SOUND BITES

Upon reviewing Dead Sara's second album, 2015's Pleasure to Meet You , I talked about how their pending major label contract had fallen through, and how it may have been a blessing in disguise because we got a raw, powerful, uncompromising and amazing record. Well, here we are again; Dead Sara has another shot at major label success, only this time there seems to be concessions all over the place. First off, this is a mere six song EP (and, from the looks of it, not the precursor to a new full-length); it's over and out in just over 20 minutes. After a wait of more than three years, it's a pretty slight offering. That said, this seems to be the way a lot of new major label artists are being promoted these days, so I suppose this is what we get. I also feel like I have to mention the band and/or label's refusal to release it on CD, so old guys like me can't even put on the shelf next to the others. Next, there's the matter of the music; far be it for ...

Typically a chance to take a breather from the year that had just passed and resolve to get through the winter while looking forward to some great albums in the spring, 2015 bucked that trend in grand fashion. From established artists releasing highly anticipated albums that met or exceeded expectations to hungry new artists looking to make their mark, the first quarter of 2015 provided an abnormally high amount of quality songs and albums. The tone was also set early with female-fronted projects that hit with force and built momentum for women in rock that carried through the rest of the year (I wrote about that here in April). The first batch of Song of the Year nominees are:

Wherein the author cops to being kind of a music sexist (but don't worry, rehab is going great).

It was all going so well. After years of toiling in relative anonymity before finally getting some overdue attention (thanks to a rapidly developing, highly charged live show, the howling single Weatherman and one of the flat-out best albums of 2012), Dead Sara were poised to break through. They signed a contract with Epic and saw their profile continue to rise in the form of bigger and bigger show bookings. When it was time to put their major label debut to tape, they had all the confidence in the world and a lot more playing experience and chemistry. That's the most notable change from the previous record to this one; the songs are fleshed out and tighter, incorporating tonal shifts and additional instrumentation. You'd never have dreamed you'd hear a saxophone bleating on a Dead Sara song until now, but there it is in the middle of white-hot rager L.A. City Slum . See also the sludgy breakdown that's punctuated with harmonica at the end of Mr. Mr . The band clearly...

As much fun as it is watching a band grow and evolve over the years and through their assorted projects, sometimes it's nice to see them take a step back, shrug their shoulders and try walking in someone else's shoes for four minutes. Whether it's a faithful reconstruction or a sonically shapeshifted alternate vision, it's always fun to hear what an artist can do with a song that's not theirs. Here are ten artists whose interpretations of familiar songs got the biggest smiles from me in 2013:

DEAD SARA Weatherman From: Dead Sara Released: April 10 I made a pretty big deal out of Dead Sara early this year, commenting that they were poised to own the year; that it didn't happen is enough to make me reconsider any shred of trust I may have inadvertently placed in the public. Regardless, their time will come; there is simply too much raw talent on display, especially during their live shows. As long as they can avoid the temptation to Paramore it up, they'll have a rabid supporter in me. If they do Paramore it up, don't be surprised if I shut this place down for good.

Upon compiling my list of nominees for Year in Rock, I always come across a handful of bands I'd somehow missed the boat on from earlier in the year, hurriedly familiarize myself with said bands and, in some cases, throw them into an open spot on the list.  Sometimes, that throw-in turns out being the band I go beyond merely liking and fall ass over teakettle in love with.  It happened most memorably with Mastodon in 2004; I picked up Leviathan on a whim and ended up rethinking metal's entire hierarchy.  The reason I tell you this is because in October, I fell ass over teakettle in love with Dead Sara. So, how the hell did they not make the cut for Year in Rock 2011?