Fanfarlo is the brainchild of Swedish-born singer-songwriter Simon Balthazar, as well as the moniker of the London-based pop quintet he formed in 2006. Over the past three years, the band has been awfully busy: they’ve released a number of singles for various independent labels, made several tour stops at SXSW and in the back of London taxi cabs, and steadily accumulated some adoring Internet buzz along the way. For the recording of Reservoir, their recently self-released full-length debut, the group holed up in the Bridgeport, Connecticut, studio of producer Peter Katis (Interpol, The National) during the fall of 2008.

Reservoir features eleven lush arrangements of rousing orchestral indie-pop. Comparisons of the album’s sound to the likes of the Arcade Fire, Beirut, and Neutral Milk Hotel abound, and these comparisons are valid, but only insofar as Fanfarlo’s ambitious music similarly draws inspiration from an expansive and often unconventional palette. Elements of traditional English folk, post-rock, and marching-band fanfare (just to name a few) are found within the band’s already vast instrumental collage of mandolin, glockenspiel, chimes, trombone, and the more commonplace presence of guitars, keys, and drums. The songs’ baroque and sweeping melodies provide the backdrop to Balthazar’s plaintive voice, which sings urging and dreamy tales of men and women caught up in life’s spin. Reservoir is a powerfully affecting record, and a confident debut from a band with a future that’s soon to be at the center of attention. That they aspire for the same lofty indie-pop pedestal of other cherished and idiosyncratic acts should not serve as a knock against them at all; rather, the references to those bands are merely points of departure for Fanfarlo’s own inspired and wondrous ride.

Fanfarlo not only released their debut themselves, but they also handcrafted 500 limited editions of the album — housed in special foil-blocked, embossed linen-covered dvd-shaped box, packed with an exclusive set of heavyweight letterpress printed postcards featuring the band’s artwork and lyrics — themselves! They set up a production line in their own living room and handpacked each one:

The sets were originally available through Rough Trade but are long gone by now. However, we have two of them to give away! You have until 12PM Monday, July 6, to send an email saying what you love about Fanfarlo’s new album, and two lucky winners will be chosen. (Sorry, self-pity doesn’t work.)

If you hurry to their website, you can download the entire album, plus four bonus tracks, for only one dollar, but the offer expires tomorrow, July 4th!

Here are some more beautiful photos of the set by Ben Ward:

– submitted by James Truitt

As major labels continue to exist behind the times, artists and labels with little capital and lesser reputations are producing some of the most innovative, interesting, and inspiring music. Whether it’s creating a new niche in digital technology or looking to once obsolete formats, Agitated Atmosphere hopes to shed a bit of light and share a bit of information on the up and coming sounds of artists such as ES.

Sami Sänpäkkilä is ES — but more importantly (to some, at least) he is the founder and sustainer of Fonal, originally began by Sami to self-release his own recordings. The Finnish pipeline Fonal has blossomed into has been embraced by music aficionados the world over making it a crown jewel of DIY labels.

Upon initial listens of Kesämaan Lapset, Sänpäkkilä’s fifth album underneath the ES banner, it’s plain to see why Fonal and its artists (none as popular as Islaja at the moment) are bending continental boundaries: good music knows no home. Kesämaan Lapset combines saccharine pop melodies with the ethos of electronic drone to create intergalactic soundscapes. As clichéd as it may sound, Kesämaan Lapset captures the moments in life that don’t need words; the memories that float in the milky molasses of our minds. Look no further than the album’s cover from which Sänpäkkilä draws inspiration: images of childhood be they real or imagined.

Sami Sänpäkkilä may have labored over Kesämaan Lapset for three years, yet it sounds natural and organic — as if it sprouted from the enriched fertilizer provided by Sami’s constant thoughts. The five tracks of Kesämaan Lapset twinkle like nightly stars (”Kesä ja hymyilevät huulet”); gently sway in calm ocean waters (”Kesämaan Lapset”); smell of pine and mud like the first heavy Spring rain (”Säteet sun sielusta”). For all the movies and compositions that have claimed to capture those moments when time stood still and everything was surrounded by a soft focus, they compare not to the beauty and elegance of Kesämaan Lapset.

Justin Spicer is a freelance journalist who also runs the webzine, Electronic Voice Phenomenon. He writes the Monday News Mash-Up and Thursday edition of Song of the Day for the KEXP Blog. You can now follow him on Twitter.

Black Nite Crash on KEXP at CMJ 08
photo by Doron Gild

Every Monday through Friday, we deliver a different song as part our Song of the Day podcast subscription. This podcast features exclusive KEXP in-studio performances, unreleased songs, and recordings from independent artists that our DJs think you should hear. Each and every Friday we offer songs by local artists. Today’s featured selection, chosen by Morning Show host John Richards is “The Story of Me and You” by Black Nite Crash from the split 7″ single available through Custom Made Music.

Today’s selection comes from a limited edition split 7″ release from local shoegazers Black Nite Crash. If you haven’t heard of this group yet, you should. They are an interesting blend of their influences which include shoegaze (you might recognize their name from one of Ride’s biggest songs), new wave and garage rock. I got the opportunity to talk with Jim Biggs about this song and what BNC has been up to since we saw them at CMJ last year.

Are you planning to include this on your next album or will this be a stand-alone release?

It will appear on our next album as well, but likely with some re-recording and remixing, so the single still is an “exclusive” version.

It’s long been my dream to be the kind of band that has a complicated back catalog full of alternate and rare versions…

What’s the story behind “The Story of Me and You?”

It’s the mostly-true autobiographical story of how my wife and I got together and our first trip away as a couple. That’s the short version. The long version has to do with infidelity, pain, passion, longing and copious amounts of alcohol.

In general, what’s your song writing process? Is it a pretty collaborative effort from the band or is there a primary songwriter? Has it changed any with the line up changes BNC went through?

There isn’t “a” primary songwriter, there are two, myself and Joel, though it’s still a very collaborative effort between all of us. One or the other of us (Joel or I) bring in an idea, sometimes pretty fully formed, sometimes just a vague notion, then everyone else adds their bit… all parties are generally pretty open to suggestion. From my perspective, I feel like the contributions of the other band members are vital to a quality product in the end. As far as my song contributions are concerned, a lot of what I do would be pretty half-baked without everyone else’s input… The personnel changes through the years haven’t really changed that dynamic, but the style that each person brings definitely has an affect on the sound.

Are you guys heading into the studio again anytime soon?

Yes. Soon. Definitely. We swear. No, really. Scout’s honor.

You’ve spent a lot of time touring the past year and a half (with stops at CMJ and SXSW to name a few), was that a good way to break in your new band mates? Any weird surpises come up?

The touring lineup had pretty much been intact for 4 months before we hit the road, so it wasn’t quite like we were strangers, but spending so much time together does go a long way toward building a tighter unit. It also goes along way toward showing the merit in Sartre’s ideas about other people as expressed in his play “No Exit.” (Kidding.) (Mostly.)

There weren’t any real surprises, aside from our drummer Randall’s proclivities toward human sacrifice… you’ll notice we recently had to change bass players… coincidence?

What’s next for Black Nite Crash?

The three W’s: writing, writing and writing. We’ve got a few songs ready to go for album number two, but we want more before we start to record. We’re also looking toward at least one more release this year, a split EP with LA’s Sky Parade, and a tour down the coast culminating in our appearance at the Clean Air Clear Stars Festival in Cali (September 18th, 19th, & 20th).

You should all be looking forward to that. This band is known for putting together tightly crafted songs that translate well to their live sets. For more information on their upcoming shows and releases, check out their website and MySpace page. In the meantime, here they are live at Chop Suey to whet your whistles:

Hey everybody —

Happy almost-Fourth-of-July! It seems that with Independence Day being observed on a Friday, the whole week becomes a wash, so if you’re reading this from your place of work, I commend you on your dedication (well, sort of: what are you doing reading a blog when you should be working?).

Anyway, in honor of Our Great Nation’s Birthday, I thought it would be appropriate to share a record by one of the most patriotic, unabashedly America-Loving bands I could think of. Yes, that’s right: the Dead Kennedys. Why, they’ve even got a President’s name in their band name! And look, the cover of this record shows the fearless boys of the U.S. Army in action! (I think they’re probably dragging a mannequin to the Army Fashion Show.) Um… right?

All right, so maybe Jello and the boys aren’t exactly “love it or leave it” Toby Keith types, but you can’t say they’re not engaged citizens, unafraid to critique their government and exercise their First Amendment rights to the hilt. And what could be more American than that?

The single “Bleed for Me” was released in 1982, and its lyrics are a scathing indictment of U.S. foreign policy and its contribution to death squads and dirty wars across the globe. Having read up recently on U.S.-backed regimes in Argentina and the Dominican Republic, I can, sadly, vouch for the accuracy of this song’s harsh, terrifying lyrics. Without getting too preachy, here’s hoping that the habit of citizens to question our government’s actions is helping to move us in a more enlightened direction as a nation.

All right, enough of that: let’s all go drink some beer and watch stuff blow up!

• After 16 years repping hip-hop music and culture, Vibe magazine has ceased publication. Since its inception in 1993, the magazine has chronicled hip-hop and R&B culture and even published a few books along the way.

• Sometimes being a superfan can pay off: Death Cab For Cutie fan Ross Ching made his own video for the DCFC song “Little Bribes” and now Atlantic has hired him for a future video project.

• Wayne Coyne has recently revealed that Karen O and MGMT collaborated with The Flaming Lips on their upcoming album. Apparently the difficulties of recording the new album, entitled Embryonic, were so great that he forgot he collaborated with them.

• The fallout from these file sharing/digital downloading times has caused some major labels to rethink their strategy and take a few tips from successful independent labels. In fact, Sony has gone so far as to join forces with IODA, who provide distribution, marketing, and technology solutions for many independent labels. Whether Sony will be the changer or the changee in this new arrangement remains to be seen.

• Pirating: the new business model. Seems The Pirate Bay, whose founders were recently sentenced to serve a year in jail and pay $3.6 million in damages, will be sold for over twice as much to Global Gaming Factory X AB, who plan to turn the bit torrent monster to a perfectly legal lapdog. Napster, anyone? …anyone?

• Don’t look for EELS to tour their new album, Hombre Lobo, any time soon. Frontman E (Mark Oliver Everett) tells Spinner that he’d rather not “disrespect the audience by going out there and doing something that [his] heart’s not into.” At least, that’s “right now.” After three world tours in four years, he’s earned a rest… just not too long of a rest… okay, E?

• U2 kicked off their new tour, their first in three years apparently (has it been that long?), at Barcelona’s Camp Nou and paid tribute to Michael Jackson by dedicating their performance of “Angel Of Harlem” to him. Bono, who reportedly called Michael “an unspeakable talent,” dropped lyrics to “Man In The Mirror” and “Don’t Stop ‘Til You Get Enough” into the song. And in seeming Jacko fashion (too soon for a joke?), the Irish icons are asking fans to wear masks, but this time with the express purpose bringing attention to the incarceration of Aung San Suu Kyi, the leader of the National League for Democracy in Burma, who’s been a political prisoner in her own country for 13 years. From photos submitted to the band’s website, The Edge will select the best to be featured in a gallery on U2.com.

Lars Borges

Every Monday through Friday, we deliver a different song as part our Song of the Day podcast subscription. This podcast features exclusive KEXP in-studio performances, unreleased songs, and recordings from independent artists that our DJs think you should hear. Today’s featured selection, chosen by Morning Show host John Richards, is “The More That I Do” by The Field from the 2009 album Yesterday and Today on Kompakt/Anti-.

Axel Willner, also known as The Field, burst onto the scene with a few techno-heavy 12-inch records before delivering his 2007 debut, From Here We Go Sublime. Like any electronic act before him — whether you begin at Kraftwerk or The Prodigy — Willner bridged the gap between indie sensibility and the desire in all of us to break away from the wall and dance. The Field’s hook, for lack of a better word, was the underlying current of easiness. No matter how pulsating the backbeat, you could equally sit and relax without feeling the need to slip into slumber or ingest a fistful of downers. Yesterday and Today marks the return of The Field and if “The More That I Do” is to be believed, it seems fans can expect more of the same sun-drenched, lazy summer melodies and high-energy rhythms that made The Field one of great “crossovers.” Expect more pomp to surround Willner this go-around — and deservedly so.

Thanks to MySpace, we know The Field is currently on the road… in Europe. Makes sense considering Willner maintains his Nordic glow in his homeland of Sweden. Besides, he was just in Seattle touring with The Juan MacLean, so you probably shouldn’t expect him back any time soon. To while away the months hoping more North American dates are announced, might we suggest taking in a cartoon music video to The Field’s “Everyday”?

by Ali Weiss
photos by Karla Svatos

Chicago music fans packed darkroom Friday night for the June installment of KEXP Equalizer. Local bands The Midnight Shows and Blane Fonda joined Robbers, on tour from Long Island, New York.

Robbers opened things up. In a sportsmanlike example of “the show must go on,” band members played the entire set without their drummer, who we’re told unexpectedly left the tour at the last minute. “We’re making the best of it,” said the young rockers from the stage, in a moment that tugged at the heartstrings like when Peter Brady had to perform his magic show without Cindy.

But let’s focus on the bright side. Drums are great, but we’ve all had moments of wondering what a live show might sound like if we could just silence the noisy little bastards. So Robbers got their chance to experience that interesting, if inadvertent, little experiment. The vocalists, three electric guitars and bass enjoyed their moment in the limelight, revealing an almost Neil Young-esque folk sound from an otherwise post-punk, ambient band. The musicians held the rhythm together, which must have posed a challenge without any percussion, while the chords and lyrics stood out.

Robbers will be back in Chicago for an already sold-out show at Subterranean on July 7, perhaps with a drummer in tow. In the mean time, we recommend checking out the band’s haunting new EP, Flesh.

As Robbers unloaded their gear, some of us pondered the boat captain’s hat on a guy near the stage: “Pride? Or ironic yacht rock?” It being Gay Pride weekend in Chicago, hat interpretation had become tough call. But soon enough, the headgear’s role became clear. Blane Fonda’s frontman Mark Wetzel made his way to the stage in tinted shades, a hood and some sort of Rasta-ish wig. An above-average number of mini-dress wearers began to congregate. Finally, that guy in the yacht hat, Matt Witt, took his post behind the keyboard and picked up his trumpet. This was neither an ironic hat nor a Pride hat (not that there’d be anything wrong with that). It was clearly a party hat.

Recently formed by members of the critically acclaimed Sapiens, Blane Fonda already boasts a strong fan base for a new band. Wetzel especially reveled in the warm greeting at darkroom, pulling well-received rock star shenanigans like shouting “Spring break!” and stage diving. His deep, goth voice mixed with the band’s synth beats and brass for a sound ranging from Bowie to Bloc Party. Fans at it up, hurling each other in the air and engulfing the stage. Blane Fonda left its audience with catchy tunes in their heads, smiles on their faces and, in several cases, phone numbers in their handbags.

That’s a hard act to follow, but DJ Johnny Kesh kept up the party atmosphere with tracks by Electric Six and The Cure, perhaps in homage to what we’d just heard.

Then it was time for something completely different. There’d been no question as to the meaning of the fedoras in the crowd all night: Those hats were pure soul. The Midnight Shows headlined the evening with a blast of Motown-infused songs. Funky bass lines, Rudy Montclare’s raunchy lead vocals and sassy back-up singers made for a toe-tapping set. The act even prompted a spinning hippie in the crowd, who swirled happily around in short-shorts as though finding religion. This fun spectacle, combined with The Midnight Shows’ energy, kept the people dancing late into the evening.

Chalk it up to another job well done for Equalizer, which turns two years old next month. The event happens every final Friday at Chicago’s darkroom. Watch video recaps on Equalizer’s YouTube channel.

Martin C. Barry

There’s more to Canadian music than Celine Dion, you know? New Pornographers, Handsome Furs, Arcade Fire, Broken Social Scene and so many other great bands you hear on KEXP all hail from North of the Border. Cheryl Waters just wrapped up a Midday Show devoted entirely to Candian music. Go back and hear it again on our 14-day Streaming Archive:

Every Monday through Friday, we deliver a different song as part our Song of the Day podcast subscription. This podcast features exclusive KEXP in-studio performances, unreleased songs, and recordings from independent artists that our DJs think you should hear. Today’s featured selection, chosen by Morning Show host John Richards, is “Tin Birds” by Blank Dogs from the 2009 album Under and Under on In The Red.

Over the last several years Mike Sniper — aka Blank Dogs — has turned the head of many a music nerd with his one two punch of lo-fi pop dreamscapery and DIY ethics. Having self-released (Captured Tracks Records) enough 7″ singles and colored vinyl LP’s to make Rob Gordon sweat, Sniper has always catered to the collector with limited runs and donation-based downloads.

Blank Dogs brilliance is immediately apparent in the EPIC, repeat EPIC, track “Tin Birds” from his most recent release, Under and Under, on In The Red Records (20-song double-wax for aforementioned collector-nerds). Sort of an undercooked My Bloody Valentine meets Barlow-era Dinosaur Jr. plated beside the hooky meat and potatoes of The Cure, Blank Dogs overflows with fuzzy guitar driven melodies, muted synthesizers and often indecipherably distorted vocals. I seriously cannot for the life of me tell what the hell Sniper is singing here but it really doesn’t matter. The song is so catchy it transcends the language barrier (or speech barrier?) with what I like to refer to as the Mogwai-effect. The Mogwai effect is essentially my way of compensating for lyrics sung in tongues other than my own. If the music is challenging enough to grab hold (I first did this as a reaction to tracks from Scottish band Mogwai’s Rock Action) I will seriously make up my own lyrics and just sing it wrong for the rest of my life. I shit you not, I have been singing “Dial: Revenge” in English for years. It’s about a pissed Scott telling his best mate to shut up or he’s going to get poisoned. It’s also about the superiority of football… The point (there is a point here) is Mike Sniper’s driving pop soundscapes take center stage — scattering traditional vocal dominance in favor of big picture sound and vision. I’ve been singing “Tin Birds” all night — I’m pretty sure it’s about rusted virgins.

Not surprisingly, there’s not much to find on Blank Dogs’ MySpace page except info about a few upcoming shows and more songs to preview. New York listeners, though, can see Blank Dogs this Friday when he performs at the two-day Woodsist/Captured Tracks Fest with Crystal Stilts, Vivian Girls, caUSE co-MOTION!, and many others (lineup here) at the Backyard in Brooklyn. The rest of us will have to make due with this video for another song on the new album, “Setting Fire to Your House”: