Archive for the ‘CLASSIC ALBUMS’ Category

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In this day and age, it takes a special someone to craft and perform soulful, speckled songs with a hiny of Americana crooning vocals, harmonica, and all without a lick of pretension. That special someone could be Marlon Rabenreither, a Los Angeles–based troubadour who performs under the moniker of Gold Star.

Singing with the sincerity about sleeping in train cars and on headstones—about spying on houses in canyons and escaping from Coney Island he was notably tapped by Lucinda Willams to open her recent shows. Even though he was born in Vienna, Austria, Rabenreither hits the mark when sharing anecdotes of vagabonds and deadbeats he’s met in his travels through the States.

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When he’s not sharing stories about strangers, Rabenreither spills his guts about his own love affairs, breakups, and what it’s like to be all by his lonesome self. “I am breaking down,” he repeats three times on the brief “Blue Sky to Blue Sky,” his voice crackling just a bit more with each refrain. The declaration is as convincing as when he begs to know “Darling, what have I done?” and professes that “It ain’t easy when you’re always on the run” elsewhere on Big Blue.

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Having embellished his musical performances following that previous, sparely constructed release, comparisons to The Band will abound. But Rabenreither who, mind you, is a solo artist. Does he really belongs in the company of artists like Margo Price or Sturgill Simpson on their mission to scrape the polish off mainstream country. Gold Star has the songs and the goods.

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It’s been a quick rise for Swedish indie pop quartet Hater. Formed last year by friends in Malmö, the band released an EP in July with PNKSLM Recordings (the label responsible for keeping Sweden weird, learning them comparisons ranging from The Pretenders to Alvvays. They now return to PNKSLM for their full length debut, proclaimed by many blogs, to be their favorite album of 2017 so far, citing frontwoman Caroline Landahl’s “gorgeous, achingly bittersweet vocals, perpetually swaying between comforting and devastating.” An assured and consistent record, “You Tried” blends jangle with grit.
Hater was formed this spring by Caroline Landahl, Måns Leonartsson, Adam Agace and Lukas Thomasson, all musicians based in Sweden’s third biggest city Malmö, just across the strait from Copenhagen, who’d all had their share of experience in other local acts before deciding to strike out as Hater. They quickly set to recording what would become their debut EP Radius, working with Joakim Lindberg, and soon signed with PNKSLM Recordings who released the EP in early July. Taking their musical cues from the likes of Alvvays, The Pretenders, Neil Young and The Radio Dept, all led by Landahl’s gorgeous vocals, Hater soon drew a lot of attention, including praise from international music publications.

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Among those to declare themselves fans were the band’s heroes in The Radio Dept. who asked them to open for them on their first Scandinavian tour in five years. After spending the summer and early fall recording “You Tried” while touring around Sweden and making their UK debut show in London, Hater will be touring with The Radio Dept. later this year ahead of a full UK and EU tour around the album release this spring. With You Tried Hater easily establishes themselves as Sweden’s most exciting new indie act, offering up a sound that’s both instantly accessible and grows with every listen.

Every cloud has a silver lining. but it seems to ring true for Los Angeles (by way of Louisiana, Austin, and Brooklyn) based guitarist and composer Sarah Lipstate. Better known as Noveller, Lipstate has a habit of spinning the straw of her personal tragedies into the golden threads with which she weaves her musical tapestries. Equipped with only her trusty Fender Jaguar and an impressive collection of pedals, including quite a few EarthQuaker Devices, she performs solo, using a digital looper to conjure her compositions seemingly out of thin air.  I was auditioning different presets on my Eventide H9 and I stumbled upon their organ sound and the basic synth sounds, so it was just like, completely processing the guitar into these unrecognizable sounds that were really exciting to me. That’s what I used for “Deep Shelter.”

For “Trails and Trials,” I used the Electro-Harmonix Mel9 pedal which is the Mellotron emulator. It processes your guitar with the traditional Mellotron sounds, like the flute and cello.

I got the Arpanoid and that was really fun to use on the new stuff. Adding different textures to the palate.

I used the Spires lot, too. Which was really exciting, because in conjunction with the Mel9 pedal – distorting the Mellotron flute sounds, then bowing that?!  the looper that I’ve been using for years now is the Boomerang Phrase III Sampler, and that’s on every single board. That basically allows me to build all my compositions, so that’s always gonna be the last pedal on the chain.

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The compositions on Noveller’s new album “A Pink Sunset For No One” are inspired by an emotional roller coaster of a year which began with a difficult breakup, and ended with Noveller earning recognition from proto-punk icon Iggy Pop, who invited her to open for him on the Post Pop Depression tour in the US and UK.

Photo: Priscilla C. Scott

The husband and wife duo of Alaina and Patrick, otherwise known as Tennis, return with “Yours Conditionally”, their new album which will be released on 10th March 2017 on the band’s own label Mutually Detrimental.

Building on their dreamy combination of perfect melodies and classic songwriting, “Yours Conditionally” sees a full circle return to their nautical roots of sorts, with the duo even writing part of the album while sailing at sea, what Alaina calls “a grandiose gesture”, a necessary venture of revisiting the past to reinvigorate the present. However, the pair dig deeper and darker this time round, with the resultant album wedding discussions of identity and self-sacrifice to some of their most pristine and infectious hooks yet.

Achingly beautiful lead single “In the Morning I’ll Be Better”, written about the “precariousness of our lives”, sums up this paradox completely, with gorgeous melodies belying its subject matter of Riley seeing a family member through a serious illness. “Please Don’t Ruin This For Me” and “Fields of Blue” also deliciously straddle the light/ dark divide, while others, like “Ladies Don’t Play Guitar” and the divine swoon of “Modern Woman” hit the pop bullseye square on the nose while unpacking conflicting themes of feminism and industry archetypes.

Taken in toto, “Yours Conditionally” sees a band at maturation point, looking fondly to the past while also staring down the uncertainty and confusion of the future without flinching. This is Tennis at their contrary, compelling best.

“Touch my body, touch my soul, revolution rock & roll,” singer-pianist Adam Weiner sings at this Philadelphia band’s SXSW getdown, like a preacher certain that he’s firing the Lord’s work across the room. Weiner may look and sound like a missionary from a distant age – sporting Marlon Brando’s tenement-lothario T-shirt from A Streetcar Named Desire; hammering his ivories like Jerry Lee Lewis, bent over from a standing position on his piano seat. But Low Cut Connie, who are a roaring quintet that sounds as loud and full as the early E Street Band, are absolutely contemporary in their drive to old-school joy.Tracks  “Revolution Rock n Roll” and “Dirty Water,” both on this album, Weiner’s showmanship in the cover of Prince’s pneumatic march “Controversy,” also on “Dirty Pictures.” Live He spends time strutting through the crowd, passing out high-fives; standing on the bar in the back, conducting the Connies then, after the big, final chord, Weiner jumps to the floor and marches out the door to the street. Low Cut Connie, like the Seventies Elvis, had left the building. For a good time, be there when they get to your town.

The New Pornographers have shared the title track from their upcoming new album “Whiteout Conditions” . Beginning with an icy synth and galloping drums, it’s a vibe we’ve never heard before from Carl, Neko and the rest of the band…at least till the harmonious chorus hits.

Whiteout Conditions will be out April 7th via Concord Records. For those concerned about the distinct and total lack of Dan Bejar on the new album, Carl Newman  confirmed he’s still in the band, they just couldn’t make it work, logistically, this time:

I was talking to him about what I wanted to do [with this record], and I think I told him, “I see it as being a bubblegum krautrock record.” Talking about the songs being 160BPM. He was talking to me and saying that all the songs he was writing were weird, quiet songs, and he was right in the middle of doing a Destroyer record. Which was something we’d narrowly skirted for our whole career. I’m always amazed that we managed to. Sometimes we avoided Destroyer, sometimes Destroyer avoided us, but eventually we hit at the same time. It wasn’t anything weird. We were just in Vancouver rehearsing and I’d go up and hang out with Dan. It’s not like anything’s really changed between us. It’s always the way it’s been. When we made Mass Romantic, we really didn’t know we were going to make another record. If nobody had paid attention, it’s possible we wouldn’t have, because it was hard to get that one done. When nobody’s asking for it…it’s hard to do something when you’re just doing it for yourself as a labor of love. The economics kicked in. If people wanna hear it, we’ll make it.

The new album ‘Whiteout Conditions’ other tracks now available “This Is The World Of The Theater”, “High Ticket Attractions”, and the title track

Canadian power-pop all-stars the New Pornographers are back with their first new song since 2014’s Brill Bruisers. Like all the best New Pornos songs, “High Ticket Attractions” is a winningly melodic pop gem, a slice of driving electric guitars and burbling synths that serves as the lead single for the newly announced album Whiteout Conditions.

The Black Angels have shared the second track from their upcoming album ‘Death Song’, out April 21st on Partisan Records. Called “I’d Kill For Her”, the band “psychedelia’s premier standard bearers.” The band’s Alex Maas talked about the new project,

The song is kind of a reaction to what’s happening in the world—but that’s all art, isn’t it? Not to say that art is political in itself, but if you’re going to say anything it might as well be important to you. There are threads on the record that go through every song, and we’re inspired to write music by the unknown, and fears about where the world might be headed, that’s kind of a golden thread through all our work. You can tie money and greed into a lot of the songs that we wrote on this record, and we’ve touched on that before.

America is obviously a toxic place to live in right now, and I think the new record speaks to that toxicity, the greed, and the illusion that people in power have any interest in what’s best for the world.

Produced by Phil Ek (Father John Misty, Fleet Foxes, The Shins), ‘Death Song’ features some of the heaviest music these psych rockers have ever put to wax slow-burning, menacing fuzz earworms meditating on the realities of society and devotion. The album’s opening track, “Currency”, has already earned raves everywhere from the New York Times to NPR Music, who say “heavy psych rarely feels as fresh as it does with The Black Angels”.

On April 22nd Record Store Day , there will be a special limited edition release of ‘Death Song’, including the new album on two glow-in-the-dark vinyl LPs and packaging printed entirely in blacklight-reactive ink.

The Black Angels performed at SXSW last week, and kick off an extensive tour next month including a headline set at one of the first-ever shows at new NYC venue Brooklyn Steel. The band will be supported by A Place to Bury Strangers, I’d Kill For Her is a typically brilliant slab of hypnotic, heavyweight psych – one of the best things we’ve heard from them. And that’s high praise indeed.

It’s been eight years since Scott Kannberg, aka Spiral Stairs (a founding member of Pavement and Preston School of Industry), released any new music. He knows that. The years just have a habit of slipping away sometimes.
“Doris and The Daggers” is worth the wait, it showcases the most personal and emotional music Kannberg has written, reflecting the life changes that occurred over those eight years. During that stretch, Scott weathered the loss of friends, treasured the joys of fatherhood, lived life as an Australian,  experiences that inform these warm, sweetly melodic and soundly honest songs.

The first Spiral Stairs record The Real Feel came in 2009, just as Pavement were announcing a hugely successful burst of reunion shows. After that, Scott and his wife moved to Brisbane, Australia, started a family and life simply got in the way. Having moved back to Los Angeles, the original concept for the album was to go to Seattle’s Orbit Studios and “record the whole thing in a week, like the old days.” Then, a month before the trip, Scott awoke to heart-breaking news: Darius Minwalla, who had drummed with Preston School of Industry and on The Real Feel, and was scheduled to play on the mooted Seattle sessions, died suddenly in his sleep.

Scott was deep-sixed by the news, and it would be another three months before he was ready to return to the studio. By that time, the album had changed – the songs had grown in the interim, become longer, more emotional. Following Darius’ death, Scott went to spend time with his friend, singer-songwriter Kelley Stoltz, up in San Francisco, where they bounced ideas off each other. “His influence made me turn the record in an entirely different direction.”

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Instead of a week-long blitz, Doris and The Daggers was recorded over a more civilised, considered batch of short sessions at Exactamundo studios in Eagle Rock, California. Long-time low-end foil Matt Harris returned on bass duties, while the drum-stool was adopted by Broken Social Scene’s Justin Peroff. The trio cut 30 songs in all, while a number of Scott’s close musical friends stepped in to make some key contributions. Peroff’s Broken Social Scene cohort Kevin Drew sang on ‘Emoshuns’, Kelley Stoltz lent guitar to the summery chime of ‘AWM’, and The National’s Matt Berninger lends vocals to the bittersweet, zephyr-light ‘Exiled Tonight’.

“I guess I’ve been writing songs for a while now,” reflects Kannberg on his second album. “I like hearing echoes of things I love in the music that I make. Writing music doesn’t come easy to me – it’s hard to write a song that’s good. But our memories slowly escape us as we get older, and in songs you kind of relive those moments, the things that matter.” And that’s part of the key to Doris and The Daggers’ charm, along with the lyrical wit and Scott’s unerring knack for tuneage as embraceably familiar as a beloved sweater; these songs are full of life, stories engagingly told, and a sense of affection for everything that happens within them. You’ll keep returning to them again and again, and hope that Scott doesn’t wait so long to cut his next batch.

Peter Hook will release four new live albums this spring on CD, digital and vinyl, each capturing a performance of a different full album  Joy Division’s “Unknown Pleasures” and “Closer”, and New Order’s “Movement” and “Power, Corruption & Lies” — recorded over the past few years.

The albums will first be released as limited-edition colored-vinyl pressings on Record Store Day 2017 on April 22nd. A worldwide CD and digital release will follow on May 5th.

Unknown Pleasures Tour 2012: Live in Leeds,

Closer Live Tour 2011: Live in Manchester,

Movement Tour 2013: Live in Dublin,

Power, Corruption & Lies Tour 2013: Live in Dublin 

Full tracklists have not yet been released, but each live album features a full performance of that partcular record by Peter Hook & The Light, plus additional era-appropriate tracks fleshing out the sets.

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Matt Kivel - Fires on the Plain (2xLP)

“Fires on the Plain” is the second album that Matt Kivel released in 2016. It is an 82 minute record featuring performances by Robin Pecknold (Fleet Foxes), Bonnie “Prince” Billy, Sophia Knapp, and about 20 other people who you may not know as well.

Matt Kivel has been doing this for a while. “This” being writing and recording albums. Some people have heard of him, but not many. The music he makes has always been sort of difficult to define, grounded in folk and rock ‘n’ roll, but always just a little bit more dissonant, or a little more subtle, or a little more confrontational. His shows have included nights of pristine performance and, equally, nights of audience-baiting, drunken violence, and anxiety-induced panic.

If there is a Matt Kivel “sound,” his falsetto and his delayed Gibson acoustic guitar. It’s calm and spacious and the lyrics are brutal, blunt, and vividly-rendered. In his native Echo Park, he is a hero to many of the younger musicians on the scene. He is generous with his time, of which he has precious little. His music has never paid the bills, so he works 40 hours a week as a speechwriter for the space industry and bartends at his local beer store. In addition, he boxes at Manny Pacquiao’s gym, edits his wife’s poetry, and with every other waking minute, writes songs. His songs are songs of experience. Songs of a life, lived.

So why don’t many people outside of his small neighborhood really know about his music? Musicians love him. He’s done many a show with artists like Steve Gunn, The Clientele, Angel Olsen, and Martin Courtney (Real Estate). He’s released albums with indie powerhouse labels like Woodsist and Olde English Spelling Bee.

He’s received outstanding reviews, including an 8.0 review of his debut album “Double Exposure” by Pitchfork. And his new record, “Fires on the Plain” features performances by Bonnie “Prince” Billy and Robin Pecknold, two of the most outstanding artists/songwriters of their respective generations.

“Fires on the Plain” is his best record. It’s a stone-cold classic of an album that is expansive and rich with detail. Horns blend with raindrops. Vocal howls give way to field recordings of rivers and backyards. The songs are sweet, dark, and always, brave. Matt will shower you mercilessly with distortion, soothe you with a quiet folk hymn, and launch into a motorik drum beat all within 5 minutes of music.

From the album “Fires on the Plain”
Forthcoming on Driftless Recordings, Released October 7th, 2016