First drop the needle on Sleep to Dream, the long-awaited return from Whimsical, you’d get the impression you’ve received the pre-mastered version. It’s the sound of the band practice down the hall, barely heard through three walls, and over the street noise. You’ve been had. This opening interlude is just the setup for the sonic bust-out, almost a metaphor for a long-buried and unheard album finally bursting forth with a 21st century sheen. Buried guitar squall emerges into cascading guitar waves. Guitarist Neil Burkdoll intertwines these guitar waves with another layer of glossy filigree, as suddenly multiple guitar lines are having a conversation from different sonic angles. Vocalist Krissy Vanderwoude overlays the proceedings with a crisp and clear-eyed vocal that comes off as both experienced and optimistic.
Track Two, “Lost and Found” opens with a guitar coda that seems almost immediately familiar (though this reviewer can’t for the life of him draw its parallel). But this familiarity branches off into new colors and directions, all founded on a bedrock guitar churn, as you’re led into unfamiliar but comfortable territory.
By the time you get to the LP’s third track, “Surreal”, new sonic vistas have opened up. You can no longer simply assume direct references. There’s some Lush here, a dash of Robin Guthrie, even a bit of late 80’s twee pop guitar work, but the distillation of all these only reinforces Whimsical’s unique sonic imprint. This combination of rhythm, guitar and vocal is now become instantly recognizable as Whimsical. The song structures all put the “pop” back in “dream pop”: these are song-centric dream pop confections carefully crafted by adults.
It’s tempting to go through a track-by-track dissection, but this is one of those albums you simply fall into. If the assembled palette hasn’t grabbed you by track three, this brand is not for you. The strength of Whimsical is in the songs and the arrangements, carefully balanced, hauntingly lovely.
The foundation for all these songs has existed for over 15 years, with recorded bits lying dormant on a lost hard drive for all that time. At the time of first recording, Whimsical consisted of Krissy Vanderwoude (vox), Neil Burkdoll (guitar, sounds), Mark Milliron (guitar), Brian Booher (bass), and Andy Muntean (drums). Neil later added keyboard flourishes, re-edited drums based on today’s music software technology, and produced a final packaged presentation. Focused, polished, re-recorded and overdubbed, the songs on Sleep to Dream all have the freshness of now. Which is only unfortunate for guitarist Neil Burkdoll, as he’s recently admitted in an interview that he doesn’t listen to new music. To the rest of us, this is the new music. To paraphrase Mick Jagger, we know it’s not rock and roll, but we love it.
Sleep to Dream releases 24 February on Saint Marie Records (order link here). Follow Whimsical on Twitter and Facebook, and get in on the ground floor… fifteen years later. Don’t worry, in this case no one will judge.
Austin’s incomparable Bloody Knives released the first single and video for their forthcoming EP, I Will Cut Your Heart Out For This. Tuneful, compelling, bleak, nobody makes an amazingly joyless noise like Bloody Knives. Your closest comparison is A Place To Bury Strangers, and still, this is not that. Signed to Saint Marie Records since forever ago, Bloody Knives have brought a controlled chaos to their output that is strong enough to peel paint from the wall near your hotplate. This single only amplifies the band’s aesthetic, and stakes a claim to dominate the noisier axis of shoegaze in 2016. “Reflection Lies” is all that and a bag of crack. All hail the kings.
Plans for a Spring tour are in the works, including several dates along the West Coast. We’ll keep you posted as we learn them, because we (like you) really don’t want to miss this live show.
It’s been a helluva week. If you’re like us, you need an escape. We can help. We’ve got premieres, and new music, because you demand it. We’re deep into the new LP from Blindness, finally released on Saint Marie Records, and chock full of fuzzy goodness. But we won’t stop there. Melbourne’s Jay Penaflor just dropped an EP, Human Abstracts, worth your attention. A tasty world premiere from DROEM. Brand new music from Brooklyn’s 2;Frail that’ll peel your cap back. The new single from Presents for Sally is a tasty confection, to be sure. But we’ll also go deep with the Blind Mr. Jones reissue of Tatooine, because, never forget awesome. We’re also tracking Russian shoegaze mafia-types vvait. Your brain cells will be challenged. More pre-release tuneage from Leonard Las Vegas, whose Jagmoor Cynewulf LP releases September 4 on Blackjack Illuminist. We’ve got your sneak preview. We’ve also got some dreamy waves from Soft Summers, just chilly enough to cool you off on a hot day. New Blue Herons music, plus Alderanne, maquinas, Moving Panoramas, Cat Hair, Orange Vision, The Foreign Resort, TUATH and We Are Temporary. And the follow-up from Time Spent Breathing, getting their brand established. We’ll FINALLY be able to get in more from Wozniak’s new Auster EP. Lastly but not leastly, we roll out a lovely Byrds cover from King Penguin, via London’s Fruits de Mer Records.
We’re still pushing Keep, Glace, Wen, Pure Morning, Nightjacket, Ultra Material, Schonwald, Howling Bells, Under Electric Light, Lowtide, Youthmemory, Swervedriver, Spirit of the Beehive, The Churchill Garden, Day Ravies, Shojo Winter, Lust, Cattle, Trementina, White Poppy, Cryuff in the Bedroom, Looprider, The Lovely Intangibles and much more.
Also, there’s a brand new single from Sinead O’Connor out today. We won’t be playing that, though.
New Tracks Weekend kicks off 8 pm Eastern, 5 pm Pacific, and continuing through Sunday at midnight Eastern, 9 Pacific. It’s the first weekend we’ll spin some of these tracks, and may be the last weekend for some others. Live365 listeners: it’s your votes that count! Your thumbs-up / thumbs down ratings determine what is kept in permanent rotation. Listen via the Live365 station page at DKFM, on iTunes Internet Radio under “Eclectic”, and on TuneIn Radio for iPhone/Android/Windows. Latin America relay: try Radio Terra. And still commercial-free everywhere! You can even keep up with the new tracks and artists you may have missed: we’re live-scrobbling via our last.fm profile. Now you’ll know what you heard, or catch up on what you missed.
Win the weekend! First, let us bring you a world broadcast premiere from longtime favorites Echodrone. They’ve signed to Saint Marie Records, the new long player Five drops February 24, and is now available for preorder through SMR. Don’t sleep on it. What else? We’ve going all in with Stranger Kings, whose debut ST LP on Northern Records is a jewel in its own right. We’re also pushing Japan’s She Her Her Hers, with a bounty of shimmering tracks that will keep your attention. We’re also long on Scarling, which makes its too-long-awaited debut on OUR air, so we’re rushing as much as we can to your ears. Also, new Ringo Deathstarr. Yes, way! Less than 24 hours old, it’s still warm!
So you want more? Classic Jawbreaker, Infinity Girl and Dissolve, brand new Magic Love, Sound of Ceres, Cameraphone, the blues-infected noise chaos of The Butterfly Gang, ADVAETA, Dividend, fumo, etti/etta, The Fashion Focus, Aubrey, Spring Decade, Flannel, The Starlight Run, Lazy Calm, Highlands, Movienite, and a boatload more. Packing it in, pressing down tight.
And, yes, we’re still pushing Static Daydream, Lunar Twin, Pupila, Follow the Sea, Hemingway, TuT, Secrets of the Beehive, 溶けない名前(tokenai namae), Dead Mellotron… you know the drill. If it’s new and worth your time, we’re all over it.
8 pm Eastern, 5 pm Pacific, and continuing through Sunday at midnight Eastern, 9 Pacific. It’s the first weekend we’ll spin some of these tracks, and may be the last weekend for some others. Live365 listeners: it’s your votes that count! Your thumbs-up / thumbs down ratings determine what is kept in permanent rotation. Listen via the Live365 station page at DKFM, on iTunes Internet Radio under “Eclectic”, and on TuneIn Radio for iPhone/Android/Windows. Latin America relay: try Radio Terra. And still commercial-free everywhere! You can even keep up with the new tracks and artists you may have missed: we’re live-scrobbling via our last.fm profile. Now you’ll know what you heard, or catch up on what you missed.
If you were hoping for FKA Twigs, sorry, there’s a public radio station up north that can help you.
For the last two weeks we’ve been pleased to bring you sneak peeks from Lightfoils’ Hierarchy LP, due July 8 on Saint Marie Records, and worth every bit of the hype we’ve heaped on it. As early adopters of Lightfoils, through personnel changes and delays, we’ve been expecting the new LP to vindicate our evangelism. And it has. Expect this album to land on our Top Ten list at year’s end.
We’ve also been heavy promoters of Highlands, who produce a psychedelic shoegaze stew that caught staff attention immediately. “Nightmares”, “Evil” and “Railroad” have been in rotation since practically forever. Now Highlands kicks it up a notch with their forthcoming LP, Dark Matter Traveler, due July 15 on Say Again Records. That such a moody melodic soup would originate from sunny Long Beach, well, can’t explain it if we tried. Music for headphones. Music for fog. Music for your more epic moments. We’re glad to be able to preview choice cuts from the new album, available soon.
Perfect trifecta (quadfecta?) of releases tomorrow, with some of the most anticipated music of the year. Wichita Recordings brings us the self-titled full length from Cheatahs tomorrow. While some of these tunes will be quite familiar to you from prior singles and EPs, they still produce some of the most compelling music in the genre, and their time has arrived. These fuzzy edges don’t dull on repeated listenings.
Up next via Graveface Records, The Casket Girls bring their second LP, True Love Kills the Fairy Tale. A haze of absinthe and regret, this is psych-tinged pop music bent sideways. You can tell a lot of care went into the production of sound and harmony, and these tunes will stick to you like a thick country gravy. Initial anthemic singles “Same Side” and “Holding You Back” only solidify the notion that this will be in heavy rotation on your turntable for the rest of the year. Deal flagyl online 200mg with it.
Lilies on Mars bring Dot to Dot, via Saint Marie Records. While we have no advance promo on this one, if the lead single “Dream of Bees” is any indication, this should be a heady, blissful dream-pop concoction. We’re rather looking forward to what the rest of the album has in store.
NOT to be forgotten: Soft Science drops Detour, via Test Pattern Records tomorrow. Crunchy sounds, sweet vocals, this is some of the tastiest sound California is likely to serve up this year. We promo’d two singles last weekend, be assured we’ll pin your ears back with additional awesome tracks this week. Heavy rotation in studio this past weekend, heavy rotation on air starts tomorrow. If you weren’t able to keep up with us this past weekend, this is what you missed out on:
The venerable Saint Marie Records once brings out the crown jewels of their roster: the second in the series of Static Waves compilations lands on November 26th. With 32 tracks from the SMR stable of artists, 23 of them previously unreleased, the Static Waves series has proven to be the best compilation series since 4AD’s This Mortal Coil project.
Last year’s compilation had two previously unreleased tracks that ended up in our Top 50 of 2012: Drowner’s “Breathe” and Tip Top Tellix’s “Counting Days”. A previously released track that also made last year’s Top 50 now appears on Static Waves 2: The History Of Colour TV’s “I Knew It Was Wrong But I Did It Anyway”.
With a bench as deep as Saint Marie Records has, you can be forgiven for thinking that the Static Waves series is perhaps the one must-own disc of any given year. All the stalwarts of our own playlists are here: Lightfoils, Spotlight Kid, Panda Riot, Drowner, Jetman Jet Team, Elika, Nightmare Air, Andrew Saks (formerly Sway), The Blessed Isles, Bloody Knives, Presents for Sally, The High Violets, Resplandor, Scarlet Youth, plus a sneak peak at the forthcoming Strata Florida LP from Louise Trehy (half of 4AD veteran Swallow). And with most of them dropping new and exclusive tracks or unreleased remixes just for this compilation, that’s a compelling argument. With a sale price of $5.98 for the double CD, well, you have no excuse.
Full tracklist follows:
01 Seasurfer / We Run *
02 Jetman Jet Team / Red Wind (Tokyo Mix) *
03 Elika / Moving Faster
04 Drowner / Hide Yer Eyes *
05 Orange Yellow Red / Time Slows Down *
06 Nightmare Air / Icy Daggers
07 Andrew Saks / Farewell To The Hills
08 Tip Top Tellix / So Beautiful Eyes
09 Young Boy / Secret Place
10 Shortwave Broadcaster / Smile *
11 broaddaylight / Three Light Six (2013 Lighter Mix) *
12 The Blessed Isles / Round And Round *
13 The FLIR / It Didn’t Happen *
14 Bloody Knives / Suffocation *
15 Blackstone Rangers / Frozen Echo
16 Presents For Sally / Softly Spoken/Outside Honey *
01 Keith Canisius / Meltdown *
02 Lilies On Mars / For The First 3 Years *
03 The High Violets / Gravity *
04 The History Of Colour TV / I Knew It Was Wrong But I Did It Anyway
05 Resplandor / Feel *
06 Spotlight Kid / Sugar Pills
07 Panda Riot / Good Night, Rich Kids
08 Cloud From The Sea / Ever New *
09 The Spiracles / A Thousand Miles Away *
10 Strata Florida / Automatic *
11 Scarlet Youth / Note For A Stranger *
12 Lotte Kestner / Ties That Bind *
13 The Patience / In Vain
14 Carta / It’s Always As It Always Is *
15 Lightfoils / How It Is
16 We Need Secrets / Swimming Pool *
* Previously Unreleased
Sure, Santa didn’t give us our shiny new Lightfoils teaser, or a fresh track from Tip Top Tellix to match last year’s chart-topper. Small quibble. What is here more than makes up for the loss.
Digital-only release available soon via the usual suspects (iTunes, Amazon, Bandcamp, eMusic), but the Static Waves 2 CD is available for preorder right now at the Saint Marie Records webstore. And with the $5.98 price tag, it’s a bargain at twice the price. Our highest recommendation.
Humans tend to label things to better understand them. It’s one of our limitations. Take music, for instance. We can better understand music if we can neatly place sounds into categories. Houston’s Drowner have always defied boundaries and eschewed labels. With an expansive foundation provided by multi-instrumentalist Darren Emanuel, and a deep lyricism provided by vocalist Anna Bouchard, the core of Drowner has only evolved since its inception in 2010. Rounded out by Mike Brewer on bass, Sean Evans on guitar and drummer Ron Rushing, Drowner built on impressive early singles and an EP to deliver the full-length album they always envisioned. You’re Beautiful, I Forgive You released last month on Saint Marie Records to much critical acclaim. We sat down with the founding members of Drowner to try and unravel the mystery of how their musical magic is created.
DKFM:First, the sound. What started as progressive dream pop evolved into a form of reverb-drenched post-rock uniquely your own. How would YOU describe your sound and its evolution?
AB: I love your superlatives, Greg. I would take that as a description of our sound any day. DE: It has always been a fusion of dream pop, shoe gaze, noise and post rock, for me I reach for whatever is required by the song and the moment in the song. For instance on “Not There” it felt like a country-tinged feel was needed in the verses and Sean brought in his lap steel and we put it through the Space Echo. The final chorus sort of rears up as this massive post rock guitar monster and that was what felt right at that moment. It counterpoints Anna’s understated emotion really well I think.
DKFM:Early in your foundation as a band you’d described a process of sending music back and forth via FTP. Was the approach greatly different in creating this album?
DE: Definitely. This time we had three or four of us in the room at a time and even though there was already a sketch of a song laid out, we were able to tweak it much more and get everyone’s input. Ron came in later and played brilliantly to our demo. Next time maybe we’ll do it live in the studio. AB: In some ways, I feel like the reverse happened in terms of the vocal recording. In the past, I would send Darren demos of what I wanted to sing, but all the finals were recorded in a booth in the studio, under Darren’s auspices. That really helped to define the way my vocal entered into the final song. This time around, while we worked in the room together more in rehearsal, I was much better kitted and had Darren’s trust that I could capture my own final vocals. That allowed me to experiment more on the dais, and to settle into a more relaxed and confident delivery on the final tracks. I look forward to combining both these two perspectives even more, through recording an album live in the studio, as Darren said. SE: The work on this release was much more collaborative, with guitar and bass being worked on in more of a group setting. Some of the guitar tracks were put down in the same way as the EPs, but secondary guitar tracks and bass lines were done with either two or three of us with Darren working more an engineer and Mike and I laying down tracks.
DKFM:There is an elemental, almost spiritual quality to your music; ultimately it always seems to end up triumphant, or at least at peace after passing through turmoil. Certainly some of that is attributable to the post-rock structure, but it seems to be deeper than that with Drowner. Do you consider yourselves spiritual people, and do you find that it colors your music?
DE: Personally I’m not religious but I really believe in the power of music. It can be as personally transformative, transcendent and communal. I think there are elements of post rock music that encourages a kind of sense of scale that is spiritual because it overwhelms. It’s sublime. That kind of experience, of ego loss, of being dissolved in sound or in a crowd of listeners at a show is my favorite experience of music and I think a lot of others feel the same way. One of the reasons I think shoegaze has returned in the way that it has is partly due to this quality it has. It’s not just songs with tons of reverb and chorus. Post rock and shoe gaze music wants to do this to you, to make you feel this. I know if any Drowner songs ever had this effect on anyone, I’d be pretty overjoyed. AB: I am pretty spiritual, as many people know. For this reason, Love, humility, forgiveness, persistence of hope, are important concepts to me. Still, much of what I sing about is relational in the most basic sense, and I want the way in which I sing to contact individual hearts. So, if our music has a positive impact on even one listener, I am truly humbled and gratified. What I really love is that one doesn’t have to share our outlook to get what we are doing in Drowner. Even the four of us in the band don’t need to come at it from the same perspective. We just all need that willingness to open up to the other and to really experience what is. That transcendent or communal aspect that Darren refers to, yeah, that is the particular gift of music. We can all feel the same thing, at the same time. We can float on the same ocean together. Share the same spirit. Both because of and spite of all that exists between us. That is really cool. MB: I’m a bassist so my idea of soul comes in the form of James Jamerson and Verdine White. I do enjoy Spiritualized as well.
DKFM:It’s a big jump from a few singles to an EP to a full album of all new material. Describe your process in putting it all together and making it happen.
DE: I wrote from melody to a much larger degree with this record. Previously I would put down some chords and a beat and send them to Anna and see what she would do. This time I did that with some of the tracks but with songs like “On Bright Days” I worked out the melody on the guitar first and built it up from there. A few of the songs were written on piano or Wurlitzer before being redone on guitar. Anna and I tend to keep everything “in play” for as long as we can when writing. Sometimes you’re just trying to get the right notes to happen at the same time and it helps to be able to move things around until that happens. Of course there are also things that only happen when you all play a song together and you try to listen for those moments and bring them out.
Once we had things sketched out then Mike and Sean would come in and I’d jam it out with them and make changes based on what they are doing. There were times when both Sean and I were playing lead lines and getting those to make harmonic sense at times was a lot of work. I think with this record in particular I was aware of the story that each melody tells and the role of each note in the story, the cadence. AB: The older instrumental demos were always masterful studies in mood and texture, and they just naturally led me to some very organic conclusions, but some of these tracks really stretched my ability to visualize myself in the mix. But, what a gift a song like Metro was! I felt this yearning for almost Eastern harmonies, and yet there was this film noir or Nouvelle Vague impression, too. I just immersed myself in the particulars of it and lived it. And the guys were there, to help make that work, to keep it in bounds. They are the architects of the world I inhabit. Yeah, Sean’s work on the slide guitar gave everything I was doing in Not There even more meaning, as did Darren’s gifted arrangements.
DKFM:You just released a video for the second single can i buy metronidazole in boots from the album, “Stay With Me”. How hands-on were you in the concept, storyboard and editing? And what was the experience like?
AB: My only contribution, other than my performance, was to suggest that we film in a motel room. [Laughs.] A bit of a no-brainer, I know, as the lyrics take place in one, although we explored other more oblique ways of representing the song. We are both really cautious about being too expository. But, everything else you see, the lighting, the camera work, those great Lynchian vignettes, even the concept of the doppleganger and the use of what was otherwise an unremarkable plate glass window, overlooking an average scene, the parking lot below, is Darren’s doing. He is really an incredibly talented artist, and I pinch myself every time I get to work with him. He works very hard to make us all look so good and then shares all the credit with us. DE: We didn’t storyboard this one. What we knew ahead of time was a loose vibe provided by the lyrics and we trusted the location to deliver a lot of that and it did. It was very process-oriented in a sense, almost improvised. Sometimes you have to not over-think it and respond to the location and see where it takes you. We knew it was going to be seedy and cramped but we didn’t know we were going to get that big window. Once we saw that we knew we could use it as an axis in the story and the story took on an even creepier tone. The window became a kind of threshold for the character’s identity. Later on doing post we were originally in color but decided the black and white fit the subject so much better and took it more in a horror direction.
DKFM:Anna, as a lyricist and vocalist, was Drowner your first full go at either aspect? The vocals are surely confident, the lyrics are full of depth and nuance (and frankly, amazing). This can’t be your first rodeo, can it?
AB:Thank you so much, Greg! Ah, but it is!
I’ve never sung professionally, and only briefly as part of a band, before Drowner. In a way, when we first conspired to work together, neither of us knew if I could sing like this at all. And it has taken some two years to build even some of the endurance and the range and subtlety that being the vocalist for a band like Drowner calls for. I am still not all the way there. I’m still reaching, refining. It’s a humbling process. I try to react to it all with confidence, though. I believe so strongly in the band and in what I am saying. I let that pave the way for me. I access the technical side of singing by way of ardent emotions. I love being able to sing and write music.
As for the lyrics, I think both of us knew ahead of time that I would have at least some ability in that regard. Prior to working together in Drowner, we had become good friends, and carried on an email correspondence about art and philosophy, where I at least once resorted to verse to get my point across. It sounds so far out, I know, but it was in response to a poem (not his own) that Darren shared with me. So we were already conversing lyrically, in a sense, before Drowner came about. Man, I feel like such a nerd now. [Laughs.]
DKFM:Darren, I know it’s an inside baseball question, but one of my favorite songs by anyone in the last few years is Drowner’s contribution to the firstStatic Waves compilation from Saint Marie Records, “Breathe”. I have to know, did it all start with that opening guitar riff? It just seems like a foundation that you could take anywhere, do anything with, and the whole band brought it home. How far off am I?
DE: Thanks so much, Greg, I’m so happy you like it. Wow, that part that comes in at :15 or so, really chimey? Possibly the last thing I added! Lol! That is one of the oldest tracks that we already had as an instrumental. The part you hear at :46 is how it sounded for years. I have a directory of songs on my drive that are at varying stages of completion and one of our rituals is to go through all these when we start writing to see if there’s something we’re feeling. That one dates back to 2007. Once Anna wrote the lyrics and melody I felt like it needed one more element, something like an ostinato to give the song some backbone.
DKFM:At this point, do you consider yourselves primarily a studio band, or do you expect touring at some point in the future?
DE: We are always hoping that the opportunity to play a string of live dates will present itself. We were really lucky to get Ron to come in as a guest drummer but we’re now looking for someone permanent. And once we sort that out we will look again at some live shows. In the meantime we’ll be working on more videos.
DKFM:Drowner in its infancy was truly a DIY effort, but you are now part of a prominent independent label and their promotional team. Surely that’s helped greatly with press and distribution; has that changed your approach to songwriting, and how you see yourselves as a band?
DE: It does enter into it at times in terms of expectations. My feeling is that you don’t want to build a following and then take a jarring left turn and everyone’s like “Wtf?” We intend to grow and bring everyone with us on this journey. The press and positive reception we’ve gotten so far is a really great and helps not just with sales but with morale. AB: SMR is an ideal label for an independent band to be a part of. First, the other bands on the roster are so inspiring. It’s amazing company to be in. And then, there is the absolute freedom that Wyatt (Parkins) makes you feel as an artist. There is no question that you will do whatever it is that you feel you should do as an artist, and SMR is going to back you in that. After that, they are going to go to the mat for you, knocking on doors, getting as many people as they can to listen to you. I feel so grateful to work with them and their offshoot, Gas Pedal PR — and yeah, on some level want to make them proud to have us.
DKFM:The release of You’re Beautiful, I Forgive You was a milestone you’d looked forward to achieving months ago, and it’s been critically well-received. So now that this big hurdle is in your rear view, what’s next?
DE: Um, a shoegaze opera I’ve been working on…just kidding. I can see us back writing early in the coming year. I’d like to write more at rehearsals and try new songs in front of crowds. We’re definitely going to make a few more videos. AB: Yes, write, write, write more songs. I can’t wait to move Drowner into new territory, the four of us.
DKFM:Thanks for taking the time to share a little bit of your process with us, and with your fans. Finally, what’s in heavy rotation on your iPods right now?
AB: Ah, I am writing a lot of music right now, and so have to kind of stay away from too much great songwriting. 😉 But, I will say that I heard about 20 seconds of the Presents for Sally track on Static Waves II last night, and they just killed it. DE: Highspire, the new Exit Calm, Crocodiles, the new Mazzy Star… MB: I don’t have an iPod but just this morning in the bronco in an hour and a half traffic jam (Houston) I listened to: Bob Mould, Built to Spill, Ra RA Riot, Ted Leo, Elvis Costello, Tame Impala, Washed Out, Twin Sister, Can, Polvo, They Might Be Giants, Billy Preston, Bill Withers and a few more. I’m sure there was an inexplicable segue there in my musical ADD.