Car Seat Headrest: Vincent

Damn, this is good

The build up is amazing, reminds me not only of Television but also of Travels, the middle part got a twang and a groove that reminds me of Cake, and the lyrics really resonate with me. The songs is on one level about being at a party, as Car Seat Headrest’s Will Toledo described in an email to Bob Boilen (All Songs Considered is really hyping up the forthcoming record) but also express so much more.

Like living in Konstanz:

for the past year I’ve been living in a town
that gets a lot of tourists in the summer months
they come and they stay for a couple days
but hey, I’m living here every day

Wednesday Night Melody

This week in “punk bands I discover on NPR:” Bleached with "Wednesday Night Melody. The sound reminds me of pre-midlife crisis Weezer, the video is an alt. Weekend at Bernie’s, part unsettling, part fun. Hauntingly catchy.

Their new record Welcome The Worms is out April 1 on Dead Oceans.

The New Torres Album is Even Better than the Hype

The new Torres album Sprinter is even better than the  hype by NPR Music had me believe.
Strange Hellos is still one of the biggest songs I’ve heard in quite a while with an amazing musical breadth and emotional depth.
A Proper Polish Welcome is as intimate and enchanting on the record as it was as a SXSW lullaby.
Yet it’s the longwinded, slow, quiet moments Ferris Wheel and The Exchange that stun me the most. The songs are built on Mackenzie Scott’s voice and guitar, and the rest of the instrumentation (PJ Harvey collaborators Robert Ellis and Ian Olliver) and production (Ellis and Portishead’s Adrian Utley) support that strong core to perfection. I’ve only begun to scratch the surface of the poetic lyrics.  On Sprinter, Scott’s words tell stories, reflect, and erupt into intimacy. The album manages to create a bridge between confessional poetry (in the good sense) and rock album(also in the good sense). Instant classic.

Thank you, NPR Music, for making my day week year. All Songs Considered  introduced me to Australian singer Courtney Barnett. For the last couple of weeks they’ve been hyping her debut LP Sometimes I Sit and Think and Sometimes I Just Sit beyond the pale. Today is the release day, and man, is this worth the hype. So charming, so clever, so many elements of the best parts of indie rock’n’roll of the last 25 years. This live version of No One Really Cares If You Don’t go To The Party is the perfect example of the album.

Listening to it, you feel immediately at home. You want to drive around with the windows down. You want to meet all your friends in the park. You want to start a band. You want to be best friends with everybody you come across until you finally meet her. You want to go out. You want to stay in. 

I have a feeling that this record will make me happy for a long time.

put me on a pedestal and I’ll only disappoint
you tell me I’m exceptional and I promise to exploit you
give me all your money and I’ll make some origami honey
I think you’re a joke but I don’t find you very funny

“Pedestrian At Best” is another slacker garage rock anthem by Courtney Barnett, first release off of her first proper album Sometimes I Sit and Think, And Sometimes I Just Sit. I’m hooked ever since I heard it first on NPR All Songs Considered.  Great in the same way as 2013’s “Avant Gardener.”

This song really fits to this weekend’s still-winter-but-feels-like-spring vibe, too.

BTW: I have a spotify playlist where I’ll collect all (or at least most) songs I’m into this year as I go.



I first heard this brilliant new track on All Songs Considered, I instantly knew: This is the song form of my first semester of my master degree. The instrumentation is just a bit off. A chorus of wonderful women figuring out how to pronounce hegemony. The percussions are pretty much my heart beat. With some artistic licence.

Germans who are geoscrewed by YouTube and GEMA can listen to it at NPR.


I first heard of Lydia Loveless via NPR Music’s Austin 100. Her rocker “Really Wanna See You” is a great intro into her current work: The great voice, the lyrics full of honesty and wit, and her backing band that takes her “classic country music success story” and gives it more of an musical edge. Her Tiny Desk performance is also amazing.

But what stuns me the most is this acoustic version of her song “Everything’s Gone” recorded for WNYC’s Studio 360 podcast (Which is great) In this version, Everything’s Gone, with its Steinbeckian storytelling of losing your home is a truely great American country/folk song. I think this can find a place among the greats of americana, with Cash, Nelson, Parton, Baez. (Edit: The more I listen to the song, the more I feel like this could also be a great Tracy Chapman song.)

She is still so young – just 23. So much good music to come.

 I really want to see her and Hurray for the Riff Raff together, live. Be it in Rosenheim or a New Orleans bar.

Katie Presley from Bitch Media called Lowell “Canadian misandrist cheerleader” on NPR’s All Songs SXSW preview show, so of course I had to check her out. I like what I hear: The pop sensibilities of Lykke Li with the swagger of M.I.A. and a trace of Peaches’ attitude, especially in this hit “Cloud 69” Other songs are more soaring, or more melodic, or more pop, or all of the above. Awesome.