A few weeks back, my mother came in from Sauble Beach, Ontario, to help care for me post hip surgery. She stayed for a week and a half, and was her usual, awesome, former-nurse self, occasionally yelling at me to rest already (I'm not very patient with healing).  She returned to Canada on a Monday 6AM flight.  I was able to drive, so I took her into the airport for 5AM. 

On the way back, I snapped this picture of the sunrise:
.... And I heard Sylvan Esso's "Coffee" for the first time on the satellite radio.  It was such a surreal moment: half-asleep on the highway, a little sad and lonely to see my mom go, but this lilting, gentle, cool beat and sing-song voice moving through my car. 

I now associate this song with sunrise and my mom.  It's kind of cool.
 
 
I am an angry club kid in disguise.

It's true, though people might have a hard time believing it. But in between all my other indie picks, you'll find songs by Die Antewood and Rage Against the Machine and Japandroids (featured in an upcoming favorites post); loud-and-louder, and aggressive. 

And the best club experience I ever had was in Toronto, when I was about nineteen, and my friend took me to an honest-to-God rock dance club. I wish I could remember the name of it; but it was full of gargoyles and red velvet, and I vividly remember dancing to Rammstein's "Du Hast."
 
A long introduction to make note that I love to blast "Ghost Town" when I am alone in the car. I am *that one* who is headbanging a little on the highway.  But I don't much care if you stare.
 
 
This week's Kid pick can also go under the category of "likely to cross over into the mainstream." It already seems to be happening on regular radio, and fast.  While it's a little more "pop" than I typically like, it's incredibly catchy and an odd mix of amusing and sad. I recommend a listen.

Warning: my three-year-old isn't at the point yet of questioning what he hears, so that's why it's an official MSM pick, but not necessarily good for all children. If you have a kidlet who will ask "what's a sex club?" then think about skipping it.  Then again, not much more explicit than anything else that's on the radio (Beyonce's Drunk in Love, for starters, geesh).
 
 
I adore ALT-J.  Their sound is so distinctive, they are constantly experimenting with  instruments, and their songs exist in phases, changing beats, changing tempos, changing the vibe, as to draw out a story in each one. And their music reads as unbelievably sexy to me. I've already written about "Tessellate" and how sexy that sliding bass line is to me.  Now here's the first single from their upcoming album THIS IS ALL YOURS, "Hunger of the Pines," and I'm already obsessed with it.  Give a little bit to get going, and you'll see what I mean: when the percussion hits, the subtle horns show up, and that sample kicks in, it's dark magic.
 
 
Sorry for lack of posts - I'm about to go into hip surgery on Thursday June 19th, and I've been flitting around the state trying to get all my work finished.  Nothing major, just a same-day procedure to repair a tear, I have no idea how it will be, how painful, or what the recovery will be like, but I'm hoping to be back online by the end of the month, ideally strutting sans-crutches like a boss and asking everyone: "how you like me now?"
 
 
I first heard this song in 1999, buried in an old-school mixtape, given to me by my friend Zilly in the dorms of Windsor University.  I knew Blind Melon from "No Rain," of course, but this was the first time I'd heard something else of theirs.  Funny how "Soul One" has stuck around in my playlists, fifteen years later: still beloved, still achingly poignant and sad, still one of my favorites to brood to.
 
 
This is the song that opens my second book NADI - at least in the soundtrack in my mind.  I love the lead singer Hannah Reid's powerful, throaty low register,  and how the sounds slowly layer and build, mysterious and brooding.  Their introspective, intense music has something in common with The XX, but it's Reid's voice that separates London Grammar from the rest; it's also sexy as hell.
 
 
I love Lily Allen's early music: her cool, retro-sounding beats and deceptively snarky lyrics underneath that languid cockney British rap-singing. The kid has latched onto this song lately, probably for its happy ska-pop sound, cool horn section and bouncy beats.  Lily hasn't done much over the last few years, she's been off having babies, but her 2006 album Alright, Still is a great summer pick if you're looking for something new.
 
 
One of the more polarizing musicians to come out in the last few years, Lana del Ray has been called a number of things. 

The good? The "gangsta Nancy Sinatra;" her single "Video Games" considered one of the best from 2011; the single "Young and Beautiful" from The Great Gatsby and her creepy, but cool cover of "Once Upon a Dream" for Maleficent. 

The bad?  A manufactured industry product, and "the worst performer ever on SNL" (highly debatable, but still). 

But I admit it: I dig her.  I'm oddly fascinated by her.  Her lyrics are right on the border of being too derivative and cookie-cutter for me, but what I like most about Lana del Ray are the sounds of her music: those slow, sly, hip-hop beats, the samplings, the languid, almost whispery, low-octave singing, and how everything she puts out, everything, is full of hooks. 

There's talent in there, and she's already on the brink of mainstream with that remix of "Summertime Sadness."  "West Coast," from her upcoming album ULTRAVIOLENCE, might push her over the edge into the mainstream.
 
 
Sirius XMU has been promoting legendary indie artist Bob Mould over the last few weeks, he of the bands Husker Du and Sugar, prevalent in the 1980s and 1990s.  During an interview with him, they played this 1989 track, from his album District Lines. 

And it sticks with me, this dreamy, raspy lament that goes on and on.

I can only find one video that has decent sound quality of "Walls in Time," and it's a compilation of the whole album. Cut to 36.20 and listen.