Fred Schneider's going to need a car that seats about 220 to fill up the Funplex with revelers. It's a little scary how little Kate Pierson has aged since she was roaming around the world-- she's about to turn 60 for god's sake-- but otherwise this clip for the title track from the band's first record in forever is goofy fun. 

[from Funplex; out now on Astralwerks]

Image courtesy of the Smithsonian Institution

The latest music blog sensation is a mysterious French woman with a penchant for extreme lo-fi. OK, actually, The New York Times ran a story today about a recording of the human voice made in 1860 (well before Thomas Edison's famous sound experiments) that has just now been made audible. In brief: French inventor Édouard-Léon Scott de Martinville created a device called a phonautogram that converted sound waves into lines on paper; researcher and audio historian David Giovannoni and his team found a way to transform the notation of one of these recordings, of an unknown (likely) woman singing "Au Clair de la Lune", back into sound. The playback sounds like something Philip Jeck excavated from the bottom of a landfill, which is to say, pretty wonderful, if you happen to like noise. The Times has the full story and the track.

MP3/Stream:> "Au Clair de la Lune"

As the intolerably long wait for Tha Carter III gets into (god please let it be) the final weeks, Lil Wayne looks to be showing up with all barrels blazing. The autotune r&b of lead single "Lollipop" and lavish Kanye West production of potential C3 cut "Comfortable" represent the kind of savvy pop moves you'd expect from a guy recently getting airplay for his guest verse on Mario Barrett slow jam "Crying Out For Me (Remix)". Meanwhile, supposed "street" single "A Millie"-- which has been floating around in a couple of different variations but appears here in a version from the mixtape Street Resurrection 4-- gets back to the free-flowing rapping that Weezy has wowed us with in the past.

No guitar solos, no T-Pain-esque vocals, just 808 snare slaps and a droning "a millie, a millie" hook: That's "A Millie", as in, "a Young Money millionaire". The DJs drown out bits of Wayne's wordplay, some of which may have appeared in a previous freestyle, but admirers of Da Drought 3's hyperlinking lyrical jumps should enjoy the way Wayne big-ups both the almighty dollar and Allah, or invokes everything from "Party Like a Rockstar" and Andre 3000's relationship with Erykah Badu to, somewhat randomly, Gwen Stefani. "I don't owe you like two vowels," quoth the "no homo" homophone fan. Mr. Strapped Condoms even refers to himself as a venereal disease. The haters are already foaming at the mouth, but the rest of us know better than to rush the flow.

MP3:> Lil Wayne: "A Millie"
[Tha Carter III is due 05/13/08 on Cash Money/Universal/Young Money]

The Game would like you to know that he was in jail, and he's getting out. Four walls apparently couldn't contain the West Coast rapper's Cool & Dre-produced "Big Dreams", and really, "free as a bird" makes a lot more sense in this context than in that lackluster Beatles reunion song (Lennon was dead! You call that free?). Expected to appear on Game's upcoming third album, L.A.X., this track finds Jayceon Terrell Taylor continuing to gruffly, none-too-subtly set himself up as the heir to his mentor Dr. Dre, even as he also sets his sights on East Coaster Jay-Z: "I done rocked enough fellas to be you, Jigga." Big dreams, indeed, but this is the guy behind Doctor's Advocate and The Documentary, so, y'know.

Soulful female vocal samples jostle with wobbly synths and some totally literal sound effects (a V12 roaring, dogs barking), leaving Game plenty of room for good-enough boasts about murder-- "I kill tracks like AIDS" barely even makes sense, but it's funnier than last week's entire "South Park" episode-- and drug dealing-- "Lunchtime I was selling behind the bungalows"-- plus some much more interesting shit about Ellen DeGeneres, blood diamonds, and Michael Vick. Oh, and Jah Rule, Fat Joe, 50 Cent, Lil Wayne? Game's got one word for you: "Compton!" Still, the "big money, big pimping, big dreams" chorus doesn't quite live up to its triumphant horn blares. Taylor's still the weird, raspy, endlessly name-dropping rapper you know from his previous work, but "Big Dreams" could use some of those album's expensively fashioned hooks to help keep its dreams firmly in mind after the track ends, instead of just slip-sliding away.

[from the "Big Dreams" single; out now on Geffen/Interscope]

As Pitchfork reported at the end of February, North Carolina's Annuals are putting out a somewhat unusual split-EP called Wet Zoo with themselves. The news story explains how that works, and the record is due April 1. "Sore", the first track on the release, is an intriguing introduction to the set, as it moves from a hushed, Sufjan-like opening to highly emotive crescendos slathered in strings. Sounds like they're thinking big, and it suits them.

MP3:> Annuals: "Sore"
[from the Wet Zoo EP; due 04/01/08 on Canvasback]

The M's, as fine a purveyor of vintage British glam-pop as any Midwestern band, have enjoyed a slow but confident climb. After their fine debut and finer follow-up, Future Women, the third album has some expectations to face-- and, surprisingly, the band is playing it coy. A keyboard squiggle and healthy dose of damp distortion kick off "Big Sound" in a manner not unlike Blur's "Bugman" (replete with some falsetto "la-la-la's" later), though the eighth-note piano hammering and horn section point back towards the era they're aiming for. But for better or for worse, those are the clearest instruments in an intentionally murky mix; the vocals are lost in echo, the guitars are an overdriven open-handed slap rather than the punch of earlier records. The lyrics mention flashes of lightning and bass that shakes the ground, but the band's swagger is coming from somewhere more inscrutable-- it sounds like it was assembled from junkyard scraps, not pointy guitars and high heels. The expectedly excellent drumming teases a low-end attack that never comes, waving a big stick without ever quite using it, and what sounds blown-out and thin at first slowly takes on an ominous tone. Budget Fridmann-style production may not be the most adventurous choice they could have made, but it's working nonetheless.

MP3:> The M's: "Big Sound"
[from Real Close Ones; due 06/17/08 on Polyvinyl]

Greg Dulli and Mark Lanegan perform this track from Saturnalia in a tinsel-curtained nightclub complete with a dancing girl, a scene out of David Lynch's dreams. And then, inexplicably, the action moves to what appears to be New Orleans and we see a dude pop-and-locking in a cemetery for no good reason at all.

[from Saturnalia; out now on Sub Pop]

The Danish duo the Raveonttes, who are now based in New York, took a trip to Midtown to the Ed Sullivan Theater to perform Lust Lust Lust's "Aly, Walk With Me" on Letterman.

Lust Lust Lust is out now in the UK on Fierce Panda and in the U.S. on Vice]