Here We Go Magic, "Here We Go Magic" (Western Vinyl)
Hyped on: My Old Kentucky Blog; Coke Machine Glow; The Fire Note
Official site
MySpace
Who: Singer-songwriter type Luke Temple has been kicking around the New York anti-folk scene for some time, gaining acclaim for his ability to sing (beautifully) like a woman. Yes, you may be chuckling to yourself—grow up!—but Temple creates a gender-bending mood that's as fresh as it is curious. Flipping the script even more is his debut project under the new moniker, Here We Go Magic.
What: For a decidedly lo-fi artist, Temple’s Magical universe sorta steps it up, technologically speaking, by using an analog synth and cassette four-track to create a layered, loopy vibe. “Ahab” begins with simple guitar noodling, which builds with each bass stomp and organ thrust until Temple chant-sings some words and the Afro-beat really starts to take over. (The album is improvisational or “stream of consciousness,” as noted by the artists.) “Tunnelvision”—a standout on the nine-song collection—borrows from Grizzly Bear’s imaginative arrangements, but with more ghostly singing like the Knife.
Made for: Fans of the blissful soundscapes from Department of Eagles. People looking to be ahead of the curve this South by Southwest season—Temple and the Here We Go Magic crew are playing five dates in Austin.
X-Factor: Sufjan Stevens is a fan, noting that “Luke Temple has one of the most beautiful voices in pop music.” – MR
Mirah, "(a)spera" (K Records)
Hyped on: Tiny Mix Tapes; wears the trousers; Deaf Left Ear
MySpace
Who: If you’re new to Portland singer-songwriter Mirah Yom Tov Zeitlyn, you might assume she’s the latest product of the Left Coast freak-folk explosion that’s also given us such distaff eccentrics as Joanna Newsom and Jesca Hoop. But Mirah’s actually been at this for over a decade, quietly producing a series of highly acclaimed solo albums and oddball side projects (including a song cycle about insects; see below) that have ranged from Mia Doi Todd–ish experimentalism to Pacific Northwest indie-pop to hushed acoustic reveries.
What: Initially, Mirah’s first studio album since 2004’s excellent “C’mon Miracle” seems to lean heavily towards folksy, string-laden chamber-pop, culminating in the dreamy track “Education” (as close as Mirah will ever come, thankfully, to sounding like Vanessa Carlton). Then the quirky touches start creeping in: the gorgeous, harp-like kora on “Shells,” the plucked bass and jittery percussion of “Country of the Future,” the Tom Waits–ish, Beat-poet horns and bongos of “Gone Are the Days.” The album’s most brazen (and most accomplished) track is “The River,” a winding, seven-minute-plus paean to a dying relationship that gets sadder and more beautiful each time you hear it.
Made for: Fans of Mirah’s fellow travelers in the brainier edges of the folk-rock circuit: Laura Veirs, Sufjan Stevens, the Decemberists (who loaned multi-instrumentalist Chris Funk to several of this set’s tracks). Rainy afternoons in places (like Portland) where it rains a lot.
X-Factor: Aside from an odds ‘n’ sods collection (“The Old Days Feeling”) released last year, Mirah’s last project was “Share This Place: Stories and Observations...,” an insect-inspired collaboration with Seattle instrumental duo Spectratone International and stop-motion filmmaker Britta Johnson. Sample song titles: “Gestation of the Sacred Beetle” and “Emergence of the Primary Larva.” Did we mention she’s a tad eccentric? – AH
Fake Problems, "It's Great to Be Alive" (Side One Dummy)
Hyped on: Rock Star Journalist; Music for Robots; Adequacy
Official site
MySpace
Who: A Naples, Fla., band that’s built its rep in the punk circles, thanks in part to tours with Against Me!, the Gaslight Anthem and the Riverboat Gamblers. While sharing those groups’ lack of emo/screamo clichés, the band’s second full-length “It’s Great to Be Alive” proves hard to classify in any genre.
What: First of all, don’t confuse “Alive” opening track/soon-to-be-anthem “1234” with the Feist song, which wasn’t under a minute and a half and didn’t feature a vocalist sounding like the dude in Buckcherry after a dozen whiskey shots, caterwauling “You are every c--- I couldn’t control.” On other songs, vocalist Chris Farren is not so harsh, rooting most of his angst in talk of hell, devils, serpents and, uh, alligators. (Look, they’re from Florida, OK?) The band effortlessly adapts elements of Springsteen, old-school Against Me! (especially on “Don’t Worry Baby”), rockabilly, country, gypsy punk (“Level With the Devil”) and disco-rock (“Diamond Rings”) into their ever-growing sound.
Made for: Against Me! fans who long for the pre-major label days. Fans of epic-sized indie rock who need an added dose of aggression. People who think every punk song should be written as a sing/clap-along.
X-Factor: Want a big sound but have no budget? Follow FP’s solution. When the band recorded their latest (with Bright Eyes producer A.J. Mogis) in Omaha, they enlisted a University of Nebraska student/teacher horn section to provide their sonic backdrop. – KM
Harlem, "Free Drugs" (Female Fantasy)
Hyped on: AustinBloggyLimits; OngakuBaka; Culture Bully
MySpace
Who: Three young dudes from Austin, Texas (well, not originally, but that’s how these things go) who claim to only love Nirvana, and who play fuzzed-up, lo-fi garage rock just a few sonic driveways down from the Black Lips. They’re doing something like 10 shows during South by Southwest this year, and their track “I’m on Drugs” should ably serve as the blurry festival’s de facto theme song.
What: Their debut album, “Free Drugs” (think there’s a theme here?), came out a few months back and has been sweeping through the garage rock Web-o-sphere, largely thanks to standout single “South of France,” with its laidback-yet-propulsive feel. Charmingly sloppy vocal harmonies and somehow sad-sounding lyrics about drunken nights and topless girls on the beach seal the deal. Despite the tongue-in-cheek claims of a Nirvana obsession, it’s a safe bet Harlem listen to many of the same ‘60s garage records Kurt Cobain had a fondness for—and the Texan trio ably translates and (carefully) updates that sound for modern ears. The whole obsessed-with-drugs, seeming-bored thing can get a little tired, but hopefully it’s just growing pains. Surely it’s not all drugs, all the time: They’ve also got a song called “Psychedelic Tits.” Wait, that’s probably about drugs, too…
Made for: Dive bars and basements. Thrift store shoppers. Those just discovering garage rock and those who have loved it for a long time. Anyone burned out on the Black Lips but still livin’ lo-fi. SXSW attendees who’ve seen too many eager wannabes playing corporate showcases.
X-Factor: Harlem have been doing a “cover of the month” series on their MySpace page, for which they’ve so far tackled songs by everyone from Devo to the Plastic Ono Band. – KND
