Larry Rose

"Best-known for his tenure in the hard-to-peg-down Welsh outfit Super Furry Animals, Gruff Rhys has a long history in British rock. Born in 1970, Rhys played in Creation Records' Emily as well as Ffa Coffi Pawb, but his first foray into the musical arts was at the ripe age of five, when he wrote an odd little number about a train driver who's contemplating his own death. In 1990, a chance meeting helped lead to the development of what would become Super Furry Animals. First a left-field techno group, then later a whacked-out guitar group, SFA got much of their character and respect from Rhys' outlandish and obscure lyrical slants." goo.gl Members of Super Furry Animals stopped by and played a stripped down set for us in 2008; revisit the broadcast here: kexp.org

"Paul Weller was barely 22 when he started recording Sound Affects, his fifth album in just over 3 years. He was reading histories of Camelot alongside the romanticism of Percy Bysshe Shelley and William Blake, obsessing over The Beatles’ Revolver, and delving further into his disillusionment with the political and social climate that had prevailed in England at the end of the 1970s. During the same time, Weller apparently had a ‘thing’ for electricity pylons. So, in short, the writer’s perceived influences on The Jam’s 1980 album included Arthur and Guinevere, the Mask of Anarchy, the Fabs, and wire transmission towers. Although all that sounds like a crock, Sound Affects is well and truly saturated with this murky mixture, as well as with the additional absorption of contemporary styles, 60s formulae and steadfast motifs that would mark the majority of Weller’s career. Sound Affects is Paul Weller’s favourite Jam album." goo.gl

"Borrowing the name of David Lynch’s seminal television series on the sole basis of “it sounded cool”, the garage rock quartet known as Twin Peaks broke out in the Chicago’s increasingly-active DIY scene with the same nonchalant but enthusiastic attitude towards melding together forty years of garage rock tradition. Singer/guitarist Clay Frankel, bassist Jack Dolan, guitarist Cadien James, and drummer Connor Brodner formed Twin Peaks as they started high school, and along with bands like White Mystery and The Orwells, the foursome’s presence in the Windy City soon grew too large for house shows. Selling out small Chicago clubs by the time they graduated, they began bringing their explosive, delightfully raucous debut Sunken on tour around the country." For more, plus a free song by TP just for you, head this way: blog.kexp.org

"Equally revered and despised in their native England, Carter the Unstoppable Sex Machine has been on the cutting edge of the U.K.'s dance-pop scene since their first hit single in 1989. Instead of following the disco-derived pop songs of the Pet Shop Boys, Carter relies more on the underground club/dance scene, bringing such techniques as spoken word samples, drum and riff samples, and a relentless beat to tuneful, hook-oriented pop songwriting. In addition, their attitude is inspired by punk rock's mentality, manifesting itself in their satiric lyrics and slash-and-burn approach to ravaging pop's past and present." www.allmusic.com/artist/carter-the-unstoppable-sex-machine-mn0000149174/biography

"Over the past two years, ODESZA’s meteoric rise can be attributed to the Seattle duo’s ability to craft electronic music that skillfully treads the line between club banger and ethereal soundscape. Named (with a slightly altered spelling) for a ship Harrison Mills’ uncle served on, Mills and Clayton Knight first met as freshmen at Western Washington University, deciding to start a musical collaboration during their senior year in 2012. Their debut album, Summer’s Gone, was an instant hit in online music communities, and by the time the album’s followup EP, My Friends Never Die, was released in fall 2013, the duo were playing shows across the world." More on this catchy song, plus a free downloadable version, right here: blog.kexp.org

"Welcome to Ernest Greene’s brain. Probably the one single most definitive aspect of starting as a laptop songwriter is that you have no sense of restriction. There’s no need to form a band or get a practice space or find somebody who can rip out the ridiculous guitar solo you wrote but can’t play. Armed with a pair of headphones and a MIDI keyboard, you can write impossible arrangements and make glorious 60 track masterpieces happen in the comfort of your bedroom, all arranged for an audience of one. Greene’s arrangements on Paracosm are indescribably lush. Seriously, just try for a second and figure out everything that’s going on during 'Don’t Give Up' and 'All I Know.' He has crammed as much sound as is physically possible into these 40 minutes. From beginning to end, the sonic sense of awe doesn’t diminish one bit." blog.kexp.org If you're feeling the love, here's Greene's "Don't Give Up," juste pour toi: goo.gl

"Seattle electronic duo NAVVI have enjoyed a steady climb towards full scene integration over the past year, and with the band’s first EP out this week to plenty of web hype, it looks like nothing is set to slow it moving forward. Brad Boettger and Kristin Henry introduced NAVVI to the world in October of last year with the James Blake-sampling 'Weekends,' which took to the blogs like wildfire. The band quickly followed with the “Used to Feel” and “Glass” singles, with each track expanding the band’s sonic landscape bit by bit to keep fans and spectators both guessing." Read on, and hear more from this dreamy band: blog.kexp.org

"Discovered in the wake of the Strokes' popularity and the subsequent garage rock revival, New York's art punk trio the Yeah Yeah Yeahs are comprised of singer Karen O, guitarist Nicolas Zinner, and drummer Brian Chase. O met Chase at Ohio's Oberlin College and met Zinner through friends after she transferred to NYU. Zinner and O formed the band in 2000; originally, they were a folky duo called Unitard, but they went electric after being inspired by Ohio's legendary avant punk scene. After the drummer they recruited initially bowed out, Chase joined the lineup. The Yeah Yeah Yeahs wrote a slew of songs at their first rehearsal and soon wound up supporting the Strokes and the White Stripes, earning a significant buzz for their arty yet sexy take on garage punk. In late 2001, the Yeah Yeah Yeahs released their self-titled debut EP, which they recorded with Boss Hog's Jerry Teel, on their own Shifty label." goo.gl

"For creators and fans alike, music has always provided catharsis, relief and healing. But Few artists tap so directly into that power as Tim Showalter, whose project Strand of Oaks goes so far as to name its most recent album Heal. Like pages from a diary, the Philly-based songwriter’s lyrics delve into moments of crisis, frustration and, ultimately, inspiration that couldn’t be more true to life, since they are his own – basically “comic book origin stories”, as Showalter says in his insightful interview with the Morning Show’s John Richards." Watch that interview, experience SoA's recent in-studio session, and see for yourself why John Richards voted Showalter's album his #1 pick of the year: blog.kexp.org

"The Athens, Georgia-based Elf Power emerged as part of the second wave of bands linked to the Elephant 6 Recording Company collective, a coterie of like-minded lo-fi indie groups -- including the Apples (In Stereo), Neutral Milk Hotel, and the Olivia Tremor Control -- who shared musicians, ideas, and sensibilities. Formed by singers/multi-instrumentalists Andrew Rieger and Laura Carter, Elf Power debuted in 1995 with the self-released Vainly Clutching at Phantom Limbs, followed a year later by the Winter Hawk EP, which heralded the additions of bassist Bryan Helium and drummer Aaron Wegelin. The excellent When the Red King Comes appeared in late 1997, and two years later the group returned with A Dream in Sound; also in the spring of 1999, a series of live dates with the Olivia Tremor Control yielded the tour-exclusive EP Come On." More here: goo.gl

"Initially, Blur were one of the multitude of British bands that appeared in the wake of the Stone Roses, mining the same swirling, pseudo-psychedelic guitar pop, only with louder guitars. Following an image makeover in the mid-'90s, the group emerged as the most popular band in the U.K., establishing itself as heir to the English guitar pop tradition of the Kinks, the Small Faces, the Who, the Jam, Madness, and the Smiths. In the process, the group broke down the doors for a new generation of guitar bands that became labeled as Brit-pop. With Damon Albarn's wry lyrics and the group's mastery of British pop tradition, Blur were the leader of Brit-pop, but they quickly became confined by the movement; since they were its biggest band, they nearly died when the movement itself died." goo.gl Enjoy our Saturday Afternoon Artist profile on Albarn, and his various projects, here: blog.kexp.org

"I think the music should definitely underscore the sentiment of the song, and it can work for or against it. It has just as much power in creating a kind of perpendicular sentiment in the music, creating a nice friction that also plays up some of the tension in the song... I'm not at all theory minded. I rely on Nate [Query] and Jenny [Conlee] for that stuff. For me it's completely intuitive; it's just finding a melody that's striking, that moves in that way that appeals to whatever part of the brain is attracted to pop melodies, and yet is within my kind of limited range. That's when it gets tricky, when I have ideas I can't quite execute. So you have to try to wrangle with it, get a semblance of it, but in a range that's possible for you. I wish I had a better range, but I really have a super-limited one. Barely a tenor, dips into baritone-- that's about it." goo.gl And here's an archived stream from their set at Sasquatch 2011: goo.gl

"It’s only fitting that he’s on a record label called Truth & Soul Records, because that’s exactly the kind of music the legendary Lee Fields creates. The 63-year-old music veteran is still going strong after 43 years in the business, and his most recent release, Emma Jean, is just as vital as ever. 'I waited forty years for these guys,' Fields tells DJ Greg Vandy, indicating his backing band, The Expressions (including label founder Leon Michels on saxophone). Watch the soul revival before your very eyes with this live in-studio performance on The Roadhouse on KEXP": blog.kexp.org

Larry's favourite track on D'Angelo's newest release. In a NY Mag article entitled, "Why D’Angelo’s New Album Black Messiah Makes You Want to Have Sex," researcher Tony Lemieux, who studies the social psychology of music at Georgia State, says "part of the reason for Black Messiah’s sexiness is its mix of well-known R&B elements with some surprising flourishes. 'There’s a familiarity about the sound and the music, and yet it does some kinds of surprising and unexpected things.' On parts of 'Really Love,' for example, someone is whispering enticingly in the background — presumably about something sexy, though for all the listener knows they could be reciting a recipe for pound cake. And on 'Betray My Heart,' there are 'aspects that mix up the rhythm a little bit that kind of draw you in, that cause you to listen a bit more closely.'" nymag.com

"Sri Lankan artist M.I.A. was denied entry to America because the U.S. Government determined that her profile made her a potential terrorist. She turned this all around by using her time to help build a playground in Liberia, visit youth detention centers and make a new album. The record 'Kala' samples indie bands and brings the culture to many third world countries for the first time ever." Listen to our exclusive documentary on this musical revolutionary here: www.kexp.org "Originally from Sri Lanka, international star M.I.A. (Mathangi Arulpragasam London, “Maya” for short) had to leave her native country because her dad was a revolutionary and her family could have been killed in the civil war there. With her mother she relocated to London, where she got hooked on hip-hop, punk music and Bollywood. Maya’s family lived on a 'council estate' (the English name for the projects) and Maya had no money." goo.gl

This day in history in 1933, FM radio is patented. From Larry's desk: "Working in the basement laboratory of Columbia's Philosophy Hall, Edwin Howard Armstrong invented FM (frequency modulation) radio, which enabled the transmission and reception of a wider range of audio frequencies, as well as audio free of 'static,' a common problem in AM radio. Armstrong went on to prove that FM was capable of dual-channel transmissions, allowing for stereo sound. This capability of FM could also be used to send two separate non-stereo programs, or a facsimile and telegraph message simultaneously in a process called multiplexing. He even successfully bounced an FM signal off the moon, something not possible with AM signals. Armstrong received a patent on wide-band FM on December 26th, 1933."

"As part of their hype campaign for new album Reflektor, the band has taken on a whole new identity: the Reflektors, a band that just tries to pass the bar of normality and continue pumping out material that their fan base will easily digest. In their secret shows around North America, the Reflektors have demanded formal dress, apologized for jokes, and tried to appease a forced sense of anxiety on the crowd’s part at every chance. So why the insecurity? Why does Arcade Fire feel the need to communicate such imperfection at the peak of their commercial success, coming off of a Grammy winning record and moving towards the most anticipated record of their career (with production from James Murphy to boot)?" For the answer, here's our in-depth album review of Reflektor: blog.kexp.org

"Hip-hop is notorious for short-lived careers, but LL Cool J is the inevitable exception that proves the rule. Releasing his first hit, 'I Can't Live Without My Radio,' in 1985 when he was just 17 years old, LL initially was a hard-hitting, streetwise b-boy with spare beats and ballistic rhymes. He quickly developed an alternate style, a romantic -- and occasionally sappy -- lover's rap epitomized by his mainstream breakthrough single, 'I Need Love.' LL's first two albums, Radio and Bigger and Deffer, made him a star, but he strived for pop stardom a little too much on 1989's Walking With a Panther. By 1990, his audience had declined somewhat, since his ballads and party raps were the opposite of the chaotic, edgy political hip-hop of Public Enemy or the gangsta rap of N.W.A, but he shot back to the top of the charts with Mama Said Knock You Out, which established him as one of hip-hop's genuine superstars." goo.gl For a peek at Bigger and Deffer: goo.gl

"When we first received a copy of Manipulator, one of our DJs suggested a new category for rotation: Light, Medium, Heavy, and Ty Segall. That’s how much everyone here at KEXP loves the new record. To make it, Segall, who’s normally prone to releasing multiple records by multiple projects each year, took his time to weave a masterful spell of rock ‘n’ roll wizardry, crafting 17 tracks with about every kind of rock you can imagine – glam, psych, garage, pop, metal and boogie – in his cleanest, tightest recording yet. Though it’s nearly impossible to pick just one (we debuted another back in August), today’s featured song, “Feel”, draws many of those elements into one mind-bending euphoric jam and highlights Ty’s dizzying falsetto, his blazing fretwork, and pummeling drums. But it’s not a song you need to hear about… you just need to hear it, and you will instantly feel." Here is 'Feel,' for your downloadable, repeatable pleasure: goo.gl

Paul Banks on surfing: "'No, I’ll wait and ride two waves in a day because the 20 that passed me by were going to kill me. I pulled a dead guy out of the sea the other day.' Sorry, what? 'Yeah, an older guy. His son came and spoke to me afterwards. That sucked. People die all the time at that beach and it’s the only place I surf; it’s crazy dangerous out there.'” www.theguardian.com

"Formed in Manchester, England, in 1975, the Buzzcocks were one of the most influential bands to emerge in the initial wave of punk rock. With their crisp melodies, driving guitars, and guitarist Pete Shelley's biting lyrics, the Buzzcocks were one of the best, most influential punk bands. the Buzzcocks were inspired by the Sex Pistols' energy, yet they didn't copy the Pistols' angry political stance. Instead, they brought that intense, brilliant energy to the three-minute pop song. Shelley's alternately funny and anguished lyrics about adolescence and love were some of the best and smartest of his era; similarly, the Buzzcocks' melodies and hooks were concise and memorable. Over the years, their powerful punk-pop has proven enormously influential, with echoes of their music being apparent in everyone from Hüsker Dü to Nirvana. Before the Buzzcocks, the teenaged Pete Shelley had played guitar in various heavy metal bands." www.allmusic.com/artist/buzzcocks-mn0000629564/biography

"Native America is a New Orleans garage pop trio made up of Ross Farbe, John St. Cyr, and Ray Micarelli. The group has been booked as direct support for King Kahn and the Shrines, Woods, White Fence, Dent May, The Black Angels, and The Shins. Their studio debut Grown Up Wrong was released 11/18 via Inflated Records." More about the band, plus streaming tracks, right here on their official site: www.nativeamericamusic.com/

"Formerly known as Twin Sister, Long Island, New York's Mr Twin Sister make music that is dreamy, yet danceable. The five members of the group -- vocalist Andrea Estella, bassist Gabe D'Amico, drummer Bryan Ujueta, keyboardist Dev 'Udbhav' Gupta, and guitarist/vocalist Eric Cardona -- crossed paths while playing in their respective bands, ultimately befriending each other and forming Twin Sister in 2008. Their first EP, Vampires with Dreaming Kids, was self-released that year. After their first live show out of town, at SXSW, they toured with tUnE-YarDs and Xiu Xiu before putting the final touches on their second EP, Color Your Life, which followed in 2010." www.allmusic.com/artist/mr-twin-sister-mn0003296434/biography

"In reductivist short-hand, The English Beat are the Rolling Stones of second wave ska. Whereas colleagues The Specials could blend truly personal and compelling B&W movie lyrical vignettes with noir post-punk, the (English) Beat dug deeper into the bag of soul and funk for their seminal pre-reggae homages. Early on, they were just as tough in the anti-drug 'Mirror In The Bathroom,' and on covers of great R&B songs like 'Tears Of A Clown.' But soon the band could really mix it up, being the closest and earliest thing to multi-ethnic fusion the UK 'new wave' scene had." More from our review of their show at the Bumbershoot Music Lounge: blog.kexp.org

"Ga ga ga ga ga" indeed. Here is Spoon in our humble little studio, playing an astounding nine-song set just this past summer: blog.kexp.org

"Formed in 2006, New Jersey’s Screaming Females combine scorching guitars with a firmly D.I.Y. approach to create their own brand of indie rock. Mixing equal parts Dinosaur Jr. and Sleater-Kinney, the Brunswick trio of Marissa Paternoster (guitar/vocals), Michael Abbate (bass), and Jarrett Dougherty (drums) strives to embody the spirit of indie rock in its purest form; Screaming Females book their own shows and release their own records to bring their guitar-driven rock to the people. In 2007 the band fired its opening shot, self-releasing its debut full-length, Baby Teeth, as well as the Arm Over Arm/Zoo of Death 7”." www.allmusic.com

"Let Doug Martsch and Northwest indie veterans Built to Spill lead you on a sonic journey through expansive fields of guitar pop to a land of virtuosic noise in this set of tracks from their 7th release 'There Is No Enemy.' You won't want to leave. Recorded live on KEXP." ~ M.Ogaz www.kexp.org/live/liveperformance.aspx?rId=30541 Built to Spill will be playing two nights at the Showbox Market in the New Year, on January 2nd and 3rd; ticket info here: www.showboxpresents.com/events/detail/254731 (Friday) and www.showboxpresents.com/events/detail/254732 (Saturday)

"'Flesh War' finds itself somewhere around the focal point of Typical System’s sound. The forward drum section could easily break into an arena-ready drive, but the cool synth lead tones the mood back from bloodlust, despite the song title. Dan Stewart’s vocals float like a lighter than mud Richard Butler, adding a subtle ominousness more than a melody to the already very melodic track. The instrumentation here is divine, with synth and synthesized strings leading the way forward while the drums and bass put wheels on the vehicle. 'Flesh War' is a track that creeps up on you. At first, its effect seems to float into perspective, but by the time the four and a half minutes wrap up, the massive size is quite apparent. 'Flesh War' is a memorable highlight from Typical System and a more than welcome introduction to Total Control for those who have yet to take the dive." Keep reading, and download your own copy of "Flesh War" here: blog.kexp.org

In celebration of James Mercer, who celebrates his 44th birthday today. "It’s hard to imagine a better indie pop dream team than this – a multi-Grammy winning producer Danger Mouse (a.k.a. Brian Burton) and a beloved singer-songwriter James Mercer (of the Shins), each responsible for some of the most infectious songs you’ve heard in the past ten years, joining to create blissful music together. Unsurprisingly, their debut as Broken Bells was a critical success, as it drew from their diverse pasts and shared loves (like Pet Sounds, dream pop, psych rock, and the Bee Gees). This year’s followup, After the Disco, is even more dynamic and engaging, further pushing Burton’s studio wizardry and Mercer’s lyrical range, while adding even more hooks and memorable melodies." Here is their recent, extremely glorious in-studio session: blog.kexp.org

Chrissie Hynde: "The first two Pretenders albums were good, but people tend to focus too much on them. Maybe they're just things people need to cling to. They remind them of their youth or something. I guess when the world is as messed up as it is, I can accept that." "I can go months or even a year without thinking about songwriting. I'm not very ambitious. Songwriting isn't my life; it's just something I do. It was a way for me not to be a waitress. [laughs] So when I know I have to make an album, I sit down and see what's in my head. That's it, really. No process. I'm not a tortured artist. I'm not even an artist." www.musicradar.com/us/news/guitars/the-pretenders-chrissie-hynde-im-not-a-tortured-artist-178916

"On listening to 'Vietnam' by Seattle’s Black Whales, the first thing you’ll notice is how much moodier it is than anything on their 2011 full-length debut, Shangri-La Indeed. Less jangle-pop and more psychedelic rock, Black Whales follow Austinites The Black Angels into the killing fields on 'Vietnam.' A haunting guitar line introduces the track before its overtaken by their marching rhythm section and a wave of fuzzed-out vocals from singer/guitarist Alex Robert. The tension of the track builds, only to release and give way to Robert’s muffled cry of 'I can’t get out, no I can’t get out of Vietnam!' When the band comes back in, psychedelic and charged guitars fill the track until the band’s kinetic energy yields to Robert’s vocal and a lingering guitar line, much like a flickering candle being blown out after burning all night." Read on, and download the track here: blog.kexp.org

"Real Estate return to KEXP to play songs from their new LP "Atlas" on The Midday Show. The New Jersey/Brooklyn indie rockers deliver a dreamy set of upbeat tunes and discuss recording their latest effort at Wilco's Loft Studio." kexp.org

"Curtis Mayfield started out in music at the age of 7, singing in his grandma’s church in Chicago. He taught himself guitar, keyboard, piano, saxophone and drums. When he was 14 he wrote a song 'Gypsy Woman' that would later hit the top of the charts. And at 16, he dropped out of high school to join a traveling gospel act who would become famous as the Impressions. Later on, like other African-American artists James Brown and Sam Cooke, he would become a businessman too, one who would help out other African- American artists and control the way all of their music was marketed and made." blog.kexp.org

"'Holy shit.' That’s what DJ Cheryl Waters exclaimed as Scottish hip-hop trio Young Fathers finished their KEXP session. Thanks to Cheryl’s booking, KEXP gets hundreds of in-studio sessions a year, but it’s rare when our entire staff is unanimously blown away like we were that day. DJ Larry Rose, a long-time fan who conducted the interview, told me later that the energy in the room when those three childhood friends combined their voices was intense: a mix of raw guttural yelps, sharply recited verses, and even powerful soaring vocals. Our video team couldn’t stop raving about the band’s passionate, energetic performance. The trio’s touring drummer had thrashed his cymbal so thoroughly, it was barely attached to the stand anymore." Experience for yourself that insanely memorable performance right here: blog.kexp.org

"Without question the most intelligent, artistic rap group during the 1990s, A Tribe Called Quest jump-started and perfected the hip-hop alternative to hardcore and gangsta rap. In essence, they abandoned the macho posturing rap music had been constructed upon, and focused instead on abstract philosophy and message tracks. The 'sucka MC' theme had never been completely ignored in hip-hop, but Tribe confronted numerous black issues -- date rape, use of the word nigger, the trials and tribulations of the rap industry -- all of which overpowered the occasional game of the dozens. Just as powerful musically, Quest built upon De La Soul's jazz-rap revolution, basing tracks around laid-back samples instead of the played-out James Brown-fests which many rappers had made a cottage industry by the late '80s. Comprised of Q-Tip, Ali Shaheed Muhammad, and Phife, A Tribe Called Quest debuted in 1989 and released their debut album one year later." goo.gl

"'Loaded' serves as a hungover retrospective on a relationship run its course. 'Love is like cancer' sings Scotty Cantino, painfully reflecting on a young romance over hiccuping, poppy beats that trip over themselves in the best way possible. One of the more low-key songs on the album, 'Loaded' rides a steady wave of soaring guitar riffs and catchy melodies. Being a mere listener doesn’t quite cut it with this song. Confidant seems more appropriate since you find yourself caught in the middle of this relationship’s tribulations. As for the resolution at the end of the song — well, there are no answers… might as well get loaded and drift off with the song." Keep reading, and enjoy your own copy of the song, here: blog.kexp.org

"Sisters Kara and Johanna Söderberg embody the phrase 'beyond their years.' As Swedish duo First Aid Kit, they’ve managed to capture generations’ worth of American country and folk while still in their teens, and on their reverential 2012 hit “Emmylou” sounded as if they could already hold their own with their icon onstage. Time and touring have led the girls further from their youth, steeping the songs on their latest album, Stay Gold, with themes of heartache, doubt and homesickness. Yet their vigor remains, as the two prove in this gorgeously performed session at KEXP, their third in our studio. Stay old, stay young — it doesn’t matter when you’re listening to the timeless songs of First Aid Kit." See it all right here, right now: blog.kexp.org

"Initially pegged as twee revivalists upon their emergence in the mid-00s, Cardiff’s Los Campesinos! quickly revealed themselves to be a group of engagingly dour and witty indie pop enthusiasts whose work ethic is only matched by their self-awareness. Formed at Cardiff University in 2006 and named (enthusiastically) for the Spanish word for 'peasant,' the initial lineup of Gareth, Ollie, Rob, Neil, Aleksandra, Harriet, and Ellen Campesinos played their first gig at their student union, and within a year, they’d scored a support slot with Broken Social Scene, released a series of 7″s (including 'The International Tweexcore Underground,' an early document of the band’s now-trademark self awareness), and undertaken their first headlining tour." More, plus your own copy of "What Death Leaves Behind," here: blog.kexp.org

"The band name Hooray for Earth might suggest some dry cynicism, but the New York-based synth-pop-rock group belonging to that title are a genuinely optimistic group. Despite releasing their debut album, True Loves, in 2011, they’ve been around since 2005 under the guidance of frontman Noel Heroux. In the three years since the band’s critically acclaimed debut — praised for picking up the slack in indie pop where the year’s other releases fell short — Heroux worked hard to ensure the band’s latest album, Racy, would live up to its predecessor. The Hooray for Earth mastermind has also been busy appearing on Twin Shadow’s Confess and backing up Cymbals Eat Guitars and Autre Ne Veut on guitar. Multi-talented Heroux calls Racy 'the most intentional thing I’ve put together.'" Dig deeper into the album, and download "Airs" here: blog.kexp.org

"This young Londoner blends rock, reggae, hip-hop and more into a wry pop style with rapped/sung lyrics. He calls it 'bullocks,' but you can decide for yourself with this live acoustic set recorded at KEXP during Jamie T’s first visit to the U.S." From 2007. kexp.org

"INXS hailed from the pubs of Australia, which is part of the reason the band never comfortably fit in with new wave. Even when they branched out into synth pop on their early recordings, they were underpinned by a hard, Stonesy beat and lead singer Michael Hutchence's Jagger-esque strut. Ultimately, these were the very things that made INXS into international superstars in the late '80s. By that time, the group had harnessed its hard rock, dance, and new wave influences into a sleek, stylish groove that made its 1987 album, Kick, a multi-million-selling hit. While that sound was their key to stardom, it also proved to be their undoing; INXS became boxed in by their Stonesy pop-funk in the early '90s, when their audience became entranced by harder-edged alternative rock. In spite of declining sales, they soldiered on, continuing to tour and record for a dedicated fan base until Hutchence's 1997 death brought the band's heyday to a close." goo.gl

"Ming City Rockers hail from the fine English town of Immingham. Together with near neighbor Grimsby, 'Ming City' is part of the largest port by tonnage in the UK, and serves as one of many midpoints for rail and road transit between London, Edinburgh, and Rotterdam. In other words, its a spot on a map, and it’s not flashy. Huw Stephens on BBC Radio 1 said that Ming City Rockers may be the best rock and roll band to ever come out of Immingham, but as the band wryly puts it, there wasn’t much competition to begin with. But that doesn’t mean you shouldn’t listen to Ming City Rockers. In fact, if you like freakishly energetic classic rock akin to the Stooges and Eddie Cochran, you won’t get much better this side of the pond." Keep reading, and get your own copy of "I Wanna Get Out of Here But I Can’t Take You Anywhere," here: blog.kexp.org

"Riding the tension between sweet harmonies and sour, stinging guitar chords, Seattle’s The Young Evils craft deathly romantic pop gems built around the kinetic chemistry of co-lead singers Troy Nelson and Mackenzie Mercer. Nelson and Mackenzie met at Easy Street Records, and not long after, Nelson had recruited her to sing in his then-new band, which would self-release their debut, the acoustic-leaning Enchanted Chapel, in 2010. The band 'went electric' on 2012’s Foreign Spells, an EP that added a bite to the duo’s boy-girl vocal interplay and more punkish punch to their instrumental component." Read on, and download "Renegades" off their new album, here: blog.kexp.org

"We have never really discussed our aesthetic, in that we have one or want one? Since we’ve known each other, we just happen to have super similar tastes, and tend to share clothing and ideas in a more informal way, like any friend group. It’d be more like Lelah and I having conversations like 'Hey, your hair is kind of pinkish purple, do you care if mine is blueish purple?' or 'Let’s dye our hair peach and pink!' Sometimes we all bring the same shoes on tour – we all have matching high-heeled jelly shoes (except for Eric) in different colors. More often than not, we’re accidentally matching, or each wearing a different primary color. Eric and I are the candiest candy fiends in the band, for sure, so I think we’ve pushed that aspect into our band. One of the first songs I ever wrote, 'Peeps,' was about the marshmallow Easter candy. I guess that’s been in our recipe since day one. Lots of sugar, lots of color, lots of hair dye, glitter, etc." More from our Q&A: goo.gl

"Though much of the latest Cymbals Eat Guitars album is about loss – of a childhood friend, of innocence, of easier days – frontman Joseph D’Agostino has turned LOSE into an emotional gain, for himself and his listeners. Often tumultuous, sometimes anthemic, always melodic, the new songs are the band’s most directly impactful yet, trading the heady styles of the previous albums for heartfelt rockers. The NY/NJ band laid it bare live in the KEXP studio as they shared songs from LOSE during a live video stream." Check it out here: blog.kexp.org

"Canada’s Stars have been crafting dreamy, romantic rock for over a decade now, and... A shimmering mid-paced grind, “Hold On When You Get Love And Let Go When You Give It” features all of the quintessential elements of a Stars song. As Torquil Campbell’s hopelessly romantic vocals lead the song over a steady beat in the verses, the chorus breaks into a tumbling rhythm as Amy Millan’s breathy coo and crystalline guitar take the reigns. Heavily steeped in electronics, the song avoids falling to the same perils that marred the so-so The Five Ghosts by incorporating the pop-sensible baroque sensibilities of their early work." Enjoy it here: blog.kexp.org

"'Nine Inch Numan' — it was a comment left on the KEXP Facebook page, and echoed among the audience from our Bumbershoot Music Lounge session. Who knew synthpop pioneer Gary Numan had taken such a darker, more industrial turn in his later career! Even his 1979 new wave hit 'Cars' took on a harder tone in this new incarnation." For more, plus video from his performance at the Music Lounge at Bumbershoot 2013: blog.kexp.org

"From their beginnings as Brooklyn-based experimenters to one of the most acclaimed bands of the 2000s and 2010s, TV on the Radio mixed post-punk, electronic, and other atmospheric elements in vibrantly creative ways, and are both visual artists as well as musicians. The group began when multi-instrumentalist/producer David Andrew Sitek moved into the building where vocalist Tunde Adebimpe had a loft; each of them had been recording music on his own, but realized their sounds worked well together. Sitek's brother Jason began playing drums and other instruments with the pair during their recording sessions, which resulted in OK Calculator, a self-released disc of four-track recordings. Jason Sitek left the band for a short time due to other musical commitments but returned to the band when it recorded its Touch & Go debut, the Young Liars EP. After the EP was completed, TV on the Radio added guitarist/vocalist Kyp Malone to their fold." goo.gl

Intrigued? More here: lightintheattic.net

" Dan Whitford and the gang don’t seem to be slowing down much in their second decade together. Zonoscope, the band’s 2011 award-winning classic, took the band’s one of a kind combination of technology and emotional pull to new heights. The album’s lead single “Where I’m Going” became an indie rock staple on pretty much any and every college radio station in Australia, the UK, and the States, while the album’s opener “Need You Now” has become a powerful listener favorite as it ages. Whitford has a gift for driving a relatable message straight into your soul without sacrificing a single one of the innumerable four-to-the-floor disco beats along the way, and with Free Your Mind, he has damn-near perfected his craft." More from our album review here: blog.kexp.org

"Raised in Harlem by a single mom while attending Manhattan's Fiorello H. LaGuardia High School of Music and Art, Azealia Banks' backstory reads like an alternate version of the musical drama Fame, only where the main character discovers her sexuality and becomes a rapper. At a young age she had aspirations for the limelight, and her mother enrolled her in the school for the performing arts. Her initial focus was on acting and singing, and by age 10 she was performing off-Broadway with the Tada! Youth Theater in Lower Manhattan. Banks starred in leading roles over the next several years, including productions of Rabbit Sense, Sleepover, and Heroes, but when she started gravitating toward TV work, the process of auditioning for commercial spots left her disenchanted with the business. Rap was an appealing alternative. In 2008, at 16, she released the Ladytron-sampling 'Seventeen,' which attracted the attention of XL Records." goo.gl

"Singer-songwriter Nikki Lane, elated with country spirit and outlaw enthusiasm, recently popped into the KEXP studio again to feature some songs from her new album, All Or Nothin’. With whatever endeavor she’s pursuing, Lane simultaneously appeals to the great canon of country music, citing influence from artists like Nancy Sinatra and Tammy Winette, but still manages to create something that’s entirely her own, a fusion of Motown, country, alternative rock, and punk music." Here is Lane's most recent session, in all its stylish glory: blog.kexp.org

"Philadelphia band Restorations have managed to both attract and defy labels since their humble origins in 2008. Formed by singer/guitarist Jon Loudon and guitarist Dave Klyman following the breakup of their post-hardcore band Jena Berlin, the two casually assembled a new band with little more ambition than having a reason to get together once a week and play. It took a couple of years to get going, but by 2010 Restorations had begun a string of releases that would garner them ardent critical praise for their marriage of post-rock, punk, Americana, folk-rock, and anthemic indie." goo.gl