the OC is just another thing. it's far more interesting to other 2. What are you biggest influences in music? What made you pick up a my biggest influence was always the beatles. and the kinks. they ruled 3. Are you happy as a musician alot of the time, or is it an endless
INTERVIEW WITH MATT POND OF MATT POND PA
1. What's going on with the band these days? I heard you had a tune on
the O.C.?? what was that like??
we just finished our newest record - several arrows later - i think it
comes out in early october. i've run and hid from this record - hated
it, loved it - and now i'm ready to go back home.. one would think
that a person gets more and more comfortable with putting out records
- but that is not the case for me.
people than to ourselves. honestly, i stopped watching the show when
we became involved..and now i have no idea what's going on with summer
or ryan or anyone. i feel totally lost.
guitar? (Please tell me it was the boredom of growing up in NH like me)
i actually didn't start playing guitar until late. i don't even really
think of myself as a guitar player. i have permanent damage to my
tendons on my right hand. so...my NH boredom motivated a lot of stupid
shit that i tend to allude to in our songs - sadly not guitars.
for me as a kid. and still. they still seem like hit the highest
points of words and music all-in-one.
struggle of being broke all the time?
whether i'm broke or not does not affect my happiness. most of my
happiness is based on how my life is going. like what's going on with
me and friends. and i just won't equate success with money... although
money can be nice. or fun. to spend.
4. Name 5 records you think that are amazing right now.
joanna newsom - milk eyed mender. spoon - gimme fiction. m.i.a. -
arular. the new american analog set record that hasn't come out..
there's this band the acorn from Ottawa that are mind blowing.
5. Do you have any advice for young players who want to be successful?
i don't think people like to listen to advice. i think people want to
prove themselves right...the best music come from people that love
music. and expectations will kill you. and most of all - don't listen
to what other people say. ever.
Antony & The Johnstons "I am a Bird Now"
Wow. I had no idea what to expect from this record. Especially as I unwrapped it from the shrink wrap and looked at the inside of the packing. I expected Boy George incarnate, but instead what blessed my ears was a beautiful, moody and piano driven album of unbelievable gorgeousness. While this may be a different record for Secretly Canadian to release, it is right up there in beauty and elegance, just like of all of their releases, Antony's voice touches your soul in a playful and emotive way. Maybe not not for everyone, but definitely worth a listen to see if it's for you.
Crooked Fingers "Dignity and Shame"
Well this record couldn't have suprised me more. Josh Dopamine mentioned in a car ride that this was one of his new favorite records. Mind you, he likes nothing new except for death metal and grindcore, so I thought it would be good based on Crooked Fingers prior efforts. However I was mistaken, this record is not good, it is fucking amazing. All the sass and indie singer/songwriter you might want, with a rock sensibility that most of the aforementioned never seem to grasp. RThis may be due to his days spent in Archers of Loaf. Regardless, the duets on this gem are simply mindblowing in their beauty. Might be our favorite record here collectively for the year.
The Cure "Reissues"
Well to be a biased reviewer, The Cure is one of my favorite bands ever. These reissues are a perfect example of why. Not to mention the Join The Dots b-sides boxset that came prior, but The Cure has assembled these reissues with a 2nd disc that captures rarities and live performances from the period of each album. The live material is a bit raw yet they capture the band ine the era. The albums themselves are remastered and sound better than ever. So, you see, this is less of a review, but more of a plug to tell you to go buy some records that mindblowing. I can't wait for the next batch with head On The Door and Disintegration.
Isis "Panopticon"
Many will tell you this is the best Isis record yet. And to be honest they are right. They have broken every mold that Isis kept true to. Aaron Turner belts out some melodicism on this effort. The drum sounds and guitar sounds are finally where they need to be. Overall this is the best sounding Isis record I have heard yet. The melody that this band has developed through the heaviness is what is truly awe inspiring. They seem to have choruses now, which is unlinke many doomy/sludgy bands. The songs are as memorable as any new Cave In record. Although this record blows away any record they've done yet on paper, this reviewers favorite is still Oceanic. But Panopticon is a very goddamn close second.
Damien Jurado "On My Way To Absence"
Damien Jurado is prolific, and I am a fan wholeheartedly. This record only furthers it. Wonderfully sad songs mixed in with some odd sort of sense of optimism resound here. I really hoped he could out do the sentiment i feel for the last record but doesn't grab me that way. It doesn't mean it is bad, but perhaps it was the time in my life when "where Shall Your Take me" appeared. Those songs rip through my heart like nothing else. This record is just probably not there yet for me. I really will always hope Damien slays me with his words and songs like he does.
Magnolia Electric Company "What Comes After The Blues"
Well Mr Molina has delivered his newest batch of ultra depressing alt-country songs. And though the live versions of these on "Trials & Errors" might be better to my ears in energy, this record is truly great. I think he has doneme wrong from Songs:Ohia to Pyramid Electric Company. I want more. I want to feel it in my soul, and what is better to have from a musical experience.
Mogwai "Government Issues"
Mogwai might be one of my favorite bands. You might know that based on The Burning Paris and On Fire, however they are just simply unreal. This record might seem like you don't need to own it because you have all the songs already, but i beg to differ. Mogwai has always reinvented their songs in a live setting and these recordings are no different. Some are more lo-fi than others and I will admit, but overall it is a new and wonderful take on songs that you know you already love.
Denali "The Instinct"
This new record by Denali creeps into your pores. The debut album sort of flew by me, nothing wrong with it, but nothing stood out to amaze me. On The Instinct, Maura Davis and co. have created soemthing special. Chorus' abound and intricate guitar work go right along side her gorgeous voice. This record is stunning and wonderfully more revealing on each listen. If you pick this record up, it will be wel worth your money and time. They even got to open for the Deftones........ (nds)
Bardo Pond "On The Ellipse" (ATP)
Bardo Pond has blown me away since I was lucky enough to share the same bill as them at the Magnet Magazine 5 year anniversary party in Philadelphia. Their sound sometimes reminds me of a hippie shoegazer fixated on classic rock. Their last few releases on Matador proved ambient and strange enough to keep me intrigued, even if they are somewhat hard to retain mentally. On The Ellipse moves it all further. The sounds are huge and the songs feel like movements and take on life much more reminscent of Mogwai or Godspeed You Black Emperor! than any of their previous efforts. The melodies of guitar, bass, vocals and flute are fluid and lavish. The heaviness makes you almost feel at times you're listening to Swans or Neurosis, but take the influences back to 1975. Seeing Bardo live is much more of an experience, but this record is worth every red cent. Plus, Isobel Sollenberger might just be the hottest thing in rock music now. (nds)
The Elected "Me First" (Sub Pop)
So, I picked this record up on a whim after hearing a song on the Insound radio. Now, having no clue that this was the other half of Rilo Kiley, I thought wow, home run Sub Pop for finding this obscure band to release. (-100 scene points for me). The first noticable thing is the startling vocal similarity to Elliott Smith (RIP). However, upon further listens, the country twang of Saddle Creek artists emerges, and the record takes on more of Bright Eyes feel. Some might find that a bad thing. However, being the sucker I am for pedal steel and the production of Mike Mogis (Gloria Record, Bright Eyes, Cursive), this record just beams with colors and sounds and truly heartfelt emotion. Quirky in the instrumentation, sentimental in the craftmanship. Perfect for late night conversations or reflections. (nds)
Cat Power "You Are Free" (matador)
The first full length of all original material from Ms. Chan Marshall in almost four years. And from being a fan of her previous work, I am fairly certain she can do no wrong. You Are Free enlists the help of Dave Grohl on every drum track and even a few guest vocals from Mr. Pearl Jam. I wouldn't ordinarily find the latter to be a positive, however here the performances are completely understated and complimentary. The songs on this record go back and forth between soft and lulling ballads and a tad more upbeat rocking numbers. This could be a negative to some album purveyors, but Cat Power delivers one of the most honest and beautiful records this set of ears has heard in a great while. (nds)
Damien Jurado "Where Shall Your Take Me?" (secretly canadian)
Can Damien Jurado make a bad record? With the exception of his odd "Letters & Audio Postcards" CD, I would venture to say that he has not made a bad one. Last year's more "rock" release "I Break Chairs" only furthered Jurado's brand of simple but cathartic songwriting. "Where Shall You Take Me?" brings Jurado back to his more alt. Country roots that we saw on "Rehearsals For Departure" and "Ghost of David." Jurado's Will Oldhamesque expressive country ballads are enough to bring most to tears, and guest vocals by longtime collaborator Rosie Thomas weave together brilliantly with Damien's dense southern Springsteen's Nebraska era drawl. This record will consume you. (nds)
Panthers "Lets Get Serious" (dim mak)
No matter where you look in this band there seems to some modern punk rock players. hehe Justin Chearno played in Turing Machine,Jayson Green, Geoff Garlock, and Jeff Salene are all ex-members of Orchid and Kip Uhlhorn was a member of The Red Scare. Together they take their influences and by all means do not let their past dictate who they are, they let it be a part of what's to come.2002's release "Are You Down?" on Troubleman brought a tense angry side of the Panthers out for introduction, Lets Get Serious brings the quirky/sassy side of a great rock record out ...with a new introduction of a great/solid rock band. The lyrics have a political solitude but refrain from being overbearing like most of todays hardcore/post hardcore bands. This record has elements of the Stooges, The Jesus Lizard and can throw a party like MC5. So Cliche to say, i know... But I have heard this record and you have not. So buy it. (alex)
Idlewild "The Remote Part" (capitol)
Following up their 2001 release "100 Broken Windows" Idlewild are back at it again.
The album has been available in England on Parlophone U.K since last summer, but yet American's
like me and some other Dopamine counterparts have shed out the geek bucks for the import.Worth it? every penny. On "The Remote Part" Idlewild's sound is more mature than theirearlier stuff on "Hope is Important" and yes..even taking 100 Broken Windows a step further. The hooks are there and after a few listens I have already included some of these tracks for the next mixtape/emo bro-down. hahaha. That is why I love Idlewild, a simple band that does simple perfectly. Roddy Woomble's lyrics are becoming more interesting and the songs have more depth. Overall critics have nitpicked this album from lack of "catchiness" but upon an honest listenThe Remote Part is a deeper piece of work witha first impression that may be too delicate for most die-hard Idlewild fans. Sit back and relax, listen to this album, then play air guitar. Steps in that order.
Don't f this up.
(alex)
Richard Buckner "Impasse" (overcoat)
Mr. Buckner is quite the enigma. His twanged out records have always been an inspiration to this reviewer. He had some dumb luck making country records for MCA records. Although they were genius records, they weren't exactly the Nashville idea of what was a hit. And while personally, I think this is a good thing -- anyone who has John McEntire (Tortoise, Sea and Cake) play drums on their record isn't gonna score points in the heartland. Impasse is Buckner's first proper release for indie Overcoat Recordings (with the companian e.p. Impasette also available). The record brings together everything I have been a fan about in Richard's music. Lo-fi, interesting sounding records, brilliant songwriting and a passion behind the music that most artists can only wish they had. i couldn't recommend a particular place to start with Buckner's music, I would just say buy everything you can. (nds)
The Kills "Black Rooster" e.p. (dim mak)
Some might argue that the entire male/female/guitar/drums/duo thing is a bit overplayed. While this is definitely true, The Kills are not guilty of anything other than creating a balls out bluesy rock and roll e.p. At first listen, I would contend this is perfect Friday night 'drinking Budweiser from cans' music. However the damned thing just is not long enough. Perhaps their forthcoming full-length on Domino will provide more longevity for said evening. Nonetheless, The Kills deliver a great dirty lo-fi rock e.p. that is definitely worth the cash. (nds)
The Postal Service "Give Up" (sub pop)
This record is pure pop bliss. Unlike Ben Gibbard's work in Death Cab For Cutie, there are no attempts (however shamefully) to make this a rock record. Sugar coated pop sensibility is abound here, and oddly enough it actually stuns me with it's sweeping melodies and small references to electro-pop. Overall, I stand by the claim that this is one genius pop movement. Fans of Death Cab will definitely eat this one up. (nds)
Aereogramme "Sleep and Release" (matador)
Aereogramme follows up what was one of the most wonderful debut albums I have heard ever, with a very confident second release. The duality of this band to both be able to scream and to deliver the most depressing melodies is quite a paradigm. However, they do it flawlessly. This record was obviously recorded in a much more careful way, paying much more tribute to layers and sounds -- however I am hard pressed to say this is better than it's predecessor. After many, many listens, I fond it to be just as strong as the Aereogramme debut, but have also decided that this one didn't hit me in as emotional a period. That said, this record is worth it. And anyone remotely curious about this band should purchase either record and go home happy to own it. (nds)
Arab Strap "Monday At The Hug And Pint"(matador)
OK. Another Glasgow band. Yet I have been a fan of Arab Strap since I first heard their Matador debut. Although a stretch to cmpare them to such other Glasgow luminaries as Mogwai and Aereogramme, it is not totally off bass. Arab Strap records sound sinister and a bit creepy to most ears, including my own. However, there is always a sense of beauty intertwined in with this. This new record (their 4th for Matador), further tantilizes their ability to bring simple song structures, melancholy melodies, and creepy yet soothing vocals to the table. This record might be their strongest yet. And whoever gets to see them open for Bright Eyes this spring is quite the lucky soul. Though I'd imagine their cover of "You Shook Me All Night Long" with a violin will piss quite a few off. But that is something Arab Strap does well. Pissing people off with beauty never sounded so good. (nds)
Joan Of Arc "So Much Staying Alive And Lovelessness" (jade tree)
So, maybe some were skeptical of a "new" Joan Of Arc record after Owls and their last (I admit "bizarre" e.p.), but Mr. Kinsella has made one hell of a comeback record. On "So Much.." Kinsella enlists the help of lots of Chicago rock folk, while still staying true to the nature of Joan Of Arc has always been like. Upon hearing this record more and more, I have realized the similarities to the older Joan material, yet a push to also try something a bit different. There are more references to Will Oldham's Palace and to lo-fi country rock, while still maintaining the art rock beauty of Joan Of Arc's earlier recordings. And of course his lyrics move me in the oddest way they always have. My message to Tim (as if he were to ever see this) would be -- "keep making Joan Of Arc records man, they always inrtigue me and inspire me. Thanks for another gem." (nds)