Press Play, Record

New Website Alert!

2009-07-29T17:59:00.002-05:00

You Can't Put Your Arms Around an Mp3.

Coming August 3, 2009!

Death and Rebirth

2009-04-10T17:28:00.002-05:00

I have an announcement to make:

My life has experienced quite a number of changes over the last few months. Some are drastic, some are tragic; all of them have had a profound impact on my life. I am not the same person I was a year ago; heck, I'm not the same person I was two months ago. I see life in a different way now; things that once meant a lot to me, they don't hold quite the same excitement and enthusiasm.

That's the case with this particular website. There's a reason I've not updated in quite some time, and part of it has to do with a general unhappiness with the whole concept of what this website was. It started off as an interview-only website, but then it wasn't. The reasons for that, we won't go into. But suffice to say, my affections for what I was doing here have changed. It wasn't intentional; these things just happen.

So that's why I've decided to retire this site. Seems like it's already passed, honestly.

But today's Good Friday, and with the tragedy of the day comes the hope of tomorrow. Apt, this day, because I have not stopped writing. In fact, I just created a brand new site, with a different focus, a different state of mind, and one that represents the common theme that has prevailed through PPR and Mundane Sounds: my profound love of music. This website will go live on Monday, May 4, 2009, and I will announce it that day, and will hope to see you there!I'm excited about it, and I hope you join me for it. It's a different sort of thing, and I think you will like what I am doing.

So please check back here on Monday, May 4, 2009, and I hope you have a wonderful Easter weekend. Thank you for investing your time with me over the past decade. Has it really been that long?

Love,
Joseph Kyle
Editor, Press Play & Record

2009-03-09T19:42:00.003-05:00

things are in flux right now...check back regularly for more information as it develops...

2009-02-16T17:52:00.001-06:00

PPR is on hiatus until March 2, 2009, as Joseph is dealing with the loss of his mother. Updates will return at that time.

Robbie Fulks 13 Hillbilly Greats

2009-02-06T06:00:00.000-06:00

Recording a record of covers is always a hit-or-miss, but Robbie Fulks really did it right. His 2001 album, 13 Hillbilly Giants, is, as you would imagine, a baker's dozen of mostly obscure songs from Hillbilly and Country & Western artists. Recorded in a slapdash two-day session with Steve Albini, this record is as fresh and as vibrant as many of the original versions. The songs run the gamut, too; some songs are about drinking, about not drinking because of paternal responsibilities, loving one's wife; one song, "Knot Hole," is an ode to the joy of voyeurism! Then there's "Jeannie's Afraid of the Dark," an utterly depressing and totally obscure weepie about a dead child, written by Dolly Parton. I'm also fond of "Family Man," a minor hit for Frankie Miller, about not being a carouser because there are babies at home. It's a nice sentiment, and Fulks has me convinced that it's his song. That's when you know a cover is effective; if you make the listener feel the words deep inside. Good show, sir, good show!

Listen To: Family Man

13 Hillbilly Giants was released with love back in 2001 by Bloodshot Records

Bon Iver Blood Bank

2009-02-05T06:00:00.001-06:00

I'm probably the only person in the world who didn't find Bon Iver's debut For Emma, Forever Ago that impressive. I didn't understand what the fuss was about; I thought the story of Justin Vernon's writing of it wasn't that mythic, especially when the story started to eclipse the actual content of the record. Rule of thumb: details of a creation should never outweigh the finished product. A nice story doth not true talent make.

But I'm a fair individual, and I must admit that my interest was subsequently piqued having heard the title track from the new EP, Blood Bank. It's a pretty interesting country-rocker that doesn't actually rock, but that's okay; it's still a catchy number, and Vernon's singing is both strong and engaging. It's a natural progression, especially since Bon Iver is now a BAND. The next song, "Beach Baby," isn't a cover of First Class, but it is a first class downbeat folk number, even if it fades out too early. "Babys" is minimalist piano playing one chord with some really gorgeous falsetto-ish singing. I like it. A lot. "Woods" is a vocoder-laden acappella song, and it's utterly beautiful; he goes all Beach Boys towards the end, and I'm like WOW, this is amazing stuff!

So for those skeptics about the hype around their debut, Blood Bank is a wonderful little record that shows there's a real talent to be found here. Cynicism be damned.

Listen To: "Blood Bank"

Blood Bank is available now on Jagjaguwar

The International Jetsetters Heart is Black

2009-02-04T06:00:00.000-06:00

Say "featuring a member of Jesus and Mary Chain" and you'll pique my interest. Though they may be far gone and away (okay, reunion was two years ago, where's that album if they're 'back'?), they were one of the best bands of the late 20th Century, and I'm going to give the time of day to any project that carries that aforementioned tag. International Jetsetters may not feature a founding JaMC member, Loz Colbert is a collaborator, and vocalist Fi McFall sang with them once--and even this tenuous connection is enough for me!

The comparisons really end there, though; on their debut Heart is Black, the five-piece explores a sound that is dark yet poppy, mellow yet oddly metaphysical. McFall has a beautiful voice, and Mark Crozer does, too; the splitting of vocal duties keeps the music interesting. "Inside Out" and "Inside Yourself" split the difference between bliss-pop and more traditional rock. The rest of the EP is a much mellower affair; the songs are beautiful in a Mazzy Star kind of way. Two versions of "Never Slows Down" appear here; a demo version that features Crozer on vocals, and a full-band version featuring McFall. Both are brilliant, and both are beautiful. I'm also love "Heart is Black," with Crozer sounding both menacing and melancholic. Even though the world may be overwhelmed with too many bands, International Jetsetters are definitely a necessity for this crazy world of ours.

It goes without saying, then, that I'm eagerly awaiting their full-length debut.

Listen To: Inside Out

Heart is Black is out now on Planting Seeds Records

The Brethren of the Free Spirit The Wolf Also Shall Dwell with the Lamb

2009-02-03T06:00:00.000-06:00

Brethren of the Free Spirit is the duo of instrumentalists James Blackshaw and Jozef an Wissem--two men known for making ancient melodies sound positively futuristic. Okay, so I hadn't heard of van Wissem until this record, but the man built and plays a custom-made Lute, so the assumption is made on solid evidence. Anyway, their debut record, The Wolf Also Shall Dwell with the Lamb, is a collection of four gorgeous, heavenly instrumentals. At times the music is rustic, while other times the music is minimalist, if you're familiar with Blackshaw's work, then you know to expect beautiful experimental guitar picking. There's really no way to further describe this record, unless you want some sort of ethnomusicologist explanation--which I find interesting in general but boring in describing specific records. More important to me is the feel of the music--and I feel utterly relaxed by this record. This is some of the prettiest music I've heard this year.

Listen To:Into the Dust of the Earth

The Wolf Also Shall Dwell with the Lamb is available now on Important Records

Kingsbury Lie to Me EP

2009-02-02T06:00:00.000-06:00

"It ain't bragging if you can do it," they say. When you get an email from a band that states, "The difference between us and other bands is that we're actually good," it's hard to take them seriously. I admire the cheek, but at the same time, I've heard many a crap band say that exact same thing. Boredom prompted me to take the band Kingsbury up on downloading their EP Lie to Me after they issued the above challenge...and I have to say, they most certainly weren't lying to me when they said they were good!

Lie to Me reminds me of Mute Records--the Mute Records that releases records by Nick Cave, and that released records by Crime and the City Solution, Anita Lane, Mick Harvey, and Barry Adamson. If you're following the drift, Kingsbury reminds me a lot of Nick Cave...except the singing. The music is an interesting combination of slow, sad music--like the Rachel's--and the mellower, melancholic tones of the aforementioned Mr. Cave and his Bad Seeds. They sound like they could have been associated with him in the 1980s and early 1990s. Though it starts with a haunting instrumental, "Armada," the music picks up significantly after that, though the pulse rate never rises above 100. It's all haunting and dark, but in a way that is totally their own.

But overall, Lie to Me is a contemplative listen; I know little about the band other than their moxie and that this EP is available entirely for free at their website. Check it out!

Listen To:"Lie to Me"

I'm still here!

2008-12-31T16:35:00.001-06:00

New changes coming in 2009, a happy new year to you, and thank you for reading in 2008!

DM Stith Curtain Speech

2008-12-15T09:25:00.003-06:00

Having heard the lovely and subtle "Around the Lion Legs," I felt compelled to purchase this extremely inexpensive EP from DM Stith, a record that has quickly become a favorite. David Stith has a voice that's vulnerable yet mysterious, and though comparisons will be made to Nick Drake (ugh), his style is much darker than that; he's aided by several friends with big reputations, though their influence on his sound is minimal. There are three big tracks here, with two shorter bits in between. The big one here is "Just Once," a large, grandiose yet humble seven minute epic. The rest of the songs are all darker folk, with guitar picking that reminds me of James Blackshire and a sound that's very reminiscent of This Mortal Coil. "Hoarse Sorrows and the Whole Blind Earth..." has some wonderful whistling and a sad feel to it; it sounds like the closing scene to a melancholy Bergman film.

Something tells me this guy is going to be BIG in 2009. I hope so! Curtain Speech is a lovely little introduction to a very talented young man. Hope so! I like this little record.

Listen To: "Just Once"

Just Once is available now on Asthmatic Kitty

Odetta: Requiescat in Pace

2008-12-03T12:16:00.004-06:00

Eternal rest grant unto them, O Lord, and let perpetual light shine upon them. May the souls of the faithful departed, through the mercy of God, rest in peace. Amen.

Listen To: "Waltzing Me All the Way Home" (from The 6ths' Hyacinths and Thistles)

Desolation Wilderness White Light Strobing

2008-12-03T08:02:00.002-06:00

My first taste of Desolation Wilderness was their 3-song single, Until Forever. I didn't say it in the review, but I made a mental note to make sure and get a copy of that "forthcoming K album." Well, that album's here now, and I have to say that it's a stunner that quite easily outshines that EP.

Okay, so that previous review pretty much holds true for White Light Strobing, except expanded. The hazy atmosphere is stil there, but the atmosphere is much less amorphous, while the songwriting is much more lucid. Occasionally, such as on "Forget Everything" or "Horizon Star," the record sounds as if it were recorded in a cathedral. Desolation Wilderness's lackadasical style reminds me of Galaxie 500; haze and muffled lyrics mixing together to create a sound that's both warm and cold. Honestly, I hadn't quite expected this direction for the full-length, but I'm certainly not disappointed by it. To me, it's the little things that make me like White Light Strobing so much; the gentle, hushed slide guitar in "Jupiter" is charming, the laid-back country strumming of "Road Song" makes me feel like I'm moseying down a dusty Western road, and the closing "USA Highway" is simply sublime in almost every way.

White Light Strobing is sublime; it reveals its beauty over repeated listens. It's certainly one of the prettiest records I've heard this year.

Listen To: Road Song

White Light Strobing is available now on K Records

Jonquil Whistle Low

2008-12-02T07:45:00.001-06:00

I recently stumbled upon Oxford's Jonquil's newest EP, Whistle Low. This seven-song EP has really made my day, because its vibe is just so darn sunny and bright. And I do apologize for having to make the comparison, but their music has a rustic, harmonic vibe not unlike Animal Collective. (Thankfully, I don't think Jonquil derive much of anything from AC; I simply see a similar melodic style.)

But, really, who cares about what other bands Jonquil might sound like? I enjoy Whistle Low for what it has to offer: quiet, somewhat pastoral experimental folk with a hint of "pop" like XTC used to do. Just check out "The Weight of Lying on your Back" and tell me otherwise! Their experimental side comes out on "Water is Yours," a gorgeous instrumental that reminds me a bit of Stars of the Lid or Hammock. But the overall downhome, humble vibe found on "Parasol" and "Night Time Story" reminds me most of Paul McCartney's first two solo albums, McCartney and Ram--experimental, yet poppy; beautiful, yet unrefined. Yeah, yeah, there I go again, but the point is this: Jonquil deserves consideration in such a pantheon, because, well, Whistle Low is a wonderful--and wonderfully diverse--record. I do hope to hear more from this group; something tells me I shant be disappointed!

Listen To: "The Weight of Lying On Your Back"

Whistle Low is available now on Acuarela Discos

Zak Riles Zak Riles

2008-12-01T09:31:00.002-06:00

Last review, I talked about Grails's excellent mini-album, Take Refuge in Clean Living. I mentioned its mellowness, and one of you fine readers informed me that if I liked that record, then i simply must check out the solo album by Zak Riles. I would like to extend a gracious "thank you" to the person who told me that, because this solo record is a nice compendium to Grails' heavier side. For his solo work, Riles mainly eschews the heavier side of Grails, focusing on the softer side. Don’t think it’s less dark because it’s easier on the ears; Riles can still conjure up a disturbing, dark atmosphere—he just uses different methods. Like on “Res Extensa,” he uses vibes and what sounds like a mandolin to create an atmosphere that makes me think of the scene in The Shining where the family is running away from the axe-wielding father. But the record provides many moments of quiet meditation; I’m really fond of the one-two punch of "Pacific Siren" and "Confluence"—two songs that simply draw you in with their beauty. Both songs are not unlike James Blackshaw, but both are original in their own way. My favorite, though, is "Chloe," which is a beautiful song tempered by the sound of thunder. It almost feels like an instrumental love song, because the melody simply feels warm and loving. For those who like Grails, this is an interesting and wonderful little sidebar. I hope Mr. Riles makes some more solo records—this one is superb….

Listen To: "Chloe"

Zak Riles is available now on Important Records

Grails Take Refuge in Clean Living

2008-11-25T06:40:00.000-06:00

I like the music of Grails, even though, at times, the music gets a little too heavy for me. I'm at a point in my life where I don't want to be punished by music, and Grails can definitely be heavy. That's why I like Take Refuge in Clean Living a bit more than Doomsdayer's Holiday; Clean is heady and heavy on the mellow atmospherics. This LP has also made me realize why I like Grails: they can be extremely efficient with the time within a song. All of these songs hover between the 4-9 minute mark, but each song feels much, much longer than that--in a good way. The band's trademark mixture of Eastern rhythms with Western rock elements is also put to use here; on "Take Refuge" the band starts of iwth a slow Eastern drum-style pattern, which then halfway turns into an almost Gospel-tinged organ and guitar jam, which then incorporates trumpet and atmospheric manipulation that sounds like a voiceless choir. Very nice, indeed! All in all, Take Refuge in Clean Living is a downright satisfying half-hour of music.

Listen To: "PTSD"

Take Refuge in Clean Living is available now on Important Records

The Asteroid #4 B-Sides & Singles 1997-2007/These Flowers of Ours

2008-11-24T11:03:00.003-06:00

I do not think I have to prove my love to the band The Asteroid #4. Their wild, unique blend of psychedelic country-folk freak-out is one that is well worth the investigation. Two records as of late most definitely make the case of The Asteroid #4's greatness.

The first record is a digital-only release, B-Sides and Singles 1997-2007. I don't know exactly what singles they released, or what era each song is, but I really don't care. You'll find it all here: noisy shoegaze ("90 Colors"), mellow Syd Barrett-esque folk ("Tinkerbell Meets Reality"), gorgeous dreampop ("Car Thief Millenia"), and country swagger ("Lady"). There's a lot to be found here--well over an hour and a half of music--and it might be a bit much for one sitting. But if you put it on random and let it skip around, you'll hardly find anything that's a disappointment.

Listen To: "Lady"
Listen To: "Car Thief Millenia"

Much more concise is These Flowers of Ours. It is the work of a mature psych-rock band; none of that superfluous crap that litters bands that try to be "psych"--no posturing, no posing, no phony irony, either. This is the real deal, and it's obvious from the opening "My Love"--no, not the Paul McCartney classic, but I'm sure they'd do an excellent job of covering it! The next ten songs range from ballads to rockers to what could provisionally be called "bootgaze"--yes, a wonderful mix of shoegaze and Byrds-style country-rock! There's heaviness and there's tenderness, and all of it sounds really, really good. Few American "psych-rock" bands are this good, and they got this way by practice and experience.

Listen To: "My Love"
Listen To: "Let It Go"

Slow Dancing Society Priest Lake Circa '88

2008-11-06T07:45:00.004-06:00

Last night a New Age record saved my life.

Okay, so maybe it didn't save it, but it certainly enriched an atmosphere in need of relaxation. Priest Lake Circa '88 (a title that sounds like it belongs on a Flaming Lips bootleg) is the latest record by Drew Sullivan, who records under the moniker Slow Dancing Society. This latest opus is a collection of gentle but occasionally restless instrumental pieces that tread the line between new age and ambient. But those are silly titles, have nothing to do with the music. For me, though, records like this are more about the mood than the compositions; the eight numbers found here are all wonderfully beautiful pieces. There are a number of epics, like "Sun Spots" and the utterly fantastic "The Iridescence of Innocence," that will simply melt your brain. Honestly, I put this album on and I'm instantly relaxed. This is a good thing, my friends--especially in stressful times like ours.

Listen To: "This Lilac Life"

Priest Lake Circa '88 is available now on Hidden Shoal Recordings

Civic Duty

2008-11-04T10:45:00.003-06:00

Every man is evil, yes, every man's a liar...

Always vote for principle, though you may vote alone, and you may cherish the sweetest reflection that your vote is never lost.-- John Quincy Adams

Harold Budd and Clive Wright A Song For Lost Blossoms

2008-11-03T08:07:00.000-06:00

Few musicians can rightfully be called Masters, but Harold Budd is definitely a master of his craft. For nearly three decades, he has produced some of the gentlest, prettiest piano music of the Twentieth Century. He is a master of ambient piano; his melodies are simple, yet they say so much in saying nothing. His compositional style is so basic and so minimalist, you might mistakenly think you could do what he does. You can't. I have been infatuated with his music for two decades, and in that time, he has yet to produce a bad record. The simple charm of his work will only make you want more.

A Song for Lost Blossoms, his latest work, continues a trend he's developed over the past few years: collaboration. This time, he's enlisted the assistance of Clive Wright, a fellow minimalist, and the record they created is a labor of love. When you've loved a musician's work as long as I've loved Budd's, it becomes difficult to find the exact words to describe his music--you simply take what they do for granted, and you simply want to say, "Here, it's Harold Budd, you know what you're getting," and that's true here. Unlike Budd's recent collaboration with Eraldo Bernocci (Music for 'fragments from the inside'), or his notable collaboration with Robin Guthrie, Wright's collaborative element isn't obvious; instead, Wright helps to accentuate Budd's melodies. When you collaborate, sometimes it's good not to stand out; sometimes it's best to simply accentuate the best elements of the greater talent.

Of course, the music on A Song for Lost Blossoms is utterly mind-bendingly beautiful. The album starts with one of Budd's biggest singular pieces to date, the epic 32-minute "Pensive Aphrodite." I have Budd records that are almost as long as this one, and by the time the song finishes, I feel reinvigorated. Hell, the rest of the record is just a little bit longer than this one song, and, really, it could stand apart as a singular record. The melodies are deep, the compositions lush--everything you expect from the Harold Budd name. Two of the songs, "Forever Hold My Breath" and "At This Moment," are live recordings; it proves that Budd is simply no studio composer.

I like the trend of Budd-as-collaborator. There are a ton of people I'd love to hear him work with. A collaboration with Marc Byrd of Hammock? Ulrich Schnauss? William Basinski? A new Andy Partridge record? Stars of the Lid? All of these collaborations would produce beautiful aural fruits, and I'd freak out like a teenager if he were to record with any of them, but for now I'm extremely satisfied with A Song for Lost Blossoms, this year's best Harold Budd record, and one of those "best of 2008" records to boot!

Listen To: "At This Moment"

A Song For Lost Blossoms is available now on Darla Records

RTX JJ Got Live RaTX

2008-10-28T11:00:00.003-05:00

Here's the problem with reviewing a record like RTX's JJ Got Live RaTX....what song should I choose to post? This record is utterly, utterly brilliant--not a surprise, because Jennifer Herrema and her heavy metal bandmates (and yes, this is HEAVY METAL) have amazingly made records that are double the brilliance of the album that proceded them. They were tight last time around, but with this record, they are full-on unfuckwithable. Their sound is surprisingly basic in nature: hard, fast, blues-tinged Rock and fuckin' Roll!

The band that made Western Xterminator has matured nicely, and good grief, they've got some nice tits on 'em, too. Not one song on here is filler; not one minute is wasted. It's a short, succinct record, and like a drunken screw underneath the bleachers, it's fast, it's hard, it's amazing...and good lord, how you want more! I love the hard-hitting "Virginia Creeper," the even harder-hitting "Hash," the meant-for-stadium-rocking "Too Badd," and the bluesy "Cheap Wine Time." I've chosen that one, because I do not want to rob you of the xperience of this Radically Tight Xperience!

Listen To: "Cheap Wine Time"

JJ Got RTX Live is out now on Drag City

Jesu/Battle of Mice

2008-10-27T07:38:00.006-05:00

The prolific Jesu releases another winner, this time a split EP with the heavy-hitting Battle of Mice. The two songs found here are gorgeous explorations of sonic noise and melancholy; "Clear Stream" is laden with vocodered vocals hidden underneath those wonderful cathedrals of sound that Jesu is known for, while "Falling From Grace" is a gorgeous yet sad almost-instrumental.

What Jesu lacks in aggression, Battle of Mice supplies. Led by the wonderful little-girl-like voice of Julie Christmas, Battle of Mice is a new kind of metal. "The Bishop" finds Christmas singing in a dark, threatening forest; her yelp reminds me a bit of Kat Bjelland, and within the powerful band behind her, the song is utterly creepy and disturbing. In a good way, of course. "Yellow and Black" is a dirge, leaden with hard guitars, lots of screaming, and a hazy atmosphere that makes listener feel a bit punch-drunk.

In a good way, of course.

Listen To: "The Bishop"

The Jesu/Battle of Mice split EP is out now on Robotic Empire Records

Time Enough at Last

2008-10-25T10:46:00.002-05:00

Dear Readers,

I want to apologize for neglecting you over the past few months. Actually, I take that back—I’ve neglected you for much longer than that. But I want to explain to you that I am back, baby, and I’m ready to give you the best of the best.

See, my day job kept me busy. A few months ago, my day job blocked Blogger, and I could not update in the timely and reasonable manner I had expected and that you had expected. Besides that, the job quickly became overly demanding, so much so that it made me unhappy, and I drowned my unhappiness in music. Ironically, I didn’t write about this music, even though it means the world to me. Fortunately for me, I was laid off this week. I know that being fired is tough and I’m not all that happy about it, but at the end of the day, I know it’s for the best.

One of the ways that it’s ‘for the best’ is that I can return to writing and updating on a regular basis now, and I am going to do so, starting Monday.

I thank you for your time, patience, and, more importantly, support. I will soon be introducing you to some utterly wonderful music, and you’ll start to see more of those excellent interviews that once graced this site. I hope you enjoy!

Love,
Joseph Kyle
Editor.

Lindstrom Where You Go I Go Too

2008-09-21T16:27:00.003-05:00

Hans-Peter Lindstrom's latest work, Where You Go I Go Too, is one of this year's best records, and, for me, it's a perfect record. See, two days a week, I work out of town, and the drive takes 55 minutes, if not longer. I can play Where You Go I Go Too, and the record will get me psyched for the day, and by the time "The Long Way Home" fades out, I'm at work and ready to face the day. Lindstrom has a knack of making a beat that's minimalist without being monotonous. These three songs are long, deep dance numbers, but they ebb and flow in a way that is always compelling. At times modern-sounding, at times reminiscent of Giorgio Moroder's work with Donna Summer-- heck, at times I think of ABBA—these songs sink nicely into a groove that gets your adrenaline going without tiring you out. From what I've read, Lindstrom wanted to do that with these songs, and he's succeeded. A wonderful mood record, this.

Listen To: "The Long Way Home (Prins Thomas edit)"

Where You Go I Go Too is available now on Smalltown Supersound

Daniel Land & The Modern Painters Imagining October

2008-09-20T07:30:00.000-05:00

Daniel Land & The Modern Painters' newest EP, Imagining October, sounds like it should have been released 15 years ago. It falls nicely into the "shoegazing" genre, but not the heavy bands like My Bloody Valentine or Ride; no, their sound is quite reminiscent of softer, more pop-oriented bands like Lush and Kitchens of Distinction, the quieter moments of Swervedriver and maybe a little Cocteau Twins. Land mixes grand, heady atmospheres with tender, delicate songwriting, and it's oh-so blissfully intoxicating. The EP is book-ended by two epic numbers; the first, "Off Your Face Again," leads you into the land of Nod, while the final "Look at September, Look at October" simply brings you down into calm when you're seeking respite from a night spent alley-catting. The songs in between aren't bad, either; "Chagall Repeat (The Flight)" simply drugs your senses into a pleasurable state, while "Between the Acts" and "The Nights are Falling" enhance and sustain the high you've received. All in all, an impressive introduction to a talent well worth seeking out.

Listen To: "Between the Acts"

2008-09-06T10:50:00.001-05:00

Will be returning shortly...sorry for delays. Hang tight.

Richard Swift Ground Trouble Jaw

2008-08-09T09:25:00.006-05:00

For those of you who feel a little bit lost by the recent artistic experimentations by the excellent Richard Swift, please take the time to download his newest release, a free EP entitled Grownd Trouble Jaw. The five songs on there find Swift both expanding on the sounds found on recent works and going back to his more traditional songwriting. In fact, I want to say that "Lady Luck" and "The Bully" are expanded versions of songs on his latest two-EP garage-rock outing.

I'm loving everything on this EP, but I'm most impressed by this EP, because it supports my claims that Swift is our generation's Randy Newman. Just listen to the following songs and tell me it ain't so! Enjoy it while it lasts, he's probably going to change again soon!

Listen To: "The Original Thought"
Listen To: "A Song for Milton Feher"

My First Days On Junk No Order

2008-08-02T10:07:00.003-05:00

Oh, my, this record is AMAZING! My First Days On Junk has a new record out, and it is not only miles better than their excellent debut, but this is one of the best records I have heard in a while. I have to say, too, that I am amazed at how lead singer and all-around nice guy Colin Clary has quite nicely turned into Wayne Coyne, Jim Reid, and Jonathan Donahue! Starting with a scratchy and sad little ditty, No Order begins in a rather unassuming manner, but things take a turn for the blissful quite quickly, with "Try Hard" Colin's vocals fit quite nicely within the folds of the loud sheets of sound, and throughout the rest of the record.

Not all of the record is shoegazing, though. There are moments of gentle, pretty balladry, such as on "Your Shirts Are My Favorite Color" and a nice cover of The Lucksmiths' "A Little Distraction," and the band has a tendency towards the hopefully sad and optimistic, such as on "Old Jaguar" and "Walk In The Rain. This balance of the loud and the soft that makes No Order so wonderful; it is a record that sounds great LOUD, but also sounds nice QUIET. Plus, Colin Clary, who I have liked almost as long as I have been writing about music, is in top form here. Thus, it is with great pride that I give you this generous preview of No Order.

Now go, spread the news, and let the world know one of the best records of 2008 has been released! Between MFDOJ and Ringo Deathstarr, I have to say that 2008 has been a pretty good year for blissed-out pop.

Listen To: "Try Hard"
Listen To: "Count Me In, I'm Good to Go"
Listen To: "I Will Do Anything"

No Order will be released 8/18/08 on State Capital Records

Nowhere Man & A Whiskey Girl Just Like the Others

2008-07-27T18:30:00.003-05:00

...cover records!

It's a bold gambit to take a well-known song and cover it. In order to assure respect for taking someone else's work, it's best to make it your own somehow. Sweeten up the harmonies. Make it harder/softer/louder/quieter. Interpret it in a different genre. Resurrect a rare chestnut from obscurity--either from a local band, or some obscure band you happen to like. In other words, show us what you've got and prove to us what you can do.

That's why I'm impressed by Arizona duo Nowhere Man & A Whiskey Girl's's newest record, Just Like the Others. It's been a long time since I heard that name; they released a wonderful record four or so years ago, and I never heard from them since--not uncommon when you write about music; bands come and bands go like the passing of the wind, and you learn to let devotion go. As such, it's always a treat when an obscure group like this makes an impressive return.

That was then and this is now and Just Like the Others, with Edward Gorey-like artwork, is a stripped-down collection of songs by artists familiar and unknown, all performed in the duo of Amy and Derrick Ross's stripped-down acoustic style. I've heard of about half of the dozen artists covered here, and probably heard half of the songs they've covered, so, really, to me, only 9 of these songs are "new." Of the 'names,' most of the choices aren't particularly surprising; Jolie Holland, Edie Brickell, Tori Amos, Gillian Welch, and Fruit Bats don't shock as much as the Jimmy Eat World cover. Of the lesser-known numbers, I like the song "Girls Who Wear Glasses," even though I've never heard of World Class Thugs.

Just Like the Others is a pleasant, impressive record, even if there's not an original song on it. This is the sort of record Gorilla vs Bear should cover; this is a record that you should hear. Amy Ross's singing will impress, and you won't care if you've heard these songs by others before. The duo makes these songs their own, and I can only hope their inspired choices inspire them when they decide to make their next record. I'm not too worried about that, though.

Listen To: "Old-Fashion Morphine"

Just Like The Others is available now on 727 Records

Asteroid #4 Going Down

2008-07-26T09:47:00.004-05:00

Philly-based country-psych rockers Asteroid #4 is a band I've had an affinity ever since I heard their wonderful album Honeyspot. They have an excellent new record coming out in September, but before we get to it, let's talk a bit about their latest single. It's a two-track affair, and it's great. "Going Down" is a mellow rocker that's hazy and a little bit stoned. "My Love" isn't the Wings song, dammit, but it's a slow ballad that got a bit of reverb to it and reminds me of vintage My Morning Jacket, but not in a rip-off kind of way. I love the harmonies on it, too; it's a simply delightful and kind of sad song. You're going to experience my love of their music shortl, as I shall be writing about their two latest records, a singles collection and a new album. But I thought I'd introduce you now, as I recommend these two songs as a little tease. Enjoy!

Listen To: "Going Down"

House and Parish One, One Thousand

2008-07-23T18:08:00.002-05:00

House & Parish has a great pedigree, and if you do a little research, you'll see what I mean. I don't wish to downplay it, but please, let's let this young band stand on its own merits--excellent merits, mind you.They've got a wonderful little introductory EP, One, One-Thousand, and you should listen to it. Their sound is pop, a tad dark, a tad melancholy, not unexpected, considering who they are and where they come from--but it's a sound that's definitely their own. I quite like the swagger of "This Curse," and I dig the nice 'n' subtle hooks of "Summer Programme" But then, after three songs, things get a little different. "Standardesque" goes straight for a shoegazing jugular; less MBV, more Swervedriver or Kitchens of Distinction. It impresses for its quiet, burning intensity. The title track is a mellow instrumental that's dark and moody and not quite like the rest of the record. Then there's the final track, the utterly beautiful rocker "What Am I Still Waiting For?" It reminds me of a long-lost New Order outtake. I like it. I like it a lot.

One, One-Thousand is an exciting little record; it's nondescript, it's brief, and it doesn't come close to defining the band's identity, yet it definitely whets my appetite for a future full-length, because these six well-written pop songs cannot possibly be a fluke.

Listen To: "This Curse"

One, One-Thousand is available now via Arena Rock Recording Company/Belle City Pop!

Joe Lapaglia Day Behind

2008-07-22T20:24:00.003-05:00

My recent write-up of Benoit Pioulard's Enge reissue led me to discover a wonderful new talent. His name is Joe Lapaglia, and he recently released a digital EP entitled Day Behind. So impressed was I by "Birds Flew By" on Moodgadget's website, I promptly bought the rest of the record. His music is folk tinged with gray atmospherics that at once recalls Elliott Smith (sorry for the cliche) and, at times, such as on the excellent "Moonflower," Pioulard's labelmate Boduf Songs. From what I've heard I'm going to guess he's the only person performing here. Regardless, I love the rich textures of his music; it's sad, but it's hopeful; "Shaking Ghosts" is the sound of walking down a dark dusty New Mexico highway, while the instrumental "Lights in the Road" is as beautiful and as gentle a song you could meet. Some might think folk is a bit 'heard it all before,' but Lapaglia has a deft songwriting touch, and I'm intrigued by this offering.

Listen To: "Birds Flew By"

Four Tet Ringer

2008-07-20T16:50:00.003-05:00

I thought Kieren Hebden had retired the Four Tet moniker, but apparently not. With takes a turn away from the tribal sounds and the improvised jazz of his recent work, turning instead back to the dance floor of the past. The four-song Ringer EP reminds me of the vintage WaxTrax! Records sound and other Belgian underground dance music. It's electronica, but it has an edge; it's not really industrial, but yet these songs--especially the pulsating, relentless ten-minute title track--clearly have a heritage. "Ribbons" has a twinkly melody, and "Swimmers" has a swirly drone of a beat. Only one song, "Wing Body Wing," blends the tribal elements of his excellent work with Steve Reid, and I love it! I like Ringer a lot; it's perhaps my favorite Four Tet release, partially because, like its title, it is a total, utter ringer.

Listen To: "Ribbons"

 Ringer is available now on Domino Recordings

Benoit Pioulard Enge

2008-07-19T10:13:00.004-05:00

It's been a while since we last heard from Thomas Meluch, aka Benoit Pioulard, whose album Precis was one of the highlights of 2006. He'll be releasing a new album, Temper, in October, but in the meantime, Moodgadget has digitally reissued his debut EP, Enge. The four-song EP captured four wispy glimpses of a young man’s muse, with "Pinconning" leading off with a bang. The songs are all jingle-jangle mornings of songs, with the trademark hazy sound firmly in place. This digital reissue expands the original release by adding three remixes, one of which is a remix from Precis, and one new song, "Aeolian Death Song." The remixes add different elements; "Kids Are Getting Younger" is enhanced by a clapping beat, while "Pinconning" is expanded into a trip-hop kaleidoscope of sound. While it maybe only a brief thing, Enge is still a nice little trip and a lovely diversion while we wait for what’s surely one of this fall’s anticipated new releases.

Listen To: "Pinconning"

In The Nursery An Ambush of Ghosts

2008-07-19T02:03:00.003-05:00

In college, I lived on the ninth floor of a high-rise complex. It was small and it was cramped and I loved it. My room overlooked the patio below and the security lights sat underneath my window. I had Venetian blinds, and, at night, the lights outside would illuminate these blinds in a rather ominous way. It didn't bother me, but some who occasionally stayed found it to be a little creepy. I liked the ambience created by the dark glow, because the light cutting through the dark. If it rained, the mood would be even sexier. To me, the whole vibe reminded me of mystery movies and detective shows; inevitably, the darkened high-rise apartment illuminated by lights through blinds would be used. Hey, if you're going to live a solitary, reclusive life, you might as well try to make it interesting!

Recently, as I looked through a box of CDs I had packed away, and found my beloved copy of the score to An Ambush of Ghosts, a crap movie with a beautiful and disturbing soundtrack composed by In The Nursery, an industrial-turned-neoclassical experimental duo led by twin brothers Kilve and Nigel Humberstone. I never saw the movie, but then again, I never felt a need to do so; the soundtrack was more than enough for me. I developed the ritual of listening to this record at the midnight hour on Friday nights. Until last night, I hadn't listened to this record in nearly a decade. Revisiting this record has been a pleasant experience, and I feel compelled to share the experience.

I can't really say why that trend developed; it just sort of happened, because, well, I was a dark person then and I liked dark things and this was a relaxing bit of darkness. I never bothered to look at song titles; the album was long enough to lead me to sleep when I needed to sleep. Yet, in a weird way, the starkness of the music played well against the ominously weird backdrop of blinds illuminated by soft light at two in the morning. Fortunately, the music was never too scary or disturbing; if anything, I found the music strangely reassuring. The spooky clips of dialogue didn't bother me, either.

I miss those college days; I didn't have the direction I felt I needed, but I do have a few good memories, and my ritual of listening to this record is one of them. It relaxed me after a week of hard work; it made me forget my misery when I felt down; it made me feel moody and bleak when I wanted to enjoy feeling miserable. Unlike other records of this sort, I'd never fall asleep during it; I'd make it all the way to "'Hallucinations?'" and would usually knock out by the time the ubiquitous Harold Budd record would start to play.

I didn't follow In The Nursery beyond this point, and I can't explain why. Perhaps because An Ambush of Ghosts was such a superior artistic statement, I simply didn't need to examine further; that their records were rather obscure and hard to find didn't help, either. Though I can't say anything about what they've done since releasing this record in 1993, I can most confidently affirm that An Ambush of Ghosts is a special record. And, if you follow this site and the music I like, you can see how this record influenced and shaped my musical tastes.

Note: In the Nursery remastered and reissued this record last year. Well worth your time to find, friends....

Listen To: "Sedation"
Listen To: "Running Scene"
Listen To: "Funeral II"
Listen To: "Casus Belli"

Joan of Arc Boo Human

2008-07-18T12:15:00.005-05:00

I guess that it was an eventuality that Joan of Arc would make a record like Boo Human. By that, I mean that they'd eschew the artistic "growth" and the experimentalism that has, well, defined Joan of Arc. "Traditional" has never been the adjective to describe Tim Kinsella's muse. I've liked some Joan of Arc records, and I've hated an amount that probably equals that. Joan of Arc's past few records have felt forced; plenty was there to like, but the fire of enthusiasm seemed to be missing.

Boo Human fires on all pistons, and it captures a band that's aware of its past successes, its strengths, and doesn't really seem to care about trying to push the experimental envelope. To my ears, it's a sign that Joan of Arc fully understands itself; Kinsella and company aren't doing anything different, because they know who they are. For my justification of this belief, I use the mantra of "and you know when you know but you know that you know and you know and you know what you know but you know that you know" in the gorgeous opening "Shown and Told." To my ears, it just about says it all, no?

Better still, unlike their recent albums, Boo Human is quite varied. I like stripped-down, acoustic JOA, but not an entire album's worth. Same thing with the quirky experimental rock. So yeah, you'll find the quirky herky-jerky rock on "Insects Don't Eat Bananas," the mellow jazz-rock on "Just Pack or Unpack," the gorgeous mix-tape worthy love-folk on "If There Was a Time #1," the groovy rock on "The Surrender #2," and the weird political experimental punk freak-out on "9/11 2." As always, Kinsella's lyrics are obtuse, abstract, and make you say, "that's a weird way of saying that, but yeah, i totally know what he means!" I think there's a Destiny's Child reference or two to be found, too.

I've seen comparisons to How Memory Works and A Portable Model Of. I can see that, and those comparisons are definitely apt. Thankfully, with Boo Human, the band's not caught up in trying to create a pastiche of past victories; they're simply being themselves. A surprising, refreshing return to form, this.

Listen To: If There Was a Time 1

Boo Human is out now on Polyvinyl Records

Taro Kawasaki Sing Me a Song

2008-07-13T19:33:00.002-05:00

I recently received Sing Me a Song, a little 4-song disc of wonderful, mellow glitchy electronica from Japanese artist Taro Kawasaki, and I mean little: a limited-edition 3-inch CD with four gentle songs in less than ten minutes. With an emphasis on guitar and glitchy patches, Kawasaki explores a sonic landscape that is soft, supple, and innocent; these four songs are lovely little lullabies, and work well with those who are seeking a trip to the Land of Nod. If you're a fan of the Leaf label, Morr Music, or Windham Hill, even, you'll enjoy this little record. I definitely do look forward to hearing more from this young man.

Listen To: "Plouf"

Sing Me A Song is available now from Drifting, Falling

Keith Canisius Ferris Wheel Makeout

2008-07-06T17:51:00.003-05:00

Keith Canisius follows up his utterly wonderful Rumskib debut with an equally impressive solo album, Ferris Wheel Makeout. Thankfully, Keith doesn't use this opportunity to make Rumskib 2. It would have been easy for him to repeat the same sorts of formulas found with the band, but instead, he takes his music in a poppier, headier direction. Incorporating softer melodies with complex guitar techniques, as well as dance beats (!!), Ferris Wheel Makeout shows that Canisius is no mere retro-shoegazer. Indeed, there's a definite pop element explored here; listen to the catchy-as-hell "Naive Struggle" and try to resit its charm! Same thing with "Watching Old Films with New Eyes"--that guitar turns a nice trick, the beat is dance-worthy, and the vocals are heavenly!

But don't fret if you miss those strong elements of Rumskib; simply flip over to "Far From" and "29th Escape," and you'll find a little bit of that, too. For the most part, though, Keith has slowed it down, mellowed it out, and made a really wonderful record that further explores and promotes his talents as a songwriter. A fine record, this!

Listen To: "Naive Struggle"

Ferris Wheel Makeout is available now on Quince Records

A moment of your time for Sub Oslo, please

2008-07-04T15:45:00.001-05:00

If you would, a moment, please. Divert your attention to the following website, Sub Oslo dot com. Sub Oslo was/is a dub band from Denton, Texas; they've been making music for well over a decade, and though their releases are both sporadic and scarce--I've seen albums of theirs go for well over 50 bucks--they are all pearls of great value, and are available digitally. Sub Oslo's style is dub, and dub-styled instrumental music. What is or isn't dub does not matter; Sub Oslo's music is very moving and transcends easy description.

I call your attention to Sub Oslo for one reason: it's hot outside. Their music is very, very cool, very refreshing, and goes along nicely with outdoor cookouts, parties, or other social events. I would also like to add that the live recordings available on their website show the band's different sides, with "Control This" reminding me more of Durutti Column than Lee "Scratch" Perry. All of these live recordings are excellent, and they form a wonderful little mini-album of sorts. I'd love to hear the rest of the shows these songs are taken from, or at least more live recordings. Having seen them live, I can attest--they're an amazing live act. So, please, take a few minutes and download their music!

Listen To: "Control This"

Earles and Jensen Just Farr a Laugh, Volume 1 &2: The Greatest Prank Phone Calls Ever!

2008-07-04T07:42:00.003-05:00

I guess it's because my birthday is August 15th, but I have to say I find Earles & Jensen's Just Farr A Laugh Vol. 1&2: The Greatest Prank Phone Calls Ever! to be one of the funniest things I've ever heard! I appreciate a good laugh, and you don't always have to go blue to be funny--if you use a subtle touch, you can produce a ton of laughs. That's why I didn't care much for Jerky Boys--the humor was just too obviously stupid. What Earles & Jensen have done here is produce a series of calls that are occasionally obviously a prank (Bleachy comes to mind), and a number of calls that aren't.

There are fifty-eight calls and two and a half-hour's worth of material here, so I'm going to focus on one call in particular, "Bedroom ETA:A Jermaine Stewart Cover Band," because it's my favorite. Having been tangentally involved with the music industry for a while now, I can attest to the validity of the scenario of "Bedroom ETA." In its heyday, Mundane Sounds received a ton of records that could best be called, well...crap. A lot of these people believed in themselves so intensely, it was painfully obvious that they were disturbed. I appreciate believing in yourself and if I don't like your band, I don't like your band. But there are people who exist in this industry who are insanely happy in beleiving in themselves, much like you'll hear. I played this track to a friend of mine, someone who hasn't been involved in 'the biz,' and their reaction was a blank, "So?" I played this to a fellow music writer and concert promoter, and they exploded with laughter, because, well, there are a lot of people like "Roger." They're sincere, but they're sincere in a way that makes you wonder if they're sane. I have a feeling Cosloy appreciated this track as well. Some of the less-sane characters in these calls are funny to me, because I've found some of these characters coming into my office on a daily basis. Other calls are equally as funny, many are often music-industry related, and overall,Just Farr a Laugh is a 58-track laugh-riot! And if you don't laugh at some of it, that's okay. If you don't laugh at something in it, then you're an idiot.

Listen To: "Bedroom ETA:A Jermaine Stewart Cover Band"

Just Farr a Laugh is available now on Matador Records

The Quarter After Changes Near

2008-06-30T18:39:00.004-05:00

If there's one guitar tone I love, it's the Rickenbacker. To succinctly describe the sound: if you hear a record that makes you think of the 1960s, or if a song makes you think of the Byrds or bands of that sort, chances are you're hearing a Rickenbacker. Roger McGuinn made it famous with his band of Byrds, and, really, its rustic sound made many psych-rock bands sound even more down-home.

Two fellows who have an expert mastery of the Rickenbacker guitar are brothers Dominic and Robert Campanella, the masterminds behind the excellent The Quarter After. These two fellows are veterans of the modern folk-rock scene, and, unsurprisingly, their musical roots lead through and reveal members to have been in Brian Jonestown Massacre, as well as having worked with Brian Wilson, Beachwood Sparks and the Tyde. But that doesn't matter because The Quarter After's sound is clearly their own; heck, if you're a long-time reader, you'll remember that I sang their praises for their first album--and I still stand by my loving words!

Their new album, Changes Near, is a beautiful slab of harmony-soaked, weed-sceneted mellow psych-rock that can best be described as primo shit. Musically, their styling never really varies; their music is inspired by the good ol' days, but, really, their sound is much more modern. When they throw down those classic harmonies on "Sanctuary" and "She Revolves," my little heart swoons and my little soul is transported into a very beautiful, heady place. When they kick it mellow, like on "Nothing Out of Something" or "Winter Song," your cares and stresses of the day, they simply float away.

But what makes them great is how they utilize a sound that might seem trite and cliched and make it sound fresh. In a weird way, a song like "Early Morning Rider" or "See How Good It Feels" starts off with a riff that might make you think Dinosaur Jr, but with a quick rock shift, they go into Tom Petty territory, and then they turn around mix both styles together in a beautiful way that will leave you say, "Amazing!" I mean, I dig stuff like this; really, I love stuff like this! I can't really verbalize it and intellectualize it; I simply enjoy this. A treasure worth seeking out and ingesting.

Listen To: "Making Nothing out of Something"

Changes Near is available now on The Committee to Keep Music Evil

The Acorn Tin Fist

2008-06-29T07:10:00.002-05:00

"Quiet." "Gentle." "Serene." "Tranquil."

These are several adjectives I could accurately use to describe the music found on The Acorn's EP Tin Fist. I have heard good things about them, so I approached this EP as an opportunity for an introduction, and I'm kind of glad I did, because this record is excellent. What makes it so good? Sincere, sweet vocals; gorgeously plucked guitars, banjos, and other rustic stringed instruments; harmonies that simply make your heart melt. The track I selected for you, "Brokered Heart," captures this magic, but I wish I could also give you "Heirlooms," so that you could hear the lushness of its sound. I wish I could give you "Dents," so that you could hear the gentle string arrangements. I wish I could give you "Feral Chilie" so that you could hear the beautiful singing. I wish I could give you "Spring Thaw" so that you could see that the band can turn it up and deliver a powerful upbeat song. I wish I could give you "Maplebees" so that I could break your heart with its heartbreak vibe.

Yeah, I'm glad I bought this EP, because it's a wonderfully concise and curiously strong release--and it makes me want to hear their latest LP, Glory Hope Mountain, even more.

Listen To: "Brokered Heart"

Tin Fist is available now on Paper Bag Records.

The Tamborines Sally O'Gannon

2008-06-28T01:21:00.002-05:00

Here's a damn fine slab of psych-rock pop, straight from London! The Tamborines have concoted a sound that's a little bit old, a little bit new, a little bit borrowed, and occasionally a little bit blue. Sally O'Gannon is a four-song EP, with three excellent songs (one is a demo of the title track)."Be Around" and "Come Together" are enjoyable, but it's the title track that really burns up the speakers. Had the Brian Jonestown Massacre/Dandy Warhols revolution truly taken place in the 1990s, "Sally O'Gannon" would have been the love child of that revolution, as it combines the classic rock elements found in BJM's style, as well as the Dandy's modern pop sensibilites. Oh, did I mention that Frankie Teardrop of BJM is enlisted here for production assistance, as well as Mark Gardner of Ride? Yeah. That's badass. This EP's been out a little bit but I just discovered it, and it's worth the mention. I can't wait to hear more from this excellent group!

Listen To: "Sally O'Gannon"

Sally O'Gannon is available now via Planting Seeds

Hammock Maybe They Will Sing For Us Tomorrow

2008-06-24T06:33:00.002-05:00

Maybe They Will Sing For Us Tomorrow is both a step forward and a step back for Tennessee-based Hammock. It's a step forward in that it's their most mature album to date; it's deeply moving, intricate in its detail, and gentle in its approach. As much as I love Hammock's work, I don't think it's an insult to their storied discography to suggest that this is clearly their best work to date.

In terms of musical ideas, Tomorrow eschews the formula of Raising Your Voice, Trying to Stop an Echo. That record felt a bit more "rock" in that the compositional style felt more traditional; it sounded like the work of a rock band. It was also not an instrumental work; several songs featured the words of Marc Byrd--haunting, melancholy words recalling the passing of a spiritual mentor. Instead, Tomorrow recalls The Sleepover Series, Volume 1 and Stranded Under Endless Sky--two EP's of deep ambient drones and melodies. Irony moment: it was not until last year that Hammock played a single live show. (I'm kicking myself for missing it--had I realized it, I would have been there!) Echo sounded like an experienced live band. The recording method for Tomorrow was inspired by their live performances, and was apparently recorded live.

Tomorrow amazes in its seamlessness; it flows so naturally, so organically, that you never notice when one song ends and another one begins. Heck, sitting down in front of my computer with it playing gently on iTunes, I still can't recognize the seams without looking. This seamlessness is what makes the record so utterly beautiful; it is a restful head-trip. In my restless nights, I've turned this record on, and have used it as a cure for insomnia. At one point, I woke up from it feeling refreshed from what felt like a few hours' sleep, only to find the record was just coming to an end! A deep rest in less than 45 minutes--that's value for dollar, my friend.

Ultimately, though, it's with great honor that I say that Maybe They Will Sing For Us Tomorrow is one of the best albums of 2008. A more beautiful album, I have yet to hear...

Listen To: "This Kind of Life Keeps Breaking Your Heart"

Maybe They Will Sing For Us Tomorrow is available now via Darla

Desolation Wilderness Until Forever

2008-06-16T18:35:00.004-05:00

Direct your attention, if you will, to the website listed below, wherein you will read about the band Desolation Wilderness, and, more importantly, can listen to the band's wonderful K Records three-song sexy new 7" single, Until Forever. The three songs found therein are small and fragile little things; gentle electronica blips and beeps reminiscent of the late-great 555 Recordings and, at times, Kranky. These three songs are all mood, atmosphere, and, occasionally, buried singing. The first song, "Goodbye Summer Girl," is a beautiful song with gentle waves of atmosphere and lyrics I am going to assume are very pretty. The singing sounds pretty, but you can't make 'em out. The next song, "Gloria," has nothing in common with the song "Gloria"--at least I think it doesn't. The final track, "4/4 Love Song," follows in the gorgeous instrumental meets blurry singing style of the first song.Oh, wait, there aren't vocals. I was fooled. You will be, too. The whole damned thing reminds me of why I fell in love with The Clientele, honestly. This record should have been out in 2000--it certainly sounds like something from those heady days! I'm thinking ISAN, I'm thinking Ma Cherie for Painting. I'll be honest and say that this is an exciting new release from a band you need to hear.

Listen To:Until Forever 7"

Daniel Ahearn Pray For Me By Name

2008-06-16T12:30:00.003-05:00

Daniel Ahearn is the dude behind the folktronic pop band ill lit. Dude has a pretty good way with a melody; he's been compared to Beck, and understandably so. Pray For Me By Name is a solo joint, due apparently to the man having his equipment stolen. As a result, the music found on this brief little EP isn't quite like the trippier moments of ill lit; it's more singer/songwriter fare, with occasional alt.country moments, but those are just lazy descriptive categories that mean absolutely nothing. The songs are kind of melancholy, like "San Vicente" and "Jesus Saves," but when he If I had to compare his voice to anyone, it would be the equally underrated Sean Na Na, especially on the sweet "Down for the Count." Though a brief affair, I really enjoyed the listening experience found here.

Listen To: "Down for the Count"

Jeremy Kelly Jeremy Kelly

2008-06-15T08:48:00.002-05:00

Decided to take a risk and check out the new self-titled album by experimental guitarist Jeremy Kelly. I know some people think he's wonderful; after spending time with his self-titled album, I see their point. Zilch is the amount I know about Kelly, and I prefer my mysterious artists that way. What I do know is that it's hard to not become enraptured in the gentle, simple guitar styling and quiet, hushed drones found on this album. At times, such as on "Polar Bodies" and "Beyond the River Skai," Kelly's work is haunting and disturbing, like a stroll through a dark thicket on Halloween night. It's not all terror and fear-mongering; on songs like "The King in Yellow" and "August Bootfire," Jeremy Kelly is restful and relaxing. The only song I'm not enthralled about is the closing "White Light from the Black Sun," when Kelly goes all psych-rock freakout; though I like music like that, within the context of the rest of the record, it seems out of place--perhaps because it breaks the peace and tranquility and quietness of the record. But that's why we have 'ignore' features, and it doesn't bother me too much. All in all, this little record has made me want to hear more of this talented man's work.

Listen To: August Bootfire

Jeremy Kelly is available now on Foxy Digitalis

Carole King Tapestry

2008-06-14T09:15:00.002-05:00

Carole King is a national treasure, a natural woman, and one of the best pop songwriters of the 20th century. Who else wrote songs that were made famous by Dion, Aretha Franklin, the Byrds, Little Eva, James Taylor, and the Beatles, amongst others? Not very many. She's a wonderful songwriter, and her 1971 Tapestry album was, and is, one of the greatest records of the Twentieth Century. I know that's a heck of a lot of hyperbole, but it's truth, it's wonderful truth, and I can still remember hearing this record as a little guy on 8-track.

Sadly, a generation of listeners only knows these songs by watching them massacred by American Idol contestants and wannabe contestants, but it's a testament to how great these songs are in that their greatness isn't tainted one iota by poor performance, singing inability, and delusions of grandeur. I cannot stand "I Feel The Earth Move," but Carole King can get away with belting it out, because it's her song, she's the only one I can believe as having emotions she just can't tame.

And a moment about those emotions--did I happen to mention that some of these songs are just so utterly beautiful in their simplicity that, well, they bring a tear to my eye? Yeah, I'm an old softy, and I'm a sucker for a beautiful song, and Tapestry has a dozen of 'em. Add to the song the simplicity of the arrangements--just a piano here, a guitar there, nothing heavy, nothing too complex. If anything, the simple guitar and piano arrangements makes a large part of the record feel like a demo tape. A wonderful demo tape, too. With classics like "Will You Still Love Me Tomorrow," "So Far Away," "(You Make Me Feel Like A) Natural Woman," and "It's Too Late," Tapestry is one of those albums that is so filled with brilliance that it plays like a greatest hits record.

I'm a fan of the Legacy Edition series, and I jumped at the thought of this wonderful record being remastered, repackaged, and expanded. It's such a perfect album, it should be studied as a lesson in song writing, I was curious to see how it would be expanded. Thankfully, the compilers never messed with it; additional songs on the first disc would ruin it, and a heavy helping of outtakes and demo versions would only have distracted. The second disc is simply the album performed live, taken from a series of a few shows from 1973 and 1976. Only one song is missing, and the rest are simply Carole and her piano. It's no surprise to discover that she doesn't really need a band behind her to make these songs shine.

Few records are as perfect as Tapestry, and that's why the record still sounds fresh and inviting and warm today. This is true pop.

Listen To: So Far Away

Weekend Report!

2008-06-07T11:16:00.002-05:00

Enjoy some cool sounds for this hot summer weekend! Featuring some wonderful vintage videos, it's a pleasure to present to you some great music for your consideration!

The Uglysuit

2008-06-07T09:50:00.004-05:00

If you happen to dig the music of Aaron Robinson, then I suggest you check out this wonderful song I just now downloaded by this great little Oklahoma City band, The Uglysuit. The song is called "Chicago" and is from their forthcoming self-titled Quarterstick debut, due in August. The song is rich on harmonies and mellow rock melodies; it's kind of alt.country, but not really. I have a feeling this young band is going to be big, my friends. So check 'em out now!

Listen To: "Chicago"

The Uglysuit will be released August 19, 2008, on Quarterstick

Aaron Robinson We Are Racing Ghosts

2008-06-04T20:52:00.004-05:00

Aaron Robinson isn't rebuilding the wheel, but that's quite all right. I first heard of Mr. Robinson when I received Revive, the final record by his excellent and painfully underrated band, Imaginary Baseball League. It reminded me of a mix of Radiohead and Whiskeytown, and I listened to the album a LOT. I even included the song "Statistics" on an mp3 sampler. I saw him perform live, solo acoustic in Arkansas, and it was a really good show. I liked his music well enough that I didn't want to introduce myself; that distance keeps your idealism safe.

Well, jump ahead four years, and Robinson has released his solo debut, We Are Racing Ghosts. It's a wonderful collection of modern singer/songwriter fare; I'm reminded of Ryan Adams, but Robinson is a pretty powerful singer with a style that's clearly his own. Whether it's the rocking, should-be-a-AAA-format hit "Dreamers Dream" to the dark ballads of "Dreamers and Preachers" or "I Won't Stop," Aaron's songwriting is strong and arrangements are compelling, making his songs stand out from the chaff of most 'singer/songwriter' fare.

I don't listen to as much singer/songwriter/alt.country-type stuff as much as I used to, but for Robinson I make an exception. I'm not too far off in saying that Aaron has a voice and songwriting style that deserves to be big, that deserves the deals, that deserves the NPR radio play. We Are Racing Ghosts is a wonderfully quiet jewel of a record; for those who know its beauty, they know the reward. Robinson is an underrated talent; hopefully, this debut will start to change that.

Listen to: "Dreamers Dream"

We Are Racing Ghosts is available now on Undertow Music

Stars of the Lid LIVE in Aberdeen

2008-05-31T11:30:00.002-05:00

I'm still disappointed I didn't get the chance to see Stars of the Lid in Austin like I had initially planned, and this video clip from their European tour tells you why:

Whiskey Priest Hungry

2008-05-31T11:23:00.004-05:00

Talk about a beautiful find! The music of Whiskey Priest sounds familiar; it's that of the comforting sound of love, peace, and the calm feels of a serene sunset. This three-piece is most notable for the gorgeous vocals of Noah Hall, but their music is so hushed and gentle, it's had to notice the other two in the band. That's not meant as a slight; the simplicity of the arrangements on Hungry wouldn't lead you to think that Hall is backed by a band. And yes, Whiskey Priest is all about Noah Hall; the man has the voice of an angel, and the delicate gossamer-like music behind him makes the whole darn thing seem utterly angelic. Hall never sounds overly dramatic; his voice has the same heavenly quality found in Jeff Buckley, but he never attempts Buckley’s operatic melodrama heights. The music itself is pretty traditional folk, but the band offers spacey, trippy sounds on "Souvenir" and "Saturn." Oh, and there's a Guns 'n' Roses cover, too. I will not tell you what it is; listen to the album and find out for yourself—it's gorgeous!

Listen To: "Saturn"

Hungry is out now on Bric-A-Brac Records

Jack Dangers Music for Planetarium

2008-05-25T06:43:00.004-05:00

Over the years, Jack Dangers, maestro behind Meat Beat Manifesto, has made some interesting, thought-provoking, and sometimes intense music. His newest release, Music for Planetarium, consists of eleven tracks commissioned for a planetarium in Budapest, and these eleven tracks most certainly feel like space. These songs are primarily drones, quiet drones, hushed drones, beautiful drones, and they remind me of the wonderful score to 2001. As such, Music for Planetarium is the perfect soundtrack for calm mornings and for quiet nights, and, if you so desire, for star-gazing. According to the notes, it was "recorded under a quilt at night in Marin County, CA." Hmmm...interesting! I've enjoyed the quietness of the tones on this; it's one of the more relaxing records I've heard this year.

Listen To: "Pinwheel Galaxy"

Music for Planetarium is available now on Brainwashed

New Music Podcast Numero Uno

2008-05-24T06:49:00.003-05:00

For fun, I threw together a little podcast including songs from records out now or about to be: enjoy!

Tracklist:

1. "The World The People Together (Come On)" -- The Dandy Warhols
2. "Dance Parties (Distant)" -- 65daysofstatic
3. "The Story of the Impossible" -- Peter von Poehl
4. "Mono no Aware" -- Hammock
5. "We Were So Entangled" -- Head Like A Kite
6. "Down for the Count" -- Daniel Ahern
7. "Northern Skies" -- The Instruments

Listen To: New Music Podcast #1

Beequeen Sandancing

2008-05-21T20:32:00.006-05:00

About all I know about Beequeen is that they hail from the Netherlands and that they sporadically release beautiful records. I happened upon the band on the Important Records website, and I liked what I heard enough to purchase their newest record, Sandancing. After a few listens, I've decided I generally like what I've heard. The band is the longstanding collaboration between Freek Kinkelaar and Frans de Waard, but for this record they've added the vocals of Olga Wallis, a gorgeous singer with a lovely voice--once steeped in folk tradition, if I were to make an educated guess.

Musically speaking, the songs have a tendency of being rather nondescript, but that's quite fine; they're pretty and dark and that's all that matters. There's nothing too intrusive or unpleasant, either. At times, their sound reminds me of Weird Weeds, especially the song "Breathe." At other times, the music reminds me of Mazzy Star, His Name is Alive, and, on "The Honeythief," American Analog Set. Get the vibe here? Mellow, minimal, and occasionally stoned.

Honestly, I've neve heard their earlier work, so I have nothing to compare Sandancing to, but I'd be curious to hear it, because what I've heard here is pretty and interesting and downright enjoyable.

Listen To: "The Honeythief"

Strategy Music for Lamping

2008-05-19T20:52:00.001-05:00

As much as I liked Paul Dickow's last Strategy album, Future Rock, I like his new one, Music for Lamping, a bit more. The previous album was a curious blend of World Music-style rhythms blended with electronica, and it worked in a way Moby's styles theoretically should have worked. It was funky, but in a rather intellectual way. If Future Rock's modus operandi was to get your feet to move, Music for Lamping is the exact opposite; its charms are pure overcast, downbeat drone and foggy atmospherics. It's what some might call "space music," and rightly so: this is the sort of music that soundtracks starry nights, rainy nights, cloudy nights, moonlight nights, snowy nights, stormy nights. I think that's what Paul was going for; hence the connotations in the title! Heck, I'll be honest; when I first gave this record a go, I did so during the afternoon, and it didn't really reveal its inner beauty; as soon as the sun went down, though, well…hello sailor!

None of Music for Lamping clocks in at less than five minutes, and is bookended by two beautiful fourteen-minute compositions. But time isn't important here; like the best records of this genre, Music for Lamping is a record that flows seamlessly, and you don't really think about trivial things as songs or song titles or "gee, what is he going to do on the next track?" If you listen to Music for Lamping properly, you really won't care about such trivial matters. None of the songs are particularly assuming; there's not much activity within their melodies, but don't worry; the album won't bore you, though it will compel your senses to relax. If I were to describe what he's going for on songs like "I Can't Stand the Rain" or "Cathedral Spark," it's that he's trying to capture the sounds of a city at night. Of course that might be exactly what he's going for. If so, he's succeeded! Music for Lamping is one of the better 'chill-out' records I've heard in a while, and is a gorgeous though unsurprisingly lovely little treat from one of today's more prolific electronic composers.

Listen To: " World Service"

Music for Lamping is available now on Audio Dregs

Valet Naked Acid

2008-05-17T17:56:00.002-05:00

An honest confession, if I may: I didn't care much for Valet's previous record, Blood is Clean. Why? Can't quite say, really. Sometimes one cannot fully vocalize their aesthetic decisions, and in such cases, why overanalyze? Accept you feel a certain way and move on. I always prefer to give a band or an artist the benefit of the doubt; after all, an unsatisfying record doth not an unsatisfying career make.

And such is true with Valet. My feelings for Blood is Clean bear no influence on my feelings for Naked Acid, because I find Honey Owens' latest creation to be a beautiful, seamless collection of modern prog-rock and impressive ambient drone. Heck, before I heard one note I had a feeling it was thus so by judging the cover; it certainly looks like an obscure prog-rock record from 1973, no?

Set those things aside, my friends. How it sounds is much more important than how you think it should sound. Naked Acid sounds exactly as you think it should sound, though, so I think I wasted your time with that last sentence. Honey is a visionary, and her songs are big, beautiful, droning things, but within those big drones are many little themes, insuring a captive listening experience and a sound that never grows dull or monotonous. I like that she starts songs one way and then finishes them another. I like that she throws in beats at the end of an album's worth of psych-rock and experimental drone. Thus, I could say, "I really like the electronica dance element found Valet's new record," and I would piss off the po-faced art-rock loving types who have heard only one or two songs without actually hearing the entire record, but I would be correct, because "Streets" is a nice little electronica/dance-style number, though done in a way that is oh-so-Valet.

Mainly, though, I like how Naked Acid is just mind-meltingly beautiful. Sometimes love's reasoning is simple...

Listen To: "Kehaar"

Naked Acid is available now on Kranky

Music Go Music

2008-05-16T21:18:00.004-05:00

Holy crap, this band is amazing! I don't know much about Music Go Music other than their sound is total Abba-esque pop, and if Secretly Canadian isn't the luckiest label in the world for finding them, I don't know what else to say. This band's gonna be big, I promise you. It's like Agnetha and Frieda got together and recorded a demo or two with Benny and Bjorn, and though I haven't heard the rest of their forthcoming 12" debut, I'm sure it has to be as amazing as "Light of Love," the title track from their three-song EP....more 12" vinyl singles are apparently forthcoming...and my heart is waiting to fall in love....

Listen To: "Light of Love"

More on that wonderful Okay song, shall we?

2008-05-13T20:05:00.002-05:00

More on that wonderful Okay song, shall we?

I admit I had not heard the song at the time I wrote that previous post. But I have heard it now, and it's such a beautifully simple song, representing everything I love about Marty's music. It is a simple song with a simple melody and simple lyrics highlighting the very simple joy of being alive and being in love, with an understated chorus of singers in the background. If you haven't heard it yet, I encourage you to do so, and listen with the following caveat: you will smile, you may shed a tear and you will definitely hit repeat.

FEEDBACK PLEASE!

Listen To: "My"

This just in...

2008-05-13T04:43:00.003-05:00

The brilliant Marty Anderson has a new Okay album coming out! Absolutely Kosher will release Huggable Dust next Tuesday, and I'll admit right now to being highly biased to anything with his name on it. Listen to this wonderful song, and understand why I am so infatuated with his work.

Listen To: "My"

Cloudland Canyon Lie in Light

2008-05-12T05:01:00.000-05:00

On a purely superficial level, I expected Lie in Light to be a party album. I say this because the cover art for Cloudland Canyon's latest full-length is a three-panel fold-out lined with pictures of the band, various friends, and other sorts of things that one would associate with having a good time--you know, not unlike the covers of a lot of 1970s coke-fueled self-indulgent records by people too talented to release such crap. (God bless your rum-soaked soul, Harry Nilsson.) Opening track "Krautwerk" does a rather convincing job of hinting at some sort of behind-the-scenes Bacchanals; the bass-line is pulsing and very sensual; the mantra of "Lie in light" heightens the tense, sexy atmosphere, and the song simply pulsates on for almost seven minutes. And yes, I most certainly would play a song like that if I wanted to get a booze-up, erm, "groovin'."

For those who appreciate Cloudland Canyon on a level not conducive to "fun," let not these things dishearten you, for soon do they return to the beautiful drone and ambient noise that makes them such a pleasure to behold. "White Woman" brings in the noise and weird-ass vocals amidst swirly sheets of noise--if they're going for a vibe of standing on Mt. Everest and singing down sweet folk songs into the valley of the shadow of death, then hey, mission accomplished! In short, it's all a bit trippy. Psychedelic? Yeah, that too, but it's a particularly delicious trip; hypnotic at times, restful at other times, and downright, well, mind-bending most of the rest of the other times if i can rightfully remember those times. Prog rock or kraut rock? You can call it that, if you're an idiot who has to classify music in such meaningless, amorphous categories with no real bearing on the actual music. And, good grief, please please please, if you use the words "Animal Collective" to describe this music, please go buy a clue, will you?

I do, though, think the band had a fun time making their record. Within the dark and twisting grooves, though, there's a pulsing heartbeat of joy. I can't explain why, but this record makes me smile and it makes me feel happy and warm and elated. Perhaps it's the cough syrup in me, but the way this record makes me feel is rather alien; as I write this, I am listening to the record. I sit back in my chair, close my eyes, and feel content, and I don't really think I want to try to understand why I feel that feeling, other than to say it exists, it's real, and it makes me smile.

Listen To: You & I

Lie in Light is available now on Kranky

The Atlas Sound Virtual 7" volume 3

2008-05-11T05:04:00.000-05:00

I'm still not sure about Atlas Sound's debut album, but I am fairly certain that Atlas Sound's "latest single" is pretty amazing. For those of us old enough to remember the era when a 7" single wasn't a promotional gimmick or an instant uber-rarity, Mr. Bradford Cox has given us a "virtual 7'," and darned if it isn't a nice little slice of virtual vinyl. The introduction of A-Side, "Bored Dub," had me thinking I was about to be encased in Vini Reilly-esque guitar solo. It didn't happen, but Bradford's singing is just as lovely. It's all a bit somnambulistic, with his voice blending in with the gentle melodies behind him. In a way, it reminds me of 50s-era doo-wop ballads; it doesn't have the harmonies, but it has the atmosphere. I can't really explain it, but tune in to Blues Before Sunrise and you'll hear music that sounds an awful lot like this. "No Longer" is an instrumental number, not unlike his recent album--a quiet, blissful passage, neither overbearing nor disconcerting. If anything, it has me crawling back to that album to give it a second chance...

Listen To: Bored Dub
Listen To: No Longer

Introducing Weekend Report!

2008-05-10T11:11:00.001-05:00

Watch some videos, specially selected for your viewing pleasure! I really love these songs, and I hope you do, too. It's kind of heavy on the British pop, I'll admit. But dig the Sailor video. I'll write more about them in the near future, believe me!

Feel free to comment upon what you've seen, and enjoy!

Auburn Lull Begin Civil Twilight

2008-05-09T20:17:00.000-05:00

So, how do you describe perfection? How do you put into words the indefinable, to describe a sound so wonderfully indescribable? Honestly, I can't tell you-I just told you I can’t describe this record. But that's okay, I think I'll let the music speak for itself.

Listen To: Civil Twilight

If I were in Auburn Lull, I would be proud of Begin Civil Twilight. It is a creative high point; it is easily their best record to date, and it is a seamless trip through aquatic galaxies and celestial seas. The record proves that they truly are the children of Eno and Budd and Guthrie, yet they possess their own identity. It floats by lackadaisically, without pause, without concern. They take their time with the music they make, and the delicate details of this album prove why those of us who know the band, we don’t mind the wait.

If I were with Darla Records, I would be proud to release Begin Civil Twilight. It is no secret that the label is one of my favorites. They have released many records I listen to on a weekly basis, and I will support them and sing their praises as long as I am writing about music, but damn--this record is a total, utter mindblower. I would honor James and Chandra by commending them for their good taste, but they already know that.

As a long-time follower of Auburn Lull, I am extremely proud of Begin Civil Twilight. I remember when this band started out on limited-edition vinyl, and I spent a pretty penny collecting their works, but as I said earlier, I do not complain about the length of time for records to appear; I have yet to be disappointed. And Begin Civil Twilight has played in my overnight playlists for sleepy times ever since I got it.

I wish I could give you all this record in toto, but, alas, I cannot. I want Auburn Lull to get paid. But consider it a gift, my friend, of the song I have posted, because the record is, without a doubt, one of the most beautiful things you’ll hear all year. Simple words for simple melodies and simply beautiful sounds...

The Explorers Club Freedom Wind

2008-05-09T01:49:00.000-05:00

Finally, a band that recognizes the brilliance of the Mike Love-driven, pre-drug casualty Beach Boys sound! Pleased to make your acquaintance, Explorers Club! Way too much time and energy has been wasted on the Smile tragedy. (Personally, I think it was a self-indulgent head-trip that was never funny, not particularly good, and definitely not genius.) It's hard to remember the sound that brought them to the Pet Sounds era--harmony-drenched pop songs deeply indebted to Phil Spector, noted for Wilson harmony, a wall-of-sound that enveloped your listening experience, and heartfelt lyrics that made you feel loved if you were lonely, and even more loved if you were in love.

I don't have too much information on the band, but I really don't care, because I'm all about the band's vibrations. Yes, the blogging world has been all a-buzz over "Do You Love Me," and rightly so--it's a great song. But like the second side of Beach Boys Today!, it's the second side of Freedom Wind that really sparkles. Long comparison short: these songs are melancholy and beautifully arranged, but they're not over-arranged or over-orchestrated. These songs are the perfect length and the album is the perfect length, too—never overstaying its welcome, always leaving you wanting more.

The best number of the lot, "Safe Distance," is strumming guitars, harmonies, organ, and I think I hear a ukulele in there, too. It's slow, it's make-out music, it's sitting in the back seat of your daddy's car at midnight on a Friday night after the football game, holding your girlfriend tight and just feeling the moment. That the song is followed by a wonderful song called "Hold Me Tight" only proves my point--this is a high school pop record for high schoolers four decades ago.

I like the rest of the record, it's a gas, yes, but I'm only going to talk about those two songs, thank you very much, because, after hearing those two songs, I find myself not really caring about the rest of the record. Not that it's bad, but, excuse me, I am in love with the sound here, thank you very much, I'm done gushing, I'll never be done gushing...

Listen To: "Safe Distance"

Freedom Wind is released May 20th on Dead Oceans

Northern Portrait The Fallen Aristocracy

2008-04-21T16:18:00.000-05:00

Ah, Denmark. A lovingly gray country well known for its stance on sex and drugs, not so well-known for its rock and roll. A look at the sleeve for Northern Portrait's debut The Fallen Aristocracy makes me think of a beautiful Smiths sleeve. "Which one?" Any of them. "I think that's what they're going for, Joseph." I quite agree. Once again, Matinee Recordings releases a corker, once again the band is lazily compared to the Smiths, and once again I yell "No! More like The Ocean Blue!" I will concede the lazy's point on "Waiting for a Chance," although I stand undaunted and unconvinced. I do like this band's way with an arrangement; they have, without fail, layered their songs with a lovely little jingle-jangle. I think I love the final song, aka the title track, the best. Saying I think one song is "best" would be like dating an identical quadruple and saying she was the prettiest of the lot. An auspicious and frustratingly brief debut--here's to more!

Listen To: "Crazy"

John Fahey The Mill Pond

2008-04-21T14:02:00.000-05:00

Back in the 1990s, I discovered the gentle, beautiful guitar stylings of John Fahey. Introduced to his best records, it was hard for me to deny that his music was anything less than a special joy, a fragile little secret only a select few knew. I hate obscurist-types, but I must confess to having suffered from such afflictions. Of course, addicts and people with problems have a way of finding those who will feed such afflictions, and as such I happened to be enticed by the shiny "super-limited edition" sign at a lovely little store called 33 Degrees. The record advertised was entitled The Mill Pond, by my new discovery, John Fahey. With disposable income in and a friendly demeanor that both disguised my snobbery and confounded yet charmed the posturing record store clerk, I purchased this double seven-inch delight. I left happy. I must admit I was a bit confounded by the music found in the record's grooves, as it certainly was not quite like my other Fahey records. I felt it had more in common with another band I'd recently discovered about the same time, Stars of the Lid. Droning, weird, and with odd vocals that sounded like a cross between Tibetan throat singing and an incoherent deranged homeless man's noises. It was beautiful, it was interesting, it was weird. I listened to it a few times, put it on cassette tape, and enjoyed it--never fraying in my preference of his older, more traditional records. I took pride in knowing that I was one of probably a thousand people in the world to actually possess and appreciate this record.

The record now sits, undisturbed, unheard, sandwiched peacefully between records by Unrest and Flying Saucer Attack, in what was once a box of Rolling Rock. I failed to remember that I owned it. 33 Degrees shut its doors a few years ago. John Fahey died. Life goes on. It happens that way. Important Records reissued this record on CD, packaged with a booklet of Fahey artwork, and once again the record is a limited edition release. I haven't bought the reissue yet. I may do so. WFMU had the EP on its blog a while back. I downloaded it. I coupled it with Ya Ho Wa 13's Penetration on iTunes. It segued seamlessly. It was good to hear it again. It's a beautiful record.

Listen To: "You Can't Cool Off In The Mill Pond, You Can Only Die"

Thank You For Your Patience

2008-04-12T09:28:00.000-05:00

We apologize, your operator is currently busy. Please, enjoy the music as you continue to hold. Thank you for your patience. We will be with you shortly...

Listen to: Frank Mills-Music Box Dancer

Richard Swift: Richard Swift as Onasis

2008-04-05T10:18:00.000-05:00

Oh, Mr. Swift, how you do go on. The excellent singer/songwriter follows up his fascinating but divergent Instruments of Science & Technology album by releasing a two-EP set...of rough, raw, primarily instrumental garage rock and blues???

Yep.

I won't say I don't like Richard Swift as Onasis, but I do want to ask, "Richard, where are you going with this?" Challenging and confounding your audience is one thing, but underachieving is another. Twenty songs in thirty-eight minutes, most of which are fungible, almost all of which feel incomplete, with some of them simply ending. The record feels like someone broke into a studio, stole rehearsal tapes, and bootlegged 'em. It doesn't sound a bit like the Richard Swift you might expect, so be forewarned.

I'm willing to accept records like this because I know that Richard is an artist and that he's following his muse, and it's only a matter of time before he releases another mindblower. Of course it all could be a joke on his audience; it's hard to not see the song title "Ha Ha Suckers" without thinking it reveals a primary motivation. Musical japes like this, though, not everyone will like. Caveat emptor.

Listen To: Even More Sign Language
Listen To: Phone Coffins

Richard Swift as Onasis is released April 8, 2008, on Secretly Canadian

We Predicted It, We Take Credit for it!

2008-03-29T15:54:00.000-05:00

In October of 2006, I had a delightful conversation with The World's Funnyman, Neil Hamburger! In this, the following was stated:

Have you ever thought about releasing albums of just comedy songs?

You know, I have thought about that quite a bit, and we've had some groups, some musical groups, asking about it, but I just haven't gotten it together yet. In the future, I'd like to get something going, but even with the lack of popularity of those songs, maybe the next one would be the one that really took off. Weird Al Yankovic has been ill lately, so maybe we could pick up and carry on in his fallen shoes.

I see you as being the next Allan Sherman, perhaps.

Why not? Those men had some sort of success, and I'd like to be the next one of those.

And you deserve it.

Why, thank you! This is exhausting work. I can't tell you all of the physical and mental ailments and emotional pain I have been through to make people laugh. It's too bad one has to make a sacrifice for the good of the many, but that's the way it is.

Well, to my surprise, mr. hamburger has done just that! It's with great pride that I say he has an all-music album coming out soon, entitled Neil Hamburger Performs Country Winners. And from one of the songs I've heard, it's going to be an Ace Record release, with those in the know suggesting it will be a Very Important Record, up there with Bob Newhart's The Button-down Mind. A grammy, perhaps? let's not rule it out!111l1!!111!11!!!!!!

Listen To:"At Least I Was Paid"

Rameses III Basilica

2008-03-29T09:37:00.000-05:00

British instrumental trio Rameses III has created a new approach to the 'live album' thing. Their newest release, Basilica, is a two-CD affair, and it's a very satisfying, unique release. The first disc, Basilica, is four remixes and reinterpretations of live recordings from a Rameses III performance in May 2006. The second disc is similar to Honey Rose, and is five songs entitled "Origins," all of which are compiled from live performances over the past two years. Listening to the songs, it's not necessarily clear where Rameses III begins and the remixer ends, but that's not the point; in this case, the 'remixer' becomes 'collaborator' in expanding Rameses III's sound, but these folk don't really change anything. So, well, the concept is interesting, but on listen, it's really hard to distinguish or appreciate. But that's a moot point; the two discs contain some utterly beautiful, quiet, and pensive instrumental compositions. I'm personally fond of our fave Gregg Kowalsky's "Rose Blood" remix--a wonderful fifteen minute epic of gentle proportions--but I like the rest of the record as well.

Listen To: "Origins V"

Basilica is available now on Important

School of Language Sea From Shore

2008-03-26T13:22:00.000-05:00

Field Music's Tones of Town was a wonderful blast of XTC-styled pop, and it established the British band as a young, hip group. Sadly, not long after the album's release, the band went on hiatus. I can't tell you if the band is dormant or if the "hiatus" is just the typical euphemism for "broken up," but I do know that leader David Brewis' solo project, School of Language, is a worthy endeavor. To be honest, the music on Sea From Shore is not radically different from Field Music, save for a sound that is rougher and rawer; it's also practically a one-man project, though it never suffers for it.

The songs range from the familiar herky-jerky Field Music style, as heard on the wonderful "Disappointment '99" and "Poor Boy." Brewis does get mellow, though, on "This is No Fun" and "Keep Your Water." As I think about it, at times those songs remind me of the vintage work of his label-mate Bobby Conn. What I'm most fond of the four-part "Rockist." It's hard to call it four different songs; instead, it sounds more like a demonstration on how a song is made. Parts one through three contain different elements, and are different lengths. "Rockist Part Four" is the finished product, and though some might find this annoying--initially I wondered about where he was going with this, until I heard the final track, and I realized that the song merely combines elements of the previous three parts, while offering a variation of a theme. It sounds really good, too. Hell, the whole record is a pleasure.

Can't tell you if there will be a new Field Music record, but I do know that the legacy and the talent of the band will live on. Sea From Shore is a quiet, unassuming little jewel of a record, and worth checking out.

Listen To: Disappointment '99

Sea From Shore is available now on Thrill Jockey

Japancakes The Sleepy Strange

2008-03-24T12:33:00.000-05:00

The Sleepy Strange, Japancakes' sophomore album (and last record in Darla Records' reissue campaign) found the band honing in on the sound that makes them oh-so special. For the first time, the pedal steel takes a lead role in the band, propelling the band's overall sound into a dreamy space wonderland. The album title is 100% correct; it is "the" record, the record is very "sleepy," and it is, in its way, quite "strange." It's strange in the sense that the music is practically 'new age,' definitely 'ambient,' rather 'country,' yet it cannot be truly called those things. I can only think of one artist to compare this record to, and that is the painfully obscure Transparent Music, the debut album by pedal steel maestro, BJ Cole. To make it stranger, the songs on that record sound like Japancakes outtakes, yet those songs are all classical compositions!

See how appropriate this album title is?

Ultimately, The Sleepy Strange is where Japancakes became the band we know and love today. The album's sole flaw--and it's more a personal taste thing than a true flaw--is that the songs, while gorgeous, seem to ramble on a bit too long. Then again, that's not a criticism of the actual music, so maybe I shouldn't have brought it up. "The Waiting" is eight minutes of pure heavenly bliss, a gentle, relaxing ride up the stairway to an aural paradise. So is the next song, "Disconnect the Cable." Same thing for the next song, "This Year's Beat." What of the next song, "Vanishing Point?" I'm sure you can see where I'm going here.

The Sleepy Strange is a lovely little record from a highly talented band. It's a record any band should be proud to release, and saving it from the dustbin of obscurity was a wise decision.

Listen To: "Vanishing Point"

Japancakes Down the Elements

2008-03-20T17:17:00.001-05:00

Down The Elements, a four-song EP, appeared next, and was a bit of a departure from If I Could See Dallas. It's succinct; it's darker, and it's a bit more captivating. The band's maturity is obvious. The EP doesn't contain what has become their patented gentle, country-flavored space rock; instead, its four tracks are deep, heavy explorations of straightforward "rock," and it's quite satisfying. By "deep, heavy" I mean "long," as two of the four songs break the ten minute mark; the title track is over fifteen minutes. Down the Elements was a bit of a clearing-house for this big rock sound, and served a purpose as a one-off experiment. What appeared next, however, would be a definitive statement.

Listen to: "Sputnik"

Down the Elements is available now on Darla Records

Japancakes If I Could See Dallas

2008-03-19T17:11:00.000-05:00

If I Could See Dallas, Japancakes' formidable debut album, is very much a record of its time. Though there are hints and traces of the wonderful country-space rock that would become their trademark, the band obviously displays the rather common trademark sounds of independent rock, circa 1998. I bought this album when it first came out, and thought it was a bit too derivative of other bands I liked at the time--Tortoise, primarily, but also other bands, many of which are more obscure than Japancakes!

To be fair, though, If I Could See Dallas is Japancake's debut, and it suffers from the malady common to most debut albums: lack of focus. As a basic rule, a debut album should never be nearly eighty minutes long, especially an album that contains soft, gentle instrumental music. If two or three songs had been omitted, Dallas would have been a stronger, more cohesive album. It's hard to stay focused (and, well, awake) with so much content.

Faults aside, it's hard to criticize Dallas for its musical content. The band's trademark sound had yet to be fully realized; it's interesting to hear them take on more traditional post-rock, such as "Westworld" and "Elevator Headphone." And their country space-rock style can be heard on "A Short Mile" and the gorgeous twelve-minute "Elephants." But I have a special love of the final song, "Allah Rahka," an eight minute rock jam, full of sitars, drums, violins, and a swirling psychedelic melody.

If I Could See Dallas is an enjoyable record, though perhaps too long. Its length does not negate its quality, and the record definitely set the marker high for the band's future.

Listen To: A Short Mile"

If I Could See Dallas is available now on Darla Records

Televise Sometimes Splendid Confusion

2008-03-17T12:13:00.000-05:00

Simon Scott, former member of Slowdive, formed Televise a few years ago and then released a really amazing Britpop-minded record, Songs to Sing in A&E. Since then, Televise's records have been solo affairs, and those records have been slow, tranquil, and instrumental, not unlike Pygmalion. Sometimes Splendid Confusion is no different. The six songs found on this EP are similar; though they might seem nondescript, together they flow nicely in a half-hour's worth of bliss-out. A tranquil acoustic moment like "Praveen (Remix)" sits gently beside the quiet drone of "Tropical Mix." All in all, a half-hour's worth of gentle electronic music, a lovely humming for your head.

Listen To: Tropical Mix

Sometimes Sweet Confusion is available now on Drifting, Falling

The Sharp Things A Moveable Feast

2008-03-08T10:15:00.001-06:00

I must confess, for the record, that I neglected a really good band, New York's jazz-pop orchestra The Sharp Things. Okay, so they're not really jazz, they're definitely pop, and they're certainly an orchestra-sized collection of sharply dressed musicians. Their third album, A Moveable Feast, came out last fall, and I had a very lovely and insightful conversation with the well-respected Jim Santo. Unfortunately, due to the realities of cancer treatments and surgeries and recoveries, a lovely Sunday afternoon interview with The Sharp Things' Jim Santo hasn't seen the light of day. It's a good interview, too, and I have the tape player at my desk to guiltily remind me of my neglected duties.

Enough about that--how does the record sound? Amazing. Their previous record, The Fox & Hound didn't do anything for me, which was a disappointment given their excellent debut. But it took exactly two seconds of the second track, "Through With Love," for me to realize that this new record was an amazing leap forward. This song is one of the best angry-at-love love songs I heard all year, and it's helped by a grand orchestra accompaniment. It doesn't hurt that lead singer Perry Serpa channels the spirit of vintage Richard Butler, either; this is the sort of song an aging Psychedelic Furs should be releasing. Sadly, they're not. But someone is, so that's all that matters, right?

Other highlights for me include the wonderful Motown-style arrangement on "Cruel Thing," with Serpa becoming the blue-eyed soul singer some of us always expected him of being. Then there's "Don't Hold Out Hope," a touching piano ballad that is made even more powerful by Serpa's plaintive singing. "Driving In Manhattan In My Car" is another slow one, but it's a very romantic song, and though I've never been, I can't help but feel it captures the essence of Manhattan. The chorus of "I am home" makes it even sweeter.

The rest of the record has this beautiful, sitting-in-a-cafe-on-a-rainy-Sunday-afternoon vibe I like. In other words, we're talking about a mellow, melancholy, but hopeful and relaxing style that makes me hate most other music not as good as this. If I were David Dye, I'd be euphoric and obsessive about promoting A Moveable Feast, because this is David Dye's kind of music. And what I like about this record is it's so...so...adult. This isn't meant for "the kids" out there; as someone who is disillusioned about most "pop" music and "indie rock" in specific, it's nice to hear a record that doesn't pander to styles or genres or movements or those damn hipsters out there.

Listen To: "Through With Love"

Frank Black and Teenage Fanclub's Peel Session

2008-03-04T12:40:00.000-06:00

File it in the "Regret They Didn't Follow It Up Pile": In 1994, Mr. Frank Black was in England, and was offered a Peel Session. He didn't have a band, so he called up the excellent Scottish power-poppers Teenage Fanclub and asked them to accompany him. They agreed, and four wonderful songs were recorded: Black's then-newly written "The Man Who Was Too Loud" and "The Jacques Tati." Also included were two covers: Del Shannon's "Sister Isabel," and Otis Blackwell's "Handyman." As befits the thrown-together arrangements for the session, the four songs sounded rough and raw, and the Fannies were in fine form. The two originals are a bit shaky, but they have a definite charm; "Sister Isabel" is creepy and weird, but it's not all Frank Black weirdness; Del Shannon's lyrics often possessed a creepy and weird tone. "Handyman" is the hands-down best song of the set, and, honestly, I think it's one of my favorite Frank Black solo recordings. It could pass as an Elvis Costello & The Attractions outtake; Frank is simply insane in his singing, and Norman Blake's motley crew do a damn good job of pounding the melody out. It's an amazing piece of music, my friends. When this limited-edition EP for this session was released, I spent a little too much money for it--but "Handyman" has reaped dividends, even if I did not keep up with Black's solo career. I do wish they had followed up this session with an EP or an album, because these songs certainly indicate that these two artistic bodies fit well together.

Listen To: "Handyman"

subtractiveLAD Decay as a Lifestyle

2008-03-03T12:32:00.000-06:00

Downloaded this one as I'd heard a subtractiveLAD song a while back, and I'm glad I spent the two and a half for this one. Decay as a Lifestyle is a three song digital EP that serves the purpose of whetting the palate for the forthcoming subtractiveLAD LP; two of these songs (well, "Mayfly" is a remix, but that's splitting hairs) appear on the album, and after hearing these songs, I think it's safe to say that album must be a mindblower. The title track reminds me of Ulrich Schnauss, but with a harder edge; it's electronica and it's ambient, but it's also heavy on the "rock" side. "Ashes" removes all vestiges of rock, and is a glacially-paced ambient track not unlike Roger Eno or Harold Budd. "Mayfly" is a bit like the title track, but with a funky Japanese influence I like. It sort of has a TV soundtrack feel--specifically a detective show. You just have to hear it to understand, I guess. And by the way, why don't you hear it? The single is available for super-cheap at n5md! Can't wait to check out that album, though.

Listen To: "Decay as a Lifetyle"

Cane 141 Lost at Sea

2008-02-21T11:26:00.000-06:00

Not only do I love Irish sonic composer Michael Smalle's (AKA Cane 141) Lost at Sea, I love the whole damned idea of it as well. Let's just examine that formula: pulsing electronica that is epic yet accessible, with a heavy dose of looped ocean waves thrown in the mix, as former Royal Navy Commander Bill King tells war stories, all accompanying the visual doodles of Roisin Coyle. It's quite easy to understand why I'd like this music!

The music itself is downright beautiful; Smalle does a fine job of capturing the come and the go and the to and the fro that is the ocean; these songs don't really require the samples and the loops to convey that feeling. Bill King's stories are interesting, what little bits and bites you get, and the spoken word bits that aren't King are not superfluous, as they all tie into the nautical theme. Hearing Japanese mixed with English is an interesting approach as well; it makes you think two soldiers on two sides are telling their stories decades after the fact. Maybe they are? Don't know. As you'd expect, there aren't proper "songs" on the record; all fourteen tracks are interwoven and form a wonderfully cohesive whole.

I'd love to see how the visuals play into the music, but, really, the concept and execution of Lost at Sea is strong enough to make Coyle's visual element nonessential. That's not to disparage her art; it's a strong testament to the strength of Smalle's soundtrack. I think seeing the visuals intended for the music would be interested, but I don't feel like I am missing out on anything. Others might think differently, but I frankly do not care about the opinions of others...

Listen To: Lost At Sea, Section Four

White Rainbow Prism of Eternal NOW

2008-02-16T10:00:00.000-06:00

Adam Forkner is a guy who knows how to make heady mind music. Yume Bitsu, anyone? The Portland-based musician has headed up a number of musical projects over the past few years, and his main focus now is White Rainbow. Past releases include an aural love letter to Honey Owens (aka Valet), and a five-CD set of out-and-out psych-rock bliss. Prism of Eternal Now is his Kranky debut, and it's also one of his most refined albums to date. Mixing the sound of quiet introspection with the occasional lysergic bliss of a trip through a prism, Forkner does his best to create music that will open your mind, relax you, and float you downstream. The songs on Prism of Eternal Now don't overwhelm you; occasionally, as on "Mystic Prism" and "Pulses," he offers a beat that will cause you to move. But most importantly, Forkner has created a listener-friendly trip into a beautifully colored sonic world full of primal and modern sounds meant to enlighten, enliven, and rejuvinate your senses.

Listen To: Mystic Prism

Prism of Eternal Now is out now on Kranky

Instruments of Science & Technology: Music From the Films of R/Swift

2008-02-06T17:13:00.000-06:00

Richard Swift has made a handy and quaint little reputation for himself as a talented singer/songwriter. "Kisses for the Misses," I let it speak for my life. If his songwriting continues to grow as it has grown, he's going to wind up being our generation's Randy Newman--a need our generation sorely needs. What is neglected by those who talk about his music is that Richard Swift is something more than a talented singer/songwriter: he's also a studio composer and arranger, a side heretofore unexplored on his records.

Instruments of Science & Technology: Music From the Films of R/Swift will piss off and confound some of his fans. I can't put it any other way. Other than the excellent Heldon-style rock of the ironically-titled "Inst," the album contains no vocals, and even then, those 'vocals' are merely sampled from an instructional exercise record from the 1960s. The rest of the record consists of brief instrumental passages that are intertwined and connected to make a thirty-minute whole. The songs range from rock freak-outs to drones, from gorgeous melodies to mind-numbing repetitive rhythm tracks.
You can't really appreciate the record on a track-by-track basis; taking it apart takes away from the record, and single tracks don't really seem to make much sense in a standalone setting.

I like this little diversion--I think.I have to be in the mood to listen to it, that's for sure. It's been a while since I've heard a record that's really challenged me to change my perceptions of its creator, but this record has certainly done so. I do admit, though, it's nice for an artist to release something as radical as this record. Somewhere, though, I think Richard is smiling about it all; challenging an audience is what a good artist does, for an artist that does not introduce his audience to new ideas is an artist who misses an opportunity to expand minds. Good job, old bean.

Listen To: "Plan A & Plan B"

Instruments of Science & Technology: Music from the Films of R/Swift is available now on Secretly Canadian

Soft Circle Full Bloom

2008-02-04T12:11:00.000-06:00

Soft Circle is the project of Hisham Bharoocha, former Black Dice drummer, and I have to say that it's a wonderful project, too. His music is drone, but unlike his former group, his drone isn't based in the electronic noise of the Twentieth Century; it's the sound of ancient musics and instruments. Unlike his previous band, his music is tranquil, quiet, and meditative. Now, I know some people who find Black Dice to be soothing, and some of their music is quiet, but Soft Circle is a wholly other dimension of sound.

Thankfully, Full Bloom never overloads your eardrums with high decibel-level noise. When Hisham does get loud, he's not trying to imitate the sound you'd hear if you stand next to a jet engine. Instead, he's trying to capture some sort of postmodern tribal new wave native bonfire ritual that will make you dance. It's not hippy-dippy rave electronica, but it's close; the groove of "Earthed" sounds a lot like the grooves found in early-90s Wax Trax releases; specifically, Greater Than One, but I'm not trying to be pedantic. Other songs, like "Shimmer" and "Whirl," sound like a 21st Century take on World Music; heck, if they were so labeled, I'd believe these were Mickey Hart recordings.

Overall, Full Bloom is a beautiful trip in a sonic world that beautifully mixes drone and tribal sounds. My interest in Hisham's music is definitely piqued; this recording is beautiful, and I anxiously await his next record.

Listen To: "Shimmer"

Full Bloom is available now from Eastern Developments

Stephenhero "57 Stars of the Air Almanac"

2008-01-30T12:11:00.000-06:00

Wow, talk about coming out of nowhere! Stephenhero is the ongoing project of Patrick Fitzgerald, the former lead singer of the wonderful and well-missed Kitchens of Distinction. But it's been several years since his last record, so I wondered if he even still made music. Glad to know that he is.

If you have never experienced the utter brilliance of their 1991 album, The Death of Cool, you need to stop reading and discover this unfairly obscure masterpiece. It's one of the best records I've ever heard, period. After the band split, Fitzgerald formed different projects, Stephen Hero being the most notable. The music he released was quieter, mellower, and often instrumental--none of which ever reached the heights of The Death of Cool.

Until now.

57 Stars of the Air Almanac, now credited to Stephenhero, is a paraphrased return to The Death of Cool's majestic heights. I say he's "paraphrased" because these songs cover the same kind of lyrical themes, and are as emotionally powerful and painful as Death of Cool except...the powerful wall of guitar has been replaced...by piano! We're talking about a guy who wrote beautifully melancholy lyrics on a par with Morrissey, tempered with the noise of My Bloody Valentine.

When I read a few descriptions of this new record, I never would have expected such, would never have expected much, and, honestly, before I heard it, I was skeptical that he could really replicate his storied past without his powerful guitars. But Patrick can, Patrick has, and my mind has been...well...blown. Now, mind you, 57 Stars of the Air Almanac isn't trying to be Kitchens of Distinction mach 2, and I'm glad, because otherwise, it all would sound a bit too forced. Patrick was and is an excellent songwriter, and that's what is on display here. Whether it's a love song, or a not-in-love song, Patrick can write a song that aims for the jugular.

I've rambled around a point, a very simple point, and that is this: Patrick Fitzgerald is one of the finest songwriters of our time, bar none. That he's released a potent and beautiful record in painful obscurity isn't his fault, nor should it be a reflection of the quality of his art. I've loved the man's music for nearly two decades. 57 Stars of the Air Almanac reminds me why I fell in love with his music in the first place: powerful words and beautiful music. And, well, "58 Stars" brings a tear to my eye every time. That's all that matters to me…

Listen To: "58th Star"

The World on Higher Downs Land Patterns

2008-01-29T13:24:00.000-06:00

I bought the wonderful debut record of Wisconsin's The World on Higher Downs. It took me a while to find it, but found it I did, and other than one major flaw, this record is utterly flawless. (To get that one flaw out of the way: the new CD I bought had a scratch on the otherwise wonderful "Ascension And," and not only do I have to skip that song, but I also cannot return the album, as I bought it from an online dealer who does not take returns on import titles. Damn.)

Aside from having to program that song out, Land Patterns is a collection of beautiful, epic ambient instrumentals. The songs are languid, but not plodding; they are long--all but "Waterpath Street" clock in at least seven minutes--but the length merely allows the songs to expand and flourish in a way that makes listening an enjoyable experience. I've listened to the record at least half a dozen times, and each time I feel the record passes way too fast. The songs are also rather quiet; if you're wanting music that is hushed and will allow you to relax and meditate, you'll find that here.

It's sort of a shame that this wonderful record is somewhat obscure; a record as good as this should not be confined to a Japanese-only release. Still, you can find it, and find it you should; it will soothe your soul and will please your senses.

Listen To: "Her Static Will"

Land Patterns is available now from Plop

Paul Metzger Deliverance

2008-01-22T11:56:00.001-06:00

When is a sitar not a sitar? When it's Paul Metzger and his amazing banjo, that's when! The three tracks on Deliverance certainly don't sound like something from Deliverance. Instead, these three very long songs are woozy, intoxicating and simple in their approach. If you're looking for a record to relax you at the end of the day, or to provide quiet music for a nice, sedate gathering of you and your intellectual friends, then burn some Nag Champa, pour some Midori, turn down the lights, place Deliverance between your Modern Jazz Quartet and Ravi Shankar records in your CD changer, hit random play, and relax, man.

Listen To: " Orans(Excerpt)"

Deliverance is out now on Locust Music

The Drift Ceiling Sky

2008-01-18T13:00:00.000-06:00

Lost in the shuffle of a year's music, a dirty car, and some other best-left undefined excuse, Ceiling Sky, The Drift,'s compilation album (if you can call it that) of twelve-inch singles and rare vinyl-only tracks has spent a bit of time on my stereo. The six songs are cast from the same mould--gentle, unhurried, jazz-based instrumental rock.

Ceiling Sky begins where The Drift's story began, the "Streets"/"Nozomi" 12" single. "Streets" is spaced-out gentle jazz, not unlike Spaceheads, or, perhaps, some of A Certain Ratio's quieter moments. "Nozomi" begins with a late-90s post-rock style guitar strumming, and then quietly turns into a peaceful Spaghetti western-style jazz number, not unlike Calexico.

I wish, for descriptive purposes, I could state heartily that the other four songs found on Ceiling Sky differ radically from the previous two, but they don't. Okay, Four Tet's "Gardening, Not Architecture" introduces a heavy dose of beats and computer blips, and Xian Hawkins' "Invisible Cities" is space funk par excellence--but underneath their embellishments beats the quiet, gentle heart found on the other songs here--and, for the most part, on the band's debut.

I know compilation records are usually seen as time-fillers for bands taking an exceeding amount of time to complete or release a new album, but Ceiling Sky is an album worthy on its own merit.

Besides, you didn't buy the vinyl.

Listen To: Streets

Ceiling Sky is available now on Temporary Residence, Ltd

Larsen & Friends Abeceda

2008-01-16T12:01:00.000-06:00

When I first heard samples of Larsen & Friends' Abeceda, I was impressed.
When I took it out of the mailer, I was enthralled.
When I examined the artwork, I was intrigued.
When I read the lyrics, I was amused.
When I read the liner notes, I was educated.
When I read the lyrics again, I was impressed.
When I listened to the sound recording, I was hushed.
When I contemplated the music, I was overwhelmed.
When I watched the video and contemplated the music, I was weeping.
When I sat at my desk the next day, I was nostalgic.
When I went to Amazon and bought two copies for friends, I was generous.
When I thought about how I was sharing with loved ones one of the most beautiful records I've ever heard, I was, and am, and shall forever be, content.

Listen To: Section One

Abeceda is available from Important Records

For Against In the Marshes

2008-01-12T09:28:00.001-06:00

I've been enthralled by In The Marshes, the latest in a reissue series for post-punk band For Against. While I must admit I've never really reacted to the other records in the series--I simply haven't connected with the music--I must make an exception for this latest record. This record is a reissue of a vinyl-only EP from 1990, which contained demos from the band's beginning. Instead of the moody, heavy atmospherics of those records, the songs found here are raw, rough, and slightly primitive. Yes, the elements mentioned before are still there, but in this state, they work quite well. The biggest influence I hear in these baby-band recordings isn't Joy Division but Marc Almond. The influence is most obvious on "Amnesia," for I half-expected lead singer Jeffrey Runnings to break into "Memorabilia." "Fate," though, sounds like a Cure outtake from "A Forest" sessions, with guest vocals by Mr. Almond. In my mind, the prospect is interesting; in my mind, the song is excellent because of it, even if, well, the vocals are somewhat muddy.

The Rosetta Stone element comes from a bonus track, a studio version of the original EP track "Amnesia." The demo version is dominated by a drum machine; the vocals are languid, the bass line is rolling, the guitar parts are minimal--almost nonexistent--and the whole song feels like you're floating around in (and on) thick cough syrup. The finished version, however, adds real drums, heavier guitars, a faster tempo, and a buried bass line. The song doesn't work at all, though, because it just sounds a mess. It's the vocals that ruin it, in my opinion. Runnings sounds as if he's trying to keep up with the band's more rock-like arrangement, and the song works better with a more minimalist approach, as heard on the demo. The other bonus track works the opposite angle, presenting a demo version of the EP's "Amen Yves," whereas the EP version is a bit lighter than the heavy, dark, and moody demo!

Perhaps the band's other albums had too much of a sheen to them, and the live-to-tape element found in these older, not-intended-for-release songs adds a dimension lacking in their more focused, official releases. I'd have to go back to those albums and spend some time with them to really back up what I've just stated, but In The Marshes is compelling enough to make me want to do that.

Listen To: Fate

In The Marshes is available now from Words on Music

Ringo Deathstarr

2008-01-09T16:54:00.000-06:00

I have to say that the moniker "Ringo Deathstarr" made me relate this young Austin band to "Dandy Warhols" and "Brian Jonestown Massacre," and not because of the music. Then I heard the music! I was pleasantly surprised and a little shocked to see how well these guys fit in with that pantheon of brilliant bands with clever names. (The less said about REO Speeddealer and John Cougar Concentration Camp, the better.) Setting aside the trivial matter of the band's name, I have to say that Ringo Deathstarr rocks, and they rock hard, in that Jesus & Mary Chain and Dandy Warhols kind of way. I can't say I was surprised when I learned that they opened for Dandy Warhols, either--my only regret is not being there!

Cute platitudes aside, this band approximates the music of William and Jim Reid in such an amazingly accurate way, I actually felt like I was listening to some sort of bizarre covers EP of unreleased Jesus & Mary Chain songs. From the first moments of the aptly-titled "Swirly," I knew the sonic trip would be trippy, and I wasn't disappointed. Rumskib and A Sunny Day in Glasgow helped launch a reverend shoegazing trend; their respect for the sounds of earlier times is obvious. Ringo Deathstarr simply taps into the emotional element, and in so doing, they tap into an element that's universal: love. I can't really make out most of the lyrics, but from what I can understand, their lyrical themes are about love: falling in love, falling out of love, longing to be near a loved one, and, simply, loving. "Some Kind of Sad" is about a girl whose lips "taste like honeydew," and, in a fun little reference, are "just like honey, too." "Down on You" has a lusty yet angry guitar riff, and lyrics that are probably as lusty--if you could understand 'em!

The total winner here, though, is "Sweet Girl," the most poppy number on the record, and the most coherent, too; the song's pulsing rhythms remind me of why I loved Darklands, and it's about a girl who makes the lead singer simply swoon. It's a song meant for mix-tapes for crushes. It's also a song, I hasten to state, that could be a hit. (Cliche ends here.)

Other than the fact the band comes from Austin, I know nothing about the band. I also know that this EP is...it's amazing! I hope an American label takes the time to sign this band. Oh, and also, they're the best sexy-ass shoegazing pop band to come out of Beaumont since The Cocker Spaniels!

Listen To: "Sweet Girl"

Ringo Deathstarr is out now on Spoilt Victorian Child

Raymond Scott Woolson The View From Boggins Heights

2008-01-07T10:52:00.000-06:00

I have a feeling that, somewhere in the "pile" of records I never reviewed, I have the initial release of Raymond Scott Woolson's self-released The View From Boggins Heights. I'm not going to look for it, though; I simply don't have the desire to wade through what is most assuredly a mediocre pile of music. Besides, it doesn't matter, as this 2007 reissue I just picked up suits me just fine.

Woolson's music is soft, simple, and quiet. It's an all-instrumental affair, and though it drifts nicely into the style of bliss-rock artists like Robin Guthrie, on "Six Hours One Friday," "Dear Wanda," and "Wheels Whirling On A Red Plastic Motorcycle," I honestly expected to hear singing, as the music seemed geared to accompanying vocals. Makes me wonder if Woolson has some singing in mind for the future, hasn't found the right vocalist to sing with him--or might not be quite confident enough to take the mic.
Overall, Woolson specializes in the electronica/pop/shoegazing mix that Ulrich Schnauss does quite well, only Woolson does not really remind you of Schnauss. When he gets into a melody, Woolson does his best to turn it into a mind-melding, head-expanding trip. The man does a good job of it, too, as its easy to get lost in the atmospheres of "Selina's Bonfire," and the closing epic "Wayfarers All" is just pure, unadulterated bliss.

Thankfully, though, Woolson doesn't fall into the sticking to one style trap, as it's not all blissful guitars; The View From Boggins Heights has enough sonic variety to hold your attention, even while you're being exposed to music that's very dreamy. The fast-paced "The Audubon Print For Ken" will wake up any sleepy-heads. "Dear Wanda" is a straight-up pop song, with instruments in the place of vocals; it has a Musak-meets-shoegazing feel that wouldn't sound out of place on Japancakes' cover of Loveless.

Apparently, Woolson reissued this to tide people over and get people ready for a big record he is releasing this year. After spending a cold, dreary weekend with The View From Boggins Heights I say--bring it on!

Listen To: "The Audubon Print for Ken"

Cloudland Canyon Silver Tongued Sisyphus

2008-01-05T11:00:00.000-06:00

Cloudland Canyon's Kranky debut, Silver-Tongued Sisyphus, is a two-song mini-album that impresses as it engages. Both songs are nearly twelve minutes in length, and both are similar, yet different. The first song, "Dambala," starts off with a drone, but it turns into a disturbing trip into space, with robotic creaks and glistening blasts of space. Then, halfway through the piece, with a jarring shift not unlike a primitive-era bone turning into a post-futuristic spaceship, the song turns into something different. A rather nice beat comes in, and keyboards are now prominently featured. Near the end of the piece, though, the sounds from the beginning fade back in, creating a lovely little sonic orchestra.

The title track starts off with a gentle futuristic beat, again replete with robotic bleeps and bloops. Then, about three minutes in, it changes into a full-out psychedelic-rock FREAK OUT jam session, not unlike the sounds found on their previous record label, Tee Pee. It's an interesting contrast, as these sounds are wonderfully kaleidoscopic, though it stands in contrast with the previous song.

Silver-Tongued Sisyphus is a nice introduction to a rather interesting band. This EP also serves as Kranky's introduction to the band, with their full-length Kranky debut coming early this year. If that record is anywhere as interesting as this EP, then the label has scored an impressive find.

Listen To: "Dambala" (Excerpt)

Moonbabies At the Ballroom

2007-12-28T11:24:00.000-06:00

For most of the year, one record yelled "play me again, Joseph!" That record happens to be the fine new At The Ballroom by Swedish husband and wife duo Moonbabies. When my good friend Sean Padilla released a cassette by them back in the late 1990s, they were a band heavy on the shoegaze, and their songs were coated in reverb, noise, and all-out bliss. They don't sound a thing like that any more; instead, they're a pretty blissed-out straightforward pop band; a comparison to The Cardigans certainly would not be inappropriate. "War on Sound" made it onto some TV shows here in the states, and is most certainly a song worth your time, but there's much more to the band than that one moment of pure pop clarity. Any album that can deliver such highs as the wonderful acoustic balladry of "Walking On My Feet"--a "Solsbury Hill" for the 21st Century--to the "And Then He Kissed Me"-referencing melancholy orchestra pop of "Shout It Out" deserves your attention. Swedish pop made a splash in 2007, and Moonbabies might not have garnered the attention of, say, Shout Out Louds, Peter Bjorn and John, or Jose Gonzales (those last two are former Moonbabies labelmates!), but just because you didn't hear about it doesn't mean their record is any less wonderful.

Listen To: "Walking On My Feet"

At the Ballroom is available now on Parasol/Hidden Agenda

Robbie Fulks Revenge!

2007-12-28T07:40:00.000-06:00

2007 was the year Robbie Fulks unleashed his revenge on his fans...or, I should say, his Revenge!. The man is a fine country singer; he blends wit, humor, and weepers into a brilliant whole. While later records back away from his sarcastic, sassy, clever salad days humor, he's still an amazingly wonderful musician. Revenge! is a two-disc live set, though it's not a complete show; instead, the two discs contain two different forms of Robbie Fulks live; disc one finds him with a rather tight four-piece country-rock band, while the second disc finds him in stripped-down, acoustic mode.

It's an interesting dichotomy, for both discs excellently display his talents. When you hear him with a full band, you hear him as a front man, and he sounds really damn good in front of a band--especially one with as much power as his. When you hear him in the acoustic setting, you discover that he's an excellent guitar player and lyricist, and you realize he doesn't need a damn band to impress you. Disc one contains several of his "hits," with wonderful takes on early hits like "Good-bye Good Lookin'," "Let's Kill Saturday Night," and "Busy Not Crying." Disc two contains a number of songs that contain his wit, but the disc also contains some of his most affecting, most beautiful work. I mean, try not to have a damn tear in your eye on "On A Real Good Day." When his band does bluegrass on "The Bluebirds are Singing for Me," it sounds good...it sounds real good. In fact, this second disc finds him exploring those bluegrass and country roots of his in a way heretofore unexplored, and honestly, I'd like to hear him go more "roots" like he does. The only downside to the whole damn set is his cover of Cher's "Believe" (!!!) because it just seems too damn ironic for my taste. Though, I have to say, I find his vocal imitation of her vocoder-laced singing hilarious.

I don't know if or when Robbie Fulks will ever come to my town, but I take solace in knowing that he's a damn good live act, as proven by Revenge!.

Listen To: Let's Kill Saturday Night"
Listen To: I Like Being Left Alone"

Revenge! is available now on Yep Roc

Julia Kent Delay

2007-12-19T10:37:00.000-06:00

Speaking of Antony & The Johnsons, Antony's cellist Julia Kent, (who is as well a former member of Rasputina), released Delay, her solo debut. It's an all-instrumental affair, mixing beautiful melodies with found sound, to a varied effect. While her compositions are undoubtedly wonderful, the brief field recordings between the songs are both superfluous and distracting. She's a talent, and it's interesting to hear her by herself. Pay no mind to those little brief distractions; program them out or give them no thought, and focus on the beauty within. The songs will lull your mind into a beautiful place, and it's easy to understand why Antony has called upon her to add her creative voice to the Johnsons. I have thoroughly enjoyed Delay; I've let it play quietly in the room, especially at night, and most definitely during my post-surgery recovery days, and it helps me rest my soul.

Listen To: "Schiphol"

Delay is available now on Important Records

Michael Cashmore The Snow Abides

2007-12-19T10:36:00.000-06:00

Michael Cashmore's The Snow Abides EP is a triumvirate of musical beauty: Michael Cashmore wrote the music, David Tibet wrote the lyrics, and Antony sings the songs. Cashmore's piano music is soft, supple, and lulling, while Tibet's lyrics are sad, melancholy, and heartfelt. Of course, there's really no words that fully describe Antony's beautiful voice. Though the three songs on which he sings are not radically different, he makes them his own. His is one of the greatest voices of the 21st Century, and these songs prove it, especially the painfully beautiful "How God Moved at Twilight." The songs that bookend the record, "My Eyes Open" and "Snow No Longer," are beautiful instrumental passages that remind me equally of Harold Budd and This Mortal Coil; Antony might be the attraction here, but these songs show Cashmore doesn't need Antony to make beautiful, affecting music.

Listen To: How God Moved at Twilight

The Snow Abides is out now on Durtro/Jnana

Shout Out Louds Our Ill Wills

2007-12-17T12:28:00.000-06:00

Our Ill Wills, the second full-length album from Sweden's utterly wonderful Shout Out Louds, was one of this year's surprises...not so much for being a good record, but for being a lotdifferent than what was expected. The band's debut, Howl Howl Gaff Gaff was a wonderful mixture of pop and crunchy indie-rock, and it owed more than a bit of a debt to Pixies. This time around, the harder rock elements are gone, and in its absence is sophisticated, intelligent, lush, downbeat pop.

Over the course of 48 minutes, Adam Olenius leads his band through tales of woe and sadness. The songs range from the deceptively upbeat ("Tonight I Have to Leave It"), to melodramatic ("You Are Dreaming"), with themes of jealousy ("South America"), regret ("Normandie"), nostalgia ("Your Parents Living Room") and even that long-lost musical theme, the car accident weeper ("Time Left for Love"). Unlike their previous work, the musical backing is very lush, soft, and dreamy; mixing orchestration throughout, at times, the music is so damn dreamy, Olenius and pianist Bebbon Stenborg's vocals lose out to the music behind them. "Impossible" is the kind of pop song that don't get made any more, with a gorgeous fade-out and an ethereal dance beat. The epic "Hard Rain" closes the album, and it feels more like a quiet hurricane than a hard rain; while it's not noise, it's a quiet-loud ending that leaves the listener white-hot and bothered in a melancholy way.

Merge Records once rescued another band with a Pixies fixation from the major-label rejection pile, and they subsequently turned them into the Big Thing. Our Ill Wills proves that Merge may well have struck gold again; saving this Swedish band from obscurity was a smart move, and this record is one of the best of 2007.

Listen To: You're Dreaming

Euros Childs The Miracle Inn

2007-12-14T17:06:00.000-06:00

Euros Childs was the front man of the wonderfully underrated (at least in this country) Welsh pop/folk/weirdo collective, Gorky's Zygotic Mynci. For The Miracle Inn, his third solo record, he's taken a decidedly straightforward folk-rock approach; he's improved upon and polished up the good qualities of his previous two solo records, though, for this outing, he's singing in English. While this might rightfully be called a mini-album, it's a very fulfilling and satisfying collection.

Childs possesses a smooth, satisfying vocal style; his voice is soft and sensuous, without being too lusty or overwhelming. I'm reminded a bit of Bryan Ferry, especially on the delightfully catchy "Horse Riding." His compositional style matches his voice; the songs on The Miracle Inn is easy and unforced; Childs is obviously a master of his craft, as his songs sound so effortless. The songs found here fall into two categories; catchy 70s-style pop, like "All Day" and the aforementioned "Horse Riding," and quiet, hushed ballads, both folk-based, like "Think I'll Run Away," and more contemporary fare, like "Outside My Window." Then there's the epic title track, a reminiscence about a pub.
It's a fun piece, and it blends the records diverse musical styles into one interesting, fascinating whole.

This is a lighthearted, catchy record, one that is worth seeking out, because it's one of the prettiest, most unpretentious and most sincere records I've heard all year.

Listen To: "Horse Riding"

The Miracle Inn is available now on Wichita Recordings

Fire on Fire

2007-12-13T17:43:00.000-06:00

Fire on Fire arises from the ashes of Cerberus Shoal, and is presented for your consideration by the people who rescued Lisa Germano from unfair obscurity...and who also brought you that long-haired Daveendra dude. (Whatever happened to him? I sorta kinda liked his music.) All hipsterism aside, though, this record is...and I hate to be so succinct...brilliant. Confession time, though: I don't know much about the musicians behind Fire on Fire, and I don't pretend to; attempts to find much information about them, it's not so easy. So bear with me.

This five-piece band should sound good; the members have collaborated a lot over the past decade, releasing some of the most challenging, interesting, and frustrating music "indie rock" ever heard. That they've decided to eschew their noise and experimental side for a sound so diametrically opposite of the progressive sounds of their roots is no matter, nor is it particularly surprising. Hell, the way they tarry over musical styles, they were bound to get there anyway. And, really, the five songs found on this limited-edition EP are not necessarily different from their roots, either.

Starting things off is the beautiful and oddly uplifting, positive message of "Hangman." It's an odd connotation for a song that's ultimately a lesson on friendship; yes, dear friends, even the purveyors of death have loved ones. "Liberty Unknown" is a narrative tale about soldiers and freedom fighters, lovingly and beautifully sung by Colleen Kinsella. With gorgeous wind instruments and a gently plucked banjo, the song evokes the Civil War. Which Civil War? Take yer pick. "Liberty Unknown" is the sort of song Colin Meloy hasn't written in a long, long time.

"My Lady Coffin" continues the catchy down-home picking, though it's a dour lyric, reminding me of The Handsome Family. And the singer--forgive me, I know not your name--reminds me of a cross between Neil Young and Jim Henson's country trio. It took me a little bit to get used to it. Oh, and when all five band members start singing, it sure does sound real nice. "Amnesia" takes you on a squeezebox journey through both the old west and rustic Europe. Then the final song, "Three or More," has such a lackadaisical style, I keep thinking we should somehow resurrect Lee Marvin from the dead for the sole purpose of recording this song.

I've been nerding here, of course, but this record is really good, in a primal, natural way. That this EP quickly, almost instantly, sold out, well, it says a lot about both the band and the music found within its sonic walls. Got this feeling we're going to hear a lot about this band over the next year...

Listen To: "Hangman"

Fire on Fire's debut EP may or may not be available from Young God Records