The worst part of throwing a party can be getting people to leave when you’re ready to call it a night. We’d like to recommend some titles for the tried and true record-that-will-clear-a-room option. It’s a delicate procedure. Playing something awful just to clear a room is a dick move and you’re not going to enjoy it any more than your victims. No, the best route is to find something of quality that plays counter to the tone of the party. For example…

5)The Chameleons -- What Does Anything Mean? Basically

What is it?: The second album by the legendary Chameleons. A post-punk tour-de-force that would go on to influence more bands than it would sell albums.

Play at the end of: Any kind of upbeat, rock-free dance party.

It will clear them out because: Make no mistake, this album is fantastic, but to the uninitiated its dated production, moments of rhythm-free melancholy and emotion-drenched tenor vocals will kill the buzz of anyone who’s acclimated to pules-pounding beats.

You win because: The album is invigorating enough to keep you awake while you’re clearing empty plastic cups and half-eaten plates of hoers devours. At the same time, its sobering starkness will make you realize how tired you are.

Estimated number of songs to end party: Two and a half, unless someone at the party is a closet fan, in which case you’re going to have to open a fresh bottle.

4)Any Kompakt Compilation

What is it?: Kompakt is a German record label that serves as a host to a multitude of contemporary electronic acts. The Kompakt sound usually blends warmth & melody with more conventional minimalist-ambient textures. It has been referred to as minimalist techno, micro-house or just plain ambient.

Play at the end of: Any kind of rock-heavy party. Be careful, these compilations could just as easily get a late-night party started. Context is everything.

It will clear them out because: The sparse, droning nature of most Kompakt artists is not conducive to your regular party atmosphere, unless people are sitting quietly, listening thoughtfully and sipping wine. In which case, why stop the party?

You win because: Kompakt is currently one of the best labels out there. Even casual fans of electronic or ambient music would be remiss to not give them a go.

Estimated number of songs to end party: Between one and two.

3)Finntroll -- Nattfödd

What is it?: Finntroll, which means Finnish Troll, are perhaps the world’s only band to combine metal with hummpa, a Finnish iteration of polka music. They are, not surprisingly, from Finland.

Play at the end of: A dance party, a classic-rock party, an ambient party….. You know what? As long as no one’s playing dungeons and dragons, you should be good.

It will clear them out because: Finntroll combine the aggressiveness of metal with the eccentric inaccessability of hummpa. It should clash with just about anything, except metal or polka.

You win because: These guys rule. Polka and metal might not sound like a natural marriage, but listening to these guys, you’d think the genres had evolved together before splintering into two separate entities.

Estimated number of songs to end party: Before the end of the opening track, “Vindfärd/Människopesten”.

2)MC Paul Barman -- Paullelujah!

What is it?: The full-length debut from Rhode Island’s MC Paul Barman, a sort of hip-hop Woody Allen who’s bread and butter consist of building palindromes, self-deprecation and toilet humor.

Play at the end of: Any party dominated by bad mainstream hip-hop, or any music that takes itself too seriously.

It will clear them out because: With his nasally delivery, pretentious word play and childish sense of humor, Paul Barman can be a tough pill to swallow.

You win because: Paul deserves more credit than one might suspect from a casual listen. His rhymes are carefully constructed, his over-the-top self-deprecation is coupled with equally excessive self-aggrandization and with production work from the likes of MF Doom and Prince Paul, there’s some serious hip-hop pedigree on board.

Estimated number of songs to end party: Start with the tenth track, “Burping & Farting”, and watch the room clear faster than if there was a fire.

1) Scott Walker -- The Drift

What is it?: The 2006 release from Scott Walker, an icon since he first achieved fame as a member of The Walker Brothers forty years prior. (There were no brothers in the band.) The Drift is an uncompromising and unsettling album.

Play at the end of: A Scott Walker listening party, and what a party it would be. Scott, Scott 2, Scott 3 and Scott 4 in succession.

It will clear them out because: Early Scott Walker solo albums are experimental and eccentric to a point, but they generally play within the 60′s pop-crooner mold. On the other hand, The Drift is an album seemingly designed to inspire a sense of low dread and unease.

You win because: As bleak and haunting as the album is, it’s a masterful statement from a first-rate artist. Personally, once everyone left, I’d probably play the first side of Scott 2 to stave off any nightmares The Drift might inspire.

Estimated number of songs to end party: Ten seconds.

Brendan Benson – My Old, Familiar Friend

My Old, Familiar Friend also holds a few surprises. A track like “Garbage Day” can open with Motown-inspired strings, morph into a neo-psychedelic run reminiscent of The Beatles, then head back to Motown. “Don’t Wanna Talk” opens with the rumbling drums of Gary Glitter’s “Rock and Roll” before it suddenly turns into a sunny pop romp. The songs tread familiar territory — broken hearts and troubled relationships — but mix the dark imagery with a wink and touch of wit. (Read the Full Review)

Mount Eerie – Wind’s Poem

When it was touted that Mount Eerie’s newest record would be a black metal album, dubious sentiments were certainly aroused. It’s completely understandable in regard to Phil Elverum, as he is arguably one of the most innovative independent musicians to be gracing our ears in recent times, but the way in which one could imagine Elverum to execute the Mount Eerie style in a black metal aesthetic would undoubtedly be plagued by problems.

Nevertheless, it is safe to report that Mount Eerie have progressed in perhaps the most perfect manner; this ‘black metal’ element which was originally claimed is very subtle. My initial expectation of Elverum screeches fortunately turned out to be only a speculation, and what Wind’s Poem actually is as an album is the continuation and development of the raw sound greatly explored on the Black Wooden Ceiling Opening record.  (Read the Full Review)

Behemoth – Evangelion

Produced by the talented Colin Richardson (Carcass, Napalm Death), Evangelion has the core ingredients of a classic metal album: well orchestrated song writing, a thunderstorm of riffs and rapid, tommy-gun drumming. “Ov Fire and the Void” eerily sounds like it should be playing over loud speakers in Afghanistan. This is war music; full of force, cruel intentions and pain. It’s hard to describe music this brutal; if extreme metal is not appealing to you I would suggest you run… now. Run far, far away. Clutch that Fleet Foxes CD close to your heart and don’t ever look back. For the rest of us: rejoice. (Read Full Review)

Gwar – Lust In Space

I’m a fanboy of all of GWAR’s material. Their debut album Hell-O has some classic cuts but the disc is near unlistenable for me. Live the songs sound awesome. I always thought the rest of their albums prior to Violence were pretty solid. Albums like Scumdogs Of The Universe and This Toilet Earth are classics. They experimented a little with their sound and tried to gain some of the old punk influence back with Carnival Of Chaos and We Kill Everything. It was met with mixed reviews but I still dig those two releases. Due to the lack of positive reviews from those two albums it seems that they decided to experience with their other obvious influence in metal. It has been met with generally positive feelings. I can’t even count how many times I’ve heard people talk about how they can finally listen to GWAR because they are playing legitimately good music. (Read Full Review)

We of the up and coming independent music download site ThinkIndie.com, (online arm of the burgeoning ThinkIndieCollective Empire), would like to take this opportunity to formally challenge iTunes, (online arm of the already humongous Apple Empire), to a debate over the future of indie music online.

The proposed “War of the Words” will be between the Head of ThinkIndie and the Head of iTunes, Steve Jobs. If Mr. Jobs is unable to represent due to personal reasons, we will fully understand. (We are BlackSheep, but we’re not BlackHearted.) And be willing to accept someone else of a suitable (C-Level) stature in his stead.

In the interests of détente cordial, this live debate will take place at a time, date and location of iTunes choosing. The exact format and terms of the debate, along with a mutually acceptable moderator to preside over the matchup, will be decided by the two combatants in question prior the the main event.

The event will be videotaped live and then broadcast later via the usual social networks for the infotainment of indie music lovers around the world, who can then decide for themselves who won the debate.

We have chosen to announce this challenge via public channels as – so far at least – iTunes has not returned our calls. Our hope is that a little friendly outside encouragement will change their minds. Or perhaps, someone who reads this will share it with someone, who knows someone, who knows someone else…and on down the line…until the invitation eventually wends it’s merry way to Mr. Jobs himself…

In the interests of promoting peace, prosperity and the continued availability of a choice of outlets offering indie music online, we of the ThinkIndieCollective Empire feel that this debate would be – the obvious allure of it’s David and Goliath nature aside – a worthy undertaking for all involved: ThinkIndie, iTunes, the indie music industry and the indie music buying public.

The gauntlet has been officially thrown. Steve Jobs, are you up to the challenge? Contact Thinkindie.com

Sunday nights don’t usually hold much magic in Burlington. On Sunday nights, I can usually be found throwing in a load of laundry and watching animal videos on YouTube with my cat. In fact, by the time last Sunday rolled around, the magnitude of what these Wu-Tang allstars had in store for me caught me quite off guard. In my Sunday laziness, I neglected to shower for the occasion, and strode up to the throng of fans still filtering through the doors feeling grimy compared to fresh and Listerine clean kids in crisp jeans and tight dresses. While waiting my turn to be shuffled through the tight security, I reminded myself that Mef and Red respect every lady as Miss International, and I entered the ballroom with a little more swagger in my step.

I arrived at the end of Duo Live’s opening set. There was already a crowd of every variety of hip hop fan New England has to offer packed against the stage. I sneaked my way around three massive dudes standing stoically in front of me to get a better view of what every one was making a ruckus over. There was an uncommonly cute lady of diminutive stature working the stage with The Duo’s Mcs, asking the audience if they thought she looked like she could pound a 40 oz. As the crowd egged her on, she busted out a 40 of Old English and chugged it. I joined the chorus of  “HELL YEAH” and couldn’t help but grin from ear to ear and shake what my momma gave me as the DJ laid one down.

Ghostface was up next, with intent to satisfy our appetites for some Wu Tang favorites. I’ve got to admit I was a little star struck, hell,  I could tell that at least half the crowd was right there with me. During the break, I heard a few dudes in front of my talking about how far they had driven to be there. Mass, Maine, Upstate New York,  and New Hampshire, and all of them were working the next morning. The fact is, Burlington is one of the only places where it’s even possible to see a line-up like this in a venue as intimate as Higher Ground with out needing some sort of  V.I.P. staus. If that weren’t enough to ensure a dedicated turn-out, they made it all ages. You can say what you want about the younger generation, but after you’ve begged your mom everyday to let you go to a rap show with your best buds and she finally gives in because it’s summer vacation, you’re going to party like it’s 1994.  Ghost worked this rag-tag bunch like the champ he is, calling out the true hip hop fans from the crowd, daring Burlington to prove itself worthy. After a somewhat impressive sing along of “Wu-Tang Clan ain’t nothin’ to f*** with,”  Ghost capped it off with a tribute to Ol’ Dirty Bastard and was outta there.

I only had time to gulp a glass of water and high five a former schoolmate I bumped into before Mef and Red burst onto the stage. I’ve got to admit that I’ve had a huge crush on Method Man ever since I watched the music video for “What’s Happenin’ ” where he wrestles with a bunch of honies on a bed. So when he came out rapping in a pair of nerd glasses held together with tape and a tshirt bearing his own name, I felt my body do a little more than blush.

The charisma of the pair was infectious. I didn’t see a stationary body in the place, save maybe the suspected plain clothes cops in the back. They blasted through a practically perfect set of choice track from their latest disc “Blackout! 2″  and every classic that we could have hoped for with ease. And rightly so, as they’ve been two of the most successful masters of the genre since the early ninties.  They also spared no chance to remind us that they chose to come here because they know that Burlington can get down, and that they wouldn’t be back soon, so we had better act accordingly. After song after song of non-stop head bobbing, bumping and grinding, hands in the air, and enthusiam over the pending release of How High 2, Mef and Red finaled with another tribute to fallen members of the hip hop elite and called it a night.

To cap off the intimacy of the whole event, my sister was asked to pose with Ghostface for a photo while holding his new single at the merch table. And as a small town kid, I’m not ashamed to say I had a fit of school girl giggles over the matter.

Patrick Wolf – The Bachelor

The Bachelor was originally supposed to be a double album but Wolf decided to release it in two volumes, with the follow-up due next year. As interesting as two volumes of Wolf could be, I tend to think he made the right decision. The only times he falters is when he tries too hard. Don’t get me wrong: Wolf loves to produce tracks within a beat of their life. Strings, electric beeps, children’s chants, hand claps, and distorted vocals have appeared on his albums, which is only remarkable when you consider he writes mostly accessible pop tunes. Normally he can push a song to its limit without becoming self indulgent. On occasion he goes too far, and the best example on The Bachelor is “Battle”. Alec Empire, notable for his involvement in Atari Teenage Riot, supplies the beats. Although the tune won’t bust your eardrums like ATR’s tracks could, its frantic pace feels overwrought when coupled with Wolf’s cheerleading. He screams for you to battle homophobes and conservatives and rise up for your rights. A worthy cause, but from the title to the delivery, it’s too done. Think Björk ‘s “Declare Independence” without her tasty Icelandic delivery. (Read Full Review)

Yim Yames – Tribute to

Although James recorded these tunes shortly after Harrison’s passing in 2001, it is only being released now. It’s a spare, simple affair that serves as a loving tribute to Harrison. Somber without being funereal. Typically on these songs, it’s just James and his guitar, with the sound is more aligned to the earlier Neil Young-ish My Morning Jacket than the more recent MMJ style. The arrangements aren’t embellished performances much, but James does add, for instance, a nice touch of banjo to “Love You To.”
But the disc’s gauzy sound well suits the material, as it feels like a stripped down version of Phil Spector’s denser work on the original. You can hear a fan working through his sorrow on the moving renditions of “My Sweet Lord” and the title track, with the inclusion of “Ballad of Sir Frankie Crisp,” a very personal song of Harrison’s, is an inspired choice.
The six songs create an emotional mood of reflection and remembrance – from recalling George Harrison and the Beatles on one hand to the reflecting sheer emotional power of music on another. It achieves the nice trick of making you want to go back to hear the original while also appreciating the new renditions. (Read the Full Review)

Modest Mouse -No One’s First and You’re Next

No One’s First and You’re Next is not a real follow-up to We Were Dead. It collects eight songs dating as far back as 2005′s Good News for People Who Love Bad News, all of which have been previously released in one form or another: some A- and B-sides from earlier this year, along with album outtakes like “King Rat”, which is famous for having a video directed by Heath Ledger. A remora to the previous album’s shark, No One’s First recalls 1999′s Building Nothing Out of Something and 2001′s Everywhere and His Nasty Parlour Tricks, both of which assembled leftovers into stand-alone statements that sound as cohesive as the material that fed them. Building in particular stands as one of the band’s best releases of any length. (Read the Full Review)

Julian Plenti – … is Skyscraper

Not long ago, indie rockers seemed more intent on redrawing the dark shadows of Mancunian post-punk than seeking Vitamin D highs from African music, but things move fast in the ’00s. Julian Plenti is Interpol singer-guitarist Paul Banks, a well-dressed dude who spearheaded an armada of other well-dressed dudes with Ian Curtis’ ghost on the brain. Interpol did it best up to a point, and Banks’ first full-length as Plenti—a pseudonym he put aside as Interpol began to make moves in 2001—is a collection of songs that might’ve been born in his main band’s margins. It’s a frustrating outing that wavers quietly between uninspired and surprisingly vibrant, middling and fantastic. (Read the Full Review)

It’s been a gloomy summer in Vermont, where rain has become an almost daily occurrence. Fortunately, with our brutal winters, we’re all used to staving off seasonal malaise. Join us as we embrace the transcendent nature of music with our sunny songs for a rainy summer.

The Kinks - Love Me Til the Sun Shines

Dave Davies was not as prolific as his brother Ray, but he rarely disappointed. This lovely little love song is no exception.

Velvet Underground -- Here Comes the Sun

Although this song dismisses the uplifting nature of the sun, its bright melody and upbeat rhythm make it the catchiest song about heart break out there.

Husker Du -- Celebrated Summer

A nostalgic paean to summers past. Husker Du in top form, as they often were.

Pavement -- Summer Babe (Winter Version)

“I saw your girlfriend and she was her eating fingers like they’re just another meal”. Yep. That captures the ideal summer experience.

The Beach Boys - Warmth of the Sun

Probably the most appropriate song on this list. Any collection of early Beach Boys songs would make for a great summer soundtrack.

Loving Spoonful - Summer in the City

I have a theory that every person who’s ever heard this song loves it. Infectious!

Fleet Foxes -- Sun Giant/Sun it Rises

A serene counterpoint to the previous entry. Let it wash over you with thoughts of warmth and tranquility.

Pogues -- Sunny Side of the Street

This song evokes the Church Street experience, where half the street is usually shaded. Perhaps it would be more optimistic to say half basks in the sun.

Katrina & The Waves -- Walking on Sunshine

Philip J Fry’s favorite song, as evidenced by his numerous renditions. Need I say more?

George Gershwin -- Summertime (Sam Cooke version)

An American standard, this song has been covered countless times. This is one of many great versions of this wonderfully languid classic.

Jimmy Cliff -- Hello Sunshine

Reggae and summer go together like peanut butter and fluf.

The Beatles -- Rain

This song may call attention to what this list is meant to help us forget, but it’s a perfect endcap to this set, embracing the cleansing beauty of the rain, reminding us that it always precedes sunshine.

I showed up to Club Metropolis twenty minutes before Dungen hit the stage, a heartfelt desire to not be disappointed and a bottle of cheap strawberry daiquiri mix burning a hole in my stomach. I had been here most recently to see The National, their Boxer LP and Virginia EP being two of my most listened to albums from the previous year or so and while their performance was spirited, I felt they had a hard time translating their brooding heavily produced between-you-and-me delivery to the broad strokes required for such a large venue and seemingly disinterested audience. That experience had left me seriously questioning my interest in live music, at least, in seeing live many of the bands I enjoy in headphones.

I was apprehensive as i stood in the crowd eyeballing suspiciously the various p-dork hipsters, students and service industry veterans that i was sure constituted the entirety of the audience – were they gonna shutup and pay attention when the bands came on or spend the entire show with their backs to the stage?

When the skinny Swedes from Dungen walked quietly onto the stage taking up their instruments the crowd didn’t do much more than turn slightly – some applause – but when they let loose with an incredible racket, the crowd turned around and that was the last time the entire night I thought about anything other than what was going on the stage.

Dungen proceeded to tear it up proper, creating an incredible psych assault, interspersed with deft & delicate melodic interludes, lead singer Gustav Ejstes taking turns stomping and banging a tambourine, trilling on a flute or pounding out on some kind of vintage keyboard, basically doing the world’s greatest Robert Plant impression in the process – their chops and energy combined with their use of entirely vintage gear brought us about as close as we’ll ever get to a live set by some of those old psych heavy weights, and for that i was thrilled and grateful.

At one point, about 10 minutes into their set the girl next to me turned to me with dawning astonishment, “I didn’t know Dungen was playing here tonight?!” “Yeah? That’s cool…” I said back… not sure the proper response. At least it wasn’t anything like the last time i was here, having to listen to two guys argue over whether Facebook friends should be limited only to real life friends (of course not) the entire set.

Dungen left the stage, crowd cheering enthusiastically, i went out for a smoke. Next up Fleet Foxes.

I wasn’t sure what to expect – anyone who’s listened to their album and EP know they can write an incredibly affecting Beach Boys meets My Morning Jacket tinged folk rocker, but I for some reason was skeptical they could pull it off (oh wait i know why, cause I’m a jaded, tight black pants clad, irony drenched, record store guy,  Dur).

I was wrong, wonderfully wrong. Right out of the gate they engaged the audience with a room filling 3 (or 4) part acapella harmony that seemed to penitrate and wrap itself around everyone in the packed venue – from there things only got better, every song they launched into with increasing energy and the audience loved every minute of it. The band in turn was extremely appreciative and more than a few times between songs gave heartfelt thanks.  As for their songs and how they translated to the stage, i can say that the stage only served to increase the fullness of sound and energy of already great compositions, as a band they struck me as belonging there, like watching The Band or some other classic touring act from the hey day of live music, polished and competent.

I can honnestly think of no criticisms – the playing was incredibly tight, but more importantly earnest, and when the band finally left the stage I could tell everyone in the room felt well and entertained, myself included.  I’ll be checking out more live music again soon, my faith in live music (and it’s often boorish, fickle audiences) while not completely restored, was at least bolstered, and that’s really all an anti-social music snob like myself can ask.