A Review of Mollie’s First Show with Pics

Thanks to our old friend, Stephen Bailey!

The Lost Patrol

Debut for new vocalist at The Goldhawk, Hoboken

Ah to be nervous on stage. To feel that vibrating anxious energy rapidly flowing to every nerve. To giggle, shake and shy away. To eventually sink into a comfort zone. To never miss a beat. I got to live all of this again vicariously thru vocalist Mollie Israel. Tonight was her debut with the band.

Guitarist Stephen Masucci And I have known each other for quite some time. He co-produced and mixed an EP my band Ya-Ne-Zniyoo recorded back in 2000 called 'Paid Platycake'. He's always been a bit of a gadget junkie. Whether it's refurbishing classic analog synths or getting the perfect guitar tone thru a series of electronic effects or making a drum machine part of the band instead of just a tool.

photo gallery

The music of The Lost Patrol is remarkably human and sci-fi at the same time. Lush tones and rich pads of sound are set out for emotional vocals and surf-inspired guitar riffs. Adding to the rhythm of the sequenced parts is the full acoustic strumming of Michael Williams.

Over the years, they've had their share of member shifts (like any band). I've seen them with a full line up. With drums, bass and the whole lot. Stephen told me that, after a while, worrying about keeping a full band in order became a headache. But with their grasp of the sound, nothing is lost to the reduced human presence.

In fact, the use of machines seems the most comfortable to me as a listener. It could be because it is how I first experienced the band many moons ago. Or it reminds me of hanging out at Stephen's home as he spun tales of Mellotrons gone bad and Moogs gone surreal and the like.

No matter, this was a really nice night of music–and a very impressive debut for Mollie. I look forward to not letting so many years go between catching them again. I'm ashamed to say that the last time was in June 2001. Ouch!

See Also:
The Lost Patrol (photo gallery)
The Lost Patrol (website)
The Lost Patrol (myspace)
The Goldhawk (website)
The Goldhawk (myspace)

http://www.stephenbailey.com/music/061308-lost-patrol/

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Complete Discography Including Compilations (with links)

2007 All Around b/w Spooky Love and Shimmy (e-single), Produced by Stephen Masucci, released on Kalinkaland Records/Finetunes (Europe) http://www.kalinkaland.de

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Plan 9 From Syracuse - PLEASE READ - Updated 12/31/07

It's very rare that we shamelessly come forward and ask people to add another person's profile, but for this gentleman, we most certainly will. Our very good friend Ryan Dacko is an independent filmmaker based in Syracuse, New York who ran nearly 3,000  miles across the country for the sole purpose of meeting with a film producer (Dancing With The Stars reject, Mark Cuban) and pitching a business plan to make films. Despite this gentleman's long arduous journey with the public rallying behind him, no meeting was granted and the project essentially failed. The silver lining in all of this was that he documented this entire journey and ended up making a ninety minute film that is nothing short of brilliant human interest story.  What makes this so special for us is that he was inspired by our music throughout the entire journey and ended up using 27 of our songs for this documentary, including several of Stephen's solo instrumentals. Needless to say, we are eternally grateful to Ryan for his efforts and commitment to his art.  Anyone who watches this film will learn a valuable lesson about sticking to your passions without wavering.  Indeed, you will watch this film and feel guilty about not staying the course or abandoning your dreams.  I'll say no more… read the review below and PLEASE acquaint yourself with Plan 9 From Syracuse.

http://www.myspace.com/plan9fromsyracuse

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By Phil Hall

5 out of 5 stars

Best of 2007: NBC-4, Scholars & Rogues & Pop Stops

The Best Albums Of 2007

Looking Back At The Year in Music

Chris Gerard, DC Scene Contributor

How quickly a year flies. As the music industry continues watching CD sales slide further into the abyss, and the pop charts are ruled by pop tarts and disposable R&B throwaways, one might actually assume that there is no longer good music to be found. Not so fast. The year 2007 was actually a stellar year for new releases, arguably the best in several years. As the holidays approach and new releases have dried up for another year, it's time to look back at the best of 2007 and reflect on the year that was.

20 Best Albums of 2007:

20. Duran Duran – "Red Carpet Massacre" Eighties favorites Duran Duran don't have the commercial prowess they did during their heyday, but they've persevered thanks to their winning formula of melodic hooks and dance-friendly grooves. This time around they employ some of today's hottest hitmakers, including Timbaland and Justin Timberlake, and the result is a fun and funky album that gives their classic 80s sound a more modern take. Key tracks: "Skin Divers," "Nite Runner, "Falling Down."

19. Brett Anderson – "Brett Anderson" Former Suede leader Brett Anderson's solo debut wasn't released in the US, but it's well worth seeking out an import copy from the UK. If you're looking for Suede revisited, this isn't the answer -- Anderson's self-titled CD is much more mellow, and doesn't have the same glam-meets-new-wave sensibility. But the hooks are still killer, the lyrics dark and introspective, and Anderson's distinct voice is as strong as ever. Key tracks: "Love Is Dead," "To The Winter," "Song For My Father."

18. The Cult – "Born Into This" Veteran rockers Ian Asbury and Billy Duffy are back with their finest album since "Sonic Temple" nearly two decades ago. Their previous album, "Beyond Good and Evil," suffered from over-production and lackadaisical songwriting. Not so on "Born Into This" – a rampaging, raw, down and dirty rock album that takes no prisoners. Crank it up to 11. Key tracks: "Dirty Little Rockstar," "Illuminated," "Born Into This."

17. Rush – "Snakes & Arrows" Yes, Rush is still making records, and "Snakes & Arrows" represented a comeback of sorts. Their prior studio effort, 2002's "Vapor Trails," was a murky mess. "Snakes & Arrows" is much crisper, reminiscent of the band's stellar 90s albums "Test for Echo" and "Counterparts," and the material is on par with some of their best. Key tracks: "Far Cry," "Spindrift," "Armor & Sword"

16. Robert Plant & Alison Krauss – "Raising Sand" On the surface it seems an odd combination – legendary blues/rock howler Robert Plant teaming up with the voice of modern bluegrass, Alison Krauss. Yet, there's no question that it's an inspired collaboration. The duo's voices meld perfectly and suit the material – bluesy roots music exquisitely produced by T. Bone Burnett – perfect. One of the year's biggest surprises. Key tracks: "Rich Woman," "Please Read the Letter," "Through the Morning, Through The Night."

15. Modest Mouse – "We Were Dead Before The Ship Even Sank" Johnny Marr joins the group this time, and his influence is immediately heard on a diverse mix of quirky rockers that cement the position of Modest Mouse as the Talking Heads of a new generation. Key tracks: "Dashboard," "Spitting Venom," "We've Got Everything"

14. The Lost Patrol – "Launch and Landing" Ethereal, mysterious, achingly beautiful … New York-area indie-rockers The Lost Patrol have been operating under the radar for years, releasing a string of terrific albums. Perfect for perhaps a David Lynch film, or maybe, better yet, for sitting outside on a warm night gazing at stars. "Sirens" is one of the most unforgettable tracks of 2007. Key tracks: "Sirens," "Orbit," "Speak To Me"

13. Amy Winehouse – "Back To Black" Lately Winehouse has been in the news more for her drug-addled antics than for her music, which is a shame. "Back to Black" is a phenomenal record. Singing soulful cabaret and torch songs with a modern sound, Winehouse struts through a time warp of sounds that is wholly unique. Hopefully she'll keep her head together long enough to record a follow-up. Key tracks: "Rehab," "Back To Black," "Mr. Jones."

12. Bloc Party – "Weekend In The City" Brit rockers Bloc Party are rapidly emerging as one of the great rock bands of the current decade. Following their fantastic debut "Silent Alarm" couldn't have been easy, but Bloc Party wisely didn't try to repeat themselves. They expanded their sound and added more electronics to the mix, creating an album with the rare ability to touch the listener, provoke thoughts, and entertain. Key tracks: "I Still Remember," "The Prayer," "Hunting For Witches"

11. Neil Young – "Chrome Dreams II" Neil Young reaches into his vault and issues a grab-bag of old, unreleased material mixed with new songs, and the result is a glorious hodgepodge that encapsulates what makes Young so great. The 18-minute "Ordinary People" steals the show here, but the remainder of the album shouldn't be overlooked. Neil Young has dealt with health issues in recent years, in addition to his advancing age, but he can still rock out better than folks 40 years his junior. Key tracks: "Ordinary People," "Spirit Road," "The Believer."

10. Dan Wilson – "Free Life" Former Semisonic and Trip Shakespeare frontman Dan Wilson, fresh off his success as songwriter/collaborator with the Dixie Chicks, makes a triumphant return with this fresh and melodic solo album. He's mellowed down since his Semisonic days, but the songwriting is as sharp as ever. Key tracks: "Breathless," "Baby Doll," "Easy Silence"

9. Patti Smith – "12" Cover albums rarely work, but Patti Smith is a rare artist. Her seething take on the Stones' "Gimme Shelter" is entrancing, and when she sings on the Jim Hendrix classic: "Have you ever really been experienced…, I have, "you definitely believe her. Key tracks: "Gimme Shelter," "Everybody Wants To Rule The World," "Are You Experienced?"

8. Nine Inch Nails – "Year Zero" Trent Reznor is a perfect commentator for the world circa 2007. His open disdain for the music industry machinery works in perfect tandem with his icy and abrasive vision of a future (or present?) society in "Year Zero," his best album since "The Downward Spiral." Essential listening. Key tracks: "Survivalism," "Capital G," "Zero Sum."

7. Rihanna – "Good Girls Gone Bad" The best pop album of 2007 by a wide margin was Rihanna's "Good Girls Gone Bad," a sweet confection of buoyant dance songs and heartfelt ballads. Not your average throwaway record industry product, "Good Girls Gone Bad" is expertly produced and impossible to set aside. The songs stick in your head and don't let go. Key tracks: "Umbrella," "Don't Stop The Music," "Breakin' Dishes."

6. Tori Amos – "American Doll Posse" Veteran performer Tori Amos revitalized her career in 2007 with her finest album of the decade. Sprawling and adventurous, "American Doll Posse" has some misfires, but when it's on, it's stunning. The record veers from melodic pop to ragged rock tracks and lovely ballads, and although it's occasionally frustrating, it's never boring. Key tracks: "Bouncing Off Clouds," "Big Wheel," "Almost Rosey."

5. Bruce Springsteen & The E Street Band – "Magic" Bruce sounds as good as he's ever sounded in a welcome return to the storytelling arena-rock that made him a superstar. He continues to stay relevant nearly 40 years after his debut, and is still rebel enough for his album to have been blacklisted by the music industry behemoth Clear Channel. Key tracks: "Radio Nowhere," "Devil's Arcade," "Your Own Worst Enemy."

4. Lucinda Williams – "West" One of America's best songwriters, Lucinda Williams delivered a poignant collection of love songs and songs of heartbreak. Her plaintive vocals can go from vulnerable and resigned on tracks like "Fancy Funeral," to snarling and bitter on "Come On" and the epic "Wrap My Head Around That." "West" goes effortlessly from Crazy Horse-style rambling rock to gentle acoustic ballads, and very little time is wasted. Key tracks: "Are You Alright?" "Learning How To Live," "Unsuffer Me."

3. Siouxsie – "Mantaray" Former Banshees leader Siouxsie Sioux released her long-awaited solo debut in 2007, and it was a bombshell. A dizzying mix of sly electronic pop with a theatrical flair, "Mantaray" was an unexpected triumph that showed without question that Siouxsie's still got all the qualities that made her so great in the first place. "Mantaray" sounds modern and retro at the same time, and nearly every track is killer. Key tracks: "Into A Swan," "Loveless," "Here Comes That Day."

2. Radiohead – "In Rainbows" Nothing generates as much excitement in the music world as a new Radiohead album, and "In Rainbows" hit internet wires with little advance warning in October. More was made over its unusual distribution than of the album itself, which is a shame because in true Radiohead fashion, it's a classic. Experimental in the vein of "Kid A" and "Amnesiac" but still accessible, "In Rainbows" shows a legendary band still at the peak of their creative powers. Key tracks: "Nude," "Jigsaw Falling Into Place," "Videotape."

1. Annie Lennox – "Songs of Mass Destruction" From the opening notes of the sublime "Dark Road," you know Annie Lennox has delivered something special. "Songs of Mass Destruction" is like a culmination of everything Ms. Lennox has done in the past. Wrenching and beautiful ballads are interspersed with intense up-tempo tracks that tell of lost love, personal demons and challenges we face in the world. Lennox's voices has never sounded more grand and powerful, and her sense of drama is very much intact. Killer from start to finish, no other album in 2007 has as much power and presence. A classic. Key tracks: "Dark Road," "Ghosts In My Machine," "Sing."

 

HONORABLE MENTIONS (alphabetically)

Ryan Adams – "Easy Tiger"
Arcade Fire – "Neon Bible"
Bear Colony – "We Came Here to Die"
Bell Hollow – "Foxgloves"
Paddy Casey – "Addicted to Company"
Crowded House – "Time On Earth"
Editors – "An End Has a Start"
Dave Gahan – "Hourglass"
PJ Harvey – "White Chalk"
Interpol – "Our Love To Admire"
Jimmy Eat World – "Chase This Light"
Kosheen – "Damage"
The National – "Boxer"
Ne-Yo – "Because of You"
Sinead O'Connor – "Theology"
Dolores O'Riordan – "Are You Listening?"
Prince – "Planet Earth"
Seal – "System"
Silverchair – "Young Modern"
Spoon – "Ga Ga Ga Ga Ga"
Casey Stratton – "The Crossing"
KT Tunstall – "Drastic Fantastic"
Rufus Wainwright – "Release The Stars"

link to NBC-4 for the Greater D.C. area: http://www.nbc4.com/dcscene/14824077/detail.html

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The best CDs of 2007, pt. 2: Platinum LPs

Posted on January 28, 2008 by Dr. Slammy under Popular Music< A>, music, popular culture [ Comments: 21 ]

Welcome back to part two of our annual music wrap-up. Today we award the Platinum LPs, given for superior achievement. (If you missed part one, click here to review the Gold LP winners, updated to include three inadvertent omissions.) These appear in no particular order.

Platinum LP

The Birthday Massacre: Walking with Strangers
Toronto's The Birthday Massacre is a study in contradictions. While sometimes labeled a "goth revival" act (and it's true that you'll hear all kinds of '80s post-punk and goth influences), there's something very contemporary, even forward-looking, about their sound, which manages to be appropriately dark and bright to the point of chirpy. Hard, yet, achingly beautiful. Thematically discomforting, yet not remotely nihilistic. And so on.

This is hands-down my favorite CD of the year to simply listen to - lush, rich, driving and ambient all at once. The worst thing I can find to say about Walking with Strangers is that it's probably not much better than their previous effort, Violet. Of course, that was a damned fine effort, too.

Blonde Redhead: 23
A lot of times I'll fall in love with a dreampop/shoegazer/noisepop band and it feels like I'm the only one, but this year's superb release from NYC-based Blonde Redhead seems to have popped up on a number of year-end lists. Their debt to My Bloody Valentine is obvious, but they also bring a haunting sense of melody to their music in ways that MBV and some of their other followers never managed.

Droning, shimmering, sweeping, dissonant but irresistibly lovely - 23 is a songwriting tour de force in a genre known a lot more for its atmospherics than for its tunesmithing. Simply remarkable.

The Clientele: God Save the Clientele
The most delightfully upbeat CD of the year. From top to bottom, this bright exercise in indie chamberpop feels a carefree stroll through one sunny park after another, and if I make it sound insubstantial, you have my apologies. GStC is anything but trivial. One reviewer, AMG's Tim Sendra, calls it "a stunning batch of songs that will break your heart, pump it back full of life, and send you off to dreamland with a warm feeling filling your soul." Not far off the mark, that - despite the warm, feel-good vibe, there is a lyrical depth here, but even when things go badly we're never allowed to forget that the sun rises again tomorrow and with it comes a fresh burst of hope.

In its best moments - and there are many - The Clientele reminds me of Luke Haines on a good day. Tonally reflective, musically rich and warm - wonderful to listen to whether you're paying very close attention or not.

The Good, The Bad & The Queen: The Good, The Bad & The Queen
Once upon a time Damon Albarn produced an iconic CD about life in London, Blur's classic Parklife. After a couple insanely innovative outings at the center of Gorillaz, he's now looped that aesthetic back into the task of yet another definitive set of snapshots depicting life in London. This time, though, the mood and storytelling are considerably bleaker.

Albarn has recruited a noteworthy cast this time around, and TGtB&tQ feels more like an actual band than Gorillaz ever did. Guitars are handled by Verve's Simon Tong, Fela Kuti drummer Tony Allen and Clash bassist Paul Simonon, and each brings a healthy dose of what made them famous to the project. Still, the disc feels more like Demon Days than it does Parklife, Urban Hymns or London Calling.

Albarn has now produced epic efforts in three different incarnations, and it's hard not to number him among the greatest auteurs in rock music today. In sports terms, he's an automatic first-ballot hall of famer even though he's still in the middle of his career. Of course, rock doesn't have a hall of fame….

Robert Plant & Alison Krauss: Raising Sand
Did you see this one coming? Because I know I didn't. Metal legend teams with one of the brightest lights in contemporary bluegrass? Okay-dokey.

Of course, it's brilliant, oscillating between folk, Americana and country, and perhaps thanks to T-Bone Burnett's laid-back influence the whole things comes off as really effortless. Warm, organic, and maybe a little less explosive than I might have expected (Krauss only plays the fiddle on a couple of tracks), the result is what happens when legit superstars are willing to subjugate their individual talents to the requirements of the team.

VAST: April
Over the past decade it's hard to find a band or performer that's been more consistently outstanding than VAST, aka Jon Crosby. April represents a break from past form, though, in that it's a bit more acoustic and also in Crosby's willingness to let other people into the studio, a move that helps infuse the CD with some of the dynamism of the VAST live show, which is simply one of the hugest sounding things I've ever encountered.

April is probably not quite the masterpiece of 2000's Music for People, but its suite of haunted, stunningly beautiful songs of love and loss still prove the merit of a brilliant artist. Even his second best work is markedly better than the best efforts of most others.

Amy Winehouse: Back To Black
Graham Parker says this is the best thing anyone has done in a very long time, and I'm very close to agreeing with him. Winehouse has reached back into the vaults, dragged out soul and R&B, dusted it off, and made it new again. This isn't an easy thing to do - these styles have been done, done some more, and then done to death, so the vibrancy of Winehouse's neo-soul sound is nothing short of remarkable. The songs are stellar and her performance of those songs suggests a power and experience that you rarely find in a 24 year-old. It's a shame her personal soap opera has dominated public conversations about her - really, it should be all about the music.

P. Hux: Kiss the Monster
Track 5 is called "Come Clean," and it begins this way: "I'm gonna tell her everything / I'm going to say I slept around." Talk about two short lines that got my attention - I wanted to jump up, grab a phone and see if it was too late to stop him. It was: "I heard some feet go pitter-patter / A window on my pick-up shattered / fucking really fucking matters." Parthenon Huxley has been around awhile - is career started in the Carolinas in the '80s - and the experience shows. A lot of power pop seems so constrained by the form and by the need to touch all the right bases influence-wise that it never quite establishes a serious depth, but that's not an issue for Hux (and hasn't been for some time, actually). Thoughtful guitar pop at its best.

The Lost Patrol: Launch and Landing
Damn. Just, wow. Twangy, epic widescreen music for empty western landscapes at sunset. Somehow TLP conjures the Old West and layers it with a twinge of goth electronica in a way that's relentlessly cinematic. Their sound is defined, in some ways, by the connotive power of echo and reverb, yet it's never overpowered by studio tricks. Instead, the focus never leaves the staggering accomplishment of the songs themselves, which manage to be as transcendent in impact as they are simple in structure and conception.

Oh, one more thing - this is a self-release. Somehow music this masterful isn't worthy of label attention? You're kidding, right? Well, that was the fate of the last Jets Overhead record, too, and it struck me as being the best release of 2006.

Radiohead: In Rainbows
I've always respected Radiohead for their willingness to explore and innovate. That respect hasn't always translated into a high regard for the finished product, though. This year, though, the band has translated some of their experimentation into actual songs, and the result is frankly pretty impressive. In fact, I think it's probably their best in several years. The commitment to more traditional structures has infused In Rainbows with a direction and a sense of control that hasn't always been evident on the last few discs, and with luck this is the start of a new phase in the band's considerable career.

Join us next time when we'll award the 2007 Slammy for CD of the year.

Visit Scholars & Rogues here: http://www.scholarsandrogues.com/2008/01/28/the-best-cds-of-2007-pt-2-platinum-lps/

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2007 In Review:
Silverchair and Brandi Carlile
top Best CDs of the Year list

By John Everson

Pop Stops reviewed or mentioned more than 200 albums in 2007 and came up with a handful of 4.5-5 star albums, which is always a good indication of a strong music year (there have been years that I've not given out a single 5-star rating).

I don't claim to have listened to every disc released this year -- for example, despite it being "free" for download, I never got around to checking out Radiohead's middle-finger-at-the-ailing-music-industry release. But generally I only have the space to mention one-third or one-fourth of the CDs that I receive to review, which means that the following is my distillation of at least 600 albums that I heard which were released in 2007. That's a pretty wide survey of popular music!

Following are my thumbnail reviews of my favorite 25 discs of the year, along with links to the reviews and the Pop Stops star ratings they received.

* * * TOP 25 ALBUMS OF 2007 * * *

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1) Silverchair — Young Modern (Eleven) Young Modern continues and builds on the cinematic intensity of their last release, melding Beach Boys-esque harmonies and string arrangements with a modern rock intensity. Legendary Beach Boys collaborator Van Dyke Parks reprised his Diorama role, penning orchestrations for three of the songs, and throughout the 11 tracks on Young Modern, the band displays an astonishing maturity and inventiveness, dropping song after song of catchy pop-rock that is, frankly, uncategorizable. There are lazy, cozy interludes, jaunty guitar stomps, falsetto croons, hip-shaking rock riffs… this is an album to get lost in – it's a panoramic world unto itself. If you like music, you owe it to yourself to hear one of the best examples of pop fusion that has been recorded this decade.
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2) Brandi Carlile — The Story (Columbia): There are 14 songs on The Story (including one hidden "bonus" track about hiding one's heart away for fear of losing that which is loved). Every one of them is a victory in breathtaking songsmithing. As the year has gone on, I've probably listened to this disc more than any other (I've changed my original newspaper column rating from a 4.5 to 5 stars at this point!) Don't miss this gentle, tightly drawn album from a voice whose pen is far wiser than her years should allow.
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3) Amy LaVere — Anchors & Anvils (Archer): Throughout Anchors & Anvils you can hear a twinkle of a quietly rebellious smile as Amy LaVere sings of the mundane frustrations of women locked in a thankless world of dishwashing, laundry and putting up with unappreciative louts. A 10-song CD smoldering with hidden, understated passions, it strolls across a tapestry of classic Americana music styles. LaVere sings with an innocence that belies the desperation of some of the lyrics and which ultimately makes the performances even more gripping. LaVere grew up on the border of Texas and Louisiana, and you can hear those influences in her vocal delivery, sometimes reminiscient of the whimsically girlish whisper of Kim Fox, as well as of the country-pop chanteuses of the '50s. LaVere's gently sweet cover of Bob Dylan's "I'll Remember You" closes an album that I can only describe as "too short."
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4) Various Artists — Auralgasms: Breath of Stars (Auralgasms): The third compilation from the Internet radio station Auralgasms.com is a collection to dream to, filled with warm fuzzy guitar songs, rich ethereal synthesizer tapestries, astonishingly affecting vocalists singing familiar themes of love and loss that reverberate with timelessness. My favorite tracks come from Sleepthief, Costanza and Ether Aura as well as from the dreamy Honeybreath and Lou Rhodes and the rhythmic but heavenly Sky Project. But there are also great songs from Trashcan Sinatras, Neverending White Lights and Hotel De Ville (who provide what sounds like a lost This Mortal Coil song) and many more. Breath of Stars offers some of the most entrancing music being crafted today, by artists who, at this point, remain largely unknown outside of the dreampop circle.
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5) Tegan & Sara — The Con (Vapor/Sire): For their fifth album, these Canadian sisters collaborated with Chris Walla (Death Cab for Cutie) introducing more keyboard and electronic textures to their songs than their previous work, resulting in a wide-ranging disc that allows the beauty of the twins' vocals to shimmer on every track as they dole out 14 songs that tend to focus on the trials of love gone wrong. The Con is a rich, varied album full of pop hooks and deep emotion – and one of the best albums of the year.
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6) Chris Pureka — Dryland (Sad Rabbit): Issued on her own label, this is an album of autumn beauty – melancholic emotion colors the songs, which slip by as easy as the landscape on a long Nebraska drive. The drama is there, but you have to let it sink in slowly. Hers is a style that will overtake your heart, if you sit still long enough to let it. Now that I've let her voice in, I can't recommend this album enough!
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7) The Feeling — Twelve Stops and Home (Cherrytree/Interscope): The Feeling lives somewhere between 1974 Paul McCartney & Wings and Gerry Rafferty's Stealer's Wheel, not to mention the '90s best harmony rock throwback band, Jellyfish. This is an album for lovers of the slick sounds of '70s harmony rock as well as for those who know that powerpop is timeless (and sweet as candy!)
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8) Tori Amos — American Doll Posse (Epic): American Doll Posse is an ambitious, confident sprawl of an album that ultimately pans out stronger than her last couple releases, and displays a rock passion that we haven't heard from the "Piano Girl" since her From the Choirgirl Hotel album nine years ago. Don't dismiss this on a first listen or two… let Tori and her dolls sing to you for awhile and you'll soon find yourself joining the posse.
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9) Chris Knight — The Trailer Tapes (Drifter's Church): recorded with just an acoustic guitar just prior to Knight's big break with his self-titled major label debut, The Trailer Tapes now stands as Knight's fifth released album, and finds the singer sounding melancholic and alone, a Steve Earle-whiskey-voiced lamenter in a Johnny Cash lonely wilderness. By turns lost, angry, hurt and haunting, The Trailer Tapes offers a lost emotional treasure that's thankfully been found.
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10) Travis — The Boy With No Name (Epic): A tour de force of melancholy harmony and quixotic guitar, this is an brit-pop dream-gazing album that you can't help but get lost in. After I put it on, I'm always surprised to find that I'm singing the final chorus so soon...
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TIE:

10) Kenna — Make Sure They See My Face (Interscope): A techno-pop gem, Kenna plays all over the quirky electronic pop map on his latest release, co-produced by The Neptunes.
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11) The Fratellis — Costello Music (Interscope): An infectious slam of cheeky rock 'n' roll, this is an album of non-stop breezy fun. With a bevy of bouncing rollicking rhythms, a penchant for early Beatles-ish harmonies and smatterings of keyboards, bells and horns lurking between the chimey bass and guitar work, every track on Costello Music sounds like it was a party to record in the studio.
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12) Heavy Trash — Going Way Out with Heavy Trash (Yep Roc): The last person to use this much reverb on a recording may have been Buddy Holly! Heavy Trash – the invention of singer Jon Spencer (of Blues Explosion) and guitarist Matt Verta Ray (of Madder Rose) – reinvents the "be-bop-a-lu-la" sound in spades on Going Way Out… with the help of a parade of backing session musicians, including Canada's The Sadies. By the time the disc ends with its 13th track, the beat-poet twang-guitar backed spoken word experiment "You Can't Win," you may have dug out your motorcycle jacket and pomade.
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13) Wilco — Sky Blue Sky (Nonsuch): While on a first listen, Sky Blue Sky is a fairly sedate recording, repeated listens reveal a wealth of melodic hooks (especially in my favorite track, "Impossible Germany") along with the wonderfully clean, twining guitar work of Tweedy and avant-jazz guitarist Nels Cline that will remind you of the best of '70s AM rock radio. If you enjoy laidback guitar music, honest vocals and a hint of radio days gone by, check this one out.
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14) Carina Round — Slow Motion Addict (Interscope): if you like albums that don't rest simply on a bunch of quickly knocked out three-chord rock tracks that will be forgotten tomorrow… Slow Motion Addict is for you. This is an inventive and quirky pop-rock disc that melds New York glam and punk with offbeat pop vocal backups and an unabashed manic energy that Debbie Harry once might have approached. Round gets compared frequently to PJ Harvey and Patti Smith, who also work in offbeat pop palettes, and those comparisons ring true throughout the vocal calisthenics of Slow Motion Addict, where Round sometimes moves from quiet growls to high-pitched wails to whispery pleas — all in the same chorus.
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15) The Alarm — Under Attack (EMI): While their later albums were colored with gobs of studio polish, Under Attack returns to the fist-raising punkier raw rock of the band's early days. From the pounding beat of "Without A Fight" to the rising "whoa-oh-oh" vocals of the anthemic "My Town" the disc bristles with energy and great hooks. Just listen to "It's Alright, It's OK" once and you'll be humming the chorus in your head for days afterwards — this one's begging for repeated radio play.
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16) The Lost Patrol — Launch and Landing (self-released): The Washington Post called their sound "retro-surf-alternative-cocktail rock" which I suppose captures it as good as anything. This is an album that listens like a hip movie soundtrack. Dreamy, evocative, and catchy in a sneak-up-on-you kind of way. Coolness factor: 10! Highly recommended.
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17) The Pipettes — We Are The Pipettes (Cherrytree/Interscope): A British all-girl trio with a jones for the Phil Spector wall-of-sound attack, We Are The Pipettes is a saucy 16-song collection rife with deliciously sweet "la-la-las," sockhop handclaps, sugary string backups and snare-drum fun, not to mention a touch of lyrical lasciviousness.
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18) Scorpions — Humanity Hour 1 (New Door/UMe): While Scorpions have always known how to turn the amps to 11 and punch out some hard rock, they've also always had an exceptional melodic sense, and Meine's voice only seems to get better at exploiting that with every album. Tracks like "Your Last Song" will keep you nodding your head in thrall within seconds of its first play. And if it's driving guitars you want, give a close listen to the buzz of "The Cross," which features a guest appearance by Billy Corgan of Smashing Pumpkins. The day of pop metal may have faded, but the sting of the Scorpions remains as potent as ever.
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19) Gore Gore Girls — Get the Gore (Bloodshot): Pegged dead-on in one review as the "gum-popping, guitar-toting granddaughters of Chuck Berry and the Beach Boys," and in another as "The Stooges meets The Supremes," Detroit's Gore Gore Girls have been carrying on the garage-rock, punky girl-group tradition now for a decade. Get The Gore is the band's third full-length album, just released on Chicago's Bloodshot Records, and it's a must-have for anyone who loves harmony backed but raw-energy bar rock (most recently given a shot in the arm by the Donnas). Big vintage guitars, white and black leather minis, go-go boots and '60s girl-group song structures are what the Gore Gore Girls are all about, and they have a blast with the gimmick. Overall, this is a party album, just waiting to be spun well into the sock-hop night. This is rock 'n' roll the way it was meant to be — sometimes sweet, sometimes dangerous, and always a whole lot 'a shakin' fun.
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20) The Hives — The Black and White Album (A&M): No band since The Ramones has a band thrown down so many riff-rich anthems one after another played so…fast! The Hives are a Swedish quintet who broke onto the U.S. rock scene with Veni Vidi Vicious seven years ago, at the same time as a late 60's garage band-meets-late '70s punk music sound revival was in full swing (reference also The Vines and The Strokes). They've since learned when you pound out manic 2-3 minute songs one after another that you can't put together a very long album without changing it up a little. The Black and White Album clocks in at 45 minutes with 14 songs, and it crackles with energy, even on the "changeup" tracks. This is an album that needs to be listened to start to finish, as the pounding punk attacks slide into the quirkier rock explorations that serve to clear and whet the aural palate for the next attack of three-chord guitar distortion and anthemic vocal yells. The Black and White Album should bear the cover admonition: "must be played loud." But listeners will undoubtably figure that out.
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21) Johnette Napolitano — Scarred (Hybrid): Since her '80s hitmaking days with Concrete Blonde, Johnette Napolitano has continued to craft inventive, poetic, edgy and often dark pop-rock music. Her latest solo release includes her whiskey-tinged bittersweet cover of Coldplay's "The Scientist" (which originally appeared on the Wicker Park movie soundtrack) and finds her handling a folk-march rendition The Velvet Underground's "All Tomorrow's Parties".
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22) Klaxons — Myths of the Near Future (Geffen): The album is definitely all over the map, with punkish attacks a la The Vines and even a melange of African rhythm with '80s techno and Brit-pop vocals. From experimental punk noise to polished synth pop, this is a CD that truly mixes it up – Myths of the Near Future is like a random rock jukebox, which never fails to interest, and usually manages to entertain pretty well too!
( ½)

23) Matthew Ryan — From a Late Night High-Rise (Plastic Violin): The Nashville-based folk-rock singer-songwriter has released a quietly moody 10th album that spotlights his acoustic guitar and emotion-laden, sometimes earnestly raspy vocals. Over his career, the singer has worked with Lucinda Williams and Neilson Hubbard, among others, and has earned critical raves on the alt-country scene for a decade, though he's never met with critical success. His latest CD listens like a bedroom confessional, stark and troubled, but achingly honest.
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24) Blaqk Audio — Cexcells (Interscope): While much of the first half of the disc has a moody gothy vibe to it, the second half starts to sound more bubblegum-oriented, with that sugary technopop hitting full force in tracks like "Semiotic Love" and the driving gallop of "Again, Again and Again," which sound like a summit between The Lovemakers, Neuropa and Intuition. Focus problems aside, for fans of hook-laden synth pop, there's bound to be something here you'll want to add to your iPod songlist of the week.
( ½)

25) Chief — Chief (TSRK): A Wisconsin trio with a thunderous bar-rock attack, their 14-song release initially struck me as a throwback to the early '70s era of hard rock. But repeated listens have revealed a wide palette of influences here, including Foo Fighters. In their own parlance, this is just good-time, 100-mile an hour, ass-kickin' rock. Play it loud.
( ½)

Visit Pop Stops:  http://www.popstops.net/

—John Everson

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Drum Machines and Sequencers on Stage - The Sequel

This is sort of a "Part 2" of my observations and opinions on using drum machines and sequencers as part of a stage show. First, I'd like to thank those who commented here at MySpace and those of you who e-mailed me sharing your experiences. I always learn something new from other musicians also working "in the trenches," as it were.

In my first blog on this subject, I came down pretty hard on the use of lap tops on stage. I should start out by qualifying a few of my comments. Basically, I was talking about a price/reliability issue. People tend to gravitate toward lap top computers on stage primarily because of their small size and the amount of recording and voice generating software available. My caution is that when you shrink a computer down from a tower type desk top model to lap top size, one massive trade off is in the power supply and heat. By nature, lap tops generate a tremendous amount of heat, and when you immerse that into the more hostile environment of a stage set up, something will go wrong eventually. Heat is the enemy of most electronics and ineffective cooling is the shortest path to failure in solid state electronics.

If you do have the budget (and crew), a better way to use computers on stage is to use the bigger format (desk top) types. These invariably have more robust power supplies and are cooled more effectively. Ideally, you would use two identical computers running in parallel with the same program material, locked together, so in the event of a failure, the back-up computer takes over the show.

Back to the reality of the smaller venue band, budgets are more limited and back-up gear is usually not an option, hence my choice to go with a piece of gear that is more or less designed for the task. Ease of operation is also crucial as there usually isn't someone outside of the band to work the sequencing system. In other words, one of the already busy musicians (guitarist, bassist, drummer, etc), is now pulling double duty during the show. Some people have the option of remote (footswitch) commands (start/stop) but most avoid this because if you're playing an instrument and already responsible for pedal boards, midi switchers, etc., throwing in another layer of complication for your feet only increases the risk of mistakes. As I mentioned earlier, reliability is the whole deal for me.

A few people mentioned the importance of monitoring. As anyone who plays some of these smaller places will tell you, monitors can be dubious at best. Throw in an incompetent sound person and the band is in for a very long night. In short, if you can't hear the drum machine or sequencing at least in some minimal way, the show's over before you've started. As with many other bands, The Lost Patrol carried a small monitor system for this purpose in case the house system couldn't deal with feeding the sequences back through their monitors so the band could hear them properly. I used a JBL self powered stage speaker with a small Mackie mixer. The system was small, easy to set up and could be used on even the tightest stages. This way, I could set up a mix just for the band and things usually worked out OK regardless of the house PA. Another tip is to use the lowest possible volume from the live instruments (amps, keyboards, drums) as possible. This way the PA and monitors aren't fighting the stage volume as much and the band can far more easily hear the sequencers.

One additional advantage to using the AKAI drum machine/sequencer for me was that it was very easy to use any number of separate synth modules for the various instruments like bass, strings, synths and sound effects. This way I could easily mix these elements as you would if you had a stage full of musicians. As anyone who plays out knows, acoustics and sound systems vary greatly from venue to venue, so I was always in the position to vary the mix accordingly. I was never stuck with a stereo mix of everything that was difficult, if not impossible, to change once at the show. I could even modify the mix on the fly during the show if needed. Not a perfect system, but quick to set-up and very reliable so the band could achieve some degree of consistency from show to show - a tall order when having to deal with some of the wacky places and strange circumstances we all get to enjoy while bringing our art to the public.

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Drum Machines and Sequencers in the Live Setting

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More Great Press (Updated 04/05/08)

Thanks to Sage from Heathen Harvest for this great review of "Launch and Landing," and to Gorebatjov for the review of "Lonesome Sky."

LAUNCH AND LANDING

The Lost Patrol is a four-piece, female-fronted trip hop act out of New York in the United States. It is unsure as to when they started their careers in the music business but the earliest known release to us is 1999's self-titled effort. Compilations and samplers aside, The Lost Patrol has gained a large following not just from their unique sound and style, but the fact that they have managed to avoid the grasps of the record industry and remain largely independent all of these years. With nearly a decade now under their belts, The Lost Patrol is seemingly steamrolling through the shoegaze underground and making a statement for themselves. Granted the music is perhaps a little to cheery sounding to become an underground classic like Lycia or La Floa Maldita, they are really working to reinvent the sound completely for a new perspective on the shoegaze genre.

Launch and Landing's atmosphere is largely of a trip-happy, spacey and surfy atmosphere. If you allow yourself to chill out, relax, and kick back to the guitar ambiance that drives the music, you can almost feel yourself riding the waves with psychedelic colors galore. Such a strange mixture, as when one thinks of shoegaze they generally hear one of two things: dark, cold, and depressive atmospheres, or college-rock/post-rock styled atmospheres. This is neither, as this would most likely be the beach boys with a female singer and a vast array of effects pedals.

Okay, so perhaps its not THAT cheery. But it definitely provokes happy thoughts and a chilled atmosphere. But there's one thing that can be said for sure: This band is destined for great things in the future. Perhaps 'Launch and Landing" then is quite the appropriate title for the release. Though they've put together a rather impressive discography already, this seems like a 'starting point' kind of album rather than one to fit the middle of someone's career. Portishead will be making a comeback soon, so people will be looking for new spacey styles of music, and look for The Lost Patrol to be one of the bands that the larger part of the rock audience picks up. Fantastic record.

Link

LONESOME SKY

Not all releases send to Heathen Harvest have the same fate. Some are reviewed within two days, others can (for no evident reason) just sit in the cabinet for months. "Lonesome sky" is one of those releases who have sat there for way to long and get reviewed after a terrible length of time. This isn't because of the music on the CD, or the artwork or the band; this just happens. And "Lonesome sky" is definitely worth the wait.

The lost patrol self-released this release in the end of September of the year 2005. This date can be pretty conceiving though, as "Lonesome sky" sounds like it is a remastered version of 80's releases in the GDR dark pop era. The voice of Daniëlle, the singer of The Lost Patrol holds the capability to control the songs and the listener's mood. The Lost Patrol succeeds in making tracks which sound like folk influenced surf songs, trip-hop influenced rock and Goth influenced ballads. Excellent musicianship and supreme compositions combined with a great recorded and produced sound gives "Lonesome sky" a perfect ten. It is a revival of 80's dark pop with additional extras.

Although every song on "Lonesome sky" is very much worth mentioning, there are a few which stand out in the crowd. The first track "Cup at my krater" is an excellent piece of emotional acoustic folk guitars and the singing strikes the listener within the first seconds. The 12-string guitars and electronically-revived string-quartet on the background create the perfect surrounding for the feeling of happiness or sorrow. Another beautiful track is "Tragedy of me", sung by Michael the guitar player. Also a fantastic piece of art with marvelous lyrics and an amazing feeling to it. The Lost Patrol is capable of creating those ballads with actual feeling in them, instead of just 'sad' songs. Also here the production shows, with the dubbed vocals and the inserted strings on the background. Something else but nonetheless another good one to mention is "Run wild" which is almost like a Western cowboy song dripping from Synthpop influences. It doesn't happen much that I hear something that I really haven't heard before, but the chosen structure and arrangement of "Run wild" is certainly something I have never seen or heard before. Especially the 'yeehoo!' on the end of the song is worth to notice.

"Lonesome sky" is as diverse as the community of Berlin. Although jumping from genre to genre and from style to style doesn't work on CD's most of the time, the Lost Patrol is able to do this in the best way possible. It would have been a setback if they didn't shifted so fast and it is yet a secret to me how they came together with this excellent tracklist. The musicianship of the Lost Patrol is of a quality seen way to less nowadays. I bet that the band is able to create almost any style of music and still succeed in making a good record. Those who are interested in remarking compositions and mixes of various, previously unmixed, songs and song structures get updated with this band. The beautiful ballads will enjoy anyone interested in good music and the 'special' songs will only enthusiast more to listen more or create music for their selves.

Link

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Thanks to John Everson from The Star - ChicagoHeights-Star.com (Member of The Sun Times News Group) 

The Lost Patrol

"Launch and Landing"

(self-released)

HHHH

This is one of those discs that I almost passed by. The cover treatment is bland and uninteresting, and the first strains of music from the speakers scream "indie band" - echoing reverb and a "faraway" kind of "recorded live" sound almost led me to hit the eject button.

But then I listened a little more to that spaghetti western bass and guitar and the sensual drifting vocals of Danielle Kimak Stauss, and soon I was lured into the spell of The Lost Patrol. This is the band that The Raveonettes want to be.

Everything on "Launch and Landing" is drenched in surf-tone reverb; the drums are almost lost in a warehouse-y echo. But from the mix, Stauss' alluring vocals whisper and wail and sell every song. Sometimes sounding a bit like Echobelly in her pure-voiced delivery, and sometimes more shimmeringly ethereal, she leads the band through 13 tracks on this amazing sonic excursion, including a hidden extra track, "Shimmy," which is actually one of the best songs on the disc.

In "Only Love" she croons amid a dreamy mix of retro keyboards to deliver the key lyric "Only love will save you now" before the bass turns up a strutting gallop in "AWOL" and the "Rawhide/Ghost Riders in the Sky"-style guitars take over for pretty much the rest of the album. The arpeggiating guitars and whispering delivery of the track "Speak to Me" is reminiscent of the original '80s incarnation of Throwing Muses, heavy on atmosphere and dark vibes.

The Washington Post called their sound "retro-surf-alternative-cocktail rock" which I suppose captures it as good as anything. This is an album that listens like a hip movie soundtrack. Dreamy, evocative, and catchy in a sneak-up-on-you kind of way.

Coolness factor: 10! Highly recommended.

To find out more on the band and to hear music samples, check out their site at www.thelostpatrol.com.

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Also, thanks yet again to Church of Girl from Portland, Oregon for making The Lost Patrol part of their "Radio Stars." We were showcased back in July 2007 (sorry for the delay in posting this).

The Light of the Moon

The Lost Patrol hold a magical key to our heart with their desert-surf tinged guitar, twelve-string acoustic guitar, swirling synths, strings, electronic and live drums -and of course, Danielle Kimak Stauss' dreamy voice.

Our official review will be published later, but new songs from their recent release, Launch and Landing are now airing on Radio Stars 1, 2, mellow, and alt.country. xo

Follow this link for additional information.

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Just added, from Sweden:

http://www.lunakafe.com/moon140/usny140c.php

The Lost Patrol
Launch and Landing
self-released

The Lost Patrol's new album starts with the confident and beautiful "Sirens". It highlights singer Danielle Kimak Stauss' lovely voice and the guitars buzz along nicely. The group's music is sweet and has an edge in the moody atmosphere. "Awol" is a tough yet sweet number that could soundtrack a David Lynch film. Kimak Stauss has the voice to play the chanteuse well.

"Take Me Away" is dreamy and has a neat mood. The Lost Patrol craft impeccable soundscapes and their album is a wonderful listen.

Copyright © 2008 Anna Maria Stjärnell

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Blog Love - Praise from Blogs Around the Globe

From the Hot Stof blog in the Netherlands, this piece is entitled "Lost Sirens" by Heet Stof.  Thanks Heet!

How original do you want to be as a rockband? I don't think is very easy to be very original and unique because most things have been done before. I have a lot of respect for musicians and bands who have some authenticity. You can achieve this by choosing a unusual name for your band or by using a creative design for your CDs. I also respect bands who are not so original but who nevertheless are able to interest me. An excellent example is The Lost Patrol from Piermont, New York.

The name isn't unique at all: first 'The Lost Patrol' was a war movie from 1934 from John Ford, but it is also a videogame and there also is a Swedish punkrock band by the name The Lost Patrol Band.

The American The Lost Patrol consists of Stephen Masucci, Danielle Kimak Stauss, Michael Williams and Seth Clifford. So it's a very smart move of the band to register the name as a trademark.

I think they have picked the name from the movie because the music of this foursome sounds a lot like film music. The movie images appear automatically when you hear the songs of the band.

This melodic and dreamy pop music reminds me a lot of Hooverphonic and Mazzy Star. Or of The Cocteau Twins and Siouxsie & the Banshees. In 1999 their self-titled debut record with just instrumentals was released. Since then The Lost Patrol have released a new album every year, accept for 2006. "Launch and Landing" is the seventh and latest CD and it was released some weeks ago on the German label Kalinkaland Records. This album contains 12 songs and two of them are the beautiful "Sirens" and "Rogue Heart".

Full Hot Stof Blog

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This one is by "KD" of MP3Hugger, whereabouts unknown, but it's a killer review!

If you thought Tap Tap was a tad left of centre then you'll be railroaded by the country twang generated by the Big Apple's Lost Patrol. Near stars in the far away lands of Serbia they have certainly eeked out their own niche in an increasingly homogenised market. No matter what angle I position my ears I keep hearing the Shadows on 'Shimmy', there is something awfully historical (or hysterical depending on the amount of LSD you've taken). The vocals remind of a Cocteau Twin in distress (perhaps it's Miki from Lush lost at sea though) and tend to throw the whole piece into the realms of a Tarantino scene where blood is inevitably going to be spilt. 'Shimmy' is taken from the bands irreverently titled 'Off Like A Prom Dress' LP' from 2002. KD

Full MP3HUGGER Blog

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And, for our German fans, here is one from the Coast is Clear blog from Kiel, Germany.  Danke Parklife! (English translation by Alan Saxon)

Tja, nicht nur die Editors frönen dem rückblickenden Gitarrengezupfe mit Blick auf Cure & Co., sondern bekanntermaßen auch viele andere aktuelle Bands, insbesondere aus den USA. So beispielsweise auch The Lost Patrol aus Piermont. Diese Band existiert schon eine ganze Weile und hat inzwischen 5 Alben heraus gebracht, auf denen sie sich mit den schönen Gitarrenklängen der 80er auseinandersetzen und eine leicht wehmütige Stimmung zwischen 4AD und Projekt Records erzeugen, also vergleichbar mit Bands wie Tearwave oder Autumn's Grey Solace - und teilweise sogar mit Siouxsie & The Banshees im Surfsound-Gewand! Ihr neuester Streich - eine Sammlung rarer Tracks sowie einiger neuer Songs - wird auf dem deutschen Label Kalinkaland Records heraus kommen, die uns letztes Jahr mit Amber Smith zu beglücken wussten. Auf der Website von The Lost Patrol gibt es netterweise eine ganze Reihe von Songs als Gratisdownload, darunter auch das tolle "Orbit" vom neuen Album.

English Version:

"Well not only are the Editors indulging in the retrospective guitar sounds with eyes on the Cure & co., but so do many other current bands, especially from the USA. Like for example, The Lost Patrol from Piermont. This band has been around for some time bringing out 5 albums in the meantime with which they tackle the beautiful guitar sounds of the 80's producing a slightly melancholic mood that fits somewhere in between 4AD and Projekt Records, in other words, comparable to bands like Tearwave or Autumn's Grey Solace - and in some places even like Siouxsie and the Banshees in a robe of surf-sound!  Their latest trick - a collection of rarer tracks as well as some new songs - will be released on the German label Kalinkaland Records, who last year graced us with Amber Smith. The website from The Lost Patrol courteously gives us a whole list of songs as free downloads, among them the superb "Orbit"  taken from the new album." 

Full Coast is Clear Blog

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Last, but certainly not least, this one comes from Frankie Teardop at Systems of Romance.  Another goodie! Thanks Frank! ;)

Late night storms leave me a bit sleep-deprived this afternoon, and today's choice is a band perfect for such moments. They are the Lost Patrol, a currently active dark dreampop outfit based in New Jersey.

The Lost Patrol has been gigging and recording since the late 1990s, combining a love of all things dreampop with soft touches of drum machines and synthesizers; the result an organic, dreamy sound reminiscent of Mazzy Star or Julee Cruise. The Lost Patrol sound much like the soundtrack those fleeting moments and late nights, powerful and ethereal female vocals leading an orchestra of lush instrumentation and catchy hooks. Despite their myriad of influences, the Lost Patrol sound completely unique, especially in these times.

Over the course of their tenure, the band has released five self-released full length records and an EP, each one developing their luxuriant soundscapes further as they perfect their craft.

For your ears today, I've uploaded three tracks. The first is the opening number from their 2004 record High Noon. The second is a featured and favorite song of mine from their most recent effort, 2007's Launch and Landing. Last but not least, the third a sleigh-bell ridden dirge from Lonesome Sky, released in 2005.

Full Systems of Romance Blog w/links to videos and downloads as well!

If you know of other bloggers who have posted about us, please feel free to give us links!

Thanks,

The Lost Patrol

7:56 AM - 1 Comments - 2 Kudos -