(BTW, the "blue" and "green" spirals are in fact the same color!)

Discovery - “It's Not My Fault (It's My Fault)” Discovery's debut album, LP, initially appears to be a masterpiece. Its surges, snaps and blips press all my juicy summer buttons, recalling Len, Miracle Fortress and (inevitably) Daft Punk's Discovery. But this enchanted team-up between Vampire Weekend's secret genius Rostam Batmanglij and Ra Ra Riot's Wes Miles is utterly undone by Miles's vocals. Many songs wither under repeated listens, or in some cases even under first listens - because while Miles at different times recalls everyone from Harry Nilsson to Antony to to Kevin Barnes (Of Montreal) to Ben Gibbard (Death Cab For Cutie), he always sounds like a twerp. A song like “I Wanna Be Your Boyfriend” is an R&B pop marvel - that loses every bit of sizzle in its anemic verses. I'm certain this is an issue of choice, not of talent, but it's a fatal misstep. Irony does not trump sincerity, here. (See: R. Kelly.) Discovery's delicious, AutoTune-strewn cover of the Jackson Five's “I Want You Back” becomes nearly unlistenable as MJ's liberated sing is replaced with Miles's nerd croon. I become physically sad when I imagine what these jubilant chemical productions could be, with someone else's voice on top - imagine Jay-Z, Bjork, Sam Cooke, Jay Reatard surfing these songs' lead edges, all strut and bling. (And as much as I like Ezra Koenig within the context of Vampire Weekend, he is not the answer.)

Nevertheless, rejoice!, rejoice!, on "It's Not My Fault", the song works, the whole song works - dancefloor-smooved, with kevlar snaps and testtube bells. Miles (allegedly sharing vocals with Batmanglij) sand your edges, clear your heart for debris, leave you soapstone-smooth and ready for the June-time glitter. The song's wry, faux-frustration reminds me of a series of cold drinks on a hot terrasse, julep after julep, and every time my girlfriend brings me another I just spill it out on the sidewalk, watch the caterpillars crawl across the icecubes.

[website/MySpace - write and hire them for your mega-major-label hip-hop/pop/r&b project, to make me happy]

Michael SchmellingSonic Youth’s current tour in support of The Eternal has predictably yielded a lot of interviews with various band members. The Quietus scores face time with all save drummer Steve Shelley, while The Detroit Free Press talks only to Shelley. Spinner chats with Lee Ranaldo and Kim Gordon while Time Out Chicago, The Chicago Tribune and Paste each have interviews with Thurston Moore. I could only be called a casual SY fan at best, but The Eternal does continue their late-career streak of releasing albums that I am quite enjoying, balancing their noisier, experimental excursions with more structured songcraft.

The Pernice Brothers website has some more information on the promotional activities – namely combination solo acoustic show and book reading – that will surround the release of Joe’s new novel It Feels So Good When I Stop, and the accompanying soundtrack/covers album of the same name, both out the week of August 4. The most exciting part of the update is the part that says, “we will add a Toronto date at some point”, thus finally making me shut up about the fact that despite Joe’s having lived here for many years now, he’s played live here almost not at all. I guess they’re just working out the intense logistical difficulties of getting him to walk from his house to a venue – any venue – with a guitar. Streetcars may have to be involved.

Pitchfork has an interview with Phoenix frontman Thomas Mars while Minnesota Public Radio welcomed the band to their studios for a session. There’s also feature pieces at The Denver Daily News, PopMatters and The San Francisco Examiner. Apparently they’ve been wowing everyone on this tour just as much as they did in Toronto. Good for them.

Arcade Fire frontman Win Butler tells NME that the band have begun work on their next album.

Decider talks to Michael Benjamin Lerner of Telekinesis.

Also at PFTV – Dinosaur Jr’s set from last year’s Pitchfork Festival. They’re at the Phoenix on September 30.

Filter has posted online their recent feature piece on Antony & The Johnsons. They’re releasing a double a-side single on August 4, one of which will be a Beyonce cover. Details at Exclaim.

Same Same talks to Patrick Wolf.

The Octopus Project – “Wet Gold” From the Austin band’s forthcoming Golden Beds EP, out 7/14 on Peek-A-Boo.

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Stream Wilco (The Album) in its entirety at NPR