Describe your music in five words or less.
Coy or a cute fear!

What are the worst and best gigs you’ve ever played and why?
For me the best gig was our first gig. We hadn’t played live for a long time. Towards the end of Hoopers Store it was almost automatic. But then after a couple of years, we had to start again. We didn’t even know if anyone would even like what we were playing. We were really nervous and a bit scared, but as we were playing the first part I started feeling it all again and thought ”fuck yeah, we’re doing this!’ It probably wasn’t our best gig, but it was a great feeling to be playing live again.

As for the worst, it was probably Tangled Thoughts Of Leaving’s first gig on their tour last year. There’s gigs where I might play bad or Chris might play bad, but that gig we just plain sucked.

What’s going on right now in the world of Race To Your Face?
We’re right now getting the mixing together for our first EP, recorded with Ron Pollard (studio sleepwalker’s dread). Then get it mastered and all the hoo ha that goes along with it. Hopefully it will be out soon. And gigging and gigging and gigging and writing some new stuff.

Also we’re massive stone henge enthusiasts right now.

Tell us something about your music that we might not know.
Chris’ loop pedal is called Norman. My snare is called Kevin Arnold.

You’re putting together your perfect gig? Who would you get to play, why and where? Feel free to include acts/DJs/bands/venues that no longer exist.
The Beatles featuring Richard D James, Thom Yorke and Mike Shank. Big fans and I can’t imagine what that would sound like. Also we always joke that Richard James and Thom Yorke want to destroy each other.… not sure why. Probably hold this spectacle in Lee’s shed/jam room.

True to style, The Tallest Man On Earth’s third LP There’s No Leaving Now, is largely just Kristian Matsson’s ragged to crooning vocal range and intricate finger-picked guitar melodies. Perhaps the most noticeable difference between this and previous albums is the “cleanliness” of Leaving’s production. It feels as though Matsson’s work, although still captivating, has become less honest since the raw nakedness of his debut Shallow Grave – a characteristic that some will appreciate and others will hate.

The tunes are as musically diverse as a simple acoustic album can be – spanning from the jig-esque opener “To Just Grow Away” to the bluesy sultriness of “On Every Page”. Lyrically, Matsson has progressed from “hurt and heartbreak” to “love and heartache”. It reflects a maturity in Matsson that we’ve only had glimpses of previously. From his platonic concern for the protagonist in “Little Brother” (“Why are you drinking again, little brother?”) to his romantic nostalgia in “Leading Me Now” (“Every time we wonder what we left back in your heart/could you see we’re dreaming though our minds just fall apart?”) – Matsson’s outlook remains dark, lacking the fun “King of Spain” element of the last record, though not completely devoid of optimism.

That said, this is really only an assumption because again, true to style, the lyrics are disjointed, the metaphors are mixed and it’s genuinely difficult to make out what he’s singing half the time. But that’s partly what people have grown to love about The Tallest Man On Earth. Give Matsson a guitar and make him sing the dictionary and it would still just sound so gosh darn pretty.

Leaving’s biggest downfall is its predictability and lack of ambition but, at the same time, it’s also its most charming feature. Matsson hasn’t pushed any boundaries or ventured outside his folk-ballad comfort zone, which is unsurprising really – because why would he? If everyone’s happy with the metaphorical food on your music table then why risk fucking it up by bringing tuna sandwiches?

If you’re expecting something fresh or different from The Tallest Man On Earth, you’ll be disappointed. There’s No Leaving Now is exactly what you’d expect – it’s Kristian Matsson delivering the goods in the style he has such remarkable talent for. And, in that respect, it’s brilliant.

The Sacramento three-piece have been busy, recently released their record The Money Store and somewhat strangely signing to Epic.

Check out the clip to “Hustle Bones”, below.

Now, he’s put out a new record of 10 first-take tracks featuring a trombone and a loop pedal. It’s the sort of thing that sounds like it could either be brilliant or awful. Thankfully, this is definitely in the former category.

Stream the record below, or purchase from Nelson’s Bandcamp.

Mpala Garoo’s Ou Du Monde record is not just smile-inducing, it’s also wonderfully textured and painstakingly put together. It’s a record that would be equally at home at a summer barbeque or on a long cross-country road trip. You’d never know it came out of Moscow.

Steam the record below.

Case in point: the email I got sent from these guys just said “Wanted to get some music to you” and included a link to their Soundcloud.

Check out Future Dollars, below.

Here, the Brooklyn experimentalist chops the shit out of The Flamingos’ “I Only Have Eyes For You” — stretching and splicing the vocals and giving it a synthy backing that’s ominous and atmospheric.

Take a listen to the track below.

Johnny Greenwood announced them one of his favorite bands. As for myself? Well I’m one of the huge fans that regretfully never made the effort to drive down south to attend their set at Southbound a few years ago. For a number of years now Grizzly Bear have constantly summoned quality albums and material. Each member of the Brooklyn foursome have been known to collaborate with other artists and release solo material resulting in some fine music that generally has to be found rather than popping up on repeat on your local commercial radio stations.

The new EP from Grizzly Bear and Department of Eagles’ Daniel Rossen is a five track gem that consists of slowly modulated melodies right through to the familiar chord indifferences that we’ve grown to love from Rossen’s guitar. Silent Hour/Golden Mile is a slight departure from previous material and shows off Rossen’s progressive folk talent. Following the year of touring for Grizzly Bear’s 2009 album Veckatimest, an uncertain future hung over the band as a lack of direction engulfed the group. This possibly spurred Rossen to explore another side of his songwriting ability. Self-produced and consisting of horn and string arrangements, the EP was originally written for Grizzly Bear’s fourth album. Let’s be grateful.

With most Rossen lyrics, I seem to find a quirky story that compliments the typically drifty arrangements. “Up On High” is the gently constructed first track that builds from an acoustic tap along to some ghostly drums in the background that rings early Elliott Smith.

“Silent Song” is a delightfully epic number that had my head nodding and my fingers tapping away like drum sticks. A hint of early John Lennon and George Harrison can be detected however it is a notable piece and is a particular favourite of mine. Another is the EP-ending track “Golden Mile”, which is a brighter side to the piano ballad of “Saint Nothing”.

The best thing I have found about Grizzly Bear, Department of Eagles and Rossen in particular is that his music doesn’t feel constructed. It’s unique in many ways, and by closing your eyes and drifting off, only then you can appreciate how talented this guy is. I highly recommend going back and looking through the archives for old school Department of Eagles (In Ear Park) and Grizzly Bear (Horn A Plenty) records to satisfy your craving once you have listen to Rossen’s EP. Fingers crossed for a full length album.

In the lead-up to the amazing All Tomorrow’s Parties lineup that is I’ll Be Your Mirror, ATP have uploaded “selected highlights” from Mogwai’s set from the first ever festival, all the way back in 2000.

Not really the same as being there, but well worthy of sitting back and turning up your stereo to an ungodly volume.

Stream away, below.

Hipster-baiting aside though, the new tracks are damn good and see us very much looking forward to the forthcoming record.

Take a listen to “Honeycomb” and “Gotham”, below, where you can also buy the digital single or pre-order the 7″.