Out of 200 submissions from directors in over 16 countries, the screenings for student and independent videos resulted in awards being offered to:

•    Leah McKissock: Best Student Video for “Start”

•    Anthony Homm: Best Indie Video for “Choice”

•    Kerry Westcott: Audience Favorite Award – Student Category for “The Green Bride”

•    David Dutton: Audience Favorite Award-Indie Category for “Internet Killed the Video Star”

Doomsday Productions presented an “Up and Comer’s” Panel, featuring fresh and talented directors: Hiro Murai, Ace Norton, Dugan O’Neal, Eli Stonberg, and Isaiah Seret, who shared personal stories of the trials and tribulations of making successful music videos. Kathy Angstadt (SVP Visual Content at Interscope Records), Coleen Haynes (Executive Producer at HSI Productions), Missy Galandia (Executive Producer at DNA), and Danny Lockwood (SVP Visual Content at EMI) hosted “The Business of Videos” Panel, which focused on the Internet’s role in music videos as well as the process of creating impressive video content despite dwindling budgets.

LAMVF featured a unique event titled “Life’s a Pitch,” where four directors pitched a video concept to Voxhaul Broadcast for the band’s new single “Leaving On The 5th.” The winning director, Ariana Natale, was presented with the opportunity to direct the music video using a Sony HDW-F900 camera package.

A highlight for many was The Music Video Production Association Awards Showcase, where awards were distributed to directors in a number of categories for the best videos of 2009 and 2010.

MVPA Award Winners for 2009 and 2010

2009:
•    Best Video of The Year: Katy Perry “Waking Up In Vegas” (Joseph Kahn, dir.)

•    Best Hip Hop Video: Kanye West “We Were Once A Fairytale” (Spike Jonze, dir.)

•  Best Rock Video: Yeah Yeah Yeahs “Zero” (Barney Clay, dir.)

•   Best Pop Video: Lady Gaga “Bad Romance” (Francis Lawrence, dir.)

•   Best Video Produced Under 25K: The Fray “Heartless” (Hiro Murai, dir.)

2010:
•    Best Video of The Year: Arcade Fire “The Wilderness Downtown (“We Used To Wait”)” (Chris Milk, dir.)

•   Best Hip Hop Video: (tie) Eminem “Not Afraid” (Rich Lee Lee, dir.) and Dr Dre “Kush” (Joseph Kahn, dir.)

•    Best Rock Video: Arcade Fire “The Wilderness Downtown (“We Used To Wait”)” (Chris Milk, dir.)

•    Best Pop Video: Katy Perry “California Gurls” Mathew Cullen, dir

•   Best Video Produced Under 25K: Chromeo “Don’t Turn The Lights On” (Keith Schofield, dir.)

Following the award show, directors, panelists, and music video enthusiasts made their way to The Echoplex for an after party featuring Los Angeles’s own Voxhaul Broadcast and Black Apples.

LAMVF founder, Sami Kriegstein, explained her inspiration behind the event: “I was at USC and I looked around and realized that all of my friends were either aspiring musicians or aspiring filmmakers and all of them were making music videos. And they were really cool and they looked amazing and I would hear about my friends working on them forever and ever. A couple months later I’d say, ‘Oh what happened to it?’ and they’d said, ‘Oh. It’s on YouTube.’ And it kind of would disappear and it kind of didn’t feel right. It felt like there was a need for some sort of platform to celebrate what everyone was doing and I kind of got the sense that this was happening just not with my circle of friends but with a lot of people in the world, especially if you look on YouTube.  According to Colleen Curlin, LAMVF media/industry relations, “What we want LAMVF to be about is for it to be a bridge between musicians, filmmakers, artists, young people, and old people. We want it to just bringing everybody together.”

With the success of this year’s event, the LAVMF is shaping up to be an annual festival. Be ready for next’s year, which promises to be bigger and better!

Words by Nicole Pajer. Photos by Dustin Downing.

After having the weekend to marinate on both this year’s Grammy nominations and the college football bowl selections, I’m having a hard time figuring out which entity frustrates me more, the BCS or the National Academy of Recording Arts and Sciences. For both, a lot of money is riding on who gets anointed with top honors, but every year both groups seem to get more wrong than they do right. (Except for the year NARAS picked 60% right on the Album of the Year nomination with Radiohead’s OK Computer, Paul McCartney’s Flaming Pie and Bob Dylan’s Time Out Of Mind.) But the sad fact is, both entities aren’t going away anytime soon, so we must make due with what we’ve got. I’ve highlighted a few categories below and picked some crowd favorites and dark horses. (You can see the entire list of nominations here.) Sit back, crack open a juice box, and prepare to shake your fist at the screen. And don’t forget to check out some of our very own nominations at the end. We think they deserve a little shine, too!

Record of the Year
I’d be very surprised if Jay didn’t pull this one off. A really good video and a close-to-home hook from Rihanna could help Em’s chances, but “Empire State Of Mind” is the omnipresent jam of 2010, and it’s a great piece of music. I personally could care less about Bruno and Antebellum, and even though I’d personally love for Cee Lo to win Record of the Year for a song that has the word “fuck” in the hook, it won’t.
I say: “Empire State Of Mind” – Jay-Z & Alicia Keys
They’ll say: “Empire State of Mind” – Jay-Z & Alicia Keys

Album of the Year
There is no justice in this world, which means Arcade Fire has zero chance of winning. If Katy Perry wins I’m going to jump off a bridge.
I say: The Suburbs – Arcade Fire
They’ll say: The Fame Monster – Lady Gaga

Song of the Year
This is the songwriter’s category, so I’d bet money it’ll go to a country artist. Again, Cee Lo is my dark horse, but the old guard at NARAS is looking at that song like Republicans look at the health care bill.
I say: “Fuck You” – Cee Lo Green
They’ll say: “The House That Built Me” – Miranda Lambert (“Time To Get A Gun” is better, though.)

Best New Artist
“For a new artist who releases, during the Eligibility Year, the first recording which establishes the public identity of that artist.” If we’re going with a direct interpretation of the award, it’s gonna be either Drake or The Beebs. Actually that sounds like a good cop show name. “Tune in next week for another episode of Drake & The Beebs!”
I say: Florence & The Machine
They’ll say: Drake

Best Female Pop Vocal Performance
Best Male Pop Vocal Performance
At least we can call a spade a spade here. This is pop at it’s best. As much as I love “Halo,” that track has been redone too many times. (Plus, the Hope For Haiti version is way better). Gaga wins again. For the guys it’s gotta be Bruno Mars. An MJ win here would be sad.
I say: Feh
They’ll say: “Bad Romance” – Lady Gaga / “Just The Way You Are” – Bruno Mars

Best Pop Performance by a Duo or Group with Vocals
Best Pop Collaboration with Vocals
Seriously, what’s the difference here?
I say: Meh
They’ll say: “Don’t Stop Believin” – Glee Cast / “Imagine” – Herbie Hancock and a grip of other people

Best Pop Vocal Album
Again we’re dealing with pop music here so I’ve gotta keep everything in perspective, but picking a winner in this category is easier than you’d think.
I say: “Rah, Rah, ah, ah, ah. Roma, roma, ah. Gaga, ooh, la, la.”
They’ll say: The Fame Monster – Lady Gaga

Best Dance Recording
This category is doomed from the start in that both vocal and instrumental tracks are eligible. To really satisfy dance heads there should be separate categories for both, but I guess I should just be happy that it exists at all. (Thanks, Jason Bentley!)
I say: “In For The Kill” – La Roux
They’ll say: “Dancing On My Own” – Robyn

Best Electronic/Dance Album
Typically one of my favorite categories in that they usually get the nominations at least 80% right. BT’s double-album gets a nod here, and I’m sure La Roux is gagging for this one since she was passed over for the Mercury Music Prize earlier this year. Love me some Chem Bros, but Further isn’t their best work. I’m gonna go out on a limb here and pick from the heart.
I say: Black Light – Groove Armada
They’ll say: Black Light – Groove Armada

Best Rock Performance by a Duo or Group with Vocals
Interesting list of artists here. Arcade Fire, Jeff Beck and Joss Stone, The Black Keys, Kings Of Leon and Muse. The Academy will probably throw a bone to Arcade Fire here. I’d personally like to throw a bone to Joss Stone.
I say: “Resistance” – Muse
They’ll say: “Ready To Start” – Arcade Fire

Best Hard Rock Performance
I was going to pick a winner here but my time machine got stuck in 1997.
I say: “Between The Lines” – Stone Temple Pilots
They’ll say: “New Fang” – Them Crooked Vultures

Best Rock Album
Seriously, do these people listen to artists who started making records after the year 2000? (O hai, Muse! Didn’t see ya there.)
I say: Le Noise - Neil Young (Truthfully, this album is amazing.)
They’ll say: Le Noise – Neil Young

Best Alternative Music Album
Again, a haven of respite for me. Some good choices here, but it reminds me of the year Radiohead’s OK Computer was nominated for Album of the Year, then casually tossed into this category because there was no way it was going to beat out Bob Dylan’s Time Out Of Mind. Wish Kevin Devine’s album was nominated. (See below.)
I say: The Suburbs – Arcade Fire
They’ll say: The Suburbs – Arcade Fire

Beset Urban/Alternative Performance
Where the hell did this category come from? I blame Danger Mouse.
I say: “Fuck You” – Cee Lo Green
They’ll say: “Fuck You” – Cee Lo Green (Finally.)

Best Contemporary R&B Album
Hopefully this won’t be a close call between the dude who likes to beat on women and the dude who likes to pee on them. Janelle’s album is brilliant. Very contemporary. Very R&B. We’ll see if “they” do the right thing here. Usher auto-tuned is no bueno.
I say: The ArchAndroid – Janelle Monae
They’ll say: Raymond V Raymond – Usher

Best Rap Song
I could see anyone winning here, even though Jay has 40% of the noms with “Empire State of Mind” and “On To The Next One” and Em has another 40% with his two tracks. My guess is that Em gets his due.
I say: “Deadly Medley” – Black Milk feat. Royce da 5’9” and eLZhi (I know it’s not nominated. Leave me alone.)
They’ll say: “Not Afraid” – Eminem

Best Rap Album
Drake, Eminem, Jay-Z, The Roots and B.o.B. What a list. I’ll admit I haven’t heard The Roots’ new one, but I have heard the rest of them and The Blueprint 3 is just so damn strong. I’d love to see a percentage breakdown of the vote-getters here. I’m sure it’ll be close.
I say: The Blueprint 3 – Jay-Z
They’ll say: Thank Me Later – Drake (Maybe.)

And finally, some albums that deserved some honorable mention, but were destined to be overlooked by the academy…

Frazey Ford – Obadiah
Incredibly soulful folk album from a former member of the Be Good Tanyas. Not a bad song on it. Wish she got into the Best Americana Album category. HEAR WHY.

Apparat – DJ Kicks!
My pick for the best DJ mix of the year. Heady, soulful, banging and mind-numbing, all in one set. Pick it up! HEAR WHY.

Francis and the Lights – It’ll Be Better
In a perfect world, this would get a nod in the R&B category. But in a perfect world Cam Newton would be ineligible and Starbucks would stop brewing bad coffee. HEAR WHY.

Kevin Devine – Brother’s Blood
Would have been a great addition to the Alternative Music Album category. Passionate songwriting and ultra heavy when it needs to be. HEAR WHY.

Underworld – Barking
How this missed out in the Best Electronic/Dance Album is beyond me. This is their best since Beaucoup Fish. HEAR WHY.

Black Milk – Album Of The Year
I love Usher as much as the next guy (maybe?), but the minute I hear him using Auto-Tune on his first single, I got disheartened. Maybe I’m just getting my rap from the wrong sources, but I haven’t heard much as good as Black Milk’s joint. HEAR WHY.

Words by Rich Thomas

Hello! Hope everyone had a wonderful Thanksgiving. Mine was wonderful and I’m actually writing to you today from good old London. Woke up this morning to an email from my (awesome) eldest brother with the subject: “I Made You a Mixtape – RUN IN FRONT OF TRAFFIC MUSIC” (an on-going joke with us about music that gets you amped up). If that, Ribena, a Bacon Butty and kickin’ it with one of my favorite people in the world doesn’t make for an excellent start to the weekend, well, I just don’t know what does.

Marina & The Diamonds’ “Obsessions,” “I’m Not a Robot” and “Mowgli’s Road” (all off The Family Jewels, officially released February 22, 2010) got a lot of play Summer 2009, but to be quite frank, I honestly haven’t given her much thought since then. So I was a bit surprised to find Christopher Dexter Greenspan (aka OOOoOOO… which reminds me of the (awesome) song by Oberhofer “oOOOoOOOo” recently remixed “Obsessions.” That being said, I’m really effing glad he did because he reminded me how much I love Marina & The Diamonds. His take is decidedly more synth heavy and has a gorgeous operatic feel; totally loving it.

Marina and the Diamonds – Obsessions (oOoOO Remix)

Another gem from 2009 getting some late 2010 action is the Gorillaz cover of The xx’s “Crystallized”. The boys from Gorillaz recently stopped by BBC’s Radio 1 where they performed a few tracks off Plastic Beach along with this incredible version of “Crystalized” using a xylophone and a piano. Pretty Much Amazing as it exactly right when they say “…Damon Albarn’s tender voice as heartwrenching as that of the song’s original writers, Romy Madley Croft and Oliver Sim. Putting the original’s driving guitar riff on piano makes tremendous sense – it maintains the lovelorn sensuousness that makes the xx’s song so widely appealing, and doesn’t so much update it as make it more timeless.”

You can check out some more footage of the Radio 1 recordings here. 

The first few moments of Arcade Fire’s video (directed by Spike Jonze) for “The Suburbs” somewhat reminded me of my childhood – only girl hanging out with a group of boys (I was your quintessential tom boy: two older brothers; a younger step-brother; both of my next door neighbors were families of boys; couldn’t get me out of jeans and Converses) and although the scenery couldn’t have been more different (New Jersey horse country vs. a Texan suburb) and I can’t recall anyone having BB guns, the essence of neighborhood kids hanging out, riding bikes and whatnot is essentially the same. However, the similarities I drew between the two were quickly diminished once the video began to take on a seriously dark tone with military vehicles and soldiers, arrests and one kid getting beaten up as his friend’s helplessly look on through the windows of a locked up restaurant. It’s a pretty powerful video, something Spike Jonze is remarkable at making (remember his short-film with Kanye West “We Were Once A Fairytale?). If you haven’t checked it out yet, I highly recommend doing so.

Whilst on the subject of Arcade Fire: a little while back I wrote about The Roots and John Legend’s amazing cover of “Wake Up” during their show at NYC’s Terminal 5. This week they’ve released the studio recording! I’m so in love with this rendition and as much as I enjoy (Arcade Fire’s) original, I definitely prefer this version (although it’s a complete tie between the live and studio ones).

John Legend and the Roots – Wake Up (Arcade Fire cover)

Hetel Bhatt put together an unofficial soundtrack for Jay Z’s Decoded (which I, shamefully, have yet to pick up. However, in my defense, I’m still making my way through Keith Richards memoir, which is an absolute trip.) featuring all the songs mentioned in the book. Per Hypetrak: “…a musical representation of the legacy of one of the industry’s most influential individuals. Listen while you read.”

Mr. West has had pretty stellar week. My Beautiful Dark Twisted Fantasy has (rightly so) received extraordinary reviews across the board. Rolling Stone writes “It’s his best album, but it’s more than that — it’s also a rock-star manifesto for a downsizing world… Nobody else is making music this daring and weird, from the spooky space funk of “Gorgeous” to the King Crimson-biting “Power” to the paranoid staccato strings of “Monster.” Despite my love/hate relationship with Kanye, I have to agree. This album is incredible (if you’re one of the few that haven’t picked it up yet, you can give it a listen in its entirety here.

So, not only his is album doing remarkably well, but he played a surprise show Tuesday night at NYC’s Bowery Ballroom where he performed My Beautiful Dark Twisted Fantasy from start to finish with John Legend, Bon Iver, Rick Ross and Nicki Minaj which was apparently incredible. Watch clips of it here.  And in related Kanye news; some adorable kiddiwinks reenact Tweets from Kanye’s (absurd) Twitter feed.

In the last but of music news before I leave to you go play in (freezing, but sunny!) London; here’s the latest from Wu Tang Wednesday – “You Don’t Own Me”. Loving the Lesley Gore sample they use. http://soundcloud.com/hypetrak/rza-you-dont-own-me

RZA – You Don’t Own Me

That’s it for this week!

- Mandy

Another gem from croontastic crooner, Cee-Lo Green off his upcoming The Lady Killer (out November 3)! Pretty Much Amazing has it exactly right when they say “… ‘Old Fashion’ sounds like a classic, like a song you’ve known all your life.” Loving this track; makes me want to get dolled up 1960s / “Mad Men” steez, sip an Old Fashioned in some dark bar and dance with Don Draper (He’s so dreamy… Apparently this song also makes me use word’s like “dreamy”).

The internet is wonderful. Positively wonderful. How else would we discover that MGMT’s “Electric Feel” works perfectly with the opening scene of (one of the greatest Disney flicks of all time) The Lion King?! See for yourself! The bit where Simba sneezes is just far too adorbs. Le sigh. I really want a lion cub.

http://www.youtube.com/watch?v=lM-IY71KGig

The Temper Trap are releasing a remix album on November 2 entitled Conditions Remixed which, as you probably deduced, is a reworking of their incredible first album Conditions by artists such as Fool’s Gold, Rusko, Three Trapped Tigers (by the way, how awesome is that name?!), amongst others. Peter, Bjorn & John work their magic on “Fools” (Below).

Mandy loves her some Massive Attack. Check out the video for “Atlas Air” off their limited edition EP Atlas Air. The dark, rather violent CGI video was directed by the immensely talented artist, Edouard Sailer, and inspired by his film project Splitting The Atom (of which Massive Attack also did the accompanying music for). Is it just me or does the giant bunny remind anyone else of the Donnie Darko one? Loving this.

So the initial cover for Kanye West’s upcoming album, My Beautiful Dark Twisted Fantasy, has been banned here in the states which I personally think is ridiculous. So now Mr. West’s aforementioned album will have five different covers, all of which will come with the CD!

In other Ye’ news, he recently stopped by The Ellen DeGeneres Show (sidenote: I love her) and discussed a multitude of topics, everything from the Taylor Swift shenanigans (STILL NOT COOL KANYE!), the passing of his mother and how he recovered from that, his internship at Fendi (he got his own coffee!…), to the diamonds teeth (apparently he “used to clean all his jewelry with toothpaste anyway so it works out.” Also, having diamonds in your mouth falls under the “certain things that rock stars are supposed to do” category. I did not know this. So does that mean I just have to go and get diamonds in my teeth and then I’ll become a rock star?!? Because frankly, I’d be a great rock star.) Check out the interview here.

The Black Keys iTunes Session is now available (exclusively on iTunes… obviously.)!Will definitely be purchasing this and all of you should as well because The Black Keys are GREAT. Recorded on August 10, The Black Keys iTunes Session includes songs from Brothers, Your Touch, Chop and Change and Magic Potion. 

Next up to cover Arcade Fire’s (fantastic) “Used To Wait” (first was Brooklyn’s The Drums) is Mark Ronson. Arcades Fire’s is still superior, but this isn’t too shabby.

Sunday Girl (real name Jade Williams) first grabbed my attention this past summer with her cover of Laura Branigan’s “Self Control” which I still can’t stop listening to. Recently, Rusko remixed her latest single “Stop Hey” but now we have the video for the official version.  Honestly, can’t decide which I prefer. Loving both.

Have to say, I’m a fan of this ongoing trend of full album streams prior to their release. Check out Warpaint’s The Fool here before it’s October 25 release. Warpaint is perfect listening for rainy days and since it’s cloudy and drizzling here in the NYSheezy today, I shall be doing just that.

When my brothers and I were kiddiwinks we were only allowed one half hour show a day (initially it was only one hour of TV a week). In all honesty, I can’t remember ever being all that bothered by this as I wanted to spend every waking minute at the barn and I’m sure the lack of TV largely contributed to my love of books and music. Even now, I can only stand watching TV for a short amount of time, after a while it just begins to sound like noise and irritates me; I’m much happier tucking into a book and listening to music. (I know, major nerd.) That being said, I remember totally loving “The Fresh Prince of Bel Air”. Every evening, my wonderful nanny, Beverly, and I would curl up together on the couch and watch it, always singing along to the opening song (which I can still recite verbatim). So, you can imagine my excitement when I discovered that Dr. Tweenus Gonzo recorded an album where each song is based on an episode from first season of “The Fresh Prince of Bel-Air”! And not only that, it’s available for a pay-what-you-like download, but for $15 you also get the CD and a hand drawn, original cover from an episode of your choice! The songs are not what I was expecting at all and Dr. Tweenus Gonzo (who I’d never heard of before) sounds a lot like (the incredibly badass) Tom Waits. Stream and/or download here:

That’s it for this week! Be sure to check back for more music magic from yours truly; it’s CMJ and I’ll be covering some great shows at the Red Bull Space.

Words by Amanda Boyd

Today’s bloggin’ best…

- Can you skateboard with an iPad? PopMatters

- Rich and bored Jason Bonham is doing a Zeppelin tour by himself. AV Club

- Roger Waters apologizes to Elliott Smith. LA Times

- Weird remix: Phoenix x Grizzly Bear x Brian Eno. Pitchfork

- Weirder remix: Hot Chip x Bonnie “Prince” Billy. The Fader

- Clipse pull an Outkast, announce two solo records. Hypetrak

- Richie Hawtin auctioning of gear for charity. URB

- I pity the fool who has to sit through the 52-hour freestyle. Booooring Exclaim

- Did Kelly Clarkson rip off Arcade Fire? TwentyFourBit

- Shock and Awe: Die Antwoord MC gets album cover tattooed on his back from promotional use only. Boing Boing

Today’s bloggin best…

- It didn’t take Mr. and Mrs. Reznor to start making music together. TwentyFourBit

- Life imitates art, George Costanza Jason Alexander hits teenage cyclist. LAist

- “Fah fook sake, Shaaaroon!” Ozzy biopic is happening. The Playlist

- Holy Ghost remixes LCD Soundsystem “Drunk Girls.” Hypetrak

- Johnny Marr is recording the score for film, The Big Bang. NME

- Kid Sister covers “More Than Words.” Fools Gold

- RZA wears a motion capture suit for Activision. Prefix

- Arcade Fire/Spike Jonez seek “Bigger guys. Facial hair OK.” Prefix

- Kanye West is “the black Zac Effron” on The Cleveland Show. Miss Info

Today’s bloggin best…

- Ultra rare 1968 Zepplin live recordings surface and they rawk. NME

- Ultra rare Dimebag Darrell track surfaces. Blabbermouth

- Is Comic-Con moving to Los Angeles? LAist

- Blur to release new single on our new favorite holiday, Record Store Day. Stereogum

- Hedi Slimane x Rolls-Royce photography is sexy. Hypebeast

- Beastie Boy Adam Yauch buys rights to Holocaust documentary. Gigwise

- Arcade Fire is collaborating with Spike Jonez. LA Weekly

- Over it!: The Green Hornet might be going 3D. The Playlist

- Black Flag bassist Chuck Dukowski is selling his records. True Slant

- Alex Chilton might have been saved but didn’t have health insurance. Village Voice

- Pharrell’s Porshe Spyder by KAWS is super amazing. BBC

Today’s bloggin best…

- Lil Wayne is burning down the [court] house. Prefix

- Guru of Gang Starr is expected to make a full recovery, thank goodness. Hypetrak

- Banksy just ain’t as mysterious as he used to be. Format Mag

- Nirvana On Ice. No really, Nirvana on ice. Boing Boing

- It’s about time someone sued Prince for being a buzz kill. Prefix

- New York Times lied, the Arcade Fire’s credibility died. Pitchfork

- The Clash Converse are the punkness. Converse Blog

- Will people pay to hear Joy Division/New Order bassist Peter Hook talk? Spinner

It seems like Eastern Europe is finally starting to get some respect from Americans. Nico Bellic and the GTA giant made thick accents cool. Gogol Bordello has been able to take his mustachioed gypsy punk to a mainstream audience while smaller acts like Golem and The Sway Machinery are putting a fresh spin on ancient sounds.

The Sway Machinery’s Hidden Melodies Revealed: “Anim Zemiros”

The Machinery boasts an incredible lineup of musicians who’ve played with Arcade Fire, the Yeah Yeah Yeahs, Tom Waits and the Wu Tang. “People ask all the time what kind of music do you play, and I say ‘New York music,” says saxophonist Jordan McLean. The rollicking blend of music is nearly impossible to define. Inspired by Cantorial music and guided by the warped mind of Balkan Beat Box maestro Jeremiah Lockwood, The Sway Machinery are an organic mashup of world styles from Mali blues to Polish dances.

Playing such a selection basically dictates the band understand musical theory, world cultures and history, so it’s not a surprise that the five band members can be cerebral and mystical. “We’re moving beyond style and into idea,” says McLean, “because we’re creating our own myth with this music. We invite the audience to explore and create their own myths along with us—and kick their fucking asses at the same time.”

The underlying party rhythms of dance music is a huge influence for JDub labelmates Golem, a six-piece also out of New York. Golem began years ago covering klezmer traditionals, and has slowly evolved a hybrid rock version of the ancient songs. “It was originally party music so it’s not an academic pursuit for us,” says singer and accordionist Annette Ezekiel Kogan.  “The energy in the music is party energy,” she says. The new album, Citizen Boris, spins together accordion, horns, fiddle and feedback into dance rock that stands out for its creativity. History never sounded so fun.

By Jacob Cottingham

The Sway Machinery’s Hidden Melodies Revealed “Tell it All to Me”

Golem’s Citizen Boris: “Tucheses & Nenes”

Golem’s Citizen Boris: “Mirror Mirror”