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The Blood Feud Family Singers and Travis James & The AAA stream “Cover Your Tracks”


Jeff Schaer-Moses Photography
Travis James & the Acrimonious Assembly of Arsonists at The Trunk Space in Summer of 2014

Travis James of Travis James & the Acrimonious Assembly of Arsonists has always sung loudly the praises of his fellow Phoenix folk punk Daryl Scherrer, and the adoration has always been mutual, a fact held most evident by the frequency with which Scherrer’s The Blood Feud Family Singers pop up on Acrimonious Assembly of Arsonist shows. Of course, the two bands do compliment each other very well, but this musical te ta tet goes deeper than just two bands who sound good one after the other.

Scherrer and James are kindred spirits musically who both come at the art of making folk-punk from a highly romantic standpoint and idolize their musical creations above all others. That’s not said to call them cocky men, or say they are full of themselves, however one of them did release a 30-song record about his divorce entitled Crapheart and the other literally named his band after himself, but I say it more to illuminate the passion which goes into every song they write, even more so the ones they choose to release, and in this case the ones they have chosen to cover.

On January. 17 the two bands released Cover Your Tracks a two-song split EP where TJAAA covered The Blood Feud Family Singers folk-noir masterpiece “Let Me Down and Lay Me Down.” While Scherrer and his BFFS took a swing at James’s high energy punk rock – show tune “Everybody Dies (The Night I Almost Died) of James’ 2014 full-length Overdressed and Under Arrest.

Of The Blood Feud Family Singers handling of his track, James said: “it’s like, how my writing brain works but slowed down and broken up for all the elements to shine.” While Scherrer said, “I often forgot that you, not I, wrote it. In those moments where I forgot it wasn’t my song, I was very proud of what a good song I’d written. And then I’d remember, with a certain amount of disappointment, that I didn’t write it, and I’d think, ‘Well, dammit. Good job, Travis.’”

The EP is on Bandcamp for the low price of free and streaming below.

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Australian radio station Triple J releases Like a Version covers album featuring Bon Iver, Tame Impala, and more


Photo of Tame Impala by Philip Cosores

Thanks to its Like a Version segment, Australia’s Triple J radio station has gifted us with oodles of amazing covers from a diverse range of artists. Aussies have been able to revisit those covers time and again due to the station’s various compilations, and now American listeners will be given that same opportunity via Triple J’s first North American compilation.

Due out September 22nd, the compilation is comprised of 21 covers the station has amassed over the last several years. On it, you’ll be able to hear Ben Folds cover The Postal Service’s “Such Great Heights”; Bon Iver tackle “Coming Down” by Anais Mitchell; and Mark Ronson offer his own unique spin on Queens of the Stone Age’s “I Sat By the Ocean”. Other featured artists include Tame Impala, CHVRCHES, Mumford and Sons, James Vincent McMorrow, and The Jezabels. See the full tracklist and cover art below.

Below, stream two of the compilation’s tracks. The first is Tame Impala’s maximalist take on Kylie Minogue’s “Confide in Me”, while the second finds CHVRCHES offering an earnest rendition of the Arctic Monkeys’ “Do I Wanna Know”.

Like a Version Artwork:

unnamed 30 Australian radio station Triple J releases Like a Version covers album featuring Bon Iver, Tame Impala, and more

Like a Version Tracklist:
01. Tame Impala – “Confide in Me” (Kylie Minogue)
02. Flume – “My Boo” (Ghost Town DJs)
03. Mark Ronson – “I Sat By the Ocean” (Queens of the Stone Age)
04. CHVRCHES – “Do I Wanna Know” (Arctic Monkeys)
05. Chet Faker – “(Lover) You Don’t Treat Me No Good” (Sonia Dada)
06. Ben Folds – “Such Great Heights” (The Postal Service)
07. John Butler Trio – “Happy” (Pharrell Williams)
08. Meg Mac – “Bridges” (Broods)
09. Bon Iver – “Coming Down” (Anaiis Mitchell)
10. Mumford & Sons – “Unfinished Business” (White Lies)
11. Boy & Bear – “Back to Black” (Amy Winehouse)
12. Cub Sport – “Ultralight Beam” (Kanye West)
13. Broods – “One Dance” (Drake)
14. Robert DeLong – “The Mother We Share” (Chvrches)
15. James Vincent McMorrow – “West Coast” (Lana Del Rey)
16. San Cisco – “Get Lucky” (Daft Punk)
17. DMA’s – “Believe” (Cher)
18. City & Color – “Settle Down” (Kimbra)
19. The Jezabels – “Don’t Stop Believing” (Journey)
20. Ásgeir – “Stolen Dance” (Milky Chance)
21. Catfish & The Bottlemen – “Read My Mind” (The Killers)



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The 13 Scariest Cover Songs


Feature Image by Virginia McCarthy and Cap Blackard

Cover Girl is a monthly music column in which Associate Editor Nina Corcoran compares cover songs to their original version. To celebrate Friday the 13th, this month’s column highlights 13 cover songs that give us the spooks, either from their lyrics or their musical arrangements.

As the world keeps turning and so does everything with it, the descriptors we use to better understand what surrounds us shift. What does it mean to be scared? What makes something scary? Well, if you look at the last few years, quite a lot. We’ve transitioned from horror films about vampires and zombies to ones about a children’s pop-up book and vaginal teeth. Songs about death frighten just as much as songs about fear of loss. What scares us no longer stems from direct, obvious imagery but rather the potential for it to arise, to appear before us, or to be taken away.

Music changes in a similar fashion. Serial killer stories make just as good of lyrical fodder as a desire to perform said acts, even if never followed through. Creeping ’80s synths set the mood as much as deadpan pop punk can. When a musician has their eyes set on a mood, they see to it, creating tracks that wrap themselves up in a mist and leave much to the imagination — especially when writing dark material.

To honor Friday the 13th, take a stroll through some of the scariest cover songs in music history. Artists know how to write bone-chilling lyrics or set the mood with eerie instrumentals. Other musicians know how to take those two facets, wrap them in ways they see fit, and offer up a rendition that turns an already eerie song into one that’s far more unsettling than anyone could have predicted. After all, what’s scarier than being surprised?

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