From The Desk Of The Dandy Warhols’ Peter Holmström: Modest Mouse

Without a doubt, the Dandy Warhols is a band, a meeting of the Velvet-y minds with Brent DeBoer, Peter Holmström, Zia McCabe and Courtney Taylor-Taylor calling the shots. But drummer-turned-guitarist/singer Taylor-Taylor is its handsome face and baritone voice who pushed the band from graceful poetic garage music (1995’s Dandys Rule OK) to guileless glam (2000’s Thirteen Tales From Urban Bohemia) to sleek-yet-twisted ’80s-ish new wave (2003’s Welcome To The Monkey House). While the rest of the 20th century found the band drifting through three additional like-minded albums, the outfit has grown leaner and meaner with the focused, guitar-centric This Machine (The End). Taylor-Taylor, a ruminative lyricist with a caustic lean, makes the most of this particular Machine moment. He allowed novelist Richard Morgan to write the Dandys’ press notes and found his own icy literary voice in graphic set-in-Germany novel One Model Nation. Taylor-Taylor and his bandmates are also guest editing all week. Read our brand new Q&A with him.

Holmström: Lately, I’ve been fortunate enough to hang out at Isaac Brock’s house while he has been remixing some old records and writing new ones. It’s given me a new appreciation for Modest Mouse. Punk-rock intensity and folky intimacy mixed with some really beautiful playing and topped off with an almost stream-of-conscious vocal delivery make for a very unique sound. I love the way horns and strings get incorporated with banjos and mandolins without it sounding old-timey.