Yo La Tengo

Yo La Tengo is an American indie rock band based in Hoboken, New Jersey. With more than 15 albums released since 1984, they have demonstrated unusual longevity for the indie-rock scene. They are frequently regarded as one of the definitive indie rock groups of the 1990s. Though Yo La Tengo has achieved limited mainstream success, the band has become a critical favorite with a devoted fan base.

The band's name comes from a baseball anecdote.

During the 1962 season, New York Mets center fielder Richie Ashburn and Venezuelan shortstop Elio Chacón found themselves colliding in the outfield. When Ashburn went for a catch, he would scream, "I got it! I got it!" only to run into the 160-pound Chacón, who spoke only Spanish.

Ashburn learned to yell, "¡Yo la tengo! ¡Yo la tengo!" which is "I have it" in Spanish. In a later game, Ashburn happily saw Chacón backing off. He relaxed, positioned himself to catch the ball, and was instead run over by 200-pound (90.7 kilograms) left fielder Frank Thomas, who understood no Spanish and had missed a team meeting that proposed using the words "¡Yo la tengo! as a way to avoid outfield collisions.

After getting up, Thomas asked Ashburn, "What the heck is a Yellow Tango?".

The band wanted a name that sounded foreign in order to avoid any connotations in English. Kaplan is also a devoted baseball fan. However, it still irks the band when they are asked the origin of the name. The band once performed a cover of the Mets theme song "Meet the Mets" during a benefit appearance on radio station WFMU's pledge drive. A track on I Am Not Afraid of You and I Will Beat Your Ass is called "The Story of Yo La Tango" in apparent reference to an all-too-frequent misspelling of the band's name.

source

Album Dicography :

01 - Ride the Tiger [1986]
02 - President Yo La Tengo_New Wave Hot Dogs [1987_1989]
03 - Fakebook [1990]
04 - May I Sing With Me [1992] (part1/part2)
05 - Painful [1993]
06 - Electr-o-Pura [1995]
07 - I Can Hear the Heart Beating as One [1997]
08 - And Then Nothing Turned Itself Inside-Out [2000] (part1/part2)
09 - The Sounds of the Sounds of Science [2002] (part1/part2)
10 - Summer Sun [2003]
11 - Yo La Tengo Is Murdering the Classics [2006] (part1/part2)
12 - I Am Not Afraid of You and I Will Beat Your Ass [2006]
13 - They Shoot, We Score [2008] (part1/part2)

EPs :

01 - Here Comes My Baby [1990]
02 - That Is Yo La Tengo [1991]
03 - Upside-Down [1992]
04 - Camp Yo La Tengo [1995]
05 - Little Honda [1997]
06 - Some Other Dimensions in Yo La Tengo [2000]
07 - Danelectro [2000]
08 - Merry Christmas From Yo La Tengo [2002]
09 - Nuclear War [2002]
10 - Today Is the Day! [2003]
11 - Live Session EP [2007]

Splits / Collaboration :

01 - 1995 - Stereolab & Yo La Tengo - Genius + Love Split
02 - 1998 - Jad Fair & Yo La Tengo - Strange But True
03 - 2004 - Chris Stamey & Yo La Tengo - V.O.T.E.

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I Feel Like Going Home

Megapuss - Surfing [2008]

Devendra Banhart brings us a new musical project with Gregory Rogove (Priestbird/Devendra’s live band) and Fab Moretti (drummer of The Strokes) as well as Noah and the usual suspects in Devendra’s live ensemble called Megapuss. We have to question the naming of the bad and the reason to include Banhart and Rogove naked on the cover — but the music goes from jazz inflicted folk to garage rock to psychedelic, all with spacey vocals a la DB, leaving for a throughly enjoyable affair on Surfing.

Surfing opens up with Crop Circle Jerk ‘94 — a sure sign that there is going to be a lot of goofy elements to this album. After all, the liner notes are covered with Devendra/Gregory’s penises, drawings of them naked, a dude with a penis nose, etc. The song opens up with horns, before falling into a very infectious opening that sounds a bit reminiscent to Smokey Rolls Down Thunder Canyon’s Lover. Luckily, it gets better quick.

To The Love Within sounds like a lost track from Nino Rojo — minimalistic acoustic handclaps and percussion make this a perfect camp fire song. Adam & Steve is a psychedelic gem, with eclectic vocals that match the guitars, weird little time changes, and a Santana-esque lead guitar line in the middle of the song. Theme From Hollywood sounds like another perfect single for the album — it’s hard not to sing along to the jangly chorus: “Too much fun in Hollywood, were havin too much fun.” Elsewhere, Hamman is Mega’s attempt at The Doors, Chicken Titz (goofy again) plays with ’60s-inspired soul beats, and Sayulita is a seven minute piano led piece with Banhart’s extraordinary lyrics and vocals.

indieducky

Surfing [2008]

"Crop Circle Jerk 94" Hammer Museum - UCLA

Horse Feathers - House With No Home [2008]

It’s funny how music you’ve never heard before can elicit overwhelming nostalgia. From the moment you hear Portland-based Horse Feathers singer Justin Ringle’s croon on their latest album’s opener “Curs in the Weeds,” it’s hard to forget times of serene happiness in your life. It’s hard to forget times of youthful bliss, and it’s downright disturbingly difficult to forget the impact of young love — or maybe it’s just me.

Whether or not the lyrical content of House With No Home matches any of these memories is irrelevant — Ringle’s mumble conjures up surreal scenarios of Tracy Chapman doing Sam Amidon, minus any vocal enunciation; rather, it’s the otherworldly music that causes one to get lost in cerebral trauma while driving home alone at night. To be direct, the sound of this album is nothing short of beautiful. Peter and Heather Broderick’s string arrangements mimic Aaron Copland’s most tender moments, and over Ringle’s guitar strumming, the impact is enough to cause the White Witch’s icy heart to melt.

Listen to “Rude to Rile” and you’ll find a masterpiece of violin, cello, and percussion. I’ve listened to this track over and over again, and I felt as though my life story was being told: "He just waits/ And he hopes and he prays/ But the more she is loved she hurts." It makes me wish I had written it, because it feels like I mean it. Yet strangely, it still feels like it could be an old Appalachian folk song; I don’t know how, but it does. And it’s not as though love lost is my life story, but for a few minutes I’m convinced that it is.

source

House With No Home [2008]

Horse Feathers: Live at Pop Montreal

The Spinto Band - Moonwink [2008]

The Spinto Band aren’t a difficult band to want to love. Since they formed in 1996, they’ve consistently delivered a contagious celebration that is playfully puckish and totally bereft of pretension. Moonwink, remarkably the band’s sixth album proper, is their latest 11-track collection of sugary, woozy, cutesy three-minute pop ditties.

First single “Summer Grof” (in the band’s words “a vague tribute to the great comedienne Janeane Garofalo") captures this exuberance perfectly. Jaunty hand-claps give birth to saccharine keyboards and jangly guitars. Add an addictive chorus of “I won’t lie, I won’t lie, I won’t lie, I won’t lie, I won’t lie” and you’ve got a superb indie anthem. It’s a shame that it arrived in October and not July, because “Summer Grof” could truly have ruled the summer.

Since their days as Free Beer, the Spinto Band have made music that is at once outlandish, kinetic, and luminous, and this latest record is no different. Often there are flashes of brilliance (notably “Summer Grof”, “The Carnival”, and album closer “The Black Flag"), but vocalist Nick Krill, keyboard player Sam Hughes, and guitarists Jon Easton and Joey Hobson are so keen on repeating themselves that much of their work, and a lot of this album, often frustrates.

The two opening tracks, “Later On” and “Vivian, Don’t”, offer the same rich, textured guitars, unconventional orchestration, and multiple-part vocal harmonies that made 2006’s Nice and Nicely Done such a critically acclaimed and (comparatively) commercially successful album. The familiar hyperactivity continues through “Pumpkins and Paisley”, an irresistible, relentless, flat-out indie-pop tune that ramps up the keyboards and the “la la las” to become the most morish, adorable song on the album.

source

Moonwink [2008]

The Spinto Band / Oh Mandy (Live @ Night & Day Manchester)

Euros Childs - Cheer Gone [2008]

While Childs' former band, Gorky's Zygotic Mynci, managed to balance a debt to Canterbury scene legends like Kevin Ayers and Robert Wyatt (Childs appeared on Ayer's 2007 comeback album, Unfairground) with what some might call 'twee' folky cuteness, his solo work has shown a greater leaning towards to the USA. Last album, The Miracle Inn was filled with Beach Boys sunshine, and on this, album number six - he wheels in a hefty slice of pedal steel Americana. Mind you, the core of Cheer Gone still contains the mildly fey, winsome vocals and rather childlike worldview that all adds appeal.

As the title i mplies, some of this material is a little sad, Autumn Leaves (with the aforementioned pedal steel shining out) drips melancholy while My Love Is Gone is predictably maudlin too. But Childs' Welsh tones, a little like fellow countryman, Gruff Rhys of Super Furry Animals, always hold some positivity.

It's a minor pleasure maybe, but a pleasure nonetheless, and fans of his last release will be satified.

bbc.uk.

Cheer Gone [2008]

Euros Childs - Y Mwnci Drwg

Los Campesinos! - We Are Beautiful We Are Doomed [2008]

It's perhaps testament to the rich creative vein of form Los Campesinos! find themselves in. Bolstered by a growing army of devoted fans and a barrage of successful gigs, they're back - barely eight months since the release of the goosebump-donator of a debut, ...Hold On Now, Youngster.

For those yet unfamiliar with Los Campesinos!, the Cardiff-based seven-piece's cocktail of synths, violins and itchy guitars leap from the speakers to create indie jubilance, and near-perfect pop songs. No refined coyness here - these rascals are face-slappingly brazen.

Ways To Make It Through The Wall gets WAB, WAD out of the blocks with typical breakneck speed, with a tsunami of instruments, voices and melodies vying for position.

The opening plaudits however all belong to Miserabilia, which features beautiful, addictive guitar melodies, driven by an unrelenting, pounding synth line. The songs centrepiece is built around the most spine-tinglingly amazing violin outburst since before violins were even cool. Fact.

It's a fact almost upended by the arrival of the title track, where piercing, scything, racing strings punctuate gritty guitars and glittering glockenspiels. And while we're on the subject of violins, in a recent interview, Tom Campesinos! remarked "I think my favourite [song] is You'll Need Those Fingers For Crossing because it's got a great violin part" - he's not wrong; it's heart-warmingly beautiful.

source

We Are Beautiful We Are Doomed [2008]

'Knee Deep at ATP' by Los Campesinos! on QTV

Of Montreal - Skeletal Lamping + Id Engager EP [2008]

Kevin Barnes is a married white man whose alter ego is a black transsexual named Georgie Fruit. Transformations come easily to the Of Montreal frontman: Over the past 11 years, he's seamlessly morphed from low-fi indie rocker to quirky prog-pop star, and now on Skeletal Lamping he's a glam-funk warrior, drenched in the sounds and sexuality of Prince, Freddie Mercury and Ziggy Stardust-era David Bowie. ("We can do it soft-core if you want/But you should know that I go both ways," he trills on "For Our Elegant Caste.") A soulful romp through psychedelic melodies and sprawling noise-scapes, Skeletal is also a whimsical, Girl Talk-style pastiche, with 15 tracks that consist of a multitude of song fragments. The nine-part "Beware Our Nubile Miscreants" opens with peaceful strings before jolting into a tuneless vamp, then snapping into an echo-soaked wail. And Barnes' lyrics are just as seductively schizophrenic: "I want to ... make you paranoid and say the sweetest things," he sings on "Gallery Piece." And somewhere in the glorious friction between these contradictions, he's in ecstasy.

rollingstone

Skeletal Lamping [2008]

Id Engager EP [2008]

of Montreal - "Suffer for Fashion" Polyvinyl Records

Okkervil River - The Stand Ins [2008]

The Stand Ins CD / LP (JAG124, released: 09/09/08)

OKKERVIL RIVER's new full-length album The Stand Ins is the sequel to 2007's critically acclaimed The Stage Names, which Pitchfork praised as "...one of the year's best," with The New York Times proclaiming, "This band's musical arsenal keeps getting fuller."

The Stand Ins was recorded in Austin and produced by longtime collaborator Brian Beattie and Okkervil River. The album features 11 songs and includes the track "Lost Coastlines," on which Sheff and recently departed Jonathan Meiburg of Shearwater share a duet on the joys and hardships of trying to keep the band together. Of the process Will Sheff explains, "We had so many songs we were excited about that we briefly threw around the idea of just putting out a double record. Instead, we decided to take a group of songs that fit with each other and turn that into The Stage Names, setting the rest aside for a future release, a The Stage Names sequel." The Stand Ins is that sequel, part two of a staggered double album. Like artist William Schaff's embroidered artwork, which depicts what's happening underneath The Stage Names' front-cover quicksand hand,The Stand Ins picks up exactly where Part One left off but also delves deeper into the story and theme of The Stage Names. It is a full-length, fleshed-out, deeply ambitious labor of love.

"Sheff sings like he's on fire but writes like a novelist, reeling off memorable images with an ease that belies his craftsmanship." -- Harp

jagjaguwar

The Stand Ins [2008]

Lost Coastlines

Deerhunter - Microcastle [2008]

Deerhunter began in 2001 with the ambition of fusing the lulling hypnotic states induced by ambient and minimalist music with the klang and propulsion of garage rock. The band has weathered chaotic line-up changes, the death of a member, and much discouragement. Their live performances almost always leave audiences polarized. They are a five-piece based in Atlanta.

Atlanta-based Deerhunter are set to release Microcastle, the follow-up to 2007's Cryptograms on October 31, 2008. Microcastle will be released simultaneously on CD and LP via Kranky in North America and 4AD in Europe.

Microcastle was recorded over the course of a week at Rare Book Studios in Brooklyn, New York with Nicolas Verhes. The album was recorded as a four-piece consisting of Bradford Cox, Lockett Pundt, Joshua Fauver, and Moses Archuleta.

"Saved by Old Times" features a vocal collage by Cole Alexander of the Black Lips. The album also features two songs with lead vocals by guitarist Lockett Pundt: "Agoraphobia," and "Neither of Us, Uncertainly."

kranky

Microcastle [2008]

deerhunter, "hazel st"

The Secret Machines [2008]

“The band has always been more than our individual egos; we’re no less The Secret Machines now than we’ve ever been,” says singer/bassist/keyboardist Brandon Curtis.

When his brother, co-founder/guitarist/vocalist Ben Curtis, left the band to focus on his band School of Seven Bells in early 2007, Brandon and drummer Josh Garza knew this didn’t mean the end. The energy and emotion that The Secret Machines fans responded to over the last decade, and continue to seek, was intact. Rather than pull the plug, they carried on with their towering third album, Secret Machines.

Longtime friend Phil Karnats, who played with Ben in the Polyphonic Spree precursor Tripping Daisy and filling in for Ben, was installed as permanent guitarist. “He’s an equal third member, musically,” says Josh, who says Karnats was a part of this record’s earliest sessions. “Ben is obviously irreplaceable,” adds Brandon , “but the transition to Phil has been very easy.”

Unfazed and undaunted, and in an industry where even the smallest task can prove Sisyphean, The Secret Machines carved its own destiny. “We didn’t know what was happening with Warner,” Josh says, “but we thought if we were going to go out, we might as well go out with a bang.” In June 2007, the trio went into Manhattan ’s The Magic Shop to record (and Electric Ladyland to mix). When Warner Bros. balked at getting behind a “new” band, The Secret Machines chose to self-release the new album in collaboration with World's Fair Label Group. Josh calls it the album they’ve “always wanted to make.”

Secret Machines also marks the first record on which the same core—Brandon Curtis, Josh, Karnats, and producer Brandon Mason—were used throughout the entire process, from the earliest demos to the final master. The continuity shows in the final results, in the expansive instrumental swells, in the hooks and phrasing, in the tracking itself. Opening with the disaffected, futuristic verse-chorus “Atomic Heels,” The Secret Machines embark on a journey where their appreciation for the Beatles, Zeppelin, and Krautrock is clear but not derivative or bromidic—and they crank up the volume.

Other influences bubble up as well: “Last Believer, Drop Dead” straddles the fence between Pink Floyd atmospheric philosophy and Manic Street Preachers glam-bratty Marxism; “Have I Run Out” sets the Floydian existentialist trip set to drone-y apocalypse; “Underneath the Concrete” marries Devo’s automaton quirk to the Psychedelic Furs’ fashionable introspection.

source

The Secret Machines [2008]

Secret Machines - Dreaming of Dreaming 2008

P a j o

David Pajo is an American alternative rock musician. He has, however, played a wide variety of music, loosely fitting into several other genres: hardcore, math-rock, post-rock, electronica, folk, and even indie-pop. Though a multi-instrumentalist (playing guitar, bass, banjo, drums, and possibly many more instruments), he is best known for his guitar work.

A native of Louisville, Kentucky, he played with three Louisville hardcore and hardcore-inflected bands in his early career. He got his start as guitarist for Maurice, but he first recorded with Solution Unknown. He rose to prominence, however, for work with the influential post-rock band Slint. Since its breakup, he has seldom held positions in other bands for very long, moving from one to the other quite often. As a result he has contributed to many lineups, playing and recording with Will Oldham, The For Carnation, Tortoise, Stereolab, Royal Trux, King Kong, Bush League, Zwan, and Peggy Honeywell.

He has also released music as a solo artist using various monikers, as Aerial M, M, and most notably, Papa M. Among his many 7" and splits with various bands, he has released (as Aerial M) 1997's Aerial M, and (as Papa M) 1999's Live from a Shark Cage, 2001's Whatever, Mortal, and 2003's Hole of Burning Alms.

In February and March 2005 he joined his old friends from Slint, Britt Walford and Brian McMahan, for a reunion tour, and in April released his first solo album not bearing a pseudonym, simply entitled Pajo. The follow up to Pajo, entitled 1968, was released in August 2006.

Around the middle of 2005, he helped to form the band Dead Child, with Todd Cook (from Shipping News, Retsin, The For Carnation, and Aerial M—and who also played guitar on the 2005 Slint reunion tour), Michael McMahan (from The For Carnation, Starkiller, and Phantom Family Halo—and who also joined Slint on the reunion tour), and Tony Bailey (from Anomoanon, The Party Girls, Verktum, and Aerial M).

wiki.

Audrey & Pajo [2006]

1968 [2006]

David Pajo [2005]

papa m - Krusty

High Places - Self Title [2008]

High Places is Mary Pearson and Rob Barber. Mary and Rob met while Mary was completing a music degree in bassoon performance and Rob was working in visual art, teaching lithography and etching at an art school. Both were performing as solo musicians at the time. Mary relocated to New York from Michigan in late spring 2006, and the two soon after began collaborating under the name High Places. The name refers to a place where one has a better vantage point and can gain broader perspective; it references a love for mountains, rooftops, and of course metaphorical “high places.” The duo has an “exquisite corpse” style of songwriting where they exchange ideas back and forth, challenging one another’s expectations, pushing songs to new places, or more aptly, new heights. They began by releasing a number of singles as well as contributing songs to a few compilations. These early and varied works were collected and released in July of 2008 as 03/07-09/07 in advance of tours with Deerhunter and No Age.

Since its inception, High Places has created a signature sound out of using bass-heavy, yet crisp beats, lilting vocal melodies, syncopated rhythmic lines performed on folk percussion instruments, guitar duets turned into treated samples, and percussive lines created from the manipulation of household objects. The songwriting is expansive and fluid, all the while managing to be concise. Overall, the compositions are settled and assured. High Places gravitates toward the organic over the electronic, and that natural aesthetic adds warmth and intimacy to the recordings.

In a live setting, the band creates their layered recordings with Mary singing and simultaneously manipulating her vocals with various delay and reverb pedals, while playing some hand percussion, recorders, and creating and controlling various loops. Rob handles the drums triggering a variety of percussive sounds with his drum pads, as well as playing hand percussion, wooden blocks with contact mics, and singing some ambient vocals. High Places’ self-titled debut was recorded by Rob and Mary in their apartment in Brooklyn’s Fort Greene neighborhood between January and May of 2008. They employed a wide variety of instruments to make this album ranging from the more traditional: 12 string guitar, banjo, shakers and rattles, bass, bells and Kalimba, to the inventive: plastic bags, mixing bowls, wood blocks and other common household objects. The album has a contemplative and organic lyrical tone emphasized by the themes of goodness manifested in nature, hardship and wonder as necessities to human existence and growth. Additionally, the idea of maturation and development is further accented through the recurring mention of trees and their extending, enveloping branches. Rob created the High Places artwork by using photos taken by both band members. The images are drawn from nature but all have a subtle, mystical, “golden” motif, a fitting frame for the album’s recurring themes. This can best be summed up by the words to “Gold Coin,” a song that was inspired by Kahlil Gibran’s The Prophet:

The ocean is your god-self
The sun is your god-self
God as air
Part of you is man
Part of you is god-self
The rest is just stumbling in the mist.

thrilljockey

High Places [2008]

Bonus :

01 - High Places EP [2006]
02 - 03/07 - 09/07 [2008]


High Places - "New Grace"

B e i r u t

Beirut is the band of 22-year-old Santa Fe native Zach Condon. The band's first official release was assisted by Jeremy Barnes (Neutral Milk Hotel, A Hawk and a Hacksaw) and Heather Trost (A Hawk and a Hacksaw); it combines elements of Eastern European and folk sounds. Condon plays the trumpet and the ukulele as his main instruments, having been unable to play guitar because of a wrist injury that prevented his hand from reaching fully around the neck of a guitar.

Though young, Condon has already released a few albums. He recorded under the name The Real People when he was 15, making The Joys of Losing Weight, which is a lo-fi electronic record (ie, generally in the style of 'Scenic World' on Gulag Orkestar) fashioned consciously after The Magnetic Fields. At 16, he recorded an entire doo-wop album that was inspired by Frankie Lymon & the Teenagers. Zach also released a three-song EP titled "Small Time American Bats" under the name 1971. The album was recorded in 2001-2002 and has never been officially released. Condon attended Santa Fe High School, where he was a student until he dropped out at the age of 16 to travel Europe (with his brother Ryan Condon) where he was first exposed to Balkan gypsy music, notably including the Boban Marković Orchestra and Goran Bregović.

Live, Beirut's shifting roster generally consists of Condon accompanied by Perrin Cloutier (cello/accordion), Jason Poranski (guitar/mandolin/ukulele), Nick Petree (drums), Kristin Ferebee (violin), Paul Collins (organ/keys/tambourine/ukulele), Jon Natchez (baritone sax/mandolin/glockenspiel), and Kelly Pratt (trumpet/euphonium).

History

In 2006, Beirut released two Balkan-inspired recordings through Ba Da Bing, Gulag Orkestar and Lon Gisland, both also available as an expanded version of Gulag Orkestar LP through the UK label 4AD. Beirut has also released other individual songs, three available on Pompeii EP, and the one on a split with Calexico, and one on a compilation for The Believer magazine. While living in Brooklyn, Condon also shot a video for "Scenic World" at the Sweet'N Low factory, and performed several venues in New York and Europe.

Zach appeared in the June/July 2007 issue of The Believer, with a song entitled "Venice".

His first official music video was for the song "Elephant Gun". The video was directed by Alma Har'el. The second video, which was for the song "Postcards from Italy", was also directed by Alma Har'el, and was released later. Lauren Tafuri was the costume designer for both of these videos.

In June 2007 they played the Glastonbury Festival's Jazz World Stage. Later in 2007, Zach appeared as a guest trumpeter on the second album from Get Him Eat Him, titled Arms Down. He has also appeared as a guest trumpeter on A Hawk and a Hacksaw's album The Way the Wind Blows, a band founded by former Beirut members Jeremy Barnes and Heather Trost.

Beirut's second album, The Flying Club Cup, was leaked onto the Internet August 25, 2007 then subsequently released in shops and on Internet music sites on October 9, 2007.

On April 3rd, 2008, Beirut cancelled a previously announced summer European tour. Condon explained the cancellations in a post on the official Beirut website, stating that he wanted to put the effort into ensuring that any shows would be "as good as humanly possible". Soon after, The Stranger reported that Condon is working on a third album tentatively scheduled for a fall release.

wiki.

Eps :

01 - Lon Gisland [2007]
02 - The Flying Club Cup [2007]
03 - Elephant Gun [2007]

Album Discography :

The Flying Club Cup [2007]

Gulag Orkestar [2006]

Elephant Gun :

A Hawk & A Hacksaw + The Hun Hangár Ensemble

A Hawk and a Hacksaw is a band from Albuquerque, New Mexico. The band mainly consists of percussionist Jeremy Barnes (formerly of Neutral Milk Hotel) and violinist Heather Trost (formerly of Foma). The music is mostly instrumental, usually centred around Jeremy’s accordion. There are occasional unintelligible vocals, shouts and cheers, although the latest album, 2006’s The Way The Wind Blows, has more vocal pieces.

When playing live, Jeremy plays many of the instruments himself simultaneously; strapping bells and drumsticks to his body enables him to play percussion while playing accordion. He has recently been accompanied by Heather Trost, who joined him on his recent tour with The Olivia Tremor Control.

www.last.fm/music/A+Hawk+and+a+Hacksaw

The Way the Wind Blows [2006]

Darkness at Noon [2005]

A Hawk and a Hacksaw [2002]

A Hawk and a Hacksaw and the Hun Hangár Ensemble [2007]

A Hawk & A Hacksaw + The Hun Hangár Ensemble

Monade: Socialisme ou Barbarie / A Few Steps More / Monstre Cosmic [2003 / 2005 / 2008]

One of Stereolab's many spin-offs and side projects, Monade (pronounced mon-ard) originally featured Laetitia Sadier and Pram's Rosie Cuckston. The duo began collaborating in the mid-'90s, and Sadier recorded the first Monade tracks in 1996 at Pram's studio, with Cuckston playing and also helping to engineer the session. Some of these tracks were released by Duophonic as the Sunrise Telling and Witch Hazel/Ode to a Keyring singles. Sadier continued to record at Stereolab's own studio without Cuckston, and one of these tracks, "Cache Cache," ended up as a B-side on Stereolab's Calimero single. In between her Stereolab duties, Sadier completed enough material for Monade's debut album, Socialisme Ou Barbarie: The Bedroom Recordings, which was released by Duophonic in Europe and by Drag City in the U.S. in spring 2003. For Monade's second album A Few Steps More, the band moved to Too Pure and expanded to include bassist/vocalist Marie Merlet, keyboardist Nicolas Etienne and drummer Xavier Chabellard. Monstre Cosmic arrived in 2008 and featured collaborations with the Bordeaux Conservatoire and the Toulousse-based group Momotte.

www.allmusic.com

Monstre Cosmic [2008]

A Few Steps More [2005]

Socialisme ou Barbarie [2003]

Monade au Divan du Monde le 21 février 2008