2012 is turning out to be a pretty good year for women singers. Just in the past few weeks (fall 2012) we've seen a critical mass of new releases by women singers--most notably by Iris DeMent (Sing the Delta), Aimee Mann (Charmer) and Tift Merritt (Traveling Alone). But let the record show that Bonnie Raitt, Fiona Apple, Suzanne Vega, Beth Orton and Diana Krall also have new records out, and I've already reviewed new records by Kathleen Edwards and Alison Krauss (plus Krauss' concert at the Biltmore in Asheville, NC).
See my separate review of Iris DeMent.
Aimee Mann
Aimee Mann has been around since the techno-pop of Til Tuesday in the 1980s. She hasn't been prolific exactly, but unlike Iris she's been steady. Her new record is her 8th solo record in about 20 years. She's averaged one every 2.5 years. This is her 1st in 4 years, but her 2nd in 6, her 3rd in 7 and her 4th in 10.
She calls her latest record Charmer, and so you Aimee Mann fans know that there's a song here about a fellow who takes himself to be a charmer but who fails to live up to Mann's expectations, in the tradition of "All Over Now," "Calling It Quits," "Driving Sideways," "Guys Like Me," "I Should Have Known Better," "You're With Stupid Now" and a dozen more. The record in fact opens with "Charmer" and, unfortunately, it's absolutely typical of Aimee Mann. That is to say, nothin' special.
In fact, the record only gets moving with the 3rd cut, "Labrador," which offers something a little different from Aimee Mann--that is, a sense of humor--where she compares herself, that is to say, the personna of the singer, to a "loyal Labrador," yes, the dog. "When we first met/I was glad to be your pet/like the lab that I once had/that we called Maisie/but fetching sticks/was the best I had for tricks/you got bored/you got mad/then you got crazy." Har, har. The bouncy melody admirably conveys the humor, a characteristic rarely seen in Mann's songs and so refreshing here.
But the 6th cut, "Living A Lie," is the centerpiece. It opens with a male vocal...who is that? That sounds so familiar...yes, of course, it's James Mercer of the Shins, and this sounds exactly like a Shins song only better than anything on their record from earlier this year. But now the record's got some momentum going. "Slip and Roll" and "Gumby" are catchy slower tunes, "Gamma Ray" a little harder-edged and finally "Red Flag Diver" closes things out pleasantly enough.
That makes 7 of 11 songs that are minimally "pleasant enough." Not bad. But records are defined not by their average quality but by their high points, and there's certainly nothing here on a par with Mann's best work--which means pretty much every other tune with Til Tuesday and likewise from her 1st solo LP Whatever. In the 21st century, her records were characterized by their best songs rather than by their consistency. "You Do" from Bachelor No. 2, "It's Not" from Lost in Space, "Little Bombs" from The Forgotten Arm, "Columbus Avenue" from @#%&*! Smilers (which I am told is pronounced Fucking Smilers, who says the girl's got no sense of humor, eh?). There's not a song here on Charmer in that class.
I mean, it's gotta be tough being Aimee Mann. The bar is so incredibly high. Charmer is maybe the 5th or 6th best of her 8 solo records. And yet, it's still one of the top 5 records of 2012 so far. Faint praise for Aimee Mann. For lots of artists, even good ones, this would be a career masterpiece.
Tift Merritt
Tift Merritt now has released 5 solo studio LPs in 10 years, plus 2 live albums and 2 EPs. Her 1st 3 LPs were all winners--Bramble Rose, Tambourine and Another Country. Her fourth, by contrast, fell flat.
Now she's back with Travelling Alone, which makes it a trend. Jerry Douglas' record this year is called Traveller and Kathleen Edwards' record was called Voyageur. This isn't up to those records but it kicks Tift back into the category of alt-country artists to keep an eye on.
Tift has written about 1 up-tempo song for every 2 or 3 ballads, and she's like Aimee Mann in that her up-temp tunes are more satisfying throughout. "Still Not Home" is built around a minimalist fuzz-tone guitar riff, and it's about as close to rock 'n roll as she's ever gotten, though the "guitar solo" is actually a pedal steel, giving it a little bit of country cred. And that's who Tift is, after all, alt-country. "Still Not Home" pushes the envelop just enough.
"In the Way" has a softer, more typical Tift Merritt sound, and ends the record on a nice up-beat: "One day, I'll never be lonely/Oh, yeah, it'll really be something/Turn around and nothing will be in my way/Clear as the day/I don't see nothin' in my way." Nice.
"To Myself" has that same rock 'n roll quality to it, including the fuzzy guitar. "Spring" starts out slow but builds up in intensity and in tempo as the electric guitar comes forward once again.
"Too Soon to Go" and the title track feature slower tempos but pleasant vocals. Tift is in good voice here. It's a slightly thin voice, but expressive, and she sings passionately. While all else is professionally done, it's her songs and her voice that are her primary appeal. She hasn't quite caught the inspiration of her 1st 3 records, but this is solid nevertheless and adds to a substantial body of work that makes her one of the top 10 artists of the 21C.
And while Aimee Mann's body of work is about twice as big as Tift's, Tift Merritt is in a little bit better place right at this point in time.
Tuesday, October 30, 2012
Saturday, October 27, 2012
Welcome Back, Iris DeMent
Iris DeMent burst on the mainstream in 1995 with a now-classic recording The Way I Should. Produced by Randy Travis, it featured some incredible songs like "The Way I Should," "When My Morning Comes Around," "Wasteland of the Free" and "There's A Wall in Washington," sung with incredible passion and emotion, and accompanied by some of the best session players in Nashville.
Her voice is a little too twangy for some people, of course, but to me it's one of those unmistakable voices, like Alison Krauss,' that rise above the clutter and demand to be heard. Nobody cuts through to the heart and soul and the deep poignancy of the human condition like Iris does.
It turned out that The Way I Should was her third record. Each of the first two had contained more eloquent confessional songs like "My Life,""Sweet Forgiveness" and "Easy's Gettin' Harder Every Day." Iris imbues each song with such passion and immediacy that people assume they're autobiographical. The latter is set in Idaho and Iris reports that people are always saying to her,"So, you're from Idaho...."
Who knew at the time that The Way I Should would be her last record of her own material for almost 17 years, until the release of Sing the Delta. Apparently Iris had a monumental case of writer's block. But thank goodness that has been overcome because, make no mistake, Iris is a treasure.
And so here, remarkably, out of the blue, is Sing the Delta. To be honest, I expected to be disappointed, as I was disappointed by her last record, Lifeline (2004), which turned out to be a collection of old-time songs that Iris learned from her mother. If you know Iris, "songs my mom taught me" is a perfect reflection of who she is, but it didn't make for great music, not like her own songs.
Sing the Delta, by way of contrast, is the full Iris. These are her songs. Not her mom's, not anybody's but hers. The Iris of The Way I Should, the Iris of "My Life," after 17 years in the desert. Like all of her best songs, these are confessions, reflecting the kind of thoughts that most of us keep private but that Iris hangs out there for all to hear.
Like "The Night I Learned Not to Pray," about losing one's faith, a subject she's sung about before, and that her fans know in general to be not a work of fiction but an expression of Iris' true life experience. Well, except the story line here is that her baby brother fell down a flight stairs, cracked his head, and died despite Iris' prayers on his behalf, that part I believe to be fictional. When the boy died, it became "the night I learned not to pray/God's gonna do what God wants to anyway." Somebody is going to come up to Iris and say, "I'm sorry about your baby brother...."
Sing the Delta is basically 1 up-tempo song and 2 ballads, 1 and 2, 1 and 2. For me, the record revolves around the ballads (plus "The Night I Learned How to Pray), though the up-tempo numbers keep things moving a bit and that's a good thing.
The title track is a love song to Dixie, "Mornin' Glory" is a love song to a flower garden, "If That Ain't Love" a love song to her dad, all featuring lilting melodies and occasionally soaring but always passionately sung vocals. Amazingly, Iris is in terrific voice here as if it were 1997 or 1998, as if she had never been away. And the dominant instrument here is Iris' crisp, old-fashioned piano, like grandma used to play. Like I said, this is the full Iris all the way.
In fact, this may be her best record ever and her best vocal performance. I have to say there's nothing here with the power of "The Way I Should" or "When My Morning Comes Around" or the pathos of "Sweet Forgiveness." But in hindsight, her political commentary on The Way I Should seems to lack to passion and the commitment of her confessional songs, and all of these are confessional.
In any event, Sing the Delta has just displaced Kathleen Edwards' Voyageur as the record of the year so far in 2012. If you're not familiar with Iris, you can find out if she is your cup of tea on YouTube, of course. There's a version of "A Whole Lotta Heaven" with an incredible ensemble including Jerry Douglas, Russ Barenberg and Bill Frisell on guitar, and Phil Cunningham (Aly Bain's alter ego) on accordion. And the title track, "Sing the Delta" is there, with a message by whoever downloaded it. Welcome back, Iris, it says. Amen to that.
A Fire Indeed: Arcade Fire is Best Rock 'n Roll Band of the 21st Century
OK, I have to admit it. I've just discovered Arcade Fire. Eight years after they burst on to the scene with what I now know to be a brilliant 1st long-playing record called Funeral. Later, it turns out, they kicked off their 2010 concert tour in support of the Grammy Award-winning LP The Suburbs right here in the Twin Cities. And I missed 'em.
Good God. Where to start?
Well, the first I heard of Arcade Fire was of course The Suburbs. I mean, you couldn't miss that with all the awards it won in the year following that St. Paul concert, including the Grammy for Album of the Year. So I picked up a copy and thought, yeah, it's a nice little record. Clever. Understated. Rich. Colorful. Really nice modern rock. Listened 3-4 times, put exactly 3 tunes on I-Tunes ("The Suburbs," "Wasted Hours" and "Deep Blue"), and put it away on the shelf.
Big mistake.
I don't even remember now what set me to giving them another listen, but having done so I have of course gone back and listened to The Suburbs several times in the past week. Well, in addition to the 3 tunes listed above, there are at least 3 more songs here that, just taken on their own, are terrifically listenable pop tunes. I mean "Modern Man," "City with No Children" and "We Used to Wait." In fact, "Modern Man," with its trippy little rhythm and minimalist guitar figure, has replaced "Wasted Hours" as my favorite from this record.
But all of the songs take on an added power and poignancy if you pay attention (as I had not done) to the story arc, based on Win and Will Butler's upbringing in the Houston suburb of Woodlands, TX. According to Win, the album "is neither a love letter to, nor an indictment of, the suburbs – it's a letter from the suburbs." Everything from adolescent friendships and pranks, to teen love and lust, and to rioting in the streets--it's all there, and summarized in some powerful images in the video for "The Suburbs." The title track creates a mood of excruciating ambiguity with its juxtaposition of happy-go-lucky rhythms and that profound sadness looking back on innocence lost.
"The summer that I broke my arm/I waited for your letter/I have no feeling for you now/Now that I know you better/I wish that I could have loved you then/Before our age was through"
"In my dream I was almost there/Then they pulled me aside and said you’re going nowhere/I know we are the chosen few/But we waste it/And that’s why we’re still waiting"
"You always seemed so sure/That one day we’d be fighting/In a suburban war/Your part of town against mine/I saw you standing on the opposite shore/But by the time the first bombs fell/We were already bored"
The violence is penny ante compared to, say, The Wall, but the feeling of alienation is no less powerful, even in those rare lyrics that look forward rather than looking back:
"So can you understand/Why I want a daughter while I’m still young?/I want to hold her hand/And show her some beauty/Before all this damage is done/But if it’s too much to ask, if it’s too much to ask/Then send me a son"
The irony, of course, is that powerfully emotive and emotional and alienated lyrics aren't the only power that Arcade Fire has to offer. LIVE it's perhaps the most energetic band since the heyday of Springsteen or the Stones or maybe the Talking Heads. They create a wall of sound that is largely missing on The Suburbs. So it can now be said--it must be said--that The Suburbs is not their best work. Arcade Fire is at its best LIVE IN CONCERT, and it is at its best playing several tunes from the first two records--those of course being "Neighborhood #1 (Tunnels)." "Neighborhood #3 (Power Out)" and "Rebellion (Lies)" from Funeral, and "Antichrist Television Blues" and "Intervention" from Neon Bible.
And having now watched at least a half dozen or more live performances of each--not to mention at least a dozen, maybe 15, other songs performed live--it becomes crystal clear that this is THE ROCK 'N ROLL BAND OF THE 21ST CENTURY and Win Butler is one of the two or three most consequential pop music personalities working today.
What stands out is, well, lots of things. First of all is the energy. Every musician in constant motion, so elegantly, so stylishly. And Win Butler, so charismatic with that smoldering intensity, spitting out those provocative lyrics. So ambiguous. I wonder, is/was he a nice boy? Or not so nice? I think, not so nice. The band endured some widely publicized frictions in its early days. The band endured. Some of the players, no. Butler, I take it, overwhelmed them, and they left. I'd say he's kind of a Roger Waters type. There it is, that Pink Floyd connection again. The dark side. Yes, but so much energy, so charismatic, so colorful.
The stage show, in fact, recalls the Talking Heads more than anybody. And sure enough, there on YouTube, there's a cover of the Heads' "Naive Melody (This Must Be the Place)" with multi-instrumentalist and vocalist Regine Chassagne (also Win's wife) doing a rather poor impression of David Byrne as marionette. But otherwise it's Win doing the David Byrne role, singing and hogging the spotlight despite all the dash and color that his bandmates provide.
Further mindful of Talking Heads is Arcade Fire's female contingent, still something of an oddity in the world of rock 'n roll. In addition to the Haitian pistol, Regine, are violinists Sarah Neufeldt and Marika Anthony-Shaw. Regine and Sarah, generally untethered to fixed instruments (i.e. keyboards, drums), provide much of the band's visual flair and kinetic energy.
Secondly, there's that wall of sound. No wonder reviewers have found it necessary to describe Arcade Fire by reference to Radiohead. (These are, after all, the best progressive rock 'n roll records since OK Computer.) I also hear echoes of U2 and (as noted) Pink Floyd, the Stones, Springsteen, Talking Heads, all the epic bands with their wall of sound fairly shouting, Hey, world, we have something to say. Listen to us.
It's a wall produced live by at least eight, sometimes nine, sometimes more musicians: Two full-time violins and part-time horns, xylophone, hurdy-gurdy and sundry others that provide another brick in that wall and/or provide an exotic sound that is unlike any other band playing today.
Put them all together and it's a tsunami of sound, it washes over you, and you just ride along and hold on for dear life. But just when you think, no, this is too precious, too much atmosphere--violins and xylophones and other fru-fru--then there's Will Butler (on bass) and Jeremy Gara (on drums) pounding out the driving rhythms of Arcade Fire's best songs. And of course Tim Kingsbury's guitar sings and screeches and everything in between. This is rock 'n roll at its heart.
Third is that the concept of The Suburbs as "a letter from the suburbs" is nothing new. Here on Funeral--again, dating all the way back to 2004--are not one, not two, not three, but four songs titled 'The Neighborhood." One is subtitled (and often referred to simply as) "Tunnels." The second is sub-titled "Laika." The third, "Power Out," and the fourth "7 Kettles." All introspective, idiosyncratic looks at life through the eyes of an adolescent fascinated by but not yet a part of and ultimately deeply alienated from the mature world.
Sure, Neon Bible is a bit more extroverted--mostly, it's a third-party commentary on the influence of television and religion on today's worldview. "People don't necessarily know that they're taking on a worldview, or absorbing ideas while watching television," Win said. "I find it very easy to get sucked in." "Antichrist Television Blues" is a devastating stream-of-consciousness commentary on TV preachers, reminiscent of Dylan's "Subterranean Homesick Blues" and and Springsteen's Greetings from Asbury Park, N.J., in its break-neck speed and its avalanche of lyrics running to fully three-pages of lyrics on the booklet that comes with the CD. And, surely it is Win's "bad boy" that is able to so fully realize the corrupt preacher trying so desperately to convince his daughter to sing professionally....
"Do you know where I was at your age?/Any idea where I was at your age?/I was working downtown for the minimum wage/And I'm not gonna let you just throw it all away!/I'm through being cute, I'm through being nice/O tell me, Lord, am I the Antichrist?!"
Still the album's most popular song, "Keep the Car Runnin'," is sung in the first person and represents Butler's more introverted--should I say self-centered?--side, as if to say that, hey, ultimately, it's about me and about how it feels to me, living as a "Modern Man" in this modern world:
"Every night my dream’s the same/Same old city with a different name/Men are coming to take me away/I don’t know why but I know I can’t stay.... Keep the car runnin'"
Great art is nothing if not obsessive.
Top Arcade Fire Songs
1. Neighborhood #1 (Tunnels)--Funeral
2. Antichrist Television Blues--Neon Bible
3. Rebellion (Lies)--Funeral
4. Modern Man--The Suburbs
5. Neighborhood #3 (Power Out)--Funeral
6. City with No Children--The Suburbs
7. We Used to Wait--The Suburbs
8. Intervention--Neon Bible
9. Wasted Hours--The Suburbs
10. Keep the Car Running--Neon Bible
11. The Suburbs--The Suburbs
12. Wake Up--Neon Bible
13. Deep Blue--The Suburbs
14. No Cars Go--Neon Bible
15. Neighborhood #4 (7 Kettles)--Funeral
Good God. Where to start?
Well, the first I heard of Arcade Fire was of course The Suburbs. I mean, you couldn't miss that with all the awards it won in the year following that St. Paul concert, including the Grammy for Album of the Year. So I picked up a copy and thought, yeah, it's a nice little record. Clever. Understated. Rich. Colorful. Really nice modern rock. Listened 3-4 times, put exactly 3 tunes on I-Tunes ("The Suburbs," "Wasted Hours" and "Deep Blue"), and put it away on the shelf.
Big mistake.
I don't even remember now what set me to giving them another listen, but having done so I have of course gone back and listened to The Suburbs several times in the past week. Well, in addition to the 3 tunes listed above, there are at least 3 more songs here that, just taken on their own, are terrifically listenable pop tunes. I mean "Modern Man," "City with No Children" and "We Used to Wait." In fact, "Modern Man," with its trippy little rhythm and minimalist guitar figure, has replaced "Wasted Hours" as my favorite from this record.
But all of the songs take on an added power and poignancy if you pay attention (as I had not done) to the story arc, based on Win and Will Butler's upbringing in the Houston suburb of Woodlands, TX. According to Win, the album "is neither a love letter to, nor an indictment of, the suburbs – it's a letter from the suburbs." Everything from adolescent friendships and pranks, to teen love and lust, and to rioting in the streets--it's all there, and summarized in some powerful images in the video for "The Suburbs." The title track creates a mood of excruciating ambiguity with its juxtaposition of happy-go-lucky rhythms and that profound sadness looking back on innocence lost.
"The summer that I broke my arm/I waited for your letter/I have no feeling for you now/Now that I know you better/I wish that I could have loved you then/Before our age was through"
"In my dream I was almost there/Then they pulled me aside and said you’re going nowhere/I know we are the chosen few/But we waste it/And that’s why we’re still waiting"
"You always seemed so sure/That one day we’d be fighting/In a suburban war/Your part of town against mine/I saw you standing on the opposite shore/But by the time the first bombs fell/We were already bored"
The violence is penny ante compared to, say, The Wall, but the feeling of alienation is no less powerful, even in those rare lyrics that look forward rather than looking back:
"So can you understand/Why I want a daughter while I’m still young?/I want to hold her hand/And show her some beauty/Before all this damage is done/But if it’s too much to ask, if it’s too much to ask/Then send me a son"
The irony, of course, is that powerfully emotive and emotional and alienated lyrics aren't the only power that Arcade Fire has to offer. LIVE it's perhaps the most energetic band since the heyday of Springsteen or the Stones or maybe the Talking Heads. They create a wall of sound that is largely missing on The Suburbs. So it can now be said--it must be said--that The Suburbs is not their best work. Arcade Fire is at its best LIVE IN CONCERT, and it is at its best playing several tunes from the first two records--those of course being "Neighborhood #1 (Tunnels)." "Neighborhood #3 (Power Out)" and "Rebellion (Lies)" from Funeral, and "Antichrist Television Blues" and "Intervention" from Neon Bible.
And having now watched at least a half dozen or more live performances of each--not to mention at least a dozen, maybe 15, other songs performed live--it becomes crystal clear that this is THE ROCK 'N ROLL BAND OF THE 21ST CENTURY and Win Butler is one of the two or three most consequential pop music personalities working today.
What stands out is, well, lots of things. First of all is the energy. Every musician in constant motion, so elegantly, so stylishly. And Win Butler, so charismatic with that smoldering intensity, spitting out those provocative lyrics. So ambiguous. I wonder, is/was he a nice boy? Or not so nice? I think, not so nice. The band endured some widely publicized frictions in its early days. The band endured. Some of the players, no. Butler, I take it, overwhelmed them, and they left. I'd say he's kind of a Roger Waters type. There it is, that Pink Floyd connection again. The dark side. Yes, but so much energy, so charismatic, so colorful.
The stage show, in fact, recalls the Talking Heads more than anybody. And sure enough, there on YouTube, there's a cover of the Heads' "Naive Melody (This Must Be the Place)" with multi-instrumentalist and vocalist Regine Chassagne (also Win's wife) doing a rather poor impression of David Byrne as marionette. But otherwise it's Win doing the David Byrne role, singing and hogging the spotlight despite all the dash and color that his bandmates provide.
Further mindful of Talking Heads is Arcade Fire's female contingent, still something of an oddity in the world of rock 'n roll. In addition to the Haitian pistol, Regine, are violinists Sarah Neufeldt and Marika Anthony-Shaw. Regine and Sarah, generally untethered to fixed instruments (i.e. keyboards, drums), provide much of the band's visual flair and kinetic energy.
Secondly, there's that wall of sound. No wonder reviewers have found it necessary to describe Arcade Fire by reference to Radiohead. (These are, after all, the best progressive rock 'n roll records since OK Computer.) I also hear echoes of U2 and (as noted) Pink Floyd, the Stones, Springsteen, Talking Heads, all the epic bands with their wall of sound fairly shouting, Hey, world, we have something to say. Listen to us.
It's a wall produced live by at least eight, sometimes nine, sometimes more musicians: Two full-time violins and part-time horns, xylophone, hurdy-gurdy and sundry others that provide another brick in that wall and/or provide an exotic sound that is unlike any other band playing today.
Put them all together and it's a tsunami of sound, it washes over you, and you just ride along and hold on for dear life. But just when you think, no, this is too precious, too much atmosphere--violins and xylophones and other fru-fru--then there's Will Butler (on bass) and Jeremy Gara (on drums) pounding out the driving rhythms of Arcade Fire's best songs. And of course Tim Kingsbury's guitar sings and screeches and everything in between. This is rock 'n roll at its heart.
Third is that the concept of The Suburbs as "a letter from the suburbs" is nothing new. Here on Funeral--again, dating all the way back to 2004--are not one, not two, not three, but four songs titled 'The Neighborhood." One is subtitled (and often referred to simply as) "Tunnels." The second is sub-titled "Laika." The third, "Power Out," and the fourth "7 Kettles." All introspective, idiosyncratic looks at life through the eyes of an adolescent fascinated by but not yet a part of and ultimately deeply alienated from the mature world.
Sure, Neon Bible is a bit more extroverted--mostly, it's a third-party commentary on the influence of television and religion on today's worldview. "People don't necessarily know that they're taking on a worldview, or absorbing ideas while watching television," Win said. "I find it very easy to get sucked in." "Antichrist Television Blues" is a devastating stream-of-consciousness commentary on TV preachers, reminiscent of Dylan's "Subterranean Homesick Blues" and and Springsteen's Greetings from Asbury Park, N.J., in its break-neck speed and its avalanche of lyrics running to fully three-pages of lyrics on the booklet that comes with the CD. And, surely it is Win's "bad boy" that is able to so fully realize the corrupt preacher trying so desperately to convince his daughter to sing professionally....
"Do you know where I was at your age?/Any idea where I was at your age?/I was working downtown for the minimum wage/And I'm not gonna let you just throw it all away!/I'm through being cute, I'm through being nice/O tell me, Lord, am I the Antichrist?!"
Still the album's most popular song, "Keep the Car Runnin'," is sung in the first person and represents Butler's more introverted--should I say self-centered?--side, as if to say that, hey, ultimately, it's about me and about how it feels to me, living as a "Modern Man" in this modern world:
"Every night my dream’s the same/Same old city with a different name/Men are coming to take me away/I don’t know why but I know I can’t stay.... Keep the car runnin'"
Great art is nothing if not obsessive.
Top Arcade Fire Songs
1. Neighborhood #1 (Tunnels)--Funeral
2. Antichrist Television Blues--Neon Bible
3. Rebellion (Lies)--Funeral
4. Modern Man--The Suburbs
5. Neighborhood #3 (Power Out)--Funeral
6. City with No Children--The Suburbs
7. We Used to Wait--The Suburbs
8. Intervention--Neon Bible
9. Wasted Hours--The Suburbs
10. Keep the Car Running--Neon Bible
11. The Suburbs--The Suburbs
12. Wake Up--Neon Bible
13. Deep Blue--The Suburbs
14. No Cars Go--Neon Bible
15. Neighborhood #4 (7 Kettles)--Funeral
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