photo by James Bailey

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 selection, featured on the Morning Show with John Richards, is “Director’s Cut” by Head Like a Kite included on the GIVE Seattle 2009 benefit compilation.

Hometown heroes Head Like a Kite is the bombastic electro-pop from the body and mind of Dave Einmo.  I say “from the body and mind” because Einmo is cut from that wonderfully special cloth of electronic music types that plays instruments. You know, like with his arms and feet and stuff.  I mean sure a macbook and turntables are instruments but you know what I’m getting at here.  For me the best, most vibrant , engaging electronic and hip-hop music comes from the minds of musicians rooted in tradition –Jazz, Emo, Pop, R&B or Rock n Roll – and the instruments and song structures of said influences. Head Like A Kite clearly falls into this category.  While he views his work from the perspective of a DJ, Einmo records his own pop tracks live – samples and chops them all to hell – creating unique and danceable melodies along the way.  Like many of his Mush label mates (Her Space Holiday, cLOUDEAD, Clue to Kalo) Einmo – with assistance from countless friends in studio (Boom Bip, Marc Bianchi, Asya of Smoosh) and on stage (drummer Trent Moorman accompanies him live) seamlessly melds a multitude of sounds together to create interesting and fantastic soundscapes that bleed freshness and familiarity.  Unique but accessible.
“Director’s Cut” – from the recently released GIVE Seattle compilation (available at local Vita Coffee shops, Sonic Boom, Easy Street ) benefitting local Arts Corps and Food Banks – is a ridiculously catchy track that begs the listener to dance about like a madman.  Featuring Tilson from the Saturday Nights “Directors Cut, “  (which will also appear on Head Like A Kite’s upcoming album Dreams Suspend Night on Mush May 10) ropes you in from the get go with an immediate introduction to one of Einmo’s sharpest hooks to date – atmospheric synthesizer and blippy keys match the herky-jerk beat beautifully, allowing just enough air-space for Tilson’s lyrics to truly soar.

There’s only one upcoming show listed on Head Like a Kite’s MySpace page for the Someday Lounge in Portland this Friday. Surely, with such prolific performers as Einmo and his touring companion, Trent Moorman, HLAK will be stirring it up in a hometown club soon. For now, here’s the Chase Jarvis-directed video for today’s Song of the Day:

photo by Troy Critchlow

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 selection, featured on the Afternoon Show with Kevin Cole, is “We Are Lights on the Way Out” by The Animals at Night from their self-released album Cut to Chase, Chorus and Fade.

Graig Markel of The Animals at Night just may be one of the busiest local musicians in the business. Between a complete overhaul of his recording studio, his thriving custom pedal business, and at least two full-time bands, he found the time to release AAN’s third effort (but first proper release according to Markel) along with long-time band mate and multi-instrumentalist Joe Patterson (CMYK). Cut to Chase, Chorus and Fade is a collection of down tempo, synthy compositions that feature a whole host of contributors including Jeremiah Green (Modest Mouse), Larry Knetchel who was one of the original members of The Wrecking Crew (check out this documentary which was a SIFF favorite of mine), along with local musicians like his wife Zera Marvel, Daniel G. Harmann, and Dave & Trent from Head Like a Kite. In fact you may have caught AAN at a Head Like a Kite show as they share not only regular contributors but a penchant for showmanship and creating an exciting party-like atmosphere at their shows that even gets the notoriously anti-boogey audiences in Seattle moving.

I recently caught up with Graig & Joe who took strong stances on everything from self recording to local politics.

What is the story behind “We Are Lights on the Way Out?”

“We Are Lights on the Way Out” is one of the first songs we did for the record. It was also one of the most enjoyable to record, because of the great guests who contributed on it- Zera Marvel, Alexis Robinson, and Jeffrey McCallum, all of whom play with us live from time to time. It was great to work with them in the studio and have them be part of the finished album.

Graig-you’re the brains (and most importantly ears) behind the Recovery Room Studios (who has worked with Band of Horses, Stone Gossard, Arthur & Yu, Tiny Vipers, Head Like a Kite, Dyme Def, etc.) how does being on both sides of the sound board affect your music?

I feel that being a great musician should be more than playing a guitar and singing. I think that becoming familiar with and learning how to use tools for recording is not just a creative advantage, but a required skill to help sculpt your artistic landscape. And that doesn’t necessarily have to be computers- There’s some great old tape recorders out there on craigslist, there’s circuits to be bent, there’s books to be read, and rules to be broken.

The Woodland Park Zoo is talking about shutting down its famed Nocturnal House, as Animals at Night what are your thoughts on that?

We think that sucks. We also think that anyone interested should make a donation to the Woodland Park Zoo and state that it is for saving the Nocturnal House. We also think it’s a shame that in such a great, liberal, artistic city, we can afford brand new sports stadiums and a fleet of new Segways for traffic police but can’t seem to figure out how to keep our zoo and animal shelter open.

Hear hear!

You can catch Animals at Night January 15th at The Comet with CMYK (featuring Joe from AAN and Sylvia from Vellela Vellela), the Mayors & Warriors (featuring Trent Moorman), and NRDLNGR. For more info and future dates check out their MySpace page.

In the meantime, here’s some video from their recent CD Release Party at The Crocodile. It’s a live remix of Brent Amaker & the Rodeo’s “Electro Hillbilly”:

BEADS at Capitol Hill Day broadcast
photo by David Frank

Every Monday through Friday, we deliver a different song as part our Song of the Day podcast subscription. Each and every Friday KEXP offers a song by a local artist for their Song of the Day podcast series. I am fortunate in that I get to write about these songs and provide behind the scene glimpses into the music and the artists who make it. I would like to thank all the artists who agreed to be interviewed and shared some of their secrets about their music, lives, and inspirations.

Sometimes I get surprising answers and insight into what it’s like to be a musician. For example, The Blakes practically live on the road touring the country and Europe for most of the year. They shared some of that experience with me when I interviewed them for “So Easy” a single off their latest album Souvenir. Full article here. Other times we get a glimpse of a band’s dynamic like when The Tripwires talked about their genesis and it was easy to tell that they all have known each other for a long time from how their humorous responses rolled off each other so naturally. Read their interview here.

Below are excerpts from some of my favorite interviews of the year.

What is your song about? I ask this question of most the artists because it gives me a richer listening experience to compare what the song means to me to how the artist describes their original inspiration.

No One Knows was easily one of my top albums of the year. BEADS is a side project for Garnet & Snow Keim of The Blakes and this album was deeply moving and personal in a such a way that it makes you feel guilty for being too quick to judge a band/artist.

What is your inspiration for the band/song/album? This is often one of the questions that elicits the most surprising answers.

Some are funny:

Jeremy Enigk at The Triple Door
photo by Laura Totten

Some are honest and give you insight into an artist’s life:

The Nightgowns @ EMP's All Access Night
photo by Chona Kasinger

And some give you a better context to appreciate the artist’s music:

Thank you to everyone who shared their thoughts with me this past year!

• We’re sorry to report that Chris Feinstein, bassist and vocalist for Ryan Adams & The Cardinals, has passed away. Apparently, the 42-year-old was found at home in Manhattan. The cause of death is still unreleased. Beyond the Cardinals, Feinstein has worked with Moby, Santigold, Albert Hammond Jr., and many others.

• California indie pop band The Morning Benders have signed to Rough Trade. They’ll be releasing Big Echo, their sophomore album, produced by frontman Christopher Chu and Grizzly Bear’s Chris Taylor, in early March.

• KEXP has been spinning the excellent new GIVE Seattle 2009 compilation regularly — still looking for a holiday gift? it’s a gift that gives back to others! — and this week they’ve released a new video for the Head Like a Kite song “Director’s Cut,” featuring Tilson of The Saturday Knights.

• We mentioned it some time back, but now the James Mercer/Danger Mouse collaboration has a release date! The band, Broken Bells, will release their self-titled debut on the ninth of March.

• Lil Wayne’s Rebirth has been slated to be released, like, a million times. Technically only six, but still! That’s way too many. It was finally set to be released in February, but was accidentally sent out to more than 500 pre-ordering customers by Amazon! Ouch! Somebody’s a goner!

• Broken Social Scene member Jason Collett is generating buzz for his own next release, Rat A Tat Tat, due in March, by releasing the single “Love Is A Dirty Word” for free here.

• Florida band (and friends of Modest Mouse) Holopaw have asked 24 visual artists to respond to their new release, Oh, Glory. Oh, Wilderness, the results of which you can see now on their blog, and they welcome you to submit your own artistic interpretations as well.

• FM Belfast, one of the bands we were very excited to discover and feature during Iceland Airwaves this year has been remixed by another festival attendee Alaska in Winter. It’s a song you may have heard on one of Kevin Cole’s Music That Matters podcast:

• Fans of KEXP’s new metal show, Seek and Destroy, will likely already know that 80s thrash metal’s ‘Big Four‘ will be touring together next summer. This includes Metallica, Anthrax, Slayer, and Megadeth.

• Speaking of music that doesn’t often air on KEXP, the inductees of the Rock and Roll Hall of Fame are interesting choices. The Stooges, ABBA, Jimmy Cliff, Genesis, and the Hollies make up the 2010 class of the Rock and Roll Hall of Fame, Billboard reports. Nominees that didn’t make the cut include Kiss, the Red Hot Chili Peppers, Donna Summer, and Darlene Love.

• Elliott Smith no doubt will have “new” tracks released posthumously for a long time to come, but that doesn’t mean I won’t be excited for each and every one of them! Kill Rock Stars will be releasing reissues of a couple of his albums on April 6th. “Cecilia/Amanda”, an unreleased solo track, will be available beforehand on the KRS website.

KEXP is proud to partner with Seattle’s coffee roaster Caffé Vita and over 30 other local businesses for the GIVE music and video compilation to benefit Arts Corps and area food banks. Starting today, November 17th, 30 downloadable tracks are available from a wide variety of Seattle artists, all of whom have donated songs for this benefit.

The compilation is available online at www.giveseattle.org for a mere $7 (a huge bargain with so much great music) and 100% of the go directly to GIVE beneficiaries: Arts Corps, Seattle’s largest nonprofit arts educator, along with Ballard Food Bank, Rainier Valley Food Bank, University District Food Bank and West Seattle Food Bank.

Among the many KEXP-friendly tracks are unreleased songs exclusive to this compilation from The Cave Singers, Grand Archives, The Blakes, Le Loup, The Maldives, The Moondoggies, Visqeen, and more!

1. Arthur & Yu: Magic Mountain
2. The Blakes: Parking Lot
3. Sera Cahoone: Love’s Gonna Live Here
4. The Cave Singers: Growing Palm
5. Champagne Champagne featuring Fences: Victim of the Modern Age
6. Common Market: The Picture of My DeLorean Gray
7. D.Black: On the Go
8. Fatal Lucciauno: Gangsta
9. Fences: Sadie
10. Fleet Foxes: Mykonos
11. Fresh Espresso: Gettin Money
12. Grand Archives: Wake Up
13. Head Like a Kite: Director’s Cut
14. Hey Marseilles: From a Terrace
15. Kinski: Whatever Happened to Madeleine Stowe
16. Le Loup: Forgive Me
17. The Lonely Forest: I Don’t Wanna Live There
18. Mad Rad: Love in a Strange World
19. The Maldives: In the End
20. Gabriel Mintz: Safeway
21. The Moondoggies: Side of the Road
22. Joshua Morrison: Mammoth Cave
23. Mt. St. Helens Vietnam Band: Bitter Cold
24. Pearly Gate Music: Big Escape
25. The Pica Beats: Durian Shakes
26. The Saturday Knights: Go!
27. Talbot Tagora: Ichthus Hop
28. Tea Cozies: Corner Store Girls
29. J. Tillman: Earthly Bodies
30. Visqueen: Hand Me Down

If you’d like to purchase a gift card for a music-loving loved one, head into any Caffé Vita shop, Easy Street Records, Sonic Boom Records, University Book Store, The Crocodile, EMP, Neumos and Sorrento Hotel to pick up a GIVE package, including a physical card with a redemption code for the download.

Also, there will be a benefit concert featuring Grand Archives, D.Black, Grant Olsen of Arthur & Yu, Kinski, Gabriel Mintz, Tea Cozies, and M.C. Tilson from The Saturday Knights will be held at the Crocodile on December 3. Tickets for the show are on sale now at www.thecrocodile.com.

Robb Benson (photo by John Conner)

by Leigh Bezezekoff

For the last year and a half I have gotten the chance to write about local music and artists for one of the most prestigious music blogs in the country. When I think about it, it’s a bit intimidating but on the other hand, it is just another way I get to talk about the music I love.

I’m not alone in this. Many KEXP listeners do the same at KEXP events, when they come by the station for tours, and with emails they send to the DJs which help keep them inspired during their shows. And we hear about it a lot as we ask for our listeners’ support during our Fall Membership Drive (going on now!).

I recently celebrated an anniversary with my boyfriend (who I met at a KEXP event), and took a moment to reflect on the multitude of amazing and passionate people I’ve met as a volunteer with the station from the DJs and other KEXP staffers, to fellow listeners and volunteers, and even the artists themselves. I had no idea that donating a bit of my time would open up so many doors for me and the effect it would have on my life.

And I know it’s not just me. Whenever I talk to local artists they are always so quick to tell me how amazing it was the first time they heard their song on the radio-what they were doing, who played their song, which song it was, etc. It got me to thinking about the impact KEXP has on our local music community so I reached out to some folks who are a part it to hear in their own words what KEXP means to them…

folks like singer/songwriter Robb Benson (Dept of Energy, Dear John Letters, Nevada Bachelors), who went so far as to record an audio clip of him talking about early experiences as a young artist who received some phenomenal support from KEXP: “KEXP was the station that was willing to put their name on the line to support us.”

Other local musicians had plenty to say about how KEXP has been important in their lives:

Thanks to everyone who keeps making great music for us at KEXP to play, write about, and of course listen to! Please consider giving a gift of support during our Fall Membership Drive so KEXP can keep supporting local music!

photos by James Bailey

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 “Thrones of Glory,” the new single by Head Like a Kite.

Last time we checked in with local indie-electro darlings Head Like a Kite they had just released their second full-length album There is Loud Laughter Everywhere which received much love from KEXP DJ’s and fans alike earning them a reputation for being one of the best live acts in town. Their suave blend of electronic beats, loops and dance floor esthetics marry beautifully with the live instrumentation that accompanies and allows Dave and Trent to build on and riff on some already pretty stellar tunes.

Today’s song “Thrones of Glory” is a bit different than what most HLAK fans are used to and in fact, almost didn’t make it off the cutting room floor. I got the chance to speak with the energetic frontman Dave Einmo who shared that amazing rescue story along with tales from the road, wish lists from Santa, and just geeking out in general in what turned out to be one of my favorite interviews this year:

You guys were recently part of an online reality show “On the Brink,” what was that like?

It was pretty crazy. We traveled with an eight-person film crew for about 10 days doing shows up and down the West Coast. One of the guys was the camera man for Dancing with the Stars and Survivor, and he entertained us with stories of Tommy Lee and others he has filmed on the road. Apparently Tommy Lee has a big wiener. Who knew? The crew was super fun, and it made for a 10-day party. It was a little challenging being wired to a remote microphone everywhere you went for the 10 days and nights. I certainly had to remind myself periodically not to humiliate myself with some drunken tirade. My biggest slip up was in Las Vegas at around 5 AM when the promoter of the Neon Reverb Festival took me out drinking whiskey until 8 AM. Bad idea. Really bad. But the film crew was exhausted by 4 AM and they left before I did anything too stupid. I’ve since become good friends with the film crew and they often come out to see us when we play in LA, where most of them live.

(P.S. You can check out episodes on the band’s website here)

I know you’re the primary songwriter for the group, but you always have some awesome contributors on your albums. How do you go about crafting your songs? Do you start out on your own or is it pretty collaborative from the start?

I love collaborating. When I started Head Like a Kite, I wanted to be able to invite various guests in for different songs, rather than structure it like a traditional band where you have a specific lineup and you have to work within the limitations of that lineup. Instead, I was inspired by how guys like Prefuse 73 and DJ Shadow come up with beats and songs, and then have guests jump up on some of the tracks. My goal was to approach it like a DJ. But rather than sample records, I sample myself and guests and then mix it all into a final song. I generally start by creating a drum loop, and then I start playing short parts that I sample and then arrange into songs. Then, once the song is mostly arranged, I invite guests to sing or add violin, cello, Theremin, bass, drums, etc. to the mix. Usually, I send the guests the parts I want them to play, but sometimes they add something completely unexpected and it takes things in a new direction. It’s really liberating to be able to work with a bunch of friends, because inevitably they’ll add their own flare to a part and make it a little more special.

Are your songs autobiographical in nature or where do you gain inspiration for your lyrics?

I prefer writing fictional lyrics. The whole vibe of the Head Like a Kite live show is built around throwing a festive party with people dancing and cutting loose, dressed in various costumes. Fog machines and confetti. I find that fictional lyrics allow me to explore more of a crazed, theatrical world, which parlays more into the live setting. Over time, the live shows have really influenced my songwriting and I find myself focusing on song arrangements and lyrics that are fun to perform live. Of course, that being said, there are certainly autobiographical moments in the songs, but I tend to adjust and bend them for my entertainment.

Can you tell me anything about today’s song “Thrones of Glory?”

It started out as a very basic synth and 808 drum-machine pop ditty. Then I threw on guitars and a few other instruments. Then I hated it. I moved it into the EXTRA folder and thought it would end up like all the rest of the songs in that folder. Dead. But Trent Moorman, an all-around stud and the live HLAK drummer, heard the song one day while I was playing him rough mixes of the various songs I was working on. He loved it, and encouraged me to mess with it more. I decided to send it to Boom Bip to add some synth and beat flourishes, thinking maybe he could resurrect it. His parts were really cool, but I still thought my song was limp. When we were mixing some new songs in December, Trent kept encouraging me to mix that song. We were in Electrokitty Studio with Gary Reynolds and Eric Corson (from the Long Winters) and they heard Trent talking about the song and asked to hear the rough mix. We spent the next three days and nights remixing, retracking, redrinking, and this is what emerged. Eric was great with micing the guitars into these old vintage Rickenbacker and Supro amps. He had lots of cool ideas. And at some point, Trent just grabbed some drum sticks and went out into the main room and started bashing out the drums in the chorus. Someone how it all came together. I think I was reluctant with the song because it’s so different from the rest of the Head Like a Kite stuff. It’s about as straight forward of a pop song as I’ve ever written. So it took me awhile to just embrace that and not try and steer it into something else. I think that’s the key in songwriting. Don’t force stuff. If a pop song wants to be a pop song, then put on the Liberace rings and embrace it. Gary Reynolds at Electrokitty helped me with that. He’s a great engineer and really added a lot with the final mix.

I understand that the B-side single for this song on iTunes is a live recording of “Blue Merlot.” Your live shows are pretty amazing and high energy the whole way through. Do you have any rituals you do before heading out on stage?

We make out with the panda bear we bring with us on the road.

How did the collaboration with Boom Bip and Asya on this song come about?

Aysa and I have been friends for a long time. Her band, Smoosh, put out their first album, She Like Electric, on Pattern 25 Records, a label I had formed with Clay Martin and my wife Diana. So Asya and I have recorded a bunch of stuff together. She sang on each of the first two Head Like a Kite albums. One of the songs she sang on, “Daydream Vacation” from the second HLAK album There Is Loud Laughter Everywhere, was later remixed by Boom Bip. I loved his remix so I asked him for some help on “Thrones of Glory” as well. I was stoked with the parts he added.

You’re currently working on your next album right? Is this a little taste of what’s to come?

Thrones is the appetizer. But the party platter comes next. The full-length will be a festive record with bombastic party beats and gigantic synths with hooks more dangerous than a shark hunter. Jaws, you should be scared.

How did you get into making electronic music? Have you always complimented it with live instrumentation?

I started out as a guitar player, but quickly got bored with the traditional sound of a guitar. After messing with various guitar pedals, I became intrigued with the possibilities of making a guitar sound more like a synth. It’s amazing what you can do with a guitar plugged into Mooger Fooger pedals and old vintage analog delays and pitch shifters. I wanted my guitar to sound like Darth Vader on Ecstasy. This led me to experiment with old, vintage synths like the Juno 106 and Moog Rogue, and then 808 drum machines. I quickly gravitated towards electronic music. But I also wanted to make electronic music that had a human feel. So mixing in live cellos, organs, trumpets, kotos, stand up bass, guitars, Theremin, violin, and live drums allowed me to mix organic with electronic. I think the result is a bit like The Jetsons. Robots meet Humans. (Damn, that should be name of the next album.) Live drums really add a lot. Trent plays drums on all the live shows (both a traditional kit and also electronic pads triggering 808 sounds).

Are there any particular instruments/effects you’re geeking out over right now?

I’m really geeking out over the Cervelo S3 road bike and the Specialized S-Works Tarmac. My bike was stolen a few weeks ago, and now I’m hoping Santa will bring me a new one this winter. Santa, if you are listening (and I know you listen to KEXP because I saw the yellow bumper sticker on your sled), then please bring me a new bike. I’ll be really good for the rest of the year. Seriously.

We’re keeping our fingers crossed for you, Dave!

Head Like a Kite are a band that definitely needs to be experienced live. In addition to guest appearances by local musicians like Graig Markel, Zera Marvel, and Barbara Trentalange, a HLAK show often features friends and audience members alike adorning everything from crazy wigs to head-to-toe animal costumes. Folks in Yakima are definitely in for a treat if they head out to the HLAK Pajama Party tonight but Seattlites won’t have to wait too long to join in the often furry dance party. They are playing KEXP’s upcoming Audioasis live broadcast from The Sunset Tavern w/ The Nightgowns, The Physics, Helladope and GMK on Saturday October 10th. And don’t forget your dancing shoes when Head Like a Kite helps keep the party going at the Animals At Night’s CD Release Party at The Crocodile on November 21st. More info and details and dates on the band’s website and MySpace page. Until then, here’s HLAK performing “She’s Wearing That Costume” live in the KEXP studio:

photo by James Bailey

by Chris Estey

Head Like A Kite’s Dave Einmo gives us the best of both worlds: With his musical comrades he creates perfectly sound-designed art-rock records that just get better with each play; and when he turns up with Trent Moorman and fellow artists like Graig Markel and Zera Marvel live, it’s a Stones-on-ecstasy soul revue, getting people involved in the rhythm as they freak at the noise.

The new HLAK single, “Thrones of Glory” is coming out September 22 on iTunes. Boom Bip (Neon Blue) and Asya from Smoosh guest on it — but it’s your guess as well as mine who else will be joining Dave and Trent at 9:15 PM on Monday, September 7 at the EMP/SFM Sky Church.

Head Like A Kite has been featured on MTV2, NPR and has toured the US and Japan. The last album charted in the CMJ Top 50, hitting number one on KEXP and elsewhere. A great story from Trent Moorman’s POV can be found in last week’s Stranger. Here’s Dave’s description of the new track, which I am going to guess will be featured in their festival performance: “Transfusing the melodic timbre of The Postal Service and the eclectic mashups of Hot Chip with the springy guitars of Sonic Youth by way of Guided by Voices, HLAK’s “Thrones of Glory” is a sunny bliptronic indie popper.”

Head Like A Kite’s 2006 debut Random Portraits of the Home Movie, was constructed from samples of Super-8 home movies from the 70s. The success of the album led to tours of the US and Japan and an appearance on MTV2’s “On The Rise” and NPR’s Weekend America. Head Like A Kite then recorded for LA-based electronic label Mush, There Is Loud Laughter Everywhere. There is a full-length Head Like a Kite release planned for March, 2010.

For Seattle indie-electronic music fans who haven’t been able to catch them, and wonder where Seattle’s version of a band as strong as LCD Soundsystem might be playing out, close out the festival with HLAK, one of my very favorite bands ever.

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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. Every Friday the Song of the Day podcast spotlights Northwest musicians.  Today’s featured selection, chosen by Morning Show host John Richards is “No Ordinary Caveman” by Head Like A Kite from There Is Loud Laughter Everywhere on Mush.

Back in 2006, Head Like A Kite wowed industry professionals and fans alike with their debut, Random Portraits of the Home Movie, for which frontman Dave Einmo sampled audio from his family’s Super-8 home movies (which they also showed during their live show).  Now he’s poised to release the 2nd full length, There Is Loud Laughter Everywhere, on L.A.-based electronic label Mush on August 26th.  This time, Einmo recorded the melodies and then re-approached the music as a DJ might, cutting and looping his own tracks to come up with the final songs for the album. If that weren’t cool enough, the album features a wide variety of guests including Asya from Smoosh, The Long Winters, Radio 4, Barton Carroll of Crooked Fingers, and of course drummer Trent Moorman, who also joins Dave on stage for live performances. “No Ordinary Caveman” is one of those songs you hear in the background at a party that just might inspire you to go up to that person you’ve been making eyes at all night. The sexy drum beats and smooth vocals and melodies are a great addition to your new summer party mix.  You can listen to the album in its entirety on the band’s website.

HLAK recently offered up a free CD release party at Neumos where Dave and Trent were joined on-stage by the Smoosh girls and others as they performed tracks from the album.  You can catch them on July 18th at Chop Suey w/ No-Fi Soul Rebellion, Mon Marie (CD Release), and The Kindness Kind.  They are also plotting an upcoming tour including stops in California.  Check out their MySpace for more information. Also, check out the video for “No Ordinary Caveman,” co-directed by our own DJ Troy Nelson of Black Daisy: