Tag: The Catenary Wires

For quite some time, Mommyheads have delivered the sort of complex pop and lyrical insight that fills in the cracks and gaps in your musical thinking with new ideas and sounds.

If the name didn't give it away, there is a very distinct beach slash surf feeling to San Diego's Wavves and their sun-glittered sounds.

There are several sounds that are most definitely British, and with their clear soaring female vocals and intimate indie pop sensibility, The Catenary Wires are a textbook example of one of them.

Tonight started out with an hour of the sickest music around, which is to say songs about illness, medication, and other health-related issues. The following two hours were the usual incomprehensible mixture of genres and bad attitudes.

Some bands are obscure, others are sporadic, but The Mabuses are downright enigmatic. Their music is hard to describe, and while the word "psychedelic" has become a commonplace and devalued label to put on something these days, in this case it would apply as a feeling of existing in a disjointed but entirely fascinating musical reality rather than a genre.

It is difficult to make lush pastoral pop like this without going completely overboard into schmalz territory, but this band manages quite well, carefully draping their orchestral tendencies over a solid base of interesting songs.

Uwe Schmidt has had an extensive career, recording under many names as electronic musicians do, but it's his work as Señor Coconut (and now as Atom™), where he deconstructs familiar songs into something Kraftwerk would play if hired to play a quinceañera, that brings me this very particular weird glee.

The original “Crimson and Clover” was Tommy James and the Shondells' biggest hit, but it was also one of the first songs to be recorded on 16 track equipment, and is a textbook example on the use (or overuse) of rhythmic tremolo. Pom Pom Squad does a good job of channeling the song's sweet yet feral vibe.