April 21^st marks the 5^th year of Record Store Day, a day for supporting your local record stores. All over town, St. Louis’ record stores and local labels will be presenting live music and purchase specials.

Euclid Records, Vintage Vinyl, and Apop Records will all feature bands over the weekend.  At Euclid, Doom Town and Magic City kick off the weekend on Friday night, starting at 7pm.   Saturday – Record Store Day proper – sees This City of Takers playing bright and early at 10am at Vintage Vinyl, followed by a showcase from Tower Groove Records all afternoon.  Bunnygrunt, the Skekses, and Warm Jets USA will all play, starting at 1pm. Later that night, Catholic Guilt plays at 5pm at Apop and Sleepy Kitty at 7pm at Euclid Records.

Beyond the live music, Record Store has been embraced by anybody who really matters in music these days. Bands recognize more and more the importance of physical places for consuming music and of supporting the independent businesses who have always supported musicians. Accordingly, there are more exclusive releases this year than any year yet. It’s not just records either: Special-released CDs, DVDs and even cassettes are also available.

Look for exclusive releases from The Misfits, 311, Potugal. The Man, Lou Reed, Uncle Tupelo, Thievery Corp., Arcade Fire, Animal Collective, Artic Monkeys, Otis Redding; Aretha Franklin, Phish, Bruce Springsteen, Common, Dale Earnhardt Jr. Jr., Devo, Jay Farrar, Wilco, and many, many more.

For a complete list, check out the website: http://www.recordstoreday.com/SpecialReleases

Related posts

Review and photos by Tara Pham
(click to enlarge photos)

Friday night saw the release of Water Liars’ much anticipated Phantom Limb at Off Broadway. Opening for the slow alt-country duo were Fred Friction and Bob Reuter’s Alley Ghost.

At roughly 9:15 with a mostly empty venue, Fred Friction took the stage. Clad in a white-on-white tie and shirt tucked into jeans on a skinny frame, Fred Friction seemed fittingly drunk to deliver his sad Western ballads, mostly about – you guessed it – scorned love and cheap sex. A few Stag bottles, lyrics forgotten, and song mistarts later, Fred Friction had established an audience split equally between charmed and bored. Fred Friction’s classic country songwriting became overshadowed by a likeness to the drunken depression of a truck stop open mic, seeming at once laughably entertaining and uncomfortably authentic.

By the time that Bob Reuter’s Alley Ghost was setting up, the Off Broadway crowd had filled out a bit more. A five-piece, including (of course) St. Louisan-to-the-bone and Bob’s Scratchy Records KDHX DJ Bob Reuter and Rum Drum Ramblers’ Mat Wilson, BRAG (fitting acronym?) exudes cool. The guys pull off sunglasses, cuffed jeans, dreadlocks, and old school hats – that is, paperboy hats and fedoras. BRAG achieves that brand of rock ‘n’ roll that you and your parents want to dance to; so, it didn’t take long for swing dancers to hit the dance floor. While Reuter belts a clear, melodic vox with rough edges in all the right places, his bandmates provide those choral echoes and spectacular instrumental solos that remind you what makes rock ‘n’ roll rock. Their set finished with a roar of cheers and whoops from a plenty lubricated audience.

After a teasing soundcheck from members Justin Kinkel-Schuster and Andrew Bryant, Water Liars began on the same feedback-laced, almost guttural guitar and drum blasts that kick off album Phantom Limb, on track “$100.” From that point on, the show was pure, creating that sense of connectedness between people that make these alt-country ballads so resonant. Much like he did in Theodore, Kinkel-Schuster performed a gut-wrenching, raw set that recordings can hint at but rarely capture.

Water Liars performed “Dog Eaten” and “Low & Long” to a dead silent, totally captivated audience. Through some of the harder, faster tracks like “Short Hair” and a cover of Hasil Adkins’ “Moon Over Madison,” the band hit every note and earned new fan after new fan.

The partnership between Kinkel-Schuster and Bryant is palpable. K-S has clearly found a platform that showcases his superb songwriting and haunting vocals. Quite frankly, he is demonstrating a skill that was always apparent with Theodore – but with Water Liars, it is not diluted by other members (who were powerful in their own right). K-S doesn’t need to share the stage with additional guitarists, bassists, horns, what have you. That said, there is a perfect balance with Bryant. Even at the back of the stage soaked in an anonymizing red light, Bryant commands a presence by way of his total passion for the songs. His committed snare and tom bangs punctuated graceful backing vocals and recurring grimaces wrought with the truth embedded in these songs. As they embark on a midwestern/southern tour, it’s safe to say that Water Liars will propel the national reputation of St. Louis music forward.

See it for yourself, when Water Liars plays an in-store at Vintage Vinyl on February 28th, at 6pm. The band will also be recording a Daytrotter Session on March 2nd, with a publication date TBA.

Related posts

This month is all about the females, and the latest efforts from these two darlings are worth your listen and pocket cash.

The Staves- Mexico EP (Warner UK)

Okay, so this was released back in November, but The Staves, who opened for The Civil Wars at The Pageant on Sunday evening, most likely escaped your radar last year.

This trio of sisters from Watford, England, centralizes on simplicity: gorgeous vocal harmonies and soft guitar.  It’s familiar sounding, but in a nighttime lullaby that never gets old kind of way.  Think Laura Marling or Fleet Foxes (minus the testosterone and their infamous batshit trumpet solo).

“Mexico”, the title track and gem of this three-track EP, showcases The Staves’ in their prime, strong song-writing and emotive vocals.  As they harmonize on the line “I want to see the colors of another sky”, The Staves epitomize universal winter woes.  For just a brief moment, the comfort of spring is in sight.

Lana Del Rey- Lana Del Rey EP (Interscope)

Who is Lana Del Rey?

Is she a major label creation, the next best thing, the biggest SNL trainwreck since Ashlee Simpson?  Or is she all of the above?  Regardless, after just six months and over 19 million YouTube views later, Lana Del Rey’s haunter of a romance ballad, “Video Games”, has her in the national spotlight.

So far, her recordings deliver.  Del Rey’s sound is distinctive; a pairing of old-Hollywood meets modern R&B.  On “Born to Die”, she sings over a blend of strings, electronic beats, and a hip-hop vocal sample.  Similarly, LDR’s vocals are all over the place.  “Blue Jeans” finds her shifting from a deep soprano to a nasally alto to a full-fledged falsetto.

But these bipolar tunes are as sonically attractive as her glamour shots splattered on every other music publication and buzz blog.  Say what you will, but don’t count Lana Del Rey out so early in the game.  Her full-length Born to Die is out today.

Also recommended: Kathleen Edwards- Voyageur (Maple Music/Rounder), Chairlift- Something (Columbia)

Related posts

Prologue, the seminal release by St. Louis’ newest imprint, FarFetched Records, brings new sensibilities to old material as the collective makes its bid to usher in the future sound of St. Louis. Bringing together 18 tracks, the release spans considerable ground, ranging from neo-soul to ambient hip-hop and everything in between while avoiding the feel of a hodgepodge. Dedication to pushing familiar sonic boundaries animates nearly every song on the album and ultimately ties the disparate productions together into a cohesive offering. That is not to say, however, that the album breaks cleanly or completely with the past; in a city where musical traditions run deep and are practiced fiercely, Prologue delivers exactly that – the glimpse of a new beginning.

Looking now at some standout tracks, Loose Screwz and Helen Marie go full robot on their respective cuts “Bloom of the Android” and “He Say She Say.” Where the former effortlessly blends trip-hop rhythms, French house filters and a thick, early 80’s low end, the latter delivers a smooth, almost grime-y futuristic R&B burner. On the hip-hop/rap tip, Air Haze and Whiteout twist and wind verses around minimal, eclectic beats with “Artsy Fartsy” and “Stay At Home Daddy” while Midwest veterans Scrub disregard such subtleties on their throwback banger “Double Trouble.”

With one foot in the past and one in the future, Prologue establishes FarFetched as a formidable brain trust of forward thinking artists, who this writer sincerely hopes push past this release and thrust St. Louis into a brave, new sonic future.

Hear the album here, and catch the Prologue‘s free release party tonight at 2720 Cherokee.

Related posts

Today, local electronic pop favorite Née releases new single “Pretty Girls.” How fitting (see frontwoman Kristin Dennis, above).

“Pretty Girls” is the single from Née’s forthcoming EP – and a new direction from Dennis’ last EP, The Hands of Thieves. Perhaps it’s the Robyn influence. Perhaps its the involvement of Dennis’ band, which includes drummer Mic Boshans, multi-instrumentalist David Beeman, and synther Lex Herbert. Whereas Hands was dominated by Dennis’ higher vocal register and straightforward organ/synth riffs punctuated by electronic drum pad kicks, “Pretty Girls” is a faster, more bass-driven, multi-layered track. You’ve still got Née’s signature vox – a rare gem nuanced by both a haunting melancholy and an undeniable stimulus to your dance reflexes.

“Unlike the last EP, we’re doing everything on analogue, vintage gear,” says Dennis in a note to Eleven. “Although by definition synthesizers are inorganic, the way the sounds are coming through into the new songs feels much warmer and, well, organic than the last EP. There’s that ever-present hint of white noise, electricity, and the accumulated particulates of age that provide a backdrop for the melodies.”

We at Eleven are feeling the electricity. You can, too, here:

[Audio clip: view full post to listen]

Track: “Pretty Girls,” by Née
Recorded: at Native Sound by David Beeman and Kristin Dennis
Mixed: at Native Sound by David Beeman and Kit Hamon
Available: In CD form with screen printed artwork (Dennis at Native Prints) and a BONUS remix by Adult Fur ($2) will at the Mud House, Apop, Foam, and The Royale, among other local spots. Streaming and downloadable ($1) from neemusic.bandcamp.com.
Favorite line: “The heat of blood created chemistries to bond the two of us.” Yum. Science. Made sexy. OR: “You know I probably broke a hundred hearts by now.” True words.

Related posts

As 2011 draws to a close and the “Best Of…” lists begin, these two releases prove that it’s not over until it’s over. 

However, while The Black Keys’ ubiquitous “Lonely Boy” viral video is certainly engrained into your eyes and ears by now (sweet Carlton moves, am I right?), make sure to later divert your attention to locals Last to Show First to Go.

The Black Keys- El Camino

Slap some glam onto eleven new tracks of The Black Keys’ dirty blues-rock and you’ve got their seventh studio album, El Camino.  Undoubtedly their catchiest release-to-date, the Keys manage to perfect luscious hooks and sugary riffs with tremendous masculinity.

Drawing obvious influence from producer/co-writer Danger Mouse, the Black Keys continue their post-Magic Potion transition from garage jams to massive commercial rock’n’roll, fitting for the arenas they’ll play on their upcoming tour.  Regardless, the blues are still there, and that’s something us St. Louisians can always appreciate.

While El Camino seemingly speeds to a quick finish with its full-throttle tracks (“Dead and Gone”, “Gold on the Ceiling”, “Hell of a Season”), the Keys do slow it down briefly for classic rock ballad “Little Black Submarines.”  However, the track (which is drawing widespread comparisons to Led Zeppelin’s “Stairway to Heaven”), ends in typical Black Keys’ fashion: an epic combination of shredding guitar and crashing cymbals.

Last to Show First to Go- The Farmer John EP

Bluesy influence takes a much different form on Last to Show First to Go’s The Farmer John EP.  

Following the release of their full-length Short Cuts, this local fivesome tightens its jazzy blend of horns and cello with modern Americana folk.  Sounding more cohesive and comfortable than ever before, The Farmer John EP displays maturing songwriting from Last to Show First to Go.

They’re still storytellers (arguably some of the best in the local scene), however, the focus here is much more deliberately political.

While structural corruption is the subject of “Dirt”, an ironically playful number, Last to Show First to Go construct a much more intimate account on the very solemn “Far Be It.”  Painfully relatable,  lead vocalist Bredon Jones eloquently illustrates a struggle with alcoholism, a dark social consequence of economic instability.

Miss out on Last to Show First to Go’s release show at The Sheldon last weekend?  No worries.  You can purchase a download or physical copy of The Farmer John EP here.

Related posts

The night began with a set by local singer/songwriter Owen Pye.  Typically, I anticipate an acoustic set as being somewhat hypnotizing.  However, Pye was quite the exception.  His joking stage banter and active stage presence combined with the bold guitar parts and story telling lyrics (“He wants to give her time to think & catch up on some sleep, he needs some time to define our barriers.”) were the perfect distraction from the exhaustion of the week.

Next up was Caleb Travers.  The local music vet has by far released his most powerful and gorgeous ballads yet on Ain’t No Jukebox.  The strings and drums that accompanied him on the EP were also present for the set at Off Broadway and they added the perfect atmosphere to the evening.  The transitions were smoothly reflective of the mood of the tunes as they related to his experiences in the city, with his family, and other life encounters (“I’m tired of nothing being right, driving ‘til we see the light.”)

Vampires of This Town by Caleb Travers

Related posts

Dum Dum Girls- Only In Dreams

On Only in Dreams, Dum Dum Girls transform more mature material into a peppy follow-up to 2009′s I Will Be.

The four-piece’s sound is tighter than ever, a much more polished, studio-produced version of their signature retro garage-pop.  Only in Dreams immediately kicks off into a frenzy of distorted guitar and a tight, pulsating drum pattern on “Always Looking.”  Stylistically, the album’s ten tracks vary, from the peppy, surfer pop gem “Bedroom Eyes” to “Hold Your Hand”, a very personal ode to frontwoman Dee Dee’s recently deceased mother.

Think The Supremes meets The Beach Boys meets The Smiths.  Can you really go wrong?

Ladytron- Gravity the Seducer

Hypnotic is undeniably the most fitting description for Ladytron’s fifth studio release.

On Gravity the Seducer, these English electro-rock veterans deliver an airy blend of analog beats, synthesizer effects, and haunting vocals.  Although less dynamic than their 2008 release Velocifero, tracks like “Mirage” and “Ambulances” reveal a more mellow, trance-like side of Ladytron.  Like a soundtrack to your worst nightmares, Gravity the Seducer plays like a futuristic haunted house you won’t want to escape.

St. Vincent- Strange Mercy

Chances are you’ve heard Annie Clark under her stage name, St. Vincent, in the past few weeks.

With the cover story in this month’s SPIN, a slew of late night television appearances, and the coveted “Best New Music” title from the ultra-hip editors at Pitchfork, saying that buzz around St. Vincent’s third studio release is high would be an understatement.

However, this buzz is well-deserved for Clark, as she has continued to reinvent her sound, most dramatically on her latest effort Strange Mercy.  Crafting a compelling mixture of post-punk, pop, and jazz with a distinctly unique voice to deliver an equally powerful emotional connection with her audience.  At first listen, the album is incredibly unpredictable.  On “Cheerleader”, what starts out as a timid vocal-heavy track transforms into a fiery blend of fuzzy guitar riffs and drums to match her self-proclaimed angst.  Strange Mercy will keep you intrigued, over and over again.

Related posts

Written by Jon Lampe

When I get back home, I won’t be the same no more. The opening lines of Handsome Furs’ third album, Sound Kapital, point to a recent change in the band’s sound since their return from tour. The married couple, Dan Boeckner and Alexei Perry, have evolved their sound a bit with each release, and this album is no different.

Plague Park and Face Control showcased Boeckner’s guitar, sometimes a resounding cascade, sometimes a muted continuity that varies just before stalling. Perry’s previously timid synthesizers command the direction of this third album; contracting beats and opalescent keyboard alternate with Boeckner’s poetic thrashing to create electropop that’s made for dancing in the sweating, heaving dark. The sound relegates the guitar work to background fills. Not to worry, the Casio claps and fervent lyricism remain unaltered. Although it sounds formulaic for a throwback to the ‘80s, the frenetic energy and pained honesty keep the sound from becoming an anachronism.

The album has interpretive political undertones coinciding with the couples’ recent tour in Burma, but there’s something more personal happening here. With the recently announced hiatus of Wolf Parade and plans for Handsome Furs to record this January, Boeckner is hurtling through some career changes. Happily, it seems. The chorus of “Memories of the Future” repeats, “Nostalgia, never meant much to me,” and “Repatriated” concludes with “I’ve seen the future, I will never be repatriated.” Whether a commitment to the new sound or a letting go of the old, Sound Kapital is an album about catalyzing and accepting change.

If you still need to be sold after “Bury Me Standing,” “Memories of the Future,” and “Repatriated,” wait for the album’s refined culmination. While some tracks (“Damage” and “Cheap Music”) seem a tenuous exploration in the new sound, “No Feeling” remains dedicated, doing everything right. The cardiac bass and clipped vocals exploring apathy, the energy here is taut and contagious. If you’re looking for something to get your skin itching and your limbs twitching, this is it.

In Boeckner’s own words, “Here comes the future, violent and bright.”

Handsome Furs will be in St. Louis, transmuting young listeners into contracting musculature on Wednesday, August 24th, at Off Broadway.

Related posts

Ximena Sariñana- Ximena Sariñana

Mexican singer-songwriter Ximena Sariñana, already a platinum-selling artist in her native country, crosses over into the U.S. with her English-speaking, self-titled debut.

Teaming up with Dave Sitek (TV On The Radio), Omar Rodriguez-Lopez (The Mars Volta), and Lily Allen producer Greg Kurstin, this 25-year-old had some serious help along the way. The album showcases Sariñana’s versatility and depth as a pop vocalist and songwriter.

On “Different”, she charms with soft vocals reminiscent to those of Zooey Deschanel, backed by a jangly summery melody equipped with all of the necessary bells and whistles (and horns). And while her sweetness lasts the entire duration of the album, she ventures into varying styles including dancehall electronica (“Echo Park”), pop ballads (“Bringing Us Down”), and gritty, distorted indie rock (“Shine Down”).

Moonface- Organ Music Not Vibraphone Like I’d Hoped

Imagine this: all of your favorite old school Nintendo games (Super Mario Bros., Donkey Kong, Mario Kart) soundtracked by ex-Wolf Parade frontman Spencer Krug. Organ Music Not Vibraphone Like I’d Hoped, Krug’s first full-length solo release since the band’s indefinite hiatus, plays exactly like this.

However, unlike the repetitiveness of Nintendo background noise, which tends to get on your last nerve after a few unbeatable levels, these five tracks continue to stimulate your senses in new and exciting ways after each loop.

Krug experiments specifically with the organ to create an eerie, hypnotic album. Added digital drums and distorted vocals give it an ’80s sound and enough beat to keep your toes tapping and your hips swaying.

Fruit Bats- Tripper

“She should dance if she wants to dance,” Eric Johnson repeatedly insists over an airy composition of harp and synthesizer effects. It’s this urgency to act on pure feeling that sets the theme on Fruit Bats’ fifth studio album, Tripper.

Almost entirely a solo effort, Johnson focuses on story-based tracks about reinventing yourself, and it’s not difficult to see that theme play a similar role in his musical style.

Experimenting with the album’s production, Fruit Bats’ signature classic-folk rock sound often becomes dark and haunting. Tripper is Johnson’s most personal album to date, and chances are you will be able to relate.

Related posts