Dec 022016
 

Under the Radar shines a light on lesser-known cover artists. If you’re not listening to these folks, you should. Catch up on past installments here.

echodrone-profile

An article about the shoegazing band Echodrone begins, “Echodrone are one of those bands that I want to be horribly embarrassed to have not been aware of ‘til their fifth album and tenth year…” The writer goes on to add, “Although, apparently many of the band members are yet to even meet each other… So I’m inclined to be slightly less embarrassed… ” Indeed, the band may be based in San Francisco, where it started out as a two-man operation (Eugene Suh and Brandon Dudley), but the addition of its newest members (Mike Funk, Jim Hrabak, and Rachel Lopez) has made them a quintet that records its songs virtually, passing the music files from one set of hands to the next via Dropbox. They may not play together, but you sure hope they’ll stay together.
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Dec 012016
 
Majorleans

When we last heard from Majorleans frontman Nick Francis DiFonzo, he was paying tribute to Harry Nilsson with his EP Francis Schmancis. He’s taken on a very different source for his latest cover – but the end result still kind of sounds like a Harry Nilsson song! To bid farewell to a stressful November, he recorded a cover of the Guns ‘n’ Roses lighter-waver “November Rain.” It’s mellow and melancholy, like if Axl and Slash recorded down in Laurel Canyon. Continue reading »

Nov 282016
 
NightjacketRoof_ByDevinPedde_sm

When Jordan Wiggins first heard musician Holland Belle, he likened her voice to Mazzy Star’s Hope Sandoval. One listen to their new dream-pop band Nightjacket confirms his comparison was dead-on. Spacey and ethereal, Nightjacket’s music could soundtrack any number of cerebral David Lynch scenes – which makes their new cover song choice a perfect fit. Echo and the Bunnymen’s “The Killing Moon” is pretty dreamy as is, but Nightjacket emphasizes the track’s washed-out glamour on a beautiful new cover. Continue reading »

Nov 252016
 

Cover Classics takes a closer look at all-cover albums of the past, their genesis, and their legacy.

Come Together Black America

Tony Rounce, the guy at Ace Records who compiled Come Together: Black America Sings Lennon & McCartney, had an easier job than most people who put together tribute albums. For one, this wasn’t an album that required all-new recordings by current bands; Rounce got to cherry-pick the best of the best from the ’60s and ’70s. For another, when the greatest songwriting team in the history of rock and roll is being interpreted by the likes of Aretha Franklin, Otis Redding, and Little Richard, it’s going to be hard not to put together an excellent product.
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Nov 212016
 
Klayton

We’ve often discussed what makes a cover song “good.” And while each listener has their own subjective criteria, certain themes do reveal themselves in these discussions. One theme that we tend to highlight is an artist making a song his or her own. It’s probably fair to say Scandroid’s recent cover of Tears for Fears’ “Shout” misses this critical criteria. I’d argue it’s good anyway. Continue reading »

Nov 182016
 

Let All The Children BoogieAny collection of a popular artist’s songs presented as children’s music should always be approached with some level of trepidation. And with good reason, given the glut of inanely saccharine covers delivered either by children and twee instrumentation or adults pandering to the younger demographics. The latter case is perhaps the most egregious, as these adults seem to believe that the only way in which to create music kids will understand is to severely dumb down the content and up the intolerably cartoonish elements of the worst of so-called children’s music performers. The question often becomes, Why subject your children to these atrociously subpar re-imaginings of popular songs when the originals are vastly superior and just as accessible?

Thankfully, the folks at Spare the Rock Records seem to have felt the same with regard to the world of children’s music and, rather than adding to the pap currently clogging the marketplace, have ventured to release music aimed at children but ideally suited for the whole family. And there is perhaps no better artist, save perhaps the Beatles, for whom this approach is ideally suited than David Bowie. With his passing in January of 2016, he left a gaping void in the musical landscape, one artists across myriad genres have, in the months since, sought to fill in the form of countless tributes, think pieces, and heartfelt expressions of admiration.

And while we may have lost the man himself, we will always have his music. His is a catalog so vast and stylistically diverse as to perfectly warrant the stylistically diverse assemblage of artists and styles gather here on the newly-issued Let All the Children Boogie. Stripped to their barest elements and rebuilt in individually idiosyncratic ways, the work of David Bowie presented here remains wholly recognizable, yet affords listeners an entirely new way of hearing these well-known songs. Continue reading »