Posts Tagged ‘Mitski’

MITSKI – ” Live On KEXP “

Posted: January 10, 2017 in MUSIC
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There’s a moment on Mitski’s fourth LP that stands out as her most piercing yet. “You’re all I ever wanted/I think I’ll regret this” she croons on “Your Best American Girl” before a myriad of swirling, distorted guitars are hurled forwards, in equal parts deafening and life-affirming. As is often the case with Puberty 2, it’s utterly elevating. Quite simply, 2016 needed Mitski

Mitski performing live in the KEXP studio. Recorded July 14th, 2016.
I really love this more stripped down, minimalist performance.
Carries some of the really heartfelt lyrics better.

Once More To See You
Your Best American Girl
My Body’s Made of Crushed Little Stars
A Burning Hill

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A traditional housewife being cheated on by an insipid mansplainer – but wait. There’s a huge plot twist. At the end, when the housewife wanders around the house in the middle of the night, we find that the horrible man is actually slaughtering all of these women in their very own basement. Mitski brings all of the blood and gore into a somewhat sweet-sounding song, and adds even more detail to an already vivid story.

mitski puberty new album Top 50 Albums of 2016

Mistki has shared the music video for the final track from her 2016 album,Puberty 2, following the releases of videos for “Happy” and “Your Best American Girl.” “A Burning Hill” is a resolvedly drowsy track that begins by quickly declaring “I’m tired of wanting more/I think I’m finally worn” but then closes the album out on the small resolution of “And I’ll love the littler things/I’ll love some littler things”; it’s an ending that’s not happy, per se, but that finds a melancholy peace in the decision to continue to, as one gets older, accept joys that are smaller and smaller.

The song itself is not much longer than 2 minutes, and the video that’s just been released follows suit in being wholly unadorned — focusing most of its brief time on close ups of Mitski’s face or her hand, as it floats through the water or past a landscape in a car, basking in a seeming “love of [those] littler things.”

Mitski said of the filming of the video (which is directed by Bradley Gray):

The director and I spent a weekend just driving around New York and Pennsylvania while the camera kept running, and most of the time I’d forget I was being filmed. It felt like a vacation, but it was also quite emotional, as I was thinking about the song and what it means to me now while jumping in rivers and driving down dirt lanes.

Mitski, A Burning Hill from the record, ‘Puberty 2’ released  June 17th on Dead Oceans.


Not many artists have had better years than Mitski. With the release of her celebrated album “Puberty 2” (via Dead Oceans Records), Mitski only got bigger and bigger, but always on her own terms. On November 21st, she played her largest headlining show in New York yet, with a sold out performance at Webster Hall, along with two great openers in Weaves and Fear Of Men. It was even more impressive to see the hold she had over Webster Hall crowd during every living moment of her personal 15-song set. She attracts a young and passionate fanbase, who are devoted to every word and line she delivers, singing it back even more emotional than it was originated. There’s a sincere power to her voice, and it’s hard not to be swept up by it all.
Mitski is only going to garner more accolades as the best of the year lists continue to file in, it’s safe to say that her star will only rise even more over the years. It’s been a great pleasure to watch her grow as an artists, and here’s to whatever she does next.

In “A Loving Feeling” from her new album Puberty 2, Mitski Miyawaki asks, over static and guitars, “What do you do with a loving feeling/ if a loving feeling makes you all alone?” It’s a question she poses, in various forms, throughout the record, sometimes in a hopeful whisper, other times in an enraged, accusatory shout. By the end of “Puberty 2″, it becomes clear that it’s a question she can only answer herself.

The album’s title positions it as a sequel—the awkward, cruel extension of a life stage few people would willingly revisit. She depicts that tension and confusion with particular pointedness in “Happy,” where the titular emotion finally visits her, only to leave a mess behind. “Well I sighed and mumbled to myself/ ‘Again I have to clean,’” she sings in amusement. The sax riff and dry applause that follows land like a punch line.

Subtle images of “pinky promise kisses,” of being the little spoon that “kiss[es] your fingers forever more,” of taking one last look at a lover in the rear view mirror, convey a vulnerable intimacy; it’s as if Mitski, in the midst of self-doubt and anxiety, wants to make herself smaller. Yet throughout the album, those subtleties give way to sudden, explosive moments of exhilaration and self-assertion: slow doo-wop declarations of love in “Once More to See You,” ragged howls and aggressively-strummed guitars in “My Body’s Made of Crushed Little Stars,” the invasive flash of sweet memories during “one warm summer night” in “Fireworks,” and the fierce look of love on “I Bet on Losing Dogs.” By the record’s end, it’s clear that Mitski has made peace with her question about a “loving feeling.” She finds all of the strength and peace she needs simply by loving herself. She may be alone, but she’s never lonely.

Mitski — Puberty 2

That might make Puberty 2 sound meek. It is anything but. Mitski and her sole collaborator and producer, Patrick Hyland, trade the slightly rustic quality of 2014’s Bury Me At Makeout Creek for grungy sharpness and spacey ambience, These 11 tracks creep up on you, as her coiled melodies suddenly explode into cavernous freak-outs or build to a crescendo of unbearable catharsis.

Mitski – Puberty 2 (Dead Oceans Records)

Puberty is a motherfucker. It’s a time when your body’s doing weird stuff, your hormones are running wild, and every little problem seems like the end of the world. But things gets easier. Your emotions don’t go away or even get smaller, necessarily — you just learn to deal with them, to manage them, to live your life anyway. That’s what growing up is, and Puberty 2 is the sound of Mitski growing up.


The fuzzed-out indie-rock that’s become her signature is supplemented by drum machines, synths, even a saxophone, blossoming from the soft/loud dichotomy of Bury Me At Makeout Creek to a more nuanced spectrum of sound. Lyrically, Mitski is focused on what basically amounts to Newton’s third law of emotion: for every feeling, there is an equal and opposite un-feeling. On opener “Happy,” that endless and inevitable cycle is cause for hopelessness and exhaustion. But by the closing track, you get the sense that she’s figured out the secret to living, which is that that there isn’t really a secret to living — you kinda just have to do it. Or, as she sighs in the album’s closing lines: “So today I will wear my white button-down/ I can at least be neat/ Walk out and be seen as clean/ And I’ll go to work and I’ll go to sleep/ And all of the littler things.” Puberty 2 might be a huge achievement, but it’s the sound of all the littler things that get you through the big things. It matters.

Couple With Records

Image of Case / Lang / Veirs - Case / Lang / Veirs

Case/Lang/Veers case/lang/veers CD/LP+MP3 (ANTI-Records)

case/lang/veirs = Neko Case, k.d. lang, and Laura Veirs. Full of stunning harmonies and spellbinding rhythms, case/lang/veirs travels through aches and eras, torch songs and tributes to the undersung. Several years ago K.D. Lang sent an email to Neko Case and Laura Veirs on a whim. It read simply, “I think we should make a record together.” Though the three musicians were barely more than acquaintances “Laura and I both responded immediately,” recalls Case. “There was no question.”

But now there is an answer. ‘case/lang/veirs,’ a new album by three phenomenal, self-driven artists. ‘case/lang/veirs’ features fourteen new, original songs written by the artists over a period of two-and-a-half years. It was recorded in Portland, OR where lang and Veirs both live, and produced by Tucker Martine with the group. Sessions commenced in lang’s loft with a view of Mount St. Helens, and in Veirs‘ dining room and backyard studio.
Full of stunning harmonies and spellbinding rhythms, ‘case/lang/veirs‘ draws inspiration from alluring, mysterious subjects: a supermoon, the tumbledown story of 70s singer Judee Sill, and the “best kept secret” in Silver Lake, to name but three.

Image of Radiohead - A Moon Shaped Pool

RADIOHEAD – A Moon Shaped Pool

Radiohead’s ninth LP proper sees them once again couple with mega-producer Nigel Godrich. Together they have created possibly the band’s most coherent record of their whole career.  Some of these songs date well back in time and that coupled with the accessibility of comeback single Burn The Witch and their recent  dare-I-say fan-pleasing set-lists suggest a group finally comfortable in their own skin, embracing all that they really are.  So you do still get electronica, but less of the fractured kind. Sure, Thom still sings of alienation, doubt and paranoia, but  in the most beautiful way imaginable. These songs  build and build, swept into shape by Johnny Greenwood’s London Contemporary Orchestra strings, peppered with psych-folk and even dub reggae vibes. It’s heavy, (let’s face it) depressive, but eminently listenable. One for diehards, but crucially, the casual listeners too.

Image of Low Anthem - Eyeland

Low AnthemEyeland CD (Razor & Tie)

The Low Anthem are not only musical artists, they live their lives as art. The band creates constantly for themselves and others in their home base, The Columbus Theater in Providence, Rhode Island. This new release is the return from an extraordinary five-year journey with Eyeland, an unprecedented collection of multi-dimensional future folk crafted with uncommon vision and emotional depth. The Providence, RI-based band’s fifth full-length recording, Eyeland began as a “vague and rather abstract” short story by co-founder/singer/guitarist Ben Knox Miller, based around the “sonic mythology of a moth’s dreams.”

The tall tale became real life as Low Anthem immersed themselves in the creation of their own Eyeland Studios, developing Providence’s once obsolete Columbus Theatre into an innovative and in-demand recording space and live concert venue. Eyeland proves a prism of the album’s inner themes, refracting Miller and co-founding drummer/multi-instrumentalist Jeff Prystowsky’s sonic escapades into a full-blown Möbius strip of music and meaning. Low Anthem’s lofty aspirations and creative capriciousness resonate throughout songs like “The Pepsi Moon” and “Behind The Airport Mirror,” their elegiac arrangements and lyrical frankness marked by shimmering ambience and a hauntingly defiant tension. Psychedelic in the truest sense of that overused word, Eyeland is a perspective-shifting musical experience at once elliptical and intangible yet still precise and powerfully personal.

Image of Mitski - Puberty 2

MitskiPuberty 2 CD/LP/Cassette (Dead Oceans)

“Mitski Miyawaki is only 25 years old, but she’s already on her fourth album, and she’s developed an emotional vocabulary light years beyond almost anyone else working right now. With her new Puberty 2, Mitski has made one of the year’s best indie rock albums: An auteurist piece of profound, personal lo-fi music that finds sharp ways to say serious things. The album veers in different stylistic directions, but it’s also cohesive enough to get lost in.”  [Limited white color vinyl copies also available.]


Weaves have been working on their debut LP for almost as long as they have been a band, tracking with Leon Taheny (Dilly Dally, Owen Pallett, Austra) in sessions that span most of the last two years. Mixed by Alex Newport (Bloc Party, Melvins, At The Drive In) and mastered by John Greenham (Death Grips, Sky Ferreira), the result is an album that traverses the band’s history, exploring every facet of their always adventurous approach to pop music and leaving no idea unexplored. Filled beyond bursting with hooks and possibilities, it’s the sound of a band propelled forward by the thrill of discovering the limits of their sound and gleefully pushing past them. Think a mix of an angry Micachu fronting the Pixies or a punky Tune-yards with brilliant flashes of melody.
LP – Neon Pink LP with download code.


12″ coloured vinyl. TCODK – a four-piece from the Midlands – make the kind of experimental goth- tinged psych that, has thus far, eluded 2016. Fans of Swans and The Icarus Line will find plenty to entertain them here – this is a band unafraid to take risks. The thing that first impresses on hearing TCODK is the sheer scale of their intentions. Speaking of first single ‘Broken Arm Of God,’ the band said “we wanted it to sound like a volcano giving birth to an atomic bomb. It has bass and baritone guitar that killed 3 guitar amps in one afternoon, then a studio preamp. It’s probably costing us a fortune in damages and repairs. The result was exactly what we wanted though” This band can make a lot of noise. To focus on that however would be to negate what makes this band truly beguiling: nuance. Take ‘Deepest Pit Of Emptiness’ for example – its prog leanings combined with a decidedly English vocal delivery are as distinctive and profound as anything released this year. TCODK have pushed themselves sonically on this album, it’s by far their most experimental release to date. It’s also an album rooted in darkness. “The new album deals with the theme of uncertainty, and put more simply – the end.” That theme resonates throughout the entire album. Fans of Black Rebel Motorcycle Club will be enamoured, but play to it a Sisters Of Mercy fan and watch their reaction: there is a new contender for the throne.


Third in the series of Lou Reed live Concert albums these two shows taken from the 1978 Street Hassle Tour. Features in depth liner notes by author Dick Porter, Unseen photographs in the 12-page booklet plus deluxe album cover packaging. Includes classic tracks   Walk On The Wild Side & Satellite of Love from the iconic Transformer album as well as Velvet Underground tracks Sweet Jane & Rock N Roll and introducing the just shy of 13 minute brutal Street Hassle. Disc One Cleveland Music hall Ohio 26th April 1978.


David Bowie – The Rise And Fall Of Ziggy Stardust And The Spiders From Mars [Reissue/1972] 2xLP (Rhino/Parlophone)
David Bowie – Live Santa Monica ’72 [Reissue/1973] 2xLP (Rhino/Parlophone)
HQ-180gm vinyl reissues now available.

The first half of the album’s opening track is a beautiful, restrained ballad, which aches with quivering vulnerability. The second half of that same track is a screeching, thumping rock song. And the rest of the album continues in this brilliantly contradictory vein, layering Mitski’s emotive, scale-leaping vocals over squelchy rock riffs and a sea of noise. Its lyrics, too, are astoundingly beautiful.

Mitski’s broad, tremulous vocals and sly humor recall  maybe Angel Olsen, while the equal split between unencumbered acoustic pining and pummeling, mid-fi indie rock respectively aligns her with labelmates Frankie Cosmos.  And it lays out a compact scene of domestic bliss, littered with specificities—a lover who wears socks in bed, reads Objectivist poetry, and serves as the breeze in her Austin nights. The final acknowledgement of romantic contentment occurs less than three minutes into the album Bury Me at Makeout Creek and by its bitter end, the only thing that can bring Mitski any  comfort is the thought of dying with a clean apartment (“They’ll think of me kindly/ When they come for my things”).

The way an outsider might view her narrator is duly noted just by the loaded title of the song “Townie”—this is someone who’s stuck around far too long after the party ended and almost certainly has a distorted perspective as to whether it was any fun to begin with. “Townie” previews a horrible night out with all the protraction and morbid glee of a suicide pact. Her images are startlingly violent—she wants a love that falls like a body from the balcony, she’s holding her breath with a baseball bat  and sing-along hooks, Mitski shouts, “I’m not gonna be what my daddy wants me to be…I’m gonna be what my body wants me to be,” a call for freedom that’s galvanizing from a teenage perspective, but increasingly sad as songs like “I Don’t Smoke” and “Drunk Walk Home” lay out the terrible life plan the body of this self-described 25 year-old “tall child” has for her.

Though not necessarily nostalgia, the sound of Bury Me at Makeout Creek is inventive and resourceful in a ’90s-indie way. The choruses here soar like power pop, but are subdued by tempo and fidelity, while cheap drum machines are deployed as much for their tone as their rhythm. And even when Bury Me has full band arrangements, everything calls attention to the narrator’s loneliness—awkwardly thumbed basslines, slapdash drumming, a mocking chorale on “Carry Me Out”, organ drones that could pass for someone nodding off on the keys.


The craft here is obvious, as is the accruing confidence of someone who’s developed a compelling voice in obscurity. Mitski can lay on the emo melodrama (“One word from you/ And I would jump off of this ledge I’m on, baby”) just enough so things aren’t too real and mundane, and while these songs are first-person and personal, they’re meant for an audience.

Mitski Miyawaki is starting to gain a bit of separation from her band; Bury Me at Makeout Creek still sounds like a breakthrough album.

Mitski - "Your Best American Girl" Video

Mitski’s powerful Your Best American Girl is one of the best new artist emerging this last nine months with one of the songs of the year so far, and now it has an equally great music video to go along with it. The clip, which was directed by Zia Anger (who has also done videos for Angel Olsen and Jenny Hval), accentuates the song’s theme by playing into societal expectations of beauty and relationship dynamics. Mitski sees a (really, really hot) boy from across the room and waves, but is heartbroken when she sees him choose someone more “traditional.” Thankfully, Mitski turns to herself and her guitar to get over the loss, and leaves better off without him


Folkadelphia Sessions are completely free, just enter $0 when prompted. That being said, any donation you give here on our Bandcamp site will be used to help us bring you more exciting projects and developments from Folkadelphia! .Recorded at the WXPN Performance Studio on April 26th, 2015 by James Clark Conner and Brian Goehrig. Mixed by Conner in Philadelphia. The first half of the album’s opening track is a beautiful, restrained ballad, which aches with quivering vulnerability. The second half of that same track is a screeching, thumping rock song. And the rest of the album continues in this brilliantly contradictory vein, layering Mitski’s emotive, scale-leaping vocals over squelchy rock riffs and a sea of noise. Its lyrics, too, are astoundingly beautiful


First Love/Late Spring

Francis Forever  I Don’t SmokeI Will

Last Words Of A Shooting Star

Philadelphia-located folk music organization, WXPN radio show, airing Wednesdays 10-11 PM ET on 88.5 FM, and WKDU radio show

Of all the disparate sounds to be found on Mitski’s 2013 self-released LP Retired From Sad, New Career In Business“, there is none more devastating than her vocal quaver on the song Square.” The song is a chronicle of a decaying relationship, a convoluted interrogation of why things seem so complicated when “God’s very simple and love shouldn’t burn.” Mitski’s pointed lyrical turns-of-phrase have a tendency to silence her audience with their simplicity, She recently performed at SXSW. Earlier this month, Don Giovanni Records announced that they will release the deluxe edition of Mitski’s 2014 record “Bury Me At Makeout Creek”, which will include a series of extra bonus tracks. A live piano version of “Square” will follow the record’s concluding song “Last Words Of A Shooting Star.”

Watch the Brooklyn based singer-songwriter Mitski perform a track from the “Bury Me at Makeout Creek” album the  highlight “Francis Forever” in Brooklyn, NY.

Mitski newest album, Bury Me at Makeout Creek, feels like a simultaneous kiss on the cheek and punch in the gut. Brimming with fuzzy guitars and an aggressive rawness, the songs are finished with her deceptively sweet vocals, creating the perfect juxtaposition of strength and delicacy.

Her lyrics always feel very genuine, a fact that drew me in initially, but they’re presented using catchy melodies that make repeat listening that much easier. Though I’ve never seen her live, I can’t imagine that anyone with that much panache could bring anything less than total magic to the stage. Be sure to catch her down in Austin at the SXSW, and take a listen to “Bury Me at Makeout Creek” album  before you do!