This will be big.

I don't know why I feel an urge to spread the word about Avi Buffalo, because it's really not my kind of music. I have never been won over by the Neil Young-school of rock, and I have always been skeptical towards indie-folk in lieu of Band of Horses. This Long Beach outfit lies at the crossroads between the two, and thus wakes some sort of deeply-rooted nausea and hatred in me. But mark my words, I think they're gonna be the next big thing - they seem to hit slap bang into the tendencies of today. Try checking out 'What's In It For'. I won't blame you for liking it, but I won't hesitate to diss it while drunk. I am really surprised they were omitted for Roskilde.

Another remarkable omission, this time on the domestic stage, is Kirsten & Marie. We've all had those sisters or cousins that always performed with beautiful yet corny songs at family get-togethers, and Kirsten & Marie are the professional version of that. Try listening to 'My Dear', with a pretty video directed by, amongst others, Aske Zidore of Oh No Ono - these girls are gonna be big too!

Frederik Thaae, otherwise known as A Kid Hereafter, has just revealed a new side project, it's called MicroPop, and it's sort-of ghetto-tech'y. I really like the vibe and the unpretentiousness of this!

A final interesting new project is Bobby Joy. I really often neglect to mention stuff from my local scene here in Aalborg, but that's because very seldom interesting things appear out of this hole of punk, garage and metal. But try and listen to 'Blisters' here - honestly, it really catches me!

I am starting to get into a few more Roskilde names. Foremostly, The National have caught my attention, and I might need to get a hold of a few of their records within the next month. It's gonna be one of the concerts that will be much better when you know some of the music. Check out 'Slow Show', which I really dig at the moment. It will cramp my schedule even further, but this year already boasts an unfathomable amount of good acts. Jack Johnson is making is way upwards on my list as well, after all.

The revival of post-punk revival?

The post-punk revival wave of the early-to-mid-'00s has had some tough years of late, as all kinds of new rave, dance-punk, indie-folk and the plethora of other crossover genre-ingenuities have all had their poke at post-punk revival's somewhat traditional instrumentalisation, sound and structure. Interpol are on their way with their fourth album, which I think will be very important for them. All of their three first albums, although especially the two first ones, were praised almost across the boards, but can Paul Banks and his gang's inevitable talent pierce through the walls and into the '10s amidst glistening electro and schmindies with beards, sweaters and acoustic guitars? I hope so. The first taste of the forthcoming album, the title of which is still unknown, is 'Lights', which I must admit doesn't blow me away. It will be very interesting to hear news from this intriguing New York foursome soon though!

One guy who is definitely able to hit the nail on the head, is Anders Trentemøller. He's on his way with his second album, Into The Great White Yonder, which, as the title suggests, is gonna be quite reminiscent of his very widely acclaimed debut, The Last Resort. To hell with that (even though it is a very beautiful album), for Trentemøller really shines in his remixes and his live shows. We all know the magnificent remix of Röyksopp's 'What Else Is There?', and he's done it again. I mentioned this before, but I don't think I praised it rightfully - it's really sharp and witty this one, which is of course his remix of 'Beach'. It's a bit long (there's a shorter version on Soundvenue's High 5), but I love how Jonas Bjerre's angelic falsetto is accompanied by the heavy beats and tribal-like percussion.

Kele Okereke of Bloc Party fame is on his way with his first solo record. I honestly haven't been expecting much, knowing that Okereke's live DJ-gigs are often heavily infused with punk, a genre I honestly don't really embrace. There is something to his voice nonetheless, and I'll probably get a hold of the album, just for loyalty's sake. The first single was played on Zane Lowe this week, and it's named after a kind of pasta, the 'Tenderoni' (just kidding). I don't really like it that much, honestly, but this might very well be one of the poppier, blander tracks on the album, so don't rule it out yet.


Finally, an outfit that has been played steadily here, there and everywhere this year has been brooklyners The Drums. I haven't completely thrust my love upon them, as I do find some of their stuff I've heard to become quite tiring. 'Forever and Ever, Amen', however, won me over. I guess I've got a thing for wistful and dreamy tunes about dreams things (non-)everlasting at the moment.

Garage revival times!

Every now and every then, I have a week or a few where I scrap all the synths and fancy-schmanzy studio productions in favor of some old fashioned guitars. This time around, this period has been foremostly spurred by my getting a hold of The Kooks' very well-acclaimed album Inside In/Inside Out, from 2006. Of course, everyone knows 'Naïve' and 'Seaside', both of which are awesome tracks, but also 'She Moves In Her Own Way', 'See The World' and 'Match Box' are very enjoyable parts of a good album.

Another thing that has happened the last few weeks is that I've finally embraced Is This It by The Strokes. Ever after NME named it the top most influential album of the 00's, I've somehow pushed forward the fact, that I would eventually have to make up my mind on this album. It is perhaps less hit-laden than it's younger brother, Room On Fire, which features both '12.51' and the catchiest riff in the world, 'Reptilia', but it is really a thorough package. Songs like 'Someday', 'Barely Legal', 'Take It or Leave It' and the title track all stand out, but the album's strength is really the simplicity and genuineness that runs through its entirety.

I have had an Arctic Monkeys flip for months, but lately it has turned, perhaps somewhat surprisingly, towards the second album, Favourite Worst Nightmare. I am amazed at how 'Only Ones Who Know' and 'Do Me A Favour' work together around the panicky nexus of the album. The latter is a highly powerful tune, especially when you bring the spot-on lyrics into the mix. I might cook up some sort of comparative discourse of the three Arctic Monkeys albums soon enough.

Tokyo Police Club and Cut Off Your Hands are peripherical parts of this garage-revival period, both chipping in with instrumental tracks such as 'Your English Is Good' and 'Turn Cold'.

I'm finally getting a decent salary next month, and I'll definitely spend some of it on some new records. More on that soon.

Things are happening.

Alright, except from the Roskilde-announce last week (which was topped by the addition of Prince today, whoa!?), these have been a few quiet weeks. I've however finally assembled a collection of stuff that's worth a listen.

Things are happening for James Murphy and LCD Soundsystem, with third and, supposedly, final album This Is Happening due in the immediate future. It was available for streaming at his website a few days ago, and I really liked what I heard. 'All I Want', which seems to be the next single off the album, is really likeable, and very recognizable.

Roskilde-bound The National are out with a new single too, 'Bloodbuzz Ohio', and I must admit I am really impressed. Here's a band that have always hovered slightly below my radar, but that may well change. I love the energetic approach to the otherwise sometimes rather dire post-punk-revival sound (think White Lies, Editors).

In the more electronic spectrum, quite a few interesting remixes have appeared the last few days. 'Beach', my favourite track off Mew's latest album, has been remixed by none other than Trentemøller. I can't find it on YouTube yet, but it's available off Soundvenue's High 5, whereupon it is a contender this week. It's really awesome! In the alley of star DJs, Tiësto has had a go at Turboweekend's 'Trouble Is'. It's just humongous! Hot Chip have released a re-fix of 'I Feel Better', now titled 'I Feel Bonnie', and featuring Bonnie 'Prince' Billy. Also in the electronic alley, albeit not a remix, Crystal Castles are on their way with their second album, which is eponymous - as the first one was. Retarded. Anyway, 'Celestica' here is quite a nice track!

Finally, I went and saw Kashmir last Thursday, and it was really good. They, as nearly always, had tremendous gusto, and the set was pretty good. I don't remember the tracks in order, but they played the following selection of songs:

From Trespassers: Mouthful of Wasps, Intruder, Mantaray, Pallas Athena, Still Boy and Bewildered in the City.
From No Balance Palace: Kalifornia, The Cynic, The Curse of Being A Girl, She's Made of Chalk and Ether.
From Zitilites: Rocket Brothers, Surfing The Warm Industry, The Aftermath, Melpomene, In The Sand and Big Fresh.
From Travelogue: Leathercrane (an epic closer!)

I missed Petite Machine and Lampshade, which they've played on some of the earlier dates of the tour, but all in all a good gig!

Preliminary thoughts on the Roskilde line-up.

... And Thursday came and went, with Roskilde Festival now 60 names richer on the line-up, and even though, as I wrote the other day, other names will doubtlessly still be added to the poster right through June, we've now got a pretty good picture on what to expect.

I must say, I've never had as crowded an upper echelon on my must-see list. Given that many metal-heads and hip hoppers especially might righteously feel that this year's line-up doesn't fulfill their wettest dreams, I sure am pretty satisfied. It's still early, and a lot is gonna happen through the next few months, as I get to dig further through the acts, but these are my preliminary thoughts on what the 8 days at the Animal Showgrounds are gonna have in store for me.

Headliners
The big three in question this year in my book are the UK threesome of Muse, The Prodigy and Gorillaz, and I'm probably gonna prioritize them in that particular order. Yes, I saw Muse in 2007, and thus part of me argues to go see something else this time around, but it is also a fact that Muse's '07 show still ranks just below Trentemøller '09 on my top Roskilde-concerts' list. I'll never forget that afternoon, but I hope this years show will provide a different experience, namely a slot in the dark (the 1am slot would be awesome). Regardless, there's a good chance the Teignmouth trio will be atop my list come June. The Prodigy is gonna be an awesome party. I envision it as this years ball-buster of a lights-and-music show, in lieu of Björk ('07), The Chemical Brothers ('08) and Trentemøller ('09). Gorillaz is all gonna depend on how they choose to come forth live. If they do it all in 3D, it's gonna be quite unique. Else, I might not be desperate to see them, although they'll probably kick ass. Jack Johnson deserves a mention, although given the strength of this year's line-up, he's gonna be a fair ways down the list. A sunny Saturday afternoon with Mr. Johnson at Orange does sound appealing though.

Indie abundance

Last year, Roskilde somewhat slumped the indie audience, with the absence of acts such as Phoenix, La Roux, Bon Iver and Animal Collective. This year, the festival full-fledgedly takes revenge. Trying to somehow sort the abundance of interesting names in some sort of priority, five names appear atop my list. Vampire Weekend is gonna be very, very hard for me to miss this year. I really need to get a hold of their newest record Contra, from January, but their eponymous debut is really enough for me to go see them. Kings of Convenience are gonna be extremely high on my list as well, although I've only ever heard their two first albums. I need to get a hold of at least the newest one. I am already looking forward to a hot afternoon with a beer at Odeon and Erlend Øye soothing my ears with his moony voice. The Temper Trap are gonna be massive too. We heard them a fair lot in Australia, and I really hope they get to play Arena, which would be an amazing stage for their music. They're probably gonna have to settle for Odeon though. LCD Soundsystem is another name I'm looking very much forward to. I just heard his new album for the first time the other day, and it's much better than the lead single, 'Drunk Girls', would lead one to expect. Combined with the sheer quality of his second album, Sound of Silver, this is gonna be an epic gig. Florence + The Machine rounds off the important five - another very interesting name.

A few other names sound very appealing, but are gonna be dependent on how the schedule is gonna come out. Beach House especially, but also FM Belfast, Casiokids, Dirty Projectors, Wild Beasts and The National.

Electronic emphasis?
Last year, my program ended up being pretty packed with electronic names (Fever Ray, Röyksopp, Trentemøller, 2ManyDJs, Pet Shop Boys), to the point that it really ended up being almost too much. I'm gonna pick my poison carefully this year, but there are a few names I'm very likely to attend. Highest on my list will probably be Moderat, who are likely to throw off an anything but moderate party. I also hope to find room especially for Pendulum and French elite-turntablists Beat Torrent. Other interesting names include Miike Snow, Schlachthofbronx, Fontän and Lindstrøm & Christabelle, but they're honestly gonna have a tough time in a year like this.

The yearly world-complex
Roskilde Festival always somehow manage to dig up a few decent names from around the globe, to cater for the curious music enthusiast. I always try to see at least part of a few concerts with a distinctively different feel, but it's hard to know what to expect. I do however expect Shantel & Bucovina Club Orkestar to throw an awesome party, which I'd like to attend. Some other interesting names that might be worth checking out are Mexican Institute of Sound, as well as the yearly act from The DR Congo, Staff Benda Bilili, who are not only Congolese, but also homeless and paraplegic. Oh, the poor souls. Finally, why not check out Narasirato Pan Pipers from a country as interesting as the Solomon Islands? Jeez, Roskilde haven't even come up with an abbreviation for that (they haven't for Mali either, but then again, there isn't much to abbreviate).

Denmark ye beautiful
I group the Danish acts together across genres mainly because they always present an irritating dilemma. As good as they might be, they're bound to be around the country at some point, and as such they aren't as exclusive to Roskilde. I do manage to fit a few of them into my schedule every year, and I'm rarely disappointed (Oh No Ono, Trentemøller and Tim Christensen '09, VETO '08 and Nephew '07, to mention a few). The three main Danish acts this year are Dizzy Mizz Lizzy, Kashmir and Nephew, and I'd like to fit in all three of them. Dizzy Mizz Lizzy are of the highest importance, as I've never seen them live, so it will hopefully be legendary. I saw Kashmir last night, but they are an awesome band, and I'd really like to experience them at Roskilde. Nephew are gonna be hard pressed to top their epic gig in 2007, but they're good in any case. Den Sorte Skole are beginning to look like a recurring fixture at the Animal Showgrounds, showing up for the third year running, counting their surprise bash at Skate in 2008. This year, they're gonna mash up tunes from the first 40 years of Roskilde, and it's gonna be one fat hell of a party. I hope to attend, and to be drunk while doing so. Two Danish bands I have heard way too little are When Saints Go Machine and The Kissaway Trail, but they are at the mercy of the schedule. Same goes for The Asteroids Galaxy Tour.

And for the first four days...
The Pavilion Junior line-up looks really interesting this year. I haven't really gotten around to checking out much of it yet, but Kill Screen Music, Sleep Party People and Eim Ick will be interesting. And I might go check out Thee Attacks, just because they're from Aalborg, and there are gonna be a lot of known faces among the audience.

An outline of a top 15
Order will certainly change, but:
Muse (UK)
Kings of Convenience (N)
Vampire Weekend (US)
The Prodigy (UK)
Dizzy Mizz Lizzy (DK)
The Temper Trap (AUS)
LCD Soundsystem (US)
Den Sorte Skole (DK)
Moderat (DE)
Gorillaz (UK)
Florence + The Machine (UK)
Kashmir (DK)
Nephew (DK)
Beat Torrent (FR)
Pendulum (AUS)

What to expect tomorrow.

Tomorrow is the 15th of April, which means that Roskilde will announce the majority of the yet-to-be-announced acts of this festival. And eventhough a few names will continue to trickle onto the list through the rest of April, May and June, tomorrow will see the general shape and look of this years festival revealed. There are still a lot of questions, guessing and wishes, but here's my take on what to expect.

The Headliners
As opposed to earlier years, the number of headliners release up to this point is very vague. I'm not a sucker for headliners anyway, but the main importance of these names is Roskilde's ability to continuously measure itself against the other major European festivals. While Roskilde's big advantage against many of the others is usually the width and variety of the line-up, the headliners are what most festival-goers look at at first glance, when they compare Roskilde to the other three festivals that make up Europe's big four: Werchter in Belgium, Sziget in Hungary and ofcourse England's Glastonbury.

As I see it, only three of the already confirmed names are definitely headliners. These are Muse, Gorillaz, and Them Crooked Vultures. The possible headliners are in my opinion (in order of likelihood): Motörhead, Jack Johnson, Alice In Chains, Pavement, NOFX and Kasabian. In all likelihood no more than three of these are headliners, and Motörhead and Jack Johnson are likely to be among them. Jack Johnson isn't a typical Roskilde headliner, but make no mistake, he is one of the most generally popular artists in the world. Whether Alice In Chains, Pavement or NOFX will be a headliner is a toss-up. I don't know any of the bands sufficiently to argue in any direction. Kasabian is probably a long-shot.

The past four years we have had 8, 8, 7, 8 and 9 headliners respectively, so it's very likely that two headliners will be in the package tomorrow. A mentionable unknown however is the possibility of a Danish headliner. The past five years there has been only one Danish headliner (Trentemøller in 2009), interestingly, this was also the year of 9 headliners. Two Danish bands on the line-up could possibly headline this year, those are Dizzy Mizz Lizzy and Nephew. I find it unlikely that any of them will though, for two reasons: Even though Danes are by far the biggest nationality at Roskilde, they are not as heavily recruited through the line-up, but more through the social aspect and traditions of going to the festival. Also, Roskilde usually takes pride in distancing themselves from the other Danish festivals, all of which are headlined by either one or both of the aforementioned bands.

To sum it up, My guess is, that the following bands will headline:
Alice In Chains (or NOFX)
Gorillaz
Jack Johnson
Motörhead
Muse
Them Crooked Vultures

And two more. But who will these two bands be? If we look at the genre-composition of the headliners we know so far, there's a clear emphasis towards the heavier rock/grunge, with Alice In Chains, Motörhead, Them Crooked Vultures and, to some extent, although their mainstream success makes them a pretty all-purpose name, Muse. Gorillaz are from the urban genres and Jack Johnson is probably to be construed as pop/mainstream. As I see it, we're gonna definitely have one more urbanely-oriented headliner - either a strong hip hop name, or a big electronic artist. Faithless were my tip for an electronic headliner, but they are playing Skanderborg, and thus are unlikely to play Roskilde. The Prodigy are always heavily lobbied for, but I really think it should have been last year, when they were on an album tour. I think Massive Attack is the most likely electronic headliner, but a lot tells me Roskilde will surprise us in this direction, and that being so, names like Daft Punk and Portishead could also come into consideration. The Chemical Brothers are on their way with new stuff, but we had them as recently as 2008, which works against them, even though it was an awesome show.

As for hip hop, I must admit that isn't really my area of expertise, but the hip hop acts this year so far are very few and far between, so I definitely wouldn't be surprised to see a big name come up here. Snoop Dogg could be a possibility. As for other headliners, my fresh pick would be Atoms For Peace. The Strokes would seem obvious, but it doesn't seem to be happening. Julian Casablancas might very well show up though, but not as a headliner. Arctic Monkeys could be possible too, but they aren't really touring this summer, it seems. Other headlining possibilities of different genres could be Iggy & The Stooges, Erykah Badu (although I'm not sure whether she could be a headliner), Robbie Williams, Rammstein (unlikely) or Green Day, although I wouldn't bet on neither. But two new headliners tomorrow, anything else will be a disappointment.

Indie hopes


This is just gonna be a quick sum-up of some likely indie names. First of all, I would be very surprised not to see Jonsí on the line-up. He fits the bill perfectly: he's Scandinavian, and he just released his debut album. Other very likely names are The National and Rufus Wainwright. I hope very much to see Delphic and Vampire Weekend, both of whom have released albums within the last few months. Same goes for Foals, Two Door Cinema Club, The Drums and The xx. None of these four have ever played Roskilde. I am not sure if Crystal Castles have, but they could be a hot tip, especially if the electronic headliner is gonna be absent this year. Same situation goes for Autechre, Miike Snow and Pantha du Prince. Among bands who have played Roskilde recently, but who could return this year, are Hot Chip, MGMT (very likely), Yeasayer, Band of Horses (yrrrk) and Arcade Fire. The latter could perhaps be a headliner, but I ultimately don't think they will be, mostly because of the fact that they will probably not play Orange. Bon Iver and Animal Collective were both remarkably absent last year, but both bands have released EPs lately, which could warrant some consideration. Other absentees of last year include La Roux, Calvin Harris, Gossip, Phoenix, Grizzly Bear and Passion Pit, but I would be very surprised to see any of those bands at Roskilde this year, given that they haven't released anything since last summer. A very possible hip hop name is Die Antwoord from South Africa.

Danish possibilities

It's always hard to get a handle on which Danish acts will play Roskilde. The big question this year is Kashmir, and I must say I'm totally 50/50 as to whether they will come or not. They really should, being as they have released a new album, and are still one of Denmark's major bands, but they didn't exactly release the best album in the world, and Roskilde could decide to skip them this year. Very likely Danish acts include Asteroids Galaxy Tour, Under Byen, I Got You On Tape, Band Ane and The Floor Is Made Of Lava.

It all goes off at noon tomorrow!

True and everlasting.

One of the major signs a record is of a high quality, is when the tracks emerge from the context in vastly different paces. Any given albums will always have tracks that are immediate favorites, tracks that eventually emerge as being the best, but a majority of albums also contain a few or more tracks that never really surface. Or don't seem to, anyhow. When some of these tracks actually do eventually shine brightly, is often the time I begin to mention the album in question in conjunction with my favorite albums.

Two albums have evolved and developed in exactly such a way for me over the past year. One is Wolfgang Amadeus Phoenix by French indie-poppers Phoenix. Of course, some of the more accessible and energetic tracks such as 'Lisztomania', '1901' and 'Lasso' immediately shone through as powerhouses of the album. The latter part - especially the last three tracks - was for a long time quite more obscure. However these last few weeks I've really started taking a liking to especially 'Countdown' and 'Armistice'. They're both amazing tracks. They revolve around the same pattern, culminating in epic outros carried by subtly pensive lyrics, putting Thomas Mars' fragile yet expressive voice at the forefront of dreaming descriptions of lost and flying love.

The other is Humbug by Arctic Monkeys. A gloomy meanderthon of an album, this has caught slowly but surely up on me. I instantly loved 'Cornerstone', which is an awesome piece of coquettery, and also 'Potion Approaching', 'Pretty Visitors' and 'My Propeller'. But some of the more anonymous tracks are truly the strengths of the album - tracks such as the thoughtful and deep 'Secret Door', which reminds me of a cross between two of the most epic songs from the first albums, '505' and 'A Certain Romance'. 'Dance Little Liar' is another key track on Humbug, in many way drawing the stylistic influences and the sound of the album together.

Otherwise, really nothing much is going on. I've got no money this month to buy new records, sadly. Roskilde added a number of small acts this week, I haven't really looked thoroughly through them yet. This Thursday is the big release, which is gonna be important this year, as many are divided on the look of the line-up so far.

...And an admittance for Parachutes.

LCD Soundsystem is on his way with his (yes, it's a 'he', not a 'they') proclaimed last album. It's gonna be called This Is Happening, and the first single went into rotation last week. It's called 'Drunk Girls', and I must admit it isn't really what I like to hear from mr. Murphy. I hope he moves a bit deeper on the record. He's still not officially confirmed by Roskilde Festival, which is weird, since he confirmed himself something like a month ago. Normally they don't drag it that far if the artist has leaked the fact himself.

Trentemøller is coming forth with the follow-up to The Last Resort. Its name is Into The Great Wide Yonder, and he too has just released his first single, 'Sycamore Feeling'. It's, perhaps surprisingly, very much along the lines of The Last Resort, albeit with actual vocals. Very acoustically sounding.

I went down and saw Does It Offend You, Yeah? in Århus this Sunday, and although I was very impressed by their live energy and their ability to reproduce their distinctive sound live, the fact that they left stage after only 40 minutes was a major downturn. I just don't understand the aesthetics of playing surprisingly short concerts. I had the same experience with Hot Chip, who left a party-warty Arena at Roskilde after less than an hour in 2008, and with Lauryn Hill, who played only about 30 minutes in Rotorua, despite the fact that she was the main headliner. Why is it? I mean, I know Does It Offend You, Yeah? have been touring Europe extensively for the past few weeks, but come on, every musician ultimately is in the business to get to play live. It's always a kick, and why leave after half an hour or 45 minutes, when you've got the material to play an hour, maybe an hour 15? Especially when you're the main act, such as DIOYY were this sunday. The warmup band, Kakkmaddafakka (yep, Norwegian...) were a great surprise though, they were really fun.

The major thing this week though, has been my (re)discovery of Coldplay's debut album Parachutes. It's always been sort of a distant cousin to the other three albums, but I've finally gotten around to hear it more thoroughly, and it's just wonderful. Perhaps because my tastes have only recently developed in the direction of more folky rock. Parachutes is, much more so than the other albums, a quiet masterpiece, that doesn't have Chris Martin scream a whole lot of epicism at the top of his lungs. It's much more Thursday night at the jazz house than Saturday at Wembley. Very sweet.

A Weekend In The City.

For a long time, I've wanted to focus on one of the, in my opinion, most interesting things in music: The album. As much as the music listener of today is more and more likely to download his music track-by-track, if he even does pay for it, I still find the conceptuality and composition of albums intriguing. It interests me, how albums are put together - how the tracks are position through the record, and how they affect the overall composition of the album, as well as each other accordingly.

I'm gonna start this running feature off with one of my favorite albums, Bloc Party's A Weekend In The City, from 2007. This was Bloc Party's sophomore effort, and reviewers and critics alike were very divided on it. Most agreed that it wasn't at all the same as the very energetic and very tightly knit guitar-oriented indie of the much acclaimed debut, Silent Alarm. But while some reviewers dismissed A Weekend... as an inadequate and incoherent mess, others delightfully embraced Bloc Party's courageous creation of a concept album in the midstof one of the album-format's toughest periods of crisis.

For a concept album it is. A Weekend... deals with numerous issues immediately surrounding Kele Okereke and his contemporaries' lives in the heart of metropolitan England. While the lyrical universe of Silent Alarm was often diffuse and metaphorical, A Weekend... often sees Okereke express himself in a very forthright manner. Mostly though, it is the lyrics' close alliance with their surrounding music throughout the record, that consolidates A Weekend... as not only guys with guitars, but guys with a point to be heard.

A Weekend In The City can be quite easily and relevantly divided into three parts. The first four tracks, ranging from opener 'Song For Clay (Disappear Here)' through 'The Prayer', are a collection of frantic and hectic songs, trying to fight the dilemmas and issues that loom around the corner for every a city dweller. This part of the album is dominated by heavy drumming, layers of synthesizer and an overall attempt to shove through the entire ordeal with pointy elbows.

The trio of songs in the middle of the record - 'On', 'Where Is Home?' and 'Kreuzberg' - marks a turn of events. There is a completely different presence and intimacy to these tracks, but also an urgency, most profoundly expressed on 'Where Is Home?', Okereke's grand outcry against discrimination and racial violence. Okereke himself is one who has bridged this gap, being a Black man in the predominantly White industry that is rock music. These three middle tracks are where it's at. In stead of trying to fighting problems with fists, Bloc Party now resolves to a different strategy. The entire mix and closeness of especially Okereke's vocals on 'Kreuzberg' are in stark contrast to the menacing drums and claps of 'The Prayer'.

The final three tracks have a much more serene nature, and at first glance display a feeling that this too shall pass. The lyrical universe reverts from dealing with drugs, violence, neglect and failure into dealing with the romance and idyllic coquettery of Sundays with your loved one, before squeezing out one last scream of anguish - albeit a graceful one - on the suicidal closer 'SRXT'.

'Uniform' is, in many ways, the centerpiece of the album, and connects to either and neither of the three parts. It is a long (the longest track on the record) and meandering story about the ignorant youth of today. Its comfortable and harmonic first part marks a change in ambience to the four tracks preceding it, yet from 2:27 onwards, aggressive drums and guitar squeaks display a return to the sense of alarm and urgency, albeit in a much more lyrically constructive way than on the album's initial songs. Musically, 'Uniform' is perhaps most akin to some of the latter tracks on the album, being the closest A Weekend... comes to the instrumentalisation and sound of Silent Alarm. 'Uniform' in this way becomes a crucial track, and as it comes to a close, the monolithic riffs and soli have again given way to pensiveness.

There is one track on this otherwise very complete album that sticks out like a sore thumb, and that is 'I Still Remember'. I simply cannot comprehend just exactly what made Bloc Party include this track, which wouldn't deprive the album of a thing. It sticks out especially as it is surrounded by four of the strongest and most persistent tracks of the album. The albums finest few minutes are when the cringeful and unforgiving 'Where Is Home?' concludes with its exigent and raw guitar-riff, and gives way to the blissfulness of 'Kreuzberg', that creeps under your skin, and silkily beguiles and embraces you with its unambitious splendor. It is no secret that this is one of my favorite pieces of music. There is something incredibly uplifting to the fact that simplicity can be so grandly captivating and beautiful as it is on 'Kreuzberg'. It fills me with peace, hope, trust and curiosity.

Epic 'Sunday' is another strong and life-affirming track on this album, mostly carried by its magnificent lyrics. But not exclusively, as it does require some sort of musical elegance to make lyrics as simply and precisely put as these, seem as strong and relevant as they do. And 'SRXT' is, in many ways, a typical closer. It deals with the gloomy issue of suicide, and could be seen as a slightly disconsolate way to finish off the album. But this track too hits home when Okereke explains: "If you want to know what makes me sad/well it's hope, endurance and faith/a battle that lasts a lifetime/a fight that never ends.", before dismissing the track and the album off into an epic instrumental finale, only to be interrupted by Okereke's voice and Gordon Moakes' glockenspiel bringing A Weekend In The City to a close.

While being a bit of a dystopy, the first part of the album is in many ways the most musically interesting. 'The Prayer', apparently one of the last songs to be finished for the album, kicks off with stomp-clap rhythms and hums, and is by far the track that distances itself the most from Silent Alarm in style, and points towards the increased electronic and big-beat influences of Intimacy, which was to be released a year and a half later. 'The Prayer' is one of the most vivid tracks on the album, and spins your head through images of drug-fueled raves, dark club-corners and dancing, sweaty people. It is also one of the few parts of the album, where Russell Lissack's distinctive style and use of pedals comes forth (at 2:54). 'On' is, with its lyrics, electronic drums and heavy use of samples and synths, very closely related to 'The Prayer', almost like a slightly quieter, darker and more ruminative big brother.

One of Bloc Party's great strengths is their high level of musicianship, which is perhaps one of the key reason why the change in focus from Silent Alarm to A Weekend In The City was mourned by many a critic. Other than guitarist Russell Lissack, it is very often the impressive work of drummer Matt Tong, that elevates Bloc Party from the rest of the indie posse. A good example on this album is 'Waiting For The 7.18', perhaps the world's most epic ode to commuting. Here, Tong's drumming gives the chorus and the outro an incredible energy and drive, very fittingly expressing the narrator's urge to one day leave the insanity of the stuffed morning-rush hour Tube behind and drive to Brighton on the weekend.

The talent of Bloc Party's musicians is also very distinct on opener 'Song For Clay (Disappear Here)' which is, perhaps alongside 'Kreuzberg', the albums strongest track. A very courageous, almost unison vocal intro leads the way, but the climbing synths indicate, that something else is boiling, and when the imperative drums of Tong and the magnificent riff of Lissack enter, 'Song For Clay (Disappear Here)' takes off, and becomes one of those tracks you just cannot hear too loudly and too often. The entire composition of the very distinct backing vocals, the clamant bass line, the guitar squeaks and the altogether splendid 'East London is a vampire'-bridge makes this one of the strongest openers heard in a long, long time.

Bloc Party's more extensive use of synths and crooked samples, such as the cut-and-paste radio sequence of 'Hunting For Witches' and the tapping of a guitar pedal on 'Uniform', reveals a band that has spent a lot more time in the studio this time around, and as opposed to Silent Alarm, which was developed live, A Weekend In The City is, for better or worse, a much more planned effort. It does kill some of the spontaneity evident on Silent Alarm, but richly rewards the listener with what is arguably Bloc Party's best album - definitely the most discussed and polarizing one. Through the conceptuality of the lyrics, the composition of the album, and the unique character of every track, my subjective perception renders discussion unnecessary. This is an extraordinary piece of work.

Electro-reggaedub from Geordie country!

Alright, reggae isn't exactly my area of expertise. But throw in some electronic beats, electroklash-ingredients and hints of dubstep, and it's totally my cup of tea! One who does that is Riton & Primary 1 from Newcastle. Check out 'Radiates' - cool beans, innit?

Yannis and his polyrhythmic posse Foals have released the video for the first proper single off Total Life Forever, which will be out in May. It's called 'This Orient', and it's cool. There seems to be a bit more noise here, compared to the very cleanly and clinically mixed sound of Antidotes. I'm looking very much forward to hear, how the entire album will be brewed together, as there is a bit of a way between this track, and the formidable 'Spanish Sahara' with its stunning video, which has been floating around for some weeks now.

Back in my own back yard, I really try to keep up with what's doing in Danish indie, but I must admit that Shout Wellington Air Force have flown somewhat under my radar. Their debut album Clean Sunset will be out next week, and you can stream it in its entirety right here. It's very artful, and resembles Oh No Ono slightly. They could be a hot tip for Roskilde. One other very artful Danish indiepop-outfit that have already confirmed themselves for this summers orange bash is The Asteroids Galaxy Tour. One track of theirs which is really good is 'Golden Age'. I just looove that voice - so sexy!

I managed to give both Beach House and Gorillaz' respective new albums a few spins, given that they're now both coming to the Animal Showgrounds this summer. The former is really chilled. It doesn't seem to have the same durability throughout the album as some of its shoegaze/indie-folk contemporaries, but definitely in the mix for my sake. The latter hasn't impressed me quite as much, however they will still be high on the list come July, mostly due to their unique live show. Of yesterday's world music announcement, I've only had a rad at Mexican Institute of Sound, which sounds promising, but I am always slightly skeptical when it comes to ethno-electronic fusion bands taking their stuff to the stage. It's seldom as party-starting as they would like. My main world music-tip for this summer is still Shantel & Bucovina Club Orkestar.

Just been listening to OK Computer. My god what a marvelous piece of work.

MGMT flash muscles and well-known recipes.

Prolific psych-poppers and spearheads of the brooklynization of modern contemporary indie, MGMT, are about to release the followup to their very widely acclaimed debut, 2007's Oracular Spectacular. The new album is called Congratulations, and is now available to stream full length off the band's website!

I must admit that Oracular... has really lost pace with me, and although Congratulations starts really well, the two first tracks being awesomely energetic, it seems that the band now and then dwindles into the dragging ballads topped by horrid vocals that we know all too well. There are some other cool tracks, such as 'Brian Eno', so all in all, Congratulations to me seems to be a 50/50 album (like its predecessor was).

English IDM-giants Autechre released their tenth album, Oversteps, today, and the reviews I've seen so far have been very positive. I haven't listened to the whole album, but I think it may well be in my next batch of records!

But, but... The big news today, in Denmark anyhow, can't of course be anything but the fact that Roskilde announced Gorillaz for this summers festival. I know it's easy to say, but I have seen this one coming. It's the major headliner that Roskilde has been missing - it spans music lovers across almost every genre, and it's a very exclusive name, as Gorillaz are only playing a few festival gigs this summer. Definitely a scoop! Coincidentally, I got a hold of their album yesterday, alongside Beach House's Teen Dream. I'll try and give them both a few spins as the week rolls on.

Now for a few track hypes. I stumbled across Grafton Primary's name on quite a number of festival line-ups back when I was in Australia, and I got reminded of them today. 'Hold Her' sounds a bit like Soulwax, a bit like Danish outfit Turboweekend, a bit like Goose, and a wee bit like a lot of other stuff. It's quite cool! I do think they use the same midi-bellsynth as my band Kinetics do in our track 'Dark Walls'.

I've been listening a lot to Phoenix lately, especially 'Armistice', which is a jewel of a track. I really love the final part of it. A perfect way to finish off a wonderful album. Hot Chip are out with a new single, 'I Feel Better', off their latest album. The video is hilarious.

Finally, I had a really confirming experience of how much it takes to make electronic music work live. Band Ane, who played here in Aalborg two days ago, couldn't. It was such a boring press-play-on-laptop show, that was completely devoid of intensity. Too bad.

Remixomania.

As the Roskilde-announcement of two days ago didn't really excite me that much (although Wild Beasts does have an interesting twang to it, which might, just might, herald a passing by), I decided to postpone my preliminary priorities list a week or two.

In stead, I'm gonna get started on something I've wanted to do for a long time, which is digging for cool remixes. And I'm gonna start off with focusing on French pop-rockers Phoenix. One of my favourite tracks of theirs is 'Lisztomania', off their wonderful newest record, Wolfgang Amadeus Phoenix of yesteryear. I've managed to find a few enjoyable remixes of this particular track. This is an Alex Metric-remix, which incorporates both the bridge and the signature guitar-riffs in a cool way. This Yuksek-remix is a bit more dancefloor-oriented - very clear French house connotations here. I don't really like how this remix completely rids the track of its beautiful harmonics, however it's pretty cool anyway, especially how it works out around 1:40. The end of the remix reminds me very much of Justice. Yuksek has done a number of other interesting remixes, including this suave remix of Gorillaz' 'Stylo', and this one of 'Never Miss A Beat' by Kaiser Chiefs.

Back to Phoenix, and what could be construed as being their breakthrough single, 'If I Ever Feel Better', off their now ten-year-old debut album United. The Buffalo Bunch did this remix, which is (a bit annoying at first, but) really catchy, and faithful to the groovy nature of the original. It does get a bit long in the tooth though.

Moving a few albums forwards in the Phoenix discography, we find the charming power-pop of It's Never Been Like That, from 2006. A really good remix off this record is the 25 Hours a Day-remix of 'Long Distance Call'. True to the instrumentalisation of Phoenix, this is a really awesome remix - it's almost as good as the original.

This Lungo Maltese-remix of 'Lost and Found' is a bit in the alternative category, but very interesting nonetheless. This is another remix that tends to loop too much around the same few ideas though. The original is a somewhat overlooked track, and definitely one of my favorites on that particular album.

Speaking of favorites, and moving back to the present day, closer 'Armistice' is truly the hidden gem of Wolfgang Amadeus Phoenix. Well-known Oregonian musician and producer YACHT has done this trippy remix of it. Phoenix themselves have also done an enjoyable acoustic version.

Not surprisingly, Animal Collective bring home the bacon in this bunch of remixes. They've merged 'Love Like A Sunset' I and II, into this cool remix. It's not a floor-filler, but it's a very interesting interpretation indeed.

Finally, one of my current fave bands Delphic have done a remix of 'Fences', also from Wolfgang..., which I just had to include, even though it's terribly boring. 'Fences', for whichever reason, is one of the most remixed tracks off this album. I guess you need something to work with (yeah, you get it, I'm not crazy about the original). That's for not always having to finish on a high note!

A few Tuesday-tips.

Once again, I've got a few tracks that are on the move for me presently. Quite convenient, as this is one of those weeks where I've sort of lost a bit of pace on what's the new black. Anyway, one of those mentionable tracks is (still) 'Spanish Sahara', the lead single off Foals' forthcoming album, Total Life Forever. This is really gonna be one of this year's most exciting releases in my book.

Not much of a Gorillaz-aficionado, I have really warmed to 'Stylo', which of course is the lead single off Plastic Beach. This track is more catchy than anything that has hit mainstream radio for a long, long time. It works under so many circumstances - by itself, as background music on TV, radio, soundtracking something. Just an amazing, amazing track.

I really need to get some new records soon (high on the list is The Knife, Vampire Weekend and Florence + The Machine), but this draught in new investments has given me opportunity to dig a bit deeper into some of the stuff I rarely listen to, such as Sigur Rós. I love their album Takk... from 2005, and lately I have really gotten into ( ) (from 2002) as well. Especially the third track, which is really really god damn beautiful. I heard some of their recentmost album, Með suð í eyrum við spilum endalaust, which is very interesting as well. They're probably my ultimate live experience wish, but they are sadly on a hiatus at present.

Junior Boys is another band I've gotten around to as of late. I want to point out 'Count Souvenirs' as a very beautiful and very representative piece. And last, but not least, I've been tripping frequently to 'Acolyte', the epic title track of Delphic's oft-mentioned debut release of this January.

Tomorrow I might do a bit of Roskilde-babble, probably including a preliminary priorities-list.

We sure have come a long way...

... since the conformist anti-sophisticatedness and musical agnosticism of them Gallagher Bros.' (and others') heyday in the nineties. Sure, there are still a plethora of acts as mainstream as Ikea, perhaps in an even more nauseating way, but we do also have bands like Dirty Projectors, whose curiously titled album Bitte Orca of yesteryear scored an impressive 9.2 on Pitchfork's review-meter, and several other very favorable reviews. It's funny how reviewers tend to topple each other in being the first to praise the next wave of awkwardness, kitsch or downright uaestheticness. I mean, look at Jens Lekman: The man can barely sing in tune, let alone in English, and he still garners rave reviews everytime he picks his nose. Even I have developed a liking to his silly lyrical universe. Now they're Roskilde-bound, these Dirty Projectors, alongside HEALTH, Beach House and, albeit still unofficially, LCD Soundsystem, an ode to the fact that Roskilde is still alone on its pedestal in the upper echelon of Danish music festivals, for whomever it may concern, and a discreet but precise slap-in-face of the upstarts in Skive and at BeatDay.

Bitte Orca is one of the most interesting records I've heard in a long time. Not beautiful, but interesting. It's like an incomprehensibly avant-garde piece of art that begs to be rightfully placed among Monets and Gaudís, but at the same time stands out like a sore thumb in its undefinedness and inaccessibility. Opener 'Cannibal Resource' reminds me of Battles with its syncopated rhythms, cacophonous yelps and the odd untimely skronk. I love syncopated drums, and even more so, I am a big fan of skronks and other atonal and industrially-sounding noises, but still, Bitte Orca's main relevance for me will probably be the fact that I am likely to hear the masterpiece performed live.

This being said, it is an exceptionally intriguing piece of work. Take 'Two Doves', which is beautiful (in a cheap way), but gets interrupted by noises reminiscing a bee through a vocoder. Elsewhere on the album, the assoication which comes the most to mind would be 'jackhammer' or 'rear-wheel driven car stuck in snow'. 'Useful Chamber' is the album's highlight, in a number of ways. It is so intimate it even has a Jens Lekman-kind of moment, but then it explodes in what I would most approximately describe as 'wakarrgzonkk!!'. Then it becomes beautiful in an annoying way, turns into something as repetitive as your generic hard house, and ends in another syncopated madness. Then, on the other end, you've got 'Stillness Is the Move', which has very deep soul and especially R&B connotations. What I do like is the fact that Dave Longstreth, the man behind Dirty Projectors, is the kind of man who yells into the studio: "Hey, let's try out what'd happen if we did THIS", followed by his warping his guitar into some kind of almightily strange sound. Dirty Projectors is very difficult to define genre-wise, other than the very vague umbrella of 'experimental rock', but in a sense, this is because Dirty Projectors does not apply the limitations of being in a genre. Everything goes, but in a constructive way, rather than a loud and cacophonous one. Nevertheless, this is probably not an album I will listen to time and again.

Of the other announcements, LCD Soundsystem is by far the one that intrigues me the most. Actually it intrigues me way more than Dirty Projectors. I'm a big fan of his last album Sound of Silver, and I'm very curious to see what this proper musical whizz has cooked up when he releases his new album in May. HEALTH seems somewhat strenuous, but nevertheless, I do tend to like guitarists who spend more time tinkering with their pedalboard than playing their guitars. I guess that's my synthesizer-heritage. Don't like the dancing emo-punker with bad instrument/location of crowd-orientation in this live performance of 'Die Slow', though. Beach House off Sub Pop is a really cool and chilled outfit, try 'Zebra', but boy is there a lot of indie-folk these days! They're definitely worth a look come June though. I had however hoped for the likes of Bon Iver and Vampire Weekend, both of whom filled the teaser-bill like the triangular plug in the triangular hole. Next week please announce Foals, thank you.

In other news, Caribou has put out this remix of Oh No Ono's 'Eleanor Speaks'. Very cool. And MGMT have let slip a track from their coming album Congratulations. I fear that this is gonna be an album I'm gonna love to bash.

What Troels Abrahamsen and a nice pair of jeans have in common.

Whoa, a lot of stuff suddenly piled up on my ideas-list, so I better be brief!

Foals are rapidly on their way with one of those very difficult sophomore albums. Following the trails of critically very acclaimed debut LP Antidotes comes Total Life Forever, which is out May 10th. However, we don't have to wait that long for the lead single, 'Spanish Sahara', which is out now! This is a very patiently building piece of music, and as such, the band has thrashed completely the well-known restless energy of Antidotes. In stead of being constantly surrounded by tapping guitars, Yannis Philippakis' somewhat opinion-splittingly fragile voice now nakedly caresses a long, unfolding track. I somehow had the idea that Foals would move a long way from the Antidotes-sound, and I'm very excited about the new record. Let's hope to see them at Roskilde!

Troels Abrahamsen, arguably Denmark's most hyperactive musician, is out with a new album, again. It hits stores on Monday, is called BLCK, and is already available for listening here. It's admittedly really good, but eventhough mr. Abrahamsen probably doesn't give a rat's ass what people think, and in all likelihood only releases these albums to channel his many creative impulses out of his brain and computer, it does hit me that there might be an upper limit of relevant output - especially in a genre like this. BLCK was supposed to be more towards hard house than WHT was, but, let's face it, these two records have got more in common than the hairdos of The Beatles. I mean, some of the tracks really are pretty good, but you just get the same feeling like when you buy your fourth pair of black jeans. They're really nice, and fit really well on your bum, but honestly, you don't really need them, because you've got three that are very alike already. I think it's probably a good thing that Troels is hitting the studio with VETO again soon.

A few other new records are relevantly mentionable. The Knife got exciting reviews on their new album Tomorrow, In A Year. They've got a lot to live up to, and I think some critics have that too much in mind. Especially because it seems to be an almost inaccessibly experimental album. It's sort of like discussing the aesthetics of 'Fitter Happier'. Pitchfork only gave it a 6.9, while Drowned In Sound gave it a whopping 10/10. I'm looking forward to hearing it. I heard The Kissaway Trail's new album Sleep Mountain the other day, and it seems pretty good. I haven't heard a whole lot of their stuff before, but they might be worth checking out at Roskilde. They do reminisce Arcade Fire quite a lot, though. Also, Two Door Cinema Club are out with their debut effort Tourist History now. Check out 'Undercover Martyn' - isn't that just facile, yet adorable? I think they're definitely in my next batch of records. So to may well be Does It Offend You, Yeah?'s new album, Don't Say We Didn't Warn You, although there's no date out on that one yet. They're playing in Århus late this month, hopefully I'll attend that.

Now finally, a few interesting tracks. This is 'Real Life' by Tanlines. They are from Brooklyn, like everyone else, and I really dig their sound. And this is Swedish The Radio Dept. and their very Swedish-sounding tune 'Heaven's on Fire' from their third album, Clinging To A Scheme, which is out on Labrador soon. They're coming to Gothenburg for Way Out West, joining a line-up of La Roux, LCD Soundsystem and M.I.A., among others. Sadly, I'll probably be in the wrong end of Europe at that point of summer.

Finally, one could argue that OK Go's music is as blandly anodyne as anything. Maybe that's because they spend all their time creating their groundbreaking music videos. We all know the treadmill-dance of 'Here It Goes Again', and these days, they're back with a whopping video for 'This Too Shall Pass'. Impressive.

Scandinavian rediscoveries.

It's always a good time for digging into your record collection, and dusting off some of the stuff you haven't heard for a long time (especially so, if you're broke as fuck, and can't really afford much in the way of new records these days, but that's another story...).

I've dug up a quintet of Scandinavian records, that I thought I'd point out. Three Danish, and two Swedish. All five of them have, at the very least, a few years on them.

Starting from the most recent, I've recently warmed very much to Spleen United's sophomore effort Neanderthal from 2008. While their debut record became a bit too diffuse at times, they really did hit the nail on the pin with Neanderthal. One of the gems is 'Dominator'. I remember it actually took me some time, before I realized that this is an instrumental track. There's nothing at all wrong with instrumental tracks; notwithstanding, they seldom hit home as massively as this one. I love the flicky, scratchy percussion sample, which is very unlike Spleen United's normally very machine-only sound. Of course I also have to mention '66', which is an absolutely massive, massive, massive track. I'm really looking forward to seeing these guys live again - soon, hopefully.

It's been quite some years now, since I got introduced to Aarhusian balkanists Analogik. They too are a really likeable live act, and their debut LP Søens Folk is snug as a bug. They employ various murky existences of the Danish reggae-dancehall underground to create their eclectic everything-goes'y balkan-sailor music, which is instantaneously likeable. Such as 'Farligt Monster' here. And 'Kringel'. Sadly, I can only find a live version of this one. On the studio version, there's a real dandy toothbrush-sample. Try and dig it up!

Heading across the sound now, I've dug out perhaps one of the oldest records I've got - it's Bo Kaspers Orkester's first record, Söndag i Sängen', from whopping 1993. This jazz-pop orchestra is really enjoyable. I love the nighttimelyness of 'Köpenhamn', which I can also only find in a live version. Hijo de puta, it isn't really my day. But anyway, this is a really nice album - the kind of stuff you can put on at almost any time of day, and it'll hit home.

Perhaps not needing much presentation is good old Joto Joto - spano-swedish singer-songwriter-vituoso José González (of Sony commercial fame...). I of course have to point out 'Heartbeats', which is a tune I've much enjoyed to chuck on after a big night out. It's been loooong overdue for me to mention it here, really. The whole album, Veneer, originally from 2003, and rereleased in 2005, is enjoyable business, like 'All You Deliver' here.

Finally, back to Denmark for the final gem, which is Marvel Hill. They emerged at the same time as VETO, Spleen United, Dúné, Oh No Ono and a hell of a lot of other promising, now established, Danish acts that in different ways reminisced each other somewhat, and as such, they sort of drowned in the wave, and never really made it big. Their debut record was Heartless Is More, and to be honest, it is still a favorite for me. I really like how they employ arpeggios and multiple synths, while still not losing their slightly rock'n'roll-ish edge. They've released another album since, which apparently had them thrashing their synths. I haven't even heard that one. For whichever reasons, neither of my two favorite tracks of theirs, 'Odyssey' and 'Trembling Hands' are available on YouTube, but they might be found on Grooveshark. 'Heartless Is More' is the only decent track I could find, sadly. But it's good.

Digging is good too. Watch out on the weekend for some constructive blues...