Posts Tagged ‘The Weather Station’

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The Weather Station  –  The Weather Station

On her fourth (and tellingly self-titled) album as The Weather Station, Tamara Lindeman reinvents, and more deeply roots, her extraordinary, acclaimed songcraft, framing her precisely detailed, exquisitely wrought prose-poem narratives in bolder and more cinematic musical settings. The result is her most sonically direct and emotionally candid statement to date. The most fully realized statement to date from Toronto songwriter Tamara Lindeman. Self-titled and self-produced, the album unearths a vital new energy from Lindeman’s acclaimed songwriting practice, marrying it to a bold new sense of confidence.

CD – Digipack.

LP – Deluxe 140 Gram virgin vinyl LP features heavy-duty board jacket with full lyrics, full-colour inner sleeve, and high-res Download Card.

Yak yala! cover

Yak  –  All I Need Is Some Sunshine In My Life

Limited to just 300 Copies on 7″ Vinyl. Renowned for the ferocious intensity of their live shows, Yak are back with the new single All I Need Is Some Sunshine In My Life. Recorded with Tame Impala’s Jay Gum Watson in Kevin Parker’s studio in Perth, the track is Yak’s claustrophobic interpretation of The Dixie Nightingale’s cult gospel classic. “A loved one departed and on the way out sent me this song, so we ended up recording a delirious version in the blistering heat of Perth,” says Yak frontman Oli Burslem. “I love the original Dixie Nightingales’ version, it reminds me of songs like Wendy Rene’s ‘After Laughter’, which I imagined was recorded in the same studio with maybe even the same people playing.” On the b-side is Yak’s take on Lee Hazelwood’s Wait and See.

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Weaves  –  Wide Open

It’s been almost exactly a year since Weaves released their acclaimed self-titled debut LP, lauded internationally for its exuberant approach to guitar pop and recently nominated for this year’s Polaris Prize. It was a whirlwind year for the band who spent a nearly uninterrupted 12 months on the road, playing festivals across the globe, and touring with their fellow 2016 breakout artists Sunflower Bean and Mitski. Propelled forward by their own momentum, which they corralled like the barely contained energy of their explosive live sets, it was a life changing-experience, and upon returning home to Toronto the band’s leaders, singer Jasmyn Burke and guitarist Morgan Waters, found themselves possessed by an irrepressible burst of creative energy.

Burke and Waters half-jokingly refer to the album as their “Americana” record, and while the statement is made with tongues placed firmly in cheeks, the album, without discarding the punky pyrotechnics that defined their first LP, displays an expansive and anthemic quality in songs like the opener #53 and the sweeping Walkaway, that makes the joke ring half true. The record sees Burke extend herself as a performer – moving more frequently to the center of arrangements and revealing new facets of her unique and powerful singing voice – as the band find ways to interpret the growing diversity of her expression. From the glammy Saturday night strut of Slicked, to the stripped-down, pedal steel abetted torch song Wide Open, to the searing Scream, a warped duet with Inuit throat singer Tanya Tagaq that likely constitutes Weaves’ wildest recording to date, the album captures a band for whom exploration is a compulsion making a self-assured step into the unknown.

LP+ – Limited White Vinyl housed in Gatefold Sleeve with Download.

In 2017, the musical term “electronic” is nearly obsolete given the ubiquity of computerized
processes in producing music. Even so, the prevailing assumption is that musicians working
under this broad umbrella must be inspired by concepts equally as electrified as their
equipment. Kaitlyn Aurelia Smith has demonstrated in her still-blooming discography that this
notion couldn’t be further from the truth, and that more often than not, rich worlds of synthesized
sound are born from deep reverence of the natural world. Smith (who by no coincidence, cites
naturalist David Attenborough as a contemporary muse) has embodied such an appreciation on
The Kid in as direct and sincere a way as possible by sonically charting the phases of life itself.
The album, which punctually follows up her 2016 breakthrough Ears, chronicles four defining
cognitive and emotional stages of the human lifespan across four sides of a double LP.
The first side takes us through the confused astonishment of a newborn, unaware of itself,
existing in an unwitting nirvana. Smith’s music has always woven a youthful thread befitting of the
aforementioned subject. Here she articulates it in signature fashion on the track “An Intention,”
which serves not only as a soaring spire on The Kid, but on her entire output. There is playfulness
here, but it’s elevated by an undertone of gravity into something compelling and majestic that is
fast becoming Smith’s watermark. The emotional focus of side two is the vital but under reported
moment in early youth when we cross the threshold into self awareness. The subject is profound
enough to fill an entire album, but rarely makes its way into a single track, indicating Smith’s
ambition to broach subtler and deeper subjects than the average composer. This side offers up
another highlight in the form of In The World But Not Of The World which serves its subject well
with epiphanic, climbing strings and decidedly noisy textures over a near-Bollywood low end
pulse. Side three emphasizes a feeling of being confirmed enough in one’s own identity to begin giving back to the formative forces of one’s upbringing, which is arguably the duty that all great artists aim to fulfill. This side ends with the exploratory album cut Who I Am and Why I Am Where I Am recorded in a single take without overdubs on the rare EMS Synthi 100 synthesizer. This humble piece of sound design serves as a contrast to side four’s verdant orchestral moments, all written and arranged for the EU-based Stargaze quartet by Smith herself. This final side represents a return to pure being, the kind of wisdom and peace that eludes most of us until the autumn of life. On To Feel Your Best this concept is voiced in the bittersweet refrain “one day I’ll wake up and you won’t be there” which Smith intended to be a grateful acknowledgement of life rather than a melancholy resentment of loss. The song has both effects depending on the mood of the listener, and both interpretations are equally moving. Kaitlyn Aurelia Smith belongs to an ilk of modern musicians who are defined by their commitment to creating experiential albums despite the singles-oriented habits of modern listeners, and here she represents her kind proudly. The subjects on The Kid are not simple to convey, and yet through both emotional tone and lyrical content, Smith does just that. There is a similar gravity to both birth and death, and rarely is that correlation as accurately and enthusiastically mapped as it is here. Alan Watts, another logical inspiration of Smith’s, once expounded that people record themselves to confirm their own existence, and as such, echoes and resonance are reminders that we are alive. “You’re not there unless you’re recorded,” Watts muses, “if you shout, and it doesn’t come back and echo, it didn’t happen.” The Kid speaks to this idea directly. As Kaitlyn Aurelia Smith explores her existence through music, she guides us in gleefully contemplating our own.
2LP – Double Black Vinyl.
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Yumi Zouma –  Willowbank

Following last year’s lauded debut LP, Yumi Zouma return to Cascine with their sophomore album, Willowbank, a collection of dreamy, disco-indebted pop tracks. The album’s namesake is a wildlife reserve in the band’s home base of Christchurch, NZ, a community on the mend in the wake of a devastating earthquake in 2011. The Yumis, whose four members are scattered across the globe, reunited in New Zealand to write and record Willowbank. The result is an album that channels both the tight-knit togetherness and the unparalleled beauty of their native land. Willowbank is also some of Yumi Zouma’s best work to date, refining their effortless, windswept songwriting sensibility, while also exploring a new pallet of sounds and textures.

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Cults  –  Offering

Cults made their name in black and white. A pair of film school dropouts who burst onto the New York scene with a perfect single and a darkly retro sound, the band’s first two albums play like noirish documentaries on a lost girl group. Four years after Static, Cults returns with Offering, an exciting collection of songs bursting with heart, confidence, shimmering melody and buzzing life. The time off has given the band new energy and new ideas–Cults are working in Technicolour now. The core duo remains the same. Madeline Follin and Brian Oblivion, both 28, still live in New York. They still finish each other’s thoughts and still share a love of catchy music and black humor (this is a band that sampled cult leader Jim Jones on their first hit). But the pair have put some blood on the tracks since their breakout debut: they’ve toured the world, built a devoted audience, survived a breakup, grown up in green rooms, parted ways with their old label and made a home of their new one.

Pains album cover

The Pains of Being Pure at Heart – The Echo Of Pleasure

The Pains of Being Pure at Heart have long set the benchmark for big-hearted, idealistic pop songs. With The Echo of Pleasure, The Pains push beyond their many inspirations and embrace their role as indiepop heroes in their own right. Showcasing the deft songwriting of frontman Kip Berman, The Pains‘ fourth album is their most confident and accomplished. After three critically-acclaimed records, 2009’s The Pains of Being Pure at Heart, 2011’s Belong and 2014’s Days of Abandon received praise from The New York Times, Pitchfork, The Guardian and Rolling Stone, they have put together a collection of songs that possess a timeless grandeur, deeper and more satisfying than anything the band has done since their iconic debut.

It’s an album that reflects the band’s most joyous moments while maintaining Berman’s candid and critical lyricism, free of the self-abasing insecurity of youth. “The album is loving. The music is heavier, more expansive,” he says. “To me, songs about love shouldn’t be thought of as light. Love is big- sometimes it’s emphatic, overwhelming or simple – other times it’s tense, anxious or just exhausting. But at its best, it makes you want to be something better.”

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Miracle Legion  –  “Annulment”

First ever live album by Miracle Legion, Annulment was recorded during the band’s 2016 US reunion tour. Most of the album comes from a show at Codfish Hollow, Iowa plus tracks from the Bellhouse, Brooklyn show. Double CD with 25 songs

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Richard Thompson – Acoustic Classics 2

A continuation of the Acoustic Classics series, this collection features acoustic renderings of classic songs from the Richard Thompson catalog, including some previously recorded by other singers, some only available in a band format, and some only existing as cover versions.

3LP – Triple Gatefold Vinyl comprising Acoustic Classics II and the Acoustic Rarities albums.

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Sometimes I feel like this record is one of the biggest risks I’ve taken in my life. But it’s the kind of risk that’s a necessity, so it doesn’t feel risky at all. From the moment the album appeared in my mind, it knew where it was going – my job was just to clear the path.
In a time of intense uncertainty, it felt good to harness a spirit of recklessness, which sometimes is the only thing that can stand up to the anxiety you would otherwise feel.
This record is about staring down dark things and seeing them fully, which isn’t the same thing as acceptance. It’s just a necessity in and of itself, and something that can empower.
It’s also about playing music with my friends, love, ideas, and everything else that chose to tumble onto the page over the last year and a half.
I’m so proud to be able to bring it to you today.  Tamara Lindeman The Weather Station.

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Julien Baker’s 2015 debut Sprained Ankle earned her spare, intimate songwriting a passionate following. The title track is as close to indie classic status as a song that’s hardly two years old can be, meaning fans have eagerly awaited new material since Baker announced she’d signed to Matador Records earlier this year. She’s announced her sophomore album and first full-length for MatadorTurn Out the Lightswhich arrives October 27th.

Alongside the album announcement comes “Appointments,” the album’s second song and a slow, twinkly setting for Julien Baker’s signature confessional hush. listen to the song below,

Stranger in the Alps artwork

L.A. singer-songwriter Phoebe Bridgers’ debut LP is a collection of songs about intimacy, documenting how our relationships affect the way we view ourselves and interact with others.

Phoebe Bridgers’ career has been propelled by fellow musicians. Ryan Adams, Conor Oberst, and Julien Baker have all sung the praises of the 23-year-old Los Angeles singer-songwriter, leading up to her full-length debut Stranger in the Alps. Fittingly, the album itself is also populated by other artists: Bridgers writes about lost legends like Bowie and Lemmy down through the local hobbyists who haunt their hometowns like ghosts in faded band tees. In “Scott Street,” she reads into how an old flame tells her his drums are “too much shit to carry.” In “Motion Sickness,” one of the year’s most exquisite breakup anthems, she lands her harshest jab in the chorus: “Hey, why do you sing with an English accent? I guess it’s too late to change it now.”

Stranger in the Alps is a collection of songs about intimacy, documenting how our relationships affect the way we view ourselves and interact with others. The crux of Bridgers’ writing arrives in small details: a casual exchange of words, a song played on a long car ride, the moments we relive in our heads once we get back home. Bridgers’ voice has a breezy, conversational flutter that helps her stories of heartbreak and loss avoid morbidity. She sounds best when she double-tracks it in layers of light falsetto: an effect that, depending on what she’s singing, can sound sweet and soothing or scalding like feedback

Tamara Lindeman’s already garnered acclaim for her writing style, defined by her penchant for stringing together observations of tiny details and moments and making them seem huge and full of emotional weight. Like many songs on her upcoming new album, The Weather Station, “You And I (On The Other Side Of The World)” is heavy with the feeling of time having passed, tracing the distance between memories and individuals as people pass in and out of each other’s orbits through the years. Narrating a relationship the lyrics are suggestive enough that it could just as easily be an intense friendship as a romantic one the song doesn’t gallop like its predecessors “Thirty” or “I Kept It All To Myself.” Instead, it calmly meanders, string arrangements bursting around it like hints of color flooding into a black and white image.

Lindeman, as she often does, tells a whole story via snapshots, the song beginning and ending with the “You” of its title entering the hallway, shy. Along the way, you get pulled along in the currents of this relationship, glimpsing different moments and places. They are remnants out of context, and yet you feel like you know the whole story by the end, with Lindeman’s reiteration of the first lyrics with the addendum “shy, and alone” the kind of denouement that lands like soft thunder. In the end, you don’t need to understand all the stray details. “You And I (On The Other Side Of The World)” is powerful because it captures the way past important relationships linger in your mind as more years accumulate: amorphous collections of images that hold way more than that single moment, coming together into a watercolor echo of the past as memories congeal.

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thanks Stereogum

The Weather Station is the fourth—and most forthright—album by The Weather Station, the project of Toronto songwriter Tamara Lindeman. Her most fully realized statement to date, it is a work of profound urgency, artistic generosity, and joy. Self-titled and self-produced, the album unearths a vital new energy from Lindeman’s acclaimed songwriting practice, marrying it to a bold new sense of confidence.

“I wanted to make a rock and roll record,” Lindeman explains, “but one that sounded how I wanted it to sound, which of course is nothing like rock and roll.” The result is a spirited, frequently topical tour de force that declares its understated feminist politics, and its ambitious new sonic directions, from its first moments. On past records, Lindeman has been a master of economy. Here her precisely detailed prose-poem narratives remain as exquisitely wrought as ever, but they inhabit an idiosyncratic, sometimes disorderly, and often daring album that feels, and reads, like a collection of obliquely gut-punching short stories.

Her previous album Loyalty was recorded at La Frette Studios in France in the winter of 2014 with Afie Jurvanen (Bahamas) and Robbie Lackritz (Feist). Nominated for the 2015 Polaris Music Prize, it earned praise from The Guardian, Pitchfork, NPR Music, Uncut, and MOJO, among many others, who celebrated its delicate, carefully worded verse, filled with double meanings, ambiguities, complex metaphors, and rich details of the everyday.

The Weather Station’s S/T album is out October 6th, 2017 on Paradise of Bachelors (worldwide), Outside Music (Canada), & Spunk Records (AU/NZ).

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Canadian singer-songwriter Tamara Lindeman, Aka The Weather Station has announced plans to release her forth studio album on the 6th October. On her fourth (and tellingly self-titled) album as The Weather Station, Tamara Lindeman reinvents, and more deeply roots, her extraordinary, acclaimed songcraft, framing her precisely detailed, exquisitely wrought prose-poem narratives in bolder and more cinematic musical settings. The result is her most sonically direct and emotionally candid statement to date, a work of profound urgency and artistic generosity.
“Timeless… Measured, perceptive storytelling. A singer with an unmistakable & communicative voice, able to convey hope & hurt with equal clarity.” – Pitchfork
“She writes literate songs with unusual precision & sings them in an understated, open-hearted way that lends good poetry the directness of conversation.” – Uncut
The self-titled album sees The Weather Station channelling a new, more energetic sound.  To be released on Paradise of Bachelors Records.

“I wanted to make a rock and roll record,” Lindeman explained, “but one that sounded how I wanted it to sound, which of course is nothing like rock and roll.”

The first single from The Weather Station is the wonderful “Thirty”

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Paradise of Bachelors is a Record Label, Plus Archive located in the North Carolina Piedmont and in the subluminal aether of Chapel Hill, they has spent the past few years building its reputation as one of the finest labels around for traditionally minded North American music. If they’re putting it out, its worth listening. On May 12th, They will release The Weather Station new Album Loyalty“,  The Weather Station is Toronto’s Tamara Lindeman  This her third album titled Loyalty”  recorded in a 19th century mansion outside Paris. Like that studio, or memorable art, the record seems to exist outside time. “I saw recently the works of Mary Pratt, a Newfoundland artist who spent most of her life as a housewife—her husband was a successful painter,” Lindeman said “Her paintings depict domestic scenes—jelly in jars, cod fillets in aluminum foils, a salmon head in a sink, but in such rich, elaborate detail, it’s painful somehow. I guess when I see her paintings, I realize that I’m trying to do the same thing, with my music.

“Shy Women,” a perfect example of her attentiveness to minute, universalizing details. “It started the same as most my songs do—a small, commonplace moment that I couldn’t get out of my head,” There was something about it, so ordinary that it begged to be described, and describing it felt powerful somehow—simply to say that it was important, this common place thing—worth singing about. And as I did, the moment revealed itself as a kind of elevator shaft, going pretty much straight down, through all the ‘shyness’ of myself and many of the women I grew up with, and all the moments when we had kept silence, and how that silence has underpinned so much that is deeply wrong.”

One of the great lines in “Shy Women” is: You were staring out, your eyes real straight, like nothing touches you these days/ It seemed to me that luxury would be to be not so ashamed. She explained a bit: “When I say it would be a ‘luxury to be not so ashamed,’ I mean that completely. Shame is, for most women, a constant companion, and is I think the last greatest gender divide, that will be with us for as long as women feel their experience is not worth speaking of, and blame themselves for the actions and feelings of others.” Below, it adds up to a remarkable song.

weather station

The Weather Station is the project of Toronto’s Tamara Lindeman, a musician I was first heard of when she collaborated with Will Stratton. She compelled me immediately. Clearly, I wasn’t the only one who felt that way considering Lindeman just signed with label Paradise Of Bachelors, the storied,this singer songwriter and folklore-focused and a label that plucked artists like Hiss Golden Messenger, Steve Gunn, from relative obscurity and gave them a national stage.

Now, they’ve invested in the Weather Station, and a few listens of her third full-length record “Loyalty” indicate that their impeccable taste is intact. Recorded just outside Paris at La Frette Studios last winter, Loyalty is imbued with the crisp intimacy of the coldest season, the allure of the city of lights. Tamara Lindeman’s voice floats by in the highest of registers of her voice, never breathy but, instead, misty and amorphous.
On the record she plays guitar, banjo, keys, and vibraphone, but like most artists who take the folk music tack with any success, it’s Lindeman’s songwriting that catches your attention and holds it. She’s clever without any smugness, rendering every day events into existential pictures of uncertainty, poking and prodding at subconscious desires without ever fully exposing them.

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Take album opener “Way It Is, Way It Could Be,” for example. Lilting along the twin lines of quickly picked acoustic guitar and a linear, electric guitar backbone, it’s one of the more upbeat tracks on the record. Ostensibly a journey through winter, the song investigates the ambiguity that lives with us as long as we’re here on earth: “The way it is and the way it could be both are.” In Lindeman’s capable hands, this is neither a blessing or a curse. It’s the mark of a good songwriter to force us to keep two futures in mind at once, never letting on if either of them exist at all.

 

 

 

The Weather Station is  Tamara Lindeman who has a new EP out a 6 song limited edition “What Am I going To do with Everything” recorded with members of Megafaun in North Carolina, Finger picked guitars and harmonies unexpected stray snare drums and the occasional electric guitar Also a new album release with members of Feist and Bahamas titled “Loyalty” should be released later this year.

Check out The Weather Station and a  collection of Duets released on Bandamp, with Marine Dreams, Daniel Romano and Baby Eagle,

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