In Your Eye

you gotta see this

The Mast

Nuclear Dragon

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“And they’re all made of bronze and stone, all of those dreams. Frozen under the sun, still so alive in me.”

Steadily, organically, Brooklyn-based The Mast have developed into a more philosophically evolved 21st century answer to the sexy-smart, neo-futuristic sound Tricky and Martina Topley-Bird conjured in the mid-90s. But where Maxinquaye and Pre-Millennium Tension succored the sour side of modernity to produce eerily appealing bitter milk, Haleh Gafori and Matt Kilmer draws from older, deeper wells to nurture their creations. Something elemental and abiding floats in their music even as it hums with pinging, chuttering buzz of present times. The duo has a new album – DI is still getting their head around it but will spilling more thoughts soon – called Pleasure Island (check it out here), and this is the first video. DI is once again struck by the winning mixture of intense passion and gliding groove this pair works up, and Haleh’s voice remains one of today’s true siren calls.


The Beatles Go To 11: Tim Carbone's Picks

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The Impound is asking our favorite musicians to pick their eleven favorite Beatles songs in an effort to offer Fab-u-lous insights in our shared love of the greatest rock band of all-time. The latest entry comes from Tim Carbone, a musician DI has no problem describing as ridiculously talented and not a little magic. When Tim is firing on all cylinders – which is most of the time – he not only shines in his own right but works as an inspired catalyst to his fellow players. Put another way, Carbone makes music richer, better and a number of other positive adjectives. The Railroad Earth violinist was one of the first people DI thought of for this series and we’re happy to present a slice of his fertile, wisdom-rich mind.

Railroad Earth’s Tim Carbone’s 11 Favorite Beatles Songs

Tim Carbone by Suzy Perler

Tim Carbone by Suzy Perler

When Dennis asked me to do this I knew it would be hard. As an “uber fan” it seems almost impossible to pick eleven favorite Beatles songs. It might actually be easier to pick my eleven least favorite and then all the rest would be my favorite. I have decided not to put them in order of preference but instead I will put them in chronological order.

I have a very typical “reason why I became a musician” story, especially for a musician my age. I decided I was going to be a musician when I saw The Beatles on the Ed Sullivan Show on February 9th, 1964. I come from a musical family. My parents met while my mom was in a dance band playing at the Roseland Ballroom in NYC for dancers being instructed by my dad. Two of my older brothers were in bands and some of my earliest memories include my brothers and their friends singing “doo wop” on my front porch. But when The Beatles broke into “All My Loving” that night in 1964, my fate was sealed. I turned to my mom and said, “That’s what I want to do!” And so my first choice for my eleven favorite Beatles songs is where it all started…

[Chronological Order]

All My Loving Beatles_Carbone_AllMyLoving

A Paul tune all the way. Concise, crisp with a really strong vocal that bordered on a rasp. I loved it from the first downbeat. Ringo rocking back and forth and George stomping his foot, I was transfixed! Of course, seeing hundreds of girls go berserk may have had a bit to do with it. Ironically, the song would be playing on the sound system in the emergency room when John Lennon was pronounced dead at Roosevelt Hospital on December 8th, 1980, another date that changed my life. (LISTEN)

I’m A Loser

John in his “Dylan” period. John explained, “Part of me thinks I’m a loser and part of me thinks I’m God Almighty.” The record was recorded after coming back from touring America. The album title seems to sum up the time period and so do the album photos. Pretty dark compared to their previous work.


Geek alert! Just a word on the recording of these early albums: In England at this time the vast majority of the record buying public owned and listened to records recorded in mono. Record players that played stereo recordings were expensive and beyond the means of most post-war Brits. As a result the stereo mixes were treated almost as an afterthought. The songs were recorded to 2 and 4 tracks with drums almost always bounced (mixed down) to one track. That meant, most of the time, the drums were either going to be in the left or right channel – makes for an unbalanced listen. More importantly, the only mixes that The Beatles themselves had their hands on were the mono mixes. When they released the mono box-set some years ago I purchased them and it was almost like hearing the songs for the first time. It was remarkable! I’ll be geeking out along the way here so sorry to those who I will inevitably bore. (LISTEN)

I’ll Follow The Sun

Do you have a song you love that immediately puts you in the same mood you were put in the first time you heard it? “I’ll Follow The Sun” is such a song for me. There’s something about the “walking down the street” groove and the pitter patter drum beat that makes me happy-sad every time – a Paul song with a simple form. John and Paul double the short verses with Paul singing the single line verse alone. The bridge is classic with Lennon singing a descending harmony that also gives the song its happy-sad feeling. Love, love this song. (LISTEN)

Norwegian Wood

One of Lennon’s great songs, a thinly veiled reference to an affair he was having. Unusual for a number reasons, it was in 3/4 time, not too common for a rock band, and it also featured the first appearance of the sitar on a Beatles song, perhaps the first ever on a rock record. Paul helped on the middle eight. (LISTEN)

In My Life Beatles_Carbone_InMyLife

When I hear this song my mind rewinds the movie reel of my life and I relive the times and memories with the people I’ve loved and lost. As I get older the list of people this song conjures up to me keeps growing. A powerful song can do that, transport you. It sounds like a collaboration – middle eight has Paul written all over it. The solo sounds like a harpsichord but is actually a piano piece written and played by George Martin and recorded at half speed, thereby sped up on playback making it an octave higher. (LISTEN)

She Said, She Said


A total Lennon song. In fact, Paul doesn’t even play on it. That’s George playing the bass. A very trippy track. It was included in many of my psychedelic soundtracks. “I know what it’s like to be dead.” The story goes that Peter Fonda spit out the line describing a near-death experience he had whilst tripping with John, George and Ringo. It wasn’t the only or last LSD inspired bit of Lennon writing. I love the jangling, semi-distorted guitar figures and the circular drumming. (LISTEN)

Got To Get You Into My Life

This is a highly underrated Paul song. The horns! Close miked, compressed and right in your face! The vocal is so amazing, especially the ad libs at the end. The outro on the mono version is completely different then the stereo version we’re so used to hearing. It goes on about 10 or 15 seconds longer with the trumpet and Paul’s vocal wailing away. (LISTEN)

Good Morning, Good Morning Beatles_Carbone_GoodMorning

An underrated Lennon classic. More overly compressed horns courtesy of Sound Incorporated. I love this song mostly because I’ve always thought the guitar solo was the most ripping on any Beatles record. I played air guitar in front of the mirror in my bedroom when I was a kid a thousand times to it. It wasn’t until I started recording and producing records and studying how these recordings were made that I found out that the guitar solo was performed by Paul! (LISTEN)

Within You Without You

One of the few songs featuring just one Beatle. In this case George. The lyrics are my essential philosophy in life. They are the simple pieces of the puzzle. Thank you, George, for introducing me to this way of life and the music of India that has so moved me and influenced my music and way of thinking. (LISTEN)

Revolution #1


I had the [White Album poster up in my room for two years. I stared at it for clues. Paul, upper left corner. Paul is dead. He blew his mind out in a car. There it was! Turn me on, dead man,, turn me on, dead man. They had practically ceased being a band. They were recording their separate songs many times separately, occasionally on the same day in different parts of Abbey Road. Even their long time engineer Geoff Emerick bailed on them. Ken Scott engineered most of the record. Me and my friends had had it with the Vietnam War, school, parents… Fuck it all! This song was the soundtrack of my life then. The geek point in this song is that the incredibly distorted guitar was achieved by plugging the electric guitar directly into the Redd mixing desk and cascading one overdriven pre-amp into another. Rip your head off guitar tone achieved! (LISTEN)



The first A-Side single for George and what a beauty! My second favorite guitar solo on a Beatles record. It has a tonally uplifting bridge thanks to the modulation from C major to A major, then back. Going to A minor (the relative minor) would have been more conventional. “You’re asking me will my love grow?” A major baby. It makes the song feel like it’s growing. After the discord of the White Album and the disaster that was Let It Be, Abbey Road brought the team back together. Geoff Emerick and George Martin were both back and The Beatles finished their career as a band on a very high note indeed. (LISTEN)

Like I said, all (or most) of The Beatles songs are my favorite and I could write about them all. These are but a small portion of them, the ones that most shaped me as a musician and a person. Thanks, Dennis, for letting me share my thoughts on these songs!

The Free Bird Project


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This shot of Sean Gadd from quintessential grower Grouplove was captured at last year’s BottleRock Festival in Napa, CA by DI super chum Joe Russo. Thought we’d share since the festival recently announced the 2014 lineup, where hopefully more artists will flip off the Impound so sweetly.

Grouplove's Sean Gadd by Joe Russo

Grouplove’s Sean Gadd by Joe Russo

Are you interested in giving Dirty Impound the finger? Are you in a band? Well, we wanna see whatcha you got, cowboys (and cowgirls)! Send us your birdie pics and we’ll add them to our archive and make sure folks know you cared enough to raise a middle finger for rock! Send pictures to

In Your Eye

you gotta see this

The Coup / K.Flay

Long Island Iced Tea, Neat / Rawks

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“We gonna make a masterpiece out of all the mistakes.” – Boots Riley

If one’s perception of modern hip hop is wholly derived from what’s on MTV then you’re missing out. As always, it’s the DIY folks still living on real, paycheck-to-paycheck streets that are cobbling together the most interesting, exciting beat science. To wit, The Coup and K.Flay, who in sound and vision (as evidenced by their latest cool ass videos), are knocking heads in a most alluring way. The layers to what these artists do, the rawness and wild juxtapositions, the swagger and smarts, well, it leaves most of the competition looking slack and silly. Support K.Flay and The Coup and trust DI that your investment in what they do will pay dope dividends.

Baby, You're A Star!

new artists to notice


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”I ain’t got no problem just being where I’m at. Well, I guess I could be somewhere else but I don’t care about that.”

New Album

New Album

“Git Along,” the opening cut from Just One Of Them Nights (released July 30), the damn fine new album from Portland-based Fruition, is akin to hearing “Wagon Wheel” or “The Weight” for the first time – by the chorus you feel some of the heaviness of the Human Condition lifted as one realizes they’ve gained another tool for getting through the bumps and bad turns on life’s road. In fact, the road – literal and metaphorical – figures prominently on Just One Of Them Nights. These are gypsy musician gunslingers, pure highway denizens missing home but never quite at home with a fixed address, a wedding ring, or days spent without a fresh horizon looming through the windshield.

An appealing sense of adventure, including its dangers to heart and limb, infuses Fruition’s music. It comes through loud and clear in their live presence, too, which the Impound saw on exceedingly charming display at this year’s High Sierra Music Festival where the band knocked out folks both in their own sets and their many enthusiastic, attention grabbing sit-ins.



Talent and charisma aren’t things this quintet lacks. Jay Cobb Anderson (vocals, lead guitar, harmonica), Kellen Asebroek (vocals, rhythm guitar, piano), Mimi Naja (vocals, mandolin, guitar, piano), Keith Simon (upright & electric bass), and Tyler Thompson (drums, banjo) are about as gifted, confident and eager to please a bunch of players as you’re likely to find in 2013, but what truly separates them from the herd is their terrific songwriting and empathetic interplay. It would be one thing to offer up emotionally rich, widely appealing ditties but the nuances and overlap of their singing and picking gives everything that lil’ extra nudge that tells one they’re witnessing the gestation of a band that’s gonna be absolutely great one day, a real contender in the long term game that understands that building the right foundation makes all the difference.

It’s not a surprise that they’ve already engendered a fierce following that exceeded the Kickstarter goal that got Just One Of Them Nights made. When one feels close to artists that are a blast to take in AND have some ontological heft too, well, it’s natural to want to fuel them if one really cares about music. This album works from beginning to end, offering real diversity but a DJ-esque sense of build and flow in the sequencing and arrangements, one minute sounding like a new millennial answer to Dan Hicks and His Hot Licks (“Mountain Annie”) and the next rockin’ lustily like Fairport Convention’s youthful U.S. cousins (“Blue Light”).

There’s a lot of forebears one might point to while listening to Just One Of Them Nights but the one that resounds most powerfully for DI is Goose Creek Symphony, where there’s just the right amount twang, unabashed rock ‘n’ rollin’ and mountain lilt blended for something distinctly American in the rootsiest, best sense. Whether offering a ragtime dappled salute to their home base (“Portland Bound”), conjuring “Tonight The Bottle Let Me Down” Merle Haggard (title track) or raising goosebumps with their close harmonies (“Come On, Get In” – someone needs to hip these kids to Lambert, Hendricks & Ross if they aren’t already in the know just to see what a more pronounced jazz influence does to their already meaty stew), Fruition’s latest effort and the band in a broader sense are on the rise. Consider yourselves served notice to wade in now before it gets a lot harder to ride the rail with this kindred spirit to fellow comers Elephant Revival, Dead Winter Carpenters, and The Felice Brothers.

Fruition are currently opening for DI Super Faves Greensky Bluegrass, playing tomorrow night, November 8, at The Fillmore in San Francisco before heading to Los Angeles (11/9), Solano Beach (11/10), Flagstaff, AZ (11/12) and then up to Utah, and Colorado. Check out their full tour schedule HERE.

Give Me Some Skin

Cody Dickinson

North Mississippi Allstars

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Seasick Steve

Seasick Steve

When Seasick Steve gives you some advice it’s best to pay attention. Steve, that ragtag ancient-future bluesman with a beard and untamed pickin’ style to rival the mighty Billy Gibbons, seems to see through shit that fogs up most folks’ windshields. So, when he pulled the North Mississippi Allstars in close for a word they sharpened up. Steve told ‘em, “You are the one, you are the link, you have to keep it primitive and take it to the people.” The band answers this call to arms on the superbly raw, dirt floor ready World Boogie Is Coming (released September 3 on Songs of The South Records and available on iTunes & here).

By turns jubilant and downright nasty, World Boogie Is Coming – a “favorite valediction” of the late, utterly great Jim Dickinson, father of NMA’s Luther & Cody Dickinson – is both steeped in tradition and fired up to break with it, a record that feels as old as horse-drawn carriages and modern as some new upper drug.


Fife & drum sashays with hip-hop-ready beats and sizzurp-y production, all the while teased, spanked and twirled by Luther’s positively lascivious guitar (and other string things) attack. A who’s who of roots and blues musicians throw down including Kenny Brown, Alvin Youngblood Hart, Lightnin’ Malcolm, Duwayne and Garry Burnside, Sid and Steve Selvidge, and legendary longhair Robert Plant, who blows some pretty mean harp.

The whole album speaks to Plant’s notion of being “lashed to the blues,” a calling stronger than mere inclination that’s bound to an electrified landscape of rivers, hills and winding back roads filled with real people living both low ‘n’ lean and high on the hog. World Boogie Is Coming takes them tight ol’ blues and stretches ‘em out with prodding, groping fervor. This feels dangerous, homebrew and straight razors just off-camera, rescuing the blues from their yuppified, sanitized, tidy, white-people-at-a-festival contemporary existence, returning them to a land of dry brush and ice tea where trucks sit up on blocks, hound dogs bark, mosquitoes and cicadas feast, and government men best step lightly less they stumble on a still or a hot plate bubbling Sudafed into something meaner and more profitable. Gimme_Cody_DiscoBall There are good folks here, too – lots of them – but this project is dedicated to un-gussying-up the genre. By reconnecting with the local, poor-as-fuck but alive-as-hell underpinnings and putting them in the same room as 21st century innovations and global-minded awareness of the blues’ presence in places well outside of the American South World Boogie Is Coming lights a beacon for others to gather around and join in keeping this music correct in the most scrumptiously visceral & communal ways.

Cody Dickinson

Cody Dickinson

A big part of the atmosphere here and the NMA’s sound in general is the seductively organic pulse Cody Dickinson generates. It’s so goddamn natural it seems as if the earth is speaking, the rocks and stones transmitting their preferences through Cody’s lanky, giddily pummeling limbs. Weather systems stir in his style, thunder and rain expressing their force and delicacy, and always the man making it happen listening attentively to the players around him as well as the audience taking it in. Cody is sharp as a butcher’s blade, cutting through bullshit to get down to the bone. Put another way, he’s like that insane 100-year-old dude that’s been blowing minds forever in some way, way, way back juke who simultaneously possesses a childlike delight in contemporary rhythm innovations – remember this band cut a Chopped and Screwed EP and their previous few albums showed increasing savvy with up-to-the-minute production techniques. More than any of this wordy flailing, it always seems to DI that Cody is trying to locate the drum inside of others and whack it just right. It’s an admirable mission and one he’s far more successful at than he probably realizes.

Here’s what Cody had to say in the Impound’s drummer survey.

read on for Cody’s answers