52 posts tagged “lara”

J. Tillman @ The Music Box Theatre, Minneapolis, MN 11.6.09
+ abridged album review

J Tillman ♥ Music Box

Despite his minor fame with unpopular, critically-ignored Fleet Foxes, Josh Tillman has been active in the music scene since 2004.  This past September he released Year in the Kingdom, a 9-track odyssey through stoic mountain towns by way of moderate folk sensitivity.  Merely 28, Tillman evokes an image of timeless worldly servitude that befits his preferred musical genre but also confuses.  He acts the part in person—bearded, casually nondescript, a man of few words; yet once he hits that first note, it’s obvious there’s something judicious beneath the weathered layers.  For one, the quality of his voice is beautiful.  There is simply no masculine way to describe it.  The probability that Tillman drinks and indulges like a big boy is high, but you wouldn’t know by listening to him sing.  Perhaps the impressive facial shrub is actually a clever disguise, masking a sweet, even-tempered fellow who rescues kitties and bakes things for charity.  Doubtful, but my point being Tillman’s ambiguity—it’s equally believable that he wandered into town from the wide blue yonder as it is that he stumbled on stage from the local, artist-packed watering hole.

Year in the Kingdom remembers a simpler era that Tillman was not alive to experience.  Softer tracks cite 60s folk influences like Joni Mitchell, had Mitchell penned her songs in a humble log cabin, without basic comforts save for canned beans and a faithful canine companion.  The sparse “Age of Man” is a few twangs/few stringed instruments short of Americana territory, while “Though I Have Wronged You” reminds us that Tillman isn’t seriously concerned by FF comparisons.  At times matter-of-factly somber (“There is No Good in Me”), the album lulls its listeners into a false feeling of peace (albeit reflective, disquieting peace) that does not prepare the ears for the sheer force of Tillman’s live rocking.

Kingdom-the-album clashed awesomely with Friday night’s show at the Music Box Theatre in Minneapolis.  I now have a physical point of reference for the expression “it blew my mind,” as I’m pretty sure I lost a piece of my skull when Tillman blew my mind.  Similar to the structure of the studio tracks—gentle start, build-up, full instrumental progression—the show began as one would expect had they listened to Kingdom:  Tillman + band = traditional 3-dimensional engagement.  Then, maybe a third of the way into the set, all hell broke loose.  Cue roar of full instrumental capacity, skin-tingling whine of amped slide guitar, psychedelic transformation, and crazy apeshit thrashing.  On top of everything unholy, we, the audience, bore witness to grown men playing plastic recorders and finger cymbals. Surely I wasn’t the only one to lose some head mass by the end of the night.

Cerebral hemorrhage notwithstanding, strong tracks like “Though I Have Wronged You” sounded ridiculously swollen with intensity and deliberate flair.  Not showy, per se; rather, phrenic but perverted by foggy invention.  It was like walking into the Louvre for the first time—extraordinary but strangely unfocused, as if the senses were forced into overdrive.  Had I lapped a taste of Tillman’s sweat*, the experience would’ve been complete.  Unfortunately, there was no exchange of bodily fluids; there wasn’t even an encore (a mumbled “thanks” and the musicians made their hasty exit).  It didn’t matter.  How do you follow an act like yourself?

J Tillman ♥ Music Box, Minneapolis (11/06/09)

A few random thoughts without homes:  in high school, Tillman visited Crown, a conservative Christian college in St. Bonifacius, MN; Miracle Whip is the default condiment of Fargo, ND, this according to the band; Josh’s younger brother, Zach, opened the show and also played bass for the elder Tillman’s set.

J. Tillman is currently on tour in support of Year in the Kingdom.  Upcoming shows include stops in Chicago and New York.  For more information or to listen to select tracks, visit his Myspace at http://www.myspace.com/jtillman. 

* I’m not a creeper, promise.

I’m not going to blame my lack of updates on the swine flu.  That would be wrong, sleazy, and downright unconstitutional.

Now that I got that off my chest, I’m happy to report that my cleaning ventures have been particularly fruitful.  No, I didn’t find that copy of Tremors II: Aftershocks that you claim I never returned (let it go, bro).  I did, however, dig up the following dusty gems:

Wheat – White Ink Black Ink

Americans like short things:  lines, books, hair, conversations, etc.  Sometimes even using full sentences takes too long; it’s why we invented Twitter.  Thankfully, there is a band called Wheat.  Not only is their name economical, but more than half of White Ink Black Ink is under the four minute mark.  You just can’t argue with odds like those.  Each track loyally embraces the simplicities of song craft and the complexities of song experience; meaning, the album will probably appeal to those of us that appreciate music straight up, minus additives like weird stupid metaphors and lengthy experimental escapades.  Of course there are flaws to this logic, the most obvious being 2009’s love affair with electro beats and dance-driven, overproduced indiepop.  The kids want to move and while White Ink has no shortage of catchy hooks and gung ho knocks, the resulting mood does not exactly inspire bods to hula, which is basically a compliment but commercially a loss.  At its best, the album sounds vaguely like the byproduct of a musical three-way:  the cool nonchalance of slacker rock + timeless anthemic sway + a dash of requisite “indie” flair (the indefinable “all spice”).  Suggested tracks:  the first half of the album.
Website / Myspace

UltraChorus – Ultra-Def

Speaking of electro beats:  Minneapolis electronica duo UltraChorus recently released Ultra-Def, a brain cell-shattering smattering of slick robot grooves.  This ain’t music for your grandma (unless grandma gets her freak on).  As I mentioned in my review of Words Kept Talking (7” single), being an electro-lovin’ musician in Minnesota is akin to being a minority in Minnesota:  you’re in the minority.  UltraChorus may very well be a shining fiber optic star in a universe of bland, denim-encased chunks of coal, and the world…of Minnesotans might never know.  Such a shame because Ultra-Def is solid material.  It pumps you up, but not in a Jock Jams sort of way, and warms the innards without leaving a metallic aftertaste.  A distinct rhythmic base connects each track without distorting identity; this attention to continuity gives us simpletons something to hold on to, a sort of symbolic Roller Coaster lap bar.  Suggested tracks:  “Words Kept Talking,” “Houseparty 5” and the super-mixed-everything-but-the-kitchen-sink “Yucatan Peninsula.”
Website / Myspace

Kordan – Fantasy Nation

Wow, Arthur Eisele (Kordan) sure knows how to befuddle a critic.  Is Fantasy Nation a concept album?  Or is it dreamy electro-pop disguised as a concept album?  Maybe it’s a soundtrack to a film not yet written:  something Japanese but inspired by French New Wave—a love story, perhaps, set in the stylish future, where the girls look like Francoise Hardy and the boys busy their arms with battered anthologies of 19^th century existentialism.  Something like that.  Honestly, the effort required to simplify Fantasy Nation­—to break it down, if you will—seems pointless, irreverent even.  The album succeeds as a fluid movement, a continuous aural flow.  What it isn’t (and, incidentally, what may hinder mainstream marketing) is track-driven.  Sure, I’ve picked a favorite (the wispy, Gainsbourg/Birkin-esque “Slouchy Girl”) but that’s just personal preference and an ear for melancholy vocals.  As an objective writer, I’d advise readers to avoid listening to Fantasy on shuffle mode; fight the urge to single-song download, readers (you wouldn’t treat In the Aeroplane over the Sea in such a defiling manner, would you?).  Suggested tracks:  listen to the whole damn EP (EP = short and sweet).
Website / Myspace

The Brunettes @ the 7^th St. Entry, Minneapolis 8.26.09

 

OR

 

R.I.P. Twee

 

Wednesday night the Brunettes played to a fairly underage crowd, which is usually the outcome when you mix indie pop with summer break.  Because I am old and cranky, I resented the children and their positive attitudes.  So I drank more to counteract the offenders.  Interestingly, two beers in I discovered a few things worthy of note:  1). It’s possible that one of my legs is longer than the other, or that one of my shoes is more worn down than the other!  2). the “dress over jeans” style of the early 90s is back and popular amongst teenagers born in the early 90s!  3). the Brunettes have so many percussion instruments!

 

It’s true.  Number three is true.  Besides the obvious and boring drums, select members of the band also played the triangle, castanets, wood blocks, glock, and the human hands.  There was a lot of clapping in sync, a few failed attempts at starting a clap-a-long, several rounds of “la la la-ing,” one doll-sized piano, one man in white jeans, two pretty girls with long Chan Marshall hair, and plenty of awkward postmodern chit chat about buttholes and poop (just kidding, I don’t remember).  Yes, friends, it was that kind of show.

 

Now, in theory, I have no problem with those kinds of shows.  I like the triangle.  I like visible discomfort.  I like accents (the Brunettes hail from New Zealand).  What I don’t like is being force-fed high levels of “cute” AND watching in horror as said “cute” manifests itself as an interactive Urban Outfitters window display.  I guess musicians are not aware of the very important Seventeen Magazine life advice that tells us boobs are sexier when covered because it’s a sign of self-control and self-control is sexy (take that, translucent mesh halter top!).  I think these wise words could also apply to bands on cute overload.  Behold the unhealthy levels of precious:

 

- Ridiculously attractive band members.  Question:  if you look like a little porcelain doll, do you train yourself to be talented too, or are some people just blessed with better gifts?  Another question:  how do the beautiful find each other to start bands and stuff?  Craigslist?

 

- Heather Mansfield’s twee voice.  I’m not convinced that singing in boys’ choir range actually constitutes singing.  It’s more like making a long, drawn-out mouth noise.

 

- An overall feeling of meticulous, stylized awareness, like how the Monkees impersonated the Beatles and still had hits.

 

It’s a shame, really, because the songs aren’t rotten.  Sure, they have titles like “Loopy Loopy Love” and “Brunettes Against Bubblegum Youth,” but these are no worse than Yo La Tengo’s moppet lingo discography.  Twee is such a flimsy, absentminded genre it’s nearly impossible to find profundity amongst the milkshakes and thick-rimmed glasses.  (Twee is a Sofia Coppola film:  pretty but vacant.)  Strip a twee song of its prettiness and you’re left with the adolescent musings of a dreamer.  Trouble is, we grow up.  Perhaps the most disappointing moment of Wednesday’s show was the realization that cute is no longer enough.  Likewise, we all know that seeking higher standards is totally being an adult, which is frightening to those of us in transitional stages.  This begs the question:  are you ever truly an adult if you’re in a twee band?

 

The seemingly adult Brunettes are Jonathan Bree and Heather Mansfield, plus a rotating lineup of additional musicians.  They formed in 1998 but didn’t officially release an album until 2002 (Holding Hands, Feeding Ducks).  Since 2002 the band’s issued two full-length albums and two EPs; Structure and Cosmetics is their latest album, released on Sub Pop in 2007.  Currently, the Brunettes are on tour.  Visit their website (via Lil’ Chief Records) or Myspace for more info.

Subscribe to our show at gcast.com (RSS), more information at podcast.weheartmusic.com.

Sorry this week's episode is an outtakes show because I was out all all weekend. I'm finally home, chillaxing with pajamapants and going to put on Messenger 2: The Scarecrow on the TV.

I am hoping to put together a semi-regular Britpop Podcast show - please send me name suggestions. I'd like to have the word 'britpop' in the title, but not necessary.

The good news is that we actually have enough material to last for a few weeks (!!), so I don't actually have to do any real work as it's all recorded and processed (I just need to copy and paste it into a 10 minute show).

So, in order of appearance on the first outtakes: Ryan, Goodnight, States, Graeme K, Kate and Lara. Bonus: Devi.

Hopefully next week, we can bring on Raconteurs expert Christopher.

vxting ♥ art by vu

Let me tell you: street parking is insane on a Friday night on Cedar. I thought I was late at 9 o'clock, even though the first band, the Thundercats-loving Magic Black Pumas (myspace.com), didn't go on until closer to 10. Off topic: there are no pumas in the original Thundercats crew.

The Escape Artists (myspace.com), previously known as MonthNumberColor, where singer Collin, through the power of his Three Wolves T-Shirt, tells us that he is "a mysterious loner who knows how to 'howl at the moon' from time to time."

Ada Jane Setlist ♥ 400 Bar, Minneapolis (8/21/09)

Ada Jane (adajane.com / myspace.com) seems comfortable on stage at the 400 Bar. I get the impression that they've frequently play or have attend shows here. Their fans seems to be an army of young dancing women, which is obviously a bonus.

Since this is a CD release party, they basically play the entire the new album, Again... Again, live - with the exception of "Near Mrs". Bonus "classic" songs from their Never Been Better album was also played: "On Your Level", "The Wayside" and "Show 'Em Your Teeth".

The highlight of the show was Dan on horns for "Down The Highway", and drummer Charlie Wilson singing on, I believe for the song "The Right Wrong".

Again... Again was recently released on CD and downloads, please refer to Lara's review. I couldn't quite figure out how their flashy website adajane.com (there's no information on how to buy the new album under the "merch" section), but thankfully there's always amazon. I see on their tour information that they are playing Arlene's Grocery in New York, which I discovered is actually not a grocery store.

KaiserCartel – Rock Island EP

When I saw KaiserCartel at the Cedar Cultural Center (Minneapolis, MN) back in May, I had this thought:  “ADORABLE.”  And yet, I did not upchuck, nor did I silently weep in my lonely chamber of loneliness.  Sure, Ben and Courtney are attractive, fashionable and talented, but it’s really hard to hate on the duo since both are probably nice too (also significant:  Kate pointed out that Cartel looks like a young, dark-haired Gerard Depardieu.  Le rawr).  More importantly, their music reveals a shade of melancholy that dissuades sensible abandonment (twee) and total hipster bastardization (boney, unwashed bodies).  Le whew.

If you read my review of their Minneapolis show, you may remember that I called the band “tame for children and the elderly” and “old-timey.”  I stick by these descriptions.  Kaiser never adopts the affected air that so many female musicians forcefully voice; instead, she allows her pretty pipes to remain, well, pretty.  This attention to classic detail makes Rock Island enjoyable, even if it breaks no new ground.  Recorded live during a Daytrotter session, the five-track EP contains three new songs plus a polished version of “Shira” (the cozy show-closer/audience pleaser) and a cover of “Something about What Happens When We Talk.”  One noticeable trend is a slight move away from the folk pop sound of March Forth, and a minor shuffle towards the confusing terrain that is “alt-country.”  Perhaps the Lucinda Williams cover makes ears biased.  Truthfully, I’m not opposed to a little twang, and Kaiser’s milky vocals still channel the loveliness of folk, with diminutive alterations (like a cup of tea with a single drop of malt whiskey).

Rock Island will be available digitally Sept. 1 (with a limited number of hard copies offered at shows and via their website).  September also marks the start of a West Coast tour; the band will continue touring through October, reaching the Midwest and Southeast.  Visit http://www.kaisercartel.com/ for more info and tour dates.  Additionally worth noting, “Favorite Song” will be featured in the premiere episode of “Bored to Death,” a new HBO series that looks mocking, nerdy, and mildly insulting (life’s necessary ingredients).  Check it out.

Crayon Angel: A Tribute to the Music of Judee Sill

If you’re asking yourself “Judee who?” don’t worry, nobody thinks less of you (except for Judee Sill.  But she’s dead and is probably not actively concerned with your ignorance).  I too said “Judee who?  What?  Why?”  Thankfully, Wikipedia exists.

Judee Sill was a folk songstress during the early 70s.  Her sweet voice and gentle plucking placed her alongside fellow folkies Carole King and Joni Mitchell (see: “Laurel Canyon”); although Sill, who died in 1979, never reached the same popular mass as her peers.  As the first artist signed to David Geffen’s Asylum label, Sill released her debut album in 1971; nearly two years later she followed it up with Heart Food.  Neither album fared well commercially.  Career disappointment, a series of car accidents, and a history of drug abuse are the likely catalysts for her departure from the music scene and subsequent overdose in late 1979.  In 2005, Water Records released Dreams Come True, Sill’s “official” third album (most of the songs were recorded with the intention of release).  Also in 2005, Rhino reissued Judee Sill and Heart Food as limited editions with bonus material. 

This brings us to the present:  independent label American Dust invited a smattering of current musicians to cover selections from Sill’s discography.  All artists, presumably fans of Sill, approached the task with unique styles, ranging from traditional to interpretative to faintly bizarre (Nicolai Dunger’s stripped down version of “Soldier of the Heart” warbles flamboyantly as birds chirp in the background).  Mostly, the songs remain faithful.  Sill’s posthumous presence amongst contemporaries is obvious—very few of the covers stray too far from the calming folk base (i.e. no psychedelic, droned-out, heavily rhythmic adaptations).  Standouts include Frida Hyvönen’s (blue-eyed) soulful “Jesus Was a Cross Maker” (yes, Sill’s lyrics are filled with religious allusions), Daniel Rossen’s restraint on “Waterfall” (popular on the Internet; Google ‘Judee Sill cover’ and note the first few results), and Marissa Nadler (ft. Black Hole Infinity) tackling the lush “Kiss” with Air-like flair.  As a tribute album, Crayon Angel certainly highlights the best of Sill, but for those of us unfamiliar with the artist’s brief legacy, the impact may be lost amongst the mishmash of soft-pop melodies and indie-familiar names. 

Crayon Angel: A Tribute to the Music of Judee Sill is available Sept. 22.  Pre-order the album here.  For more information, visit American Dust’s website at www.americandust.net.

Track Listing:

1.  Ron Sexsmith – “Crayon Angel”

2.  Beth Orton – “Reach for the Sky”
3.  Daniel Rossen – “Waterfall”
4.  Frida Hyvönen – “Jesus Was a Cross Maker”
5.  The Shalants – “Lopin Along Thru the Cosmos”
6.  Final Fantasy – “The Donor”
7.  Nicolai Dunger – “Soldier of the Heart”
8.  Trembling Blue Stars – “Lady-O”
9.  Colossal Yes – “The Phoenix”
10.  Marissa Nadler & Black Hole Infinity – “The Kiss”
11.  Princeton – “Down Where the Valleys Are Low”
12.  The Bye Bye Blackbirds – “There’s a Rugged Road”
13.  Meg Baird – “When the Bridegroom Comes”
14.  Bill Callahan – “For a Rainbow”
15.  P.G. Six – “Til Dreams Come True”

Wonder Subtly Crushing Us opens like pure indie rock beatitude; the knee-jerk impulse to look “not happy” and “wearing tiny pants” is overwhelming.  “Phonebook Pillow” is probably the most straightforward track on Wonder.  However, from that point forward things get interesting.  Ice Palace, Minneapolis’s contribution to the lit-pop collective, accomplished what few have endeavored:  to release an album that mutually embraces and excludes their audience.  Who is their audience, you ask.  Pirates, damsels in distress, gladiators, English professors, star-crossed lovers, book collectors, librettists, wayfarers, gothic scribes, steampunks, hipsters—the band has managed to cover all corners of “historical motifs adopted by pale contemporary outsiders.”  It’s kind of weird, kind of impressive. 

When listening to Wonder, I’m reminded of fellow gloomy wordsmith Kid Dakota (Darren Jackson) and his love of a darker, colder American landscape.  Both musicians pen these sprawling, cryptic allegories that seem familiar, but are not (assuming you have not spent significant years in a little house on the prairie).  Similar to Jackson, Adam Sorensen’s off-kilter vocals complement his curious narratives and are well suited for songs like “Lily” that never quite peak.  Where KD traipses pastoral ennui, Ice Palace is interested in casually myth-historical points of reference; or, more specifically, in creating an environment that envelopes the senses, like moth-eaten crushed velvet. 

Those of us that relate to normal subjects, like stupid regular love, may very well be scratching our heads half-way through (what simpletons do to denote confusion).  Fortunately, Ice Palace’s capacity for antiquated romance is offset by a strong instrumental backing that’s more grrrunge than, say, the baroque pop of the Decemberists (to whom the band’s been compared).  Once or twice the balance shifts:  “Coliseum” lingers at mid-tempo and fails to grab; “Younger in a Year” is quite pretty-odd, but underwhelming as an album closer (although, the crackled outro is a nice touch).

“Devils Tower” and “Pirate By Thirty,” two of Wonder’s stronger tracks, sound urgent and reveal provocative imagery:  some twisted sweep of waves crashing against jagged cliffs, ballrooms, absinthe, thorny sanctuaries and underground discothèques.  Daring?  Maybe.  Creative?  Certainly.  Intuitive?  Yes!  More than anything else, Ice Palace has found distinction within the murky swamp of indie rock—as a local act and as artists trying to be uniquely approachable.  A “band to watch,” if ever there was.

Ice Palace’s members include Jacob Mullis and Amy Hager of Fort Wilson Riot (a similarly strange little band that produced a rock opera).  Mullis and Hager contribute vocals, bass, keys and trumpet, respectively.  Other players:  Sorensen (vocals/guitar), Jacob Grun (guitar/vocals), and Joe Gaskill (drums).  Refer to the band’s website or Myspace for more information or for a list of upcoming shows (as an aside, on Sept. 9 they’re playing at my favorite Brooklyn bar-slash-bocce arena).  Minneapolis music fiends be(a)ware:  Ice Palace at the 7^th St. Entry, Aug. 28 (with Wheat and Paragraphs)!  Wonder Subtly Crushing Us was released in May of this year.  You can purchase the album via their website.

 
“We think it’s the best thing we’ve done” – Team Genius

Despite my lukewarm review of The Drums, I do occasionally endorse hip New York pop bands. Like Team Genius (claps, cheers, bears), whose natural charms and sweet odor make me blush.

Handsome Drew sent us the following update:

You can listen to a rough cut of “Love and Love Songs” on the band’s Myspace. The (currently) untitled sophomore album is expected to release in mid-September. If their previous creative ventures are telling, expect plenty of butt wigglin’ and ass grabbin’. It’s good, clean fun.

Keep checking their Myspace and website for information. For now, satisfy those indie pop hunger pains by supporting Team Genius Live!

·         Aug. 9 @ Cameo Gallery, Brooklyn NY (w/Pet Ghost Project)

·         Aug. 25 @ Monkeytown, Brooklyn NY (full album debut)

·         Sept. 17 @ Cameo Gallery, Brooklyn NY (w/XYZ Affair)

The Drums – Summertime! EP

New Yorkers sure love a dance song or fifty, distinction be damned.  If it has a beat and an economical use of words, the masses will adore.  Every day—hell, every hour—a recent NYU grad is composing something weird and tasteless on his vintage Sony keyboard; something that’ll enthuse legs and discourage brainwaves.  Fun, fervor, frivolity:  the 3 F requisite for fleeting fame.

The Drums are New York’s current triple F.  Says who?  Says your momma.  The lads live in Brooklyn but claim 50s surf culture as the main source of inspiration.  Summertime! is full of sunny nonchalance and lighthearted sass.  Do you often find your life lacking in ubiquitous hand claps?  Never fear, the Drums have your back.  Are you blue?  The Drums will take that frown and turn it upside down.  It’s all cheerful and neat, excepting the fact that lyrically, the content is ridiculous.  Take the following line from “Don’t Be a Jerk, Jony”:  “Jenny, Jenny, Jenny, don’t be lazy, I know it’s hopeless, I know it’s sad, I know you’re stupid, I know it’s sad.”  I think I wrote that same poem on the inside cover of my American History textbook.  Or “If you’ve got some children, just love them, if you’ve got a baby, just hold him, ‘cause they need it, they want it, they need it, they gotta have it” (“Saddest Summer”).  I thought babies needed Nyquil and Gone With the Wind (the extended version).  What a startling realization to learn that all they need is love.

Readers, I’m being facetious; but so are the Drums.  Let’s assume for one minute that Summertime! is basic satire, or, at the very least, tongue-in-cheek homage to a simpler era.  One of milkshakes, promise rings, clean beach games and sweetheart love.  If the Shangri-Las wore skinny jeans and horizontally-striped sweaters, they would totally hold hands with Jon and Jacob!  For chrissake, the band even has a pair of retro styled back up singers.  These are not the gimmicks of accidental AM imposters.  These are conscious imaginative whimsical decisions, and sometimes the effort works:  “Down By the Water” sounds like an awesomely deranged version of a 1960s couple’s dance as realized by the 1980s (somewhat like the film “Hairspray”).

Herein lies the problem:  today it may be surf, tomorrow it may be German industrial—who knows what the kids will crave.  Gimmicks, while amusing, never last.  Herein lies the solution:  New York, somewhat paradoxically, is both the breeding ground for trend and the cemetery where all things passé go to die.  The city is essentially self-cleaning.  Thus, it’s my advice to enjoy the music while it lasts.  There’s a reason why you bought those hideously sequined dancing Chucks and cheap hash (KIDDING.  Hugs not drugs).  Just, whatever you do, don’t listen too hard for substance.  In their own words:  “we’re really just like everybody else, chasing that perfect pop song.  And that’s not so bad right?”

If you live in New York, good for you.  The Drums have multiple New York shows.  Visit their website / Myspace for more info or to pre-order the Summertime! EP, available Sept. 15 (also, the band is generously offering a 5-song digital download of “Let’s Go Surfing” + remixes; the link can be accessed via Myspace).  Members are:  Jonathan Pierce (singin’), Jacob Graham (stringin’), Adam Kessler (twangin’), and Connor Hanwick (bangin’).