Every once in a while, a band leaves you wondering a couple days after seeing them if your hearing might be permanantly damaged. Such has been the case in the days following Divine Fits’ sold-out show at the Bootleg Bar in Los Angeles. Perhaps I shouldn’t have stood right in front of the guitar amp. Perhaps I should have worn my earplugs. Either way, Divine Fits L.A. debut made impression beyond hearing damage, with the lingering effects serving as a reminder that the band members are looking to emerge from the shadows of their other projects and deliver something that stands on its own.

After a typically fun set from Abe Vigoda, one couldn’t help but notice that the band, which is comprised of Britt Daniel (Spoon), Dan Boeckner (Wolf Parade, Handome Furs), and Sam Brown (New Bomb Turks), didn’t set up their own equipment. Sure, it’s not that surprising that guys of this status would have guitar techs and such, but I just can’t remember being in a venue like the the Bootleg Bar and seeing the band not set up for themselves. But, regardless of the luxuries that being a successful musician provides, Divine Fits are starting off humbly enough. Their first shows took place at small venues in each member’s home town. Now, the band is setting up shop in L.A. for four shows at four of L.A.’s smallest (and funnest) venues. And, lining up the Bootleg for the first was perfect, especially considering that they opted to set up in the much smaller bar portion of the building (with a capacity of less than 200), rather than the larger theater room, which the band could have easily filled.

As for the performance, there was nothing not to like. The crowd, most vocally Britt fans, ate up every sincere smile that the band gave to them, and hung on every sound that came from the stage. The band, visibly having a blast, seemed to be pushing themselves to improve upon their previous performances, even noting after a blistering conclusion to “The Salton Sea” that it was the best version of the song that the band had performed yet. I’m not quite sure yet where critics will fall on the Divine Fits album, but as a live act, the songs work completely. Both Daniel and Boeckner have a natural ability at finding hooks that strike the listener as both familiar and fresh.

Boeckner was particularly engaged on this evening, performing “My Love Is Real” without an instrument, ending up laying down on the stage as fans reached out their arms. Plus, Boeckner gets to sing some of the band’s strongest songs, “Baby Get Worse” and “Civillian Stripes.” Daniel was slightly more reserved, but not disengaged, more like he was focusing on the details that only he would notice. And, when the two vocalists worked together, the partnership made perfect sense. With dual vocalists as distinct as these two, they come together in a pretty great harmony when the songs call for it, and they even change instruments throughout the set, giving each the opportunity to show off their guitar skills.

For the conclusion of the set, Boeckner took lead for a cover of Tom Petty’s “You Got Lucky,” a song that is suddenly popular with The Gaslight Anthem releasing a version of the same song a couple months back. Closer, “Shivers” was perfectly chosen, as it is possibly the band’s most emotional and unexpected song. There was no encore as the band had played their entire album, and at this type of venue, there was no need for one. A very small crowd was introduced to a new band that is about as talented as they come, and whose potential is really up to the principals. While Britt Daniel still has Spoon, amongst other projects, Boeckner’s bands are either possibly broken up (Wolf Parade) or definitely broken up (Handsome Furs). Regardless of how far they intend to take Divine Fits, for at least the next few months, audiences will be in for a treat.

Flaggin a Ride
Baby Get Worse
What Gets You Alone
Would That Not Be Nice
Civilian Stripes
My Love Is Real
The Salton Sea
Doom Town (Wipers cover)
Like Ice Cream
Neopolitans
For Your Heart
You Got Lucky (Tom Petty cover)
Shivers

The post Live Review and Photos: Divine Fits, August 14, 2012, Bootleg Bar – Los Angeles, CA appeared first on Beats Per Minute.

Advanced word on Swing Lo Magellan indicated that something darker than previous Dirty Projectors’ releases might be afoot. And while you could see what Longstreth meant when he indicated this in early interviews for the album, it is a red herring delivered by the album’s first single, “Gun Has No Trigger,” and not really present except for opening number “Offspring Are Blank” and the album’s only throwaway track, “Maybe That Was It.” Otherwise, Swing Lo Magellan is an ideal windows-down, wind-in-your-hair summertime record. Longstreth’s always-present infatuation with dub lends to this, but the song structure, which varies from escalator to elevator (always building to something, you see), strikes the listener with life-affirming joy, the kind that really only makes sense in warm weather and long stretches of sunlight. Hell, Dirty Projectors manage to make a shout of “I’m about to die!” seem glorious (on “About To Die”), a feat in of itself.

It all seems intricately put together and spontaneous, with the handclaps of “Just From Chevron” sounding sloppy enough to not be contrived. But with repeat listens, every guitar riff that can be described as accidentally melodic comes across as expertly purposeful. How Longstreth is able to accomplish this kind of precision while maintaining an effortless feel is still beyond me, but if you can find its equal in contemporary music, I would be surprised.

One criticism you might see of Swing Lo Magellan is that vocalists Amber Coffman and Haley Dekle take a backseat on this record, which is fair in its assessment but hardly a valid criticism. Dirty Projectors are Longstreth’s band and his vocals never really need the help (listen to how they bend so perfectly on “Dance For You”). Still, when the ladies do show up, they only make the song more special. The ladies of Dirty Projectors are the ace in the hole and the fact that they are not overused only makes it more special when they do get to play a larger part, such as on tracks “Just For Chevron” and “The Socialites,” just a couple of the future classics that this album contains.

And, that is what it comes down to. There is so much to both genuinely appreciate and enjoy on Swing Lo Magellan that it makes you wonder why these have to sometimes be exclusive ways to experience an album. A more accessible Dirty Projectos doesn’t take anything away from the complexity and thought that has gone into the affair. “Inpregnable Question” sounds like it could have been written by Sam Cooke, and takes a thought as simple and overplayed as “I need you and you are always on my mind” and turns it into a revelation, as if no one had ever been in love and written about it before. This is not something to brush off, and Longstreth makes it seems easy.

Other highlights include “Unto Caesar,” which is perhaps the loosest song on the album (the band can be heard talking about the song in the background as it is created and it manages to drift easily between lo-fi and hi-fi elements) and “See What She Is Seeing,” which will most easily please fans of Bitte Orca. But, it is hard to imagine fans of the band’s last record finding much not to like on this latest effort, as Swing Lo Magellan is generally celebratory, relishing in life, music, collaboration, and creativity. Dirty Projectors have made an album intimate enough to bring you into the recording studio with them to experience all their idiosyncrasies. But it is also important to stand back and realize that one of our best bands is still on top of their game.

The post Album Review: Dirty Projectors – Swing Lo Magellan appeared first on Beats Per Minute.

With notable albums in three different decades, Destroyer are finally a musical act that someone can comfortably talk about without mentioning The New Pornographers, the band for which songwriter Dan Bejar has long been primarily associated. Playing to a nearly full crowd at Los Angeles’ El Rey Theater, Bejar and his eight-piece band showed why this is not just because of the critical success of last year’s album Kaputt; Destroyer’s back catalog has aged particularly well, becoming bona fide singalongs. This is presented in what at times might be considered a standoffish manner, but for fans this only adds to Destroyer’s charm. The amount of four-eyed fans in the audience points toward the bookish quality of the music, and for these fans, playing tightly and with sincerity is much more important than punk jumps or, you know, eye contact. To love Destroyer is to love Dan Bejar for who he is, and an artist that sticks to his guns above all things is something to be both respected and praised.

Fitting nicely with the intellectual vibe of the evening was Sandro Perri, announcing that it was the first time that he and his band had played Los Angeles and receiving a response of “welcome to hell!” Now, Perri has been championed by BPM’er Will Ryan since last year, but still this was my first time listening to the artist. Frankly, I was blown away. Descriptions I have heard of Perri do not do justice to the creative songwriting that he brings to the table, at times sounding like Andrew Bird in both his vocals and his loose song structure. But, everything clicks for Perri, who played his recent album Impossible Spaces in its entirety. Some songs are brief and direct, such as the title track, while others drift to glorious crescendos spaced over lengthy jams, like the close “The Wolfman.” Still, I come back to the Andrew Bird comparison and can’t help but think that this is the music that Bird fans wish he was making at this point in his career. Anyone who has been mildly disappointed by the last couple Andrew Bird albums should really do themselves a service and check out Sandro Perri. He surely made a fan of me over forty minutes on Wednesday night.

For a man whose songs burst at the seems with lyrical weight, Dan Bejar has little to say to his audience while performing. In fact, when Bejar announced that the previous song had been titled “Chinatown,” it evoked laughter from the audience as they noted that he used one of his rare sentences to point out the most obvious fact of the night. And, to evoke a cliche, Destroyer’s songs speak for themselves. At times, they even allow the audience to speak for them. During standout (and apparent fan favorite) “European Oils,” nearly everyone in attendance shouted along at the climactic line “the fucking maniac.”

Many reports from Destroyer’s previous tour complained that Bejar read his lyrics from a notebook, so I am happy to inform that Bejar seems to have his songs memorized now. Still, he is not without his quirks. He leaves his mic stand about waste high, and between songs and verses he takes to one knee to listen to the background music while closing his eyes, almost hiding from the glare of the audience that might expect him to do something besides recite his words. But, Bejar would rather slurp his beer and stay detached, though he still offered a very formal bow at the conclusion of each song.

And, sure, you can see where someone might fault Destroyer for Bejar being a weird guy. But, we wouldn’t like Destroyer this much if Dan Bejar wasn’t such a weird guy. His fish-out-of-water persona that fuels his music has slowly built a rabid following over the years, the type of young people who sing along loudly to songs as fundamentally different as “English Music” and “Downtown.” From album to album, the only real constant in Destroyer’s music is the personality and words of Dan Bejar. Sometimes he has struck a chord in the music community and at times he has lingered below the surface. But, you get the impression that audience size and album sales are not something that Bejar thinks of much. And, though he may not pander to his audience, he surely respects them, as can be seen in a setlist that spans the entire Destroyer catalog. I mean, I was able to hear “Rubies” performed live by Destroyer, and I can now die a happy man.

Your Blues
Savage Night at the Opera
European Oils
Downtown
English Music
Chinatown
Rubies
Kaputt
Libby’s First Sunrise
Blue Eyes
Self-Portrait

Destroyer’s the Temple
Bay of Pigs

The post Live Review and Photos: Destroyer, June 6, 2012, El Rey – Los Angeles, CA appeared first on Beats Per Minute.

We had a chance to meet up-and-coming singer/songwriter Becky Holt, hailing from Fullerton, California and starting to make waves on the local Orange County scene. We discussed Ms. Holt’s humble musical beginnings, her upcoming album Cut And Paste, and her new music video for the standout track “Hangman Knot.” Check it all out below.

Beats Per Minute: Tell me about your earliest musical memories.

Becky Holt: When I was really little, my mom put me in one of those dancing and singing children’s choirs, which was terrible. It was called Showbiz. My mom would have me wear rollers to bed and I’d cry the whole time.

Was she like a dance mom?

Yeah, she’d put all this makeup on me and I hated it. -laughter-

I always loved music, though. I had an older brother, and you know how when you have an older sibling and you look up to them so much, well my brother was really into music and I guess I followed suit. I took piano and I always hated it, and I auditioned for choirs but people would always tell me that I couldn’t sing. So, I was more just a fan of music for a long time. I didn’t start playing music until I was 22.

Okay, so performing music is a newer ambition of yours?

Yeah, but it’s a blessing because for so long I was envious of people who could write music. In a fantasy world, I imagined that I could write songs, too. I don’t know, does everybody do that? I think everybody does that. Like, you hear your favorite song and you fantasize about having written it?

Anyway, when I did finally take up learning the guitar, I taught myself and it came really fast. I didn’t put a lot of time into learning technique or theory, but I started writing immediately.

Do you still relate to the songs that you wrote when you were starting out?

There are a handful that have made it through the years that I still relate to, but they remind me of the past. I like to tell stories and am very literal as a writer. I like my songs to tell exactly what happened, even if it doesn’t put me in the best light or it spotlights my insecurities. So, it’s very easy for me to go back and relate to it.

A lot of artists put older material behind them when they have newer stuff to showcase. Do you do that or do you still revisit your older material when you perform?

There are two or three songs that are still my favorites that I wrote a few years ago… My style has evolved but it hasn’t really changed. Like, when I write, everything is based on the words. I think that being a woman, I have a tendency towards putting lyrics ahead of the music…

[At this point, Jimmy Buffet's "Cheeseburger In Paradise" comes on at the bar and the conversation shifts towards Buffet and the music that Becky Holt's parents listened to when she was young. This lasts for several minutes.]

Anyway, back to how I write. I’m focused on telling a story, and I actually record conversations that I have with people and then go back and listen to them later, getting fixated on a word or something that somebody says, and eventually writing around that.

So, tell us about the new album that you have.

It’s tentatively going to be called Cut And Paste, which is one of the songs on the album. It’s the one happy love song on the record.

Um, the album is finished. It’s in my cd player right now.

Now it is just the matter of getting it out into the world?

I get caught up in… I just want to share it. I’m so blessed to have an audience to share my music with. Every time I play a show and people come up, I think how amazing it is that I have an audience to play my songs to. But, I’m just not sure what the best method is to get my album out there. I love records and I love my record collection, but I think that vinyl is something you do when you are more of an established artist. So, it’s like pressing compact discs versus just downloads, or now people are even trying to bring back cassettes.

Anyway, it’s done, but I’m just coddling it a bit. It will be out very soon, though.

And, you did make a video…

I did make a video, with the amazing Tyler Johnson. I want to make a video every weekend. I’ve never had so much fun.

What was fun about it? Tell us about the process.

Well, for one all of my best friends were there. My bandmates are some of my best friends. I made them come over at nine in the morning, which is way too early for musicians. But, as a consolation for them waking up so early, I had this breakfast spread laid out for them, sort of like the mom figure of the group. And, they just went straight for the coffee and the Jameson that was in the cabinet. So, by ten when we were ready to run the first shot, everybody was wasted.

If I was going to say one thing about your video, it is that it looks like you guys are having fun.

That’s the thing is that it is a good example of how I write. If you took the tempo down for the song and put a violin in it, it would be a very depressing song. But, it’s like a really upbeat suicide song, and the video captures that.

It’s sort of like a female Smiths, thematically.

I’ve gotten that and I’ve gotten ‘the girl version of David Bazan,’ which made me want to pee my pants.

I’ve seen that name but I’m not really familiar with him.

You have to be really patient to like David Bazan, but once you do you fall in love with him. He was previously in the band Pedro The Lion.

Is that how you would describe your music?

No, I think that was really an unfair compliment. That’s a knock to David Bazan and his talent.

There’s no way to answer that question, though, without sounding conceited. Like, what do I say? ‘I’m like Wilco mixed with Radiohead mixed with the greatest bands of our time.’ A lot of people compare me to Jenny Lewis or Zooey Deschanel, and I think there is that sweet and girly aspect to my music. There is a lot of country influence to my music. I’m obsessed with old country, from The Chordettes to Tammy Wynette to Dolly Parton to Patsy Cline, I love a lot of it.

How would you describe my music?

I think the Jenny Lewis comparison is fair.

She has probably influenced me more than anyone else.

Visit Becky Holt on Facebook!
Visit Becky Holt’s Website!
Visit Becky Holt on Bandcamp!

The post Introducing: Becky Holt – Inteview appeared first on Beats Per Minute.

If it seems like a long time since we last heard from Beck, well, it has been. The eclectic songwriter made it known early in his set last Thursday in Santa Barbara that this was the beginning of his first tour in four years. And, possibly to commemorate the occasion or possibly for reasons unknown, the band spared no expense in recording the event, with multiple camera cranes, on-stage videographers, front-stage cameras that slid by like trains on a track, Jason Lee shooting stills both on stage and in the photo pit, and a fucking helicopter. Yes, there was a helicopter taking photos of the Beck show in Santa Barbara. Always tongue in cheek, Beck noted that the chopper reminded him of his youth in Los Angeles. Luckily, the set lived up to the recording equipment that was present, and will probably be a cool concert film if that is indeed what transpires from this.

After a pleasant and laid-back opening set from Devendra Barhart that mixed some familiar tunes and some Spanish tracks, Beck took the stage and immediately got the crowd into a frenzy with the opening slide guitar lick from “Loser,” his first major hit and still possibly his biggest. And, from both the music played to the look of Beck and his band, there is a certain timeless quality to the whole presentation. Beck and the majority of his band look as youthful as when they first appeared in the mid-nineties. And, even some of their older tracks (Odelay was amongst the most highly represented material) seemed as relevant and enjoyable as when they were first created nearly two decades earlier. In particular, “Jack-Ass” is still a perfect blend of the two sides of Beck, and “Where It’s At” got the biggest crowd response of the night.

But, as Beck’s career has shown, the singer is just as comfortable getting funky as he is in slowing thing down. And, what was remarkable about his performance is how he was able to seamlessly weave material from Sea Change, including a fantastic early set version of “The Golden Age,” into the show without seeming like it was dragging the rest of the material down in its sentiment. One reason for why Beck’s material seems so comfortable with each other might be the fact that his dancing days are behind them. As a performer, Beck rarely leaves is mic stand and almost always is playing guitar while performing. And sure we may miss the dancing Beck of old (though he still did bust out his slide-step for “Where It’s At,”) Beck’s humor, humility, and genuine warmth make up for any mobility he may have lost due to injury or age.

Plus, as has been seen this week across the internet, Beck’s son has more than filled the role of band dancer for his dad, as he could be seen freaking out on the side of the stage numerous times during the performance. Still, it would have been nice to see the crowd at the Santa Barbara Bowl show some of the same enthusiasm. Sure, they danced for the hits, but for songs from Beck’s more recent albums, the audible noise of fans having unrelated conversations was distracting. But, that couldn’t stop the masterful performance that was on stage, which was even more remarkable considering the fact that Beck has performed so infrequently in recent years. One thing is for certain is that fans should be thrilled that Beck is back on the road and we should collectively hope that a new album will be in the works.

Loser
Black Tambourine
Think I’m In Love
The Golden Age
Lost Cause
End of the Day
Sunday Sun
Hotwax
Soul of a Man
Paper Tiger
Modern Guilt
Soldier Jane
Guess I’m Doing Fine
Jack-Ass
Gamma Ray
Minus
Devil’s Haircut
Where It’s At
The New Pollution

Girl
E-Pro

The post Live Review and Photos: Beck, May 24, 2012, Santa Barbara Bowl – Santa Barbara, CA appeared first on Beats Per Minute.

Los Angeles’ The Deadly Syndrome are returning with their third full-length album on August 7th, titled All In Time. The album will once again be self-released (as was their previous record, 2010′s Nolens Volens) and features a jammy first tasted in the form of “Spirit Of The Stairs.” Check out the tune below.

The Deadly Syndrome – Spirit of the Stairs by The Deadly Syndrome

The post Listen: The Deadly Syndrome – “Spirit Of The Stairs” appeared first on Beats Per Minute.

A quick glance at the Dum Dum Girls during their Tuesday night tour kickoff performance in Orange County revealed that things have indeed changed for the band. There are superficial elements, like the platinum blonde locks that frontwoman Dee Dee is now sporting, and there are the changes in the lineup, with a new basist replacing the beloved redhead Bambi. And, while you might want to say that the backing band for Dum Dum Girls is a more important change than the color of the songwriters hair, for Dum Dum Girls, the look of the group is an integral part of who they are. After all, the band dresses in all black, equal parts tough and sexy, and has shown a revolving door attitude towards Dee Dee’s bandmates in the past. Hell, it might even be appropriate to devote a whole paragraph of a review toward Dee Dee’s hairstyle.

But, while the style of the band may be the first thing that gets some attention, Dee Dee’s songs have always been strong enough to stand on their own. Even more than that, really. On their recent album Only In Dreams, Dum Dum Girls have shown some mastery at the craft of writing infectious, timeless noise pop that seems destined for large stages and adoring audiences. Of course, this anticipated wide success has not completely arrived yet. Dum Dum Girls are still working class, seemingly always on tour, and always plotting the next release. They seem grounded and relatable, yet with enough mystery to keep you wanting to see them play again and again, as if there was some possibility of something new being revealed.

And that is the catch. The performance of Dum Dum Girls keeps the audience at arm’s length, but the music is very personal and inviting. On Only In Dreams, Dee Dee is very honest and open about her mother’s battle with cancer, but she seems removed from the experience of it all when performing live. There is little emotion to her stage manners, and the set is void of banter or laughter. In fact, it doesn’t seem like Dum Dum Girls are having much fun, but then again, who would really want them to? Vampy ladies who probably are really fond of tattoos and motorcycles don’t want to seem like they are having fun. That would spoil the mystery.

Dum Dum Girls would much rather sound good. And, sound good they did. The band offered up a few new numbers (as I said, this band always seems to be looking to the future and I wouldn’t be surprised to see another new release soon) and showcased some of their most well-known old favorites (“Bhang Bhang,” “Jail La La”). But, the stars of the set were the tunes from their most recent full-length. Rockers like “Always Looking” and (my favorite) “Heartbeat” beamed with confidence and poise, played as songs that the band should be proud of. And, even slower moments like “Rest Of Our Lives” allowed for much needed gear shifts, keeping the evening from being one-note and showing Dee Dee’s ever increasing range as a songwriter.

And, of course, there is closer “Coming Down,” which manages to be even more affecting as a show-ending climax than it is on record. It’s the kind of song that could close a high school prom or end a beautiful film; a song that demands a huge audience and hopefully one day with get it. When Dee Dee nails the hardest note that she sings all night, her face finally shows the emotion that she sings about. Yeah, “Coming Down” is potential realized, and its existence should only excite Dum Dum Girls’ fans about what is next. If anything, the band is very close to becoming an act whose hair style and wardrobe will be afterthoughts. If it is any consolation, though, we like to talk about Thom Yorke’s hair, too.

Mine Tonight
He Gets Me High
Catholicked
I Will Be
Bhang Bhang (I’m A Burnout)
Heartbeat (Take It Away)
Always Looking
Wasting Away
Season In Hell
Hold Your Hand
Bedroom Eyes
Rest of our Lives
I Got Nothing
Lavender Haze
Pale Saints

Jail La La
Coming Down

The post Live Review and Photos: Dum Dum Girls, May 15, 2012, The Constellation Room – Santa Ana, CA appeared first on Beats Per Minute.

Handsome Furs, the project of Wolf Parade’s Dan Boeckner and his wife Alexei Perry, have decided to breakup. The group released three albums in recent years on Sub Pop. The following was posted on their Facebook:

With a heavy heart the time has come to let all of you know that Handsome Furs are no more.

The most important thing that needs to be said right now is how extremely grateful we are to all the fans all over the world that showered us with love and support over the years. Thank you for everything! It’s been an incredible 6 years and we owe it all to you.

No word on the future plans for the members or if this is any indicator about their personal relationship, but we can all hope that maybe Wolf Parade will get back to being an active band.

The post Handsome Furs have broken up appeared first on Beats Per Minute.

Much of what critics and listeners loved about their 2010 self-titled debut remains on this sophomore effort, but with the enough tweaks to make Europe feel unique and like an improvement. Where the first album featured a male counterpart to Morris at times, Europe only utilizes the backing vocals for the show-stopping conclusion of “Still Young,” allowing the penultimate song on the album to feel like a genuine climax; it’s surprise easily envisioned as an ending to a live set. And, where the band was easily branded with a “twee” label on their first offering (hell, they offered the chorus of Weezer’s “El Scorcho” mid-song in “Kiss Your Lips”), it is harder to pigeonhole Allo Darlin’ on Europe. There are few moments that could be classified as cute, but the band seems to pay more of an homage to the early-’80s indie-pop that much of contemporary indie, as well as twee, was influenced by. The melody of the title track could be a long-lost Smiths number, while “Northern Lights” and “Wonderland” both recall R.E.M. in their early prime.

But, even though the band isn’t shy by evoking universally likable influences, a few listens to Europe is all it takes to realize that Allo Darlin’ have a sound that is very much their own. Such straight-ahead pop mastery has become unfashionable in 2012, and Europe begs the question as to why. From the jangly mover “Capricornia” to the Silver Jews-name-dropper “The Letter,” Europe is unabashed in its likabilty, making it an easy target for music fans who need music to be pushing the sonic envelope. And, where some may think their sound is too easy, it is in the album’s slow songs that Allo Darlin’ reveals the aforementioned weight of the offering.

The idea of meaningful music returns of closer “My Sweet Friend,” which proudly declares “a record is not just a record, a record can hold memories,” a striking sentiment that is also on display in “Tellulah,” a standout on an album of standouts. On “Tellulah,” music is front and center in a series of memories, and Morris nearly has her greatest revelation in her wondering if she will ever hear a meaningful song again. But, she then takes it a step further by asking if “she has already met everyone who will mean something.” Sure, music can offer meaning in and of itself, and analyzing how music affects the individual is a noble endeavor, but, really, we listen to music (or, at least to well-thought lyrics) in order to gain some insight into the human condition. Allo Darlin’ makes this leap on Europe, resulting in an album that is subtly ambitious and surprisingly rewarding.

The post Album Review: Allo Darlin’ – Europe appeared first on Beats Per Minute.

Beats Per Minute (Philip Cosores): Starting off, talk about your earliest musical memories and how you got into music.

Asa Taccone: I was always in jazz band, and singing was sort of mandatory in school. I always danced, as well, which was a big thing while living in the bay. As far as what I listened to while growing up, it was mostly limited to listening to records that my pop would put on. My parents were big hippies, like, my brother is named after the guitar player for Jefferson Airplane and I was named after a D.J., so music was always a big part of my life.

I think the first concert I ever went to was a Grateful Dead show, which is a classic Berkeley first show.

Matthew Compton: My best friend growing up played guitar and we wanted to play in bands, so I learned drums. I grew up in Danville, Virginia, which was a really small town and we didn’t get much exposure at all to music or culture, so I’d always go to Chapel Hill in North Carolina to see shows and stuff. I listened to a lot of music from that area at the time, the Merge Records stuff.

Did you guys move to L.A. to pursue music or is that something that sort of happened after you got here?

MC: Yeah, we both moved here to pursue music.

And, talk about how you met. I heard it involved some house where you guys would hear each other play or something?

AT: We both lived in communal, artsy houses, classic East-side shit. And, in both houses, it was sort of a revolving door of who lived there. And he would come over to play with this other composer who lived downstairs from me and had this nicer studio. And, I think we just got introduced, he heard me writing my little songs and started coming over to play with me whenever I needed it. So, we just started playing together on more and more things and I started to get this body of songs, and eventually we got officially linked.

How long ago was this?

AT: Six years ago.

Wow, that’s a long time to just be releasing a first album.

AT: I mean, I still easily have about a hundred songs written. And, part of it was the time from when Brian (Burton aka Danger Mouse) asked me to do the album, it was about two years until we actually go around to doing it, before he had the time to actually get in the studio.

So, did you guys plan on waiting around for him to produce it?

AT: After he asked, yeah. -laughter-

MC: And he would check in from time to time. It wasn’t, like, a ‘see you in two years’ kind of deal.

AT: Yeah, we’re friends with him so we’d see him all the time, but he wouldn’t be in the States for long enough to have the time to work on it.

So, the album, Mondo, is coming out on April 24th. How much to you think the final project is indebted to Danger Mouse as a producer?

AT: I can’t undervalue him in the slightest. I think the biggest thing that he added to this album is his faith in the hypothetical, meaning that when you are on your third day of working on a song for fifteen hours a day and you are totally lost, he has this total faith in where to go, even if you have no idea.

He asked us if we even wanted him to put his name on it. And, its understandable, because his name is so big. But, I’d say that 60-70% of the album is stuff that was already there and the rest were elements that he enhanced.

I’m sure at this point that you realize that every interview you give, you are going to be asked about working with him. I’m sure part of you would like to have received this attention solely on your own merits, but still you can’t discount the doors that having Danger Mouse involved has opened and how lucky you are.

AT: Yeah, for us it’s more of the latter. We realize how lucky we are and, for us, there is no bad part of it. He’s been so good to us and has been totally there for us anytime we have questions about our live show or if something doesn’t work or he’ll just come to our practice. He’s a cool friend to have.

I read that you guys both have production experience with your bother (Jorm Taccone) in The Lonely Island. What have you taken from working with that project on the production level that has helped your growth or direction as artists?

AT: Probably the social dynamic. For so many years, I was alone in my room working on music and it’s a whole different thing working with human beings and sharing ideas and having everyone put their own input and stamp on it.

MC: Also, it’s one of those job where it has to be done immediately, because it either has to go on the air tomorrow or it could be for something else, but it has to get done very fast. And, it’s kind of nice to work in that environment every now and then, when you’ve been working on the same idea for months and now here is this other project where they have an idea and need to get it out right now.

AT: Yeah, you can’t be overly analytical.

MC: It’s nice, it keeps things fresh.

Looking at your itinerary, as this interview won’t be published til close to the album’s release, you guys have a European tour coming up and SXSW and Sasquatch. You said you’ve been working together for six years, but do you ever feel like you are moving fast, with these big time gigs scheduled?

AT: I mean, I’ve never done this before, in terms of singing on stage and touring, so I have no idea what is ‘fast,’ but people tell me it is pretty good. I have no basis for comparison, but it sounds fun.

MC: I agree, I’m just excited to actually be doing this now. We’ve been waiting for a while.

Right now in February, you are playing these residency dates at the Echo in L.A. And, it’s sort of a rite of passage for many local bands as they make the leap to becoming national acts. Recently, Local Natives and Foster The People went from playing a residency to playing giant venues in no time. Do you guys consider yourself an L.A. band in that sense, since you both moved here from other places?

AT: I think we are part of the scene here.

MC: Yeah, I identify with the scene, for sure.

AT: But, yeah, I still don’t really think of myself as an L.A. person, just because I love my hometown so much.

Yeah, I just get this sense that right now you are still an area, local band. But, you seem like you will very quickly become a national band.

AT: Hopefully.

Yeah, all I’m saying is that most bands playing residencies at the Echo aren’t playing Sasquatch in a couple of months. That’s a big leap. Do you feel pressure when you think in terms like that.

AT: Yeah, yeah. I think so. But, I try to constantly remind myself in my personal life no to put too much pressure on myself. Just to go out there and have fun.

MC: Yeah, eliminate fear.

AT: That’s what we are about, eliminating fear.

So, 2012 is kind of a key year for you guys. You can see the progression, as you get ready to release the debut album and then will tour it.

AT: Plus, it’s the end of the world.

Yes, and that. Assuming the world is still here at the end of the year, where do you guys see yourself at the end of 2012 and what would you consider a successful year.

AT: I hope we are incredibly wealthy and doubly as attractive. -laughter- But, yeah, it’s kind of crazy, because the days keep getting more compacted for the both of us, so there really is less opportunity to think about the future. I have to stick with just what I have to do on a certain day. But, who knows where we will be. Our dream is to just keep making music.

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Pulp on Late Night with Jimmy Fallon. Need I say more? They played their most well-known song, “Common People,” for the broadcast, and then gave the This Is Hardcore b-side cut “Like A Friend” (which, I still remember from the Great Expectations film) as a web exclusive. Watch both below.

The post Watch: Pulp – “Common People” and “Like A Friend” (live on Fallon) appeared first on Beats Per Minute.

White Denim tone down the psych and turn up the sexy R&B on this new jam, titled “Get Back To Love (Street Joy).” Gorilla Vs Bear points out that the B-side to this single will be an R Kelly cover. Appropriate.

Download “Get Back To Love (Street Joy)” from White Denim, via RCRDLBL, below.

MP3:White Denim – Get Back To Love (Street Joy)

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The first single from the upcoming G.O.O.D. Music compilation album is now available for you to listen to, all be it in the form of a mildly annoying radio rip. A version without all the annoying sound effects and DJ chatter should be available tomorrow for, you know, G.O.O.D. Friday. For now, enjoy “Mercy,” which features Kanye West, Pusha T, 2 Chainz, and Big Sean.

Update: You can now listen to the official version of “Mercy” below.

Kanye West – “Mercy” (ft. Big Sean, Pusha T, and 2 Chainz)

The post Listen: Kanye West – “Mercy” (ft. Big Sean, Pusha T, and 2 Chainz) (official version) appeared first on Beats Per Minute.

2:54 are releasing their single for “You’re Early” next week and it will feature a remix from Wild Beasts as the b-side. This reworking follows the band’s take on Lady Gaga from last year. Check out the tune below and look for 2:54 on tour, as we also have the dates for you.

2:54 – YOU’RE EARLY (WILD BEASTS REMIX) by 2:54 Band

2:54 Tour Dates:

04/02 – Norwich, UK @ Waterfront Studio $
04/04 – Manchester, UK @ The Deaf Institue $
04/05 – Glasgow, UK @ Captain’s Rest Glasgow $
04/10 – Bristol, UK @ Thekla #
04/11 – Brighton, UK @ The Green Door Store #
04/12 – Tumbridge Wells, UK @ Forum *
04/13 – Liverpool, UK @ The Shipping Forecast *
04/14 – Leeds, UK @ Cockpit *
06/07 – London, UK @ Scala
06/09 – Brooklyn, NY @ Knitting Factory !
06/10 – Washington, DC @ Rocknroll Hotel !
06/11 – New York, NY @ Mercury Lounge !
06/13 – Boston, MA – TT The Bears !
06/14 – Montreal, QC @ Divan Orange !
06/15 – Toronto, ON @ NXNE/Lee’s Palace !
06/16 – Columbus, OH @ TBD
06/17 – Chicago, IL @ Empty Bottle !
06/18 – Minneapolis, MN @ Triple Rock !
06/21 – Seattle, WA @ The Crocodile !
06/22 – Portland, OR @ Doug Fir Lounge !
06/23 – Vancouver, BC @ Biltmore !
06/25 – San Francisco, CA @ Independent !
06/26 – Los Angeles, CA @ Troubadour !
06/27 – San Diego, CA @ Casbah !
$ with Palma Violets
# with Chelsea Wolfe
* with Deaf Club
! with Widowspeak

The post Listen: 2:54 – “You’re Early” (Wild Beasts remix) appeared first on Beats Per Minute.

Jimmy Fallon’s late-night talk show is already one of the best places to watch music on television, and now it appears that they are getting into the music video game. At least, they have for White Rabbits, as the Fallon website has premiered the new video for the band’s “Temporary.” The track comes from White Rabbits’ recent Milk Famous and you can check out the clip below.

The post Video: White Rabbits – “Temporary” appeared first on Beats Per Minute.

Average, that is, until the closing minute, where Pundt adds vocal tracks and reveals a range that has never sounded, well, so frontman-like. And like that, with his declaration that “one of these days (he’ll) come around,” a pleasant tune becomes something as big as a skyscraper. It’s triumphant, moving music, and it closes any book on whether Lockett Pundt deserves to have his name in the same sentence as Bradford Cox. He does, and we might not even have seen his creative ceiling yet.

The post Track Review: Lotus Plaza – “Monoliths” appeared first on Beats Per Minute.

Terry Malts are supporting their recent album, Killing Time, and played a recent show at The Knockout in San Francisco. They busted out two Black Flag covers, “Nervous Breakdown” and “Six Pack,” and we have MP3s of them both below. Enjoy!

MP3:Terry Malts – Nervous Breakdown

MP3:Terry Malts – Six Pack

The post MP3s: Terry Malts – “Nervous Breakdown” and “Six Pack” (live Black Flag covers) appeared first on Beats Per Minute.

On May 8th, MTV will air a new installment of their Unplugged series featuring Florence + The Machine. For the recording, the group covered the Johnny and June Carter duet, “Jackson,” featuring Queens Of The Stone Age’s Josh Homme in the male role. Listen to the tune below and you can purchase an album version of the taping on May 10th via Universal Republic.

The post Listen: Florence + The Machine and Josh Homme – “Jackson” (Johnny Cash cover) appeared first on Beats Per Minute.

Funky bass, underwater effects, hand-claps, a smooth R&B vocal track, the ability to sound like the future and the past at the same time — it’s a new track from Jai Paul titled “Jasmine.” Listen to the cut below.

The post Listen: Jai Paul – “Jasmine” appeared first on Beats Per Minute.

We expected something new from Dirty Projectors with recent cryptic posts showing some kind of weird language and an upcoming appearance at Pitchfork Music Festival. Now, you can check out “Gun Has No Trigger,” a brand new track from the band. No word on when their anticipated new album will be released, but this indicates we should know more information soon.

Dirty Projectors – Gun Has No Trigger by DominoRecordCo

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2:54 have a video now for their brooding song, “You’re Early,” and you can check out the visually muted piece below. The clip was directed by Jeppe Kolstrup and comes from their to-be-released self-titled debut, due on May 28th via Fat Possum. We also have their current tour dates below. Enjoy.

2:54 2012 tour dates:

4/2 Norwich, UK – Waterfront Studio $
4/4 Manchester, UK – The Deaf Institue $
4/5 Glasgow, UK – Captain’s Rest Glasgow $
4/10 Bristol, UK – Thekla #
4/11 Brighton, UK – The Green Door Store #
4/12 Tumbridge Wells, UK – Forum *
4/13 Liverpool, UK The Shipping Forecast *
4/14 Leeds, UK – Cockpit *
6/7 London, UK – Scala
6/9 Brooklyn, NY – Knitting Factory !
6/10 Washington, DC – Rocknroll Hotel !
6/11 New York, NY – Mercury Lounge !
6/13 Boston, MA – TT The Bears !
6/14 Montreal, QC – Divan Orange !
6/15 Toronto, ON – NXNE/Lee’s Palace !
6/16 Columbus, OH – TBD
6/17 Chicago, IL – Empty Bottle !
6/18 Minneapolis, MN – Triple Rock !
6/21 Seattle, WA – The Crocodile !
6/22 Portland, OR – Doug Fir Lounge !
6/23 Vancouver, BC – Biltmore !
6/25 San Francisco, CA – Independent !
6/26 Los Angeles, CA – Troubadour !
6/27 San Diego, CA – Casbah !

$ with Palma Violets
# with Chelsea Wolfe
* with Deaf Club
! with Widowspeak

The post Video: 2:54 – “You’re Early” appeared first on Beats Per Minute.

“A wedding band on acid.” The press materials for Dent May’s upcoming June 12th release, Do Things, use this phrase to describe May’s new material and we think that is pretty much right on. Take the bouncy “Best Friend,” which we have below for download, which you can imagine starting a dance party if the attendees were the right kind of people in the right frame of mind.

Enjoy Dent May’s “Best Friend” and look for his new album in June on Paw Tracks.

Best Friend by Paw Tracks

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So, you’ve heard the hype and now the new Chromatics double-album, Kill For Love, is available for sale. But, if you’ve been following this Chromatics release, you are probably well aware that the band likes giving things away for free, and they have quickly made the album available for free stream. Listen to the whole thing down there below.

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Screaming Females’ new Steve Albini-produced album is titled Ugly and will be released on April 3rd via Don Giovanni. Stereogum just premiered a brand new MP3 for album cut “Expire,” which you can download below. Also, check out the band’s extensive tour dates. The local dates around L.A. include a couple spots I’ve never heard of and a bar I used to go to when I was 21. Lastly, revisit our interview with Screaming Females here.

MP3:Screaming-Females-Expire

Screaming Females 2012 tour dates:

4/05 – Hoboken, NJ @ Maxwell’s
4/06 – Brooklyn, NY @ Bell House
4/07 – Philadelphia, PA @ Pilam’s Human Barbecue
4/08 – Washington DC @ Black Cat Backstage
4/09 – Pittsburgh, PA @ Mr Roboto Project
4/10 – Cleveland, OH @ Beachland Tavern
4/11 – Bloomington, IN @ The Bishop
4/12 – Chicago, IL @ Subterranean
4/13 – Madison, WI @ UW Madison
4/14 – Omaha, NE @ The Sandbox
4/15 – Denver, CO @ Marquis Theater
4/17 – Boise, ID @ The Crux
4/18 – Seattle, WA @ The Rendezvous
4/19 – Bellingham, WA @ JINX Art Space
4/20 – Portland, OR @ The Know
4/21 – Olympia, WA @ Olympia Timberland Library
4/23 – Oakland, CA @ 1234 Go! Records
4/24 – San Francisco, CA @ Bottom of the Hill
4/25 – San Jose, CA @ Streetlight Records (two shows)
4/26 – Los Angeles, CA @ Center for the Arts, Eagle Rock ^
4/27 – San Pedro, CA @ San Pedro Ballet School ^
4/28 – San Diego @ Che Cafe (early) ^+
4/28 – San Diego, CA @ Bar Pink (late) ^
4/29 – Pomona, CA @ VLHS ^+
4/30 – Fullerton, CA @ Continental Room ^
5/01 – Phoenix, AZ @ Trunk Space
5/02 – Las Cruces, NM @ The Trainyard $
5/04 – Austin, TX @ Red 7 $
5/05 – Dallas, TX @ Queen City Hall
5/06 – Nashville, TN @ The End
5/07 – Athens, GA @ Caledonia Lounge
5/09 – Richmond, VA @ Strange Matter
5/10 – Baltimore, MD @ Golden West Cafe
6/01 – Austin, TX @ Beauty Ballroom (Chaos In Tejas)
7/05-07 – Trencin, SK @ Pohoda Festival

^ = w/ Toys That Kill
+ = w/ Japanther
$ = w/ Tragedy

The post MP3: Screaming Females – “Expire” appeared first on Beats Per Minute.

Dum Dum Girls released one of our favorite albums of 2011 (Only In Dreams) and have made a new video for one of our favorite songs of 2011, “Coming Down.” Black and white, slow motion, and all around pretty straight-forward, the video shows a group of people all trying to get a piece of frontwoman Dee Dee. Enjoy the clip below. Also, check out the Dum Dum Girls current slate of tour dates.

Dum Dum Girls 2012 Tour Dates:

Mar 28 — Grenoble, France — Le Ciel
Mar 29 — Firenze , Italy — Flog
Mar 30 — Venice, Italy — Moon Club
Mar 31 — Ravenna, Italy — Bronson
Apr 01 — Rome, Italy — Traffic
Apr 03 — Turin, Italy — Astoria Club
Apr 05 — Barcelona, Spain — La [2] del Apolo
Apr 06 — Bilbao, Spain — Kafe Antzokia
Apr 07 — Madrid , Spain — Ocho y Medio
Apr 08 — Zaragoza, Spain — Arena Rock
Apr 09 — Bordeaux, France — L’IBoat
Apr 11 — London, United Kingdom — Islington Academy
Apr 28 — Richmond, VA — Brown’s Island Park
May 15 — Santa Ana, CA — Constellation Room
May 16 — Solana Beach, CA– Belly Up
May 17 –Pioneertown , CA — Pappy & Harriets Pioneertown
May 18 — Los Angeles, CA — Echoplex
May 21 — San Jose, CA — Blank Club
May 22 — San Francisco, CA — Slims
May 25 — Vancouver, Canada– Biltmore Cabaret
May 26 — Gorge, WA– Sasquatch! Festival
May 27 — Portland, OR — Doug Fir Lounge
Jul 13 — Lisbon, Portugal — Optimus Alive Festival
Aug 03 — Montreal, Canada — Osheaga Music Festival

The post Video: Dum Dum Girls – “Coming Down” appeared first on Beats Per Minute.

One of 2012′s success stories, Frankie Rose is back with another video from her recent album, Interstellar. This time the clip is for “Night Swim” and features some nice color effects in the vein of her last video, except, you know, under water. Enjoy the clip below.

The post Video: Frankie Rose – “Night Swim” appeared first on Beats Per Minute.

Bill Callahan has a new video for his cover of “Heaven Help The Child,” originally by Micky Newbury. The song is out on a new single via Drag City that features the original as the A-side and this cover as the B-side. Check out the black and white clip below.

The post Video: Bill Callahan – “Heaven Help The Child” (Micky Newbury cover) appeared first on Beats Per Minute.

As if it wasn’t weird enough that members of The National collaborated on a concert with The Grateful Dead’s Bob Weir, they went and covered the recent Cass McCombs track “Love Thine Enemy” early in the set. Skip to 4:30 on the video below to check out their spirited cover. The set also included songs from The Dead and The National.

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CoS points to the first single from Damon Albarn’s upcoming Dr. Dee, due on May 8th via Virgin Records, titled “The Marvelous Dream.” Check it out below.

The post Listen: Damon Albarn – “The Marvelous Dream” appeared first on Beats Per Minute.

But, Japandroids have always been more than bro-rock that you can turn up loudly in the car for some ill-advised buzzed joyriding. The lyrics to “The House That Heaven Built” resonate, with its repeated center claiming “when they love you (and they will), tell them all that they’re loving my shadow / when they try to slow you down, tell them all to go to hell.” By the end of the song the roles reverse and the chorus gets repeated to nearly the five-minute mark, which, somehow, is just the right amount for the listener to absolutely believe everything they are being told. “The House That Heaven Built” is youthful music made by people who don’t believe that growing up means the end of anything; less nostalgia than a rallying cry to never lose what most people are nostalgic for.

The post Track Review: Japandroids – “The House That Heaven Built” appeared first on Beats Per Minute.