Free and legal MP3: The Antlers

Lovely bittersweet chamber pop

“Solstice” – The Antlers

Here’s another indie-rock darling reemerging after a hiatus. In this case, the Antlers were a group that had truly hit the big-time–glowing reviews, two appearances on The Tonight Show, etc.–and yet decided to put the enterprise on ice for quite a while.

While operating generally within their familiar soundscape–a reverby, unhurried package of tender vocals, acoustic orchestrations, and electric atmospherics–the Antlers are here in 2021 with perhaps a less angst-driven sound. “I think this is the first album I’ve made that has no eeriness in it,” front man Peter Silberman has said, of the new record, Green to Gold. No eeriness, and maybe a gentler tone overall, but there remains an underlying aura of bittersweet tension that seems all but inherent to Silberman’s wavering tenor. Even a song as pure and lovely as “Solstice” doesn’t deliver an unalloyed feeling of contentment as much as the sense of a slightly apprehensive respite and/or a determination to keep the spirits up in the face of life’s inevitable travails.

But pure and lovely this surely is: Silberman delivers a deeply gratifying verse melody, that fragile voice of his navigating strong upward and downward intervals, the melody in the process exploring the breadth of the octave–an often effective songwriting maneuver. The accompaniment here is provided by deftly arranged stringed instruments and bolstered by a digital wash blurring backing vocals into white noise. The song is little more than the bewitching verse melody and a chorus comprised of wordless vocals and the two-word lyric “Keeping bright bright bright.” And yet even this super simple chorus feels rich with craft and intention, with strings providing both rhythm and texture. A beautiful effort from beginning to end.

“Solstice” is the third track of 10 on Green to Gold, which was released in March on Anti- Records. This is the first Antlers album since 2014’s Familiars. The Antlers were previously featured on Fingertips in 2009, when the Silberman solo project first became a genuine band. MP3 via KEXP.

Free and legal MP3: The Great Emu War Casualties

Crafty songwriting, dynamic arrangements

“I’m a Yes Man” – The Great Emu War Casualties

For all its loose, swinging atmosphere, “I’m a Yes Man” is a highly disciplined exercise in catchy late-period rock’n’roll. The swing comes from melodies consistently centered off the first beat of the measure, while the sense of looseness is propelled by a dynamic bass line down below and wailing electric guitars up top. The discipline, meanwhile, can be felt in the tightness of the performances (random example: that tiny dead-air pause in the proceedings at 0:19), including the disaffected, precise vocal stylings of front man Joe Jackson (yup that’s his name). His rhythmically astute phrasing is impressive, maybe nowhere clearer than on the standout line “I’ve got half a mind to half-remember half the time” (1:14). The song is written to encourage his careful, clever singing, which doubles back to highlight the crafty songwriting. I like, as an example, how the line “And could you offer in a helping hand?” at 1:24 extends beyond the confines of its musical phrase, which strikes me as a confident bit of composition.

The arrangements, with their intertwining guitars and savvy dynamics, reinforce the air of a band in complete control. This might have a fair amount to do with producer Alex Newport, who has worked with a number of heavy-hitting outfits, among them Death Cab for Cutie and Bloc Party; in any case, the song is continually enlivened by not only the particular instrumental mix in use at any given time but the push and pull of volume and accompaniment. One small example: not only does the swell of sound drop away at the start of the verse (0:40), but we also get a guitar playing notes that imply chords that do not match the melody in the vocal–an enticing bit of passing dissonance. This is one of those songs that you can take a slice of at pretty much any moment and find something interesting going on. I suggest you try it.

The Great Emu War Casualties is a trio from Melbourne. “I’m a Yes Man” is a track from their five-song EP, Vanity Project, which was released at the end of February. You can check out the whole thing, and buy it, via Bandcamp. Oh and in case you’re interested: the Great Emu War was actually a thing, involving the Australian government employing the military to control a runaway emu population in 1932. You can read more here. Executive summary: the emus won.

Refusing to exit

Eclectic Playlist Series 8.03 – March 2021

We have this time a month of challenging segues, as a disconcerting number of the songs selected for the March playlist have what music folks call a “cold” ending–which means a song that has an actual end point, often an abrupt one, versus a song that fades out. The more abrupt an ending, the harder it can be to create an effective segue; and an extra problem this month is that a noticeable number of songs likewise feature cold openings, starting either suddenly or loudly or both. This is the first time I can remember having to change a number of songs around, or even kick songs out of the mix, based on an inability to construct a workable segue. And there remain a few here that are a bit bumpy for my taste. But it’s worth it, I hope, for the songs to follow.

And this: there have now been a year’s worth of pandemic-shuttered playlists. On the bright side, this is an activity that in theory is unaffected by physical lockdowns. But, that’s merely theory; in practice, everything is affected, while so many things still refuse to exit: degenerative idiocy in the public sphere, systemic racism, proto-fascist tendencies in state legislatures, and oh yes this persistent virus. All things must pass; we just, in advance, never know quite when.

“Heaps of Sheep” – Robert Wyatt (Shleep, 1997)
“Stay” – The Blue Nile (A Walk Across the Rooftops, 1984)
“Mirrorball” – Taylor Swift (folklore, 2020)
“Tattler” – Ry Cooder (Paradise and Lunch, 1974)
“New Resolution” – Heartless Bastards (Stairs and Elevators, 2005)
“Argos Farfish” – Sharhabi Ahmed (1960s)
“Day After Day” – The Pretenders (Pretenders II, 1981)
“The Night” – Frankie Valli & The Four Seasons (single, 1972)
“Hysteric” – Yeah Yeah Yeahs (It’s Blitz!, 2008)
“The Hunger” – Bat For Lashes (Lost Girls, 2019)
“The Universal” – Blur (The Great Escape, 1995)
“2.A.T.” – Fingerprintz (The Very Dab, 1979)
“Every Little Bit” – The Royalty (The Royalty, 2012)
“Sword” – Ian Sweet (Show Me How You Disappear, 2021)
“Angels” – David Byrne (David Byrne, 1994)
“Call On Me” – The Dynells (single, 1968)
“Postcards From Italy” – Beirut (Gulag Orkestar, 2006)
“Downtown” – Christine Lavin (Good Thing He Can’t Read My Mind, 1988)
“Wake Up Everybody” – John Legend & The Roots (Wake Up!, 2010)
“Salt of the Earth” – The Rolling Stones (Beggars Banquet, 1968)

Stray notes:

* I’m never sure how far into these mixes that listeners tend to get but please do yourself the favor of hanging in there this month at least until you get to the majestic Frankie Valli single “The Night,” which elevates melodrama to the awe-inspiring. The bass-driven beat will lure you in, the horns will charm you, and the theatrical melody, with its heroic intervals, will all but take your breath away. Many thanks to George from Between Two Islands for the tip on this brilliant ’70s nugget.

* I will say up front that I have very little knowledge when it comes to the vast array of sounds that have been recorded outside of my limited Anglo-American musical bubble, and in particular had zero exposure to Sudanese jazz before the song “Argos Farfish” had a moment in the spotlight over on Hype Machine a few months ago. The artist, Sharhabil Ahmed, is known in some circles as the “King of Sudanese Jazz”; seven of his recordings were gathered last year into a compilation on the German label Habibi Funk, which specializes in reissuing “Arabic funk, jazz, and other organic sounds.” Their 16 album releases to date can be found on Bandcamp. Try as I might I cannot locate a specific date for “Argos Farfish,” but it seems to have been recorded some time in the 1960s. I obviously still know very little about any of this, but I know that the song caught my ear and wanted to work its way into a playlist so here it is.

* At another end of the spectrum, we have Taylor Swift. I’ve never previously connected to her music but also never doubted her talent. And while her widely-praised Aaron Dessner-produced 2020 albums didn’t turn me into a fan per se, they did have me listening. On the one hand, even in a new sonic setting, her songwriting style veers too much towards the “spill words out in double time without a melody” end of things to hold my interest.  On the other hand, there is “Mirrorball,” in which she lets a graceful melody take root in a gauzy, quasi-dream-poppy setting–to me, an encouraging detour. (With a different but related vibe, “Marjorie,” from the follow-up, evermore, is another good listen.)

* Two of my favorite all-time songs share a title: “Stay.” Then again, maybe not surprising, given that Wikipedia lists more than 90 songs with that same one-word title. But I am particularly partial to David Bowie’s “Stay,” from Station to Station, and, best of all, this one from the Blue Nile’s debut album, 1984’s  A Walk Across The Rooftops. Paul Buchanan’s voice may be an acquired taste through the album’s more meander-y tracks, but on the comparatively buoyant “Stay,” he and the band hit it out of the park.

* Ian Sweet is the performing name of the Los Angeles-based singer/songwriter Jilian Medford. “Sword” is from Show Me How You Disappear, her third album, released earlier this month on Polyvinyl Records.

* As disconcerting as it was to have a David Byrne solo album, in 1994, after being so indelibly presented as Talking Heads’ front man all those previous years, he has long since succeeded in making it seem almost equally disconcerting to think that he used to be in a band. Anyone with access to HBO: I all but demand that you go and watch “American Utopia” at your earliest convenience, if you haven’t done so already. It will bring a smile to your pandemic-weary face; in fact, watching him perform “I Zimbra” during the show made me so happy I started crying.

* Sadly little is known about the group called The Dynells, except that that were fronted by the dynamic Brenda McGregor, and that this song, originally released on a Philadelphia label called Vent Records in 1967–and more widely released on Atco Records in 1968–was produced by none other than Kenny Gamble and Leon Huff. This was a few years before they founded Philadelphia International Records, but in the same time frame as when they produced their first big hit, which was “Expressway To Your Heart,” by the Soul Survivors. Why wasn’t this a hit also? It’s a mystery; the song is fantastic, with a groovy guitar riff and fully developed horn charts. Just about every piece of information about McGregor on the internet is word for word the same sentence about how she was later in a group called the Vonettes and how she died at age 25.

Free and legal MP3: Ciel

Melodic splendor, w/ squonky noise

“Pretty Face” – Ciel

Launching without an introduction, “Pretty Face” brings us promptly into the compelling world of vocalist/guitarist Michelle Hindriks, a Netherlands native, transplanted to Brighton. Her lightly accented English and pellucid tone combine with irresistible potency, all the more so when we reach a chorus that ravishes with its melodic sweep and splendor. The subtle double-tracking of the lead vocals here adds to the poignant beauty.

At the same time, tune your ear further down into the mix and track if you can what Jorge Bela Jimenez’s guitar is doing, which is quietly and intermittently going crazy in a “don’t mind me” kind of way. You won’t hear it at first unless you listen for it. By the chorus’s third iteration (2:05), Jiminez is becoming less restrained, setting up the all-out assault that breaks free at 2:43, and carries us through a memorably squonky coda.

Lyrically the song veers into unexpected territory. By Hindriks’ account, she was inspired by a number of documentaries she found herself watching under lockdown about a variety of cults, and one particular story about a man who lost his wife to a cult–how he knows she’s still out there, but forever separated from him. While it’s not a direct experience many of us (thank goodness) can relate to, it can stand as a metaphor for living with the grief of heartache and separation.

Ciel has put out two EPs to date, most recently Monument, in April 2020. “Pretty Face,” released last month, is the second single the band has released since then. Check out the full discography on Bandcamp.

Free and legal MP3: Brandon De La Cruz

Hushed, impressionistic storytelling

“Salmacis” – Brandon De La Cruz

Brandon De La Cruz sings with a hushed authority, his voice cracking against the muted beauty of this simple-seeming song. A two-line verse is answered by a two-line chorus, the former resolving the latter with matter-of-fact grace. Whatever story is being told here is being told obliquely, like a camera focusing only on discreet details, with no establishing shot.

We can, however, flesh out the story via the title: in mythology, Salmacis was a nymph who lusted after Hermaphroditus, the child of Hermes and Aphrodite. When he rejected her and went to bathe in her pool, she sprang upon him; when he still resisted, she prayed to the gods that the two of them should be always together. The gods, in classic “be careful what you wish for” manner, granted her her desire, and they were merged into one body. (Thus, clearly, the etymology of the English word “hermaphrodite.”)

This background renders De La Cruz’s impressionist account evocative in the extreme. We get body words–hands and arms and lips and legs–and, in the repeated chorus, words of union (collide, link up, entwined, seam). Consciously or not this song is in every possible way the antithesis of the prog-rock deep cut “The Fountain of Salmacis,” from the 1972 Genesis album Nursery Crime: concise versus expansive, humble versus baroque, quiet versus clamorous. Nothing at all against Genesis; let’s just say this goes in another direction.

“Salmacis” is one of eight tracks on the album Visions of Ovid, being released this week. With a long-standing interest in mythology, De La Cruz this time has fashioned an entire album riffing on ancient stories. Based in Portland, De La Cruz has been more or less stuck in New Zealand for a year, having chosen an unfortunate time to visit friends early in 2020.  (But there are probably worse places to be stuck!) He has been previously featured on Fingertips both in 2011 and in 2013. MP3 via the artist.

Free and legal MP3: Loma

Steady and dramatic

“Half Silences” – Loma

Loma is a band that seems to enjoy giving us space as much as sound. Don’t let the pulse-like beat that you’re first hearing distract you from the song’s more idiosyncratic attributes. Listen, for instance, to how the beat is soon neutralized by a synthesizer rhythm that slows the effective pace of the song by a factor of eight. And it’s kind of a stuttering, science-fiction-y synthesizer sound at that. Creating space, as it were.

When singer Emily Cross checks in, at 0:31, she delivers a long and careful melody line, half-time to the underlying pulse, which further works to draw the ear to the alluring expanse in which the piece unfolds. The aforementioned synth accents seem slowly to be morphing into wordless vocals by around 0:55; and by 1:16 this background vocalizing, nearly medieval in vibe, becomes the song’s signature accompaniment. Cross, meanwhile, holds the center with her unhurried, slightly smoky mezzo. I love how much drama the song creates without Cross herself having to do anything dramatic–the tension of the beat, the solemnity of the vibe, and a variety of subtle musical flourishes do the work for her. It seems a corollary of Charlie Chaplin’s famous (and effective) acting advice: if the thing you’re doing is funny, you don’t need to try to “act funny” while you’re doing it; here, the song itself is dramatic, and so Cross doesn’t need to sing dramatically to serve the music. Perhaps more singers should figure this out.

Loma is the trio of Cross, Jonathan Meiburg (front man of the band Shearwater), and Dan Duszynski.  Cross and Duszynski had been a duo together, opening for Shearwater; Meiburg was taken with their sound and attracted to the idea of relinquishing the spotlight for a while. They got together for what was to be a one-off project, resulting in a self-titled 2018 album. A second album was not in the original plan, but the three of them found themselves drawn back together, perhaps partially due to some supportive words on BBC Radio 6 from none other than Brian Eno that made their way back to the band.

“Half Silences” is the third track of 11 on Loma’s second LP, Don’t Shy Away, which was released on Sub Pop Records back in October. (Note that Eno was eventually invited to contribute to the album; he is credited with “additional synths and drum programming” on the album’s closing song, “Homing.”) The band was previously featured on Fingertips in March 2018, around the time of their debut. MP3 via KEXP. You can listen to the whole album, and buy it, via Bandcamp.

I can see you’ve had a rough few months

Eclectic Playlist Series 8.02 – February 2021

I’m squeezing this playlist into February even as it was actually March 1 when I hit the “publish” button. The short month always takes me a bit by surprise. The playlist took me a bit by surprise as well, from its over-reliance on the 1980s (not usually my thing) to its ongoing parade of strange bedfellows. It started when I got sidetracked into watching a documentary on Genesis, took a detour on George Harrison’s birthday (when I discovered via WXPN that he did not in fact write “Got My Mind Set On You”) and was thrown for another loop at the last minute by the word of mouth swirling around Cassandra Jenkins’ brand-new album, which required finding a place for “Hard Drive.” Lots of other goodies in here, including what is surely one of the great covers of all time (Cake doing “I Will Survive”; I mean come on–the arrangement, the vocals, the bass line, just perfection) and an admittedly unusual side trip into what might be considered “smooth jazz” (yikes?) except that Bob James/Earl Klugh song, however mellow (okay, smooth), has a beautiful inevitability about it. Consider it a respite ahead of the more prickly tracks to follow, including a blast of sound from the Chromatics and that unexpected spoken-word journey from the aforementioned Ms. Jenkins. Here, specifically, is what you’ve got in store:

“Turn It On Again” – Genesis (Duke, 1980)
“This Mess We’re In” – PJ Harvey, w/ Thom Yorke (Stories From The City, Stories From The Sea, 2000)
“Mourning Sound” – Grizzly Bear (Painted Ruins, 2017)
“Got My Mind Set On You” – James Ray (b-side, 1962)
“Driving” – Jane Aire and the Belvederes (Jane Aire and the Belvederes, 1979)
“Regret” – New Order (Republic, 1993)
“Misguided Angel” – Cowboy Junkies (The Trinity Session, 1988)
“Kari” – Bob James & Earl Klugh (One on One, 1979)
“Kill For Love” – Chromatics (Kill For Love, 2012)
“Hard Drive” – Cassandra Jenkins (An Overview on Phenomenal Nature, 2021)
“I Will Survive” – Cake (Fashion Nugget, 1996)
“What” – Judy Street (b-side, 1968)
“On the Rocks” – Dennis Brown (Foul Play, 1981)
“Sweet Heart Said” – Shelley Short (Captain Wild Horse Rides the Horse of Tomorrow, 2006)
“Born To” – Jesca Hoop (The House That Jack Built, 2014)
“Mumbo Jumbo” – Squeeze (East Side Story, 1981)
“I Wished on the Moon” – Billie Holiday (All Or Nothing At All, 1958)
“The Adults Are Talking” – The Strokes (The New Abnormal, 2020)
“Borderline” – Joni Mitchell (Turbulent Indigo, 1994)
“On My Way” – Sandy Denny and the Strawbs (All Our Own Work, 1967 [released 1973])

Stray notes:

* I’m not sure anyone writes songs like “Mumbo Jumbo” at this point in time, and the world is a worse place for it. After the short, ear-catching intro, we get five or six really strong hooks in a song that doesn’t have one moment that feels like it’s treading water. The chorus alone is a multi-faceted wonder of movement and development. Tilbrook and Difford at their best were among the best we’ve had. Let’s not leave them behind.

* Leave it to the Strokes to record an album in 2019, call it The New Abnormal, and release it in April 2020. We’ve been living in the new abnormal ever since. You may recall that their debut album was released in October 2001, a month after 9/11.

* Reggae is (clearly) not my specialty, but over the years, certain songs have stuck with me. I don’t know much about the late Dennis Brown, except that he was a huge star in his native Jamaica, and put out a gazillion albums during a career that was cut short in 1999, when he died at the age of 42. “On The Rocks” is not especially representative; it came out during his stint with A&M Records, when he shed his lovers rock sound for more of a pop/R&B sheen. Purists probably object but I’m no purist so I think it’s pretty wonderful.

* It’s hard to believe that Joni Mitchell’s Turbulent Indigo, considered a late-career highlight, is now itself 27 years old. I remember feeling that the album was over-praised when it came out; and yet here in 2021 I’m countervailingly inclined to feel that it is underappreciated. Even as she lost interest in melody, her sense of musical space and texture never dimmed. And let me say this while she’s still with us: Joni Mitchell is in my mind the best singer/songwriter of them all, and to me it’s not even a close contest.

*  Jane Aire was one of three singers to emerge from Akron, Ohio in the late ’70s–the other two being Chrissie Hynde and Rachel Sweet. Hynde you know, Sweet perhaps you know, but Jane Aire probably not. She recorded for Stiff Records and Virgin Records in England, made one full-length album, and either left the business or the business left her. The internet has little else to offer. I do know that “Driving” was a cover of an independently-released single by the Bay Area new wave group Pearl Harbor & The Explosions (they called it “Drivin'”),  whose follow-up song, “You Got It (Release It),” is itself a bit of a lost power pop classic. Meanwhile, if you wanted to hear music that crystallizes the sound of the American new wave, you could do a lot worse than Jane Aire.

* As for Genesis: while I find their early, prog-rock sound rather too precious and noodly for my taste, and their last few albums veering towards the insipid, I am a big fan of their middle years–let’s say 1973 through 1981. There was a sweet spot in there when the songs grew shorter and sharper even as they retained a complexity well beyond standard pop fare. “Turn It On Again”–catchy demeanor covering a tricky progression of time signatures–is a highlight from the later part of this fertile period.

Free and legal MP3: Lucy Francesa Dron

Rhythmic, jazz-inflected indie rock

“What Is Next?” – Lucy Francesca Dron

There is something fetching to me about songs in which the rhythm guitar functions as the lead guitar–when resolute strumming characterizes the accompaniment rather than any sort of fingered showing-off. “What Is Next?” is a showcase for this concept, a song built on a swinging cadence, dictated by the rhythm guitar’s determined syncopations and suspended chords. Against this backdrop of her own doing, Lucy Francesca Dron sings with a cagey, unleashed elegance, landing halfway between a ’90s alternative rocker and a jazz singer.

The guitar’s relentless, recurring chords give “What is Next?” a circular feeling, accentuated by the song’s amorphous structure, with chord-driven verses that lead to no particularly identifiable chorus outside of a few theatrical repetitions of the title phrase. The second time we get there, the song veers into a free-form bridge (2:26) with run-on, scat-like lyrics–as bravely jazz-inflected a section in an indie rock song as you’re likely to hear. Overall the song manages to feel simultaneously determined and light-footed, and presents as a breath of fresh air in our over-processed, hyper-algorithmic times.

Lucy Francesca Dron is a 21-year-old musician from Brisbane. “What Is Next?” is the third single she’s released since a debut EP back in 2017. A new EP is slated for later this year.

Free and legal MP3: The Weather Station

Steady, rich, and resonant

“Tried To Tell You” – The Weather Station

At once intimate and expansive, “Tried To Tell You” simmers with nuanced allure. While grounded in an assertive backbeat, the song’s charms lie in some less obvious places. Do you hear that wobbly synthesizer that eases its way into the mix in the introduction (0:11)? That’s the kind of small, wonderful moment to expect here, much having to do with what the various keyboard sounds are doing; you’ll discover everything from foreboding bass notes to an assortment of friendly interjections if you pay close attention.

But the star of this steady, rich, and resonant song is Tamara Lindeman, the Canadian singer/songwriter who does musical business as The Weather Station. Her voice impresses with its warmth and flexibility, as she ranges between a dusky alto and a breathy soprano, an elasticity that brings to mind none other than fellow Canadian Joni Mitchell. The chorus is concise and sublime (if, again, you stop to pay attention), with brilliant phrasing and intonation. Listen to how much she does with the phrase “I tried to tell you” first heard at 0:48, its simple parade of one-syllable words enhanced by a shift in vocal tone that takes the breath away.

“Tried To Tell You” is a track from The Weather Station’s 2021 album, Ignorance, released earlier this month on Fat Possum Records. You can listen to the whole thing, and buy it (digital, vinyl, CD, cassette, you name it) via Bandcamp.

MP3 via KEXP. The Weather Station was previously featured on Fingertips in September 2011.

Free and legal MP3: Static Shapes

Confident midtempo rocker

“Wolves in White” – Static Shapes

Confident in its artful foundation, “Wolves In White” is purposefully constructed from start to finish. Listen to the way it opens: there’s 10 seconds of a barely-heard, three-note synthesizer line, tracing a classical-sounding ascending interval; another 10 seconds to establish the underlying midtempo backbeat, keyboards up front; 10 more seconds for the bass to break free from the beat (keep your ears on this instrument moving forward) as that ethereal synthesizer returns to float around the top of the mix; and only then does the guitar step in, offering a rounded, lower-register lead to ground us in a fully-formed musical landscape. I’m not usually down for long introductions, but that’s only because most long intros are repetitive vamps. This is not that.

When the vocals begin (0:46) we are treated not only to singer/guitarist Steve Yutzy-Burkey’s agreeably scuffed baritone (although he’s likely tired of the comparison there’s no overlooking his Tweedy-ish tone) but also now have a front seat for bassist Rick Sieber’s acrobatic  explorations. Yutzy-Burkey likewise shares Tweedy’s gift for converting minimalism into grace, his way of altering a simple melody with improvisational-sounding shifts, along with a knack for ending melody lines without resolution. Even the song’s chorus ends up feeling elusive and unresolved: first of all, it’s heard only twice; second of all, it’s a paragon of suggestive constraint, encompassing only four basic notes and a refusal to fully land.

Keep an ear in the meantime on Sieber’s work, and the way the bass often works itself into the foreground, culminating with a nimble solo at 2:28. And if anyone can identify the likable noise we get at 3:37, I’d love to know what that is.

“Wolves in White” is the lead track from Static Shapes’ debut album, Give Me The Bad News, released in December. Listen to the whole thing via Bandcamp, where it’s available to buy in both digital and vinyl form. Based in Philadelphia, Yutzy-Burkey was previously known as the front man for the well-regarded local band The Swimmers (which featured Sieber as well). Before that, he headed up the Philly-based quartet One Star Hotel (also with Sieber), who were featured here on Fingertips way back in the innocent days of 2004. Thanks to the Yutzy-Berkey for the MP3.