Years after his departure from the Moldy Peaches, Adam Green has hit his stride. The New York singer-songwritter has evolved into a smooth blues singer backed by a Memphis-influenced ensemble, complete with backup singers and former Moldy Peaches bassist Steven Mertans. Armed with wacky lyrics and killer dance moves, Green lays down four new tunes from his latest, 'Sixes and Sevens.'

Green also came through by delivering a signature outlandish interview where he speaks about his helicopter ride to the studio and his gambling problem. He also shares about his fishing and playing Parcheesi in his downtime. Watch Adam Green work his magic on the Interface.

Clever lyrics, loud rock 'n' roll riffs and more hooks than the outskirts of Times Square in the '80s -- the Hold Steady are back. This week, the Brooklynites by way of Minneapolis will unveil their fourth album, called 'Stay Positive,' which evokes the feel of DIY hardcore of yesterday. "I think the record in general is about the struggle to age gracefully, which in rock 'n' roll is an especially tricky business," singer Craig Finn tells Spinner.

The group dubbed "the world's greatest bar band" proves that as its members head into their late '30s, they've still got their chops as they drop five tunes from 'Stay Positive,' feeling that it's their best work to date. Watch the Hold Steady do what they do best as well as talk about their favorite baseball films and lyrics.

Independence day is a perfect time to reflect upon the independent-minded artists that the Interface has showcased. So far in 2008, the show has played host to soul queens on both sides of the pond with Brooklyn's Sharon Jones and England's Adele, all the way to the Southern sounds of the Drive-By Truckers.

We've compiled a special addition of the Interface with a special podcast, making the perfect soundtrack for your holiday. Next week the show will resume it's regularly scheduled programming with the World's greatest bar band, the Hold Steady.

Norwegian electronic dance duo Datarock -- Fredrik Saroea and Ketil Mosnes -- and their bright red tracktsuits recently stopped by the Interface, asserting first and foremost that the band is a combination of "the best parts of A-ha and the worst parts of Devo."

Amidst a bevy of jokes and jabs, the duo shoveled out performances of 'Fa Fa Fa' and 'Computer Camp Love' (replete with 'Grease' references), among others, off their self-titled album.

Catch all of the performances and the interview -- which finds Saroea and Mosnes discussing just what those tracksuits are made of (hint: it ain't all cotton), what influence 'ET' had on their career and why they make folks faint -- after the jump.

Jamie Lidell, techno's own soulman, has made a name for himself cooking up elaborate beats on his homemade software. His dynamic one-man improvised live shows have been a must-see since 2006. But now Lidell 2.0 makes his triumphant return to the Interface, armed with a full band to put a twist on his feel-good tunes. The smooth crooner let loose three new songs from 'Jim' and took us back with a live-band rendition of his melancholy number 'Game of Fools.'

"It's more fat-free, it's more vitamin-enriched, it's full of sonic goodness, and it can contribute to weight loss," Lidell tells Spinner about the theme of his latest album, 'Jim.' Lidell gives his all and even takes a dive during 'Another Day' for the sake of entertainment. He also made it clear that he is now at peace with James Blunt for stealing his album art. Watch the beat-boxin' bloke from Berlin do his thing on the Interface.

Back in 2006, during his first visit to the Interface, eccentric singer and musician Jamie Lidell revealed to us his James Blunt conspiracy theory. "Do you think that James Blunt is copying me?" he asked, deadpan. He was, of course, referring to James Blunt's CD cover for 'Back to Bedlam,' which looks strikingly similar to Lidell's own album art for 'Multiply,' which was released the very same day in 2005.

Back with this year's critically adored 'Jim,' Lidell once again finds himself back at Spinner's Interface and back talking about his fellow Brit, Mr. 'Beautiful' himself. And this time, he's telling him to back off. Witness:

Last time you were on the Interface, you expressed your concerns about James Blunt stealing your album art. Have you had any run-ins?

I haven't. I mean, I found it a bit scandalous. What I was hoping, of course, is that I might sell a few more copies sneakily -- a few mistaken Blunt purchases, but that never seemed to happen. So, there must have been enough of a contrast between the two album covers.

I still think he's a little bit sneaky. He's just a little bit sneaky. And I was kind of curious because his album came out before mine this time. He had gone for something completely different, you know. I think mine's vastly superior, again; sorry James, but respect, good try. I know you've sold millions of records. I've sold enough. I've sold plenty, and you can't do any kind of Chilean foot moves, so just, you know, respect.

I know you're in the army and everything and I'm not going to pick a fight, but just stay off me artwork, all right? That's all. Get your own ideas. Get your own pens. I'm sure you could afford them. He's a lovely man. I wish him all the best, and I hope he wishes me the best. Do you James?

The Old 97's, once a humble bar band from Texas, have contributed seven albums innovatively fusing Britpop, classic country and indie rock. Their unique combination of styles have often being credited as a huge influence on the alt-country genre. "The Old 97's have been lumped in with alt-country since that became a term for it, but there's been times when it really bothered me," frontman Rhett Miller tells Spinner. "It was just so reductive. I loved it all the Hank stuff, and the Willie stuff -- but then there's so much of the newer country that really gives it a bad name, and that's why people say that, and I understand that." Miller tells Spinner.

After a four-year hiatus and a few solo records from Miller, the band is back in full swing. The 97's rock three new tunes, including a flashback treat, 'Barrier Reef,' from 'Too Far to Care.' Miller sums up his reunited group's latest album, 'Blame It On Gravity,' thusly: "It's the kitchen sink, and it's delivered with as much feeling, heart, honesty and real energy as we could muster. And even though we're getting a little long in the tooth now, I feel like we still got a lot of energy left." The Old 97's prove that to be the case on the Interface.