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28 July 2006

Skye, Mind How You Go (Cordless Recordings)
Skye was Morcheeba to some people, so it should come as no surprise that her solo album tends to stay with part of her past while branching out into her own with her own written material. Working with Daniel Lanois, Skye managed to mix the best of both worlds here judging by the gorgeous and soothing "Love Show" that is part urban and part adult contemporary, making for a rich, fluid ditty. Another little nugget is the melancholic "Stop Complaining" with her precious vocals supported with a bit of jungle and electronica. Sultry and oh so sexy, Skye's style makes even the simpler songs like the roots-y, organic "Solitary" soar with the slightest of ease. You can also hear traces of Bjork and Sade in a few efforts, especially on the light, soul-tinged "Calling". There are a few songs screaming for radio play including the slightly up-tempo "What's Wrong With Me?" that has her repeating a line about not thinking about the rain. Other highlights include the sensual and uplifting "Tell Me About Your Day" which describes a happier time in New Orleans during St. Patrick's Day. Quality from start to finish, Skye gives the murky, orchestral "Powerful" a powerful, airy delivery that would put Dido and Sarah McLachlan to shame while the hymnal-esque "Jamaica Days" sounds like she has Ladysmith Black Mambazo backing her. [Insound]
      — Jason MacNeil
multiple songs: [MySpace]

Skye Edwards - What's Wrong With Me

David Mead, Tangerine (Tallulah!)
On his website, David Mead wrote that he has "never stretched as far" as when he recorded his latest album, Tangerine, and he wasn't kidding. The record finds the singer-songwriter traversing an incredibly vast musical territory. Mead performs on keyboards, guitars, ukelele, vibraphone, and glockenspiel, and he tackles styles ranging from tender folk to infectious pop. All of the singer's efforts are informed by a commitment to detail and a keen sense of songcraft. The result is a record which never falters, moving from strength to strength and from one melodious, intricately arranged song to another. Fans of Mead's music should find this to be perhaps the singer's strongest release, and everyone else will find Tangerine to be one of the finest and most rewarding pop albums of the year. [Insound]
      — Neal Hayes
album stream: [MySpace]

David Mead - Chatterbox

Create(!), A Prospect of Freedom (Sounds Are Active)
There is an unconscious assumption that improvisatory free jazz is abrasive, difficult, impenetrable. Asd,klfjnoisea. [Whoops, sorry about that; just improvising on the keyboard.] The appropriately-named Create(!) challenges this notion in A Prospect of Freedom. Save one composition -- a tribute to guitarist Sonny Sharrock -- all eight tracks are both completely "improv" and surprisingly accessible. The sextet constructed these sound sculptures in one take, without overdubs, during the exploratory sessions for Castanets' First Light's Freeze. That album features Raymond Raposa's gentle goth-folk compositions melting into jazz abstractions. In contrast, the tracks on A Prospect of Freedom were recorded with a "no solos" mandate. Know this fact and, as a listener, the six minutes of "Six Dreams/Divided" will surprise you with their coherence and subtlety. You can almost hear these players (who have worked with Eugene Chadbourne, Red Krayola, and Wadada Leo Smith) simultaneously listening to and playing with each other. At times, the playing with is too sparse ("When A Single Flower Blooms, It is Spring Everywhere") or too exploratory ("Duridana") for my ears -- but, overall, these fingers say: this.Is,a-ok. [Insound]
      — Mark W. Adams
"Six Dreams/Divided": [MP3]
Jazz / Experimental  

Ben Vaughn, Designs in Music (Soundstage 15)
What happens when a composer of TV themes loses the boob-tube safety net? With Designs in Music, Ben Vaughn (composer for shows like Third Rock from the Sun and That '70s Show) aims to find out, applying the scoring aesthetic to a dozen new instrumental tunes that are meant to stand on their own merits. The songs unfold like a running tribute to the small pantheon of cinematic composers, with sweeping allusions to the windswept tapestries of Enrico Morricone ("Brushfire"), the cocktail espionage of Henry Mancini ("The Stalker Pt. II"), the pop culture debris of Danny Elfman ("Frequent Flier"), and the lounge-pop affectations of Jon Brion ("Avanti"). It's all perfectly competent music with keen melodies and texture, but its tame evocation of mood wears thin without the complementary scenery. As a result, Designs in Music is incidental without the corresponding visual incidents, a collection of olives in search of drinks to garnish. [Insound]
      — Zeth Lundy
multple songs: [MySpace]

Deadstar Assembly, Unsaved (Pure)
Showing promise with the militaristic intro "Unsaved, Pt. 1", Deadstar Assembly is an industrial rock-meets-metal fan's wet dream. With band members named Dearborn, The Dro and my personal favorite Mubo, the group ends up becoming parodies of industrial bands before them even with better than average tracks like "Unsaved, Pt. 2". At other times, the group's knack for what they dub "death pop" sounds like Vince Neil with a nu metal/screamo chip on his shoulder during "Killing Myself Again". They have a few good tunes, including "Dejected" which is basically Linkin Inch Nails at best. "Naïve" shines brighter as Deadstar Assembly downplay the tune perfectly a la Trent Reznor so the huge uber-chorus comes bursting out of its skin. Perhaps the album can be best surmised in "Darker Now" which has potential but never lives up to that, resulting in a tepid and tired power rock effort. Other times they're reinventing Def Leppard, especially on "Pale Blue" although with a nu metal edge to it. Each song could be great, but then about half fall by the wayside and into the gutter, particularly "Bled" which dies a slow, agonizing death. "This sucks!" they chant in "Serial" (or so it sounds like) and, well, half the time it describes it perfectly. The best by far is "Death Wish", possessing the oomph the album mostly lacks. [Insound]
      — Jason MacNeil
multple songs: [MySpace]

.: posted by Editor 9:48 AM

27 July 2006

Mew, The Zookeeper's Boy EP (Red Ink/Columbia)
Mew, a pop band from Denmark, may be in for some more international attention with their upcoming CD, And The Glass Handed Kites: their brand of pop prog has enough high-flying choruses, perhaps, to find an audience Stateside. "The Zookeeper's Boy" is Mew's triumph, a vast Neverending Story of a track with, of course, the kind of sky-high chorus gets stuck in your head for days. "Apocalypso" is a lesser version of the title track, with the same high-flying chorus backed with swirling sonics, strings, and polyphonic guitar lines just filling up the space. "Special" is more baroque, with a dance-rock beat obscured beneath layers of multi-tracking. After the third track, though, the shadow of that triumphant chorus from "Zookeeper" keeps poking its head back, so you find yourself anticipating "Are you my lady?" at the end of "Am I Wry? No" even though you know it's not coming. The nine minute "Comforting Sounds" passes by in Mew's ablest Coldplay impression (repeated bass, soaring strings), and the EP's done its job: an able appetite-whetter for the upcoming full-length. [Insound]
      — Dan Raper
multiple songs: [MySpace]

Mew - The Zookeeper's Boy

Violet Nine, Any Wonder (PKG Entertainment)
In my hands I hold two CDs. I have Maroon 5 in my left hand and Violet Nine in my right. Sure, the names are similar -- a color plus a number -- but that doesn't mean much. If I start a band called Canary Yellow 12, it doesn't automatically mean I'll be recording the next "Harder to Breathe". Yes, the bands are composed of similar elements -- five dudes covering bass, drums, guitars, keyboards, and vocals. And, sure, Ben Consoli, the voice behind the Nine, shares some tonality with Maroon 5's Adam Levine. But that's about it. Violet Nine's guitar work makes for a grittier, edgier sound, which works out considerably well on Any Wonder's 10 full-length songs (there's a 1 minute, 12 second outro), most notably on "Yell It Out", "All That Glitters" and "Proposal". By not connecting its title to anything "gold", "All That Glitters" demonstrates Consoli's knack for fresh songwriting, carefully sidestepping clichés even when the subject matter is love. On "Leaving Rain", he sings, "This gift is caged in my body / The flesh that I live in / This gift is not a prize at all / It is my sentence / Do you feel love? Come with me love". Consoli's soft, melodic vocals create an intriguing tension with the band's aggressive soundscape. The best tunes are "Out Loud" (track 1) and "Yell It Out" (track 2), as well as the daring falsetto in "Imagination", "All That Glitters", and the rock ballad "Leaving Rain". Produced by industry veteran Greg Archilla, fans can look forward to hearing more from this Boston band. [Insound]
      — Quentin B. Huff
video: [official site]
multiple songs: [MySpace]
multiple songs: [PureVolume]
Indie / pop  

Violet Nine - Live on Fox 25 News

The Grismore/Scea Group, Well Behaved Fish (Accurate)
"Dancing in Your Head" could be redone with Caribbean tuned drums and a fiddle in the opening ensemble. It goes nowhere and Brent Sandy's trumpet entry is too soon skewed by Paul Scea's soprano, winding up sounding lost. Brent Sandy's "Cletus N'Gugu" has Anthony Cox dynamic and grumbly on bass guitar, a nice riff theme for trumpet and flute, Steve Grismore tearing off on guitar synthesizer, and Paul Scea's flute barks then flies like some relative of the bumble bee before an uncredited Donald Duck descendant does some fast scat singing. Grismore's "Baghdad" evokes bassoon and sitar, and has some neo latterday George Russell ensemble Arabiana. Scea's "Spinach Dip" is Cox, drums, and a piping flutter of flute and trumpet, the latter pairing to be heard again on Scea's "Introductions", which also has a repetitive Arabian figure behind a drum solo. Things mostly start well but don't maintain substance. The title track is nearly nine minutes of neoMessaien to a hip-hop rhythm. "Pigs at the Trough" harkens back to the Caribbean, with sounds close to car horns, after which Jamaican traffic jam "Benevolent Psychopathology" features real and synthesized soprano sax, and an impression of actual car horns in ensemble. Yes, it's lively, and repetitive. "Good God" begins like, well, waiting for James Brown. Sandy's constrained by insensitive overstated frogmarching escort rhythms, Scea plays lot of notes on tenor within the same hex machine. A noise pops up now and then as if there was a football game over the wall, and the crowd suddenly got excited. Just as the last note sounds of this sometime synthesizer-burdened set of too many mere introductions, a last burst of the crowd noise suggests somebody just scored a goal. [Insound]
      — Robert R. Calder

Velvet, The Juggernaut (Double Decker Bus)
A Chapel Hill trio led by Jane Francis, Velvet is velvety smooth with the shimmering, polished pop style of the summer-sounding "This Is For You" that sounds like a distant cousin of contemporary Metric. Other touchstones that are obvious include Blondie and New Pornographers, particularly on the sugary "Cracker" and "Winner" which is, well, a winner. The same can be said for "No One Here" that is extremely hard not to like, even if it comes off a tad too slick. The title track also contains a memorable lyric talking about being run over by a bullshit stampede. Not everything comes up aces, especially the tired and mundane "Bossa Nova Robot" which has them on cruise control a la Sheryl Crow. The retro-electro factor also rears its synthetic head during "Girl Fan" that could be one of the best tracks by The Pretenders in recent memory. As the album reveals itself, the pop feel is replaced by a Southern pop/roots flavoring on self-assured tunes like "Something My Brother Said". "New Day Witch" is an acquired taste, a kind of ambling McCartney-ish track that bobs along with nary a care in the world. And fortunately it ends with another bang and not a whimper with the pleasing, well-crafted "Monika". [Insound]
      — Jason MacNeil
multiple songs: [MySpace]
Rock / pop  

Del Castillo, Brotherhood (Smilin' Castle)
Robert Rodriguez likes Del Castillo enough to have used their music in the soundtracks of Once Upon a Time in Mexico and the third Spy Kids movie. Brotherhood gives you some idea why. This rock band has energy, a lot of it, and they like punchy climaxes and escalating, complicated bursts of Latin guitar. The first track starts with a shout and a bang and then they charge into the album at a hundred miles an hour. Most of the singing is done in Spanish. The English lyrics are standard-issue rock affirmations about living for today and everyone being the lead singer's brother, but then you're not here for the wordplay. You're here to rock out. You might also be here because you want to hear the band duet with Willie Nelson on "I Never Cared For You". That's possible as well. But I'm going to guess that it's for the rocking out. [Insound]
      — Deanne Sole
multiple songs: [streaming]

.: posted by Editor 8:27 AM

25 July 2006

Danko Jones, Sleep Is the Enemy (Aquarius)
Danko Jones eats, sleeps, breathes and several-other-verbs rock and roll, but importantly, the dude bleeds rock and roll. On his latest excellent CD -- is there any other kind from Danko? -- he cements his reputation as rock's most impassioned frontman. Sure, any rocker can do angry ("Now I give you the finger!!" he bellows on the AC/DC-indebted "The Finger") or cocksure (the swaggering "First Date", where he promises he kisses on the first date), but who else would be willing to John Bobbitt himself to get a girl's attention, as he offers to do on "Invisible"? Extremes aside, what sets Danko apart from the crowed is his willingness to share actual emotions. He has a hard time recovering from a break up on "Time Heals Nothing" and tells folks there's nothing wrong with not being in love ("Don't Fall in Love"). And anyone who's followed Jones' career will find SITE to be the best, most-various sounding album of his career, thanks to Jones' decision to cede full producing duties to Matt DeMatteo. A riff-fest with heart, Sleep Is the Enemy is one of the year's best hard rock records. [Insound]
      — Stephen Haag
"Baby Hates Me": [MP3]
"First Date": [MP3]
multiple songs: [MySpace]

Danko Jones - First Date

Alice Peacock, Who I Am (Peacock Music)
Women love this album. During the course of a single play at the bookstore where I work, three female customers floated up to the front counter, smiling quizzically and gesturing towards the ethers around them, asking, "Who is this?" Alice Peacock is who she is and Who I Am is the singer-songwriter's cozy second album. And, apparently, it produces sound waves that stimulate the release of estrogen, or endorphins, or maybe chamomile tea. Like Carole King's Tapestry did for our mothers, Peacock's piano-based songs create a womblike listening environ, all warm and safe as houses. No, her songwriting isn't as good as King's, but it's good enough, with nice movements within the tunes and structures that are sturdy. Her lyrics can yield mixed results, though. In "Here I Go Again", she'll give us a compelling "tempting fate out on the ledges", only to wimp out with a recycled phrase like "flirtin' with disaster". Still, her words manage to feel personal, which counts for a lot. The often busy orchestrations on Who I Am, however, sometimes fight the closeness created by the other components of the record. The remaining instruments (piano, bass, drums, a bit of guitar) are recorded warmly, and Peacock's voice is very supple and exacting, while coming across as totally relaxed. Fortunately, those orchestral arrangements stay out of the way often enough to allow easy enjoyment of this accomplished sophomore album. Yes, Alice's sound has found its way since her self-titled debut, which seemed content to blend in with the crowd. Who I Am, on the other hand, sits firmly on its own. Less artsy than Tori, more content than Fiona, less pop than Sheryl Crow, and prettier than Shawn Colvin, Alice Peacock has found her niche in the women's music market. And watch out, guys. You might get lured in, too. It's a very inviting niche, indeed. [Insound]
      — Michael Keefe
multiple songs: [MySpace]

Alice Peacock - Who I Am

David Ford, I Sincerely Apologize For All The Trouble I've Caused (Independente)
David Ford is a strange animal; one not previously catalogued by Animal Planet explorers. He's a singer/songwriter and an angry young man -- at the same time. No one knows how this crossbreeding ever happened, but he's definitely a creature worthy of our attention. In "State of the Union", Ford sarcastically announces: "With friends like these, who needs politicians?" Hmm, something tells me Mr. Ford has trouble finding guests for his dinner parties. He also isn't afraid to drop a few F-bombs here and there, as he does during "Cheer Up (You Miserable F***)." Ford sings all of these vitriolic little numbers over folk-rock arrangements. "What Would You Have Me Do?" stands out for its violin solo, and "I Don't Care What You Call Me" features a harmonica solo. "Don't Tell Me" even has a little twang-y guitar. David Ford answers the previously unconsidered question: What would happen if Elvis Costello possessed James Taylor's body? [Insound]
      — Dan MacIntosh
multiple songs: [MySpace]
Indie / singer-songwriter  

David Ford - State of the Union

Ben Adams Quintet, Old Thoughts for a New Day (Lunar Module)
New days sometimes need old thoughts, and sometimes old thoughts can be taken for new ones. It's only secondarily important, if at all, whether thoughts are old or new. Are they valid, true, good? Bobby Hutcherson with Eric Dolphy was probably the first to consolidate a rhythm section in which vibes took over from piano with a transformation of rhythmic profile. An outstanding pianoless recording some years ago, now under the drummer Tony Reedus's name with Steve Nelson's vibes and Dave Holland on bass presaged Nelson's continuing work in the latter's group. While this pianoless set's notes refer to that, its own rhythmic profile is actually that of a rhythm section with piano. Adams with especially Fred Randolph's powerhouse acoustic bass, combining well with Sameer Gupta, plays squarely, reversing the move made by Hutcherson and Nelson. Erik Jekabsen in taking the first solo on the opener, a lullaby, impresses at once, a pretty trumpeter. The leader tends to lag somewhat, excessively unhurried, and even his puissant bassist and drummer can't keep him from staying too far behind the beat. His compositions are however shapely, nicely varied, characterful, and his solo on "The Actual" manifests an impressive sense of structure and musical intelligence. The lack of spring in his step, maybe engrossment, a seeming lack of spontaneity, give this set an impression of the not fully realised. Mitch Marcus is also anything but a negligible tenor saxophonist. [Insound]
      — Robert R. Calder
multiple songs: [MP3]

Daniel Cirera, Honestly I Love You (Cough) (Tommy Boy Entertainment)
Daniel Cirera tries to be what could be loosely termed as a shock singer-songwriter. Playing by one's own rules are okay at times, but the jazzy pop opener "Motherf*cker-fake Vegetarian Ex-Girlfriend" sounds like something a bitter 13-year-old teen would hum but never put down on paper, let alone expect people to pay for. While the arrangement is fine, it's an average song at best. But "Roadtrippin'" is a much deeper and evolved effort, showing Cirera's folksy talent that brings to mind Eagle Eye Cherry. And the tension-building "She Rules the School" is another strong arrangement with less than impressive lyrics. The sparse "Sorry, SORRY, Sorry" sounds like a bland James Blunt. And "1992" refers to New Kids, Madonna and Faith No More in the vein that flash in the pan LFO did a few years back. Perhaps if there were instrumental versions of these songs it would be an improvement, but "Castle" manages to work by hook or by crook. The same can be said for "Dog". There are too many dogs on this record though, particularly the folksy cover of the Sex Pistols' "Anarchy in the UK". Okay, dog, I'll stop before I get Randy Jackson-itis.... [Insound]
      — Jason MacNeil
multiple songs: [MySpace]

Daniel Cirera - Motherfucker Fake Vegetarian Ex-Girlfriend

.: posted by Editor 8:53 AM

24 July 2006

The Weatherman, Cruisin' Alaska (Mono Cromatica)
Until this CD from the Weatherman fell into my lap, I hadn't heard any Portugese music other than fado. Apparently, cut-and-paste indie-pop is also a featured export of that Iberian nation. The Weatherman is the recording project of singer, songwriter, and multi-instrumentalist Alexandre Monteiro, who is aided considerably throughout the course of Cruisin' Alaska by Pedro Chamorra, credited on most tracks with additional programming. From Revolver-era Beatles and early '70s Beach Boys to Blur and Menomena, the Weatherman threads together the whole history of skewed-yet-sunny pop music. While the guitars are too clean and pretty to get the "psych" tag, the dedication in the liner notes "to the inspirational soul of Timothy Leary" offers a clue as to what might have fueled Monteiro's many odd, mid-song departures into spaced-out vocal harmonies and electronic soundscapes. Sometimes these are successful and add just the right kick to a traditionally structured pop tune. On the other hand, these diversions are the over-indulgent ruin of a few otherwise very fun, straightforward indie-pop ditties full of clip-cloppy drums, perky guitar melodies, and catchy vocals (sung in English, thankfully). Despite these bumps in the road, the stronger songs on Cruisin' Alaska -- the gorgeous opener "About Harmony," the wistful and pretty "I Sustain", and the super-groovy "If You Only Have One Wish" -- make for a very worthwhile album of weirdness-tinged pop. The distribution for this CD is limited, but, for just under 10 euros, you can download the whole album from the French Virgin Megastore, at: www.virginmega.fr. How very European. Obrigado, and au revoir! [Insound]
      — Michael Keefe
video "Cosmic Life": [AVI]
Indie / pop  

The Weatherman - Cosmic Life

J.B. Beverly and the Wayward Drifters, Dark Bar and a Jukebox (Hell Train)
Country music has been unanimously nominated as the industry whipping boy. Perhaps it may be because the rebellion of Merle Haggard and Hank William's country has been lost and replaced by an audience ready to take tractor to album as soon as dissent is suggested. A revolt headed by Hank Williams III is occurring that combines punk and country to reintroduce this outlaw credibility. Like their tour mate, J.B. Beverly and the Wayward Drifters is heavily influenced by punk; however, the band tends to side with the classic country styles. On Dark Bar and a Jukebox, elements of bluegrass, western swing, and honky-tonk are combined with Beverly's gruff broken beer bottle vocals. "Shoulda Thought About It" opens the album with impressive Earl Scruggs style banjo work. The duet is revived on "Lonesome, Loaded and Cold" which perfectly features Dixie Coon's drunken old 49er miner's voice. Less successful, however, is the ballad "Raining In Philly." Stanley's already straining vocals attempts to tenderly sets you down on a razor wire fence. The tapped-out percussion, slapped stand-up bass, and steel guitars on the album recreate the spirit of the honky-tonk. Allowing you to once again enjoy and take comfort in the drinking, drifting and desolation of the dark bar. [Insound]
      — Alexa Lim
song clips": [MP3]

Anita O'Day, Indestructible! (Kayo Stereophonic)
It's sad to say, but Anita O'Day is not indestructible. Unfortunately, this release proves it. O'Day began her singing career during the Great Depression and achieved fame as the lead vocalist in Gene Krupa's big band before launching her solo career after the Second World War. She survived success, jail, drug and alcohol addictions, and the singer has been a well-regarded live performer and recording artist during the second half of the twentieth century. But this disc, which was five years in the making, finds the 86 year old musician in less than fine voice. She talks through the material as much as she sings it, and even then has trouble with the phrasing because of shortness of breath. Oh, she's a trouper and it's obvious O'Day is trying, but this is not the lady at her best. She is joined by a crackerjack band that includes veteran jazzbos Joe Wilder on trumpet and flugelhorn and Eddie Locke on drums. The material comes right out of the Great American Songbook, tunes like "Pennies From Heaven," "Blue Skies" and "All of Me," but O'Day just doesn't do these numbers justice here. [Insound]
      — Steven Horowitz

Anita O'Day - Sweet Georgia Brown

Celebrity, Mining For Twilight (Doghouse)
You can't grasp the gravity of the song "Nothing Left For You" without also knowing the trials Celebrity's singer/songwriter Lance Black went through to write it. His infant child had recently gone through a heart transplant, and then the poor little one's meds gave him cancer. The worst is over for his child, but Black's waking nightmare hasn't ended yet. After he poured all this love into his son's medical battle, he had little love left to lavish on his wife. Of course, sincerity alone can't guarantee great rock. Excellent musicianship, memorable songs and smart lyrics are also required. Celebrity excels at all these necessary skills and more. Celebrity is an odd name for this hardworking, glamour-free band. Someone like Paris Hilton gets People cover shots just for farting, it seems, while underrated groups like Celebrity pass unnoticed under the radar. But Mining For Twilight is too good to ignore. [Insound]
      — Dan MacIntosh
multiple songs: [MySpace]
Rock / alternative  

Ambulance LTD, New English EP (TVT)
As between-album stopgap releases go, Ambulance LTD's new EP doesn't skimp on the songs but quantity doesn't make it any more recommendable. The band is way better than the garbage they get from reviewers who still don't get that everybody's ripping off someone but they work from pretty easily recognizable touchstones, making them an easy target. That they tend to lift the best parts of their influences without giving their own songs enough life to get up and stand on their own can't make their life any easier. They're too measured to make a glorious mess and too good, for now, to make something truly flat. The exceptions, bassist Matt Dublin's inspired "Arbuckle's Swan Song" could be a Timothy B. Schmit song, and "Country Gentleman" (lifted off of the excellent SuperCuts compilation from Star Time), which may still be the band's most enjoyable song, can't carry the day. The by-the-book take on "Fearless" is too breathy, too impressed with itself, to be anything more than totally disposable and "New English" could have waited for a proper full-length release. "Not bad," he says after a listen, turning the CD off and reaching for a Clientele record. [Insound]
      — Jon Langmead
multiple songs: [player]
Rock / pop  

.: posted by Editor 8:55 AM


In bold are PopMatters Picks, the best in new music.
Abe Duque
be your own PET
Big Sandy & His Fly-Rite Boys
The Bottle Rockets
The Brand New Heavies
Johnny Cash
Slaid Cleaves
Elvis Costello & Allen Toussaint
Cut Chemist
Miles Davis
Dinosaur Jr.
Dr. Octagon
Alejandro Escovedo
Fatboy Slim
Four Tet
The Handsome Family
Matthew Herbert
Ise Lyfe
Jefferson Airplane
Lord Jamar
Mission of Burma
Mr. Lif
Mojave 3
Allison Moorer
Paul Oakenfold
Grant-Lee Phillips
The Procussions
Corinne Bailey Rae
Ramblin' Jack Elliott
Julie Roberts
Diana Ross
7L & Esoteric
Alice Smith
Snow Patrol
Sonic Youth
Soul Asylum
Sound Team
Regina Spektor
Sufjan Stevens
Matthew Sweet
Rhonda Vincent
Thom Yorke

Baby Dayliner
The BellRays
Cat Power
The Clientele + Great Lakes
The Coup + T-Kash
Mike Doughty Band
Download Festival 2006
Fiery Furnaces + Man Man
The Futureheads
The Handsome Family
High Sierra Music Festival
Billy Idol
Bettye Lavette
Love Parade
Nine Inch Nails + Bauhaus
Sonic Youth
Splendour in the Grass 2006
The Streets
Sunset Rubdown

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