All posts by chris maroulakos

Boy Without God Never Sleeps

Boy Without God‘s Gabriel Birnbaum isn’t just godless; he’s also restless. The overachieving singer-songwriter released Your Body Is Your Soul earlier this year, a captivating album propelled by Birnbaum’s insightful lyrics and creaking baritone. But while other musicians might be content to rest on their laurels, Birnbaum is already at work recording his follow-up to Soul, entitled God Bless the Hunger.

As if putting out back to back full-lengths weren’t enough, Birnbaum is also releasing two free EPs of material recorded in between those albums. The first EP, Eight Delicate Olives Slowly Chewed at Midnight, is already available as a free download from the Boy Without God blog. The second EP is due for release in a couple of months. Here’s what Birnbaum has to say about Olives: Continue reading

Shout Out Louds Get To ‘Work’ (Video)

Shout Out Louds came storming out of the gate with their 2003 debut, Howl Howl Gaff Gaff, one of the finest records in a year rife with great music. Unfortunately, the Swedish band stumbled a bit with their follow-up, 2007’s overly-polished Our Ill Wills. With its high-production sheen and Cure-esque posturing, the sophomore effort was listenable but frustratingly sterile and derivative. Thankfully, the band seems poised to return to their former glory with the upcoming album Work.

Set for release February 23 on Merge Records, the album forgoes ornate strings and percussion in favor of a more stripped down sound. Work is produced by Phil Ek, who has done right by bands like The Shins, Fleet Foxes, and Band of Horses in the past. The first video from the album, entitled “Walls”, gives further cause to be excited; its driving guitar, inviting vocals, and perfectly placed piano leave no doubt that the band is in fighting form. If you like the song, you can download an MP3 of it here.

The band will be playing a special album-release show on March 1st at the Music Hall of Wlliamsburg in Brooklyn before embarking on a tour for most of 2010.

Theresa Andersson – ‘Birds Fly Away’ (Video)

If you’ve ever seen Theresa Andersson live, chances are you’ve fallen in love with her. The one-woman band brings so much intoxicating energy to her performances that it’s impossible to not be taken in by her talent and charm. For those of you who haven’t had the pleasure of seeing her in concert, some live clips can be found in the new video for “Birds Fly Away”, the latest single off her Hummingbird, Go! album.

Directed by Miranda Penn Turin, the clip sets Andersson against the backdrop of her New Orleans hometown, and the still-ravaged-looking locale adds a layer of bittersweetness to the proceedings.

Andersson will be performing at a benefit concert at the New Orleans Contemporary Arts Center on December 9th, after which she’ll head back into the studio to begin work on her as-yet-untitled new album. We’ve got the video for you above.

‘Whoever Said That Three’s a Crowd Can Go to Hell’ (Video)

In an unexpected crossover, Jason Segel, the charming star of Forgetting Sarah Marshall, I Love You, Man, and TV’s sorely missed Freaks and Geeks, joined The Swell Season on stage in Los Angeles last night to tickle the ivories and some funny bones. Performing a song expressly designed to make Swell Season groupies have sex with him, Segel took Marketa Irglova’s advice and included as much personal information in the song as possible. Segel’s Hail Mary pass included, among other things, giving out his home phone number to the crowd, bragging about his celebrity status, and insisting that no special effects were used in his full-frontal scene from Sarah Marshall. Check out the hilarious clip above.

The Magnetic Fields Get ‘Real’

The Magnetic Fields - RealismThe Magnetic Fields are their own worst enemy. Beginning with 1991’s Distant Plastic Trees and ascending through classic albums Holiday and The Charm of the Highway Strip, the quality of the band’s output finally crescendoed to dizzying heights with 1999’s ambitious, unparalleled opus 69 Love Songs.

The monstrous album was so brilliantly exhaustive, and set the bar so impossibly high, that any followup from the band was destined to feel inconsequential by comparison. Songwriter Stephin Merrit sidestepped that problem by making his post-69 works, 2004’s I and 2008’s Distortion, intentionally microscopic. Whether starting all of his song titles with the same letter or dousing his compositions in uncharacteristic amounts of fuzz, Merrit has relied on thematic gimmicks to help neutralize high expectations. Continue reading