June 16th, The Mercury Lounge (w/ Miss Derringer)

San Diego’s The Muslims might pass as any four random guys wandering the Lower East Side and Brooklyn, and very well may have during their recent trip out East. From afar, they could be… Vampire Weekend, let’s say. But on stage, The Muslims are no-frills, straight-shooting rock and roll. No coordinated wardrobes, no cute dance moves (see the prior post, Miss Derringer).

From the opener, “Beside Myself,” The Muslims immediately owned the stage. It was as if you found those four random dudes wandering on Houston, put them on stage, and nonchalantly ended up with The Velvet Underground. But the usual comparisons, including my own (see the Invisible Friend’s original post on The Muslims here), had little relevance during their set. Lamkin et al were noisy, energetic and brilliant to watch in their own right. Highlights included “Right ad Wrong,” “Bright Side,” and “Nightlife.”

Apart from their much talked about name, The Muslims have started to attract some more national admiration, like the distinction as a “Band to Watch” from blogger heavyweight Stereogum. The debut record is out on 1928 Recordings, and will be available again in July according to the band’s Myspace page. Along with the vinyl and bullet-beaten jacket, 1928 conveniently provides your iTunes with a CD version of the record plus several no-filler bonus tracks (new versions of some of the band’s best songs from their 2007 Demo). It’s a definite must have.

The Muslims - “Call It A Day”

A single of “Extinction” has been released on Sweet Tooth Records.

Listen: The Muslims - “Right and Wrong” and “Beside Myself” and “On My Time” available from their self-titled debut on 1928 Recordings.

http://www.myspace.com/themuslims

June 16th, The Mercury Lounge (w/ The Muslims)

L.A.’s Miss Derringer is, as they say, a little bit country and a little punk rock and roll. The band has influences and aesthetics to spare: they’re John Cash and June Carter in a 60’s girl group with a penchant for murder ballads, alcohol and Chris Isaak’s “Wicked Game.” The Derringer color palate is all White Stripes combined with a Rocket From the Crypt swagger. All the essential elements are there.

Musically, though, the band has some room to grow. What comes through as an interesting mix and ironically dark take on modern American music in the recorded format, falls a little flat live. The responsibilities of Miss Derringer hang heavy on singer Liz McGrath, who while perfectly balancing mascara and somber with stylish and pretty, seems a little timid and small on stage. Sure the outfit is cute, but the hushed croon that works so well in headphones is no substitute for a set of live pipes. (Maybe some back-up singers might add to the image and fill out the sound?)

Still, the Invisible Friends can’t help singing “black tears through eyeliner for you…” over and over and over. Check them out with Blondie this summer, and pick up their record on Staygold Records.

Miss Derringer - “Black Tears”

Listen: Miss Derringer - “Unchained Melody” (Righteous Brothers cover)

http://www.myspace.com/missderringer

The Mates of State are all things cute and couple-y, playing domesticated and child-rearing indie-pop music based on keys and drums, inoffensive harmonies and affable pop sensibilities. They return with their new album, Re-Arrange Us, replete with multi-layered album cover and internet-based games. (Fun for the whole family!)

Re-Arrange Us sounds a lot like the Mates have sounded in the past. It’s an album you can dance around the kitchen with kids to, and you will certainly find yourself humming its ridiculously catchy “now now now now now now now… hoo hoo hoo hoo… dada da dada dada da’s” on the way to work. Play it on a rainy day, and you just might invoke sunshine; play it to Hillary Clinton, and she might just hug Obama.

It’s an album of lively pianos, upbeat drumming and boy-girl harmonies. And of course the warm fuzzies don’t stop there. The video for the first single, “Get Better,” features a multitude of friendly animal faces pasted on friendly human bodies riding scooters to cupcakes, balloons, streamers, and oops… suicide bombers.

Detonation, however, results in sparkles, choreography and children bearing flowers… the Department of Homeland Security is currently busying itself undertaking intensive arts and crafts courses focused on strategic woodland creature mask-making. Si se puede.

Listen: “My Only Offer” from Re-Arrange Us, available on Barsuk Records

“Get Better”

http://www.matesofstate.com/

Cansei de Ser Sexy

The invisible friends are back!

1. CCS - “Rat is Dead (Rage)“

2. French Kicks - “Abandon“

3. Annuals - “Sore“

4. Gentleman Auction House - “The Book of Matches“

5. Ladytron “Black Cat“

6. Vancougar - “Obvious“

7. Young and Sexy - “The Fog“

8. Robert Pollard - “Gratification to Concrete“

9. Flight of the Conchords - “Business Time“

10. My Brightest Diamond - “Inside a Boy“

The artist formerly known as Say Hi To Your Mom (secret identity: Eric Elbogen), currently shortened to Say Hi (as in to no one in particular, and particularly not your mother), returns in 2008 with The Wishes and the Glitch, released again on Elbogen’s Euphobia imprint.

One might speculate that the last three words in the band’s name were lost somewhere in the midwest, amongst a trail of Brooklyn artifacts and shards of the east coast on their way to the Pacific Northwest. It may also be a case of Clap Your Hands Say Yeah backlash, though we’ll never know.

Despite the change in name and backing personnel, Elbogen continues on the trajectory towards catchy lo-fi indie-pop greatness hinted at on last record, Impecable Blahs, and the Invisible Friends’ favorite, “These Fangs.” Gone is the obsession with vampires, as adjustment to his new base of operations is the theme of The Wishes and the Glitch’s opener, “Northwestern Girls,” during which Elbogen seems to have found his inner Will Sheff.

Elbogen’s songs remain compact and appealing in their sense of deceptive effortlessness. Despite dropping topics related to all things undead, the overarching tone of the record is a dusky melancholy, but somehow retains a sense of pop-likability (see “Toil and Trouble”). It’s like the seasonal affective disorder shows, but Elbogen can’t help but sing about it accompanied by cute falsetto back ups and clever hand claps.

Order the record directly on the bands’ website below.

Listen: “Northwestern Girls“, “Toil and Trouble“, “Zero To Love” from The Wishes and the Glitch, available from Euphobia Records.

http://www.sayhitoyourmom.com/

Tokyo Police Club

1. Maritime - “Boy From School“

2. What Made Milwaukee Famous - “Resistance Street“

3. Stephen Malkmus & the Jicks - “Cold Son“

4. Devastations - “Mistakes“

5. Tokyo Police Club - “In A Cave“

6. American Music Club - “All the Lost Souls Welcome You to San Francisco“

7. Widespread Panic - “Boom Boom Boom“

8. Does It Offend You, Yeah? - “With a Heavy Heart (I Regret to Inform You)“

9. Astrid Williamson - “I Am the Boy For You“

10. Great Northern - “Telling Lies“

Leaving behind the emerging success of Band of Horses and their excellent, Everything All the Time, may not have seemed like a great career move for guitarist Mat Brooke. It’s also hard to believe that Brooke wasn’t kicking himself when the Horses’ follow up, Cease to Begin, was released last year to a fair amount of critical praise.

But things are looking well on their way to being more than okay, now that Brooke’s newest band, Grand Archives’ new self-titled record is out on Sub Pop. (Mat Brooke was also in the band, Carissa’s Weird.)

At the outset of the record on “Torn Blue Foam Couch,” the Grand Archives start to invoke the sweet powers of Iron and Wine, but with enough reverb in place to evoke both Band of Horses and the bottom of a well. As the drum kicks in, the Archives soar out from those sad dark places and launch into some uplifting pop music; harmonies, whistles, rainbows, French horns, dancing ponies and all.

Listen: “Torn Blue Foam Couch” from their self-titled debut album available on Sub Pop Records.
Also listen: Band of Horses, “No One’s Gonna Love You,” from Cease to Begin.

www.myspace.com/grandarchives

Philadelphia’s extraordinary Man Man bring the big-top carnivalesque sideshow back to town, with deference to (now label-mate) Tom Waits as ringleader in tow. The quintet’s last outing from 2006, Six Demon Bag, was a bizarro funhouse ride of a record. The first track to emerge from their new album, Rabbit Habits, places the Man Man back on that dizzying ride, showcasing their talents like the theme of some eerie cryptkeeper automaton saloon at psycho-Disneyland.

Listen: “Top Drawer” from the forthcoming Rabbit Habits, available on Anti Records 4/8/08. Also, “Van Helsing Boombox” from Six Demon Bag, available on Ace Fu Records.

An old exclusive interview from Pitchfork Media.

Man Man plays the Bowery Ballroom 4/10/08.

http://www.myspace.com/wearemanman

Wit, beauty, a killer accent, a man’s name and an iBook G4 named Truman: five things George Pringle has going for her, not necessarily in that order. (Yes, her name is cool: it fits like a button-down oxford, slightly over-sized on some actor’s model girlfriend. You know the one…)

The young spoken-word lo-fi techno songstress has been getting a bit of international recognition, a difficult feat for one from the world of an accidental genre (”diseuse”) that requires the use of a dictionary. Spoken-word monologues aren’t exactly fodder for top 40 pop hooks or even indie breakout hits, but Pringle wields her stream-of-consciousness compositions with a disarming charm. She samples a typewriter and a paroxysm of coughing, references Street Fighter II, and posts demo promo polaroids of herself on her blog. She’s a dream come true.

It’s Pringle’s homemade electrobeats, however, that sets her songs apart from the average ho-hum of bedroom demos. “I’m Very Scared Buster, Yes At Last,” is a prime example: drum + bass + piano + typewriter + coughing, add some catchy background singing and a nice little chorus, and there you have it. In truth, Pringle could say just about anything over the track and it would be a winner. The fact that she’s an Oxford educated literatus is just gravy, isn’t it?

George Pringle - “Carte Postale”

Listen: “Carte Postale,” and other are available here from RCRD LBL.

http://www.myspace.com/georgepringle
http://georgepringle.blogspot.com/

Bob Mould is cool than your dad; he’s cooler than you too. The 47-year-old veteran punk (see Husker Du), indie-rocker (see Sugar) and anti-hero to many will return on February 5, 2008, with his new album, District Line. The first single, “The Silence Between Us,” is available to preview below. It’s as vibrant as anything Mould has done in the last two decades of his career.

District Line is in fact a reflection of Mould’s recent five-year tenure in the nation’s capital. Recorded in a DC warehouse studio, the record again features drumming by none other than Fugazi’s Brendan Canty (yet another indie-rock national treasure), and completes the disturbing trend of excellence in rock and roll music following disappointing Bush presidencies and Iraqi wars. (See Sugar’s Copper Blue circa 1992…)

Makes one wonder what the musical tone will be under the Obama-Clinton White House… (think: maybe those futuristic scenes in Bill and Ted’s Excellent Adventure…)

Listen: “The Silence Between Us” from the forthcoming District Line, available from Anti Records on February 5, 2008.

www.anti.com

This is for you MC Spaeder. So sorry for shoving the new Bob Mould single, “The Silence Between Us,” into a standard Invisible Songs mix.

Bob Mould

1. Frightened Rabbit - “The Modern Leper“

2. The Helio Sequence - “Keep Your Eyes Ahead“

3. Ida - “The Killers“

4. Halou - “All Make Sense“

5. White Denim - “Paint Silver Gold” (link to RCRD LBL)

6. Evangelicals - “Skeleton Man“

7. New Times Viking - “Drop Out“

8. Antarctica Takes It - “Circuits“

9. Bob Mould - “The Silence Between Us“

10. The Heavy Circles (Edie Brickell) - “Henri“

Lætitia Sadier

If you’ve been in withdrawal of all things Stereolab since 1996’s Emperor Tomato Ketchup, things may be looking up. While Tim Gane and Lætitia Sadier’s one-of-a-kind euro-francophone mood-moog outfit’s powers may have peaked around that time before fading into the background of quiet blips and beeps, Lætitia Sadier returns with her former side-project, now turned proper band, Monade.

It’s not that Sadier seems to be letting go of the past, since Stereolab remains an active musical force, having announced plans to play a festival in Norway as far in the future as July 2008. And it’s not that she’s abandoned that musical legacy either, since Monade shares more in common than Stereolab than just Sadier’s voice (such as record label, and the moody mid-tempo faux-future-electro-lounge vibe).

The first track off of their new record, “Regarde,” could easily be a new Stereolab track, though the instumentation lends itself to a more organic-sounding (read: less keyboards, more brass and guitar) musical exeperience.

Look for the record February 18, 2008.

Stereolab - (the wonderous) “Cybele’s Reverie”

Listen: “Regarde” from the forthcoming Monstre Cosmic, available soon on Too Pure.

John Darnielle et al return as the Mountain Goats prepare to release their new album, Heretic Pride, on February 19. Check out the first single, “Sax Rohmer #1″ below. The record marks the band’s follow up to 2006’s formidable, Get Lonely, an album of massive acoustic beauty and pure lyrical greatness.

The Mountain Goats play Webster Hall (NYC) March 18, The Music Hall of Williamsburg (Brooklyn) March 19, The First Unitarian Church (Philadelphia) March 20, and The Black Cat (DC) March 21.

Mountain Goats - Woke Up New
(Click here for a higher quality QuickTime version.)

Listen: “Sax Rohmer #1” from the forthcoming Heretic Pride, available on 4AD.

http://www.mountain-goats.com/
For the Mountain Goats post previously on
Ask Me About My Invisible Friends: click here.

Get psyched for Thao Nguyen’s new album, We Brave Bee Stings And All, out on January 29, on Kill Rock Stars. She’s the best thing to come out of northern Virginia since (coincidentally) Pho 75 and the Newseum. Nguyen’s infectious smile-inspiring country-folk tunes at times sound a bit like Chan Marshall covering Modest Mouse (see “Bag of Hammers“). It’s a craft apparently honed in her mother’s laundromat, and now spread coast to coast thanks to KRS in the Pacific Northwest.

It could be the surface perky quirkiness. It could be the remorseful undertones. It might just be the banjo. Who knows or cares? Thao Nguyen and The Get Down Stay Down are the first great release of 08. Check out the video of her performing “Geography,” recently posted on Pitchfork (here), and fall in love. NB: The album will be released on the same day as Vampire Weekend, so save your pennies kids.

Listen: “Feet Asleep” from The Sound the Hare Heard, Kill Rock Stars Compilation. “Beat (Health, Life, and Fire)” and “Swimming Pools” from We Brave Bee Stings And All.

http://www.thaomusic.com/
http://www.myspace.com/thaomusic

The new Vampire Weekend video for “A-Punk” from their forthcoming debut album on Beggars Group, out at the end of January.

Ask Me About My Invisible Friends’ previous Vampire Weekend post is here: Read on.

Here’s a nice new Pela video for “Lost to the Lonesome.”
Directed by Zina Brown.

Or for a prettier QuickTime version, follow this link: http://vitaminm.com/dir.php?id=33
Click on the director’s reel, and then choose Pela.
(Or download it here.)

Pela was in the studio.
http://www.pelamusic.com/

Dead Meadow

Part two of playing December catch up…

1. Black Mountain - “Tyrants“

2. Pale Faced Gentlemen - “Fraulein“

3. Dead Meadow - “What Needs Must Be” (mp3 on the page)

4. Xiu Xiu - “I Do What I Want When I Want“

5. Bodies of Water - “I Guess I’ll Forget the Sound, I Guess, I Guess“

6. Paint It Black - “Past Tense, Future Perfect“

7. Throw Me The Statue - “About To Walk“

8. Pissed Jeans - “People Person“

9. Ô Paon - “Raffinerie“

10. Bonde Do Role - “Gasolina“

White Williams

December has sadly passed the Friends by…

1. Thao With the Get Down Stay Down - “Bag of Hammers“

2. Destroyer - “Foam Hands“

3. hey willpower - “In the Basement“

4. Telepathe - “Chrome’s On It“

5. The Ravonettes - “Aly Walk With Me“

6. Steven Malkmus & the Jicks - “Baltimore“

7. White Williams - “Headlines” (from the Daytrotter Sessions)

8. Sybris - “Oh Man!“

9. The Big Sleep “Pinkies“

10. A Vision of a Dying World - “Awoken By a Scene From the End of Times“

Photo: Piper Ferguson

It’s been nearly ten years since Stuart Lupton and the other members of Jonathan Fire*Eater released the miraculous Wolf Songs For Lambs, a feat so awesome it could only be betrayed by their subsequent implosion and fall from Dreamworks.

While the rest of the Fire*Eaters re-emerged with a newly furbished studio called Mercata, and a band called The Walkmen, (you may have heard of them) rumors of Lupton’s musical activity began to circulate about folksy watering holes. The original version of “Cheekbone Hollows” (or “White Chocolate Tea”) was a catchy acoustic-style sing-along with former member, Betsey Wright, and marked a significant departure from the dark, carnivalesque characters who inhabited the likes of Jonathan Fire*Eater’s Tremble Under Boom Lights.

The Child Ballads’ EP was released in the UK over a year ago on Loog Records, but only made it to the US in the form of random blog posts. During the past year, the band has completely changed members, with the exception of Lupton, of course. The tone of the current line up is slightly different, (see the “Cheekbone Hollows” video for comparison) and Wright’s presence is definitely missed.

Still, Stuart Lupton is one handsome devil. (And the songs remain excellent.) See for yourself. Child Ballads play Luna Lounge on December 7, in Brooklyn.

“Cheekbone Hollows”

Listen: “Cheekbone Hollows” and “Laughter From the Rafters” from their forthcoming EP, available from Gypsy Eyes Records.

See the previous Ask Me About My Invisible Friends’ Child Ballads post here.

It’s been a full decade since the last Polvo record, Shapes, came out, and that just makes me feel awful and old. Luckily for you and me, Polvo have decided to defy time and space, and are heading to the mid-nineties to re-unify for the All Tomorrow’s Parties Festival on May 16-18, 2008.

While that date is well on its way, unfortunately the space involved is not near New York City, or even in the US for that matter. So not only will you have to score tickets to the event, but tickets for trans-Altantic travel to Minehead, England, will also be required. There are currently no other shows planned.

In the meantime, take a stroll down Chapel Hill’s memory lane, and revisit the dissonant noisy mad-genius of our high school math rock years. Call it Sonic Youth meets Unwound in Asia, or call it what you will, Polvo was as much their own band as any in that era. So get the family ready for vacation in Minehead, and steady yourself for the return of the (old) new dark age.

“Vibracobra”

Listen: “Everything In Flames!” from Shapes, available on Touch and Go Records, and “Tragic Carpet Ride” from Celebrate the New Dark Age, available on Merge Records.

Half of Polvo can be found here: http://www.myspace.com/blacktajrock.
One quarter here: http://drpowerful.googlepages.com/
and here: http://www.myspace.com/fanmodine.

There’s just no easy way to do this, so let’s just get this over with.

Statehood, the new DC band featuring former Dismemberment Plan and Maritime members Eric Axelson and Joe Easley, will be opening for Axelson’s former band at The Mercury Lounge in New York. (Awkward!) This continues a trend of ex-band related performances, as Statehood has also been seen opening for the other ex-Dismemberment Plan band, the Travis Morrison Hellfighters. We’ll have to assume all of these relationships ended amicably and cite mutual creative differences as the reason for the former split ups. (No, it’s not you, it’s me…)

Meanwhile, Statehood has recently released their debut record, Lies and Rhetoric, which includes a fair amount of good old fashioned DC-style post-hardcore. (The rumbling complexities of driving basslines, the angular treble of single note guitar parts and octaves, dub-influence plus dissonance, and the politics of leftist angry emotive white men.) This said, however, the record more than anything recalls El Paso’s late great At The Drive-In and their opus, Relationship of Command.

But wait, it’s true: Statehood may be the best young band to emerge from DC since the break up of Q And Not U. (And by young, I mean, men in their thirties who are lawyers and teachers by day.) While the “elder statesman” of the DC scene (read: The Evens, Channels, Joe Lally) have recently put forth great records, it’s the energy and urgency driving Statehood’s music that sets it apart. So NB: You can put the DC back in post-harDCore.

Listen: Statehood: “End The Moderation” (four songs stream on MySpace)

The Dismemberment Plan: “Superpowers“
The Promise Ring: “A Picture Postcard” and “E. Texas Ave“
Maritime: “Parade of Punk Rock T-Shirts” and “Calm“
Travis Morrisson Hellfighters: “As We Proceed“

Lies and Rhetoric is available now.

http://www.myspace.com/statehood
http://www.statehood.us/

Chris Walla (in Death Cab for Cutie)

1. Hello, Blue Roses - “Shadow Falls“

2. The Warlocks - “So Paranoid“

3. Chris Walla - “Sing Again“

4. Bright Eyes - “Coat Check Dream Song (Live)” from the Waxploitation Darfur Charity Album.

5. Johan Hedberg - “Var Dig Sjalv“

6. Populous - “Breathes the Best“

7. Miss Derringer - “Unchained Melody“

8. Choir Practice - “Red Fox“

9. The Ravonettes - “Dead Sound“

10. Six Organs of Admittance - “Jade Like Wine“

Not just another Brooklyn band (actually, not a band from Brooklyn at all), Celebration are often mistakenly geographically categorized with the likes of TV On the Radio, the Yeah Yeah Yeah’s and the Liars. The misclassification is an understandable error considering the company Celebration is known to keep (in particular, TVOTR’s Dave Sitek who produced their two albums). But in truth, Celebration hail from Baltimore.

Their music is often described as a marriage between the two aforementioned bands (TVOTR and YYY’s), which is fair enough, but gives the band less credit than they deserve. Sure, the composition of the band reflects that of the Karen O/Zinner/Chase paradigm, and Katrina Ford is a dynamic, albeit less abrasive, charismatic frontwoman. But Ford’s deep voice is more theatrical than punk, and falls somewhere between Ms. O, Joan Wasser (Joan as Policewoman) and Siouxsie Sioux.

Celebration’s music likewise is a bit hard to classify, which is probably their one similarity with TVOTR. It’s true that almost every member (if not every member) of TVOTR acutally appears on The Modern Tribe, but just as Sitek’s band has a distinct sound all its own, so does Celebration; it’s difficult (and unfair) to call the two the same. “Heartbreak” is the closest the two bands collide in this regard, but for the most part, Celebration’s heavy reliance on Sean Antanaitis’ keyboards and bass pedaling place the band as the musical accompaniment in some otherworldly psychedelic mass at a David Lynch-ian carnival-cabaret.

Listen: “Evergreen” from The Modern Tribe, available on 4AD. Also check out “Hands Off My Gold (Simian Mobile Disco Remix).” Most of their new album is streaming from their MySpace page.

“War” - from their self-titled debut, 2005

Celebration is currently on tour. They play the Bowery Ballroom on November 28.

http://www.ilovecelebrationmusic.com/
http://www.myspace.com/celebrationcelebration

The first ten seconds of Fugazi’s “Waiting Room” is all Joe Lally. So in the minds of many, the man can do no wrong.

Primarily known for his work in that seminal band, Joe Lally was one half of Fugazi’s rhythmic backbone, responsible for propelling the band’s improvised sonic experiments forward against massive dueling feedback odds. With Ian MacKaye’s focused political tension in the spotlight, countered by Guy Picciotto’s fluidly rolled R’s flailing on the floor, Lally was oftentimes Fugazi’s refined center.

The opening performance of “Shut the Door” in Jem Cohen’s film, Instrument, is typical Fugazi: Lally is nearly invisible, but his bass playing defines the song. When “Shut the Door” is deconstructed into drums and bell clangs flanked by piercing single notes, it isn’t until Lally resumes playing that the song emerges again as recognizable.

So with Fugazi on a continued indefinite hiatus, Joe Lally returns with his second solo record, Nothing is Underrated (Dischord No. 158). Like his first album, this record again features an amalgam of guest artists, including some of his former band members. It will be released by Dischord Records on November 19, 2007.

Though his arrival on center stage was perhaps less likely than MacKaye’s return with Amy Farina as The Evens, it wasn’t wholly unprecedented. Lally emerged as Fugazi’s third vocalist on their late great album, Red Medicine, and the trend continued on subsequent recordings. During live performances, Lally would re-position between MacKaye and Picciotto for his vocal duties and then quietly recede back to his more familiar position by drummer Brendan Canty.

Lally’s solo music is a more minimalist affair than Fugazi, but it is by no means sparse. It falls closer to the tone of Fugazi’s “The Kill” rather than “By You,” (both which were sung by Lally) but is really something altogether different. Like The Evens, there are certainly elements of Fugazi at work, but after over a decade of work at maximal decibels there is an attempt here to claim newfound power in something more subtle.

Performing in the shadow of Fugazi is no doubt challenging work, but Lally up to the task. “Skin and Bones” sounds as promising as anything from the first record, and at a time when we need activist-artists like Fugazi most, it’s reassuring to have Joe Lally back in play.

Listen: “Day Is Born” from Nothing Is Underrated, and “Lidia’s Song” from There To Here, both available on Dischord Records. You can also hear “Skin and Bones” from Nothing Is Underrated streaming from Dischord.

http://www.joelally.com/

You Say Party! We Say Die!

1. Celebration - “Evergreen“

2. Minipop - “Like I Do“

3. Saturday Looks Good To Me - “Make A Plan“

4. British Sea Power - “