Archive for the ‘CLASSIC ALBUMS’ Category

LAURA MARLING – ” Song For Our Daughter ” Best Albums Of 2020

Posted: April 10, 2020 in CLASSIC ALBUMS, MUSIC
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Laura Marling’s exquisite seventh album “Song For Our Daughter” arrives almost without pre-amble or warning in the midst of uncharted global chaos, and yet instantly and tenderly offers a sense of purpose, clarity and calm. As a balm for the soul, this full-blooded new collection could be posited as Laura’s richest to date, but in truth it’s another incredibly fine record by a British artist who rarely strays from delivering incredibly fine records.

When Laura Marling moved Song For Our Daughter up from August, it became a semi-surprise release meant to, hopefully, provide an anchor for people in confusing, traumatizing times. Not that this album is purely comforting, being a series of missives to an unborn child warning of how this warped world would challenge her. Despite coming from turmoil, Marling’s songs — the lilting sigh “Held Down,” the catchy “Alexandra” and “Strange Girl,” the raw and sparse “For You” — are able to harness beauty hidden within the ugliness surrounding us. In the end, it was the exact kind of salve we needed, just when we needed it.

Taking much of the production reins herself, alongside long-time collaborators Ethan Johns and Dom Monks, Laura has layered up lush string arrangements and a broad sense of scale to these songs without losing any of the intimacy or reverence we’ve come to anticipate and almost take for granted from her throughout the past decade.

“It’s strange to watch the facade of our daily lives dissolve away, leaving only the essentials; those we love and our worry for them. An album, stripped of everything that modernity and ownership does to it, is essentially a piece of me, and I’d like for you to have it. I’d like for you, perhaps, to hear a strange story about the fragmentary, nonsensical experience of trauma and an enduring quest to understand what it is to be a woman in this society. When I listen back to it now, it makes more sense to me than when I wrote it. My writing, as ever, was months, years, in front of my conscious mind. It was there all along, guiding me gently through the chaos of living. And that, in itself, describes the sentiment of the album—how would I guide my daughter, arm her and prepare her for life and all of its nuance? I’m older now, old enough to have a daughter of my own, and I feel acutely the responsibility to defend The Girl. The Girl that might be lost, torn from innocence prematurely or unwittingly fragmented by forces that dominate society. I want to stand behind her and whisper in her ear all the confidences and affirmations I had found so difficult to provide myself. This album is that strange whisper; a little distorted, a little out of sequence, such is life. Laura Marling
Released April 10th, 2020

BRIAN FALLON – ” Local Honey “

Posted: April 10, 2020 in CLASSIC ALBUMS, MUSIC
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For a while, it looked like Brian Fallon was riding a wave to superstardom. The Gaslight Anthem, the New Jersey band he fronted, had graduated from playing dirty punk basement shows in New Brunswick to touring around the world in support of their breakthrough second record, 2008’s The ’59 Sound. By mixing their punk roots with driving, heartland rock influences, but also throwing in a little soul-searching tenderness along the way, The Gaslight Anthem tapped into a sound that was familiar—but which they also made very much their own. Even fellow New Jerseyian Bruce Springsteen wasn’t immune to their charms—not only was he a fan, he also shared the stage with the band numerous times, aiding their growing popularity.

And yet, despite—or partly because of—the success of his band, Fallon found himself struggling. He wasn’t happy. He didn’t like the amount of attention he was getting as a result of the group’s rising profile, and his personal life was falling apart. In 2015, just under a decade after the band was founded, they went on hiatus. And while the The Gaslight Anthem did reconvene for a brief tenth anniversary tour of The ’59 Sound, Fallon has been busy pursuing a solo career since the hiatus began.

While his first two solo records, 2016’s Painkillersand 2018’s Sleepwalkers, weren’t too distant musically from the emotionally charged, nostalgia-ridden heartland rock of his band, Local Honey is a more stripped-back and folky affair. With only eight tracks, it has the perspective and wisdom of someone who recently turned forty, who’s now a father, and whose rock ‘n’ roll dreams—dreams that were essentially forced upon him—no longer occupy the same space in his heart. It is, as he explains, a step in a different direction both musically and lyrically, but the new record also finds Fallon incredibly comfortable in his own skin as someone who is finally able to take stock of his life and what it means.

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Released March 27th, 2020

ART BRUT – ” Bang Bang Rock & Roll – Remastered (With Brutlegs & B​-​Sides) “

Posted: April 10, 2020 in CLASSIC ALBUMS, MUSIC
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Here to remind us of our insatiable, adolescent appetite for music, Art Brut are back together. What started as a break-up album and turned into an ‘in-love record’, Wham! Bang! Pow! Let’s Rock Out! is a collection of post-punk, poppy bangers that recall the distinctive sound that burst out of the Berlin-based band back in 2005. It’s been seven years since the group’s last LP and sees Argos’ self-referential, sincere narrative shape into poignant reflections of encompassing a youthful heart in a world that perpetually forces us to grow up.

Argos was careful to “live a life” before attempting a new album. “I moved to Berlin, I nearly died with Peritonitis. I was in hospital for a bit. I had a son, I had a relationship that broke up. I wrote a comic, a memoir, a musical and had a one man show,” he says. “I don’t want to be that band who writes the sort of songs like “I don’t like touring, touring is really boring”. I think we needed a rest so some stuff could happen to me, to fill me up.”

Produced by award-winning folk musician Jim Moray, Wham! Bang! Pow! Let’s Rock Out! is Art Brut at their pop band best. Argos recorded his vocals in one or two takes, channeling the sporadic nature of his live performances while hand claps and ad-libbed jokes and howls produce a raw and authentic work. Morphing almost any mundane experience into a hilariously candid anecdote – whether it’s watching hipsters eat falafel on ‘Good Morning Berlin’, planning a better diet after a health scare on ‘Hospital!’ or dodging a train ticket inspector on ‘Schwarzfahrer’– Wham! Bang! Pow! Let’s Rock Out! is testament to the frontman’s unconventional approach to finding inspiration in just about anything.

“It’s not a game over, I got an extra life, I was born again, in a pure white light,” Argos trills on album opener, ‘Hooray!’, sparking an exuberant return to an industry where, if we’re honest, Art Brut never really fit in. On Wham! Bang! Pow! Let’s Rock Out!, Art Brut are creating anthems for outcasts.

With the departure of Jasper Future and Mikey Breyer, Art Brut are now made up of founding members Argos, Ian Catskilkin and Freddy Feedback while Toby Macfarlaine joins on guitar and Charlie Layton joins on drums. “I’ve known Charlie forever,” Argos explains. “He’s also the drummer for The Wedding Present but we always wanted to be in a band together since we were kids. Now it’s been about 25 years of knowing each other, he’s finally in our group. Toby plays bass for Graham Coxon normally, he’s in the band cos he’s an amazing guitar player and I love him. Ian found him and I looked at his twitter feed to see what he was about and he had posted ‘A Day in the Life of Vivian Stanshall” from the Bonzo Dog Doo Dah band. I was like “yeah perfect! he’s in!’’

Argos describes Art Brut as a democracy, with the new line-up adding new ideas to the pot. “Toby and Charlie both rock the fuck out which is what I like,” he adds. “Wham! Bang! Pow! Let’s Rock Out! is a bit more back to basics Art Brut. It’s sort of the record I was trying to make after the first record and we didn’t quite succeed. I think I’m more confident now and I know what I want. Not being mean about our other records but it’s a poppy punk record which is what I wanted to do. I think speaking is a more honest way of getting what I want across. And I can’t sing too.”

While he wrestles with the realisation that Art Brut are now, as he describes, a “heritage band”, Wham! Bang! Pow! Let’s Rock Out! sees the band producing their most accomplished and innovative work to date. “I think it’s because we love it,” Argos says of the band’s longevity in the face of an ever-changing scene. “I’ve always been quite gregarious about being in a band. I thought it would fix everything. I can’t imagine ever leaving Art Brut. It’s quite addicting really, we’re a fun band when we play live. There’s a nice mix of that and heart, we’re not ironic or anything. I think it’s fun to be in Art Brut. Maybe that’s why we can’t stop?”

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released February 7th, 2020

BLAKE MILLS – ” Vanishing Twin “

Posted: April 10, 2020 in CLASSIC ALBUMS, MUSIC
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Blake Mills accomplished a sleight of hand on Look, his 2018 album, by processing layers of guitars through vintage Roland synthesizers. “Look has more guitar on it than any other record I’ve made, but for people who care about that, it’s going to be so disappointing when they hear how un-guitar-y it is,” he told Pitchfork that year. As a producer and session musician, Mills specializes in this sort of nimble technical magic, sculpting the instrumental curves of albums like Perfume Genius’ No Shape, Alabama Shakes’ Sound & Color, and John Legend’s Darkness and Light.

“Vanishing Twin,” the first cut from Mills’ forthcoming LP Mutable Set, lands between the aquatic layers of Look and his earlier two solo albums of singer-songwriter material. Though Mills co-wrote the song with Cass McCombs, its individual pieces—hushed murmurs, a fluid little melody, airy swipes of strings and sax—bear Mills’ subtle touch and even keel. The compounded whole offers the all-encompassing warmth of sinking into an oversize couch for a nap, while displaying his ache for a distant connection in its slow-moving strokes. “Concealed between the flashing screens/there is a beam of love supreme,” he sings, offering a tempting invitation to step into the glowing void. Mills once again re-shapes the idea of what a singer-songwriter record “should” sound like. It feels good to disappear into something so gentle for a while

“Vanishing Twin,” the first cut from Mills’ forthcoming LP “Mutable Set”, lands between the aquatic layers of Look and his earlier two solo albums of singer-songwriter material. Though Mills co-wrote the song with Cass McCombs, its individual pieces—hushed murmurs, a fluid little melody, airy swipes of strings and sax—bear Mills’ subtle touch and even keel.

Mutable Set is out May 8th via Mills’ New Deal label.

BEST EX – ” Girlfriend “

Posted: April 10, 2020 in CLASSIC ALBUMS, MUSIC
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Last summer we got an invigorating new single from former Candy Hearts singer Mariel Loveland, who’s shifted into her new role fronting the group Best Ex. Today she’s following that up with a second track, as well as the title of the EP the songs will appear on: “On my Mind” is the second single from Good at Feeling Bad, which will be released May 22nd via No Sleep Records.

Following her debut EP Ice Cream Anti Social from 2017, which premiered her shift from pop-punk into a more indie-tronic sound, the EP has been a long time coming, and feels more than a little cathartic for Loveland: “I think it captures the full spectrum of the loneliness and isolation I was feeling at the time I wrote it,” she says. “My disillusionment with certain friendships and relationships. My disillusionment with our culture of social media and celebrity. My disillusionment with genuine, unconditional love. I think Andy Tongren did the best job a single human could have possibly done in capturing the sounds in my head. To me, this EP is a middle finger from a woman who’s over it and finds happiness regardless of the things that constantly try to knock us down.”

With the video for “On My Mind” premiering today, we get a sense of the record’s mood with the song’s pulsing optimism in the face of Loveland’s expressed terror at what the future may bring, while the rainy Coney Island–shot visual echoes this moody/joyful dichotomy.

Good at Feeling Bad out May 22 via No Sleep Records.

Band Members
Mariel Loveland, Matthew Ferraro. John Clifford

The MOUNTAIN GOATS – ” Songs for Pierre Chuvin “

Posted: April 10, 2020 in CLASSIC ALBUMS, MUSIC
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So this tape started while the entire band was decamped at an undisclosed location working on the next Mountain Goats album, and I had brought books with me to read, and one of them was Pierre Chuvin’s A Chronicle of the Last Pagans, which I was reading as research material for another thing I’m working on; and it’s been a long time since I sat around playing music and thinking about antiquity, but I used to do it all the time, and several of you know that because the old tapes are all littered with stories about Ajax and Agamemnon and the cult of Cybele, stories which, when I was learning them, got me so fired up that as soon as I got out of class I’d drive home in my yellow 1969 Superbeetle and write songs about them.

At our undisclosed location, one morning, immersed day and night in our work but also beginning to get the feeling that the increasingly febrile pitch of the newsfeed would continue to rise until it reached registers not seen in a while, I had a thought—what if the next Mountain Goats album was just songs about these pagans? And I wrote down the title “Aulon Raid.”

I got home about seven days later and the world was a very different place by then, and I took my old boombox down from the shelf where it sits flanked by brass deities from a former period of my life, and I got a wild idea to stand it on its end to reduce the unpleasant clicking that made it unusable—the hum & grind are one thing, basically ambient noise that adds to the pleasure of the sound if you’re into it, but the clicking I’m talking about developed sometime in the early 2000s and is not a conscriptable effect, it renders the Panasonic unusable.

Unless you stand it on its end, I learned, by accident, one day during the early weeks of the new days.

As these days were developing, I realized, as I’d feared a week before, that the work schedule my band and I had planned for spring probably wouldn’t be panning out. The four members of the band split up our touring income equally, nightly pay & sales of merchandise; before we split up that income, we pay several people from gross receipts: Brandon, our soundman and tour manager of over a decade; Trudy, who works the merch table with style and flair; and Avel, who manages the stage no matter how unmanageable I become. I can’t do what I do without these people and I take great pleasure in trying to make their job a fun place to work. All seven of us rely on the Mountain Goats for our paycheck.

The boombox and I knew we had to do something. Back in the early nineties, when I’d first met Peter Hughes, I wanted to make a tape to be on his label, Sonic Enemy. It was Christmas break and I was on a hot streak, so I decided to try to make a full tape over the course of the break. That tape became Transmissions to Horace, which consisted entirely of work done on a daily basis during that span. I haven’t tried anything like that in a while.

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I wrote a song every day for the next ten days while reading A Chronicle of the Last Pagans, starting with “Aulon Raid” and working in exactly the style I used to work in: read until something jumps out at me; play guitar and ad-lib out loud until I get a phrase I like; write the lyrics, get the song together, record immediately. Those original lyrics, exactly as written on the cardstock I save from comic books I buy, with corrections and everything, will be randomly inserted into orders; each is one of a kind, an original first draft of the lyrics to the first all-boombox Mountain Goats album since All Hail West Texas. It seems unlikely that I will ever again offer original drafts of lyrics for sale or otherwise, but pandemics call for wild measures.

I dedicate this tape to everybody who’s waited a long time for the wheels to sound their joyous grind: may they grind us into a safe future where we gather once again in rooms to sing songs about pagan priests & hidden shelters, and where we see each other face to face.

Hail the Panasonic! Hail the inscrutable engines of chance! Hail Cybele!

John Darnielle, Durham, NC, March 2020

Released April 10th, 2020

TRACE MOUNTAINS – ” Lost in the Country ” Album Of The Week

Posted: April 10, 2020 in CLASSIC ALBUMS, MUSIC
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Under the moniker Trace Mountains, Dave Benton writes music that asks large questions in quietly profound ways. On the project’s earliest release, the 2014 compilation Buttery Sprouts & Other Songs, these thoughts appeared as lo-fi scraps of wit and tenderness. But by the time A Partner to Lean On, Trace Mountains’ debut full-length, arrived in 2018, Benton’s perceptive indie rock had matured into more existential meditations about identity, existence, and finding sense in an increasingly chaotic world.

In the two years since A Partner to Lean On, Benton’s life has undergone several large changes, namely the dissolution of LVL UP, the indie rock quartet he co-founded in college, and a move to Kingston, a small city in New York’s Hudson Valley. Composed during—but not directly inspired by—this transition, Trace Mountains’ second record, Lost in the Country, reflects Benton’s need to reconnect with his inner world.

Prompted by an urge to access a more authentic voice, Lost in the Country finds Benton digging deeper into candid songwriting. “I wanted to open myself up and write lyrics that are a little bit more direct,” he explains. “I write a lot of songs that are about myself and a lot of songs that aren’t, but on this record, the focus is turned inward either way.” The result is Trace Mountains’ strongest and most assured record yet, 10 songs driven by a desire for introspection and self-discovery. The backdrop for this insularity is an expanse of wide blue skies, seas of trees, and winding roads, ideal locales for thoughts to blossom into greater reflections of the outer world. The slow-burning “Absurdity,” which Benton modestly says is about “hiking and standing in the country,” uses the sublimity of the wilderness to comment on technology’s inescapable presence. Similarly, the driving opener “Rock & Roll” transforms the premise of a “simple song about being a rocker” into a stream-of-consciousness, apocalyptic poem about delusions, regrets, and getting lost in your own limited perspective. This self-examination culminates with the record’s ambitious and anthemic title track. Channeling the cosmic sprawl of the War on Drugs or Kurt Vile, Benton recalls a moment of deep loneliness and depression outside a concert venue in the Netherlands, and how an unexpected moment of compassion led to a moment of awakening.

Despite its frequently bucolic setting, Lost in the Country’s underlying current is an urgent commitment to Trace Mountains and “finding a creative process that requires me to be honest with myself.” “I know I sing to forget, I sing to hold my breath, to feel the thumping in my chest,” Benton sings on “Cooper’s Dream.” This line is “rooted in the importance of music in my life, it’s definitely a reflection on that and how I can keep it in my life, because if I’m not careful and I don’t nurture it, I could lose it.” The self-imposed pressure has been empowering for Benton. “I really like having full control in making a record, deciding what songs are going to be on it, as well as shaping the vibe or narrative of the whole thing,” he says. “It brings a peace of mind knowing that I am responsible for just my voice.”

While Benton is Trace Mountains’ songwriter, he asserts that Lost in the Country is by no means a solo effort. Collaboration is crucial to the project and Benton is quick to credit the contributions of his bandmates, which include Jim Hill (Slight Of), Greg Rutkin (LVL UP, Cende), Sean Henry and Susannah Cutler (Yours Are the Only Ears). “It’s definitely our record,” Benton says. “I couldn’t make this thing without them.” After beginning the recording process at Brooklyn’s Studio G with engineer Matt Labozza, Benton finished Lost in the Country at his home studio in Kingston, where he also added contributions from Carmen Perry (Voice), Stew Cutler (Guitar, Lap Steel), Dan Goldberg (Synthesizer) and ARTHUR (Samples, “AB” by ARTHUR). It was then mixed by Mike Ditrio and mastered by Ryan Schwab

Former LVL UP member Dave Benton makes music as Trace Mountains, and Lost in the Country is his second full-length record. He wrote the album during a period of transition, following the 2018 end of LVL UP and his relocation from Brooklyn to Kingston, New York. Ahead of the LP’s release, Benton shared “Lost in the Country,” “Rock & Roll,” and “Me & May.”

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The Band:

Dave Benton (Voice, Guitar, Mellotron, Saw)
Jim Hill (Guitar, Organ, Bass, Voice)
Greg Rutkin (Drums)
Susannah Cutler (Voice, Synthesizer)
Sean Henry (Bass)
Carmen Perry (Voice)
Stew Cutler (Guitar, Lap Steel)
ARTHUR (Voice & Drum Samples – “AB” by ARTHUR)
Matt Labozza (Effectron II)
Dan Goldberg (Synthesizer)

released April 10th, 2020

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OTHER LIVES – ” We Wait “

Posted: April 10, 2020 in CLASSIC ALBUMS, MUSIC
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“When I was 15, I formed the All American Rejects. This was my high school band. Always there in our everyday life were Tommy and Jennifer, a member’s older sister and brother-in-law. Tommy was the older brother I never had. Kind and wise, he was my mentor and family to me.

Tommy was shot and killed at the age of 25, on the morning of 30th November. Jennifer, his wife, had hired his murderer.

This event completely devastated and shattered my reality. I quit the Rejects and was very lost. I soon found the piano and started moving towards a deeper place inside, artistically, which has shaped me to this day. For many years, I had avoided this trauma and couldn’t touch the subject. I pushed it out, only for it to haunt me more recently. Writing this song is the way for me to heal and remember my old pal, Tommy.”
– Jesse Tabish

The new track “Hey Hey I” from Other Lives, from their forthcoming record For Their Love, out April 24th. The release for the upcoming record says that the band uses the new material to explore themes of lost hope and violence, in the wake of incident when front-man Jesse Tabish’s (also a founding member of All-American Rejects) best friend had his life taken by someone from within the band’s inner circle.

The new record allowed Tabish to reflect on that “haunting” experience and has been a chance to exorcise some difficult demons. Stylistically, the new single and video are not as dark as that story could have one think. The video is a straightforward glimpse into the recording of the song.

Tabish, says “The video is a reflection of the recording process of the album, that took place in the A-frame in the woods. We wanted to portray this process in a natural, organic way, without telling a story but rather showing glimpses of us working together as well as coming together with friends.”

And that revelatory vibe definitely comes across in the song. It is a sonic driving force, reminiscent of the better work of Edward Sharpe and the Magnetic Zeroes, where the vocal harmonies evoke a spirit of community, like singing in a temple or around a campfire. It opens with an E on the piano that’s repeated on the down beat throughout the song syncopating with the kick drum. A technique utilized in a lot of songs that is a simple way to convey a sense of sustained energy without sounding overproduced. It’s a great trick you can hear used by David Bowie to excellent effect in several tracks on the aptly titled Raw Power by The Stooges, notably in “Gimme Danger” because of the similar four on the floor cadence, but the technique is also used on the record’s title track.

Seeing a band together, healing from past trauma by hunkering down in a house and creating something joyous in the wake of a terrible tragedy is something that resonates loudly in these difficult times. The lyrics too, evoke a sense of being worn down and pursued by forces bent to destroy with lines that have a menacing tone presented in a beautiful way, not unlike the lyrics of Radiohead’s Thom Yorke, who is a fan and early champion of Other Lives.

“They only come out at night/ They only come out at night/ How many times will you let them run you empty?/ How many times do you let them suck you dry?/ Or you trying to rest but you know they’re going to find you/ You said something don’t feel right.”

It’s a great remedy for the quarantine blues. A song about hard times, but expressed in a joyous and communal spirit

From the new album “For Their Love” available everywhere April 24th, 2020.

For Their Love

HAMILTON LEITHAUSER – ” The Loves of Your Life “

Posted: April 10, 2020 in CLASSIC ALBUMS, MUSIC
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Hamilton Leithauser has proven himself as a master collaborator and solo artist throughout his nearly 20 year career. Following his time as the frontman of the Walkmen, Leithauser released the critically acclaimed collaboration with Rostam “I Had a Dream That You Were Mine” in 2016. The album debuted at No1 on Billboard’s Heatseekers Chart, #1 New Artist Album, and was named one of the Year’s Best by Pitchfork, Esquire, NPR, and more. His latest work and second solo record “The Loves of Your Life” was written and produced by Hamilton in his home studio and is a collection of stories about real people he’s met over his years living in New York City.

The Loves of Your Life is Hamilton Leithauser’s latest release following the Walkmen’s 2013 hiatus. He led the record with humorous teasers starring Ethan Hawke, Maggie Rogers, and Sienna Miller. The former frontman of the Walkmen still has one of the best voices around, in a white-blues lineage with Joe Cocker and Rod Stewart. It sits at the heart of these rackety character studies, which surge and balloon into beautiful anthems under the steam of his vocals.

The teaser videos for the first two singles from Hamilton Leithauser’s third solo LP, The Loves of Your Life, are some of the coolest album promo clips you’ll ever see. In the videos, the former frontman of The Walkmen paints himself to be a bit down and out as he traverses New York to play a new song for his friends Maggie Rogers (“Isabella”) and Ethan Hawke (“Here They Come.”) As the tracks play, Rogers cuts Leithauser’s hair, while Hawke casually beats him up. Just as much as the uncanny wail that’s been at the crux of so many of his stellar albums, Leithauser’s wits are very much still present. The singles are filled with upbeat folk rhythms and layered arrangements that beg for the repeat button. The album was recorded and produced over three years in Leithauser’s home studio, and his solo catalogue is definitely building into a similarly solid gold collection to the one that made The Walkmen so great.

ALISON MOSSHART – ” Rise “

Posted: April 10, 2020 in CLASSIC ALBUMS, MUSIC
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'I feel like lockdown is forcing us to solve problems where we would have just skipped on beforehand'

Alison Mosshart has seemingly worked with everyone over the years—outside of her day job fronting the blues-rock band The Kills, she’s collaborated with Arctic Monkeys, Primal Scream, Foo Fighters, Gang of Four, and more, in addition to co-founding the supergroup The Dead Weather with Jack White.

But today we’re finally seeing Mosshart stepping out on her own, revealing her first solo material under her given name. “Rise” exhibits the fierce energy and soul of anything she’s been a part of thus far, filling the track’s four-minute runtime with powerful vocals. The track made its debut in the first episode of the Facebook Watch drama Sacred Lies: The Singing Bones, where it was performed by Jordan Alexander, and appeared again today in the show’s final episode.

Alison Mosshart – “Rise”, out now on Domino Record Co.

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