Breaking format and focusing the spotlight on himself rather than the brands he promotes, Nick is utilzing Twitter as a platform to show Epitaph Records how much he can accomplish with the power of one hashtag when it is backed by the weight of the music community. Through a series of retweets and personal recommendations, bands and music fans are using “#HireNickHardy4SMCoordinator” to unify their efforts and help Nick to exemplify his sense of camaraderie as well as his social media savvy in his efforts to become Epitaph’s next social media coordinator.

It’s clever, and we support it.

If you have a spare tweet lying around, we encourage you to support one of the most dedicated ambassadors of the Nashville music scene and bombard @EpitaphRecs with kind words and the #HireNickHardy4SMCoordinator metadata tag. Although we may not be thrilled about the possibility of losing Nick to the West Coast, we support anyone within the music community chasing the dream dragon.

Good luck, Nick Hardy!

Hit play and count the seconds until you catch the Butch Walker cameo. (Hint: It should take about 50 seconds.)

If you blinked, you may have also missed the Ron Jeremy cameo. Also, the club version of “Synthesizers” is kind of dope.

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The Spade is available now in various formats. Butch Walker’s book, Drinking With Strangers, can also be purchased over at his website.

The video was directed by Derek Miller and Gregory Kohn, but we’re guessing Alexis’ 90s/cheer-inspired dance moves were all her.

Reign Of Terror is available via Mom + Pop Records on February 21st.

Thanks, dudes.

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Go get more Sleigh Bells news over at reignofterror.tv.

On Thursday, December 8th,
Cass McCombs and his band played to a roomful of fans at the Doug Fir Lounge in Portland, Oregon. It’s a practical supposition that– if one were not yet a fan of his music– to see Cass play live for the first time would turn a person into one. Cass showcases a talent made obvious the moment he strums the guitar and sings a phrase and by the bands he’s played with (Source, Wikipedia: Cat Power, Bonnie ‘Prince’ Billy, Andrew Bird, Blonde Redhead, Modest Mouse, Beach House, Arcade Fire, Fiery Furnaces, The Shins, Deerhoof, The Walkmen, Thurston Moore, etc., etc.) And he plays with a band of total pros. From an unassailable rhythm section touting a drummer who makes no mistakes and manages to show sustained energy as well as control throughout an entire set, to a man on the keys who went almost unnoticed (the band sounded like a recorded album at times; in a good way) until he began improvised soloing during a crowd hit, “Dreams Come True Girl,” sounding like he could’ve fit in well in the Bitches Brew personnel. The lead and rhythm guitarist was an obvious talent in the set, but what was most surprising about the guitar work was that of McCombs himself: his leads stood out as strong and inventive, and the vocal work never suffered for it but drew nearer to its perceptible liveliness.

With a standout technical crew on hand, Cass’ quiet vocal deliveries were as intimate and appreciable as listened to on vinyl with headphones, and a supremely artful backdrop of Atari-like lights, Cass McCombs and band played a memorable show. McCombs seemed mystifying in persona, as likewise do his haunting vocals and equivocal, poetic lyrics– and this is refreshing in a time when so many performers of all different types seem to want attention drawn to themselves in lieu of what they are doing. The reticent performer scarcely said a word, save for introducing his band and to quite respectfully ask the audience to quiet the barroom chatter between and during song beginnings. Go see Cass McCombs play live if you get the chance– he may not come through your town again for some time.

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For more on Cass McCombs, visit cassmccombs.com.

Between 2009’s Upper Air and this one, Beth nearly died after a mysterious illness that put her in the hospital. They rescued and adopted a dog that ran beneath their tour van’s tires. Beth and Phil even ended their long relationship but began it again after realizing that, despite their own shortcomings, they didn’t want to be with anyone else. Mostly, though, they returned to their cabin in the woods of North Carolina to nest—to make soup and walk dogs, to make art and write songs, to realize that this was their life and find contentment in it.

The Clearing is available via Dead Oceans on March 6, 2012, but download and keep the album’s first track, “Tuck the Darkness In,” here and now.

Preview: “Tuck the Darkness In”
First Impression: Folky jam with a slow and steady build that leads to a wall of beats and strings.
Listen To: When you’re in the mood to go from mellow to motivated in less than five minutes.
»Save It: “Tuck the Darkness In”

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For more on Bowerbirds and their music, go to bowerbirds.org.

»The Christmas/Holiday Tuneage Alternatives Edition
by Joshua Krage

Sure I love Christmas music. But walking into a big-box store and being assaulted with the latest Disney star’s canned version of “Joy to the World” over the PA is only two steps away from waterboarding in my book. If you’re like me, you want some alternatives– and that’s what I’ve compiled here for you. A few choice Christmas/holiday albums you won’t find at your local WarMalt but you may be able to track down via iTunes or the internets, and which will definitely make your indie-lovin’ seasons bright. Enjoy:

Maybe This Christmas (+Maybe This Christmas Too? / Tree) – released between 2002-2004 on the Nettwerk label, these are a mix of classics and original songs for the indie music fan’s palette. Some of my favorites are Dan Wilson’s “What a Year For a New Year,” Copeland’s serene rendering of “Do You Hear What I Hear?,” Rufus Wainwright capturing the holiday spirit with “Spotlight On Christmas,” and the spritely Barenaked Ladies/Sarah McLachlan duet on “God Rest Ye Merry Gentlemen” in full swing with a bit of “We Three Kings” thrown in. Something different and interesting for everyone looking to avoid stale fare, though some now-major-names do appear.

Bela Fleck & the Flecktones, Jingle All the Way – if you’re looking for excellent instrumental Christmas music but have worn out your copy of Vince Guaraldi’s ACharlie Brown Christmas album, here’s something staggeringly inventive and enjoyable. Fleck is a banjo master many times over, his band is one of the tightest jazz collectives known to man, and together they power through a tasteful set of holiday standards and lesser-known gems, like Joni Mitchell’s “River” and a Bach oratorio. The solo banjo Xmas-song medley is one truly jaw-dropping tour-de-force.

Over the Rhine, Snow Angels – already an undeservedly-obscure indie band, Linford Detweiler and Karen Bergquist’s Over the Rhine don’t need to cater to anyone’s expectations of their work, and this Christmas/holiday album is very representative of their unique and qualitative ethic. Full of enrapturing piano tones and well-constructed songs (check “Goodbye Charlie” for a spot-on Vince Guaraldi tribute), this is both a great Christmas album and a strong stand-alone album in its own right, for any time of year.

Selah, Rose of Bethlehem – needing a contemporary Christian Christmas album but not wanting Amy Grant’s re-warmed fruitcakes? This is a vocal trio of unchallenged quality, particularly female member Nicol Smith, whose voice goes from a reverent whisper to a majestic declaration in stunning fashion all over this album. Interesting new inventions of classics here also, alongside some truly glorious traditional songs.

Gary Hoey, Ho! Ho! Hoey! 1, 2, & 3 – If you’re a fan of the awesome guitar-shredder instrumentals on the Trans-Siberian Orchestra albums, this is the guy who had that idea first, and released three separate albums of face-melting Christmas guitar solos and serene meditations on holiday classics. Especially noteworthy: the low-end riff-damage from his take on “You’re a Mean One, Mr. Grinch.” Heavy!

Merry Axemas, Volumes 1 & 2 – along the “shred the halls with riffs of fury” lines, there are these two entries from guitar virtuoso Steve Vai’s Favored Nations label. Highlights include Tomoyasu Hotei’s slowly-building version of “Happy Xmas/War is Over,” bass titan Stu Hamm’s “Sleigh Ride” on his four-string, Vai’s own serene cut of “Christmastime is Here,” and an absolutely perfect choir-infused rendering of “Amazing Grace” from Jeff Beck, which is among my all-time favorite tracks of all time.

Christmas Songs (Nettwerk) – a little-known assembling of different takes on holiday songs from the Nettwerk label featuring some of my favorites for the season. My picks here are Matthew Ryan’s raspy “Little Drummer Boy,” a tear-inducing song called “The Cat Carol” from Meryn Cadell, and the sweetest little version of “Ave Maria” you’ve ever heard, by the angelic Jennifer McLaren.

Future of Forestry, Advent EPs I & II – one of my all-around favorite bands since their inception, San Diegan Eric Owyoung’s Future of Forestry does everything with an epic scope of atmosphere and rhythm dynamics. These two EPs are different in form (first being huge, stratosphere-reaching electric-ambient guitar masterpieces and second chiming in on the acoustic angle) but Owyoung’s yearning tenor and inventive arrangements transform them from warmed-over holiday fare to thrilling centerpieces.

Johnny Mathis, Christmas with Johnny Mathis – sure it’s akin to more traditional/classic side of things, but I grew up with this album and still have not heard its equal for a classic-sounding LP from a pop vocalist. Johnny Mathis’ voice is pure butterscotch joy, you can just feel his warm smile singing “The Sounds of Christmas” or imparting the virtues of a “Marshmallow World” in the winter. Plus his recording of the “Hallelujah Chorus” is a great blend of chorus and his fine voice.

That’s about all I have off the top of my head. If you have things you think should be added, please do chime in. And if you find something here you like, I’m happy to have made anyone’s season brighter, by whatever measure I can.

Other obvious selections: A Very Special Christmas (vols 1-7), Trans-Siberian Orchestra (three albums), Mannheim Steamroller (lots of LPs), Vince Guaraldi’s A Charlie Brown Christmas, Now That’s What I Call Christmas!, the list goes on.

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To view past reviews, visit our archives.

Hip-hop producers Emile Haynie (Kanye, The Roots) and Jeff Bhasker (Jay-Z, Beyonce) have collaborated with fun. on their latest Internet release, “One Foot.” Currently available as a b-side on the “We Are Young” 7-inch, “One Foot” sounds very little like the Aim and Ignite version of fun., featuring heavier beats and a dialed-up production value, but the song continues to stick to what the band does best: huge builds with huge payoffs, all lead by Nate Ruess’ soaring vocals as he pours his heart out with each lyric.

“One Foot” will also be featured on the band’s forthcoming Some Nights, available February 21st.

Catch fun. on tour next year:

02.29.12 Burlington, VT @ Higher Ground
03.01.12 Pawtucket, RI @ The Met Cafe
03.02.12 Towson, MD @ The Recher Theatre
03.03.12 Carrboro, NC @ Cats Cradle
03.07.12 St. Petersburg, FL @ State Theate
03.08.12 Orlando, FL @ Beacham Theatre
03.09.12 Atlanta, GA @ Center Stage
03.10.12 Birmingham, AL @ WorkPlay Theatre
03.20.12 Houston, TX @ Warehouse Live Studio
03.21.12 Dallas, TX @ House of Blues
03.23.12 Tucson, AZ @ Rialto Theatre
03.24.12 Pomona, CA @ The Glass House
03.28.12 San Francisco, CA @ The Independent
03.29.12 San Francisco, CA @ Bottom Of The Hill
03.31.12 Salt Lake City, UT @ In The Venue
04.03.12 Fort Collins, CO @ Aggie Theatre
04.05.12 Denver, CO @ Bluebird Theater
04.06.12 Boulder, CO @ Fox Theatre & Cafe
04.09.12 Iowa City, IA @ The Blue Moose Tap House
04.10.12 Omaha, NE @ The Slowdown
04.11.12 Madison, WI @ The Majestic Theatre
04.13.12 Minneapolis, MN @ The Varsity Theater
04.14.12 Chicago, IL @ Vic Theatre
04.15.12 Detroit, MI @ St. Andrews Hall
04.18.12 Grand Rapids, MI @ The Intersection
04.19.12 Columbus, OH @ Newport Music Hall
04.20.12 Rochester, NY @ Water Street Music Hall
04.21.12 Boston, MA @ House of Blues
04.27.12 Clifton Park, NY @ Northern Lights
04.28.12 Philadelphia, PA @ Theatre of the Living Arts
05.04.12 Washington, DC @ 9:30 Club
05.05.12 Charlottesville, VA @ Jefferson Theater

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Find more on fun. at ournameisfun.com.

In preparation for next week’s East Coast shows, WHY?‘s Yoni Wolf has made a video documenting all of the tour prep essentials, such as buying sexy pajamas and sampling scented candles. Even if you don’t live anywhere near Connecticut or New York, Yoni is quirky and charming enough to keep you entertained throughout all seven minutes of the video.

For those of you who do live in CT and NYC, prepare for set list comprised primarily of songs you’ve never heard and prepare to hear them in all of their unplugged glory. Yoni, Josiah Wolf, and Doug McDiarmid will take the stage to preview songs from their fifth studio album as well as take questions from the audience in a super-intimate, seated-show setting.

12.15.11 New York, NY Florence Gould Hall (early show) *
12.15.11 New York, NY Florence Gould Hall (later show) *
12.16.11 Hartford, CT Wadsworth Atheneum Museum of Art *

*= w/ Serengeti

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For more on WHY?, go to whywithaquestionmark.com.

»Album Reviews For Release Date: 12.07.11
by Joshua Krage

Black Keys produced by Danger Mouse with more of a Brothers sound. ’Nuff said. But there’s more too:

Ole Ask
Anton Barbeau

The Black Keys, El Camino – it’s best-of-both-worlds time, people. The Black Keys’ last album, Brothers, was a soulful, self-produced slice of stripped-back rhythm & blues-infused rock & roll. Their previous effort (2008’s Attack and Release) was a mystic genre-bender that meandered through the swamp with Danger Mouse at the helm. This album they keep their Brothers ethic and focus but bring Danger Mouse back to distort the edges in glorious psychedelic fashion. All but one song stay under four minutes, and it’s all muscle– Patrick’s drums thunder and roll, Dan’s guitar sears and swells, the vox are raw and reverb’d… even Danger Mouse’s swirling organs and production flourishes feel more focused this time around, keeping each track thick and meaty rather than oversaturated and runny. Overall not quite as lean and it’ll take time to see if as many of these tunes have the staying power of some of Brothers’ big numbers, but at first listen it’s a welcome expansion and a solid set in its own right.

Chevelle
Elvis Costello – huuuge box set
The Cure – live
Neil Diamond – best of
The Fall

Dia Frampton, Red – impossible for me to do an objective review of this, Dia (from Meg & Dia) Frampton’s first solo album, as I’m a Meg & Dia fan and she’s just adorable. Very different styles of music here than on Meg & Dia records, less emo-rock and more poppy (as expected), and if you became a fan from her appearances on NBC’s The Voice, you’ll enjoy the variety, and the high-power guest spots from Kid Cudi and Voice coach Blake Shelton.

Korn
Adam Lambert
Little Axe
Loka
The Maine
Paul McCartney
Merzbow
The Mighty Mighty Bosstones
Los Muppets
OST – Glee vol 7
OST – New Year’s Eve
Phish – live (surprise!)

The Roots – Undun – their How I Got Over album was on countless best-of lists last year, so expectations are high here, considering much of their “creative time” is competing with arranging for Fallon’s Late Night show. But either they had plenty ideas already in the bag before taking that gig, or they’re monster machines, because this album is chock FULL of high-concept shit. Guest spots from Big K.R.I.T., Bilal, Truck North, Greg Porn (yes that’s his name) and more add top-shelf variety, but it’s Black Thought’s lyrical wizardry and the band’s next-level interplay and mastery of groove that take center stage, transitioning from funk to gospel to laid-back soul and more with ease. The songs even tie together for a loosely-connected narrative concept album (the life of an inner-city construct named Redford Stephens), whose info can be further revealed with an accompanying app (!). Repeated listens will be needed, but in concept, this album is strikingly well-executed and the grooves can’t be denied.

Robin Thicke
T-Pain
VA – Now That’s What I Call Disney

Amy Winehouse, Lioness: Hidden Treasures – while basically a “leftovers” collection of unreleased material– some of which she was working on at the moment of her untimely demise and some of which were shelved product from previous sessions– the point of this collection is that it’s Amy Winehouse songs you haven’t heard, and she makes everything she sings her own. A few new compositions add original flavor here, but ace production from Salaam Remi and Mark Ronson makes every track an interesting journey, and Winehouse’s voice just lights up everything it tackles, from a questionable Tony Bennett duet to a heart-rending take on Carole King’s “Will You Still Love Me Tomorrow.” Not too strong as a standalone album, but in context, a bona fide treasure chest from a vocal talent that will be sorely missed.

Next week that We Bought a Zoo movie gets a soundtrack from Jonsí out of Sigur Ros (who are working on a 2012 LP)! Huzzah.

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To view past reviews, visit our archives.

Jonquil have been working on a sophomore album and are set to release Point of Go on February 21st via Dovecote Records. In addition to this good news, Jonquil will also be returning to SXSW in March.

If you want a small sample of what Point of Go will offer, then check out “It’s My Part.” The song is a little more stripped down than what Jonquil fans may have become used to in the past, but the track is still very busy and full of pep:

Jonquil – It’s My Part by Blessing Force

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For more information on Jonquil, visit jonquilband.blogspot.com.