Yep, a blog about music and my first '..of the year' involves films. Well, in a not so great year for music some of my favourite pieces of art this year were films and in many ways my favourite films have meant more to me than my favourite albums. I haven't seen all of the films I wanted to, due to the complete and utter crapness of my local Cineworld, who only seem interested in blockbusters and there will be a list of stuff that I have been forced to miss at the end. But my favourite are:
1. Fantastic Mr Fox
I may be a total Wes Anderson groupie, but this was just brilliant. Such attention to detail, such great lines, such memorable music, some great cameos, it all just came together better than you could ever have hoped. More Anderson than Dahl, this just left me wanting to see it again and again. You notice new things each time. Clear winner.
2. The Curious Case of Benjamin Button
Most people hated this, but I loved it. Yes it was too long and there was lots of un-necesary background stuff and it was overly sentimental but it did make me cry and it made me think and I thought it was an extremely memorable film.
3. Looking For Eric
Very funny but also exceptionally warm hearted and a simple story about friendship with a great twist. Lots of laugh out loud stuff and great to find out that a lot of it was ad-libbed. Extremely British- what on Earth would Americans make of it?
4. In The Loop
Probably even funnier than Looking For Eric although obviously not as warm hearted! Peter Capaldi is brilliant as Malcolm Tucker, supremely watchable and quotable. The ending will make you very angry too, so a very clever film.
5. The Damned United
Another film with a great central performance but also excellent support from Timothy Spall. You don't need to be a football fan to enjoy it, all about ambition, greed and friendship. Martin Sheen does a great job as Brian Clough.
6. Up
Never mind all the fuss about the 3D, this was just a great story with great characters and a brilliantly clever sequence early on that can't possibly fail to make you cry.
7. Milk
Powerful, shocking stuff. Great casting as Sean Penn was not an obvious choice for the role. The film tells you what is going to happen in the first few second and then unravels the stories before your eyes. Very well made and a great istory lesson too.
8. Adventureland
Nothing amazing here, just a nice coming of age story with a good soundtrack which I found rather enjoyable.
9. The Wrestler
Great performance from Mickey Rourke who carries a straight-forward, cliched story, although at least avoiding the Hollywood happy ending. Powerful stuff in places. All about Rourke though.
10. 500 Days of Summer
In two minds about this. Very consciously 'indie', but with a realistic storyline with no short cuts and happy ending.
Disappointments:
The Invention of Lying - terrible film. Ricky Gervais is clearly starting to believe the voice of his own ego. Stupid idea that doesn't stand up to the slightest scrutiny, bad acting. Boring. And the only thing worse than a boring film, is a boring film that is terribly pleased with itself.
Synedoche New York- really really wanted to like it. Nothing likeable in the film at all. Unpleasant, depressing and boring.
Bruno - simply not funny. in any way.
Films I was not able to see yet / aka Thanks Very Much Cineworld:
Moon
An Education
A Serious Man
Sunshine Cleaning (although to be fair, this does not look good)
The Class
Wednesday, 23 December 2009
The TracksandGigs Christmas Number One
Firstly, many apologies to any (are there any?) regular readers for the complete lack of updates. Won't bore you with the reasons but TracksandGigs will be back to normal in the new year with reviews of all the latest albums. 2009 wasn't such a great year for music but 2010 already looks great with new LPs from Innocence Mission, Tindersticks, Arcade Fire and Fleet Foxes on the radar and all sorts of Pavement activity to get excited about.
I have already heard the new Tindersticks album, courtesy of a promo. I've played it so much it feels like an old friend rather than a new, as yet unreleased, album. More on this in the New Year.
Anyway, I have decided to nominate a T&G Christmas Number One. This will be a yearly tradition and almost uniquely it will be based on MUSIC. Yes. Much as poking Simon Cowell in the eye sounds like fun, Rage Against The Machine are on Sony so seem to be rather raging against themselves these days and there seems to be something of an irony in people responding to peer pressure and internet campaigns to pay 79p for a song with a chorus of "fuck you I won't do what you tell me". Or is that just me? Most likely.
Anyway, I am nominating Camera Obscura's 7" single which couples a cover of Jim Reeves' 'The Blizzard' with their very own insanely catchy 'Swans'. 'Swans' I have blogged about before. It will always hold a place near to my heart as I ran an entire 10k race with its nagging melody dancing around my brain. 'The Blizzard' is new and utterly gorgeous. Managing to be both warm, solemn and jangly at the same time, Tracy-Anne Campbell sings Reeves' song about a man who travels on a pony in the snow to meet his love Mary-Anne and then....freezes to death just yards from where she waits. How much more Christmassy can you get?
Anyway, its a beautiful single, when I look around for the competition, I...can't see any...and it would have won even if there had been some, so the TracksandGigs 2009 Christmas Number One is...
Camera Obscura 'The Blizzard/Swans'
Take that Simon Cowell.
I have already heard the new Tindersticks album, courtesy of a promo. I've played it so much it feels like an old friend rather than a new, as yet unreleased, album. More on this in the New Year.
Anyway, I have decided to nominate a T&G Christmas Number One. This will be a yearly tradition and almost uniquely it will be based on MUSIC. Yes. Much as poking Simon Cowell in the eye sounds like fun, Rage Against The Machine are on Sony so seem to be rather raging against themselves these days and there seems to be something of an irony in people responding to peer pressure and internet campaigns to pay 79p for a song with a chorus of "fuck you I won't do what you tell me". Or is that just me? Most likely.
Anyway, I am nominating Camera Obscura's 7" single which couples a cover of Jim Reeves' 'The Blizzard' with their very own insanely catchy 'Swans'. 'Swans' I have blogged about before. It will always hold a place near to my heart as I ran an entire 10k race with its nagging melody dancing around my brain. 'The Blizzard' is new and utterly gorgeous. Managing to be both warm, solemn and jangly at the same time, Tracy-Anne Campbell sings Reeves' song about a man who travels on a pony in the snow to meet his love Mary-Anne and then....freezes to death just yards from where she waits. How much more Christmassy can you get?
Anyway, its a beautiful single, when I look around for the competition, I...can't see any...and it would have won even if there had been some, so the TracksandGigs 2009 Christmas Number One is...
Camera Obscura 'The Blizzard/Swans'
Take that Simon Cowell.
Saturday, 21 November 2009
Mark Eitzel 'Live From Copenhagen'
All of the albums that have been released this year may just pale into insignificance next to an amazing recording that has been made available on the net, but surely should prompt Mark Eitzel to release an official live album from his recent solo tour.
I was already disappointed not to have seen Mark on his tour where he was accompanied by Marc Capelle on piano, but the emergence of a superb quality recording of his show in Copenhagen on 31st October has made me even more envious.
Eitzel sounds on absolute top form and the format of the show suits him perfectly. Not having to play guitar allows Mark to concentrate fully on his vocals and he sounds relaxed and totally at ease. His singing is as strong as it has sounded in a long, long time and the recording is on a par with the incredible 'Songs of Love Live' as a document on how it is to see Eitzel live.
In between songs he tells stories and jokes with the audience. Some of the songs are light-hearted, especially a priceless 'Patriot's Heart' but he also delivers achingly beautiful renditions of classics such as 'Last Harbor' and a showstopping 'The Nightwatchman'.
Eitzel's career has been somewhat haphazard in recent years but he is still writing amazing songs and playing enthralling shows. I hope he does another tour like this, it suits him, he sounds happier than I've heard in a long time here. I hope he also has a soundboard recording of a few shows on this tour because an officially released document of this brilliant show would be an absolute winner.
This recording is a reminder, if one were needed, of what a huge, huge talent Mark Eitzel is.
I was already disappointed not to have seen Mark on his tour where he was accompanied by Marc Capelle on piano, but the emergence of a superb quality recording of his show in Copenhagen on 31st October has made me even more envious.
Eitzel sounds on absolute top form and the format of the show suits him perfectly. Not having to play guitar allows Mark to concentrate fully on his vocals and he sounds relaxed and totally at ease. His singing is as strong as it has sounded in a long, long time and the recording is on a par with the incredible 'Songs of Love Live' as a document on how it is to see Eitzel live.
In between songs he tells stories and jokes with the audience. Some of the songs are light-hearted, especially a priceless 'Patriot's Heart' but he also delivers achingly beautiful renditions of classics such as 'Last Harbor' and a showstopping 'The Nightwatchman'.
Eitzel's career has been somewhat haphazard in recent years but he is still writing amazing songs and playing enthralling shows. I hope he does another tour like this, it suits him, he sounds happier than I've heard in a long time here. I hope he also has a soundboard recording of a few shows on this tour because an officially released document of this brilliant show would be an absolute winner.
This recording is a reminder, if one were needed, of what a huge, huge talent Mark Eitzel is.
Friday, 20 November 2009
10 for the 00s
Since everyone else is doing it, I've been considering my favourite records of the 2000s. Over the coming weeks I will be writing about each one before coming up with a final list, so here in no particular order, are my favourite ten records of the 2000s....and believe me, even getting to this stage wasn't easy and I should say that Songs:Ohia's 'Magnolia Electric Co', Arcade Fire's 'Funeral' and Tindersticks' 'Waiting For The Moon' were about as close as it is possible to get to making the final ten. I may even expand the list to 20 at some point.
American Music Club' Love Songs For Patriots'
The Innocence Mission 'Befriended'
The Innocence Mission 'We Walked In Song'
Joanna Newson 'Ys
Low 'Trust'
Radiohead 'In Rainbows'
Sun Kil Moon 'Ghosts of the Great Highway'
Tindersticks 'Can Our Love'
Tindersticks 'The Hungry Saw'
Wilco 'A Ghost Is Born'
American Music Club' Love Songs For Patriots'
The Innocence Mission 'Befriended'
The Innocence Mission 'We Walked In Song'
Joanna Newson 'Ys
Low 'Trust'
Radiohead 'In Rainbows'
Sun Kil Moon 'Ghosts of the Great Highway'
Tindersticks 'Can Our Love'
Tindersticks 'The Hungry Saw'
Wilco 'A Ghost Is Born'
Port O'Brien 'Threadbare'
Port O'Brien return with the follow-up to last year's joyful 'All We Could Do Was Sing', an album written on a fishing boat and containing ramshackle acoustic-based songs which tugged at the heartstrings whilst encouraging the listener to sing along. The band are, essentially, a duo. Both Van Pierszalowski and Cambria Goodwin sing and play instruments and both have jobs outside of the band. Goodwin's brother died whilst this record was being written and while it is not a solemn album, the dominant themes are life, death and friendship as well as finding pleasure in the simple things in life.
Musically things haven't changed all that much. 'Threadbare' in general is a little less hurried than its predecessor, the songs are allowed to breathe a little more and it is generally a touch slower. There is certainly nothing here as out-and-out celebratory as 'I Woke Up Today. Port O'Brien certainly have a way with melody though. Most songs here, whether slow or fast, have a memorable melody and are very hummable. Pierszalowski's 'My Will Is Good', in particular, is extraordinarily catchy.
The key difference between the two records though is that while everything on 'All We Could Do Was Sing' was enjoyable, here there are some great songs....and they are mostly those featuring Goodwin on vocals. 'Tree Bones' starts off as a gentle strum before building into a swirling anthem and finishing with Goodwin singing quietly and starkly over minimal backing, its a song of growth, life and then decay, disarming, affecting but joyful. The title track and the two versions of 'High Without The Hope' that bookend the album create similar moods with slow arrangements and Goodwin's ghostly vocal combining to usher in a sound not unlike Mimi Parker-fronted Low songs.
There is certainly a split between Goodwin's songs and Pierzalowski's. The latter are generally livelier, the ramshakle 'Oslo Campfire' with its chants and yelps being a key example as well as the buoyant 'Leap Year', the nearest thing here to the carefree abandon of 'I Woke Up Today'. The exception that proves the rule though is the album's centrepiece 'Calm Me Down', an epic ballad sung by Piewzalowski, patiently building into an impassioned chorus and a string-laden coda. Its perhaps the best track here.
'Threadbare' is not a record that will provide instant gratification. Its a varied, sometimes difficult, album that demands patience and a willingness to explore. It is also a beautiful set of songs and delivers, through sadness, a feeling of joy and life-affirment. A record about friendship, love and life. Great stuff.
['threadbare' is out now on City Slang]
Musically things haven't changed all that much. 'Threadbare' in general is a little less hurried than its predecessor, the songs are allowed to breathe a little more and it is generally a touch slower. There is certainly nothing here as out-and-out celebratory as 'I Woke Up Today. Port O'Brien certainly have a way with melody though. Most songs here, whether slow or fast, have a memorable melody and are very hummable. Pierszalowski's 'My Will Is Good', in particular, is extraordinarily catchy.
The key difference between the two records though is that while everything on 'All We Could Do Was Sing' was enjoyable, here there are some great songs....and they are mostly those featuring Goodwin on vocals. 'Tree Bones' starts off as a gentle strum before building into a swirling anthem and finishing with Goodwin singing quietly and starkly over minimal backing, its a song of growth, life and then decay, disarming, affecting but joyful. The title track and the two versions of 'High Without The Hope' that bookend the album create similar moods with slow arrangements and Goodwin's ghostly vocal combining to usher in a sound not unlike Mimi Parker-fronted Low songs.
There is certainly a split between Goodwin's songs and Pierzalowski's. The latter are generally livelier, the ramshakle 'Oslo Campfire' with its chants and yelps being a key example as well as the buoyant 'Leap Year', the nearest thing here to the carefree abandon of 'I Woke Up Today'. The exception that proves the rule though is the album's centrepiece 'Calm Me Down', an epic ballad sung by Piewzalowski, patiently building into an impassioned chorus and a string-laden coda. Its perhaps the best track here.
'Threadbare' is not a record that will provide instant gratification. Its a varied, sometimes difficult, album that demands patience and a willingness to explore. It is also a beautiful set of songs and delivers, through sadness, a feeling of joy and life-affirment. A record about friendship, love and life. Great stuff.
['threadbare' is out now on City Slang]
Thursday, 12 November 2009
Tindersticks return!
Just when I was getting a little bored with new music and thinking that things had been a bit disappointing lately....Tindersticks are back.
The follow up to last year's incredible 'The Hungry Saw' is called 'Falling Down A Mountain' and will be released on 4AD (such a good fit) on January 25th. We have a tracklisting:
Falling Down a Mountain:
01 Falling Down a Mountain
02 Keep You Beautiful
03 Harmony Around My Table
04 Peanuts
05 She Rode Me Down
06 Hubbards Hills
07 Black Smoke
08 No Place So Alone
09 Factory Girls
10 Piano Music
and what's more, you can now hear 'Black Smoke' on the band's Myspace and it is a quite wonderful, dark, but catchy number that will have you singing along in no time.
Tour dates to follow soon, we hope.
The follow up to last year's incredible 'The Hungry Saw' is called 'Falling Down A Mountain' and will be released on 4AD (such a good fit) on January 25th. We have a tracklisting:
Falling Down a Mountain:
01 Falling Down a Mountain
02 Keep You Beautiful
03 Harmony Around My Table
04 Peanuts
05 She Rode Me Down
06 Hubbards Hills
07 Black Smoke
08 No Place So Alone
09 Factory Girls
10 Piano Music
and what's more, you can now hear 'Black Smoke' on the band's Myspace and it is a quite wonderful, dark, but catchy number that will have you singing along in no time.
Tour dates to follow soon, we hope.
currently listening to...
Mark Eitzel 'Klamath'
and pretty much nothing else.
This record is such a grower. I'm always excited to hear a new Eitzel record anyway and as I wrote in my review, this one does contain some really excellent songs, but initially I found the use of pro-tools distracting and a bit irritating. Give the record time though and it all comes together and makes sense. A record you really need to spend time with and allow to weave its magic.
Just thought I'd say.
and pretty much nothing else.
This record is such a grower. I'm always excited to hear a new Eitzel record anyway and as I wrote in my review, this one does contain some really excellent songs, but initially I found the use of pro-tools distracting and a bit irritating. Give the record time though and it all comes together and makes sense. A record you really need to spend time with and allow to weave its magic.
Just thought I'd say.
Saturday, 7 November 2009
still here
Sorry for the lack of updates.
Have not been well over the last week but am also suffering a lot disillusionment about the lack of any genuinely exciting new music around at the moment.
I've mostly been listening to old stuff, as well as the sublime Sleeping Years single (which is also beautifully packaged and presented, so you need to buy the 7" single) and the Hope Sandoval album.
I don't think 2009 has been a vintage year and I can't remember the last time I really loved a new album by a new band. Am currently listening to lots of new stuff though, including the Broken Records EP and albums from the XX and Local Natives so will report back soon.
In other news, the guy from the Fiery Furnaces has made a REAL idiot of himself by slagging off Radiohead (a crime anyway) without being in possession of a) the facts and b) a clue. What a berk.
Also, there is apparently going to be a Pavement 'best of' next year. Hope we're still going to get the 'Terror Twilight' deluxe edition too.
Have not been well over the last week but am also suffering a lot disillusionment about the lack of any genuinely exciting new music around at the moment.
I've mostly been listening to old stuff, as well as the sublime Sleeping Years single (which is also beautifully packaged and presented, so you need to buy the 7" single) and the Hope Sandoval album.
I don't think 2009 has been a vintage year and I can't remember the last time I really loved a new album by a new band. Am currently listening to lots of new stuff though, including the Broken Records EP and albums from the XX and Local Natives so will report back soon.
In other news, the guy from the Fiery Furnaces has made a REAL idiot of himself by slagging off Radiohead (a crime anyway) without being in possession of a) the facts and b) a clue. What a berk.
Also, there is apparently going to be a Pavement 'best of' next year. Hope we're still going to get the 'Terror Twilight' deluxe edition too.
Thursday, 29 October 2009
The Sleeping Years 'Into Sunlight'
I realised yesterday that for the last week or so, I've been listening exclusively to music that is at least ten years old, or new music by bands I discovered at least ten years ago. This may account for the lack of updates on here. I should mention that my listening has mainly centred around the new Grant Lee Phillips album (and old Grant Lee Buffalo stuff), the new Hope Sandoval album (and old Mazzy Star stuff) and the new Sleeping Years EP (and old Catchers stuff). I seriously need someone to recommend me some new bands that I might like. I can't remember the last time I discovered a really good NEW band.
In any event The Sleeping Years 'Into Sunlight' is single/EP of the week and, for that matter, month. It is out now as a four track single on itunes and out Monday on 7" vinyl. The lead track is probably the most catchy, poppy song that Dale Grundle has put his name too since Catchers' 'Cotton Dress'. Really shimmery, pretty stuff with a flourish of brass at the end that makes it sound grand, its a great song and one deserving of more airplay and attention than it will most likely get.
The b sides are both quiet, slower songs. 'Katherine Cove' is particularly good, sounding dark and mysterious. Sleeping Years' last album 'We're Becoming Islands One By One' was shamefully overlooked in most of last year's 'best album' lists (not mine!), but this single offers hope that their next album is going to be even better.
In any event The Sleeping Years 'Into Sunlight' is single/EP of the week and, for that matter, month. It is out now as a four track single on itunes and out Monday on 7" vinyl. The lead track is probably the most catchy, poppy song that Dale Grundle has put his name too since Catchers' 'Cotton Dress'. Really shimmery, pretty stuff with a flourish of brass at the end that makes it sound grand, its a great song and one deserving of more airplay and attention than it will most likely get.
The b sides are both quiet, slower songs. 'Katherine Cove' is particularly good, sounding dark and mysterious. Sleeping Years' last album 'We're Becoming Islands One By One' was shamefully overlooked in most of last year's 'best album' lists (not mine!), but this single offers hope that their next album is going to be even better.
Wednesday, 21 October 2009
Grant-Lee Phillips 'Little Moon'
Former Grant Lee Buffalo frontman, Grant-Lee Phillips' solo career had been frustratingly inconsistent thus far. Ten years in and the highlight was still his understated debut solo EP 'Ladies Love Oracle'. From there on he has produced a fairly wide range of styles but whilst each album has had something to recommend it, each has been let down either by poor production, a lack of strong songs or in the case of 2007's 'Strangelet' a lack of any interesting lyrical or musical ideas at all. After last year's nadir, a woefully inessential album of 80s covers, he returns with his fourth solo album of original songs.
'Little Moon' was written and recorded quickly, with a four-piece band and consequently of all Phillips' albums it is the most natural and 'live' sounding. Recent efforts have suffered under the weight of a good deal of studio-trickery and over-production but the sound here is fresh with plenty of room for the songs to breathe. And happily, 'Little Moon' is a fine and diverse collection of songs, by some distance Phillips' best work since the last days of Grant Lee Buffalo.
It is also a very positive and uplifting album. Phillips is enjoying domestic bliss with his wife and recently-born daughter Violet, so this was never likely to be an angst fest, and so it proves. Opener 'Good Morning Happiness' is like a less irritating version of 'Wake Up Boo!', a short, sharp blast to welcome you in. Elsewhere, Phillips varies the pace and feel more than he has in the past and the result is an album that sounds full of ideas. The title track for example is a lovely, drawn out ballad sung beautifully by Phillips in a warm croon over piano and strings, but it is followed by the swagger and stomp of 'It Ain't The Same Old Cold War Harry' with brass accompaniment.
Elsewhere 'Blind Tom' is a pretty piano ballad about catching songs on the wind, 'One Morning' is an anthemic guitar-led number sounding more like Phillips' old band than anything else here and 'Older Now' is a funny/sad song about ageing delivered in a patient and soothing style that emphasises Phillips' maturity and ease.
I was a fan of Grant Lee Buffalo and have bought every Phillips solo album really wanting to like it, but despite still being an engaging live performer his LPs have always been something of a let down. This however, is excellent. A varied and always interesting collection of memorable songs. Highly recommended. Assured and confident.
'Little Moon' was written and recorded quickly, with a four-piece band and consequently of all Phillips' albums it is the most natural and 'live' sounding. Recent efforts have suffered under the weight of a good deal of studio-trickery and over-production but the sound here is fresh with plenty of room for the songs to breathe. And happily, 'Little Moon' is a fine and diverse collection of songs, by some distance Phillips' best work since the last days of Grant Lee Buffalo.
It is also a very positive and uplifting album. Phillips is enjoying domestic bliss with his wife and recently-born daughter Violet, so this was never likely to be an angst fest, and so it proves. Opener 'Good Morning Happiness' is like a less irritating version of 'Wake Up Boo!', a short, sharp blast to welcome you in. Elsewhere, Phillips varies the pace and feel more than he has in the past and the result is an album that sounds full of ideas. The title track for example is a lovely, drawn out ballad sung beautifully by Phillips in a warm croon over piano and strings, but it is followed by the swagger and stomp of 'It Ain't The Same Old Cold War Harry' with brass accompaniment.
Elsewhere 'Blind Tom' is a pretty piano ballad about catching songs on the wind, 'One Morning' is an anthemic guitar-led number sounding more like Phillips' old band than anything else here and 'Older Now' is a funny/sad song about ageing delivered in a patient and soothing style that emphasises Phillips' maturity and ease.
I was a fan of Grant Lee Buffalo and have bought every Phillips solo album really wanting to like it, but despite still being an engaging live performer his LPs have always been something of a let down. This however, is excellent. A varied and always interesting collection of memorable songs. Highly recommended. Assured and confident.
Saturday, 17 October 2009
Mark Eitzel 'Klamath'
'Klamath' is the new solo record from Mark Eitzel. You're only going to be able to buy this either directly from Mark ( www.markeitzel.info ), through his European distributer Decor Records or from Mark at a show. On his website he states that he needs to sell 500 of these, he is by all accounts pretty broke. This is a tragedy.
Mark Eitzel is an amazing songwriter, he has written some of the most beautiful, affecting and, sometimes, funny songs that we have. His album 'Songs of Love live' is an absolute bona-fide all time CLASSIC. A partial recording of a solo gig from 1988, just Eitzel and his guitar, it is a document of Eitzel playing his songs, absolutely from the heart, occasionally sobbing, laughing, apologising, it is sad, touching, heart in mouth stuff...just like seeing Eitzel play live. Everything he has ever recorded has been honest and from the heart and unfortunately that has not resulted in huge sales.
In a right and proper world, he would be recognised as one of the World's top songwriters, 'Songs of Love live' would have been reissued in some kind of deluxe version with the full gig and a bonus dvd or something and this new album, 'Klamath', would be eagerly awaited by millions. But life's not like that and, in a way, Eitzel wouldn't be Eitzel if things were this way. Instead he has his small but loyal fanbase who buy everything, try to convert people and attend gigs knowing it could be terrible or it could be just about the best show they've ever seen.
Even on his poorest ever album, 2005's 'Candy Ass', there was 'Sleeping Beauty' a song that makes me gasp everytime I hear it and was later re-recorded with American Music Club. Its a tattered, broken song with such strong imagery that I have my own little film that plays in my mind each time I hear it. Its maybe the most beautiful song I have ever heard.
'Klamath', like the last couple of Eitzel solo releases, is recorded largely by the man himself with the aid of Pro Tools. Occasionally the use of Pro Tools is frustrating, a track like 'Like A River That Reaches the Sea' sounds like it would be just fine with Eitzel singing and playing acoustic guitar, instead it is spoilt a little by the electronic shenanigans going on in the background.
There is more than enough here to warrant buying this album though. 'The Blood On My Hands' with its alarming opening line 'Now girls, if you want to maintain a look like mine, then you've gotta spend hours on your face, and your nails and your hair', is fully formed and sung with a snarl. 'I Miss You' is soft and regretful ("I miss you/ your heart was warm".
The best tracks though come in the second half of the record when Eitzel more often than not ditches the electronics and just plays guitar and sings. 'I Live In This Place' is spectacular, minimal and broken. Apparently written about a prostitute looking back at their life, it can also be taken as autobiographical and is classic Eitzel....as is the title of 'Why I'm Bullshit', the song too wit its "all I know is I betrayed you" refrain.
Still time for two more standouts. 'Remember' could have been on any of the early AMC albums, acoustic, gentle and fragile. Closer 'Ronald Koal Was A Rock Star' sounds out of place...but in a good way. Loud, funny and containing electric guitar, its an uplifting end to the record.
Eitzel carries on. As he sings here "I know I'll be doing this for the rest of my life". Maybe he will, or maybe he'll get tired of it, sometimes it sounds like writing these songs, recording them and playing them to audiences is a big struggle for him and he'd be happier doing something else. Whatever, I'm glad I own this record, I'm glad I've seen him play live several times, I hope he sells more than 500 of these.
You should buy this record. This is a songwriter wearing his heart on his sleeve.
['Klamath' is out now via www.markeitzel.info or http://www.decorrecords.com ]
Mark Eitzel is an amazing songwriter, he has written some of the most beautiful, affecting and, sometimes, funny songs that we have. His album 'Songs of Love live' is an absolute bona-fide all time CLASSIC. A partial recording of a solo gig from 1988, just Eitzel and his guitar, it is a document of Eitzel playing his songs, absolutely from the heart, occasionally sobbing, laughing, apologising, it is sad, touching, heart in mouth stuff...just like seeing Eitzel play live. Everything he has ever recorded has been honest and from the heart and unfortunately that has not resulted in huge sales.
In a right and proper world, he would be recognised as one of the World's top songwriters, 'Songs of Love live' would have been reissued in some kind of deluxe version with the full gig and a bonus dvd or something and this new album, 'Klamath', would be eagerly awaited by millions. But life's not like that and, in a way, Eitzel wouldn't be Eitzel if things were this way. Instead he has his small but loyal fanbase who buy everything, try to convert people and attend gigs knowing it could be terrible or it could be just about the best show they've ever seen.
Even on his poorest ever album, 2005's 'Candy Ass', there was 'Sleeping Beauty' a song that makes me gasp everytime I hear it and was later re-recorded with American Music Club. Its a tattered, broken song with such strong imagery that I have my own little film that plays in my mind each time I hear it. Its maybe the most beautiful song I have ever heard.
'Klamath', like the last couple of Eitzel solo releases, is recorded largely by the man himself with the aid of Pro Tools. Occasionally the use of Pro Tools is frustrating, a track like 'Like A River That Reaches the Sea' sounds like it would be just fine with Eitzel singing and playing acoustic guitar, instead it is spoilt a little by the electronic shenanigans going on in the background.
There is more than enough here to warrant buying this album though. 'The Blood On My Hands' with its alarming opening line 'Now girls, if you want to maintain a look like mine, then you've gotta spend hours on your face, and your nails and your hair', is fully formed and sung with a snarl. 'I Miss You' is soft and regretful ("I miss you/ your heart was warm".
The best tracks though come in the second half of the record when Eitzel more often than not ditches the electronics and just plays guitar and sings. 'I Live In This Place' is spectacular, minimal and broken. Apparently written about a prostitute looking back at their life, it can also be taken as autobiographical and is classic Eitzel....as is the title of 'Why I'm Bullshit', the song too wit its "all I know is I betrayed you" refrain.
Still time for two more standouts. 'Remember' could have been on any of the early AMC albums, acoustic, gentle and fragile. Closer 'Ronald Koal Was A Rock Star' sounds out of place...but in a good way. Loud, funny and containing electric guitar, its an uplifting end to the record.
Eitzel carries on. As he sings here "I know I'll be doing this for the rest of my life". Maybe he will, or maybe he'll get tired of it, sometimes it sounds like writing these songs, recording them and playing them to audiences is a big struggle for him and he'd be happier doing something else. Whatever, I'm glad I own this record, I'm glad I've seen him play live several times, I hope he sells more than 500 of these.
You should buy this record. This is a songwriter wearing his heart on his sleeve.
['Klamath' is out now via www.markeitzel.info or http://www.decorrecords.com ]
Friday, 16 October 2009
The Twilight Sad 'Forget The Night Ahead'
The Twilight Sad are long time TracksandGigs favourites. Their debut album, released in 2007, was astonishingly assured for a first effort. Mixing passionate vocals with wall of sound guitars and pulsating drumming, it sounded like nothing else around and set the bar high for the follow up record.
A couple of EPs later and Kilsyth's finest are now back with their second full length album and 'Forget The Night Ahead' is quite some album. Lyrically as dark as dark can be, James Graham's words create a feeling of unease, trauma and regret, he doesn't tell stories, rather he plants words and phrases in your mind and creates an atmosphere. As with 'Fourteen Autumns and Fifteen Winters' there are many references to childhood and past trauma, but the themes are ambiguous and somewhat enthralling.
Musically, this is a dense but cold record. Aside from the terrific, innovative noisy guitar, there are memorable basslines and some superb drumming. Opener 'Reflection of the Television' is dark and brooding, sounding like a track from their quieter EP 'Here It Never Snowed', just as it builds it flows into 'I Became A Prostitute', powerful and raw and just about the most anthemic they have ever sounded.
A sequence of fast, loud songs follow, 'Made To Disappear' is a highlight with it's "I only wanted some honest fun" refrain, after a forbidding instrumental, the album reaches a peak with 'The Room'. Built largely on a piano refrain and simple drum beat, the song builds slowly with ominous strings in the background, Graham sings "you're the Grandson's toy in the corner, don't tell anyone else", it is all menacing, disturbing but somehow quite beautiful, maybe the best song they have yet recorded.
There is no let up in the quality. 'Floorboards Under The Bed', started with Graham singing away from the mic, is similarly full of suspense and tension, whilst louder songs such as 'That Birthday Present' offer some release, in this case in the story of a hedonistic friend's spiral down.
Right through to the dark closer 'At The Burnside' this is an excellent album. Guitarist Andy MacFarlane does an excellent job of creating thick fogs of innovative guitar noise for Graham to sing over...and he has matured into a fine singer, knowing when to emote and when to tone it down a level. The mix between noisy numbers and the more minimal, tension filled tracks is just right. This is a powerful, dark but very listenable record.
9.4
['Forget The Night Ahead' is out now on Fat Cat. The Twilight Sad are touring the UK from next week]
A couple of EPs later and Kilsyth's finest are now back with their second full length album and 'Forget The Night Ahead' is quite some album. Lyrically as dark as dark can be, James Graham's words create a feeling of unease, trauma and regret, he doesn't tell stories, rather he plants words and phrases in your mind and creates an atmosphere. As with 'Fourteen Autumns and Fifteen Winters' there are many references to childhood and past trauma, but the themes are ambiguous and somewhat enthralling.
Musically, this is a dense but cold record. Aside from the terrific, innovative noisy guitar, there are memorable basslines and some superb drumming. Opener 'Reflection of the Television' is dark and brooding, sounding like a track from their quieter EP 'Here It Never Snowed', just as it builds it flows into 'I Became A Prostitute', powerful and raw and just about the most anthemic they have ever sounded.
A sequence of fast, loud songs follow, 'Made To Disappear' is a highlight with it's "I only wanted some honest fun" refrain, after a forbidding instrumental, the album reaches a peak with 'The Room'. Built largely on a piano refrain and simple drum beat, the song builds slowly with ominous strings in the background, Graham sings "you're the Grandson's toy in the corner, don't tell anyone else", it is all menacing, disturbing but somehow quite beautiful, maybe the best song they have yet recorded.
There is no let up in the quality. 'Floorboards Under The Bed', started with Graham singing away from the mic, is similarly full of suspense and tension, whilst louder songs such as 'That Birthday Present' offer some release, in this case in the story of a hedonistic friend's spiral down.
Right through to the dark closer 'At The Burnside' this is an excellent album. Guitarist Andy MacFarlane does an excellent job of creating thick fogs of innovative guitar noise for Graham to sing over...and he has matured into a fine singer, knowing when to emote and when to tone it down a level. The mix between noisy numbers and the more minimal, tension filled tracks is just right. This is a powerful, dark but very listenable record.
9.4
['Forget The Night Ahead' is out now on Fat Cat. The Twilight Sad are touring the UK from next week]
Sunday, 11 October 2009
The Sleeping Years 'Into Sunlight'
So much great music around at the moment. I have to say none of it better than the incredible new Twilight Sad album, which I am still writing a review of, but I was delighted to receive the forthcoming single from The Sleeping Years...
Dale Grundle's new band produced one of the albums of 2008, the new single 'Into Sunlight' is a taster from their forthcoming second album and by the sounds of it, it could be an even better record. 'Into Sunlight' itself is a wonderfully upbeat, joyful pop song with the trademark acoustic guitar, cello and yearning vocals but with a fuller sound and a coda featuring some added trumpet.
B Side 'Katherine Cove' is more stripped down and moody, led by vocal, piano and cello. "I'm so far from God here/ I'm so far from home" sings Grundle.
These two songs both sound as good, if not better than most of 'We're Becoming Islands One By One', the cello in particular sounds really great and mixes so well with Grundle's voice.
The single is out on November 2nd, on vinyl and download. It will actually feature a couple more tracks than I've heard so far, so I'll blog about them when I get the vinyl. In the meantime, The Sleeping Years play an acoustic show at London's Boogaloo, this Wednesday.
Dale Grundle's new band produced one of the albums of 2008, the new single 'Into Sunlight' is a taster from their forthcoming second album and by the sounds of it, it could be an even better record. 'Into Sunlight' itself is a wonderfully upbeat, joyful pop song with the trademark acoustic guitar, cello and yearning vocals but with a fuller sound and a coda featuring some added trumpet.
B Side 'Katherine Cove' is more stripped down and moody, led by vocal, piano and cello. "I'm so far from God here/ I'm so far from home" sings Grundle.
These two songs both sound as good, if not better than most of 'We're Becoming Islands One By One', the cello in particular sounds really great and mixes so well with Grundle's voice.
The single is out on November 2nd, on vinyl and download. It will actually feature a couple more tracks than I've heard so far, so I'll blog about them when I get the vinyl. In the meantime, The Sleeping Years play an acoustic show at London's Boogaloo, this Wednesday.
Saturday, 10 October 2009
Richard Hawley 'Truelove's Gutter'
I've always found Richard Hawley a little confusing. I've seen him live a couple of times, supporting other bands, and he has a terrific sense of humour and is an engaging and entertaining character. This has never, for me, come across in his music which, certainly in the case of his last two records, has sounded overly sentimental with his deep croon sounding ever so slightly mannered. I always wondered if he had worked so hard to cultivate an image that he didn't really 'mean it' anymore.
His new album is certainly a change of direction from the dull 'Lady's Bridge' which seemed to be a poor attempted re-write of 'Coles Corner'. This time the songs are longer, the subject matter is darker and for the most part, this works well.
The songs are drawn out and unhurried. Musically the record is very low key with an emphasis on atmospherics and this suits Hawley's voice well allowing him to unravel some memorable vocal melodies. Opener 'As The Dawn Breaks' for example is gentle and understated but with a haunting vocal that sticks in the mind.
Elsewhere, songs like 'Open Up Your Door' are more familiar retro-style Hawley pieces with plenty of guitars and subtle but uplifting strings. The undoubted highlight though is 'For Your Lover Give Some Time', a perfectly executed love song for Hawley's wife, full of evocative imagery, sung quite beautifully and always reigned in, so never sounding too overblown.
Some of the songs here are a little too long and there is something of a lack of variety, but that is maybe the point. It sounds like Hawley has made the album he wanted to make here, without compromise. It is an old style record full of tasteful and subtle ballads, dark but comforting, perfect for the Winter nights ahead.
7.4
['Truelove's Gutter' is out now on Mute. Hawley is currently touring the UK]
His new album is certainly a change of direction from the dull 'Lady's Bridge' which seemed to be a poor attempted re-write of 'Coles Corner'. This time the songs are longer, the subject matter is darker and for the most part, this works well.
The songs are drawn out and unhurried. Musically the record is very low key with an emphasis on atmospherics and this suits Hawley's voice well allowing him to unravel some memorable vocal melodies. Opener 'As The Dawn Breaks' for example is gentle and understated but with a haunting vocal that sticks in the mind.
Elsewhere, songs like 'Open Up Your Door' are more familiar retro-style Hawley pieces with plenty of guitars and subtle but uplifting strings. The undoubted highlight though is 'For Your Lover Give Some Time', a perfectly executed love song for Hawley's wife, full of evocative imagery, sung quite beautifully and always reigned in, so never sounding too overblown.
Some of the songs here are a little too long and there is something of a lack of variety, but that is maybe the point. It sounds like Hawley has made the album he wanted to make here, without compromise. It is an old style record full of tasteful and subtle ballads, dark but comforting, perfect for the Winter nights ahead.
7.4
['Truelove's Gutter' is out now on Mute. Hawley is currently touring the UK]
Tuesday, 6 October 2009
Hope Sandoval and the Warm Inventions 'Through The Devil Softly'
I was a pretty devout Mazzy Star fan back in the 1990s. As was the way in those days, I would scan the news pages in the NME each week in the hope of reading about a new release from David Roback and Hope Sandoval. Only three records ever came of course, but they were perfect. A mix of folk, blues, acoustic ballads and psychadelia with Sandoval's warm, golden voice purring over the top. They never recorded a bad track, let alone a bad record.
Since they split, Sandoval has made one record with The Warm Inventions, the slightly disappointing 'Bavarian Fruit Bread', but nothing has been heard from her in seven years. Now she returns with, what else but, more of the same. Sandoval has been making the same record for near on twenty years, why on Earth would she stop now?
'Through The Devil Softly' is a record out of time in many ways. It has nothing to do with any current fashions or trends and it is wholly unsuited to the present vogue for listening to music 'on the go'. You'd no more want to listen to this on the tube or while walking round town on your lunchbreak than you would feel inclined to beat yourself over the head with a stick; it'd be pointless. This is a record that demands to be listened to without distractions, to be wallowed in and hypnotised by.
The sound is luxurious. Slide guitar, piano, cello and of course acoustic guitar create a rich, shimmery landscape and of course Sandoval sings beautifully. The record moves at such a languorous pace that you are often completely unaware of which track you are listening to or how near the start or end of the record you are. Only when something unexpected happens, such as the vaguely strident drum roll at the opening of 'Trouble', do you jolt back to the present.
Highlights? The low bass rumble of 'The Rest Of Your Life' with spooky glockenspiel and Sandoval's singing as cold as ice, the delicate acoustics of 'Lady Jessica and Sam', probably the most 'Fade Into You'-sounding of any track here and the incredible finale 'Satellite' which opens with the sound of lapping waves and then comes on like a fuzzy, distorted torch song from the end of the world.
People talk about albums becoming un-necessary in this world of instant downloads, but this record is a clear example of why they are talking rot. Buy this album, switch off the lights, disconnect the phone and turn off all distractions and allow it to wash over you. Gentle, soothing and in it's own way, spectacular.
9.3
['Through The Devil Softly' is out now on Nettwerk. Sandoval plays Queen Elizabeth Hall on 8 November]
Since they split, Sandoval has made one record with The Warm Inventions, the slightly disappointing 'Bavarian Fruit Bread', but nothing has been heard from her in seven years. Now she returns with, what else but, more of the same. Sandoval has been making the same record for near on twenty years, why on Earth would she stop now?
'Through The Devil Softly' is a record out of time in many ways. It has nothing to do with any current fashions or trends and it is wholly unsuited to the present vogue for listening to music 'on the go'. You'd no more want to listen to this on the tube or while walking round town on your lunchbreak than you would feel inclined to beat yourself over the head with a stick; it'd be pointless. This is a record that demands to be listened to without distractions, to be wallowed in and hypnotised by.
The sound is luxurious. Slide guitar, piano, cello and of course acoustic guitar create a rich, shimmery landscape and of course Sandoval sings beautifully. The record moves at such a languorous pace that you are often completely unaware of which track you are listening to or how near the start or end of the record you are. Only when something unexpected happens, such as the vaguely strident drum roll at the opening of 'Trouble', do you jolt back to the present.
Highlights? The low bass rumble of 'The Rest Of Your Life' with spooky glockenspiel and Sandoval's singing as cold as ice, the delicate acoustics of 'Lady Jessica and Sam', probably the most 'Fade Into You'-sounding of any track here and the incredible finale 'Satellite' which opens with the sound of lapping waves and then comes on like a fuzzy, distorted torch song from the end of the world.
People talk about albums becoming un-necessary in this world of instant downloads, but this record is a clear example of why they are talking rot. Buy this album, switch off the lights, disconnect the phone and turn off all distractions and allow it to wash over you. Gentle, soothing and in it's own way, spectacular.
9.3
['Through The Devil Softly' is out now on Nettwerk. Sandoval plays Queen Elizabeth Hall on 8 November]
The Mountain Goats 'The Life of the World in Flux'
For those Mountain Goats fans who do not yet own the stunning new album (and I should say at this point that I now have FIVE versions of this in my possession...promo, ordinary cd, itunes version for the bonus track, LP and the edition I am about to mention...), you could do worse than head to Rough Trade or even roughtrade.com and buy from them.
If you do, you'll get a nice limited edition pack which contains 'The Life Of The World In Flux' a 13 track cd of demos and sketches of the album's tracks, including a couple that didn't make it onto the LP. All intimate, hushed, low key, lovely stuff.
Incidentally I've read some reviews that hint that there is an amount of cynicism in some of the lyrics on the album. Personally I don't really find that. I don't know what Darnielle's religious beliefs are but I just take these songs as poignant songs about aspects of life and of course pretty much all aspects of life are reflected in the Bible. You don't have to be a Christian to enjoy this album and if you're a non-Christian I don't see why you'd need to want Darnielle to be looking at the God-stuff in a cynical way.
Having said that, it has made me think a lot more than pretty much any other album I've listened to for a while.
If you do, you'll get a nice limited edition pack which contains 'The Life Of The World In Flux' a 13 track cd of demos and sketches of the album's tracks, including a couple that didn't make it onto the LP. All intimate, hushed, low key, lovely stuff.
Incidentally I've read some reviews that hint that there is an amount of cynicism in some of the lyrics on the album. Personally I don't really find that. I don't know what Darnielle's religious beliefs are but I just take these songs as poignant songs about aspects of life and of course pretty much all aspects of life are reflected in the Bible. You don't have to be a Christian to enjoy this album and if you're a non-Christian I don't see why you'd need to want Darnielle to be looking at the God-stuff in a cynical way.
Having said that, it has made me think a lot more than pretty much any other album I've listened to for a while.
Friday, 2 October 2009
The Mountain Goats 'The Life Of The World To Come'
John Darnielle has produced at least one new album every two years since 2002 and each one has had a theme and story of its own. This has made each new Mountain Goats album feel like a real event, you know you are going to get more than just an album of six fast songs and six ballads, you can expect a whole new feel, direction and mood.
'The Life of The World To Come' is perhaps the most radical example of this to date. Each song is named after a Bible verse and Darnielle has described the record as "12 lessons I learned from the Bible". I have had a promo copy of this album for the last 10 days and I've listened to little else, I'm now awaiting the arrival of the double vinyl record with such excitement and anticipation that its hard to believe I already know these songs so well.
In terms of sound, TLOTWTC sits somewhere between 'The Sunset Tree' and 'Get Lonely', mainly quiet, sad songs which Darnielle sings in a soft voice, but impecably written and packing a huge emotional punch. The first thing to say is that you should not be put off if you are not a Christian, (I'm not), these songs do not preach, rather they tackle universal issues life, death, regret and love. All these you will find in the Bible, but also in your own life.
After a low key, sparse opening the album hits its stride with 'Psalms 40:2' as loud and passionate as anything from the last Mountain Goats album, the more upbeat 'Heretic Pride' and containing some classic Darnielle wordplay ("feel bad about the things we do/ but not really that bad"), it moves nicely into the jaunty 'Genesis 3:23', a distant cousin of 'Dance Music' and the most poppy song here, a tightly written song describing a return to an old home, wondering about the lives of the people living there now.
More accessible songs follow including 'Philippians 3:20-21' which features some lively percussion. From the centre to the end of the album though, comes a run of beautiful, highly emotive songs which carry real resonance. For example 'Genesis 30:3' is a heart-wide-open love song, sung softly by Darnielle over a piano, the slightest hint of acoustic guitar and at the very end, rolling drums and just a touch of strings. Its gorgeous and stops you in your tracks as you listen to Darnielle sing "I will do what you ask me to do/ because of how I feel about you".
There's just the slightest lift in mood next, with the jangly, acoustic 'Romans 10:9', the song here that most promotes faith, it has a lively chorus and lines like "a kind and loving God won't let my small ship run aground". From here follows another ballad similar to 'Genesis 30:3', sad but full of resolve with lines like "I won't be afraid of anything ever again" and then 'Matthew 25:21' a desperately stark account of a loved one's death from Cancer, heartbreaking and breathtaking...
...as is 'Deuteronomy 2:10', again sung over mournful piano, this time Darnielle's voice reduced at times to a tiny whisper as he sings "I am a flightless bird/ there'll be no more after me", distant drums roll again at the close, making such a slight song sound impossibly dramatic. 'Isaiah 45:23', more upbeat in terms of sound, explores the idea of a spirit being separate from the body as Darnielle sings "I won't get better...but someday I will be free/ cos I am not this body that imprisons me".
The album ends with 'Ezekiel 7 and the Permanent Efficacy of Grace', sung over a sad, timeless piano melody with a feeling of resolution and the refrain "drive til the rain stops/keep driving..". The album ends with the sound of a drum like a heartbeat, life continuing.
Darnielle has made an extraordinary record here. This is one of the saddest, most emotive, but ultimately life affirming albums I have heard in a long time. At the moment I don't want to listen to anything else.
9.8
['The Life Of The World To Come' is out on Monday on cd/2LP. Do yourself a favour and buy this record]
'The Life of The World To Come' is perhaps the most radical example of this to date. Each song is named after a Bible verse and Darnielle has described the record as "12 lessons I learned from the Bible". I have had a promo copy of this album for the last 10 days and I've listened to little else, I'm now awaiting the arrival of the double vinyl record with such excitement and anticipation that its hard to believe I already know these songs so well.
In terms of sound, TLOTWTC sits somewhere between 'The Sunset Tree' and 'Get Lonely', mainly quiet, sad songs which Darnielle sings in a soft voice, but impecably written and packing a huge emotional punch. The first thing to say is that you should not be put off if you are not a Christian, (I'm not), these songs do not preach, rather they tackle universal issues life, death, regret and love. All these you will find in the Bible, but also in your own life.
After a low key, sparse opening the album hits its stride with 'Psalms 40:2' as loud and passionate as anything from the last Mountain Goats album, the more upbeat 'Heretic Pride' and containing some classic Darnielle wordplay ("feel bad about the things we do/ but not really that bad"), it moves nicely into the jaunty 'Genesis 3:23', a distant cousin of 'Dance Music' and the most poppy song here, a tightly written song describing a return to an old home, wondering about the lives of the people living there now.
More accessible songs follow including 'Philippians 3:20-21' which features some lively percussion. From the centre to the end of the album though, comes a run of beautiful, highly emotive songs which carry real resonance. For example 'Genesis 30:3' is a heart-wide-open love song, sung softly by Darnielle over a piano, the slightest hint of acoustic guitar and at the very end, rolling drums and just a touch of strings. Its gorgeous and stops you in your tracks as you listen to Darnielle sing "I will do what you ask me to do/ because of how I feel about you".
There's just the slightest lift in mood next, with the jangly, acoustic 'Romans 10:9', the song here that most promotes faith, it has a lively chorus and lines like "a kind and loving God won't let my small ship run aground". From here follows another ballad similar to 'Genesis 30:3', sad but full of resolve with lines like "I won't be afraid of anything ever again" and then 'Matthew 25:21' a desperately stark account of a loved one's death from Cancer, heartbreaking and breathtaking...
...as is 'Deuteronomy 2:10', again sung over mournful piano, this time Darnielle's voice reduced at times to a tiny whisper as he sings "I am a flightless bird/ there'll be no more after me", distant drums roll again at the close, making such a slight song sound impossibly dramatic. 'Isaiah 45:23', more upbeat in terms of sound, explores the idea of a spirit being separate from the body as Darnielle sings "I won't get better...but someday I will be free/ cos I am not this body that imprisons me".
The album ends with 'Ezekiel 7 and the Permanent Efficacy of Grace', sung over a sad, timeless piano melody with a feeling of resolution and the refrain "drive til the rain stops/keep driving..". The album ends with the sound of a drum like a heartbeat, life continuing.
Darnielle has made an extraordinary record here. This is one of the saddest, most emotive, but ultimately life affirming albums I have heard in a long time. At the moment I don't want to listen to anything else.
9.8
['The Life Of The World To Come' is out on Monday on cd/2LP. Do yourself a favour and buy this record]
Sunday, 27 September 2009
brand new Low concert on archive.org
While I continue to marvel at the new Mountain Goats and Twilight Sad albums (reviews coming soon, I promise), I've also been enjoying a fantastic audience recording of a recent Low gig.
Check out http://www.archive.org/details/low2009-09-18.spbmc2
The gig took place just a week ago and contains a brand new track. Alan Sparhawk recently said that he had re-evaluated his back catalogue and this is evidence of that. After all the studio trickery pokery of their last album, Low are back to making raw spine-tingling music again.
Kicking off with a stunning 10-minute version of 'Shots and Ladders' from 'Trust' and featuring an incredible rendition of 'When I Go Deaf' and some white-hot electric guitar in the intro to 'Canada', this is the sound of a band going back to doing what they do best. Incredible tension, power and beauty, one of the best bands in the world, sounding supreme.
Check out http://www.archive.org/details/low2009-09-18.spbmc2
The gig took place just a week ago and contains a brand new track. Alan Sparhawk recently said that he had re-evaluated his back catalogue and this is evidence of that. After all the studio trickery pokery of their last album, Low are back to making raw spine-tingling music again.
Kicking off with a stunning 10-minute version of 'Shots and Ladders' from 'Trust' and featuring an incredible rendition of 'When I Go Deaf' and some white-hot electric guitar in the intro to 'Canada', this is the sound of a band going back to doing what they do best. Incredible tension, power and beauty, one of the best bands in the world, sounding supreme.
Friday, 25 September 2009
Monsters of Folk 'Monsters of Folk'
I am pretty overwhelmed with the amount of new releases I have to review at the moment! I am the proud owner of the new Mountain Goats album on promo and have been listening to that to try to get to know the songs before the UK shows in a couple of weeks. I also have the new Richard Hawley record to assess and am currently awaiting delivery in the next couple of days of the Twilight Sad, Hope Sandoval and Port O'Brien records...
'Monsters of Folk' is the hideous title of the new collaboration between M Ward, Conor Oberst, Jim James and Mike Mogis. Having previously toured together in some kind of Rolling Thunder Revue style, the four have now made a record together in some kind of Travelling Wilburys style.
The record is split pretty evenly into songs written and fronted by each of the artists and each plays to his strengths. Oberst's contributions are largely wordy, country songs of the type that worked well on his self-titled solo record a couple of years ago, Ward does his retro, smokey-ballads and fuzzy rockers and Jim James brings soul/country pastiches. James actually provides the highlight, in the record's most untypical song. 'Dear God' is a striking soul number, sounding modern and catchy.
There's not enough of this, elsewhere much is stodgy and staid. Oberst sound like he is going through the motions, providing mellow country tunes with little direction or effort. Worst of all is 'Man Named Truth', country rock by numbers and with bland lyrics. Ward's contributions are largely more successful, 'The Sandman, the Brakeman and Me' is undeniably lovely, 'Whole Lotta Losin' is cliched but lively at least and while 'Slow Down Jo' is lazy and languid, that is at least, apparently, the intention in this case.
The record's main problem is that over the course of an overly long sixteen tracks, the mood hardly ever changes from mid-tempo and middle of the road and the lyrical focus is on general, broad themes such as 'hitting the road...moving on..." and 'life and death', there's little in the way of interesting ideas and wordplay. No song sounds like it was begging to be written, instead much seems forced and directionless.
Also, it seems a terrible waste to have a record with three truly great singers and then have them hardly ever sing together. A few years ago on Jenny Lewis' 'Rabbit Fur Coat' LP, Ward, Lewis and Oberst sang 'Handle With Care' together, alternating verses and sharing the choruses. It sounded vibrant, exciting even and it shows what 'Monsters of Folk' could have been, with just a little more inspiration and invention.
As it is, there is plenty of pleasant, listenable music here, but it is not, I would imagine, a record you would feel the need to return to time and time again.
6.5
['Monsters of Folk' is out now on Rough Trade]
'Monsters of Folk' is the hideous title of the new collaboration between M Ward, Conor Oberst, Jim James and Mike Mogis. Having previously toured together in some kind of Rolling Thunder Revue style, the four have now made a record together in some kind of Travelling Wilburys style.
The record is split pretty evenly into songs written and fronted by each of the artists and each plays to his strengths. Oberst's contributions are largely wordy, country songs of the type that worked well on his self-titled solo record a couple of years ago, Ward does his retro, smokey-ballads and fuzzy rockers and Jim James brings soul/country pastiches. James actually provides the highlight, in the record's most untypical song. 'Dear God' is a striking soul number, sounding modern and catchy.
There's not enough of this, elsewhere much is stodgy and staid. Oberst sound like he is going through the motions, providing mellow country tunes with little direction or effort. Worst of all is 'Man Named Truth', country rock by numbers and with bland lyrics. Ward's contributions are largely more successful, 'The Sandman, the Brakeman and Me' is undeniably lovely, 'Whole Lotta Losin' is cliched but lively at least and while 'Slow Down Jo' is lazy and languid, that is at least, apparently, the intention in this case.
The record's main problem is that over the course of an overly long sixteen tracks, the mood hardly ever changes from mid-tempo and middle of the road and the lyrical focus is on general, broad themes such as 'hitting the road...moving on..." and 'life and death', there's little in the way of interesting ideas and wordplay. No song sounds like it was begging to be written, instead much seems forced and directionless.
Also, it seems a terrible waste to have a record with three truly great singers and then have them hardly ever sing together. A few years ago on Jenny Lewis' 'Rabbit Fur Coat' LP, Ward, Lewis and Oberst sang 'Handle With Care' together, alternating verses and sharing the choruses. It sounded vibrant, exciting even and it shows what 'Monsters of Folk' could have been, with just a little more inspiration and invention.
As it is, there is plenty of pleasant, listenable music here, but it is not, I would imagine, a record you would feel the need to return to time and time again.
6.5
['Monsters of Folk' is out now on Rough Trade]
Wednesday, 23 September 2009
Micah P Hinson 'All Dressed Up and Smelling of Strangers'
A covers album!
There are two ways of doing a covers album. One is to choose some relatively obscure songs and do some respectful and reverential versions, upsetting nobody and probably introducing your fans to some new artists. The second way is to laugh in the face of this notion and just choose your favourite songs and record them exactly as you choose. Micah P Hinson has chosen the second option.
As a result, the Texan troubadour presents a two volume collection of covers, divided loosely but not completely into a set of intimate acoustic recordings and louder full-band efforts. Hinson aims high and tackles well loved songs by the likes of Dylan, Cohen, Denver, The Beatles, Buddy Holly and, er, Emmy The Great.
Inevitably, with a project like this, the songs are executed with varying degrees of success. One constant though is Hinson's deep Texan drawl, a quite wonderful instrument which conveys real emotion; smooth and soothing one moment, harsh and broken the next, it has served him well with his own songs and in many ways works even better here...
..Take 'The Times They Are A Changing', no point in doing a cover of this you might think, especially not in exactly the same acoustic tradition as the original, but it is a joy because Hinson sings it so well, emphasising some of the words differently and stretching some of the syllables out, it is engaging and rich...and wisely he doesn't ruin it with a harmonica solo. Similarly, he does a great job with Emmy The Great's 'We Almost Had A Baby', switching it to the male perspective and having fun with lines like "I am a man...but before I met you, fuck, I was only a kid" and he does a straight, perfectly sung version of Leonard Cohen's 'Suzanne'.
If Volume 1 is filled with moody, lo-fi americana versions of standards, Volume 2 is far more adventurous and playful. For example, Hinson yells out Buddy Holly's 'Listen To Me' over a wall of guitar noise and Leadbelly's 'In The Pines' may lack the naked emotion of Kurt Cobain's version but is just as edgy and desperate.
'All Dressed Up and Smelling of Strangers' is a triumph for Micah P Hinson. As covers albums go, it is daring and experimental, but most of all it showcases what an amazing singer Hinson is. He takes on some of the all time greats here, and never sounds out of his depth.
8.1
['All Dressed Up and Smelling of Strangers' is out now on Full Time Hobby]
There are two ways of doing a covers album. One is to choose some relatively obscure songs and do some respectful and reverential versions, upsetting nobody and probably introducing your fans to some new artists. The second way is to laugh in the face of this notion and just choose your favourite songs and record them exactly as you choose. Micah P Hinson has chosen the second option.
As a result, the Texan troubadour presents a two volume collection of covers, divided loosely but not completely into a set of intimate acoustic recordings and louder full-band efforts. Hinson aims high and tackles well loved songs by the likes of Dylan, Cohen, Denver, The Beatles, Buddy Holly and, er, Emmy The Great.
Inevitably, with a project like this, the songs are executed with varying degrees of success. One constant though is Hinson's deep Texan drawl, a quite wonderful instrument which conveys real emotion; smooth and soothing one moment, harsh and broken the next, it has served him well with his own songs and in many ways works even better here...
..Take 'The Times They Are A Changing', no point in doing a cover of this you might think, especially not in exactly the same acoustic tradition as the original, but it is a joy because Hinson sings it so well, emphasising some of the words differently and stretching some of the syllables out, it is engaging and rich...and wisely he doesn't ruin it with a harmonica solo. Similarly, he does a great job with Emmy The Great's 'We Almost Had A Baby', switching it to the male perspective and having fun with lines like "I am a man...but before I met you, fuck, I was only a kid" and he does a straight, perfectly sung version of Leonard Cohen's 'Suzanne'.
If Volume 1 is filled with moody, lo-fi americana versions of standards, Volume 2 is far more adventurous and playful. For example, Hinson yells out Buddy Holly's 'Listen To Me' over a wall of guitar noise and Leadbelly's 'In The Pines' may lack the naked emotion of Kurt Cobain's version but is just as edgy and desperate.
'All Dressed Up and Smelling of Strangers' is a triumph for Micah P Hinson. As covers albums go, it is daring and experimental, but most of all it showcases what an amazing singer Hinson is. He takes on some of the all time greats here, and never sounds out of his depth.
8.1
['All Dressed Up and Smelling of Strangers' is out now on Full Time Hobby]
Sunday, 20 September 2009
Yo La Tengo 'Popular Songs'
Yo La Tengo are one of those bands that I've always thought I should be a fan of, but never quite got to grips with. They've been going 25 years too, so there's been plenty of opportunities. For anyone who feels the same, 'Popular Songs' may be the album that does the trick...it worked for me at least.
The cover art showing a mangled cassette is actually oddly appropriate because the number of twists and turns and changes of direction that this record takes make it sound like some kind of US indie mix tape. Opener 'Here To Fall' sounds like something from Flaming Lips' 'The Soft Bulletin', insistent and hypnotic with the foreboding hook line "I know you're worried/ I'm worried too'. It sounds orchestral and grand, a really great start. The mood lightens with a couple of dreamy, vaguely psychadelic tracks before a superior slice of Garage rock arrives with 'Nothing To Hide'.
This is how things go. Styles vary wildly from track to track; 'Periodically Double and Triple' is stylish and soulful, while 'If It's True' is a dreamy duet, all sunshine and smiles.
Just when you think the record has settled down on a steady indie pop sound for a few tracks (never less than catchy and slick by the way), they end the album with three extended mainly instrumental workouts. The best of these 'More Stars Than There are in Heaven' unravels slowly and gently over a masterful nine minutes.
There is a lot of music here and much of it is very good. This is a hard record to pin down but has certainly made me eager to explore Yo La Tengo's extensive back catalogue.
8.0
['Popular Songs' is out now on Matador]
The cover art showing a mangled cassette is actually oddly appropriate because the number of twists and turns and changes of direction that this record takes make it sound like some kind of US indie mix tape. Opener 'Here To Fall' sounds like something from Flaming Lips' 'The Soft Bulletin', insistent and hypnotic with the foreboding hook line "I know you're worried/ I'm worried too'. It sounds orchestral and grand, a really great start. The mood lightens with a couple of dreamy, vaguely psychadelic tracks before a superior slice of Garage rock arrives with 'Nothing To Hide'.
This is how things go. Styles vary wildly from track to track; 'Periodically Double and Triple' is stylish and soulful, while 'If It's True' is a dreamy duet, all sunshine and smiles.
Just when you think the record has settled down on a steady indie pop sound for a few tracks (never less than catchy and slick by the way), they end the album with three extended mainly instrumental workouts. The best of these 'More Stars Than There are in Heaven' unravels slowly and gently over a masterful nine minutes.
There is a lot of music here and much of it is very good. This is a hard record to pin down but has certainly made me eager to explore Yo La Tengo's extensive back catalogue.
8.0
['Popular Songs' is out now on Matador]
Thursday, 17 September 2009
er....Pavement HAVE reformed
Still can't quite believe this but I may just get to see my second favourite band of all time play.
Pavement ARE going to play some shows next year.
See... http://www.crookedrain.com/
How incredible is this?
Pavement ARE going to play some shows next year.
See... http://www.crookedrain.com/
How incredible is this?
Exclusive - Pavement have not reformed (yet)
Contrary to what you may read on just about any music site you might click on today, Pavement, the greatest American alt.anything band of all time have not yet reformed or announced any dates.
It does look likely though that my prediction of a 2010 reunion might just turn out to be spot on. There are a couple of rumoured festival/benefit gig dates and the absence of any sort of denial. On the other hand, Stephen Malkmus and Scott 'Spiral Stairs' Kannberg both have albums scheduled for next year and will presumably be touring those. Any Pavement reunion would have to involve a lot of rehearsing so its hard to see how it is all going to slot into the first 8-9 months of the year (assuming that they are going to play the Summer festivals).
One thing to be sure of is that 'Terror Twilight' gets the deluxe re-issue treatment next year and I am sure Matador would just love to tie that in with some kind of 'best of', to co-incide with a tour.
All just rumours and dreams for now. That's not to say that I haven't been dreaming..
[review of extraordinary Micah P Hinson covers record coming soon]
It does look likely though that my prediction of a 2010 reunion might just turn out to be spot on. There are a couple of rumoured festival/benefit gig dates and the absence of any sort of denial. On the other hand, Stephen Malkmus and Scott 'Spiral Stairs' Kannberg both have albums scheduled for next year and will presumably be touring those. Any Pavement reunion would have to involve a lot of rehearsing so its hard to see how it is all going to slot into the first 8-9 months of the year (assuming that they are going to play the Summer festivals).
One thing to be sure of is that 'Terror Twilight' gets the deluxe re-issue treatment next year and I am sure Matador would just love to tie that in with some kind of 'best of', to co-incide with a tour.
All just rumours and dreams for now. That's not to say that I haven't been dreaming..
[review of extraordinary Micah P Hinson covers record coming soon]
Monday, 14 September 2009
God Help The Girl 'Stills' EP
Two albums have been dominating my listening time in the past few weeks and they are both records that I under-rated at the time of their release. I have considered re-reviewing both but it may suffice and ease my conscience to just go on about them endlessly and wait for the 'end of the year' lists to right my wrongs.
One is The Duke and The King's sublime 'Nothing Gold Can Stay' and the other is Stuart Murdoch's 'God Help The Girl' side-project. When I first heard this record, I thought it a little showy and forced. In my defence I did keep listening and what I heard eventually was exceptional songwriting from Murdoch and Catherine Ireton's wonderful, crystal clear voice. The songs are sad, happy, funny and wise, the story is compelling and the ending tugs at the heartstrings. It is a monumental achievement and a beautiful, winning piece of art. Thats what I should have said first time round. At least I have learnt my lesson and am now 'living with' albums a lot longer before writing about them.
Anyway, GHTG have now issued 'Stills', an EP of songs from the same sessions as the album but which didn't make the cut. This appears to have nothing to do with quality, but instead Murdoch's intention to sequence the album so that the story unfolds with each song. It works on the album but means that this EP is also essential listening.
From the brassy 'I'm in Love with the City' to the torch-song 'Stills' and the funny/tragic 'The Psychiatrist Is In' these are five more perfectly executed pop songs and fans of Ireton's warm vocals will find plenty to love here.
I have only two more wishes from God Help The Girl...a London performance of the album in its entirety and a box set with the album, the EP and the b sides.
Get to work then Stuart...
['Stills' is out now via Rough Trade on 10" vinyl and download]
One is The Duke and The King's sublime 'Nothing Gold Can Stay' and the other is Stuart Murdoch's 'God Help The Girl' side-project. When I first heard this record, I thought it a little showy and forced. In my defence I did keep listening and what I heard eventually was exceptional songwriting from Murdoch and Catherine Ireton's wonderful, crystal clear voice. The songs are sad, happy, funny and wise, the story is compelling and the ending tugs at the heartstrings. It is a monumental achievement and a beautiful, winning piece of art. Thats what I should have said first time round. At least I have learnt my lesson and am now 'living with' albums a lot longer before writing about them.
Anyway, GHTG have now issued 'Stills', an EP of songs from the same sessions as the album but which didn't make the cut. This appears to have nothing to do with quality, but instead Murdoch's intention to sequence the album so that the story unfolds with each song. It works on the album but means that this EP is also essential listening.
From the brassy 'I'm in Love with the City' to the torch-song 'Stills' and the funny/tragic 'The Psychiatrist Is In' these are five more perfectly executed pop songs and fans of Ireton's warm vocals will find plenty to love here.
I have only two more wishes from God Help The Girl...a London performance of the album in its entirety and a box set with the album, the EP and the b sides.
Get to work then Stuart...
['Stills' is out now via Rough Trade on 10" vinyl and download]
Friday, 11 September 2009
The Dodos 'Time To Die'
One of the unexpected delights of 2008 was The Dodos' 'Visiter' LP. Singer/guitarist Meric Long and drummer Logan Kroeber, crafted a vibrant and fresh sound that made excellent use of space, focusing on bouncy, upbeat numbers with occasional sparse, thoughtful ballads. The single 'Fools' was instantly catchy and memorable.
The follow-up has arrived quickly and was heralded by an reasonably good promotion, sell-out shows and consumer-friendly ideas such as streaming the album well in advance of its release. The only way was up, unfortunately the music is a massive disappointment.
Whereas 'Visiter' was a restless, jittery child, moving from one style to another with 60s strumming and heady drum rhythms, 'Time To Die' is a dense, humourless creation. The big problem is the sound, there is no variation, less acoustic guitar and a fuller, more consistent sound that doesn't suit the band. The songs are too long, usually stretching out over five or six minutes, sometimes devoid of melody, sounding tired and leaden.
There are but two exceptions. 'Small Deaths' combines acoustic and electric guitars to good effect and is catchy and easy on the ear, while 'Fables' is this album's 'Fools', light and summery, it floats around your ears.
Otherwise, this album is hard work and offers little reward for the effort it demands. It is an uninviting, occasionally tedious record and a massive disappointment.
4.6
['Time To Die' is out now on Wichita]
The follow-up has arrived quickly and was heralded by an reasonably good promotion, sell-out shows and consumer-friendly ideas such as streaming the album well in advance of its release. The only way was up, unfortunately the music is a massive disappointment.
Whereas 'Visiter' was a restless, jittery child, moving from one style to another with 60s strumming and heady drum rhythms, 'Time To Die' is a dense, humourless creation. The big problem is the sound, there is no variation, less acoustic guitar and a fuller, more consistent sound that doesn't suit the band. The songs are too long, usually stretching out over five or six minutes, sometimes devoid of melody, sounding tired and leaden.
There are but two exceptions. 'Small Deaths' combines acoustic and electric guitars to good effect and is catchy and easy on the ear, while 'Fables' is this album's 'Fools', light and summery, it floats around your ears.
Otherwise, this album is hard work and offers little reward for the effort it demands. It is an uninviting, occasionally tedious record and a massive disappointment.
4.6
['Time To Die' is out now on Wichita]
Thursday, 10 September 2009
Sleeping Years return with new material and UK show
Dale Grundle's The Sleeping Years made one of the finest albums of 2008 in 'We're Becoming Islands One By One', so it is great to hear that new material is on the way.
A brand new single will be released on 7" and download on 2nd November with an album to follow. More news on these when I've heard them!
In equally good news, The Sleeping Years will support The Notwist at London's Union Chapel on December 12. At last, a Sleeping Years gig in London on a Saturday.....
A brand new single will be released on 7" and download on 2nd November with an album to follow. More news on these when I've heard them!
In equally good news, The Sleeping Years will support The Notwist at London's Union Chapel on December 12. At last, a Sleeping Years gig in London on a Saturday.....
Monday, 7 September 2009
Micah P Hinson covers LP
Micah P Hinson's brand of country-noir is perfectly suited to soundtracking the start of Autumn, so what better time for Micah to release....a double album of covers?
Yes indeed, 'All dressed up and smelling of strangers' is released on cd and download on September 21st and has a quite mouthwatering tracklisting, which is below. Also, Micah plays the Cargo in London on 15th September.
The album is on Full Time Hobby and you can pre-order now directly from them.
1. Slow and Steady
2. This Old Guitar
3. Kiss Me Mother, Kiss You Darling
4. Not Forever Now
5. The Times They Are A Changin’
6. Suzanne
7. We Almost Had A Baby
8. My Way
Volume 2
1. Sleepwalk
2. Running Scared
3. Stop The World
4. Are You Lonesome
5. In The Pines
6. You Didn’t Have To Be So Nice
7. Listen To Me
8. While My Guitar Gently Weeps
Yes indeed, 'All dressed up and smelling of strangers' is released on cd and download on September 21st and has a quite mouthwatering tracklisting, which is below. Also, Micah plays the Cargo in London on 15th September.
The album is on Full Time Hobby and you can pre-order now directly from them.
1. Slow and Steady
2. This Old Guitar
3. Kiss Me Mother, Kiss You Darling
4. Not Forever Now
5. The Times They Are A Changin’
6. Suzanne
7. We Almost Had A Baby
8. My Way
Volume 2
1. Sleepwalk
2. Running Scared
3. Stop The World
4. Are You Lonesome
5. In The Pines
6. You Didn’t Have To Be So Nice
7. Listen To Me
8. While My Guitar Gently Weeps
Saturday, 5 September 2009
(500) Days of Summer - the film and the soundtrack
'Juno' seems to have sparked a trend. Kooky, introspective, happy/sad, indie-wannabe film with teenagers uses oh-so-tasteful indie soundtrack, creating a huge hit and a spike in sales for the associated bands. 'Juno' was the first, there have been lesser others, but '(500) Days of Summer' is the idealogical successor.
I saw the film yesterday and it is good. The story is a well known one. Boy meets girl, boy falls in love, girl doesn't. Well known in life but not, to be fair, in major-release films. There is no happy ending here, the girl, Summer (Zooey Deschanel....Ellen Page presumably, wasn't available) marries someone else and the boy, after something of a nervous breakdown (quits job, turns to archeology), eventually embarks on a new relationship. The film deals with the question of whether there is 'a one' for us all and whether fate plays a hand in us meeting that person. The boy meets his new girlfriend by chance and we are encouraged to think that this girl is his 'one', but many will leave the cinema thinking that this relationship is clearly doomed to failure as he will always love Summer. This stuff happens. So how much of a 'happy ending' it is really depends on your outlook. For me, it was pretty bleak stuff, but a well made, thoughtful film.
It won't be to everyone's taste, it is undoubtably very American and Zooey Deschanel is as kooky as the most kooky thing you could possibly imagine on Planet Kooky. She plays Summer as being very detached and slightly robotic, offering little hint of what is going on in her head, meaning that your sympathies are usually with Tom (played by Joseph-Gordon Levitt). Maybe this is how it was meant to be, it just felt a little odd to have such an undefined lead character.
One aspect of the film is that Tom and Summer have similar taste in music. "Sad English music" apparently, although I saw little evidence of this. The Beatles...sad? The Clash....sad? Does anyone still think of The Smiths as sad (ok they were listening to 'There is a light that never goes out' not 'Frankly Mr Shankly' but still). This is lazy and a bit cliched. The selection of songs used in the film is an exercise in making a mix tape of tasteful indie. It is more notable to look at what was missed off. I was surprised there was no Sufjan, Belle & Sebastian were mentioned but not used ('Another Sunny Day' would have fitted in well) and I was surprised not to hear 'Fade Into You' by Mazzy Star at some point).
This is all well and good but there will be none of this type of songs left to use soon. Its a positive thing if it encourages people to check out The Pixies or Regina Spektor for the first time though.
Oh and She and Him's version of 'Please Let Me Get What I Want' just reinforces what I have always thought...there is no point in covering The Smiths. You can't out-Morrissey Morrissey and a straight cover just sounds...boring.
Go and see the film though...
I saw the film yesterday and it is good. The story is a well known one. Boy meets girl, boy falls in love, girl doesn't. Well known in life but not, to be fair, in major-release films. There is no happy ending here, the girl, Summer (Zooey Deschanel....Ellen Page presumably, wasn't available) marries someone else and the boy, after something of a nervous breakdown (quits job, turns to archeology), eventually embarks on a new relationship. The film deals with the question of whether there is 'a one' for us all and whether fate plays a hand in us meeting that person. The boy meets his new girlfriend by chance and we are encouraged to think that this girl is his 'one', but many will leave the cinema thinking that this relationship is clearly doomed to failure as he will always love Summer. This stuff happens. So how much of a 'happy ending' it is really depends on your outlook. For me, it was pretty bleak stuff, but a well made, thoughtful film.
It won't be to everyone's taste, it is undoubtably very American and Zooey Deschanel is as kooky as the most kooky thing you could possibly imagine on Planet Kooky. She plays Summer as being very detached and slightly robotic, offering little hint of what is going on in her head, meaning that your sympathies are usually with Tom (played by Joseph-Gordon Levitt). Maybe this is how it was meant to be, it just felt a little odd to have such an undefined lead character.
One aspect of the film is that Tom and Summer have similar taste in music. "Sad English music" apparently, although I saw little evidence of this. The Beatles...sad? The Clash....sad? Does anyone still think of The Smiths as sad (ok they were listening to 'There is a light that never goes out' not 'Frankly Mr Shankly' but still). This is lazy and a bit cliched. The selection of songs used in the film is an exercise in making a mix tape of tasteful indie. It is more notable to look at what was missed off. I was surprised there was no Sufjan, Belle & Sebastian were mentioned but not used ('Another Sunny Day' would have fitted in well) and I was surprised not to hear 'Fade Into You' by Mazzy Star at some point).
This is all well and good but there will be none of this type of songs left to use soon. Its a positive thing if it encourages people to check out The Pixies or Regina Spektor for the first time though.
Oh and She and Him's version of 'Please Let Me Get What I Want' just reinforces what I have always thought...there is no point in covering The Smiths. You can't out-Morrissey Morrissey and a straight cover just sounds...boring.
Go and see the film though...
Thursday, 3 September 2009
single of the week
Single of the Week...
Apologies for lack of updates. Have been very busy.
Consequently I've found myself listening to odd songs rather than albums. I've got a backlog of LPs to review and will try to get them done at the weekend.
One of those LPs is the new one from The Dodos, the jauntily monikered 'Time To Die'. Its a bit different from last year's 'Visitor', generally less upbeat with longer, denser songs. More effort required, not to say that is a bad thing. Their new single 'Fables' is the exception though, a thrilling pop song with some lovely strumming and some satisfying percussion. It is one of those songs that you feel you must have heard before somehow. Will get a lot of play on the radio I should think. I like it a lot.
Will be blogging about one of the albums of the year in the near future, as well as a couple of gigs and the new Nick Hornby book, which is most certainly of interest to readers of a music blog. Oh yes.
Apologies for lack of updates. Have been very busy.
Consequently I've found myself listening to odd songs rather than albums. I've got a backlog of LPs to review and will try to get them done at the weekend.
One of those LPs is the new one from The Dodos, the jauntily monikered 'Time To Die'. Its a bit different from last year's 'Visitor', generally less upbeat with longer, denser songs. More effort required, not to say that is a bad thing. Their new single 'Fables' is the exception though, a thrilling pop song with some lovely strumming and some satisfying percussion. It is one of those songs that you feel you must have heard before somehow. Will get a lot of play on the radio I should think. I like it a lot.
Will be blogging about one of the albums of the year in the near future, as well as a couple of gigs and the new Nick Hornby book, which is most certainly of interest to readers of a music blog. Oh yes.
Monday, 31 August 2009
Radiohead...astonishing Reading performance online now
Radiohead continue to dazzle and amaze me.
An hour's worth of footage from their stunning set at Reading last night, featuring a terrific rendition of 'Paranoid Android, is available to view online now, here..
http://www.bbc.co.uk/iplayer/episode/b00mgwv4/Reading_and_Leeds_Festival_2009_Radiohead/
An hour's worth of footage from their stunning set at Reading last night, featuring a terrific rendition of 'Paranoid Android, is available to view online now, here..
http://www.bbc.co.uk/iplayer/episode/b00mgwv4/Reading_and_Leeds_Festival_2009_Radiohead/
Friday, 28 August 2009
The Fiery Furnaces 'I'm Going Away'
Bonkers.
The Fiery Furnaces, brother and sister Matt and Eleanor Friedberger and assorted helpers, have walked the line between genius and madness for six years now, rarely has a band divided opinion so much.
I first came across The Furnaces when their debut 'Gallowsbird's Bark' was released in 2003. It was a likeable set of stripped down indie rock songs that drew comparison with The White Stripes but aside from a lyrical quirkiness did not at all hint at what was to come. I saw them play at 2004's ATP and was utterly blown away- 45 minutes of the most enjoyable live music I had ever witnessed. They played a medley of songs from their debut mixed with songs from the forthcoming follow up, it was frenetic, off the cuff and quite brilliant. I left the hall to hear many other people saying what I had just said..."that was incredible".
So too was the record that followed. 'Blueberry Boat' was a sprawling concept album taking in subjects as wide ranging as piracy (as in...with real pirates...on the seas), lost dogs and Champions League football. The sound was dominated by organ and frequent slide guitar solos, the vocals were shared, stories were told...it was funny but also touching and it had melodies to die for. Many wrote it off, the NME gave it 1/10, but to those who believed, it was one of the greatest things ever recorded. Really. That good.
Since then, The Furnaces seem to have been so desperate to make even grander statements that the plot has been lost somewhat. They recorded an album that was sung in the main by their 80 year old Grandmother, they released two further, difficult concept albums and they released a 54 track live album with no tracklisting and instructions not to try to listen to it all at once. There was just too much music, too many words, too many song titles and it was not easy to keep up.
Now, with 'I'm Going Away', the Friedbergers are back on track. This is their best record since 'Blueberry Boat' and their most accessible album to date. Ironically, this may disappoint their most ardent fans.
'I'm Going Away' is short, punchy and has no great concept. Its a collection of bluesy rock songs, led by organ and electric guitar. Eleanor sings most of the songs, and we are talking about songs here, rather than pieces of music. Songs like 'Drive To Dallas', a gorgeous ballad and 'Charmaine Champagne' a frantic, funky rocker that somehow reminds me of The Hold Steady . It is feelgood stuff with some exceptionally catchy melodies, notably on 'Even In The Rain' which is all handclaps, piano and a melody that you can't believe hasn't been written before.
It is an exceptionally enjoyable record and 'Take Me Round Again', a big 'lets do the show right here' sing-along epic finishes the record perfectly, leaving the listener wanting more.
The Fiery Furnaces have plenty to offer and 'I'm Going Away' is the best thing they could have done at this point. Without the prog and the difficult lyrics, this is a fun record. If you liked the first two albums, it is safe to buy this album!
8.8
[I'm Going Away' is out now on Thrill Jockey]
The Fiery Furnaces, brother and sister Matt and Eleanor Friedberger and assorted helpers, have walked the line between genius and madness for six years now, rarely has a band divided opinion so much.
I first came across The Furnaces when their debut 'Gallowsbird's Bark' was released in 2003. It was a likeable set of stripped down indie rock songs that drew comparison with The White Stripes but aside from a lyrical quirkiness did not at all hint at what was to come. I saw them play at 2004's ATP and was utterly blown away- 45 minutes of the most enjoyable live music I had ever witnessed. They played a medley of songs from their debut mixed with songs from the forthcoming follow up, it was frenetic, off the cuff and quite brilliant. I left the hall to hear many other people saying what I had just said..."that was incredible".
So too was the record that followed. 'Blueberry Boat' was a sprawling concept album taking in subjects as wide ranging as piracy (as in...with real pirates...on the seas), lost dogs and Champions League football. The sound was dominated by organ and frequent slide guitar solos, the vocals were shared, stories were told...it was funny but also touching and it had melodies to die for. Many wrote it off, the NME gave it 1/10, but to those who believed, it was one of the greatest things ever recorded. Really. That good.
Since then, The Furnaces seem to have been so desperate to make even grander statements that the plot has been lost somewhat. They recorded an album that was sung in the main by their 80 year old Grandmother, they released two further, difficult concept albums and they released a 54 track live album with no tracklisting and instructions not to try to listen to it all at once. There was just too much music, too many words, too many song titles and it was not easy to keep up.
Now, with 'I'm Going Away', the Friedbergers are back on track. This is their best record since 'Blueberry Boat' and their most accessible album to date. Ironically, this may disappoint their most ardent fans.
'I'm Going Away' is short, punchy and has no great concept. Its a collection of bluesy rock songs, led by organ and electric guitar. Eleanor sings most of the songs, and we are talking about songs here, rather than pieces of music. Songs like 'Drive To Dallas', a gorgeous ballad and 'Charmaine Champagne' a frantic, funky rocker that somehow reminds me of The Hold Steady . It is feelgood stuff with some exceptionally catchy melodies, notably on 'Even In The Rain' which is all handclaps, piano and a melody that you can't believe hasn't been written before.
It is an exceptionally enjoyable record and 'Take Me Round Again', a big 'lets do the show right here' sing-along epic finishes the record perfectly, leaving the listener wanting more.
The Fiery Furnaces have plenty to offer and 'I'm Going Away' is the best thing they could have done at this point. Without the prog and the difficult lyrics, this is a fun record. If you liked the first two albums, it is safe to buy this album!
8.8
[I'm Going Away' is out now on Thrill Jockey]
Sunday, 23 August 2009
Single Of The Week
No doubts this week...
Noah & The Whale 'Blue Skies'
"This is a song for anyone with a broken heart...this is a song for anyone who can't get out of bed" sings Charlie Fink. Not for me then...my heart is intact and I am usually out of bed first thing in the morning to go for a swim or a run, or both. But still, this is a gorgeous single. The turning point of the 'First Days Of Spring' album, the song where Fink tries to let go of his lost love and look to the future and the "blue skies (that are) calling". It sounds as lush as it gets. Strings, a choir and a bit of brass at the end. Just a great song. Although, I will say that this radio-edit has been 'jazzed' up a bit, which is un-necessary because the version on the album is, as near as damn-it, perfect.
Out now on download and 7".
Noah & The Whale 'Blue Skies'
"This is a song for anyone with a broken heart...this is a song for anyone who can't get out of bed" sings Charlie Fink. Not for me then...my heart is intact and I am usually out of bed first thing in the morning to go for a swim or a run, or both. But still, this is a gorgeous single. The turning point of the 'First Days Of Spring' album, the song where Fink tries to let go of his lost love and look to the future and the "blue skies (that are) calling". It sounds as lush as it gets. Strings, a choir and a bit of brass at the end. Just a great song. Although, I will say that this radio-edit has been 'jazzed' up a bit, which is un-necessary because the version on the album is, as near as damn-it, perfect.
Out now on download and 7".
Friday, 21 August 2009
new Grant Lee Phillips record
Since Grant Lee Buffalo split, frontman Grant Lee Phillips has released a string of every more disappointing solo albums, each sounding further and further away from matching the euphoria and poignancy of a Grant Lee Buffalo record. 2007's 'Strangelet' was a collection of entirely pleasant...and entirely bland pop/rock guitar songs. Totally inessential and really disappointing.
You started to wonder if the fire still burned for Grant. Well, it seems it does. In October, Grant will release 'Little Moon' on Cooking Vinyl and you can listen to it now here: http://www.reverbnation.com/grantleephillips
On first listen, it is a fine collection of songs recorded with a full band and containing the same diversity and experimentation as the best of GLB. It has fiery rockers, such as the immense 'Good Morning Happiness', heart-felt ballads such as 'Older Now' which was written about Grant becoming a father at 44 and the sort of quirky, exhuberant, slightly glam numbers that Grant used to make, in the shape of 'It Ain't The Same Old Cold War Harry'.
In short, the record is a blast. It sounds like it was fun to record and it is great to listen to. Mark this one in your diary, out in October! Nice one Grant.
You started to wonder if the fire still burned for Grant. Well, it seems it does. In October, Grant will release 'Little Moon' on Cooking Vinyl and you can listen to it now here: http://www.reverbnation.com/grantleephillips
On first listen, it is a fine collection of songs recorded with a full band and containing the same diversity and experimentation as the best of GLB. It has fiery rockers, such as the immense 'Good Morning Happiness', heart-felt ballads such as 'Older Now' which was written about Grant becoming a father at 44 and the sort of quirky, exhuberant, slightly glam numbers that Grant used to make, in the shape of 'It Ain't The Same Old Cold War Harry'.
In short, the record is a blast. It sounds like it was fun to record and it is great to listen to. Mark this one in your diary, out in October! Nice one Grant.
Thursday, 20 August 2009
The Duke & The King 'Nothing Gold Can Stay'
What a lovely little album this is. I say 'little', because it will only take up just over half an hour of your life to listen to it, but it is a beautiful collection of songs and a fresh mix of folk and soul.
'Nothing Gold Can Stay' is the result of a collaboration between Simone Felice from the Felice Brothers and Robert Burke. The songs are acoustic-led, mostly ballads but with soulful vocals carrying a hint of gospel. Whilst the music is light, the subject matter weighs heavy. These are songs of regret, sadness and loss but lifted by the hope that things will get better and a feeling of coming home.
Opener 'If You Ever Get Famous' sounds like a standard. A hushed lullaby urging the listener to remember their roots, it is delicate but catchy. 'The Morning I Get To Hell' is darker altogether but with a soulful, light vocal and a surprising but effective drum-led outro.
One of the standouts is 'Union Street' an acoustic ballad with a rambling lyric recalling childhood memories and hoping for a return to those days ("if I could just get to Union Street/ everything would be alright"). Towards the end of the record, a couple of truly lovely ballads, beautifully sung lighten the mood, 'Summer Morning Rain' in particular is as warm and bright as the summer day it describes. There is a darkness around this album though, that you only catch if you listen to the lyrics. Going off to war is a recurring theme as are death and loss. The lyrics are very direct and the listener sometimes feels that they are intruding on something private. The only time the music hints at this darkness is some guitar distortion on 'Lose Myself'.
When 'One More American Song' ends proceedings on a similar tone to the opening track, you get the urge to play the record again and delve deeper. You feel like you've listened to something extraordinary, yet on another level it is a breezy summer listen. It is an almost unique record, mixing soul and country in a way I've never quite heard before and adding in some hard hitting confessional lyrics.
Brilliant stuff.
9.0
['Nothing Gold Can Stay' is out now on Loose Records. The Duke & The King are playing some UK shows over the next few months]
'Nothing Gold Can Stay' is the result of a collaboration between Simone Felice from the Felice Brothers and Robert Burke. The songs are acoustic-led, mostly ballads but with soulful vocals carrying a hint of gospel. Whilst the music is light, the subject matter weighs heavy. These are songs of regret, sadness and loss but lifted by the hope that things will get better and a feeling of coming home.
Opener 'If You Ever Get Famous' sounds like a standard. A hushed lullaby urging the listener to remember their roots, it is delicate but catchy. 'The Morning I Get To Hell' is darker altogether but with a soulful, light vocal and a surprising but effective drum-led outro.
One of the standouts is 'Union Street' an acoustic ballad with a rambling lyric recalling childhood memories and hoping for a return to those days ("if I could just get to Union Street/ everything would be alright"). Towards the end of the record, a couple of truly lovely ballads, beautifully sung lighten the mood, 'Summer Morning Rain' in particular is as warm and bright as the summer day it describes. There is a darkness around this album though, that you only catch if you listen to the lyrics. Going off to war is a recurring theme as are death and loss. The lyrics are very direct and the listener sometimes feels that they are intruding on something private. The only time the music hints at this darkness is some guitar distortion on 'Lose Myself'.
When 'One More American Song' ends proceedings on a similar tone to the opening track, you get the urge to play the record again and delve deeper. You feel like you've listened to something extraordinary, yet on another level it is a breezy summer listen. It is an almost unique record, mixing soul and country in a way I've never quite heard before and adding in some hard hitting confessional lyrics.
Brilliant stuff.
9.0
['Nothing Gold Can Stay' is out now on Loose Records. The Duke & The King are playing some UK shows over the next few months]
Tuesday, 18 August 2009
Richmond Fontaine 'We Used To Think The Freeway Sounded Like A River'
Richmond Fontaine are a band who have never completely clicked with me. If you read Uncut, you'd think they were the saviours of modern music, so ridiculously over-praised have they been by that magazine's editor. In truth, on their seven albums before this one, they have simply produced some pretty good Americana, little inspiration musically but with a singer songwriter (Willy Vlautin) who is an excellent storyteller.
Here, on their eighth record, they make some kind of lurch towards the mainstream. 'We Used To Think The Freeway Sounded Like A River' (and that is the last time I'm typing that out in this review) is a slightly more poppy version of the same thing. Vlautin's throaty, country-style vocals are not to everyone's taste, so the songs here are broken up by some nice, wistful instrumental interludes. It works well.
When he does sing, Vlautin sings some of the most depressing sets of lyrics to see the light of day this year. The songs almost exclusively concern themselves with the desperate, the drunk, the downtrodden and the lonely. Men trying hard to make a living whilst doing right by their woman and kids. Its the sound of blue collar America and it gets a bit wearing after a while. I could in particular have done without the "sometimes I was almost too drunk to get us home, but I always got us home" line, even if not meant literally.
There are some good songs here though. 'The Boyfriends' is upbeat and rocky, almost sounding like The Hold Steady and Vlautin's vocals move slightly away from the norm, 'You Can Move Back Here' is radio-friendly country rock, ticking all the boxes for a Replacements-style anthem, best of all is 'The Pull' a weary ballad about a washed up boxer.
Musically and lyrically though, there is not enough variety. The standout songs sound vibrant and driven, but too often the record sinks into easy rockers and dreary, dusty ballads.
Great title, sometimes great lyrics, average record.
6.4
['We Used To....' is out now on Decor Records, cd/lp/dl]
Here, on their eighth record, they make some kind of lurch towards the mainstream. 'We Used To Think The Freeway Sounded Like A River' (and that is the last time I'm typing that out in this review) is a slightly more poppy version of the same thing. Vlautin's throaty, country-style vocals are not to everyone's taste, so the songs here are broken up by some nice, wistful instrumental interludes. It works well.
When he does sing, Vlautin sings some of the most depressing sets of lyrics to see the light of day this year. The songs almost exclusively concern themselves with the desperate, the drunk, the downtrodden and the lonely. Men trying hard to make a living whilst doing right by their woman and kids. Its the sound of blue collar America and it gets a bit wearing after a while. I could in particular have done without the "sometimes I was almost too drunk to get us home, but I always got us home" line, even if not meant literally.
There are some good songs here though. 'The Boyfriends' is upbeat and rocky, almost sounding like The Hold Steady and Vlautin's vocals move slightly away from the norm, 'You Can Move Back Here' is radio-friendly country rock, ticking all the boxes for a Replacements-style anthem, best of all is 'The Pull' a weary ballad about a washed up boxer.
Musically and lyrically though, there is not enough variety. The standout songs sound vibrant and driven, but too often the record sinks into easy rockers and dreary, dusty ballads.
Great title, sometimes great lyrics, average record.
6.4
['We Used To....' is out now on Decor Records, cd/lp/dl]
Friday, 14 August 2009
Wednesday, 12 August 2009
new Mark Eitzel record and other stuff
Morning.
You catch me midway through my week off, with a spare 5 minutes between swimming, watching cricket and listening to awful cds that I have to review for the other site I work for. I can't imagine I'm going to write about them on here, various reasons, but mainly it just doesn't feel right. Its nice to be sent free music to listen to though...this has only ever happed with 'the other site I write for', never Tracks and Gigs, hmm, hint, hmm, hint....
Anyway, I'm slightly panicked about the amount of records that are out on 31st August this year. God knows how I am a) going to afford to buy them all, b) going to find the time to review them all.
Nothing to review so far this week, but I am going to re-write a review of the God Help The Girl album later this week. I'm not afraid to say that I got that album badly wrong when I first reviewed it. In the 2 years I have been writing this blog, this album is the one that has most made me think "oops, why didn't I wait a while longer before reviewing that", so I am going to do it again. Sorry to all concerned.
Great news today in that the Mark Eitzel LP now has a tracklisting. It is out in September, tracklisting below, am still waiting (not so) patiently for tickets to his London show to go on sale..
1 Buried Treasure
2 Like a river that reaches the sea
3 The Blood On My Hands
4 I Miss You
5 There’s Someone Waiting
6 What Do You Got For Me
7 The White Of Gold
8 I Live In This Place
9 Why I’m Bullshit
10 Remember
11 Antennas
12 Ronald Koal Was A Rock Star
You catch me midway through my week off, with a spare 5 minutes between swimming, watching cricket and listening to awful cds that I have to review for the other site I work for. I can't imagine I'm going to write about them on here, various reasons, but mainly it just doesn't feel right. Its nice to be sent free music to listen to though...this has only ever happed with 'the other site I write for', never Tracks and Gigs, hmm, hint, hmm, hint....
Anyway, I'm slightly panicked about the amount of records that are out on 31st August this year. God knows how I am a) going to afford to buy them all, b) going to find the time to review them all.
Nothing to review so far this week, but I am going to re-write a review of the God Help The Girl album later this week. I'm not afraid to say that I got that album badly wrong when I first reviewed it. In the 2 years I have been writing this blog, this album is the one that has most made me think "oops, why didn't I wait a while longer before reviewing that", so I am going to do it again. Sorry to all concerned.
Great news today in that the Mark Eitzel LP now has a tracklisting. It is out in September, tracklisting below, am still waiting (not so) patiently for tickets to his London show to go on sale..
1 Buried Treasure
2 Like a river that reaches the sea
3 The Blood On My Hands
4 I Miss You
5 There’s Someone Waiting
6 What Do You Got For Me
7 The White Of Gold
8 I Live In This Place
9 Why I’m Bullshit
10 Remember
11 Antennas
12 Ronald Koal Was A Rock Star
Saturday, 8 August 2009
Radiohead 'Harry Patch...in memory of'
Can't believe there is anyone who doesn't already know this, since it has been reported everywhere from Pitchfork to Radio 4, but it is worth saying that Radiohead's tribute song to Harry Patch is worth £1 of anyone's money.
Despite being written, recorded and released in a very short space of time, it is on a completely different level from most music I have heard this year. Managing to sound haunting, sad (it almost reduced me to tears on first play), defiant and angry at the same time, it sounds orchestral and beautiful whilst describing the futility and tragedy of war.
Anyone who downloads this from somewhere non-official without paying for it, or even just listens to the stream should hang their head in shame. All proceeds go to the British Legion and as I said, this track is worth far more than £1.
Purchase from here:
http://download.waste.uk.com/Store/did.html
Despite being written, recorded and released in a very short space of time, it is on a completely different level from most music I have heard this year. Managing to sound haunting, sad (it almost reduced me to tears on first play), defiant and angry at the same time, it sounds orchestral and beautiful whilst describing the futility and tragedy of war.
Anyone who downloads this from somewhere non-official without paying for it, or even just listens to the stream should hang their head in shame. All proceeds go to the British Legion and as I said, this track is worth far more than £1.
Purchase from here:
http://download.waste.uk.com/Store/did.html
Wednesday, 5 August 2009
Mountain Goats UK Tour Dates
Just received the marvellous news that the Mountain Goats return to the UK this Fall/Autumn, to play two shows...and even better news is that they are playing a nice venue in London this time (I'm not a fan of the ULU). Here are the two dates, not sure when they go on sale, they don't appear to be yet...
10 - QEH, London, England
11 - Ruby Lounge, Manchester, England
Both dates are solo acoustic...so no Peter Hughes unfortunately.
10 - QEH, London, England
11 - Ruby Lounge, Manchester, England
Both dates are solo acoustic...so no Peter Hughes unfortunately.
Tuesday, 4 August 2009
Noah and The Whale 'The First Days of Spring'
If you had told me, at the start of this year, that by the end of summer we will have a shimmering, gloriously melancholic, orchestral masterpiece released, I would have struggled to have guessed that it would have come from Noah and The Whale. Nice though their upbeat, chirpy debut album was, there was simply no sign that they were in any way likely to make a record like this.
'The First Days of Spring' is a concept record, documentating the last days and aftermath of singer Charlie Fink's relationship with his girlfriend (who by all accounts, was Laura Marling). Fink has written a fine set of lyrics that document despair, confusion, heartbreak, reflection and finally, hope. He sings these words with a calm assurance, sounding at times a little like Bill Callahan and indeed some of the songs remind me of mid-period Smog.
The words alone would make a fine poetry collection, but luckily for us music fans, Noah and The Whale, along with a choir, orchestra and string section have combined to make Fink's concept into a beautifully arranged, evocative and uplifting piece of music, perhaps the best released so far this year.
The record is split into three distinct sections. The opening four songs document the end of the relationship. The title track sets the scene, building into a Tindersticks-style orchestral epic whilst Fink ponders his life at a crossroads("I do believe everyone has one chance to fuck up their life"), 'Our Window', with the sound of rain hitting the window occasionally in the background, is slow and mournful, piano-led, the sound of a couple on the verge of a split, both looking the other way. Its the most heartbreaking and desolate track here, especially Fink's refrain "its been a while, since I've stared at the stars".
After another couple of tracks with the same feel, a change is needed and we certainly get one! A couple of lush instrumentals bookend 'Love Of An Orchestra' which is rich with strings and a choir, completely overblown and utterly joyful.
The third section of the album looks to the future. After the slightly subdued 'Stranger', Fink searches for optimism and happiness on the graceful 'Blue Skies' which he introduces as a song for "anyone with a broken heart". He sounds most like Callahan on this track, wounded and hurt in the verses but lifting himself for the "Blue skies are calling" in the chorus. The record ends with 'My Door Is Always Open', lyrically reaching closure and peace and musically resisting the urge for a big orchestral finish but finding something just as uplifting, although understated.
'The First Days of Spring' is an extremely accomplished piece of work. Sure, its sad and melancholy but it is never, ever depressing or miserable...either tugging at your heartstrings or being uplifting and joyful. I haven't been able to stop playing this since I received it. Its a very bold attempt to produce something fully formed, rich and adventurous, without sounding overblown or ridiculous. They completely succeed. Noah and the Whale must stand a very good chance of winning the Mercury Prize for 2010. This is the finest British album I have heard in a long, long time.
[this was reviewed from a promo. 'First Days of Spring' is out on August 31st on cd and cd/dvd (more on the dvd soon) via Mercury]
'The First Days of Spring' is a concept record, documentating the last days and aftermath of singer Charlie Fink's relationship with his girlfriend (who by all accounts, was Laura Marling). Fink has written a fine set of lyrics that document despair, confusion, heartbreak, reflection and finally, hope. He sings these words with a calm assurance, sounding at times a little like Bill Callahan and indeed some of the songs remind me of mid-period Smog.
The words alone would make a fine poetry collection, but luckily for us music fans, Noah and The Whale, along with a choir, orchestra and string section have combined to make Fink's concept into a beautifully arranged, evocative and uplifting piece of music, perhaps the best released so far this year.
The record is split into three distinct sections. The opening four songs document the end of the relationship. The title track sets the scene, building into a Tindersticks-style orchestral epic whilst Fink ponders his life at a crossroads("I do believe everyone has one chance to fuck up their life"), 'Our Window', with the sound of rain hitting the window occasionally in the background, is slow and mournful, piano-led, the sound of a couple on the verge of a split, both looking the other way. Its the most heartbreaking and desolate track here, especially Fink's refrain "its been a while, since I've stared at the stars".
After another couple of tracks with the same feel, a change is needed and we certainly get one! A couple of lush instrumentals bookend 'Love Of An Orchestra' which is rich with strings and a choir, completely overblown and utterly joyful.
The third section of the album looks to the future. After the slightly subdued 'Stranger', Fink searches for optimism and happiness on the graceful 'Blue Skies' which he introduces as a song for "anyone with a broken heart". He sounds most like Callahan on this track, wounded and hurt in the verses but lifting himself for the "Blue skies are calling" in the chorus. The record ends with 'My Door Is Always Open', lyrically reaching closure and peace and musically resisting the urge for a big orchestral finish but finding something just as uplifting, although understated.
'The First Days of Spring' is an extremely accomplished piece of work. Sure, its sad and melancholy but it is never, ever depressing or miserable...either tugging at your heartstrings or being uplifting and joyful. I haven't been able to stop playing this since I received it. Its a very bold attempt to produce something fully formed, rich and adventurous, without sounding overblown or ridiculous. They completely succeed. Noah and the Whale must stand a very good chance of winning the Mercury Prize for 2010. This is the finest British album I have heard in a long, long time.
[this was reviewed from a promo. 'First Days of Spring' is out on August 31st on cd and cd/dvd (more on the dvd soon) via Mercury]
Saturday, 1 August 2009
Single of the week...
The Twilight Sad 'I Became A Prostitute'
The Twilight Sad return with the first single from their forthcoming album 'Forget The Night Ahead'. Louder and faster than recent EPs, this is a return to the sound of their first album. Dense, dark, thrilling....and with just a hint of a chorus..this is just as good as I'd hoped and there was a lot of expectation around this record. Looking forward to hearing the album.
For now, this is out on 7" and download, via Fat Cat Records.
The Twilight Sad return with the first single from their forthcoming album 'Forget The Night Ahead'. Louder and faster than recent EPs, this is a return to the sound of their first album. Dense, dark, thrilling....and with just a hint of a chorus..this is just as good as I'd hoped and there was a lot of expectation around this record. Looking forward to hearing the album.
For now, this is out on 7" and download, via Fat Cat Records.
more on the Zak Sally cd..
The Zak Sally cd has arrived from the States and I have to say it is one of the nicest handmade cds I have yet seen. Well worth getting if you are a fan of Zak (or were a fan of Low-era Zak), the cds are all signed and numbered.
More on the actual music soon, along with the new Twilight Sad cd and the Noah and The Whale album (which I have to say is stunning).
More on the actual music soon, along with the new Twilight Sad cd and the Noah and The Whale album (which I have to say is stunning).
Friday, 31 July 2009
Bowerbirds 'Upper Air'
When I wrote about Bowerbirds' debut LP last year, I said that their music was entirely pleasant and listenable without doing anything much to make the listener really set up and take notice. They return here with a reduced line up, now just husband and wife Phil Moore and Beth Tacular, and to a certain extent more of the same. It all seems a little more focused and direct though.
Take opener 'House of Diamonds', a song advocating giving up the city life and moving to the country and embracing the natural world where "you are already free"..could be awful but the beguiling melody and Moore's strong, twisting vocal carries it through. There are moments too, when the rustic sounding acoustic guitars and accordions pause, allowing Moore and Tacular to share harmonies, their vocals mixing well together and creating an atmosphere something like early-Low.
Best of all though is 'Northen Lights', an exceptionally pretty love song presumably written by Moore for Tacular. It is both well written ("I don't expect a southern gril to know the northern lights") and very lovely ("All I want is your eyes, in the morning, as we wake for a short while").
The record drifts a little midway through before finishing with the sparse and thoughtful 'This Day'. Bowerbirds have a great album in them. That much is clear from the best stuff here and the spellbinding moments when Moore and Tacular sing together unaccompanied. I'd like to hear more of that, for now this is a fine and very listenable record.
7.8
['Upper Air' is out now on Dead Oceans]
Take opener 'House of Diamonds', a song advocating giving up the city life and moving to the country and embracing the natural world where "you are already free"..could be awful but the beguiling melody and Moore's strong, twisting vocal carries it through. There are moments too, when the rustic sounding acoustic guitars and accordions pause, allowing Moore and Tacular to share harmonies, their vocals mixing well together and creating an atmosphere something like early-Low.
Best of all though is 'Northen Lights', an exceptionally pretty love song presumably written by Moore for Tacular. It is both well written ("I don't expect a southern gril to know the northern lights") and very lovely ("All I want is your eyes, in the morning, as we wake for a short while").
The record drifts a little midway through before finishing with the sparse and thoughtful 'This Day'. Bowerbirds have a great album in them. That much is clear from the best stuff here and the spellbinding moments when Moore and Tacular sing together unaccompanied. I'd like to hear more of that, for now this is a fine and very listenable record.
7.8
['Upper Air' is out now on Dead Oceans]
Wednesday, 29 July 2009
new Mountain Goats LP...
Whilst wading through some pretty dull new releases that I have to review, came the news that a new Mountain Goats LP will arrive this Autumn.
Thank the Lord for that. Quite literally in fact, because every tMG album has a theme and this one is religion. The record is called 'The Life of the World to Come' and each track is named after a bible verse. Darnielle describes the theme as "twelve hard lessons I learned from the Bible". Jesus.
Anyway, as per the current trend, there is a free mp3 of one of the tracks ('Genesis 3:23') on the Mountain Goats website and it sounds good. Upbeat, with a full band sound and a gentle vocal...think a bit of 'The Sunset Tree' and a bit of 'Get Lonely'.
Album is out on October 5th, but I strongly suspect that there is going to be some kind of pre-order now, get the digital album instantly deal with this one. Just a hunch.
Thank the Lord for that. Quite literally in fact, because every tMG album has a theme and this one is religion. The record is called 'The Life of the World to Come' and each track is named after a bible verse. Darnielle describes the theme as "twelve hard lessons I learned from the Bible". Jesus.
Anyway, as per the current trend, there is a free mp3 of one of the tracks ('Genesis 3:23') on the Mountain Goats website and it sounds good. Upbeat, with a full band sound and a gentle vocal...think a bit of 'The Sunset Tree' and a bit of 'Get Lonely'.
Album is out on October 5th, but I strongly suspect that there is going to be some kind of pre-order now, get the digital album instantly deal with this one. Just a hunch.
Thursday, 23 July 2009
Zak Sally's Fear of Song - first listen
Zak's album is now available to buy via his website http://lamano21.com/
Also on the site is a quite brilliant description of the record, written by the man himself. The album is completely handmade, signed and numbered and will be posted out by Zak..the whole thing is a one man project. He instructs anyone wanting to review the record to buy the $7 download as "i'm probably broker than you are". So I did that, with the intention of ordering the record too (unless I completely hated it, which of course I don't)and I've now done that.
I'll write a proper review of this when I get the physical version, when someone has put so much effort into the whole thing, it seems a shame to review a $7 download. Anyway, this isn't the sort of record that you can really gives marks out of ten to, that would defeat the whole concept.
'Fear of Song' is a quite marvellous thing. Anyone who loved the part played in Low will want to hear this. It is a set of spontaneous, honest, big-hearted pieces of music. Not polished, not lush, not pretty but raw and true. I was expected a louder more aggressive record but am pleased at the mix of fiery, feedback drenched rockers and acoustic laments.
Buy this. It is possibly the least cynical and least calculated release of the year. One man in a room opening his heart and making some music from nothing. Great stuff.
Also on the site is a quite brilliant description of the record, written by the man himself. The album is completely handmade, signed and numbered and will be posted out by Zak..the whole thing is a one man project. He instructs anyone wanting to review the record to buy the $7 download as "i'm probably broker than you are". So I did that, with the intention of ordering the record too (unless I completely hated it, which of course I don't)and I've now done that.
I'll write a proper review of this when I get the physical version, when someone has put so much effort into the whole thing, it seems a shame to review a $7 download. Anyway, this isn't the sort of record that you can really gives marks out of ten to, that would defeat the whole concept.
'Fear of Song' is a quite marvellous thing. Anyone who loved the part played in Low will want to hear this. It is a set of spontaneous, honest, big-hearted pieces of music. Not polished, not lush, not pretty but raw and true. I was expected a louder more aggressive record but am pleased at the mix of fiery, feedback drenched rockers and acoustic laments.
Buy this. It is possibly the least cynical and least calculated release of the year. One man in a room opening his heart and making some music from nothing. Great stuff.
Wednesday, 22 July 2009
Single of the Week...
Firstly, a quick word for the England cricket selectors..... "Beg Marcus Trescothick to return"...
Secondly, this week's single of the week is...
Zak Sally 'Why We Hide'
Loving this single. Zak describes it best himself when he says it is the sound of "one man clanging". It is also noisy, discordant, ramshakle but also strangely tuneful and catchy. It has some nice hand-claps midway through, which remind me of Zak's attempts to encourage audience participation when Low played 'La La La Song'. It is what you'd expect really, three minutes of U.S alt.rock noise. You get the impression from this that Zak had a lot to do with Low's 'The Great Destroyer'.
It is out now on pink vinyl from Subpop, you get a download voucher with the vinyl (or at least, I did).
The album is due out round about now on Zak's own label, although as yet there is no link to buy it on his website.
Secondly, this week's single of the week is...
Zak Sally 'Why We Hide'
Loving this single. Zak describes it best himself when he says it is the sound of "one man clanging". It is also noisy, discordant, ramshakle but also strangely tuneful and catchy. It has some nice hand-claps midway through, which remind me of Zak's attempts to encourage audience participation when Low played 'La La La Song'. It is what you'd expect really, three minutes of U.S alt.rock noise. You get the impression from this that Zak had a lot to do with Low's 'The Great Destroyer'.
It is out now on pink vinyl from Subpop, you get a download voucher with the vinyl (or at least, I did).
The album is due out round about now on Zak's own label, although as yet there is no link to buy it on his website.
Monday, 20 July 2009
Noah and The Whale 'The First Days of Spring'
This band passed me by when they released their debut LP last year. It all seemed a bit light and overly jolly. Things appear to have changed though...
The first track from their second album 'The First Days of Spring' is available to download for free from the Noah and The Whale website and it is stunningly good. Tense, orchestral and lovelorn, it is the sound of a band making a huge jump in quality and stature. Looking forward to hearing the album.
The first track from their second album 'The First Days of Spring' is available to download for free from the Noah and The Whale website and it is stunningly good. Tense, orchestral and lovelorn, it is the sound of a band making a huge jump in quality and stature. Looking forward to hearing the album.
Friday, 17 July 2009
Magnolia Electric Co. 'Josephine'
Back in 2003, under the guise of Songs:Ohia, Jason Molina made one of the great alt.country records, 'Magnolia Electric Co'. As near as anything gets these days to in-his-prime Neil Young, it was an album of power and grace, a beautiful, searing complete piece of music, that was just about perfect. I played it over and over on hot summer nights that year, with the windows open. It was all good and I thought Molina would just get better and better.
Since then however, his output has been somewhat patchy. Largely sidestepping the powerful stuff and concentrating on mood pieces or sketchy country numbers, he hasn't made a great album since. 'Josephine' arrives with a lot of fanfare, high hopes and a back story. MeCo bassist Evan Farell died whilst ideas for this album were being forumulated and the finished album serves as a tribute to him and his hopes for the record. It is a concept piece of sorts, the loss of 'Josephine' representing the loss of Evan and Molina centres most of these songs of themes of loneliness, loss and heartbreak.
But the first thing you notice when you hear opener 'O Grace' is a fuller and more varied sound. 'O Grace' is upbeat and accessible with harmonies on the chorus and sax and piano used. The first few tracks continue down this path, with the title number being catchy, short and snappy with some crashing guitar, although the lyrics are sombre "oh what a fool I've been".
He follows this with several dusky, acoustic numbers that would not be out of place on a Molina solo record, lonely and bruised. There is more variety to come though, 'Hope Dies Last' employs harmonies and a great bassline, 'The Handing Down' kicks off with a fiery guitar riff and settles down before producing some satisfying feedback mid-song, it will satisfy those who crave the riffs Molina gave us on numbers like 'The Dark Don't Hide It'.
Molina also gives us the two most unlikely songs of his career, to varying success. 'Little Sad Eyes' is a organ-led, doo-wop style interlude, sounding lazy and inconsequential next to some of the more considered material and 'An Arrow In The Gale' is an interesting closing track, short and sweet and with Beach Boys harmonies and split vocals.
Whatever styles and ideas Molina tries on 'Josephine' the lyrical themes remain the same. "I've been as lonely as the world's first ghost' he sings and the overwhelming themes are of loss and regret. This isn't as gloomy as it sounds and the sound of the record, particularly with the frequently used harmonies ("Oh Josephine" is a recurring refrain) presents a sense of hope.
After years of seemingly avoided making a straightforward album, by releasing various live albums, compilations and boxsets, Molina has shown that he is perfectly capable of producing a consistent, cohesive LP. 'Josephine' references all of the different phases of his career, whilst being the most varied and full recording he has produced to date. This doesn't quite scale the heights of 'Magnolia Electric Co' but it is a very good, thoughtful and passionate record.
8.5
['Josephine' is out now on Secretly Canadian on cd and lp. Magnolia Electric Co play UK dates in September.]
Since then however, his output has been somewhat patchy. Largely sidestepping the powerful stuff and concentrating on mood pieces or sketchy country numbers, he hasn't made a great album since. 'Josephine' arrives with a lot of fanfare, high hopes and a back story. MeCo bassist Evan Farell died whilst ideas for this album were being forumulated and the finished album serves as a tribute to him and his hopes for the record. It is a concept piece of sorts, the loss of 'Josephine' representing the loss of Evan and Molina centres most of these songs of themes of loneliness, loss and heartbreak.
But the first thing you notice when you hear opener 'O Grace' is a fuller and more varied sound. 'O Grace' is upbeat and accessible with harmonies on the chorus and sax and piano used. The first few tracks continue down this path, with the title number being catchy, short and snappy with some crashing guitar, although the lyrics are sombre "oh what a fool I've been".
He follows this with several dusky, acoustic numbers that would not be out of place on a Molina solo record, lonely and bruised. There is more variety to come though, 'Hope Dies Last' employs harmonies and a great bassline, 'The Handing Down' kicks off with a fiery guitar riff and settles down before producing some satisfying feedback mid-song, it will satisfy those who crave the riffs Molina gave us on numbers like 'The Dark Don't Hide It'.
Molina also gives us the two most unlikely songs of his career, to varying success. 'Little Sad Eyes' is a organ-led, doo-wop style interlude, sounding lazy and inconsequential next to some of the more considered material and 'An Arrow In The Gale' is an interesting closing track, short and sweet and with Beach Boys harmonies and split vocals.
Whatever styles and ideas Molina tries on 'Josephine' the lyrical themes remain the same. "I've been as lonely as the world's first ghost' he sings and the overwhelming themes are of loss and regret. This isn't as gloomy as it sounds and the sound of the record, particularly with the frequently used harmonies ("Oh Josephine" is a recurring refrain) presents a sense of hope.
After years of seemingly avoided making a straightforward album, by releasing various live albums, compilations and boxsets, Molina has shown that he is perfectly capable of producing a consistent, cohesive LP. 'Josephine' references all of the different phases of his career, whilst being the most varied and full recording he has produced to date. This doesn't quite scale the heights of 'Magnolia Electric Co' but it is a very good, thoughtful and passionate record.
8.5
['Josephine' is out now on Secretly Canadian on cd and lp. Magnolia Electric Co play UK dates in September.]
Thursday, 16 July 2009
Mark Eitzel UK Tour Dates
As promised a while ago, below are the Autumn UK tour dates from genius singer-songwriter Mark Eitzel. From what I understand, Mark will be playing AMC songs at these shows and will also be playing the piano each night. These gigs are essential, Mark's show at Dingwalls in 2002 remains the greatest gig I have ever attended - I cannot remember ever experiencing so many emotions at one show. Support comes from The Hold Steady's Franz Nicolay. Most dates, including the London one, don't go on sale til next week:
4.10.09 - Exeter -Phoenix
6.10.09 - Winchester – Tower Arts Centre
7.10.09 - London - St Giles in the Fields
8.10.09 – Brighton – The Basement
3.11.09 - Bristol – St Bonaventures
4.11.09 - Birmingham – Glee Club
5.11.09 – Manchester - St Margaret's Church
7.11.09 – Edinburgh – Cabaret Voltaire
8.11.09 – Newcastle – Cluny 2
9.11.09 – Leeds - Brudnell Social Club
4.10.09 - Exeter -Phoenix
6.10.09 - Winchester – Tower Arts Centre
7.10.09 - London - St Giles in the Fields
8.10.09 – Brighton – The Basement
3.11.09 - Bristol – St Bonaventures
4.11.09 - Birmingham – Glee Club
5.11.09 – Manchester - St Margaret's Church
7.11.09 – Edinburgh – Cabaret Voltaire
8.11.09 – Newcastle – Cluny 2
9.11.09 – Leeds - Brudnell Social Club
Tuesday, 14 July 2009
Single of the Week
My 'single of the week' this week is 'The Swimmer' by Alice Gun.
I'd never heard of Alice before this and I admit I was attracted by the song title (being a swimmer myself). Glad I checked it out though, cos its a lovely, tense, atmospheric piece with cello, accordion and a assured vocal. Piano-led b side 'Minty Fresh' is almost as good.
One to watch for certain. Turns out this is Alice's debut single. She's a classically trained multi-instrumentalist and signed to Ambiguous Records. 'The Swimmer' is out now on vinyl and digital, you can listen at www.alicegun.com and I suggest that you do.
I'd never heard of Alice before this and I admit I was attracted by the song title (being a swimmer myself). Glad I checked it out though, cos its a lovely, tense, atmospheric piece with cello, accordion and a assured vocal. Piano-led b side 'Minty Fresh' is almost as good.
One to watch for certain. Turns out this is Alice's debut single. She's a classically trained multi-instrumentalist and signed to Ambiguous Records. 'The Swimmer' is out now on vinyl and digital, you can listen at www.alicegun.com and I suggest that you do.
Zak Sally returns with single and LP
Former Low bassist Zak Sally returns with a new single and LP in the next couple of weeks.
Zak was always the star of Low as far as I was concerned and I enjoyed 'My Secret World', the song that he made available last year as a preview of the album to come. The LP is 'Fear Of Song', the title apparently references Sally's dilemma over whether to continue to make music after the Low split. It will be self-released, I understand but the first single 'Why We Hide' is out on 7" only via Sub Pop next week. Incidentally the b-side is the superbly titled 'When I Said I Missed You I Just Meant My Aim Was Off (The Quiet Life)'.
More news about the release-specifics of 'Fear Of Song' when I get it...
Zak was always the star of Low as far as I was concerned and I enjoyed 'My Secret World', the song that he made available last year as a preview of the album to come. The LP is 'Fear Of Song', the title apparently references Sally's dilemma over whether to continue to make music after the Low split. It will be self-released, I understand but the first single 'Why We Hide' is out on 7" only via Sub Pop next week. Incidentally the b-side is the superbly titled 'When I Said I Missed You I Just Meant My Aim Was Off (The Quiet Life)'.
More news about the release-specifics of 'Fear Of Song' when I get it...
Friday, 10 July 2009
The Duckworth Lewis Method 'A Methodology'
Music and cricket, two of my favourite things, so what could be better than an album about cricket? There's never been one before, to the best of my knowledge, but now Neil Hannon and Thomas Walsh have created one and released it, just in time for the Ashes.
Naming the album after a very complex cricket scoring system may put off those fans of Hannon's music who do not also love cricket, but they shouldn't be scared, this is a short album of lush pop songs, plenty of swooning strings, big choruses and harmonies..the songs just happen to be about The Summer Game.
For the most part this works well. 'The Age of Revolution' is a catchy, upbeat number reflecting on the changes to cricket in recent years ("always denied entry by the English gentry/ now we're driving Bentleys and playing 20/20"). This is the first single and seems to have been the template.
Writing a whole set of albums on the topic of cricket does seem to have been a challenge for Hannon though. 'The Sweet Spot' uses a double meaning for the title but the song has nothing whatsoever to do with cricket and 'The Nightwatchman' hints at the anxiety suffered by batsmen who are 'not out' at the end of a day's play, but seems more like a desperate love song by the end.
The undoubted highlight though is an absolutely hilarious account of Mike Gatting's dismissal by Shane Warne in the 1993 Ashes, from the perspective of Gatting himself. Over an jaunty piano tune, we hear the funniest lyrics of the year so far, including an inevitable reference to a cheese roll. Totally priceless. Would love to hear what Gatt would make of it.
All in all, this is a pleasant album with some nice string arrangements and some catchy melodies. I do feel that they could have gone further with some more interesting cricket themes and stories, but that's because I love my cricket just as much as I love my music. An enjoyable little album for the Summer.
6.7
['The Duckworth Lewis Method' is out now on Divine Comedy Records. The DLM play Rough Trade East on Monday 13th July at 7pm]
Naming the album after a very complex cricket scoring system may put off those fans of Hannon's music who do not also love cricket, but they shouldn't be scared, this is a short album of lush pop songs, plenty of swooning strings, big choruses and harmonies..the songs just happen to be about The Summer Game.
For the most part this works well. 'The Age of Revolution' is a catchy, upbeat number reflecting on the changes to cricket in recent years ("always denied entry by the English gentry/ now we're driving Bentleys and playing 20/20"). This is the first single and seems to have been the template.
Writing a whole set of albums on the topic of cricket does seem to have been a challenge for Hannon though. 'The Sweet Spot' uses a double meaning for the title but the song has nothing whatsoever to do with cricket and 'The Nightwatchman' hints at the anxiety suffered by batsmen who are 'not out' at the end of a day's play, but seems more like a desperate love song by the end.
The undoubted highlight though is an absolutely hilarious account of Mike Gatting's dismissal by Shane Warne in the 1993 Ashes, from the perspective of Gatting himself. Over an jaunty piano tune, we hear the funniest lyrics of the year so far, including an inevitable reference to a cheese roll. Totally priceless. Would love to hear what Gatt would make of it.
All in all, this is a pleasant album with some nice string arrangements and some catchy melodies. I do feel that they could have gone further with some more interesting cricket themes and stories, but that's because I love my cricket just as much as I love my music. An enjoyable little album for the Summer.
6.7
['The Duckworth Lewis Method' is out now on Divine Comedy Records. The DLM play Rough Trade East on Monday 13th July at 7pm]
Thursday, 9 July 2009
Mark Eitzel to release countless new records imminently...
Possibly TracksandGigs' favourite songwriter of all time, Mark Eitzel, has blogged about a string of upcoming releases.
He is putting the finishing touches to a solo album, after that he is due to work on some songs with Peter Buck, he is also about to record a tour cd for his Autumn European tour...and...there is the prospect of a new AMC album in 2010.
Thanks Mark, that's enough to keep us going for a while!
In other news, I am currently penning a review of Neil Hannon's 'Duckworth Lewis Method' cricket concept album, which contains possibly the funniest song I have ever heard.
also... you can now pre-order the new Magnolia Electric Co album 'Josephine' from Secretly Canadian and receive an instant download of the whole album. Bargain.
More tomorrow..
He is putting the finishing touches to a solo album, after that he is due to work on some songs with Peter Buck, he is also about to record a tour cd for his Autumn European tour...and...there is the prospect of a new AMC album in 2010.
Thanks Mark, that's enough to keep us going for a while!
In other news, I am currently penning a review of Neil Hannon's 'Duckworth Lewis Method' cricket concept album, which contains possibly the funniest song I have ever heard.
also... you can now pre-order the new Magnolia Electric Co album 'Josephine' from Secretly Canadian and receive an instant download of the whole album. Bargain.
More tomorrow..
Tuesday, 7 July 2009
Hope Sandoval returns!
Back in the early 90s, Mazzy Star were one of my favourite bands. It seems a bit strange actually to call them a band, since they consisted of David Roback's bluesy guitar sound and Hope Sandoval's dusky voice. They did produce some magic though and anyone who has ever heard Sandoval sing has been longing for some new material from her since a solitary solo album appeared in 2002.
Well, she's back! 'Hope Sandoval and The Warm Inventions' release an album 'Through The Devil Softly' in September and a single 'Blanchard' in August. TracksandGigs has heard 'Blanchard' and can confirm that it is a slow, sultry ballad with acoustic and slide guitar and sounds marvellous.
In other Sandoval news, this time which T&G finds a little harder to believe, Sandoval is planning a tour and Mazzy Star are putting the finishing touches to their long awaited fourth record. From experience, we'll believe both of those events when we see them...
Well, she's back! 'Hope Sandoval and The Warm Inventions' release an album 'Through The Devil Softly' in September and a single 'Blanchard' in August. TracksandGigs has heard 'Blanchard' and can confirm that it is a slow, sultry ballad with acoustic and slide guitar and sounds marvellous.
In other Sandoval news, this time which T&G finds a little harder to believe, Sandoval is planning a tour and Mazzy Star are putting the finishing touches to their long awaited fourth record. From experience, we'll believe both of those events when we see them...
Saturday, 4 July 2009
The Low Anthem 'Oh My God, Charlie Darwin'
There are times, rare but glorious, when you hear an artist's music for the first time and you know that you will most likely listen to their music for the rest of your life. This happened to me with Tindersticks, when I first heard Innocence Mission's 'Befriended' and when I saw Low play live in London...now it has happened to me again after a mere few days of listening to The Low Anthem's second album 'Oh My God, Charlie Darwin'.
On opener 'Charlie Darwin', singer Ben Knox Miller uses a Bon Iver style falsetto to relate a tale of a drowning world.."oh my god, the water's all around us...oh my god, life is cold and formless" over a sparse, gentle melody. It is stunning and hymn-like, an incredible opener.
They follow with two more ballads, the best of which 'Ticket Taker' is a crushed love song from the perspective of the guy collecting tickets for entry onto a modern day ark which is saving people from the aforementioned floods. Knox Miller uses his natural voice here, a strong singer-songwriter voice and the added harmonica make this the first real Americana sounding track on the record. You will be enthralled by the lyrics at this stage though.
They change direction here and Knox Miller reveals the third different singing voice used on this record. This time, it is a throaty roar as the band move through two Stones-esque rockers with all the exhuberance of Dylan circa 'Highway 61 Revisted', rousing rootsy stompers both.
The pace changes again for perhaps the best track of all. '(Don't) Tremble' is a beautiful, stripped down ballad with acoustic guitar in one speaker and birdsong in the other. Knox Miller sings of staying strong, not giving up...human resilience ("...do not tremble, do not sweat/ for where then would you get?"). His voice is like a whisper in your ear, haunting but comforting.
It is hard to see how the record could have faltered after reaching such heights and thankfully it doesn't. What follows includes 'Champion Angel', the album's key rocker, a joyous Arcade Fire/Walkmen style epic with some glorious guitar and enough of a chorus to have you singing along and even considering punching the air. There are another couple of low-fi ballads and a reworking of 'To Ohio' to finish.
The songwriting on 'Oh My God Charlie Darwin' is exemplary. Individually the songs are poetic, well written and affecting. Collectively the record tells a story which is touching, life affirming and a comment about aspects of the modern world. The writing is vivid enough to allow you to conjure up images in your mind of some of the scenes described, you will care about the record and the people within the stories.
The music itself is often low key, allowing the words to take centre stage but there is great innovation too. 'Oh My God Charlie Darwin' is a record to treasure. Containing echoes of the work of some of the all time great songwriters, this is a magnificent album - one of the very finest that I have heard in the last decade.
9.8
['Oh My God, Charlie Darwin' is out now on Bella Union. The Low Anthem tour the UK in September]
On opener 'Charlie Darwin', singer Ben Knox Miller uses a Bon Iver style falsetto to relate a tale of a drowning world.."oh my god, the water's all around us...oh my god, life is cold and formless" over a sparse, gentle melody. It is stunning and hymn-like, an incredible opener.
They follow with two more ballads, the best of which 'Ticket Taker' is a crushed love song from the perspective of the guy collecting tickets for entry onto a modern day ark which is saving people from the aforementioned floods. Knox Miller uses his natural voice here, a strong singer-songwriter voice and the added harmonica make this the first real Americana sounding track on the record. You will be enthralled by the lyrics at this stage though.
They change direction here and Knox Miller reveals the third different singing voice used on this record. This time, it is a throaty roar as the band move through two Stones-esque rockers with all the exhuberance of Dylan circa 'Highway 61 Revisted', rousing rootsy stompers both.
The pace changes again for perhaps the best track of all. '(Don't) Tremble' is a beautiful, stripped down ballad with acoustic guitar in one speaker and birdsong in the other. Knox Miller sings of staying strong, not giving up...human resilience ("...do not tremble, do not sweat/ for where then would you get?"). His voice is like a whisper in your ear, haunting but comforting.
It is hard to see how the record could have faltered after reaching such heights and thankfully it doesn't. What follows includes 'Champion Angel', the album's key rocker, a joyous Arcade Fire/Walkmen style epic with some glorious guitar and enough of a chorus to have you singing along and even considering punching the air. There are another couple of low-fi ballads and a reworking of 'To Ohio' to finish.
The songwriting on 'Oh My God Charlie Darwin' is exemplary. Individually the songs are poetic, well written and affecting. Collectively the record tells a story which is touching, life affirming and a comment about aspects of the modern world. The writing is vivid enough to allow you to conjure up images in your mind of some of the scenes described, you will care about the record and the people within the stories.
The music itself is often low key, allowing the words to take centre stage but there is great innovation too. 'Oh My God Charlie Darwin' is a record to treasure. Containing echoes of the work of some of the all time great songwriters, this is a magnificent album - one of the very finest that I have heard in the last decade.
9.8
['Oh My God, Charlie Darwin' is out now on Bella Union. The Low Anthem tour the UK in September]
The Low Anthem 'Oh My God, Charlie Darwin'
All bets may just be off.
I am sure I have enjoyed an album on first play more than this one, I must have, I just can't remember a particular occasion. Not for a long time at least.
A few more plays later and I am sure of it, this record is stunning. I need to find out more about who The Low Anthem actually are, but this supreme collection of dusty hymns, sparse sketches and exhuberant rockers is maybe the record of the year so far...at least right up there with the Bill Callahan album.
I am totally floored by '(Don't) Tremble' in particular. A mix of acoustic guitar in one speaker and birdsong and water in the other, with a whispered vocal..
"If your pilot light should die
Do not quake and do not bark
You will find the spark
If your tree should bare no fruit
Do not turn and do not spill
You are beautiful"
It is haunting, effortless and comforting.
There is more, so much more, but I will save this for the full review, which will come soon. I have also just discovered that I have just missed them playing The Union Chapel....please please return to London!
I am sure I have enjoyed an album on first play more than this one, I must have, I just can't remember a particular occasion. Not for a long time at least.
A few more plays later and I am sure of it, this record is stunning. I need to find out more about who The Low Anthem actually are, but this supreme collection of dusty hymns, sparse sketches and exhuberant rockers is maybe the record of the year so far...at least right up there with the Bill Callahan album.
I am totally floored by '(Don't) Tremble' in particular. A mix of acoustic guitar in one speaker and birdsong and water in the other, with a whispered vocal..
"If your pilot light should die
Do not quake and do not bark
You will find the spark
If your tree should bare no fruit
Do not turn and do not spill
You are beautiful"
It is haunting, effortless and comforting.
There is more, so much more, but I will save this for the full review, which will come soon. I have also just discovered that I have just missed them playing The Union Chapel....please please return to London!
Friday, 3 July 2009
still alive
just a quick post to say sorry for the lack of updates, I have had the busiest week at work ever and have had little time for music listening, let alone writing about it.
when I have found time, I've mostly been enjoying the new Wilco, as well as various Innocence Mission albums. Am contemplating buying the Low Anthem and Bowerbirds records but have to assess funds. I have, however, purchased Neil Hannon's 'Duckworth Lewis Method' cricket themed album and will be writing about that soon. If the music is half as good as the concept, it'll be great.
back to work...
when I have found time, I've mostly been enjoying the new Wilco, as well as various Innocence Mission albums. Am contemplating buying the Low Anthem and Bowerbirds records but have to assess funds. I have, however, purchased Neil Hannon's 'Duckworth Lewis Method' cricket themed album and will be writing about that soon. If the music is half as good as the concept, it'll be great.
back to work...
Saturday, 27 June 2009
Wilco 'Wilco (The Album)'
Wilco will have learnt throughout their career that you can't please all of the people all of the time. Their more traditional alt.country fans were alienated by the experimental and noisy sound of 'Yankee Hotel Foxtrot' and 'A Ghost Is Born' (their two finest albums in my opinion) and 2007's 'Sky Blue Sky' with its smooth textures was a disappointment for followers looking more rattle and buzz. Here, Wilco will surely succeed in pleasing all of the people...some of the time, as anyone who has ever liked Wilco's music will surely find something to enjoy in this new record.
The first thing to say is that it all sounds terrific. Wilco use a style of production here that I particularly like, it sounds similar to the analogue recording on the Jenny Lewis LP last year. Each instrument is given so much space. This works particularly well for guitarist Nels Cline, who plays some stunningly dramatic electric guitar on this record, at times on extended solos, at other times just ripples in the background, but always brilliant. He is a truly innovative guitarist and perhaps the best we have at the moment.
'Wilco (The Album)' opens, appropriately, with 'Wilco (The Song)', a piano and guitar led old school rock song with just a hint of drone in the background. It does have some pretty cringeworthy lyrics which serve as a message to the band's fans that 'Wilco loves you'. It doesn't seem to be tongue in cheek. Tweedy's appalling lyrics do not detract from a great song though.
Things really kick off with track 4, 'Bull Black Nova', a terrifying kraut-rock workout that sounds like a shorter version of 'A Ghost Is Born' track 'Spiders'. Kline and Tweedy are superb here, Kline's solo is ear-splitting and abstract, Tweedy is on the edge vocally and the whole thing is a five minute blitz, perhaps their best ever recording.
A whole album like that would never work, marvellous as it may be. So, 'You and I' which follows is a whispered acoustic ballad and a duet with Feist. It is light and gentle, only spoilt slighly by a harsh fade out. In turn, 'You Never Know' which comes next is another departure, a feel-good rock song with some traditional rock guitar and a catchy chorus. It could be a hit!
The second half of the album is more straight-forward. 'Country Disappeared', however, is a thing of beauty. A piano led bruised ballad about watching a country deteriorate from the eyes of the TV news, Tweedy sings this so well, it is touching and affecting without ever being overblown. Same again with 'Solitaire', an acoustic number about the joys of selfless living with Tweedy's vocal like a whisper in the ear.
After a couple of fairly routine upbeat numbers, the closing track 'Everlasting Everything' sounds like Wilco's very own take on Bill Fay's 'Be Not So Fearful' a song they regularly cover live. Strings swoon in the background, a bell rings, but it never turns into the big epic that it always seems on the verge of being. It is all the better for it.
As I said at the start, anyone who has ever loved Wilco will like at least some of this album. In its own right though, it is perhaps the most assured release of their career. In many ways this sounds like a 'Best of Wilco'
9.4
['Wilco (the album)' is out now. TracksandGigs recommends the 180gram vinyl version with free cd]
The first thing to say is that it all sounds terrific. Wilco use a style of production here that I particularly like, it sounds similar to the analogue recording on the Jenny Lewis LP last year. Each instrument is given so much space. This works particularly well for guitarist Nels Cline, who plays some stunningly dramatic electric guitar on this record, at times on extended solos, at other times just ripples in the background, but always brilliant. He is a truly innovative guitarist and perhaps the best we have at the moment.
'Wilco (The Album)' opens, appropriately, with 'Wilco (The Song)', a piano and guitar led old school rock song with just a hint of drone in the background. It does have some pretty cringeworthy lyrics which serve as a message to the band's fans that 'Wilco loves you'. It doesn't seem to be tongue in cheek. Tweedy's appalling lyrics do not detract from a great song though.
Things really kick off with track 4, 'Bull Black Nova', a terrifying kraut-rock workout that sounds like a shorter version of 'A Ghost Is Born' track 'Spiders'. Kline and Tweedy are superb here, Kline's solo is ear-splitting and abstract, Tweedy is on the edge vocally and the whole thing is a five minute blitz, perhaps their best ever recording.
A whole album like that would never work, marvellous as it may be. So, 'You and I' which follows is a whispered acoustic ballad and a duet with Feist. It is light and gentle, only spoilt slighly by a harsh fade out. In turn, 'You Never Know' which comes next is another departure, a feel-good rock song with some traditional rock guitar and a catchy chorus. It could be a hit!
The second half of the album is more straight-forward. 'Country Disappeared', however, is a thing of beauty. A piano led bruised ballad about watching a country deteriorate from the eyes of the TV news, Tweedy sings this so well, it is touching and affecting without ever being overblown. Same again with 'Solitaire', an acoustic number about the joys of selfless living with Tweedy's vocal like a whisper in the ear.
After a couple of fairly routine upbeat numbers, the closing track 'Everlasting Everything' sounds like Wilco's very own take on Bill Fay's 'Be Not So Fearful' a song they regularly cover live. Strings swoon in the background, a bell rings, but it never turns into the big epic that it always seems on the verge of being. It is all the better for it.
As I said at the start, anyone who has ever loved Wilco will like at least some of this album. In its own right though, it is perhaps the most assured release of their career. In many ways this sounds like a 'Best of Wilco'
9.4
['Wilco (the album)' is out now. TracksandGigs recommends the 180gram vinyl version with free cd]
Friday, 26 June 2009
new Fleet Foxes song...
reviews of the new Wilco LP and Tindersticks live will appear here soon, but for now news that brand new Fleet Foxes material is starting to surface.
Robin Pecknold played 'Blue Spotted Tail', a sparse acoustic song, for BBC Radio 6 prior to Fleet Foxes' appearance at Glastonbury last night. Its gentle and pretty and can be heard and indeed downloaded here:
http://downloads.pitchforkmedia.com/Fleet%20Foxes%20-%20Blue%20Spotted%20Tail%20(Live%20On%20BBC6).mp3
Robin Pecknold played 'Blue Spotted Tail', a sparse acoustic song, for BBC Radio 6 prior to Fleet Foxes' appearance at Glastonbury last night. Its gentle and pretty and can be heard and indeed downloaded here:
http://downloads.pitchforkmedia.com/Fleet%20Foxes%20-%20Blue%20Spotted%20Tail%20(Live%20On%20BBC6).mp3
Tuesday, 23 June 2009
Foreign Born 'Person To Person'
Once again, I have no idea who Foreign Born are. They were a chance discovery and a risk purchase. I bought this album because they are on Secretly Canadian and I trust them and also because I felt like hearing some new music. Might be good, might be bad, might be neither. I really need to find a job that pays better than my current one if I am going to take risks like this but as Steve Jobs once said...er..."You are already naked. There is no reason not to follow your heart". So....there.
Anyway, this isn't a disappointment or a waste of money. Foreign Born, it turns out, are a folk-rock band from California and they play suitably summery, shimmery guitar-led stuff that is just perfect for the first few weeks of summer when its nice and warm, but not hot enough to make you irritable.
'Vacationing People' is still my favourite. Fuzzy guitar, harmonies, nice chorus. Singer Matt Popieluch (obviously I had to look that up) sounds a little Dylan-esque on 'Winter Games' and on 'Early Warnings' they sound like Kings Of Leon used to sound before they turned into U2.
What I like about this album is that it is short, snappy and never less that interesting. There are some great arrangements, memorable basslines, some cowbells, even a bit of brass....for a debut album it is quite adventurous.
So, lots of hooks, some great guitar and a bundle of ambition. An enjoyable summer record.
7.8
['Person to Person' is out now on Secretly Canadian]
Anyway, this isn't a disappointment or a waste of money. Foreign Born, it turns out, are a folk-rock band from California and they play suitably summery, shimmery guitar-led stuff that is just perfect for the first few weeks of summer when its nice and warm, but not hot enough to make you irritable.
'Vacationing People' is still my favourite. Fuzzy guitar, harmonies, nice chorus. Singer Matt Popieluch (obviously I had to look that up) sounds a little Dylan-esque on 'Winter Games' and on 'Early Warnings' they sound like Kings Of Leon used to sound before they turned into U2.
What I like about this album is that it is short, snappy and never less that interesting. There are some great arrangements, memorable basslines, some cowbells, even a bit of brass....for a debut album it is quite adventurous.
So, lots of hooks, some great guitar and a bundle of ambition. An enjoyable summer record.
7.8
['Person to Person' is out now on Secretly Canadian]
Monday, 22 June 2009
Looking For Eric (directed by Ken Roach)
I did claim on here a while back that I would review some films, but I've never really got round to it despite seeing some absolute crackers ('Benjamin Button'...'In The Loop') recently. What better time to start with the film reviews than when there is a dearth of new music releases?
By some miracle, our local cinema are showing 'Looking For Eric', the new Ken Roach film feauturing Monsieur Cantona, so we went to see it yesterday as it will almost certainly be gone within a week. The cinema was disasspointingly empty, save for a few lads who I think expected 'Looking For Eric' to be some kind of updated version of 'Escape To Victory'.
Instead, it is a warm hearted comedy that follows 'flawed postman' Eric Bishop as he attempts to rebuild his life following a period of depression and a failed suicide attempt. Bishop still loves his ex-ex wife (Lily), who he walked out on after a panic attack thirty years ago and at his lowest point he starts to have visions of his hero Eric Cantona, who proceeds to give him life-lessons in the form of some cod-philosophy, helping him attempt to win back Lily and help his stepson escape some shady gangsters.
Bishop is played by Steve Evets, a bit-part actor previously, who once played guitar in The Fall. Evets is superb and makes Bishop entirely believable, giving the impression that he is not really acting. His shouts of "fuck, fuck...oh fucking hell" when things go wrong for him are full of realistic frustration and very empathy-evoking. Cantona, of course, plays himself too, although sometimes I thought he was playing the public's perception of himself, which must have been quite a challenge. He dominates the film really, you are always keen for him to return, simply because he is very cool and has some great lines ("I am not a man, I am Cantona"). He does sometimes mumble these lines and often it is difficult to tell if he is speaking in French or English but of course, this is simply because he is so enigmatic...
The film is really about friendship. Bishop has to call on his mates to help him out, just as Cantona needed his team-mates. Cantona spells this out for us, by explaining that his favourite moment in football was not a goal of his own, but a pass to create a goal for someone else (surely the only time un-sung Irish fullback Denis Irwin has been mentioned in a cinema film?).
Take out Cantona and you would have had a straightforward 'man seeks redemption and tries to win back lover' type film, but still a superior and very funny one. Cantona adds an extra dimension, but in many ways Evets is the star of this warm hearted and enjoyable film. Well worth a couple of hours of your time.
8.5
['Looking For Eric' is showing at all decent cinemas now]
By some miracle, our local cinema are showing 'Looking For Eric', the new Ken Roach film feauturing Monsieur Cantona, so we went to see it yesterday as it will almost certainly be gone within a week. The cinema was disasspointingly empty, save for a few lads who I think expected 'Looking For Eric' to be some kind of updated version of 'Escape To Victory'.
Instead, it is a warm hearted comedy that follows 'flawed postman' Eric Bishop as he attempts to rebuild his life following a period of depression and a failed suicide attempt. Bishop still loves his ex-ex wife (Lily), who he walked out on after a panic attack thirty years ago and at his lowest point he starts to have visions of his hero Eric Cantona, who proceeds to give him life-lessons in the form of some cod-philosophy, helping him attempt to win back Lily and help his stepson escape some shady gangsters.
Bishop is played by Steve Evets, a bit-part actor previously, who once played guitar in The Fall. Evets is superb and makes Bishop entirely believable, giving the impression that he is not really acting. His shouts of "fuck, fuck...oh fucking hell" when things go wrong for him are full of realistic frustration and very empathy-evoking. Cantona, of course, plays himself too, although sometimes I thought he was playing the public's perception of himself, which must have been quite a challenge. He dominates the film really, you are always keen for him to return, simply because he is very cool and has some great lines ("I am not a man, I am Cantona"). He does sometimes mumble these lines and often it is difficult to tell if he is speaking in French or English but of course, this is simply because he is so enigmatic...
The film is really about friendship. Bishop has to call on his mates to help him out, just as Cantona needed his team-mates. Cantona spells this out for us, by explaining that his favourite moment in football was not a goal of his own, but a pass to create a goal for someone else (surely the only time un-sung Irish fullback Denis Irwin has been mentioned in a cinema film?).
Take out Cantona and you would have had a straightforward 'man seeks redemption and tries to win back lover' type film, but still a superior and very funny one. Cantona adds an extra dimension, but in many ways Evets is the star of this warm hearted and enjoyable film. Well worth a couple of hours of your time.
8.5
['Looking For Eric' is showing at all decent cinemas now]
Friday, 19 June 2009
Foreign Born
There are many things wrong with the Summer. The heat, for one. The number of 'fairweather swimmers' you find at swimming pools, for two. And the general lack of interesting new releases for three.
Nevermind, it'll be October soon and anyway there are some terrific gigs coming up (Tindersticks at Hyde Park in less than a fortnight!). In the meantime, there are a few odd, interesting records about. Secretly Canadian rarely release duds and it looks like their latest band, LA's 'Foreign Born' are another good discovery. Sounding like a meatier version of the Fleet Foxes, nice harmonies and soulful vocals but with more in the way of riffs and anthems, they release their debut album 'Person To Person' on Monday. There will be a review here next week, but for now, you can download a couple of tracks from it, from www.secretlycanadian.com for no cash at all. Bargain!
Nevermind, it'll be October soon and anyway there are some terrific gigs coming up (Tindersticks at Hyde Park in less than a fortnight!). In the meantime, there are a few odd, interesting records about. Secretly Canadian rarely release duds and it looks like their latest band, LA's 'Foreign Born' are another good discovery. Sounding like a meatier version of the Fleet Foxes, nice harmonies and soulful vocals but with more in the way of riffs and anthems, they release their debut album 'Person To Person' on Monday. There will be a review here next week, but for now, you can download a couple of tracks from it, from www.secretlycanadian.com for no cash at all. Bargain!
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