the black and white
Hundreds of artists and their albums were reviewed at the black and white site in the early 2000's.
Content is from the site's 2006 - 2007 archived pages providing a very small sample of what this site offered its followers...
Our archiver, Justin Wales, is also an expert consultant for data science at Crumbly Code and was 'truly floored' by the amount of information posted here. "We really need to be using data science to exploit by data mining the detailed specifics of these releases and accompanying reviews, etc. because of what they represent and the contribution to our culture these records are."
artist index
- 20GOTO10
Elizabeth, Haunted By Ghosts
(2006, Plastiq Musiq)
Rating: 7.6 Occasionally, within the field of synth driven electronica, a band or artist stretches creativity to its limits, and the results are truly innovative, fresh, compelling, and rewarding. Enter the oddly named band 20GOTO10, and their conceptual 11 song recording Elizabeth, Haunted By Ghosts. At the time of writing this review, Halloween is just a few days away, and I couldn;t ask for a better soundtrack. Not to say that this album is really scary. In fact, it certainly isn't. A little spooky maybe, but 20GOTO10's niche is how they ride a fine line of electonica mixed with slight gothic shadings. It kind of creeps up everywhere. It's in the artwork. It's in the beautiful voice of Sara Anne Eugene, and it's in the dark chords of the band's fuzzed out synth lines. The cello included on "I Know Of You" makes the song all the more elegant, with the subtle clicking track in the background. I like the depth that this album has, sometimes even playing with industrial ideas ("A Strange Victory"). Produced by Jon Sonnenburg (Travelogue), the attention to details make this album come alive, far removed from the stale and desolate traps of everyday electronica. Well done. -
A Is Jump
My Ice Fingered Ghost
(2004, Future Apple Tree)
Rating: 8.1Enter the debut full-length from Iowa 5-piece A Is Jump. These 11 songs bridge the sonic gap between Bee Thousand (Guided by Voices) and Loveless (My Bloody Valentine). Dreamy, but not drenched in reverb; Lo-fi, but not subversive bedroom pop. A Is Jump write melodic compositions that surge and swell, yet somehow end up appealing to the alt-pop in you. This is progressive rock giving a perpetual nod to the entire 4AD roster. Musicianship is tight, and presence of keyboards (or what I think are keyboards) keeps the mix interesting. The guitar work is calculated and even intricate at times, allowing for songs to explode at key moments. The vocals are above average (and distinct) for this over-saturated scene. My Ice Fingered Ghost is a warm debut for a very talented and refreshing band. - gtj Acres Of Ocean
Acres Of Ocean
(2007, Self Release)
Rating: 7.8If a little indie band is worth your precious time and limited cash, we want to let you know about them. A gizillion wanna-be bands are making cute EP's and playing a handful of local shows, trying to break the invisible barrier...but Acres Of Ocean is NOT one such band. This 4-piece from the UK insists on letting the music (not the contrived hipster posing) do the talking. This EP is a bare 2 tracks, leaving zero room for error. "Oceanic" sports dynamic and delicate electric guitar weaving, with well-worn vocals and plenty of drive. Arces Of Ocean employ slick production values that add to the crisp drama of their songs. The result falls somewhere between emo and epic prog-rock. The opening track "Cymatics" is just as polished, but has a few more layers, ulitizing a rock-on wall of sound method to their guitar crashes. While it's hard to accurately judge based on only 2 tracks, I'd say that Arces Of Ocean are the new breed of math-rock. And that is a compliment. Cool stuff...track them down to hear for yourself. Airfields, The
Laneways EP
(2006, Humblebee Recordings)
Rating: 8.9There is a certain charm in geniune indie-rock. Not much indie-rock these days actually is indie-rock, if you know what I mean. But whenever I hear a new recording that captures the essence of what indie-rock is all about, I start to gush. And that's why I'm starstruck with this little 6 song EP called Laneways by Toronto based band The Airfields. Laneways is, among other things, a lesson in bedroom shoegaze pop. It's cheery, but not bright. It's timid, but not mopy. It wears its influences, but it still defines itself. The Airfields are fans of Slowdive, Stereolab, The Innocence Mission, and My Bloody Valentine...and this EP makes no attempt to hide it. From the jangly and reverbed brit-pop of "Nowhere Left To Go", complete with male/female vocals, to the more crisp, summery sounds of "Lonely Halls", and even the haunting drone delays of "Red Fox", I can't help but feel as though I've been drugged with charm. This EP is thoroughly delightful! Bravo for The Airfields. Album Leaf, The
Into The Blue Again
(2006, Sub Pop Records)
Rating: 8.6I was hunting for the perfect soundtrack to the fall, and I've found it with The Album Leaf's new full-length, Into The Blue Again. The ambient textures are chilling and crisp, slightly offsetting the beauty of the pianos and string arrangements that weave this album together. At the core of The Album Leaf is Jimmy Lavalle, a moody post-rock composer with a gorgeous tendancy for overlaying arty, latte sipping lap-top beats overtop of his dreamy, piano/rhodes/synth based droning melodies. Three of the album's 10 songs include vocals, and Lavalle sing/speaks them with a dry yet tender urgency. Having gained much respect from fellow contemporaries Sigur Ros, The Album Leaf sometimes borders on art for art's sake, in that it's self-indulgent...but wonderfully so. Chords seem to float, suspended mid-air, yet never gaining a large rush of power. The centerpiece, "Red-Eye", is most captivating, with perfect backbeats and subtle hooks. The Album Leaf has this strange way of addicting you without you knowing it. The power of Into The Blue Again is mostly hidden, because Lavalle spends a majority of his time in the abstractions of the music, and wisely avoids the concrete tangibles of traditional song structures. Also be sure to give extra attention to "Always For You", at it is the album's most straight-forward moment, and is chalked full of its own great rewards. For fans of Sigur Ros, Bark Psychosis, Yellow6, Hammock, and Explosions In The Sky. All Things Bright and Beautiful
Love And Affection
(2003, Northern Records)
Rating: 9.5Lee Bozeman of Luxury has ventured to the unknown on his solo debut Love And Affection. Choosing to artistically approach his music as a project with a name other than his own, he has created a collection of songs that are both strikingly beautiful and deeply haunting. Lee recruited Chris Barron (piano), Frank Lenz (drums), and Andy Prickett (guitars, bass, keys, engineering) to help create the musical landscape he envisioned. The result is a glorious bent of moody, lush instrumentation that ebbs and flows to the nature of Lee’s lyrical themes which range from love, marriage, and lust (“Post-Modern Love”, “Attractive & Unattractive”, “A Happiness”) to the rapture of the saints (“Third Trumpet. Fourth Trumpet Sounding”, “Wedding Feast Of The Lamb: First Movement”). The vocals on Love And Affection are stunning, with Bozeman’s tenor both soaring and refrained, akin to a Kid A era Thom Yorke or an ancy Brett Tohlen (of Lewis) with the lyrical contemplation of a Control era David Bazan. The vibe relayed is one of passion and frustration, and the cinematic aural presence only adds to the dense tension surrounding the record. While the final product is one of master execution, Love And Affection might be a bitter pill to swallow, as its split personality makes it one of the most challenging and refreshing recordings of recent years. The artwork also contributes to the theme and visual concept of the project, showcasing illustrated bookends. There is an obvious similarity to Luxury with All things Bright And Beautiful, but not to the extent that there is with most front men who journey into a solo career. Lee’s new creation is much more liquid than solid and has a charming yet sublime appeal that rock records have difficulty conveying. In a perfect world, weary Radiohead fans would clutch this CD like a life raft in a sea storm. Sigur Ros fans would abandon false pretense and embrace the stark imagery of Bozeman’s struggles. Indeed, there is light on the other side of the tunnel. There is hope for indie rock. There is a record called Love And Affection. This is a brilliant and amazing debut. – gtj Almost, The
Southern Weather
(2007, Tooth & Nail )
Rating: 7.9Aaron Roderick Gillespie has a nifty dayjob. He happens to be the drummer for Underoath, a highly successful emo-screamo band. And as it turns out, Aaron also has a pretty nifty moonlighting job as a solo musician performing and recording under the moniker The Almost. Those who are followers of Underoath (and there are many, of which I am not one!) know that Aaron contributes most of the singing vocals to his loud band, and apparently, The Almost has become a highly anticipated project. Well, to cut to it, Southern Weather is an abrassively cool rock album. Gillespie has a decent tenor, and as the record proves, he is one heck of a musician (playing every instrument on the album). Souther Weather boasts some great guest appearances by the likes of Matt Slocum (cello), John Mark Painter (horns), and Jeremy Enigk (vocals). Mostly produced by Aaron Sprinkle, The Almost is loaded with intensity and depth. I must say that after a few spins, I am suprised at Southern Weather's rugged charm. "Say This Sooner" has a killer bridge, and "Amazing Because It Is" is stunning, complete with a youth choir's accompaniment. If you're looking for a great rock album that's progressive and not afraid to tackle spiritual subject matter without sounding trite, Gillespie's 11-song debut is just the thing. Alto45
101101
(2004, Happy Capitalist)
Rating: 8Alto45 is all about quirky brit lo-fi. 101101 opens with the marching beat of "Let's Go Out", and falls somewhere between Pavement and Sal Paradise. Vocals are at times dreamlike, and keyboards give off a surreal effect. Things get a bit trippier with "The Plan", a song with a chord progression straight from Pedro The Lion's It's Hard To Find A Friend. The electronic noodling adds a sci-fi element to the minimal indie-rock ethic that jingles and distorts. An acoustic guitar leads "Fell Down Stairs", and the vocals are distant. The song takes twists and turns, mellowing out and then rebuilding. The 60s-esque "Sunburn" is pure bedroom indie-rock as it was made to be heard...fun and playful, yet dry and without glitter. Electronic touches embellish the simplicity of "Leaving Suburbia", then after its first verse, the song erupts with an emotive guitar burst. Again, Alto45 displays what seems like tongue-in-cheek emo moments...but they work, and add incredible diminsion to the pop, along with the eccentric keyboard noises. "Christian Song" would feel at home next to any twothirtyeight track, with all the typical minimal stateside ingredients. The ballad of "Moses Gunn" is a slow moving paranoid song that acts as a perfect waltz. But I find Alto45 at their most lovable when they're playing with computerized beats and spacy synths. The mix of these elements with an acoustic guitar in the foreground of "Hospital Song" finds the band at their best. Heck, these guys can even be adorable! Piano sounds drift off on the final track, "Sleep & TV", only to be followed by a hidden (and nameless) song. Playful electonica closes 101101, and I'm left with a smile on my face. Most records as diverse as 101101 don't fare too well, but Alto45 manages to find the thread that makes this album cohesive and rewarding. Great minimal indie-rock from the other side of the pond. Bravo! Amp
All Of Yesterday Tomorrow
(2007, RROOPP)
Rating: 9.4Amp is a highly experimental sonic arsenal masterminded by Richard Amp, the principal and founding member since 1990. Playing what could very loosely be described as noisy post-rock, this enchanted 3CD compilation (gorgeously laid out in a beautifully designed digipak) captures the band at various points in their artistically diverse discography. Each of the 3 discs here span 72 minutes, making the project well over 3 hours in length, and the tracks selected for All Of Yesterday Tomorrow are either previously unreleased, discontinued, or next to impossible to find. The London based band has had a revolving door of musicians over the years (including members of Flying Saucer Attack and 2 By Bukowski, among others), helping Richard Amp extend his artistic grasp. Listening to this 3CD set is like uncovering one of the world's best hidden treasures. Every track is composed with depth, brilliance, and perhaps most importantly, with no reliance on a particular genre. Words like ambiance and atmosphere quickly come to mind in trying to describe Amp's common denominator. Yet often throughout this expansive set, reverbed and droning guitars take a back seat to pianos, synth washes, and even folkish acoustic musings. Occasional haunted and ghostly vocals surface in the mix, usually treated as an instrument as opposed to a traditional song vocal. Drum looping and programming also assist in some tracks, making Amp the most confoundingly remarkable band that you've never heard of (if you live in North America). Few bands can get me on pins and needles like Amp. Amp is the king of bliss-out bands when they want to be. Think of a British Sonic Youth that could care less about marketability, takes every imaginable experimental chance, and fell in love with Bark Psychosis, and you'd have something similar to Amp. The truth is that there is so much material here to digest thoroughly in a week. I encourage you to purchase this masterwork compilation and spend a solid month absorbing its beauty. Then you might not ever view post-rock the same way again. Lovely! Anathallo
Floating World
(2006, Artist Friendship / Nettwerk Records)
Rating: 9.3It's a tough life...striving to win friends and influence people. And when it comes to the (floating) world of making music, that is usually the sole objective. The Midwestern collective known as Anathallo has been making music over the last 6 years, releasing a string of hard-to-find but highly sought after EP's, creating buzz that won't go away. Floating World (released on their owm label, with the help of Nettwerk) is the band's much anticipated debut full-length, and while some snobby, self-absorbed critics have written this 14-song work off, I'll boldly say that this record is a shoe-in for one of the Top 10 Albums of 2006. Let me first rant about the packaging. Floating World is a looker, with the stincilled casing overtop a prism of swirlling colour on the cover. The elegant and whimsical art is the perfect match for the band's chamber-pop cabaret. The use of tribal percussion, foot stomping, hand clapping, trombone, flugelhorn and piano, mixed with standard conventions like acoustic/electric guitars, bass and drums, all combine in a successful effort to create otherworldly musical experiences. On Floating World, Anathallo present themselves as a band showcasing pocket orchestras, a travelling circus, and even at times a theatrical choir. Throughout the record, there is a song split into 4 parts, all interspersed at (seemingly) random. But the beauty of "Hanasakajiijii" is that it's a joyful rallying point that surrounds poetic melancholy and theological musings. That said, Anathallo is a very literate band, and Floating World is a concept album of sorts, although all the songs are independent of the others and have cohesive thoughts and statements. So obviously, this record is very ambitious, and what often happens is that a band begins to drown in their own creation of a monster. But thankfully, Anathallo shows themselves very capable of this task, and the result is the most beautifully written and performed indie folk-pop album of the year. I highly recommend this album to everyone, and particularly to those who are fans of Sufjan Stevens, Iron & Wine, Camera Obscura, Belle & Sebastian, Neutral Milk Hotel, and Magnetic Fields. Anberlin
Never Take Friendship Personal
(2005, Tooth & Nail)
Rating: 7.3This is Anberlin’s sophomore effort and my first encounter with the band, so I can only speak from this albums merit. First off, the artwork is fantastic. Second, Aaron Sprinkle is a wonderful producer. And third, this band is hot…like Hot Topic hot; and consequently, flavor of the week hot. At least for the first two songs. Who exactly is Anberlin? Well, they’re an a-typical rock band from the emo-state of Florida. They have a very emo-esque album title. They even have the energy and dynamics to rival emo heavy hitters. Who are emo heavy hitters, you ask? You decide that for yourself. Anberlin will be within shouting range of them – no pun intended. This album opens with 2 masterful tracks. “Never take Friendship Personal” showcases dueling guitars and interesting vocal combinations. There is plenty of energy and mild nods to 80’s metal. Anberlin sounds like the kissing cousin of The Juliana Theory. “Paperthin Hymn” rides on the momentum of the first track, complete with creative guitar fills, infectious melodic hooks, and a great vocal performance. Yet, as the album wears on, the originality begins to fade and make room for sing-along pop-punk. The cheekily named “Stationary Stationery” should be on a Relient K album. It’s a mediocre song that landed a spot on the wrong album by the wrong group. What were they thinking? Okay, they just weren’t. Anberlin tries to redeem themselves with “(The Symphony of) Blasé”, a song that falls short of being sincerely tender and heartfelt. Strike two. The intro to “A Day Late” is compelling, but the band has a hard time in their verses. The instrumentation usually tames so only a rhythm guitar drives an emo-clichéd lyric. The choruses are gigantic, albeit anti-climactic, and an “I’m-more-rock-than-you” metal riff usually fills the transition from chorus to verse. I’m growing tired of it. The power of “The Feel Good Drag” and “Audrey, Start the Revolution!” matches the quality of the first 2 tracks. Why can’t the band just make a record with songs like this? However, “Audrey” has an embarrassingly happy chorus, tale telling that Anberlin needs some lessons in mood. The album is closed by an arty instrumental (“A Heavy Hearted Work of Staggering Genius”) and “Dance, Dance Christa Paffgen”. The song tries hard, but is stale. I want to like this band. I have nothing against the genre, but I don’t understand why a band like Anberlin is content to record a cookie-cutter album when they could potentially experiment in the heights of Juliana Theory, Jimmy Eat World, The Beautiful Mistake or The Fire Theft. Chalk this one up to average with a brilliant moment or two. - gtj Angle
We'll Pick Up The Pieces Next Time EP
(2004/2005, Self Release)
Rating: 9.4By far, Angle is the most exciting band I've heard in...forever. We'll Pick Up The Pieces Next Time gives us 8 tracks that follow the progression their stunning Silence Is Better Than Nothing debut left off. To compare the two EP's would be a waste of time, as this more recent offering slowly explores Angle's more pastoral lending, while adding minimal laptop beats and ambience to their ebbing tones and textures. "Greeneyesea" welcomes you with floating and dissonant, yet soft pastoral guitars and lightly brushed drums. The introduction is quite segue to "We're Too Young". The laptop use is kept minimal, yet when combined with their angular guitar passages and vocal phrasing, Angle becomes explosive. The dreamy atmosphere of "Sell Your Toes" is intoxicating, and reminiscent of Outside Closer-era Hood. The pastoral effects and stylings continue on "Photographic", and towards the end of the song, Angle takes their vocals to the next level by becoming ultra harmonic. The result is numbing. Why this band isn't moving mega units for some label is beyond me. I love this band. The thought of Angle never making a full-length album almost sends me into depression. Do yourself a favor and go to their web-site. Show them some love and throw them some money. What's a musical genius worth these days? For now, I'll be wearing out their 2 fine EP's...in hopes for a bright tomorrow. Angle
Silence Is Better Than Nothing EP
(2003, Self Release)
Rating: 9.6Angle is certainly the best unsigned band on the market right now, and if you don't believe me, then listen to the Silence Is Better Than Nothing EP. At times harkening the sheer brilliance of Cold House-era Hood, Angle combines soft vocals with drony, pastoral guitars, and glitching laptop beats. "The Virus" is a careful introduction to Angle. Slightly IDM beats culminate, then cease when the vocals make their debut, only to return to their glitching splendor as guitars tenderly drone and ache. The straightforward second track, "Sugarhorse", features some almost cLOUDDEAD-like vocals, only it isn't quite rapping or singing, yet carries a strong melody. "An Ambient Blackout" acts more like an interlude into the chilling cover of The Pixies "Debaser", complete with moody laptop noise. The only complaint is that the song is kept under the two minute mark. "I Homme Au Piano" is overtly electronic, yet conveys a soft and organic feeling that few electro-based bands can arrive at. It's as if Angle can be intense and chilled in the same breath. All 9 tracks are haunting and enticing. I fell in love on the first listen, and having played this EP over 10 times, I feel like I'm absorbed in it. Dare I use the word perfect and end with a period? Perfect. Seriously, don't put this on if you don't want your brian to go numb. I don't suggest listening to this for the first time while driving, as you might have a freak out. For fans of Hood, July Skies, Yellow 6, Piano Magic and Milosh. Anna Ranger
Above And Under Ground
(2006, Plastiq Musiq)
Rating: 7.8If you're into the posing and flamboyant electro-glam that Elkland over-indulged in, then Anna Ranger is your godsend. This 13 song album is loaded with synth thumps and beeps, nu-wave melodies, and pretty boys pining over their image. Thankfully, Anna Ranger makes Above And Under Ground much more than one dimensional art with the inclusion of acoustic guitars and production values that help the album avoid the genre of 'electro-trash'. Beats over-abound, gliding the album back into the 80's, but their arrangements are very...shall I say chic? It's a safe assumption to say that the band is strongly influeneced by Joy Electric (of course, this is a no-brainer for a PQ band), and their Ronnie Martin homeage is best paid on slower songs like "Back To Letters", a moody, sensitive ballad. The album's vocals are smooth, and bandleader Nathan Snell seems comfortable with his own voice. The point being, this album isn't plagued with fake accents and over-attempts to sound British. I'm pleased with this album, and it's one of the few of its genre that will receive regular rotations from me. For fans of chic electronica, electro-pop, and indie-pop like Pet Shop Boys and Elkland. anthony
Neu York
(2004, Secret Crush Records)
Rating: 8.9This is the first true solo work of Anthony Reynolds, co-founder and frontman of UK band's Jack and Jacques. If you pay careful attention to details, you'd note that Neu York is simply credited to 'anthony'. No last name, all lower case...hinting that the most raw and true Anthony Reynolds is yet to come. With a wopping 14 songs (Jack albums were 9-10 songs), there is a healthy mix of the familiar and the new here. If anything, Neu York establishes Reynolds' love for pop music, and the direction of Jack's swan song (The End Of The Way It's Always Been) makes much more sense after hearing Anthony's exclusive leanings. Drum loops usher gorgeous melodies as the album is kicked off with a magnificent trilogy ("I Love My Radio [On]", "Lush Life", and "The Sad Streets"). "Lush Life" in particular, is probably the most realised pop song of the pack, and the only one co-credited to Franck Roussel. As the album progresses, a more experimental twist in modern-pop is dominant. Clearly, Reynolds is a man firmly rooted in 2 contradicting worlds. This makes for wonderful...and at times, baffling art. Reynolds is a artist who writes and sings from the deepest parts of the soul, and whether ugly or beautiful, there's always some intangible thing within the melody that rings true. If you love complex fringe-pop with brilliant vocals, anthony's Neu York should be your next visit. Appleseed Cast, The
Peregrine
(2006, The Militia Group)
Rating: 9.1Without hesitation, I will say that Peregrine will become a standard for emotional post-rock. The Cast are by no means new-comers to greatness. After all, the band delivered a silencing pair of albums, Low Level Owl Volumes 1&2, that are only rivaled by Radiohead's Kid A and Amnesiac, and LN's Dirt Floor Hotel series. In one word...EPIC! But 'epic' is overused and doesn't offer much help to the reader. Peregrine is, at the least, The Cast's return to form, after their emotive Two Coversations experiment on the now defunct Tiger Style imprint. At most, this is an album of gigantic proportions and unlimited possibilites for the band. I can hardly believe that this album leaves the Owl series in the shadows, but that's the truth. From lush and orchestral instrumentals that break the songs into specific groupings, to the subtle, dark, conceptual lyrics that fuel Peregrine, I cannot hear of nor point out a fault. Chris Crisci may have just penned the recording of his life. These 13 tracks are rich in depth and texture, yet they refrain from noodling and becoming inward. It's as if every song completely contributes and adds to the whole of the recording. If it ends here (whick we pray to God it doesn't...ahhh...to think of what may come next?!), we have quite the legacy. For fans of Radiohead, Sigur Ros, Hammock, Explosions In The Sky, Mogwai, and LN. Arcade Fire, The
Neon Bible
(2007, Merge Records)
Rating: 9.5Oh, how to follow up one of the most important rock albums of the decade. The unexpected success of Montreal's Arcade Fire found husband/wife bandleaders Win Butler and Regine Chassagne as the cover children of hipsterville. Funeral was a tragically explosive record, charged with unbridled emotion and gorgeous string flourishes. It was one of those rare moments in time, that by the hand of God managed to be caught on tape, but impossible to ever recreate (think Neutral Milk Hotel's In The Aeroplane Over The Sea or Wilco's Yankee Hotel Foxtrot). The first noteworthy point about Neon Bible is that The Arcade Fire avoid the temptation to attempt to reproduce Funeral Part 2. Butler continues to pen dark themes and cast them into his semi-gothic world of jarring guitars, fluxuating tempos, chiming pianos, and cinematic orchestrations, but the outcome is vastly different (and equally as successful) than past efforts. Neon Bible has that unique 'slow-grower' characteristic, despite the fact that the record has a number of immediate songs. The overall tone is something like David Bowie meets americana...with french touches and eccentric playfulness. At the end of the day, The Arcade Fire have proven that they are the quintessential art-rock band of our time. Butler builds tension like few songwriters can, but he never forgets to add the gigantic payoffs. Loaded with unsettling hooks and haunted beauty, Neon Bible is the giant album that confirms The Arcade Fire is one of the world's best. Go-to tracks include: "Keep The Car Running", "Black Wave/Bad Vibrations", "The Well And The Lighthouse", and "My Body Is A Cage". Arcade Fire, The
Funeral
(2004, Merge Records)
Rating: 9.6The first Arcade Fire full-length is tragically melancholy and hotly impassioned. The loose concept of Funeral is tied to a period of unfortune surrounding family and friends of Win Bulter and Regine Chassagne, who masterfully score orchestral arrangements with art-rock compositions. Indeed, Funeral is a rare album that is impossible to nail down. Butler writes a majority of the music, plays guitar, and with the help of wife Regine, carries the bulk of the vocal responsibilities. But the strength of The Arcade Fire isn't in Bulter's sole talents. The band, reigning from the grossly musical Montreal area, is deepened by their employment of cinematic string arrangements and bizarre usage of oddly named instruments. "Neighborhood #1 (Tunnels)", "Neighborhood #3 (Power Out)", and "Rebellion (Lies)" are so unspeakably great and original, I can't help but think that The Arcade Fire are on the brink of reinventing modern art-rock. There is a wall-of-sound in the thickly layered mix, yet it is so complex and haunting that it both aches and soothes at once. Butler sings like a tormented poet, and Regine softens the blow with her french accent and angelic presence. I suppose that it's the band's ability to draw from sources so well that makes The Arcade Fire so intoxicating. The only other active band that seems to possess this skill is TV On The Radio, but while TV On The Radio is centered on groove infused darkness, The Arcade Fire usually puts the darkness before the groove, and casually adds a fourth dimension of evocative beauty that is so rare in pop compositions. The Arcade Fire have made a landmark album in indie-rock. Funeral is perhaps the most triumphant recording of the decade. Arcade Fire, The
EP
(2003, Merge Records)
Rating: 9.1Win Butler and Regine Chassagne provide intense, evocative, and darkly cinematic compositions unique to modern indie-rock. This Montreal based husband/wife duo, along with a collective of skilled friends, debut as an eccentric art-rock band under the moniker of The Arcade Fire. This 7-song EP is powerfully charged, utilizing Butler's agonizing vocals (often assisted by Chassagne's echoes), climaxing guitars, and adrenaline-rushing orchestral arrangements. Think gothic David Bowie meets the charming barks of Wolf Parade, or a multi-diminsional Modest Mouse with grandiose and theatrical pose. The band's highlight, "No Cars Go", seems to hint at the sonic potential of The Arcade Fire, with complex texture, suppressed electrical energy, and some naive hope that anything is possible within the constraints of melody. On the fragilely beautiful "Headlights Look Like Diamonds", Butler shows his soft, sensitive art-pop side, and to my ears' delight, it's every bit as good as their aggressively fuled anthems. Quite possibly, The Arcade Fire could become the first important band of the new millennium. Argyle Pimps, The
Invisible Jet-Ski's
(2007, Kamakazi Airlines)
Rating: 9.3If you ever get your hands on this record, you'd have a future underground hip-hop cult classic. Boney Beezly and Cockamamie Jamie are a comic rap duo with much more working to their advantage than humor, although this album has brought me to tears laughing on more than one occasion. Let's start with the cover...it's pink and it looks misplaced. Before I even pressed play, I knew that The Argyle Pimps are a kind of weird anti-cliche hip-hop outfit. And then the music begins to roll, and the thing is, this album is quite musically informed. The heavy use of vintage, soulful and jazzy samples combines with excellent beats to create a warm canvas for The Pimps to spit their verses. "Argyle Pimpin'" begins their 11-song debut, and the Pigeon John inspired rhymes come out fresh and comically enlightening. Sometimes the duo's over-ambitious humor can border on novelty, but the sheer craftsmenship of songs like "Handsome", "Geezers", and "Japanese People" is on par with the best rap/hip-hop singles that you would hear anywhere. Loaded with the best one-liners and original catch-phrases you've ever heard...on top of the crisp sound and production, Invisible Jet-Ski's is destined to be the stuff of legend. A MUST have! The Argyle Pimps have a classic debut, and few records of this genre have been better! Armstrong, Riley
La Loop
(2005, 7 Spin Music)
Rating: 7.3Riley Armstrong is a mixed bag. I was on the bandwagon when when he was an indie going by the moniker of Plain Edson. His formula was quite simple. Soft and pretty vocals, mid-tempo white-boy beats, and layers of melodic acoustic guitars, not that unlike early-era Jars Of Clay. Well, after a major signing, and 2 relatively successful full-lengths, Armstrong is now in self-induced indie-land once again. Preferring to spend his down time in his beautiful homeland of Alberta, Canada, and being recently married, he asked to be released from his contract with Flicker Records and signed with newly DIY's 7Spin (hopefully I have my facts straight). The good news for you is that La Loop is Armstrong's best album to date, while still dabbling in all the familiar territory that made him so lovable. All the new album lacks is a single with the strength of "The Only", although "All The Good Idea's Are Gone" is instantly pleasurable. "Anthem From 4th Place" is an honest commentary on not measuring up to others, yet staying true to your heart, and the song works as a perfect introduction to the 9 tracks that follow. "Above Every Name" is a very worshipful number that slowly turns into a song everybody sang in church about 15 years ago. Nicely done, and few artists could pull it off. No Riley Armstrong album is ever without its ode to humor, and on La Loop, "Cassette Decks" and "Cell Phone" take on the cheeky task. "Cassette Decks" works, with its Beck-esque pulsing bassline and throwback vibe, but "Cell Phone" probably should've been saved for a hidden track, because it strikes me as slightly filler. While not a bad song, it is the one mis-step on La Loop and Riley would've been better served going back to his song vault and adding an 11th track to this full-length. "A Lot Can Happen In A Year" and "Birdhouse" are 2 vital songs wisely placed toward the end of the album, giving you the sense that La Loop completely airtight. Riley Armstrong will likely be forever plagued as Beck-lite, and in many ways, that's not too far from the truth, but Armstrong has developed a unique craft on this outing. The album title is quite fitting, as most of these songs could pass as (lite) remixes if you didn't know the original. I like it..a lot. Call it smart alt-pop. Well done, Mr. Armstrong. Arnold, Tim
Another World
(2007, TA Music)
Rating: 9.2We hate to admit the truth, but the truth is that we're way behind the 8 ball with UK singer/songwriter Tim Arnold. Another World is his 8th solo album and the 6th he had released in the last 18 months. Yep. Forget the prolificacy of Robert Pollard and Ryan Adams, this Arnold guy is shaming you all. This album was recorded in its entirety on a laptop at the end of its tether, and the reason this is significant is beause of the amazingly lush and warm orchestrations Arnold has captured to score his heartbreaking compositions. Okay, here's the breakdown. Tim Arnold is a modern balladeer with a shiny tenor croon that hints at Damien Rice, and his use of voice is actually quite profound. Another World should be described primarily as a vocal album with plenty of piano and strings setting the stage for Arnold's poetic tales and chilling romantic odes. His cast of musicians employed for this project carry a long list of 'played on that hip album you love', but that's not too important except for uber-indie cred. Tracks like "Something Special" hint that what this really is about is the songs. Great, powerful, gigantic songs. I would never have believed that this recording was the work of an indie artist on an invisible none-budget. The arrangements are so accomplished and sound so crisp. Arnolds' vocals are lovely, almost yearning to be heard by the masses. And judging from this record, that's only a small matter of time. This is killer, stellar, and worthy of drooling over. A MUST hear. For fans of Travis, Harry Nilsson, Ryan Adams, and Jeff Buckley. Weird mix, I know, but just trust me and listen to it. Arpanet
Internal Frame
(2006, Record Makers)
Rating: 7.2The bio that this CD came with says that no one really knows who Arpanet is, and that this album (Internal Frame) develops their conceptual electronic fragmentation into yet another evocative and mysterious strand of sub-marine electro. Internal Frame marks the band's third full-length recording, and solely based off repeated listening of this album, there is plenty of cold and distant electronica to go around. Arpanet puts a dark spin on their approach, lightly dabbling with the outskirts of gothica. "Infinite Density" isn't quite as bleak as the three tracks that come before it, and clocking in at over 6 minutes, it marks the longest of the 13, with its drum machine loops laced with melodic synth accents. Vocals appear at times, but this is mostly an instrumental affair. The complexity and changes of direction many songs take leave the door open to presume that Arpanet are adventureous enough to explore post-rock, but they never take it quite that far. There is a great vibe on "No Boundry Condition" that slightly picks up the pace...and it is well placed at the album's halfway point. The remainer of the record plays it safe, balancing the melancholy tones with happier bleeps and vocals. While I'd call this album solid, I wish that the electronica wasn't as robotic in nature. This record is cold and heartless, but like a maze you get trapped in. Artificial Sea, The
City Island
(2007, Travelling Music)
Rating: 7.4Stop holding your breath for the long promised Portishead reunion. Why? Well, the reason is wrapped up in 10 trippy songs by The Artificial Sea. City Island opens with the male-female duo fronting their strongest hooks. "Gloryhole" is a hypnotic and spacy voyage into artful trip-hop bliss. Alina Simone is loaded with powerful soul, and these songs prove to be the perfect outlet. Master-instrumentalist Kevin Smith creates the grooving soundscapes, and he wisely changes tempos and atmospheres to keep you listening. City Island is an album largely driven by backbeats, guitars that are shoegazing yet funky, big bass lines, and at the heart of The Artificial Sea is Simone. Squarely put, bands like Golfrapp, Black Box Recorder, and even the aforementioned Portishead, have the vocal talent to carry records on their lone shoulders. The same can be said about this band, and like the others, The Artificial Sea is equally propelled by the musical innovation of Smith. All of the songs safely live within dreamland, and bare a chic otherworldly presence. The atmospheric moods are urban and slightly off-kilter, and when you hear City Island as a whole, it's clear that while they wear some obvious influences, this band is not an imitation of the past. For fans of every band already mentioned, plus The Go! Team, Cocteau Twins, and Melt Inside-era Yellow6. Arturo En El Barco
Music For Students And Their Friends
(2005, Carte Postale Records)
Rating: 9The delicate experimentalism of Puerto Rico's Angelica Negron aka Arturo En El Barco is threaded throughout the 6 original tracks that make up the foundation of Music For Students And Their Friends. Titled as names of people, presumably the children who grace the album's cover, the songs are minimal and ambient in nature, yet present a serene and ethereal texture. The songs often progress completely beatless, slowly climaxing to subtle rhythms and soft glitches. "Kyle Parker", the album's third track, makes heavy use of child-like piano fills and tender synth drones, while "Beth Dorris" could pass for an obscure Yellow6 or Hood track, especially when the laptop layering begins to slightly build. And the almost non-present sound of children playing underneath the mix adds a new diminsion to Arturo En El Barco's seemingly simplistic abstractions. "Raymond Dotson" begins with children singing "Yes Jesus Loves Me", then quiet glitches slowly drown out the foreground melody. This song is so wonderful, I cannot gush enough over it. Following the 6 original tracks are 5 remixes, all done by different artists. I Am Robot And Proud puts their more overtly pop-like spin on "Candy Tucker" to great results, while Phasmid remixes the same track by burying it in glitch. The bubble-glitch sounds of Balun's "Hello Beth" remix is also well done, adding a dominate gleeful presence. Tape's remix, "Bye Candy" counter balances the previous track's happiness with their melancholic contribution. And a "Beth Dorris" remix by Text Adventure rounds out the 11 song album with a breezy and more soft-beat oriented version. This is a beautiful creation, and one record that should land on many Top 2006 lists. For fans of RF, Familiar Trees, Yellow6, Hood, Angle & July Skies. Astral
Orchids
(2003, MLP)
Rating: 8.3San Francisco based Astral have deep rooted influences in Joy Division and My Bloody Valentine, as proven by their full-length debut, Orchids. Dave Han (vocal/guitar) has a whispering approach that cuts to the heart while every other sense is swirling in an array of dreaminess. “Turn Me Around” is Astral’s “Only Shallow”, a stereo assault of bleeding feedback and driving post-punk percussion courtesy of Shawn Poh. Other standout tracks include “Blinder”, the affecting “Orchids”, and “Under Lock And Key”, all showcasing a very 4AD bent to shoegaze. Astral could easily fit onto a Merge, Matador, or 4AD roster, because they’re the essence of dream rock, stuck in the late ‘80s and playing their reverbed hearts out. Orchids has a very classic tone to it while representing the face of what modern shoegaze has become. I like this little 3-piece, and hopefully I won’t be the only one. Au Revoir Simone
The Bird Of Music
(2007, Our Secret Record Company / Moshi Moshi)
Rating: 8.8The Bird of Music sounds like a fluffy cloud, slightly overcast just after a short, light rain, but with the sun peeking through its upper half. Brooklyn, New York, synth/electro-pop band Au Revoir Simone deliver a charming and gorgeously understated 11-song sophimore record. 3 girls, lots of keyboards, and soft drum machines provide the atmosphere for The Bird Of Music to flourish. Opening with the spacious "The Lucky One", Au Revoir Simone focus on breezy chimes, lush keyboards, and their wonderful collective voice. Minimal electro-drumming lifts the pace for "Sad Song", and the band continues to showcase this angelic, light and airy vocal style that is carried throughout the record. "I Couldn't Sleep" is heavy on linear synths and function as the blueprint for a Cocteau Twins remix. Au Revoir Simone's most upbeat arrangement is the ironic joyful anthem "Dark Halls", complete with bouncy keyboards, bright undertones and cheeky melodies. Beginning to end, The Bird Of Music is a pleasure to listen to. Annie, Erika, and Heather have an intoxicating charm, but never manage to provide the giant hook or sugary single, instead choosing to focus their energy on crafting a fluent, complete statement. This certainly doesn't take away from the strength of the record, but this synth-laced indie-pop band has huge potential not yet completely realized. While I'll patiently wait for Au Revoir Simone to multiply their electro-lite sensibilities, I'll be chilling to the most understated record of 2007...that is The Bird Of Music. au4
On: Audio
(2006, Torn Open Records)
Rating: 8.7Canada has become the hotbed for smart music in recent years. A shortlist of people making music that matters includes Broken Social Scene, Feist, Stars, The Arcade Fire, Wolf Parade, Faunts, The Dears, A.C. Newman...and the list could just keep going. Allow me to add to this list of the elite another maple leaf band - au4. These fellas (3 brothers & a friend, I think) have created a mini-symphonic masterwork with their essentially self released debut, On: Audio (they started their own label to release this project). Drawing from atmoshpheric influences like Sigur Ros, textured electronic influneces like Air, and blissed out shoegaze influences like My Bloody Valentine and Slowdive, au4 blends contrasting sounds to beautiful effect. In essence, au4 is where shoegaze and electronica kiss. Think of a happier Adore-era Pumpkins meets a remixed Coastal, and you'll be somewhere close. Ben Wylie's vocals are soft and surreal, adding to the sonic scaping and textured layering that is always hard at work. The laptop undercurrent flows throughout the album, but never diminising the band's organic abilities. "Paper Cuts From Paper Butterflies" might be the band's most ambitious, burried in space-funk and enraptured by rappish chants, landing the band in fine company with Massive Attack. "Undone By Dandelions" is like a musical airwalk, with a piano suspended in the stratosphere, propelled by an alien symphony. The glitched beats on album opener "Hit And Miss" contain the pop energy of a top 40 song, yet underlay the score to a foreign film. That is to say that au4 know how to make pop music without compromising its beauty. I would go as far as to say that On: Audio is essential listening, and very highly recommended. For fans of Sigur Ros, M83, Radiohead, and Air. Autumn Rhythm, The
Secret Songs
(2003, Midriff Records)
Rating: 7.2Enter the somber world of Valerie Allen. Secret Songs solidifies the powerless numbing of the broken heart, and Allen plays the part of a girl who walked the hard road and is learning to start to think twice. “Best Of My Worst” champions the cause and opens the record up with a monotone electric guitar dryly being plucked away at. Allen, with the help of friend Eli Queen, find herself at her marketable best on “Secrets”, another monotone dirge that welcomingly invites a strong hook in the chorus. The strength of continuity (in the monotone tunings) overextends itself and becomes tiresome half way through the album, and The Autumn Rhythm offers no relief in the second half either. I’m drawn to the autobiographical heart-on-my-sleeve specifics in songs like “1992” and “What I Thought”. The formula is almost right, but a lack of transition weighs Secret Songs down. The overall feel is akin to David Bazan’s “Slow And Steady Wins The Race”, but maybe a fraction more on the somber side, and with a slight vocal twang reminiscent of early Jewel. For those searching for minimalistic, female-fronted, somber pop, The Autumn Rhythm has a debut album just for you. And I’ll hope they’ll stretch themselves on their next outing. - gtj Autumns, The
The Autumns
(2004, Pseudopod Records)
Rating: 9.8Matthew Kelly has earned his stripes. Fronting the pioneering, yet often forgotten Autumns, the band has danced with perfection in the past (most notably, 1997’s The Angel Pool), but this record is more than a perfect dance. This self-titled record is the stars aligning, the union of pure beauty and bitter dissonance. This record not only defines The Autumns as a band, it defines music as an art. I find it interesting when a band releases a self-titled album in the middle of their career. To me, it symbolizes what a band essentially is. “We are ________________, and this is our record!” It’s almost a definitive statement. Having said that, I don’t know if a better self-titled album exists. Let’s start with “The End”, a heart gripping lead-off that is both spiritual and highly emotional, casting Matt Kelly ‘the vocalist’ in a light you’ve never heard him in before. The music is new-wave shoegaze with an overtly fairy-tale like bent, and the fairy-tale, dreamlike sequences carry through every song, most of which blend together without silence to separate tracks. The 2 most orchestrated instrumentals (“Flies in the Eyes of the Queen” and “The Moon Softly Weeps a Lullaby”) demonstrate a wide grasp of arrangement, child-like melodies, ambient droning and classical composition. If The Autumns were to be an instrumental band, nothing would be lost. But the cohesiveness of this record is astounding. String arrangements weave into songs meshed with acoustic guitars and layered vocal tricks. I am literally left numb upon repeated listens. There are few albums that have paid as much attention to detail as The Autumns (few that come to mind are OK Computer, The Soft Bulletin, and Michigan). “Hush, Plain Girls” is perhaps my favorite song because of the intricate focus on the vocal melody (which continues to build until it reaches a giant climax) and guitar parts that ‘noodle’ behind it, until multiple guitar tracks become unleashed. “Every Sunday Sky” ties the influence of U2 to the songwriting of The Autumns, but the track is a worthy ode to such a band. “Slumberdoll” is the first single, and might be the most classic Autumns moment in the loud/soft sense, but compared to the other songs on the record, it’s more of a teaser than a single. The explosiveness of “Cattleya” is undeniable, with the vocals continuing to scale until the massive drumroll and wall-of-sound ending. And as beautiful as the album opened, “Heartsick on the Open Sea” dreamily swoons you adrift the end, with a very 60’s-esque croon to match reverb drenched, high school dance riffs. Kelly has taken his band to new heights. The vocals compete with anything Bono, Chris Martin or Jeff Buckley has ever done. The music is the most realized of any guitar band. Simply put – you can’t find a better record than The Autumns. And the album art is lovely. - gtj
the black and white blog
win some...lose some 9/26/2007 4:11:08 PM |
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john smith 9/26/2007 2:41:14 PM |
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acres of ocean 9/25/2007 3:56:16 PM |
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~ st. vincent ~ 9/24/2007 3:12:58 PM |
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:::Facts & Figures::: 9/21/2007 3:19:34 PM |
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the legends 9/19/2007 4:04:06 PM |
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tim arnold | another world 9/18/2007 4:07:28 PM |
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gareth s brown 9/17/2007 3:46:57 PM |
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of montreal... 9/14/2007 2:38:44 PM |
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holler, wild rose! 9/12/2007 3:54:48 PM |
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the walkmen 9/11/2007 1:45:18 PM |
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reeeee: views!!!! 9/10/2007 4:18:27 PM |
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records we're looking forward to... 9/8/2007 2:58:25 PM |
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carta, etc... 9/7/2007 2:34:37 PM |
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piano magic / textile ranch 9/5/2007 4:15:13 PM |
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labour day... 9/1/2007 6:50:31 PM |
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Thomas Torrey, ect 8/22/2007 3:20:42 PM |
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we're back!!!!!!!!!!!!! 8/20/2007 4:24:49 PM |
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the weekend 8/17/2007 3:34:26 PM |
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delays 8/10/2007 5:14:10 PM |
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back in business...almost 8/5/2007 11:30:19 AM |
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getting settled 8/1/2007 7:33:50 AM |
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2 week break 7/18/2007 9:17:45 AM |
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ga ga ga ga ga 7/16/2007 7:40:32 PM |
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The Argyle Pimps 7/13/2007 3:13:56 PM |
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The Clientele 7/10/2007 3:27:03 PM |
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The Rosebuds 7/9/2007 3:52:03 PM |
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Los Campesinos! 7/6/2007 3:29:18 PM |
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Stafraenn Hakon 7/4/2007 9:52:11 AM |
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port royal - afraid to dance 7/3/2007 3:11:01 PM |
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party rock 6/29/2007 3:06:52 PM |
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expanding the business...kinda! 6/27/2007 3:09:31 PM |
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the innocence mission, ect 6/19/2007 2:07:49 PM |
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...AMP... 6/18/2007 3:14:00 PM |
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maps - we can create 6/6/2007 3:28:05 PM |
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pigeon john 6/5/2007 4:33:38 PM |
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RF & Lili De La Mora 6/1/2007 3:20:56 PM |
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Gary Murray (LN) and Soul-Junk 5/11/2007 12:10:42 PM |
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indie-pop of the highest order 5/7/2007 8:47:02 PM |
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japanese gum 5/4/2007 8:43:33 AM |
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~ innerise ~ 5/1/2007 2:19:28 PM |
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early birds 4/30/2007 4:27:41 PM |
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Magic Bullets 4/27/2007 2:48:00 PM |
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OF MONTREAL 4/24/2007 2:55:43 PM |
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sentinel 4/18/2007 3:34:55 PM |
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LaMonte 4/13/2007 3:38:04 PM |
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!!! Everybody Else !!! 4/13/2007 9:57:27 AM |
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smashing pumpkins 4/11/2007 4:09:40 PM |
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Water / Fire 4/4/2007 3:34:18 PM |
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Au Revoir Simone 3/28/2007 10:23:02 AM |
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arcade fire ep 3/26/2007 7:27:29 PM |
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NEON BIBLE 3/23/2007 10:30:35 AM |
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holiday 3/20/2007 6:15:20 AM |
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gabriel miller-phillips 3/12/2007 4:16:32 PM |
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synth-pop 3/9/2007 3:43:18 PM |
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Yellow6 goes organic 3/2/2007 2:42:38 PM |
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Chaffinch Records 2/27/2007 3:24:20 PM |
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Jens Lekman 2/23/2007 12:11:37 PM |
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anthony / jack 2/21/2007 2:40:20 PM |
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young galaxy / david vandervelde 2/20/2007 2:07:19 PM |
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the valentine's review 2/14/2007 8:38:28 AM |
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Ideal Free Distribution 2/12/2007 3:43:49 PM |
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Sarandon = our favorite new band 2/6/2007 3:56:29 PM |
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Kissing Cousins 2/2/2007 3:22:46 PM |
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The Brothers Martin 1/31/2007 2:39:03 PM |
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the Pas/Cal trilogy 1/24/2007 3:23:35 PM |
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JACK - pioneer soundtracks (reduxe) 1/23/2007 3:41:13 PM |
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Lebenswelt 1/22/2007 3:42:48 PM |
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OLVIS is king! 1/19/2007 3:03:59 PM |
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Cold War Kids 1/17/2007 3:46:58 PM |
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almost back to normal 1/12/2007 12:40:36 PM |
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official TOP 10 EP's of 2006 12/29/2006 4:28:27 PM |
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official TOP 10 albums of 2006... 12/13/2006 4:20:39 PM |
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sooof...yaaan... 12/11/2006 3:35:24 PM |
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SARAH NIXEY (ex-Black Box Recorder) 12/4/2006 3:56:08 PM |
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when comps rock... 12/1/2006 3:37:36 PM |
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"C" is for Casper and the Cookies... 11/29/2006 3:29:54 PM |
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jacques 11/28/2006 2:24:34 PM |
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pop music 11/27/2006 3:09:47 PM |
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eat, sleep, repeat 11/24/2006 11:02:43 AM |
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It's a Sufjan Christmas 11/21/2006 3:36:32 PM |
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tyler james and a mini-masterpiece 11/19/2006 11:21:47 AM |
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quiet company 11/15/2006 3:59:50 PM |
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Jon Attwood of YELLOW6 gives us his TOP 10 ALBUMS of all time 11/12/2006 11:53:48 AM |
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The Divine Comedy 11/7/2006 4:00:00 PM |
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Junior Boys 10/31/2006 2:20:02 PM |
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do you like the new ALBUM LEAF record??? 10/30/2006 3:13:06 PM |
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album of the week: Anathallo - Floating World 10/25/2006 2:15:16 PM |
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Eric Campuzano's (Northern Records / The Lassie Foundation / Charity Empressa) Top 10 Albums 10/23/2006 8:59:57 PM |
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10 Albums J. Cloud (Velvet Blue Music / Pony Express) really loves... 10/18/2006 12:36:32 PM |
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Sara Rumar 10/6/2006 3:23:38 PM |
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Record Makers 9/26/2006 4:07:23 PM |
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diving with andy 9/25/2006 3:45:58 PM |
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i win 9/20/2006 4:06:02 PM |
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VANESSA scores 9.5! 9/18/2006 4:42:54 PM |
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rainy weekend spins 9/15/2006 3:23:35 PM |
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My Island 9/13/2006 1:56:11 PM |
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ANTHONY REYNOLDS (JACK) and his top 10 albums 9/12/2006 4:01:38 PM |
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Expect Delays 9/11/2006 3:30:02 PM |
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SUFJAN CHRISTMAS 9/8/2006 8:24:18 AM |
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The Croc Hunter is dead 9/5/2006 1:34:37 PM |
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I'M FROM BARCELONA 8/25/2006 1:07:54 PM |
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Scott 4 8/23/2006 12:14:54 PM |
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Goldfrapp gets REMIXed!!! 8/22/2006 3:34:19 PM |
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White Whale = prog rock kings? 8/21/2006 10:51:04 AM |
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LAMBCHOP 8/18/2006 10:27:58 AM |
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JULY SKIES!!! 8/16/2006 10:45:17 AM |
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albums to gush over 8/11/2006 3:18:50 PM |
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gone one last time 7/14/2006 1:54:07 PM |
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electro-lite, ect 7/12/2006 11:14:50 AM |
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the eracer 7/11/2006 4:13:58 PM |
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we're back!!! 7/10/2006 9:59:42 AM |
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the black & white summer break 6/22/2006 7:23:34 AM |
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sufjan 6/20/2006 4:04:14 PM |
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thank you MERGE RECORDS 6/14/2006 3:07:51 PM |
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b e s t o f 2 0 0 6 ...halfway through the year. 6/13/2006 10:55:51 AM |
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headlights 6/9/2006 12:52:40 PM |
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the beautiful season has past 6/7/2006 2:57:17 PM |
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slow train comin' 6/6/2006 3:41:13 PM |
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it's a sleepy monday 5/29/2006 3:40:38 PM |
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readymade 5/23/2006 2:42:00 PM |
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AU4 5/17/2006 3:27:28 PM |
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Thom Yorke... 5/16/2006 4:00:34 PM |
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EP's can be great... 5/15/2006 3:57:10 PM |
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midweek crisis??? 5/10/2006 3:25:27 PM |
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Elkland is dead...Goat Explosion lives!!! 5/9/2006 3:37:57 PM |
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brandtson's defining moment 5/8/2006 4:38:55 PM |
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I'm busy like you 5/3/2006 3:35:37 PM |
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more functional 4/28/2006 3:32:01 PM |
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why aren't they signed??? 4/26/2006 3:57:23 PM |
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5 new reviews...a quick and lazy blog 4/24/2006 7:05:57 PM |
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all this fuss about sufjan 4/21/2006 3:28:09 PM |
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The Innocence Mission 4/12/2006 12:28:03 PM |
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www.rightplace.tv 4/11/2006 4:18:54 PM |
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thanks for always reading... 4/10/2006 1:20:11 PM |
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electronic shoegaze vs alt-country 4/5/2006 2:26:27 PM |
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playlist 4/4/2006 1:36:04 PM |
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lessons in ambience 3/29/2006 3:51:15 PM |
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guy diva - Brennan Strawn 3/17/2006 1:07:44 PM |
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Piano Magic 3/15/2006 4:13:45 PM |
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classic Tooth & Nail 3/9/2006 8:44:02 AM |
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i can hear the heart beating as one 3/7/2006 1:43:47 PM |
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March...band of the month - MUTEMATH 3/1/2006 3:24:52 PM |
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HOOD 2/22/2006 3:34:25 PM |
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feelin' funky 2/21/2006 1:29:37 PM |
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The Lassie Foundation...R.I.P. 2/18/2006 6:10:04 AM |
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February band of the month...LN 2/13/2006 12:01:56 PM |
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the hip hipster and his bands 2/6/2006 1:36:56 PM |
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january...artist of the month - STARFLYER 59 1/18/2006 3:31:32 PM |
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sorry I'm late...but better late than never 1/16/2006 3:21:26 PM |
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have yourself a merry little christmas 12/14/2005 3:06:47 PM |
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rating system / album choices 12/6/2005 5:48:10 AM |
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songs for a blue guitar 12/2/2005 2:43:10 PM |
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new old friends 11/29/2005 12:49:20 PM |
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that new Menomena album 11/28/2005 2:26:51 PM |
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new web site 11/25/2005 11:05:51 AM |
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- Barber, Miranda
- Bayta Darell
- Bell Orchestre
- Bella
- Below The Sea
- Berry
- Bleach
- Blonde Redhead
- Brandtson
- Broken Social Scene
- Brothers Martin, The
- Broughton, David Thomas
- Brown, Gareth S.
- Brown, George Washington
- Buckner, Richard
- Bugs Eat Books
- Calico Sunset
- Camera Obscura
- Canary
- Capitol K
- Caribou
- Carlberg, Pelle
- Carta
- Cartel
- Casper & the Cookies
- Castanets
- Cave, Nick The The Bad Seeds
- Cellardoor
- Challenger
- Cheyenne
- Chubby
- Class Of 98, The
- Clientele, The
- Clogs
- Coastal
- Coco B’s / Eskimohunter
- Cocoon
- Cold War Kids
- Colinger, Jared
- Controlling The Famous
- Cooper, Amy
- Copeland
- Cougars
- Cunniff, Jill
- Cut The Red Wire
- Daily, Peter
- Damien
- Dark Little Rooms
- Dead Leaf Echo
- Decahedron
- Denison Marrs
- Deportees
- Destroy Nate Allen
- Destroyer
- Dilla, J
- dis.playce
- Divine Comedy, The
- Diving With Andy
- Dkdent
- Dolour
- Dreams By Degrees
- Duby, Heather
- Eames Era, The
- Early Day Miners
- Ecstatic Sunshine
- El Ten Eleven
- Eleven Eleven
- Engstrom, Caleb
- Envy Corps, The
- Everybody Else
- Evoka
- EXITMUSIC
- Expect Delays
- Eyes To Space
- Fair
- familiar trees
- Faunts
- Fiel Garvie
- fielding
- Fighting Jacks
- Fireworks Go Up!
- For Against
- Forever Changed
- FR Luzzi
- Francis, David
- Frankenixon
- Fraser, Lily
- Further Seems Forever
- Future Of Forestry
- Genika
- Get Set, The
- Gift Of Gab, The
- GLISS
- GoGoGo Airheart
- Goldfrapp
- Goraieb, Rob
- Gravy
- Grizzly Owls, The
- Gyroscope
- Half-Handed Cloud
- Hamilton, Danny
- Hammock
- Hanson, Jeff
- Hawk Nelson
- Headlights
- Heligoland
- High Dials, The
- High Water Marks
- Hold Steady, The
- Holler, Wild Rose!
- Holy Fire, The
- Hood
- Hubbard, Neilson
- Human Television
- Hundred Year Storm
- husband&wife
- Hypnolove
- I Love UFO
- I'm From Barcelona
- Ideal Free Distribution
- Ill Harmonics
- Imperial Teen
- In Civilian Clothing
- Innerise
- Innocence Mission, The
- Insomniac Folklore
- Insyderz, The
- iPolicia!
- Izu
- Jack
- Jacques
- James Figurine
- James, Tyler
- Janes, Liz
- Japanese Gum
- Jones, Kat
- Joy Electirc
- Joy Electric
- Juliana Theory, The
- July Skies
- Junetile
- Junior Boys
- Ka, Jen H.
- Kaada
- Karnats, Philip E
- Kissing Cousins
- KJ-52
- La Monte
- Lackthereof
- Ladybug Transistor, The
- Lakes
- Lali Puna
- Lambchop
- Lamonica
- Landes, Dawn
- Lassie Foundation, The
- Lebenswelt
- Legends, The
- Lekman, Jens
- Lenz, Frank
- Leonard, Stephane
- Let Go
- Leviton, Michael
- Lewis, Sylvie
- Libelula
- Library Tapes
- Like A Stuntman
- Lil' Hospital, The
- Living With Hermits
- LN
- Lockgroove
- Lord God
- Lorna
- Los Campesinos!
- Lost Ocean
- Lovebirds, The
- Lovedrug
- Lucy Show, The
- Luxury
- Macrosick
- Magic Bullets
- Magnetic Fields, The
- Malboro Chorus, The
- Man Alive
- Mandelbrot Set
- Map
- Maps
- Mars Ill
- Marti
- Max, Kevin
- McGlynn, Ian
- Meeting Places, The
- Meganoidi
- Men In Fur
- Menomena
- mewithoutYou
- Midlake
- Millan, Amy
- Miller-Phillips, Gabriel
- Million Time Winner
- Milosh
- Minders, The
- Mobile
- Monarch
- Monolith, The
- Motor
- Munck // Johnson
- Murray, Gary
- Mute Math
- MxPx
- nara
- Nelson, Holly
- Neverending White Lights
- Nixey, Sarah
- Numero6
- Of Montreal
- Old Haunts, The
- Oliver Future
- Olvis
- orangeyellowred
- Ortega, Chris
- Otasco
- Other Desert Cities
- Pagan, Chase
- Palomar
- Panic Division, The
- Paper Chase, The
- Pas De Printemps Pour Marnie
- Pas/Cal
- Pedro The Lion
- Peel
- People
- Peris, Don
- Petracovich
- Phelan Sheppard / Niandra Ladies
- Phoenix
- Phonograph, The
- Piano Magic
- Pieces, The
- Pilate
- Pilgrims
- Pollard, Robert
- Pony Express
- Port-Royal
- Portastatic
- Portugal. The MAN
- Prayer Chain, The
- Prayers & Tears of Arthur Digby Sellers, The
- Prince Valium
- Project 86
- Pushstart Wagon
- Q-Theory
- Quiet Company
- Radio Dept., The
- Ral Partha Vogelbacher
- Readymade
- Red Pony Clock
- Reeve Oliver
- Reynolds, Anthony
- RF
- RF & Lili De La Mora
- Rodeo Ruby Love
- Roommate
- Rosebuds, The
- Rumar, Sara
- Sad Lives Of The Hollywood Lovers, The
- Santen, Bill
- Sarandon
- Sebadoh
- Sentinel
- Shadow Parade
- Shepherd
- Shining Time, The
- Shout Out Louds
- Shukla, Sameer
- Sildd
- Silver Cities
- Singles, The
- SingleSignOn
- Sixpence None The Richer
- Sleep Station
- Smith, John
- Snooze
- Sojourn
- Songs: Ohia
- Sonic Kitchen
- Soul-Junk
- Sound Gallery, The
- Sound Transmission
- Spoon
- Sprinkle, Jesse
- St. Vincent
- Stafraenn Hakon
- Starflyer 59
- Statistics
- Steer, Serafina
- Stereotrap
- Stevens, Sufjan
- Stevenson Ranch Davidians, The
- Styrofoam
- Summer Blanket
- Super Love Attack
- Swift, Richard
- Tahiti 80
- Tarabud
- Temple, Luke
- Textile Ranch / Charles Atlas
- They Sang As They Slew
- This Is Your Captain Speaking
- Thousand Foot Krutch
- Time Toy
- tKatKa
- Todd, Mai Doi
- Todd, Mia Doi
- Tomihira
- Torrey, Thomas
- Travelogue
- TV On The Radio
- Two Girls
- Umbrellas
- Unwed Sailor
- Vandervelde, David
- Vanessa and the O's
- Various Artists
- Varoius Artists
- Vashti
- Velcro Stars
- Vibration, The
- Vinaya
- Viva Voce
- Volcano, I’m Still Excited!
- Walker, Scott
- Walkmen, The
- Ward, M.
- White Whale
- Wilderness Of Tekoa
- Williamson, Tamara
- Winston Jazz Routine, The
- Witmer, Denison
- Witmer, Denison (and The River Bends)
- Wooden Wand & The Sky High Band
- Woods, Donovan
- Woven Hand
- Yellow Second
- Yellow6
- Yellow6 / Lope / Absent Without Leave / Kimonophonic
- Young Galaxy
- Your Team Ring
- Zofka
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