Ah, Tuesdays. Tuesday is a nice day for simple pop joys, and perhaps we might peak too early in the week by sharing this track from Starry Eyed Cadet. Technically, it’s a song done previously by The Very Most from Congratulations Forever, but they’ve mixed it up just a bit to put their own spin. Here, the electronic pulse of the original is still intact, but its been flipped here, turning the guitar and vocals into the driving pop vibe, which ends up creating an almost Camera Obscura-esque sensation. You can look for the Very Most to return the favor and cover Starry Eyed Cadet on the Very Most Starry Eyed Cadet split, which, of course, can only be brought to you by the good folks over at Recorded Psychic Readings/Sunday Records.
Mark Linkous would have been 60 this last Friday, which was the day Hunting decided would be the perfect day to release this glorious cover of “Piano Fire.” Typically, I stay away from covers, but I very specifically picking up It’s a Wonderful Life back in college upon the recommendation of a friend, and I, too, found myself in love with Linkous songwriting. The band also chose to announce that they’ve got a new LP of their own titled You’ve Got Love coming your way this November, so keep your eyes peeled for that. Just a nice reminder of great songwriting, and a pretty spot on cover!
John Mark Lapham has teamed up with a bunch of our favorite vocalists to flesh out his latest Old Fire project, with participation from the likes of Adam Torres, Emily Cross…and as you’ll see below, Bill Callahan. While the song is a cover of the underrated John Martyn, I think the composition, film work and Callahan give the song a complete makeover. For starters, the black and white imagery leaves you emotionally naked while watching, as if it’s you being buried beneath the dirt in the video clip. The piano and string work add to the drama, but ultimately Bill’s voice just hits you. There’s something about those deep tones, a sweetness whose melody seems like a light turned on in the darkest of tunnels. I get the feeling we’re in for a moving collection when Old Fire releases Voids in November via Western Vinyl.
I don’t usually rock a cover song, unless, like Austinites Bright Light Social Hour, the song totally reimagines things; below you can hear the group mixing up the Beatles “I Me Mine.” They take the song from its original vibe, and spin it into this funked-up dancefloor ready bouncer; the bass line just bobs and weaves, waving at you with that come hither finger to drag you onto that checkered square of vinyl. This tune fills in a gap in the band’s recording process while they flesh out their fifth studio album; they also have a slew of dates throughout Austin during SXSW, so if you’re around, get into the groove, just like this great cover!
Again, it’s great to see what an author has to say about their own work, get a little insight into their thought process. So we continue celebrating It Should Have Been Tomorrow (coming out the day AFTER tomorrow) by a few more great words from the Love, Burns songwriter himself, Phil Sutton:
Dear Claire was a song I wrote a few years back, recorded by my then group, The Soft City, that included Jason Corace and Dora Lubin, then Turner Stough and Kyle Forester guesting. Dora was the singer, Jason was (is) A Boy Named Thor. The song came out on a 7 inch EP, self-released. I think its a really good EP, that sort of got lost. We broke up when Jason, then Dora, moved away from New York. I always wanted to put Dear Claire on an LP, so we re-recorded the song with me on vocals, and a slightly different arrangement. We kept the looping organ though, the melody of which I sang to Kyle. This is one of two covers on the LP. The other is “Come In the Spring,’ a Pale Lights song. Covering myself. How indulgent!”
It seems only fitting that we begin covering music in the new year by covering our first release of 2022; It Should Have Been Tomorrow by Love, Burns. The band is the solo project of Phil Sutton, who plays in Pale Lights (among other acts like Cinema Red and Blue and Comet Gain!), but the album features help from Kyle Forester, Hampus Ohland-Frolund, and Gary Olson…so it’s kind of a big deal! We’re releasing it in conjunction with Kleine Untergrund Schallplatten, Calico Cat Records and Jigsaw…all great labels run by admirable persons, so we’re fortunate to be part of this release (we’ll be handling the cassette version)! But, we can’t really convince you to pick it up without a little taste now can we? Here’s a few tunes from the album, which will be out on February 4th; buy it from us HERE.
Plus, Phil recently recorded a wonderful cover of the Wake’s “Crush the Flowers” with Suzanne Nienaber for Soleado, a Tribute to Siesta Records, organized by Fadeawayradiate. You can hear that below:
Phil photo courtesy of Dominick Mastrangelo Photography.
A few weeks ago we brought you a new track from Papercuts, and with that, we talked about how the new Baxter’s Bliss EP would have a few covers you’d want to enjoy. So, here we are with Jason’s cover of “The Partisan,” originally written by Anna Marley, but made popular by some guy named Leonard Cohen, which is the version that inspired this tune. Aside from being a song about anti-fascism, the way Quever does his production just always seeps into my soul, with those string arrangements brushed against this thunderous drum bat, all set to a dark shadowy film. If you dig it, the new EP is out this Friday!
Friday’s are perfect days to get your weekend attitude on, and what better way than to listen to one of the ATH faves Melenas (not to be confused with Melons) cover the 80s hit from Swiss outfit Grauzone, “Eisbaer.” They’ve retitled the tune, giving the bear a female perspective, one that prefers living in the isolation of the Arctic where intruders aren’t allowed. The mood between the cover and the original is definitely similar, though I feel like there’s more warmth in the Melenas version; the industrial sterility of the original seems to have been given a nice softening of the textures. If this isn’t getting you ready to dance yourself into Friday night, then I don’t know what will. This tune’s brought to us courtesy of Trouble in Mind Records.
Last year Rules released their self-titled album, which was an undeniable surprise hit for me, compiling joyous electric pop sounds and hyper literary references into gem after gem. Today, they’re back with their first new music since the album, an enthusiastic electro cover of Weezer’s “Say It Ain’t So!” They keep the hooks, so don’t worry that by stripping the song of guitars that you’ll lose something; they stretch it instead with heavy synth work and booming voices! Plus, you get a sense of the band in their natural habitat, as they roll about for a nice evening with director Pekka Harkonen. The band release this tune with another new single on Friday via Soliti!
I’ve admitted my adoration for Rosie Tucker‘s hit LP Never Not Never Not Never Not, and one of my favorite tracks on the record “Lauren” is getting the cover treatment from fellow Angeleno outfit Cheekface. They keep the core of the song’s infectious pop chorus, but they ramp up the rock side during the verses, giving a touch more punch. The vocal combination in the chorus does a great job of adding in that added layer of melody that pop fans crave. Plus, it gives me another reason to write about a Rosie Tucker jam, and I rarely shy away from that…thus why you can also stream the OG version below.