It is likely you may not have even heard of S Carey, leave alone heard his music. I hadn’t a clue who this guy was till I accidentally caught a set by him and his band at a free live gig in Brooklyn recently. Carey (whose real name is Sean Carey) plays the drums with a flair that shows his influences – shades of percussive jazz. I wasn’t surprised to learn that Carey has been surrounded by music all his life (he’s probably still in his twenties) as a son of a music teacher in Wisconsin. His set was full of brooding, inward-looking tracks, made all the more deep by his bandmate Mike Noyce who adds layers of low-frequency string sounds on an upright viola. Carey, who self-released his debut album, All We Grow, this year, plays what you could call chamber pop with a touch of folk music and a non-intrusive, ambient nature. Read more

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On my long commute to and from work, I’m often faced with a dilemma: what do I listen to? Sometimes it’s not hard to find an answer. A new album could be out and I’d give it a spin on the iPod or on the car stereo. Or I’d be obsessed with a new band that I’d discovered and go through everything on their back catalogue, listening to every album they’d released. This has happened with a few bands that I just couldn’t get out of my head for weeks. Some bands have that effect on you. Early this year, The National did that to me—I couldn’t stop listening to them–as did Broken Social Scene, the Canadian collective that makes great orchestrated, experimental music. But, at other times choosing a playlist for a commute that is at its best an hour long and at its worst nearly double that can be quite difficult. Read more

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When one of your favourite pieces of music becomes Muzak, piped into an elevator or played in the background at an airport, you can sometimes feel indignant. When I heard the Garcia-Hunter track, Crazy Fingers (off The Grateful Dead’s 1975 album, Blues for Allah) playing in a muted sort of way at an American airport, I was genuinely upset. I mean, come on, when we used to listen to that album it had to be in a darkened room, everybody had to be quiet and the use of additives was, well, let’s just say not actively discouraged. And here I was at a bustling JFK terminal and I could almost hear the late Jerome J Garcia’s voice going “Your rain falls like crazy fingers/ Peals of fragile thunder keeping time/Recall the days that still are to come some sing blue….” and so on. Only it wasn’t him singing but a synthesized, unreal sounding electronic tune of the song. Read more

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When three bands that you like release their new albums on the same day, you have a problem of plenty and a difficult choice to make. So, on May 4, when The Hold Steady released Heaven is Whenever, The New Pornographers put out Together and Broken Social Scene popped out the curiously named Forgiveness Rock Record, their first album in five years, I went and bought digital versions of all three online. After some fretting over which one to listen to first, I chose Broken Social Scene. I was glad I did that. Read more

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