, maybe I'm just out of the loop. I would say it's kind of reminiscent of Tiny Hawks to me, circa People With Out End. I guess I could say they sound a bit like Hoover, but with the sad bastard factor turned way down. To be honest with you I don't listen to too much Dischord stuff. There, I said it.

Pounding drums kinda make these songs careen into one another, while gruff shouted vocals provide atmospheric melody over top of the whole shebang. I'd say two of the biggest highlights on the record are "Steep Cliff Mountain Type Jaunt," which features gang vocals and kind of just hangs out in your brain, and the track that immediately follows, "Stutter Like You Mean It", which hosts some awesome guitar riffage. To be honest, I kind of prefer the demo versions of "Sexual Alien Vs Sexual Predator" and "Tough Guy Older Brother Shit", but maybe I'm just being sentimental or something. Maybe it's because ever since I heard "Sexual Alien" for the first time that awesome melody has just been stuck in my head...

"I'm pulsing again/I've been pulsing for years..."

Download all of it.

These guys are from Lancaster, PA, and the sort of Central/Northeastern PA area is seeing a huge explosion of good fucking music right now. From the Lehigh Valley to Philly, Pennsylvania is pretty fucking rad right now, home to bands like these guys, Algernon Cadwallader, Slingshot Dakota, Street Smart Cyclist (R.I.P.), Storm The Bastille, We Were Skeletons, and about one million other bands, which probably features at least one member of one of the bands I just mentioned.

Speaking of side projects, these guys just started one called Boyfriends. Check it out here.

I've only seen these guys live once, at Barclay House in Baltimore. It was a good show. Read about it here.

They have a myspace.

Oh and here's a video of them playing "Termineighbor 2 The Misspelling" at that show at Barclay I was talking about.



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'08 Winter Demo



Thank You Arms and Fingers

Video of new Native Song

Here's a video from Native's blog of them playing a new track, "Pony Boy". I'm really excited to hear some new output from these guys. Check out the drum fill at 3:00! Awesome stuff.


Native - "Pony Boy" from Hannah Rosner on Vimeo.

Castevet

After reading the recent Zen post on these guys, I decided that I would download this release and give it a shot. It sounded pretty promising.

I was not dissapointed. In fact, I was so excited I had to get online and do this post.

Castevet's debut record kicks off with a slow, dreamy post-rock like build up that could very well take the record in a very different direction before the vocals kick in. While maintaining a melodic, clean sound that could easily be described as pretty, the vocalist sings in a growl that sounds like something between Marc Paffi (Bear Vs Shark), any 90's emocore record, Phil Douglas (Latterman, Iron Chic), and the dude from 1994. Musically, these guys are diverse. The band cites their influences as "ghosts and vodka, colossal, braid, caspian, casket lottery, small brown bike, american football, dianogah", and say they sound like "melodic beard punk". I would have to say that's about as close as anyone is going to get to describing the sound these guys have created. They are one of the few bands around today who are pushing new, fresh ideas in the emo/post-hardcore genres; they have created a sound that is truly original, something that preceding Chicago area bands like American Football, Cap'n Jazz, Braid, and the Promise Ring (to name only a famous few) did over ten years ago. They are part of an increasingly DIY American (and international) music scene that is overflowing with bold ideas, new sounds, and intelligent nods to the past; these are the records that will be going for hundreds on eBay one day, right alongside Rites of Spring LP's. This is the music that the cool kids ten years from now will be listening to.

You could've told me that this was a 7" released in the midst of a prolific and accomplished band's career and I wouldn't have second guessed you for a second. For a debut, the quality of these songs are absolutely outstanding.

These three songs will be featured on Castevet's upcoming full length Summer Fences which is due out this summer on Count Your Lucky Stars Recordings.

I know it's only February, but I'm gonna go ahead and call it: this is one of the best releases of the year. At least until the full length drops.

peep their space.

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I Know What a Lion Is (2009)