WNEW | Where Rock Lives

Next Big Thing: Amy Speace

Amy Speace was born in Baltimore, raised in Pennsylvania and destined for an acting career. After moving to New York City, she taught Shakespeare, ran her own theater company and appeared in numerous off-Broadway plays and independent films.

Somewhere along the way, she taught herself to play the guitar, starting setting poetry to music and found herself a new career as a singer/songwriter. With $5000 donated by fans, she made her recording debut as part of a duo called Edith O. Speace, was discovered at South By Southwest and signed to Judy Collins' Wildflower label.

Quite an eventful introduction, don't you think, to news that her newest album, The Killer in Me, will be released on June 30th? Thanks to our friends at her publicity company, you can hear a cut from her latest album here, read a little about her here and take a look at her doing a delightful Blondie cover below:

FREE DOWNLOAD! Spankin' New Music from Noah and the Whale -- "First Days of Spring"

Noah and the Whale are one of our absolute favorite bands here at WNEW. We've had the guys in for an amazing studio session, we've followed them to shows large and small, and we always keep an eye on their humorous fan-club emails.

So it's with great excitement that we pass along this NEW SONG from Noah and the Whale - click here for a free mp3 download of The First Days of Spring. If this is any indication of what the new record will sound like, it's clear these guys are thinking BIG. Enjoy!

Beebin' for the Girl

Songwriter, former member of the Little River Band and possessor of one of the best names in rock and roll, Beeb Birtles has been no lonesome loser since LRB lost its hitmaking luster many years back.

Lately, he's been spending his time in Nashville guiding the career of a young, West Virginia-born fiddler named Lauren Moses. Based in the mountains of WV with a grandfather who took her to bluegrass festivals, the prodigious Moses latched onto music at a young age (winning her first fiddling contest at age 10).

Today, as she approaches the grand old age of 24, she's released her first EP, Fall With Me, which you'll find on her website and sample at her MySpace page.

For Birtles, it was a job well-done: "She wants to be like young Allison Krauss," he noted, "bluegrass with a twist."

Next Big Thing: Cage the Elephant

The following discovery is not really a discovery at all - that went out the window when I heard the act on mainstream radio last weekend. But I don't think it would be a stretch to call Cage The Elephant the best new band to hit Top 40 in some time, and considering the Kentucky outfit will be hitting quite a few music festivals this summer, including Bonnaroo later this month, I figured now would be a good time to investigate this group called Cage The Elephant further. Yes, ladies and gentlemen, this is one band I sort of, kind of let slip through the cracks, well, until now.

The result of my investigation? You ever want to rewind life sometimes? Yeah, that is probably the best way to sum up my feelings after listening to the band's self-titled debut LP, which happened to be released, oh, almost a year ago. So, basically, I let 12 months of crucial listening time pass before I finally, for some odd reason, happened to turn on the local DC rock station and catch Cage The Elephant's much celebrated single, Ain't No Rest For the Wicked. I asked myself, "Um, Alex why the hell have you never listened to this band?" and then running home to download the album. Talk about luck! What would of happened if I hadn't experienced that mental lapse and kept the iPod on?

Well, for one thing, it may have taken me another twelve months before I discovered the garage rock fury of this Kentucky quintet. Think Jack White meets a tolerable version of Kid Rock, add in vocal work reminiscent of the Arctic Monkeys' Alex Turner, and sprinkle in some raw intensity. Mix it up all up, pour it into a glass that would be seen as tasty for indie and mainstream kids alike, and drink. Congratulations, you have just consumed Cage The Elephant.

Thank you, DC 101. While this hasn't excused you from a decade worth of insanely awful playlists, at least once, you have earned by gratitude.

But don't take my word for it. Let your ears decide ...

Meet Pepi Ginsberg

I was going to write about the fact that an American Idol winner might replace Freddie Mercury as the lead singer of Queen, but that's not a fact I can wrap my head around without feeling really confused (or old...or old and confused). I'll get back to you on that one ...

In the meantime, witness Pepi Ginsberg.

NPR said this Brooklyn-born singer has "a distinctively mournful voice with a remarkable range" while WNYC's Soundcheck said she "has combined her soulful and weathered voice with imaginatively folky arrangements to create her most recent release, Red, a meditation on city life, free will and starting anew".

According to her last.fm bio she "wrote and misplaced a novella entitled No Name Colorado". Quirky, to say the least.

Look, listen, learn and spread the word.

Next Big Thing: Delta Spirit

The best I can tell, compliments of a quick Google search, the San Diego quintet better known as Delta Spirit has been mentioned exactly once in the history of WNEW.com. After listening to the band's debut LP, Ode to Sunshine, last Saturday night, I came to the realization that I must make it my mission to change this.

So, here's Delta Spirit mention numero dos.

Of course, it's hard to come up with a better assessment of these California rockers then what our own Matt Simpson wrote last October. In detailing the re-release of Ode to Sunshine/popping the WNEW's Delta Spirit cherry, Mr. Simpson had the following to say:

Why should you care? Because there's something infectious about this band's sound, something that has kept me coming back for a second, third, fifth listen. The tone is upbeat and sunny, but you know there's more behind it.

Every part of the above description couldn't be more true. At last check, the 11 tracks making up Ode to Sunshine have collectively been played on my iTunes a total of 210 times, yet with each new play, I remained just as blown away as the first time I caught wind of the quintet back during CMJ last fall. The bluesy, alt-rock sound, the eclectic musicality, the uniquely raspy, overly passionate lead singer Matthew Vasquez - when all combined, it makes for one of hell of a ride...

...which i guess also segues to part two of Mr. Simpson's assessment. These aforementioned elements give Delta Spirit not only a stunningly catchy and melodic sound, but also provide the basis for a collection of music that is as honest and real as anything currently being produced by any of those other hot and up-and-coming indie acts. In the same manner as CCR, Springsteen, and the Stones, Delta Spirit offers a sound of revival, one where the music takes hold and refuses to let go until every ounce of emotionally-dripping narratives radiates thought the ear, swirls through the mind, and leaves the listener in an utter state of daze, wow, and/or astonishment. To say the 42 minutes of Ode to Sunshine is a rush would be quite the understatement.

But don't let me tell you ... check it out for yourself. Hopefully, by the time mention #3 rolls around, a few more people catch on to one of music's next big thing.

Next Big Thing: The Thermals

One of the major draws of South by Southwest is its platform for previously undiscovered up-and-comers to make a name for themselves. Another is the opportunity it provides a few already-discovered favorites either to promote a new album (see: the Decemberists and Hazards of Love) or regain some attention after an extensive absence (see: Devo). The Thermals recent trip down South could be defined as falling some where in the middle. Having formed in 2002, the trio is currently gearing up for the release of its fourth full-length album, Now We Can See, yet, for whatever reason, has only really caught the attention of that small, select crowd better known as the music blogosphere.

A few things come to mind when thinking about the outfit first formed in 2002 by frontman Hutch Harris. Dirty lo-fi is one. The presence of a catchy hook on nearly every song ever released by the band is another. Then, there are Harris' quirky vocals, which often draw comparisons to Neutral Milk Hotel’s Jeff Mangum, and the fact that for all the distorted ruckus of their sound, the Thermals aren't afraid to get serious - 2006's The Body, The Blood, The Machine was a concept album about a United States governed by fascist faux-Christians. Have I caught your attention yet? Good, because there is still time to get in on the fun.

On April 7th, the Thermals will release their latest creative, the 11-track, John Congleton-produced Now We Can See. Of course, thanks to the leaky faucet that is the world wide web, the album has been available for a while, but because a) I'm kind of a big fan, b) the Thermals were playing South by Southwest, and c) I knew the band would be performing a number of the album's songs during this time, I decided to resist the temptations and wait for Austin. While that decision - my eventual chance to see them during SXSW - is a topic for another day - though believe me, it was worth it! - hearing Now We Can See live reminded me of the insanely incredible talent that is Hutch Harris and Co. The album sees the same old Thermals, doing the same old Thermals things. The band offers the hooks (Now We Can See) and the smarts (the emotionally compelling I Called Out Your Name.) It's nothing new, nothing different, but then again, considering nothing was wrong with the old, and there are still way too many people who still need to hear this said "old" sound, let's just say, Now We Can See is as good as one could hope for.

So, do yourself a favor and open yourself up to some new sounds, or should I say sight, with the Thermals' Now We Can See.

Next Big Thing: Matt Costa

Matt Costa is one of those artists who are always in the background. You know, the type we’ve heard off, but never really stopped to listen to. The type who fills MTV with cleverly-crafted music videos which usually serve as nothing more than background noise. The type who have graced all our favorite summer festivals, but never really have much of a crowd watching. The type who are as solid and talented as any of music’s current starlets, but for some inexplicable reason, have never garnered the attention, nor respect they so very much deserve.

A few weeks back, this is how I viewed Matt Costa. Sure, I had heard of the 26-year-old California native. He was the guy who usually stopped by a venue nearby, or was on the bill for a music festival I had attended. To me, he was just another one of those singer/songwriters, the ones who usually don just an acoustic guitar and harmonica and produce two-plus minute pop ballads about heartbreak, you know, the Jack Johnson types.

In some respects, my perception was correct, well, that is the part about the guitar and harmonica. But after seeing Costa deliver a 30-minute set of what proved to be fun, yet sincere lyrics behind beautiful melodies, I now find myself with a newfound respect for the Californian. In fact, I not only now know who he is, I think it’s safe to say; I’m one of his newest fans.

Ironically however, I would never have held this attitude if it wasn’t for Noel and Liam Gallaghar. Yes, the creative geniuses of Oasis are directly responsible for my discovery and resulting fandom of Mr. Matt Costa. Fancy that! You see, the reason I saw this 30-minute set in the first place was because Costa served as the opener for the legendary English outfit’s stop in Fairfax, Virginia on December 20th. Being that my sister is a semi-major fan of Oasis and the fact that Ryan Adams & the Cardinals were also on the evening’s bill, I decided to make the trek out to the Patriot Center on that bitter cold Saturday

Upon entering, I was immediately warmed up by the sweet sounds of Matt Costa. Mr. Pitiful was exuberant fun and brought memories of Dick Van Dyke’s hilarious musical makeup in Mary Poppins –- one listen and you’ll know what I’m talking about –- while the westernized style of Bound offered a refreshing changeup that exhibited Costa’s diversity.

Mr. Pitiful - Matt Costa

All in all, Matt Costa’s performance was much more than a Jack Johnson wannabe trotting through one pop ballad after another, it was 30 minutes of honesty and sweetness, of acoustic brilliance and vocal richness, of a man and musician who realizes his talents, yet never tries to do too much.

As Costa reached the conclusion of his set on that cold December evening, he chose to leave the audience with something so unexpected, so daring that it couldn’t help but leave one impressed. In a night where rock –- and lots of it –- would follow, Costa offered up an a capella rendition of Miss Magnolia. There was no music, no band, nothing; just a 26-year-old baby faced musician and his voice. Yet three minutes later, Costa had delivered a performance that no video, no CD could ever accomplish, and forever cemented his image and his music in the minds of each and every audience member.

Now if we could only get everyone else to actually listen…

WNEW Week in Review

With the year drawing to a close everyone is starting to put their "best of" lists together. So far we're resisting the urge to count down the year's top tunes, but we did get Fusion 45 to look back on 2008 and share some of his Favorite Finds. Check out editions I, II and III which include favorites like Adele, Bedouin Soundclash and an album of cool covers from Glen Campbell, with links to taste-test some of the tunes. Also this week on WNEW:

• Warren Haynes stopped by for an incredibly moving studio session featuring acoustic renditions of Soulshine and Beautifully Broken.
• Evan sat down with the comedy team Stella and talked about their upcoming tour (win tix here).
• Alex previewed new releases from the Decemberists and Neil Young, and proclaimed Canada's the Carps the Next Big Thing.
• Bill Melville's Forgotten Favorites turned us on to Husker Du's Warehouse: Songs and Stories.
• Tom Morello was here to talk about the Nightwatchman, the day of his oustanding show at Irving Plaza (thanks Jeany for the review).
• This week's Rock 101 lessons focused on Elvis circa '68 and the 39th anniversary of the disaster at Altamont.
• Brian Walther sent in this great review of Tea Leaf Green at the Highline Ballroom.

As usual we opened up some great new contests this week - check here for free tickets to Gov't Mule's New Year's show at the Hammerstein, and free tix to those Stella shows at Nokia Theater (going down December 9 and 10). Good luck!

The Carps

Canada sure seems to be turning 'em out these days. Between old favorites like Broken Social Scene and Arcade Fire to talented up-and-comers like Plants and Animal and Holy Fuck, our friends up North sure are quickly turning the country into the music capital of the world. The latest to catch our ears and numb our minds? The duo of Jahmal Tonge & Neil A. White, aka the Carps.

Hailing from just outside Toronto, Tonge and White have been turning heads for the better part of a year now thanks to their ferociously-gripping sound. A product of Tonge's near-deafening drumming and White's raw guitar rifts, the Carps are hard enough for even the pickiest punk rocker, yet maintain a catchy, hip-hop-styled nature perfect for some Friday night dancing. When I first stumbled upon the duo during this year's CMJ Music Marathon a few months back, the thought that entered my mind as I watched them shell out politically-heavy diatribes backed by Arctic Monkeys-like melodies was Bloc Party, but a good version, in other words, what I'd imagine Bloc Party to sound like if the English crew were actually halfway decent.

But as I continued to watch that early afternoon set, I saw something more, something unique, something special. The passion flowing from Tonge as he spewed out smart lyrics amongst his equally-stellar drum beats. The energy of White as he jumped around on stage, finding a common medium between insanely over-the-top guitar playing and a dance moves that would make even the strangest of drug trips seem normal. There was something about these Carps that made you stop and say, "hey, maybe I better stick around, these guys seem pretty special," the true definition of a band ready to take the music world by storm with their own one-of-a-kind style in their own unique way.

Like many bands these days, the Carps have that sound. Like many songwriters these days, the Carps have that ability to put an emotionally-vibrant twist on life's everyday events. But unlike many bands these days, the Carps have the ability to put both the music and words together to create not only a song, but a message. In their narratives on gun violence and the war in Iraq (see: All the Thugs I Know, Compton to Scarboro), the music flowing from the speakers is as powerful as the words echoing over top, allowing for this politically-conscious outfit to add another component to its package. For as many commentators around in music today, there are only a few real spokesmen. The days of the Clash and the Ramones have subsided, leaving Springsteen, Rage, and a handful of others as the only true musicians left ready to defend ideologies and fight for rights at the stroke of each riff and drum beat. Politics is a scary word in music these days; sure, many talk about it, but how many actually inspire?

You can add the Carps to that list. As I watched Tonge and White pack up their gear that early October day, I was overcome with emotion. Their 30 minutes of socially-conscious stylings and onstage antics -- at one point, Tonge mocked a shooting, leaving White "dead" on the floor -- was enough to bring memories of the great protesters in music. Sure, the Carps have a long way to go from being on the same level as the Clash, Hendrix, and the Stones, but with that punch and that passion, they're off to a good start. And in today's ever-depressing world, we certainly could use these type of bands.

Currently, the Carps have released two EP: 2007's The Young & Passionate Days of Carpedia and this year's Waves and Shambles.

The Code Kids

In my 18 months as a "music blogger," I have heard, seen, and even met many great up-and-coming bands. Whether at a CMJ showcase or in the line for a porta-potty in the media area at Lollapalooza, I've been able to go beyond the traditional listening-only relationship most fans have with their favorite bands, and actually shoot the shit hold intellectual discussions with everyone from Okkervil River's Will Sheff to a few partially intoxicated members of the Black Lips. Because of this, I wouldn't give up my day-to-day title of blogger for anything, even during the must stressful or tedious of days.

But when it comes to having "friends" in a band, it's a completely different story. Sure the aforementioned meetings are great, but they have their downsides as well -- I doubt Sheff remembers our 10 minute conversation, which is more than I can assume for the Black Lips. Actually, I'm not even sure if they were actually conscious during our interview -- and as a result, it'd probably be a bit inappropriate for me to go around town calling these musicians my friends. In fact, never during my short-lived blogging career, let alone entire life, have I actually known a friend in a band.

That was until last Friday when Michael Roffman, Jay Ziegler, Kyle Masterson, and Brad Cooper, aka the Code Kids, hit the studio for the very first time. 10 hours after the Chicago natives turned out the lights, plugged in the amps, and embarked on a day-long session of recording, they completed their debut EP, We Sell It Back to You When You Beg.

Now a word of warning. Just because two of the four members making up the Code Kids are staff members of my main writing outfit doesn't mean I'm going to deem their debut effort the best thing since sliced bread, Kanye West, or whatever else floats your boat. No, because well, the four-piece group isn't without its flaws. The song-writing is raw, while the musicality at times feels a bit coarse, almost forced.

But in some respects, this is also what makes the Code Kids so appealing. With a Replacements-like feel, the EP's three tracks exude energy and offer a sound so tight that its almost unfathomable to imagine when considering this group has been in existence for mere weeks. Nobody Knows This Is Somewhere blends the punk styles of early Dropkick Murphys and Bouncing Souls with rock fury and AC/DC-approved guitar solos, while Andrew McCarthy is a toe-tapper thanks to catchy hooks and fun lyrics. That tightness remains in full effect on the pop-punk ballad Good For You. Clocking in at just over four minutes, the EP's final track sees each of the Code Kids shine brilliantly in his own right -- Roffman's words flow perfectly among guitar riffs, bass rhythms, and passionate drumming that would impress even the most veteran of bands -- yet in the end, the tune's success is the result of no one individual member, but the band as a whole.

Like any young band, the Code Kids have a long road ahead before they can even start to raise eyebrows in the ever-growing, every-man-for-himself music industry. But with a one-of-a-kind intensity and a sound so tenacious that others can only dream of, these Chicago kids are certainly well on their way. And let's just say, for the sake of having some friends in a band, I'm rooting for them. Plus, We Sell It Back To You When You Beg is a pretty solid alternative while waiting for Kanye to leak.

Little Boots

In some respects, the 2008 edition of the CMJ Music Marathon is all but a distant memory. Gone are the free showcases, late night parties, and overabundance of Colt 45 that seized New York City for 120 sleepless hours. In their place the inane Ticketmaster fees and $8 gin and tonics have now returned to their rightful position, pulling concert goers back to the harsh reality that is attending a concert in the Big Apple these days. But then there are the things that CMJ brought that not even the most greedy promoter can take away: the new music now piling up in your iTunes library from the multitude of bands that captivated your ears and only let go so that you could run home and click "download." If you played your cards right, which was as simple as hitting up any of CMJ's five nights, you know what I'm talking about, and are probably listening to one of these recently discovered acts as you read this.

That's ok because I'm doing the same as I type this. The name of this said group, or should I say female, is Little Boots. I stumbled onto the personal music project of Victoria Hesketh at Brooklyn Vegan's party at the Knitting Factory during the final day of CMJ. To be honest, the stunningly-beautiful 25-year-old gracing the stage was what initially drew me in, but it was the 30-minute set of electro dance beats that followed which left me an instant fan of Little Boots. Reminiscent of what one would expect if Madonna's more recent material were thrown into a blender with Hot Chips' Made In The Dark and a touch of synth were added for good measure, the Blackpool, U.K. native creates music that is catchy and beautiful but still offers a punch. It's like disco meets Gwen Stefani, only elegant and actually good, the type of music you could bring home to your mother, but still share with even the most hip of your hipster friends.

And though to date Little Boots only has one release to her name, a single entitled Meddle, I'm not the only one to share these sentiments. Not only have her YouTube renditions of songs like Hot Chip's Ready for the Floor and MGMT's Time To Pretend earned the approval of the oh-so-critical music blogosphere, but her one-of-a-kind style has also caught the attention of Hot Chip's Joe Goddar, who is now serving as Hesketh's producer. Add in the fact that her good looks offer a nice contrast to some of the U.K.'s other female pop stars of today (ie., Amy Winehouse), and Little Boots appears on the cusp of musical stardom. Just be sure to jump on the bandwagon before it's too late.