Seven years on from their last studio offering Skins, all is well in the world of Buffalo Tom, the New England power trio still full of verve and vinegar. Having spent most of last year touring the 25th anniversary of their high watermark Let Me Come Over album, their new batch of songs often draw from bygone elements that will please long-term fans.
The economy and energy of the opening All Be Gone wouldn’t have been out of place on an early Bob Mould solo release, Bill Janovitz’s plaintive vocal wrapping itself around an imagery-laden snapshot of everyday people. It’s the same story on the pocket portrait of loneliness Overtime, the existential crossroads of In The Ice, and the swirling psychedelia of Least That We Can Do.
Additional keyboards and synths fatten the sound in places without swamping the innate simplicity of the melodies, while guest singer Sarah Jessop brings an ethereal twist to High The Hemlock Grows. Likewise, Janovitz’s daughter Lucy weighs in with a delicious harmony on the reserved cover of Paul Simon’s The Only Living Boy In New York.
Into the Great Unknown takes Bradford’s trademark soulful Roots/Americana sound and digs deep to an uncharted depth. He crafts passionately hopeful melodies to carry you through the gritty conditions of Southern slavery in Get on That Train. Stampede uses a haunting refrain and soaring strings to paint desperately beautiful imagery. See You On the Other Side and Dead Man’s Dance employ powerful intricate melodies that will get your feet stomping.
In depth, breadth, feel and composition, Into the Great Unknown is a bolder more daring leap for this songwriter whose original debut was just a foreshadow of his extraordinary talent.
Brad marries grit and melody to dig to the roots of American folklore and speak of the raw reality of the human condition with soul, passion, and hope. Brad’s stories span a lifetime of relatable emotions, be it the bitterness of loss, the deep longing of regret, the enduring hope of love, or the elation of joy.
‘All My Swim’ is the debut album from Bristol based folk duo Faeland – Rebecca Nelson (lead vocals, guitar) and Jacob Morrison (guitar, ukulele, banjo, backing vocals), the pair assisted on several songs by some very able musicians delivering a sometimes dreamlike pastoral sound. They seem to be delving into that hinterland of faerie music and bucolic wonder which characterised several bands in the early seventies.
For a debut album it’s very assured, the woody timbre of the opening song, ‘Too Much’, with its supple bass, hushed percussion and plangent guitar lines bodes well, the song reminiscent of Scotland’s Doghouse Roses, another duo who mine a similar vein. Much of the album benefits from strong arrangements, the Eastern influenced ‘Prayer Song’ is somewhat intoxicating with Nelson’s voice floating above the instruments while the title song features a harp tinkling like raindrops while a clarinet adds some colour. Such embroidery does give the album a fine finish, the songs all perfectly acceptable to the ears but overall there’s a lack of depth and in particular, any sense of darkness or melancholia which to this reviewer’s mind would give the album some heft. Ms. Nelson sings well for the most part but at times her voice is just too lightweight. Meanwhile the songs themselves lack a distinct personality. ‘Chantress’, the most traditional sounding song here, skips along in a fine manner but one really wants it to swing with a lusty vigour. Likewise with the closing song, ‘Find Me‘, a song which opens like a little cousin to Fairport’s ‘A Sailor’s Life‘; rambling guitar, lashings of cymbal and stratified fiddle promising a turbulent voyage but ultimately not stormy enough.
It’s early days for Faeland and there are many promising moments to be heard on the album. Hopefully, like a good whisky, they will mature with age.
This is a collaboration between Andrew James (guitar & vocals)and James Van Minnen “The Steady Tiger ” (drums & percussion). It was recorded during 2011 in the Knysna forest on the south coast of South Africa. As far as possible, we set out to capture the integrity of our live sound; the elusive dialogue between two musicians in a room.
“Andrew’s lyrics reflect on our follies and our endless ambitions, the carelessness of our actions and our place in a worldto which we must surely belong. His voice is alternately plaintive, nostalgic, innocent and angered as he considers the consequences of our thinking and our actions in uncertain times.”
The desert rose is a beautiful flowering plant that flourishes despite dry conditions. It serves as a metaphor for the resilience and strength exhibited by the perseverance of characters in several of the songs on this album. Borders, cultures, time, and places are transcended in songs that encompass universal themes of love and joy, as well as heartbreak and betrayal.
Notes for Each Song on Desert Rose:
1. Bandida (Williams/Hearne) This song offers a plot for a great Western film—a woman is forced to kill her dangerous lover and then flees from her pursuers through harsh conditions across two countries. The resolute Desert Rose became the album title.
2. Hitch a Ride (Markstrom/VornDick) The iconic sound of coyotes howling at a full moon rising over mountains lodged in my mind and this song about escaping the pressures of life emerged. The warm, sunny beach at Puerto Peñasco, Mexico provided a destination where I sought to “hitch a ride” to peace and serenity.
3. Where Did You Go? (Markstrom/VornDick) I’ve always been drawn to the Ian Tyson song Navajo Rug. It occurred me that the Katie character in that song had a story to tell. She lived a life very different from my own, but I developed empathy for her plight. I visualize Katie in the many women working at diners, roadhouses, and truck stops across the West who mourn for lost loves.
4. Granite Gap (Markstrom/VornDick) While on horseback in the Granite Mountains of New Mexico, the idea came to mind for a song about a woman abandoned in this remote location. A spark was ignited when I read the legend of outlaw’s gold hidden and subsequently lost in those mountains. The character in this song had a quest and she persevered learning the ultimate lesson: Treasure comes in many forms.
5. Dust Bowl Dance (Mumford/Marshall/Dwane/Lovett) Listening to this song from my favorite alternative rock band, Mumford & Sons, I realized that this band from the U.K. wrote a gripping Western tale. Bil VornDick had a brilliant vision for our production, and the instrumentals by the musicians perfectly captured the mood we sought for our rendition. I have goosebumps every time I listen to this song.
6. Medicine Bottle (Markstrom/VornDick) I’ve been haunted most of my adult life by a famous photo of a Dakota Sioux leader, Medicine Bottle (Wa-kan-o-zhan-zhan), taken just prior to his hanging on November 11, 1865. Along with fellow leader, Little Six (Shakopee), the two men experienced the ultimate consequence for their roles in the U.S.-Dakota War. Prior to that day, thirty-eight Dakota warriors experienced this same outcome in the largest mass hanging in U.S. history. Medicine Bottle’s descendent, Sheldon Wolfchild, continues to remind us of this story through film and commemoration.
7. Too Bad this Town Ain’t in Texas (VornDick/Lawrence) This up-tempo song will surely resonate with Texans (by birth or at heart). There are wonderful people everywhere, and we all have special feelings about the places we call home.
8. Rangeland Lament (Nesbitt/Fuhrman) Fellow members and friends from the Western Writers of America, John D. Nesbitt and Micki Fuhrman, wrote this Western song of love, dreams, greed, and murder. I envision this dark tale occurring in the vastness of a long-ago Wyoming.
9. Seminole Wind (Anderson) My fans urged me to include Seminole Wind on this album. This succinct story—in two verses and a chorus—is profound. Sadly, parallel stories have occurred among other Native American groups.
10. Love is an Angel (Williams) A Mentor Williams creation, this tender love song speaks to the ebbs and flow of love over time and the intangible mystery of romance.
11. Kachemak Bay (Markstrom/VornDick) Inspired by my past three years performing at Down East Saloon in Homer, Alaska, this song, from the perspective of the performer, tells about her observations of the audience as they watch her and interact with one another.
12. Long, Long Time (White) Another fan favorite, this beautiful love song always brings me to the brink of tears while singing it. The story of unrequited love is timeless and poignant.
Bonus Track: Cowboy Christmas with Rex Allen, Jr. (Markstrom/VornDick) The stark Continental Divide region of southern New Mexico serves as the setting, in my mind, for this song. Bil brought a depth of description to the lyrics that tell of a lone cowboy’s magical Christmas when he comes to realize what is most important in life. Thanks to Rex Allen, Jr. who helped turn this into a duet.
Steve Helms was born and raised in Cleburne, TX. He has been singing and playing music most of his life for numerous artists all across the country. The Steve Helms Band formed 14 years ago and tours in or around the Texas area. Can I Buy you a Country Song? marks the band’s fifth album release. The Steve Helms Band has seen success with 18 radio singles receiving radio airplay and acclaim all over the world. The band includes Steve Helms on guitar and lead vocals, Ronnie Crecelius on lead guitar, Jeff Gilbert on drums, Jay New on bass guitar, Lanny Martindale on piano and Mike King is stage/production manager. Everywhere these guys play they are always asked to come back and the fans are never disappointed. They love being onstage and it shows. If you’re looking for great music, this is one band you do not want to miss!
Red Hot + Country is a 1994 compilation album of then-modern country artists released by Mercury Nashville. It is part of a series of compilations dedicated to AIDS awareness. Some of the artists featured here include Nanci Griffith, Dolly Parton, Brooks & Dunn, Kathy Mattea, Johnny Nash, Patty Loveless, Wilco, Willie Nelson and many more.
Traditional country has been having a good year in 2018 so far, with albums from Laura Benitez and Courtney Patton plus this new one from Bonnie Montgomery. Bonnie is from Arkansas and recorded Forever at the Ameripolitan studio in Austin, Texas which is owned by Dale Watson, who appears on the album and Chris Burns, who is her producer. The album cover shows the beautiful open highway, and these songs are a perfect soundtrack for highway queens and vagabonds everywhere.
Being a classically trained musician allows Montgomery to bring in other sounds and ideas that make this more than just a straight honky tonk record. For example we have the song ‘Forever’ woven through the album, with four versions which recur like a theme in a symphony. Each part reflects a slightly different mood, echoing the changing emotions we feel across time.
Songs like Fairytale and Thunder showcase the inviting tone of this album – full of wistful dreaming and a sense of optimism, even when life is tough.
No More is a breakup song with attitude and punch, channelling Loretta at her feistiest. She won’t be standing by any man, she’s had more than enough of his crap. Another classic country inspired song is the bluegrass stomper Alleyways and Castles. These stories of independent women hitting the highway and never looking back are totally inspiring.
Going Out Tonight is a Bonnie & Clyde inspired duet with guest vocals from Dale Watson. At first the woman is unsure whether she’s going to give her man another chance but soon she’s riding along with him on his crime spree. They might be heading towards jail or hell but when temptation sounds this good who could resist?
Comets takes us in a different direction – it’s an orchestral ballad, with some lovely evocative strings. This was influenced by The Beatles as well as classical music, suggesting this is an artist interested in experimenting with style and genre.
My favourite song on the album is the final track Desert Flower, a lovely acoustic folk ballad. You do need to give this album some time to grow but if you do then there is much to admire.
So hitch a ride on the Freedom wagon and you’re bound to find yourself heading somewhere worthwhile with Bonnie Montgomery at the helm.
After a highly successful 2017 spent touring and promoting his album with the Neal Morse Band, The Similitude of a Dream, the busiest musician in prog rock, had to decide what to do next. That answer came accidentally while on tour around the world with the Neal Morse Band. Surveying different cities and people in other countries, Morse was inspired to write an album of singer/songwriter material. Titled Life & Times, this collection of mostly acoustic, shorter songs, finds Morse embracing his storytelling ability, writing a personal record in a way that few who excel at prog are able to do. At his core, Morse is a brilliant storyteller and songwriter and that is apparent here; a beautifully written and crafted album with enjoyable songs. Be warned prog fans, there is not an extended instrumental section or song longer than 5 minutes to be had here. This is not a prog album. Despite that, Neal Morse proves he is able to write brilliant material whether it is done in 3 minute or 30 minute songs.
Largely, the album is a subdued affair and that can be experienced immediately with the opening track “Livin’ Lightly.” The lyrics in the song explain to the listener, “I thought I’d write a song and tell you all the way I feel, but it ain’t no big deal. I just thought I’d lay it down and try my best to keep it real, like a little Neil…Young.” The song has a very James Taylor vibe and does a good job of setting the mood and letting any listener hoping for a prog extravaganza to sit back and enjoy a different experience. It is a wonderfully inviting track and a great way to kick things off. The second track “Good Love Is On The Way” picks up the pace just slightly and sounds like an obvious radio single. Morse’s knack of storytelling comes into play here as he relays a story of a young couple starting out.
The album’s most powerful moment is “He Died At Home.” Morse hits straight to the heart with the track, a biographical tale about a soldier who took his own life as a result of post-traumatic stress disorder. The video is gut-wrenching and the song itself an emotional one. Morse performed this song live at the last Morsefestand there was not a dry eye in the house.
There are some light-hearted, upbeat moments on the album such as with “Selfie in the Square,” a song about wishing your loved one was with you while traveling, but since they are not you send them pictures of yourself with your phone (something most people can relate to). Another great track is “Manchester,” a playful tune complete with a chance for the audience to sing-along. While the first part of the song sings “Manchester by the sea,“ referring to the city in England, there is a funny twist in the song that makes the track even more charming. Meanwhile, “Lay Low” is a country-tinged tune that would have sounded at home on Morse’s last singer/songwriter album from 2014, Songs From November.
Neal Morse is one of music’s most gifted and talented songwriters and composers. While he has cemented his place in progressive rock as a true icon, it is clear he can write a great song in any format or genre. And while most of us are awaiting the results of the recent Neal Morse Band’s writing sessions, which are under way, this album is a worthy addition to his extensive catalog.
It seems two right things happened to Stables, a duo that pairs Matthew Lowe of Keston Cobblers Club and Daniel Trenholme. Firstly, they hit a right note. Secondly, somebody heard it. Quite a few somebodies actually, since they managed to sell out their debut album Beyond The Bushes (2016), have headlining tours around the UK and Europe and appearing at the Glastonbury Festival…
It could have been that the initial first pair of ears belonged to BBC Radio 6 DJ Steve Lamacq, but it probably has quite a bit to do with the fact that Low and Trenholme are doing something right, and on the evidence of their sophomore effort, Reverie, they are. Otherwise, the promo concert for this album at London’s St. Pancras Old Church wouldn’t have been sold a few months ahead of it.
Now, it has been a while since Kings of Convenience brought back with their ‘quite is the new loud’ Simon & Garfunkel style of folk/pop, but a few variants added, the whole thing caught up, with names like Mumford & Sons, The Lumeneers or Bon Iver catching fire now and so often.
Stables could easily join those names. First of all, like some of the above-mentioned names, they don’t limit themselves to mid-tempo acoustic guitar strumming. Quite a few numbers on their second album, like the title song, for example, have quite a necessary rhythmic and instrumental movement. And when they do limit themselves (partly, at least) to just acoustic guitar backing, like on “Ticket” or introductory “Dandelions & Daisies”, there’s always a musical element added that gives the music a necessary shift, whether it is a strummed banjo, handclaps or whatever.
But what gives the Stables music that essential positive element is the duo’s vocals and harmonies that are at the same time so characteristic of the style and the same time specific and well-arranged to give their music a possibility to stand out, like on “Life Without You On repeat”, one of the standout tracks on the album. While the lyrics concern possible soured relationships, there’s always a positive note in there that would not keep you getting too close to an open window.
In essence, Reverie is familiar sounds given enough new touches to sound fresh and interesting, something you might put on when you’re sure you want to be in a good mood.
Los Angeles-based, Philadelphia-bred Mt. Joy at Bonnaroo last year, on one of the smallest stages the Tennessee camping festival has to offer. The band had the crowd clapping and stomping along to their set, very indicative of the kind of enthusiasm their debut record will generate.
They share a label with acts like The Lumineers and Shakey Graves two acts that Mt. Joy would fit right alongside on a bill. On their debut record, Mt. Joy scratch that indie-folk itch that has exploded over the last decade with acts like Mumford & Sons, Of Monsters and Men, and Mt. Joy tour mates The Head and The Heart penning big acoustic-heavy hits.
Mt. Joy lead track I m Your Wreck has a simple but fun guitar riff and foot-stomping rhythm that builds nicely.
Mt. Joy guitarist and lead singer Matt Quinn has the same scratchy quality to his voice of Cold War Kids lead singer Nathan Willett, but with a clearer falsetto. Mt. Joy also has that dual-vocalist strength working to their favor as fellow guitarist Sam Cooper possesses strong vocals that feature as a nice complement to Quinn s like on the heartfelt chorus of the album s third track Silver Lining .
The pacing of the album is nice, perfect for soundtracking a road trip up the coast. My favorite track of the record is Sheep , a loungey-vibed track that Quinn stretches his vocals on. It s from their successful EP from last year and I recall how well it was received by that Bonnaroo crowd last year. Wasted, in the tangles of time / And my baby, is she the only one left when it s dire? is such a great line.
Quinn s falsetto matches the sexy lead guitar on Julia magically. Astrovan has a sort-of O.A.R. feel to it, and Cardinal is very reminiscent of Edward Sharpe and the Magnetic Zeros at their best. Single Jenny Jenkins is one of the standout folk ballads, you can feel Quinn s emotion as he sings each word. There isn t a skippable track of the 13 featured on the album.
The band will be very busy supporting the album. They have a show at the YouTube Space LA with Aloe Blacc tomorrow (you can livestream here at 4 PM) and a sold-out gig at the Moroccan Lounge on Thursday, March 8. They re also supporting The Head and The Heart and GROUPLOVE at the Observatory on May 23 and the Fox Theater in Pomona on March 24. Can t make it? They ll be on the festival circuit pretty heavy, hitting Innings Fest, Shaky Knees, and BottleRock Napa this spring.
All The Luck In The World are three Irish songwriters, Neil Foot, Ben Connolly and Kelvin Barr currently based in Berlin. The band create an intimate blend of Alternative-Folk and share a collective passion for storytelling, composition and song craft. Formed in 2011 while Foot was still in school, Connolly and Barr joined two years later to collaborate on a debut record for the band, which was written in Foot’s secluded family home in the Wicklow mountains.
In 2013 / 2014 the band received their first international attention due to the home-recorded “Never”, which sold more than 120,000 singles on iTunes worldwide. After signing with Barfilm and Haldern Pop Records, they released their eponymous album on January 1st 2014, and subsequently toured the record across Europe. After many distinguished festival slots and three headline club tours, they began to turn their focus to new material.
While working on their second album in 2015, the band focused on crafting a unique soundscape, creating their own home-made instruments by sampling organic, acoustic sounds. They converted a forgotten woodshed into a studio space in the Wicklow countryside, and aptly named it Haven. Here the band began to compose and craft songs based around a set of stories, both personal and abstract, that were patiently developed over the course of a year. The album called “A Blind Arcade” was then recorded between this space and Golden Retriever Studio in Berlin with the help of producer Paul Pilot. Ben Connolly comments;
“It was tedious, but it was exactly what we wanted to be doing. It took over our lives for quite awhile, getting lost in detail and learning as we went. The hours put in back in Wicklow really paid off when we came to the studio in Berlin. We were not just making simple demos only to start from scratch once in the studio, we built much of the songs before even starting in Golden Retriever. This gave us more time to be creative in the studio, availing of tools and instruments that we lacked back home.”
After finishing their studies in Summer 2017 the band moved to Berlin to open another chapter. “It was just a decision to move forward. We had spent much time in the city over the last few years, and found that it was reliably conducive to creativity. Those scattered stints in Berlin were always promising, and of course the nature of life in Berlin is appealing. When we arrived, there was no fear or worry. It felt right, as a band and as people.”
“It’s a combination of experiences, empathy, and fiction. We put a lot of thought into the lyrical content of each song, taking our time rather than settling with something we weren’t completely happy with. We are always teeming with musical ideas and it’s a constant priority to maintain a high standard lyrically when we write. It prolonged the process for sure, but the reward is a group of songs that we can be really proud of.”
“I think these songs are a little more conceptual than our first record. I wouldn’t say we’d intended it to be that way, but we were definitely taking the time to really discuss some of our song ideas as concepts and stories and think about them from different angles and perspectives.” Musically, our sound has changed as we’ve been experimenting at home and in the studio. Not that it’s something completely different, it’s really just that it’s developed naturally over time. We are always looking for subtle points of interest, whether it be in a time signature change or a unique sound; something to trigger the listeners curiosity. We’ve created a few of our own sample instruments for this record and that’s become a defining feature for us I think. It’s was a great way for us to try to create something that felt quite unique to the band. We’ve had more time to craft these songs than we have in the past, so there’s perhaps a bit more clarity in the little details and textures.”
The band have notched some respectable success off their own backs in recent years. Their home-recorded track “Never” has sold more than 120K downloads on iTunes, and they boast a combined 10 million plays for their tracks on Spotify. A video they put out before Christmas has done over 20,000 plays to date on youtube too. Various other blogs like Indie Shuffle have featured them in the past, and Clash premiered the album’s first single “Landmarks” describing is as “a wonderful piece of acoustic songwriting”.
In Tall Buildings, aka Chicagosongwriter and multi-instrumentalist Erik Hall, has released his new album, Akinetic on Western Vinyl. Produced alongside Brian Deck (Modest Mouse, Iron & Wine, Califone) at Hall’s Chicago home studio, Akinetic yields ten new tracks of spacious and textured handmade pop, plunging headlong into allegories of communication, loss, impulse, vice, and mass-denialism.
Hall wrote and recorded Akinetic between stints producing records for label mates Lean Year and ambient artist Justin Walter. A venerable one-man ensemble, Hall performed every instrument heard on the album with the exception of a lovely guest vocal appearance from Heather Woods Broderick and occasional looming woodwinds from Elliot Bergman (NOMO, Wild Belle). With the addition of a kindred and veteran co-producer in Deck, Akinetic is one of the most sharply written and deftly recorded home-studio albums in memory, and the greatest height yet reached for In Tall Buildings.
Jonathan Wilson returns with new album “Rare Birds”
Los Angeles-based singer-songwriter/multi-instrumentalist/producer Jonathan Wilson (Father John Misty, Karen Elson, Conor Oberst), returns with his third solo release. The ambitious “maximalist” album, titled Rare Birds, is released 2nd March on Bella Union and features contributions from Father John Misty, Lucius, Lana Del Rey, and New Age music legend Laraaji.
Wilson has shared a first track from the album, the epic and romantic “Over The Midnight”, with an accompanying video directed by Andrea Nakhla. Of the video Nakhla says: “I wanted the visual to mirror the dreamy lyrical landscape of the tune. The stunning 3D animations by Clara Luzian were a perfect match for feel of the song.” Watch below…
Of “Over The Midnight”, Wilson says, “I wanted to write a song about a sacred place for lovers to exist and I named that destination, process, mood or feeling ‘Over the Midnight’. It’s a place where nothing is savage.” In one of Wilson’s favourite lines on the album he sings, “This world it is burning, but don’t it feel incredible?/ Whisper in my ear and tell me what you see in the flames.”
A highly sought after record producer, North Carolina native Wilson had a busy 2017 producing Father John Misty‘s Grammy nominated Pure Comedy and touring arenas around the globe as a guitarist and vocalist for Pink Floyd legend Roger Waters (for whom he also contributed to the also Grammy nominated IsThis The Life We Really Want? album). Wilson also saw widespread acclaim heaped on Karen Elson’s sophomore LP Double Roses, which he recorded with her in Los Angeles in 2016. But 2018 looks to be even more active as he’ll be continuing on with the worldwide Waters tour, releasing Rare Birds and completing a headline tour of US and Europe in the spring. But first, he’ll wrap up this year with a short run of shows in Los Angeles in December; performing three consecutive nights – billed as ‘Jonathan Wilson with Band, Friends and Strings’ atThe Moroccanin Los Angeles, CAon December 21, 22 and 23. These shows are now sold outwith a handful of tickets for press available on request. A newly announced headline tour for March and April includes the below UK shows:
Wednesday 14th March – GLASGOW – Orna Mor
Thursday 15th March – DUBLIN – Whelans
Friday 16th March – LEEDS – Brudenell Social Club
Saturday 17th March – BRIGHTON – Concorde 2
Monday 19th March – LONDON – Omeara
Tuesday 20th March – LONDON – Omeara
Although much of the album is comprised lyrically of meditations on a failed relationship and its aftermath, Wilson insists that Rare Birds is not really a concept album. “It’s meant more as a healing affair, a rejuvenation, a reconciliation, for others, and for me. I wanted to balance personal narrative with the need I feel for calming, healing music. I think we need journeys in sound, psychedelic gossamer-winged music, to incite hope, positivity, longing, reckless abandon and regret. It’s all in there.”
And, for this one, music critics will need to retire the comparisons to heritage rockers and Laurel Canyon troubadours as they’re hardly useful anymore. Wilson’s new sound takes a synthetic/acoustic, best-of-both-worlds analog/digital hybrid approach to achieve the complexity, sonic density and glossy hi-fi coating of Rare Birds. Heard for the first time on a Jonathan Wilson album are the sounds of synthesizers and drum machines.
“The Neil Young, CSN, Dennis Wilson and Tom Petty comparisons for the first two records were flattering, but I didn’t ever really see it that way myself”, he explains. More genuinely influenced by such disparate artists as Talk Talk, Arthur Russell and a ‘Sleigh Bells-meet-George Harrison kinda thing’, Wilson has made a “maximalist”, high density album more influenced by 80s British production more than anything to do with Southern California in 1970s. It’s a dynamic new approach for Wilson that calls to mind one of Peter Gabriel’s early solo albums or even mid-period Kate Bush. “This album is a hell of a lot more Trevor Horn than anything, you know, Laurel Canyon-related,” he muses. Recorded during the same timeframe he was in the studio with Roger Waters, working on IsThis The Life We Really Want?, Wilson felt inclined to expand into certain psychedelic and sound labyrinths. There are voices, sirens, children playing, and more enhancing spatial sounds, while musical compadres Lana Del Rey and Josh Tillman (Father John Misty) appear as backing vocalists on “Living With Myself” and “49 Hairflips”, respectively.
Says Tillman, “Jonathan’s talent – “mastery” may be more apt – places him among a rarefied class of musical auteur. You’d be hard pressed to find a comparison, or contemporary for that matter, that would do his recent work justice.”
Rare Birds was produced by Jonathan Wilson and engineered by Dave Cerminara at Wilson’s own Fivestarstudios in Echo Park, Los Angeles. 2018 will see Wilson playing nearly 100 shows all over the world with Roger Waters and performing his own headline and festival appearances wherever, and whenever he can fit them in.
Olden Yolk is a New York-based group whose penchant for dystopian folk, abstract poeticism, and motorik rhythms have enveloped them in a sound uniquely of-the-moment yet simultaneously time-tested. The project is currently led by songwriters, vocalists, and multi- instrumentalists Shane Butler and Caity Shaffer, whose interlaced vocals are found guiding each composition on their enlivening self-titled debut. The project was initially conceived in 2012 by Butler as an outlet for one-off songs and visual art while touring and releasing albums with the band Quilt (Mexican Summer). Following the release of a split-record with Weyes Blood in 2014, Olden Yolk became a collaborative entity.
Olden Yolk’s debut ruminates on questions surrounding love, self-doubt, and locating autonomy amidst burgeoning unrest. Wrought with hazy melancholy and halcyon joy, Butler and Shaffer’s lilting vocals play off one another through a devotional dialogue, taking form in haunting choral melodies and candid rock n’ roll. These songs are ecstatic odes to the life of the city; to the subway platforms, kiosks, and monuments which enliven and encompass our collectivity, elevating into an urban-psychedelia.
On the album, Butler and Shaffer are joined by drummer Dan Drohan (Tei Shi, Uni Ika Ai) and guitarist Jesse DeFrancesco who round out the studio sessions and live-band. Drohan’s deep passion for jazz, hip-hop, and experimental percussion come to fore while Defrancesco’s minimal yet powerful guitar ambiences are heard swelling in the peripheries of each song. The album was recorded at Gary’s Electric in NYC by Jarvis Taveniere (Woods) with co-production, electronics, and mixing by Jon Nellen (Ginla, Terrible Records). Other guests, such as multi-instrumentalist John Andrews (Woods, Quilt, The Yawns) and violinist Jake Falby (Mutual Benefit, Julie Byrne), add to the mercurial nature of the record, creating a landscape tinged with beatific songwriting and transgressive underpinnings.
RIYL: The Clientele, Nap Eyes, Cate Le Bon, Yo La Tengo, Fresh & Onlys, Quilt, Ultimate Painting
Recorded last summer in Nashville, A Heart Never Knows combines The Price Sisters’ talents with producer Bil VornDick and performances from a group of notable musicians including Bryan Sutton, Charlie Cushman, Mike Bub, Dennis Crouch, Alan Bartram, Ruth McLain, and Justin Moses. The album offers a satisfying mix of obscure gems from pioneers such as the Carter Family and the Delmore Brothers, coupled with stunning new songs from some of today’s top songwriters.
At just twenty-three years old, twin sisters Lauren and Leanna Price are poised to become the torchbearers for traditional bluegrass as it enters its eighth decade. While their playing is thoroughly rooted in the classic style of Bill Monroe, their smooth, polished sibling vocal harmonies infuse the music with a fresh, contemporary appeal.
With well-chosen songs, creative arrangements, impeccable musicianship and stellar vocal harmonies, A Heart Never Knows confirms that The Price Sisters have arrived, and that the future of bluegrass is in good hands!
When describing Michelle Malone, one will need a notebook full of adjectives. Soulful, raucous, southern, proud, talented, and real-deal, are just a few of the descriptors that come to mind. Her 15th studio album, Slings & Arrows, is scheduled for release via her own SBS Records label on March 2nd.
Atlanta born and bred, Malone focused on making Slings & Arrows a “Georgia record.” She succeeded in top form, producing the album herself, recording it in the Peach State, and employing a collection of fellow Georgians to make it happen. The result is true, unabashed Americana, served up southern style.
Backed by Doug Keys (electric guitar), Robbie Handley (bass), Christopher Burrows (drums), and Trish Land (percussion), Malone handles the duties of vocals, acoustic, electric, and slide guitars, harmonica, and mandolin. Guests on the album include Peter Stroud (Sheryl Crow, Stevie Nicks), Joey Huffman (Georgia Satellites, Hank Williams Jr), and the ever soulful Shawn Mullins. Slings & Arrows is a collection of 9 original compositions, and one absolutely killer cover.
It all begins with the aptly titled, “Just Getting Started.” Performed with an uptempo beat and piercing slide guitar, it kicks ass right from the jump. The empowering “Love Yourself,” follows nicely with a funky beat and Malone’s slide enhancing her vocals. It almost feels like she’s reigning her voice back a bit, but still makes a powerful political statement.
“Sugar on My Tongue,” is a more subdued pop song, featuring Stroud’s guitar and Huffman’s keys in all the right places. Taking a hard left, “Beast’s Boogie,” is perhaps the most un-Georgia song on the album. This foot-stomper has the unmistakable sound of the Mississippi Hill Country. Malone provides some reverb-driven harp on this one to accentuate the point.
Boogie meets R&B on “Fox and the Hound,” at least until the second verse. The boogie takes over completely from that point, and Malone unleashes her aggregate voice punctuating it with some fat, greasy slide work. “Civil War,” is another sonic mixture. This time, old-timey, back porch, mandolin folk shakes hands with hard rock guitar and screaming harmonica. The extra sustain on Malone’s vocals fill in what little gaps there are, and fatten this one up nicely.
“Matador,” is a southern rock anthem leading, rather abruptly, into “The Flame.” Flame is more country flavored, with some very emotive lyrics, and Malone’s soft-spoken vocals match it hand in glove. The album finishes off with “Boxing Gloves.” Another song of empowerment, this is what we think of when someone uses the word Americana. “Boxing Gloves,” should get plenty of airplay.
While Malone’s talents as a songwriter every bit match her musical expertise, our hands-down favorite on this release is the one cover song. “I’ve Been Loving You Too Long,” was co-written and first recorded by Dawson, Georgia native, and soul legend, Otis Redding. Malone had previously performed the song live with Gregg Allman, and had every intention of Allman joining her in the studio to record this track. Sadly, that was not to be, but Atlanta-born Shawn Mullins more than fit the bill.
Mullins and Malone are both at their very best vocally on the Stax classic. Recorded in just a couple takes, with overly reverbed guitar, the emotions are so strong you can almost hear tears hit Malone’s cheek near the song’s end.
True, dyed-in-the-wool, southern Americana is hard to find. In a sea of “self-professed rootsy rebels,” Michelle Malone stands as a beacon. She is the real-deal, and Slings & Arrows is her validation.
I couldn’t resist. I don’t know why but I really love the movie Casablanca and repeat lines from it whenever possible. In the movie, Rick Blaine (as portrayed by Humphrey Bogart) spews one of my favorites when Lauren Bacall makes her entrance— “Of all the gin joints in all the towns in all the world, she walks into mine…” If that isn’t one of the most repeated lines ever, I will eat your hat. Of course, this review is not about the movie but the band, the one attached to Birch Pereira, who will soon unleash Western Soul into the world. The album is not just Western Soul, if that be a genre, but is a collection of tunes which dance around multiple levels of the fifties and early sixties. Multiple levels.
I knew something was up when I heard the first strains of the opening track, “How Long (Until I See the Sun Again)” with its odd mixture of Martha & The Vandellas’ “Heat Wave” and Sam Cooke’s “Twisting the Night Away” which completely knocked me on my ass. It wasn’t the music as much as how it was presented— light and airy without the accouterments you might expect in this make-it-obvious-or-people-won’t-get-it world. Do you know that a large segment of the musical world actually believe that if you don’t grab someone’s attention in the first seven seconds, they won’t listen? Boy am I glad I don’t know anyone who thinks that because they are limiting themselves greatly.
They would more than likely brush off the second track, “As Long As I Live”, because it sounds a bit like Ricky Nelson (it literally reeks of late fifties and early sixties rock), or the fourth (“A Love I Can’t Explain”) because of its Mills Brothers-style of swing and jump or the fifth )”Could It Be Something Else”), a ballad straight out of the mid-fifties. A cover band? Hell, no, though they probably toss in one now and again. This is fresh 2000+ straight-on music maybe wrapped up in the past but also as present day in its presentation. Good stuff. Downright inspiring at times.
I wondered about it. Are they just another cover band with a schtick? I don’t think so. Neither does Pereira who explained it thusly: “Even though I was a kid of the 80s and 90s, the music of my youth just hasn’t stuck with me. I’m drawn to the sound of pop music from the 50s and 60s. I love the way the swing of jazz could still be felt in rock ‘n’ roll and country music, the sweet vocals of Ricky Nelson and Fats Domino to the raunchier style of Jerry Lee Lewis and Little Richard, the satisfying melodies & chord progressions and an often blurred line between genres in that era.”
Even before reading that I knew it. The music says it all. The Ricky Ricardo sound of “The Carioca” screams it. The swing of “Lulu’s Back in Town”. The simple cover of Ricky Nelson’s version of “Ain’t That a Shame”. The Country & Western ender, “If You Ever Change Your Mind”. They all refer to a look into the past I need now and again, if you don’t.
I love this album. I love the sound of it. I love the feel of it. I love the idea of it.
The band will be touring to support the album (in fact, with luck I will be seeing them tomorrow night). I heartily suggest that you check out their tour schedule. If they come anywhere within striking distance, go see them. I am betting they put on as good a show as they do on the album. If so, it will be a barnburner.
In the meantime, check out their web page. They even have a player on it with their previous album loaded and ready for listening. If you have any interest at all in swing/rock/fifties/early-sixties etc., you might well be glad you did.
Beauty in the Tension, the fifth studio album from New Brunswick songwriting quartet The Olympic Symphonium, is the result of rural isolation, small comforts, and the discovery of two pairs of ‘Dark Side of the Moon’ pajama pants.
For six days last winter, the members of the Olympic Symphonium holed up in the legendary Old Confidence Lodge studio in Riverport, Nova Scotia to focus on capturing 13 new compositions. Working long days with the help and stamina of engineer Diego Medina, the band laid down a batch of songs that were road tested and ready to be captured in this magical Oddfellows Hall-turned-studio.
Delicious home-cooked meals and harmony vocals were provided by Jennah Barry, a fellow resident of Nova Scotia’s south shore, and additional instrumentation was provided by Michael Belyea (Jenn Grant), Tim Crabtree (Paper Beat Scissors) and composer/arranger Drew Jurecka. Sonic inspiration came from Pink Floyd, guitarmonies, and Chicago’s power-ballad ‘Glory of Love’ which the band riffs on in their song of the same name.
“a beautiful listen” – CBC Music
“With Beauty in the Tension, the Olympic Symphonium return with another dreamy, low-key folk gem” – Exclaim! (8/10)
“Beauty in the Tension possède assez de mérite pour aller au-delà de l’idée qu’il s’agit du meilleur disque du groupe en carrière; on a affaire ici à un très bon album, point.” – Bonyenne
” The Olympic Symphonium harness their individual strengths to come together as one, seamlessly crafting Beauty in the Tension’s unique and unmistakable sound” – Dominionated
