Ian McCutcheon’s past work as a drummer with Slowdive and Mojave 3 prepared him well for the dream pop landscapes he paints as frontman with his new band, The Loose Salute. A relaxed Cornwall beach vibe suffuses the group’s music as we heard on their debut Tuned to Love (2007) and now again four years later on the follow-up Getting Over Being Under, which released early this month via Graveface. The Loose Salute’s influences are deliciously diverse, ranging from the expected West Coast jangle pop and the Beach Boys to the more countrifried sounds of Nashville and a bit of Southwestern desert expansiveness. You get a taste of that Sourthwestern vibe on “Perhaps She’ll Fly” with its Calexico-esque horns. Meanwhile, it’s back to pure dreaminess for “Happy I Don’t Count”, a breathy, atmospheric song custom built for the legions of Belle & Sebastian fans out there.
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The KEXP Music Blog just posted a session with Peter Bjorn and John, featuring footage from a recent visit to the studio which looks more like a large closet with a few people lining the edges. It wasn’t quite the stage show that PopMatters covered in New York City back in May, but that didn’t keep the indie trio from rocking their tight knit sound – cowbell included of course. With the cameras on top of them as they played, the bearded Swedes gave an inspired performance which gives new meaning to the term intimate. Pared down versions of the songs also highlight the structured composition of each, as well as the variety of their music.
British singer Adele’s second album 21 has been the #1 album in the US for 10 weeks, whereas in the UK, the record has been at #1 longer than any other female artist in British chart history. Heady stuff. Adele is headed to the US this August and has made a few schedule changes to her upcoming schedule shown below. In the meantime, enjoy the videos from 21.
Rolling in the Deep
This new Starkey song goes through so many phases in four minutes, it’s almost a mini-epic. Starkey’s Paul Geissinger experimented with Auto-Tune quite a bit on his underrated 2010 release Ear Drums and Black Holes, but rarely has he sounded so close to the Drake/Weeknd zeitgeist as he does here. The appearance of Charli XCX in some kind of freeform floating words liminal space is an explosive entry for Geissinger’s lonely astronaut in the video. As everything blows up around the two, it’s clear Starkey has delivered the goods again.
John Maus’ eagerly awaited album We Must Become the Pitiless Censors of Ourselves drops next week and the artist has lined up a host of US dates to promote his new work (listed below). This week Maus gives us the Jennifer Juniper Stratford-directed video for “Head for the Country” that features the chilly visual climes of his native Minnesota blended with the warm electronic tones of his music. The giant satellite dish actually sits in his hometown Austin, Minnesota.