Jason Messer

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 “What About Us?” by Mr. Lif from his 2009 album I Heard It Today on Bloodbot Tactical Enterprises.

Mic Check one two; Mr Lif (aka Jeffrey Haynes) is a Boston-area (now Philly) hip-hop artist who’s not afraid to mix some potentially volatile political lyrics into his rhymes.  A gifted lyricist, Lif is one of the few rappers who openly discusses recent events like the economy and the housing crisis in his songs; the relevance of his latest album is amazingly on point.  Despite only releasing two solo albums, Mr. Lif may be best known for his work in Def Jux collective The Perceptionists (with Akrobatik and DJ Fakts One). Comparatively, his solo work seems to be much more grounded on lyrical content than the beats that dominate his other project. Not content to simply spit out the latest “look at me” lyrics of his predecessors, Lif does his best to dismiss the standard formula and march to his own controversial beat. Today’s Song of the Day, What About Us? is less “F- The Police” than it is “F- The Man”, but it’s no less in your face with its delivery. A quick reminder of his overall message may just be in the lyrics to this song: “enough is enough”!

Mr. Lif just wrapped up a tour and currently has no new announced tour dates. You can find out more about what he’s up to and listen to additional tracks on his MySpace page. For now, here he is performing an acapella version of the title track, “I Heard It Today,” live at Webster Hall in NYC this past April:

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 “Jetstream” by Doves from their 2009 album Kingdom of Rust on Astralwerks.

To think that at one point in their career English rockers Doves were described as “dance rock” is almost impossible to imagine. Yet, ten years ago, the threesome banged out angular, up-tempo tracks for club kids to shake their asses to. When a fire took their studio though, Jez Williams and crew had to reevaluate. Dropping their electronic edge and renaming themselves Doves, the band embraced the sweeping soundscapes of British alternative. Four albums later, Doves have become an emblem of the sort of epic rock worlds so popular in the United Kingdom. “Jetstream” is no outlier; this lengthy track builds from a sonic field of noise, overlayed with Williams haunting vocals to a throbbing explosion of rock that seems better suited for the oxygen-free expanses of the galaxy. Club-friendly dance music this is not.

If you missed Doves when they played The Crocodile and then Sasquatch last month, I’m afraid you’ll have to wait a while for their return… years, probably… because they’re back in the UK now. Unfortunately, their MySpace page is woefully out of date, but hopefully they’ll update it now that their U.S. tour is over. At least you can console yourself with this new video for “Winter Hill”:

… and this lo-qual video of “Rise” as performed at The Crocodile when they were in town:

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 Afternoon Show host Kevin Cole, is “Big or Small” by Fresh Espresso from their album Glamour available on Out for Stardom.

Chances are good that even if you haven’t heard of Fresh Espresso yet, you’ve heard of Mad Rad. Known for their booze/drug-fueled stage antics (which got them banned from several Capitol Hill venues), Mad Rad have garnered quite a reputation for their party rap around town and have a considerable collection of press clippings as well as fans. Connecting the dots… what these two Seattle hip hop groups have in common is composer/producer P Smoov. Bring in the vocal talents of MC Rik Rude and the collaboration takes fans of both in a distinctly different direction. While Mad Rad is more like the Beastie Boys on steroids, Fresh Espresso takes a smoother approach to hip hop and combines electronic instruments and looping. Today’s Song of the Day, “Big or Small,” is the perfect addition to your summer sound track. A little dance, a little chill, and hey, any song that samples childhood favorites (the Bee Gees) can’t be all that bad right? Fresh Espresso has been getting quite a bit spins on KEXP and are starting to accumulate their own mountain press lately including a profile by Stranger dignitary Charles Mudede, who seems to be quite infatuated with these guys.

You can catch Fresh Espresso tomorrow night at the High Dive with Project Lionheart. They will also be live on KEXP on Tuesday, August 4, at noon and are part of KEXP’s Concerts at the Mural series on on August 7th with Dyme Def at the Mural Ampitheater at Seattle Center. Check out the details on their MySpace page. In the meantime, check out some freestyle rhymes from MC Rik Rude:

J. Wagner & S. Waugh

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 Afternoon Show host Kevin Cole, is “Roll On” by Son Volt from the band’s 2009 album, American Central Dust, on Rounder.

The question of whether Jay Farrar exists under the shadow of former friend and bandmaster Jeff Tweedy contains a different answer depending on who you ask. Unlike so-called rock and roll rivalries, however, Farrar and Tweedy have competed for nothing but fans’ ears and both have succeeded in their own way. While many dream of a reunited Uncle Tupelo, if only for a moment, it will never be nor should it as both have grown, moved on, and found their own identity in song.

Although the modern form of Farrar’s outlet, Son Volt, greatly differs from the band’s first incarnation that brought us three fantastic, if unheralded, albums (Trace, Straightaways, and Wide Swing Tremolo) during the middle and end of the 1990s. Farrar’s talent, obviously, hasn’t diminished during this second run with the name Son Volt, as evident with “Roll On.” The trademark twang that rang loud and proud through the first trio of Son Volt LPs returns, albeit in a bit of a subdued roll. It’s familiar and that’s all that matters in the end — a chance to reacquaint yourself with one of the last true alt-country acts still dabbling in the genre without pretense or guile. America Central Dust looks to return to the truer sound Farrar sang about so long ago on “Windfall.” We couldn’t be happier.

Son Volt has aims to hit the road fast and hard this summer according to the band’s MySpace page, which includes a sold out July 22nd show in Seattle at the Woodland Park Zoo. If you’ve got your ticket, flaunt it in front of those of us too slow to act. If you’ve found yourself ticketless and a little down, perhaps this live cut of “Dust of Daylight” will keep your appetite whet for the new album.

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 Afternoon Show host Kevin Cole, is “Always the Same” by The Legends from the 2009 album Over And Over on Labrador Records.

A quick perusal of Labrador’s label page for The Legends describes the band as “nine persons that play drums, guitars, tambourine, organ, bass and sing… [many of which] have never before played their instruments. ” One must assume this is either painfully out of date or just a bit of Swedish tom-foolery as Johan Angergård (Acid House Kings, Club 8, Pallers) is the principle if not the real only member, and has released three proper albums and countless singles since the band’s inception way back in 2003. Even I could master the tambourine in six years!

The Legends earned national attention, and a high Pitchfork rating, with 2004’s Up Against The Legends (KEXP listeners are sure to remember “Call It Ours“). In the years that followed, they’ve released two more full-lengths and several EPs. Their latest release, Over and Over, is hazy and densely layered while remaining bright and melodious. While Angergård clearly draws from the 60’s — Beach Boys, The Beatles, and even Krautrock — he continues to mash these influences together with the experimental noise pop of bands like My Bloody Valentine and Sonic Youth to birth songs that are both familiar and unique.

“Always the Same” is a perfect example of this familiarity in action. The female vocals had me flipping through the mental rolodex for at least 20 minutes — trying to place the likeness… was it Isobel Campbell (Belle and Sebastian, Gentle Waves)? Rose Melberg (Go Sailor, Tiger Trap, The Softies)? Amelia Fletcher (Heavenly, Marine Research)? All three of these voices are somehow melded together here to create some three-headed twee monster (a cute kind of monster) reinforced by an army of distorted guitars and a seriously punchy bass line. Angergård’s understated vocals join the foray so delicately they’re almost imperceptible. “Always the Same” is (dare I say it) a juxtaposition of upbeat happy music and introverted lyrics. Sarcasm with a smile. And earplugs.

Typically, Johan Angergård is at home in Sweden running Labrador Records, but New York listeners are in luck because The Legends are performing at Santos Party House today, The Bowery tomorrow, and The Studio at Webster Hall on Friday. Check out their MySpace page for other dates. Catch ‘em while they’re in the U.S.! For the rest of us, there’s this new video for today’s Song of the Day:

Amanda Lopez

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 Afternoon Show host Kevin Cole, is “Continue to Call” by Nino Moschella from the 2009 album Boomshadow available on Ubiquity Records.

Like a lot of gifted musicians, Nino Moschella was surrounded by music at an early age. He even describes his own family as “typical loud Sicilian folks” who were always singing. In fact, at the age of five, Moschella was already learning to keep time on drums for his father’s rhythm & blues band. Years later, he had set his course on being a traditional jazz drummer. Eventually expanding his skill set to include bass, guitar, strings, and piano, the Bay Area multi-instrumentalist now plays just about every instrument he can get his hands on in the new album.  Influenced by soul, funk, and gospel, Moschella with his gritty vocals and distinct sound puts a new twist on some seriously classic genres.  Today’s Song of the Day, “Continue to Call,” almost has an electronic/dance feel to it, but is definitely more strongly rooted in funk than anything else and fits right into the roster of Ubiquity Records, which since 1993 has always been a specialist when it comes to forward leaning funk and soul. Nino Moschella is no exception.  Just his sophomore release on the label, Boomshadow, takes on amazing new heights, he still manages to pay tribute to his older funk predecessors.

In the past, Nino Moschella has performed at Bumbershoot and SXSW; however, there are currently no scheduled shows posted on his MySpace page. However, you can go there to listen to additional tracks or read more about him on his website.

Sarah Cass

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 Afternoon Show host Kevin Cole, is “Stillness Is The Move” by Dirty Projectors from their recently released album Bitte Orca available on Domino Records.

Even if you don’t enjoy the music of Dave Longstreth’s shifting musical collective Dirty Projectors, you have to admire the sheer audacity of their albums amazing concepts. C’mon, The Getty Address is an album about The Eagle’s Don Henley, and Rise Above is a slew of Black Flag songs but as Dave Longstreth remembers them, not as they actually are. Now, Longstreth and crew have signed on to a semi-major, Domino Records, and with Bitte Orca have created possibly the most popular and accessible album of their career. Sure, there might not be a brilliant concept to draw the attention of media, but this is Dirty Projectors, all strings and warbling vocal accompaniments and shifting spurts of lo-fi production crammed into the framework of a more conventional pop song. This is Dirty Projectors for the masses, and damn it if I’m not fairly impressed by the band’s ability to switch gears and still maintain their sound. “Stillness Is The Move” sounds like a modern electronic pop song on the surface, a catchy, slightly fuzzy bit of pop goodness. But listen deeper and what you have is a complex, multi-layered bit of composition that’ll draw your ear to the speaker for hours, picking it apart measure by measure by measure.

Don’t miss Dirty Projectors when they’re in Seattle at Chop Suey on July 3. Check their MySpace page for more dates on the West Coast before they head over to Europe. For now, here’s the Projectors’ collaboration with David Byrne off the Dark Was The Night compilation: