All I have to do is think of Pride, Matthew Houck’s staggering second outing as Phosphorescent, and I get a lump wedged deep in my throat. Within the eight dark, meditative hymns lay a ghostly figure at large; haunting Houck’s deeply personal musings and rattling between every softly sung word. It carried the same emotional depth as Bon Iver’s For Emma, Forever Ago (self-released by Justin Vernon the same year) but perhaps didn’t possess the same commercial chops that led Vernon’s debut to become a worldwide phenomenon.
If Pride was the dark side of Houck’s alter-ego Phosphorescent, then Here’s To Taking It Easy – the new album due for release in May – is most certainly the light. Perhaps inspired by last year’s Willie Nelson covers record To Willie, Taking It Easy reveals a new country inspired direction for Houck.
Today’s Song Of The Day, “It’s Hard To Be Humble”, acts as a perfect introduction to the record. Four to the floor drums, kick horns and a rip roaring pedal steel guitar recall Gram Parsons’ “Ooh Las Vegas”, Uncle Tupelo’s “Chickamauga” or Wilco’s “Monday” – three classic country tracks that boast Gram Parsons’ vivid image of a Cosmic American Music. A sound that many Americana acts try to emulate but few manage to execute without sounding like a cheap homage, or worse, a bad bar band.
“It’s Hard To Be Humble” is the Cosmic American Music that Gram Parsons fought so hard to achieve back in the late sixties. A cross-over of country, soul and rockabilly played with such aplomb and swagger all you need do is sit back and let the good times roll. After the heartache and demons that made up Pride, it’s really all you can do.
“I think everyone has had a special moment when, just as it’s happening, you know that it’s significant and delicious just because it’s going to be over soon,” explains White Hinterland singer Casey Dienel on the title of upcoming album, Kairos. A reference to the Ancient Greek concept of the ‘supreme moment’, it is a fitting philosophy, one that has influenced her approach to making music. “It’s used to describe a unique event, one that sits outside of sequential time and floats in the ether. I really related to that idea and felt like making this record was my very own ‘Kairos’.” Continue Reading
Anyone who grew attached to Shallow Grave, the gorgeous debut record from The Tallest Man On Earth (aka Kristian Matsson), has been waiting patiently for a new full length from the supremely talented Swedish singer-songwriter. And with the release of his follow-up, The Wild Hunt, scheduled for April 12th, the three year wait is nearly over. The new record finds Matsson growing bolder and more expressive, both lyrically and musically. But when you have such an impeccable combination of insightful words and penetrating music as Matsson does, there is really no need to reinvent the wheel at this point. Fans of his first album will most assuredly take great pleasure in The Wild Hunt, an album that will not only galvanize his dedicated supporters, but should appeal to a whole new audience drawn to the purity and honesty of his music.
We were fortunate to have the opportunity to be able to ask Kristian some questions about how the recording process for the new album was affected by his changing record labels, how recording in the countryside influences his writing, and he shockingly reveals, once and for all, that Bob Dylan is actually his dad. He shares just enough to give his fans a glimpse into what inspires him, while still maintaining the mystique that has intrigued us all from the beginning. But in the end, it’s his splendid music that ultimately speaks to us, so look out for The Wild Hunt on April 12th. Continue Reading
This has to be one of the most exciting signings I’ve heard about in a long time. Full details from Dead Oceans HQ below…
When fans lined up to see the sold-out Bon Iver performances at New York City’s Town Hall in late 2008, few of them went with any expectations of the opening act. But the audience that night, and on every other night of Bon Iver’s tour that December, was introduced to something special, something unforgettable: THE TALLEST MAN ON EARTH. This was the first of several tours for the Tallest Man on Earth (aka Kristian Matsson), with obsessive crowds growing each step of the way.
Earlier in the year, The Tallest Man on Earth had released one of 2008’s most powerful records, one that Pitchfork praised, calling Matsson “a natural-born folksinger, earnest, clever, and comforting.” Shallow Grave could not have been more simple, just Matsson’s commanding vocals with an acoustic guitar or banjo, recorded at his home in Dalarna, Sweden. Although the album was released on the Swedish label Gravitation without the help of widespread distribution, the story of The Tallest Man on Earth spread far and wide through word of mouth.
It is impossible to discuss The Tallest Man on Earth’s music without acknowledging Bob Dylan. The seemingly effortlessness, the melodic sensibility and the deft lyricism all recall Dylan’s early years. But when you witness the Tallest Man on Earth perform live, you are watching a man possessed. The energy pours out with every word. Full of intensity and raw emotion, he paces the stage, bringing the audience into the palm of his hand, completely lost in his songs.
With unbridled excitement, we bring you The Tallest Man on Earth’s second LP, The Wild Hunt. It is all here: The words. The voice. The melodies. Ten perfect songs.
The Wild Hunt will be released on April 12th via Dead Oceans.
The Tallest Man On Earth will perform at Bush Hall, London on Tuesday 15th March.
Chicago based Califone get their moniker from a manufacturer of audio equipment. They are an experimental band of musicians headed by main man Tim Rutili (formerly of band Red Red Meat). Quite a prolific band and their experimental nature is apparent with an off beat slow electro jazz workout on album opener ‘Giving Away The Bride’. They remind me of the more recent, less hip hop orientated stylings of Beck.
They are an interesting band as they play with a variety of styles; there is a very strong Americana country rock feel, but with elements of ambient electro and noise as well as Jazz. ‘1928′ is slightly more lo-fi space country in a similar vein to Yo La Tengo. Rutillis voice has a lot of character and gives the songs that small town Americana atmosphere, despite them being from the metropolis that is Chicago. The title track (or part title track) is straight forward three chord country song, which again is quite brilliant in itself. Continue Reading
Upper Air is of a similar quality to Bowerbirds first album Hymns For A Dark Horse, but reached by a slightly different path, the lyrics focus on relationships and love and being astounded by nature, sometimes in the same song. A more varied musical approach is also pursued, with things like organ, autoharp, varied percussion (less of a reliance on the ol’ bass drum) and upright bass being utilized with some interesting acid etched results, whilst still retaining a basic rustic folkiness. This is a clean sounding album, guitar tone, vocal, violin and that upright bass all beautifully presented.
Mark Paulson has left, or is perhaps less involved in Upper Air, in his place is Matt Damron who is listed as ‘drummer’. No doubt about that as there’s more kit audible, (cymbal and snare, for example), the bass drum is still there, it’s just usually paired up with the newer percussion (‘Beneath Your Tree’ being a good example), when it’s not trying out new approaches like the long rumbling thunder in ‘Ghost Life’, ‘Crooked Lust’ and ‘This Day’ (as opposed to the usual thump-thump-clack). It’s good to see the band trying something new out, like the thick organ droning in ‘Chimes’, or stunning upright bass in ‘Bright Future’, and even better when it blends in well with the already established aspects of their sound. Continue Reading
When an indie rock album lists flute, orchestron, nyckelharpa, a pump organ, a vibraphone and rabbit holes among its instruments, it would seem fair to assume the record is going to be pretty far out. However, John Vanderslice’s seventh full-length studio album, Romanian Names is nothing of the sort. In fact, it feels controlled and thoughtful; this is music for grown-ups. Like Grandaddy.
After a number of concept albums, including 2007’s Emerald City-about 9/11-Vanderslice has, in a sense, changed tack for this, his first record on Dead Oceans. It’s a collection of twelve songs about love, specifically about how close relationships can be like looking into a mirror. In a Progress Report with Stereogum in February, Vanderslice said that “a lot of the songs are about that mirrored self and that almost suffocating thing that happens.” Continue Reading
A frayed, tattered American flag adorns the cover of Set ‘Em Wild, Set ‘Em Free, with the fifty stars of Old Glory replaced with a cosmic, tie-dye swirl. This is important, because in Akron/Family’s work the constant friction between collectivism and individualism is at large, and much of their work concerns itself with interconnectedness between nature and humans. When questioned on how they view their music Miles Seaton (one of three multi-instrumentalists in the band) replied “The music functions simply as a sound or a sonic story of a communal structure”.
This sense of togetherness, of how we relate to each other, is experienced in the chaotic group vocals of opener ‘Everyone Is Guilty’. Phrases are repeated until they become mantra. Full of throat and heart, they almost cling to each other, no surprise given that after 2007’s Love Is Simple founding member Ryan Vanderhoof left to join a Buddhist centre. One of the less imperceptible lyrical fragments on the album is “Last year was a hard year for such a long time”. Losing a founding member has that effect on bands, and you could forgive them for untethering themselves in the aftermath of an admittedly amicable split, but in this case it has re-enervated Akron/Family. Seth Olinksy moved from Brooklyn back home to rural Pennsylvania (also the childhood home of third member Dana Janssen), and in doing so the band have discovered a sensitivity and optimism. The response to the line goes “This year’s gonna be ours”, and the whole album is imbued with this sense of hope. Continue Reading
John Vanderslice has announced plans to release his new album, called Romanian Names, on Dead Oceans.
It’ll be released in the UK on 18th May, and you can hear the track ‘Fetal Horses’, by downloading the mp3 here.
Tracklisting:
Tremble And Tear
Fetal Horses
C&O Canal
Too Much Time
D.I.A.L.O.
Forest Knolls
Oblivion
Sunken Union Boat
Romanian Names
Carina Constellation
Summer Stock
Hard Times
A coast-to-coast-to-coast US jaunt is in the works following JV’s Gone Primitive Tour with The Mountain Goats. British and European dates expected in the Autumn.
May
17 Merced, CA – The Partisan
19 San Francisco, CA – The Rickshaw
21 Portland, OR – Mississippi Studios
22 Seattle, WA – Easy Street
24 George, WA – Sasquatch!
27 Provo, UT – Velour
28 Salt Lake City, UT – Kilby Court
29 Denver, CO – Hi-Dive
30 Omaha, NE – Slowdown Jr
June
06 Chicago, IL – Empty Bottle
09 Pittsburgh, PA – The Warhol Museum
12 Brooklyn, NY – Music Hall of Williambsurg
How does a pop band such as Brooklyn’s Bishop Allen tackle the daunting challenge of topping an album as good as 2007’s The Broken String? Well, you know the old saying… “if it ain’t broke, don’t fix it”. With their new, quite animal-centric, release Grrr…, Bishop Allen are back with catchy tunes, hooks galore, and a more polished sound than their past releases.
Opener ‘Dimmer’, with its staccato guitar, bouncy rhythms and Justin Rice’s bordering-on-tenuous vocals is signature Bishop Allen sound. Much of the rest of the album is, instrumentally, more stripped back than The Broken String, and percussion takes the forefront – expect lots and lots of xylophones. Songs like ‘The Ancient Commonsense of Things’ will be running through your head when you awake in the morning; ‘True Or False’, the obligatory Darby Nowatka-fronted track, features a lovely horn section on the chorus. Unfortunately Grrr…, although clever enough, doesn’t quite live up to the lyrical standards of Bishop Allen’s previous albums. However, I do enjoy the ironic nature of ‘Rooftop Brawl’ in which a rather graphic suicide (attempt?) is set to upbeat and bouncy guitar riffs. Continue Reading
I stumble in through my front door. I’m drinking warm lager from a pint glass stolen from one of Bristol’s many late-night drinking establishments, and I’m wondering what the hell to play very loud to annoy my housemates and fall asleep to. I chance across These Are Powers’ latest release, my Rich Thane-selected RANDOM CHOICE album for the month. The conditions aren’t exactly perfect for a first listen of an album I’m gonna have to review, but, as it turns out, the album is perfect for the conditions.
I’d actually just got back from seeing the dull, uninspired indie-rock of current Radio1 darlings General Fiasco, so perhaps in that context anything would have felt like an absolute joy, but there is definitely something to be said for These Are Powers’ second full-length – it’s carnal and visceral and physical; despite being all beeps and electrics and computers, it feels human, it feels like raw emotion and testosterone and it definitely sounds like four a.m. drunken stupors, begging you to wobble around like one of those 1980’s dancing coke cans. Continue Reading
Mt. St. Helen’s Vietnam Band might originate from Seattle, but listening to them, it quickly becomes obvious that their sound is firmly rooted in all things Canadian. Their self-titled album, due on March 9th via Dead Oceans, is like a checklist for a huge “whatever you can do I can do better” to the biggest and best Canadian bands of the past few years. From opener ‘Who’s Asking,’ a song Spencer Krug probably wishes he wrote, through the closer ‘On The Collar’ which channels Arcade Fire through some sort of awesome tube. It’s a thoroughly enjoyable record from a band certainly destined for bigger things. We caught up with band members Traci, Benjamin, Matthew, Marshall and Jared answer our assortment of musically-related questions… Continue Reading
Phosphorescent, a.k.a. Matthew Houck, never shy of the “interesting cover version” here takes things one step further in releasing a complete “tribute album” to one artist: country music legend Willie Nelson. The title seemingly a clever play on the title of Nelson’s own 1975 tribute album (To Lefty From Willie – an album of Lefty Frizell covers), Houck has wisely selected some of the lesser-known songs, neatly sidestepping the issue of listener over familiarity which can sometimes prove problematic on such endeavours. Continue Reading
It’s been quite a year for live music, 2008; an emotional roller-coaster of euphoria and heady nostalgia and all sorts of superlatives you might reach for to try to describe a clenched throat that doesn’t know if it’s holding back ecstatic cheers or warm tears.
There was the 12 Bar last month, a fragile Edwyn Collins leaning into the protective, wiry shoulder of Roddy Frame, straining resistant limbs and lips into familiar old shapes for a tiny crowd of shiny-eyed Dundonians. There was the Roundhouse a few weeks before that, Kevin Shields’ mouth yawning wide and silent into the din, my skin rippling as though the waves that buffeted the front row were real and not mere sound. And there was the holy still air of St Giles church, in the balmy early days of June, when Justin Vernon raised a guitar to the heavens and 300 faithful erupted into triumphant thanksgiving. It’s pure luck to be granted one such fleeting, epiphanical moment a year, never mind two from one quiet Wisconsinite. Iconic performances seem to have littered the summer months like chewing-gum wrappers, and now another has just fallen at our feet and blown past, reminding me of Winnaretta Singer’s line about the rare and particular breed of music that reminds us that we have “a reason for living on this rock: to live in the beautiful kingdom of sounds.” Continue Reading
Jagjaguwar and Dead Oceans, the consistently fine spin off labels from Secretly Canadian have oodles of interested signings and new releases coming up – so, in a condensed form, heres everything in one bite sized-ish post. Here goes…
Bon Iver
Signed in the US to Jagjaguwar (4AD in the UK) Bon Iver appeared on New York radio station WMYC this week. You can stream the appearence below, which features mega performances of ‘Creature Fear’ and spine tingle inducing rendiditon of ‘Flume’. Plus a chat about the album, which to be fair doesn’t really reveal too much. Just the same old “so I hear you recorded this in your fathers log cabin” etc etc.. Still worth it for the songs though – listen below:
If mp3’s are more your bag, then you can still grab the A-M-A-Z-I-N-G live session from Daytrotter.
Also, watch this recent footage of Bon Iver and labelmates Bowerbirds perform Sarah Siskind’s ‘Lovin’s For Fools’ shot at the Bowery Ballroom in NYC. Hopefully they’ll perform it together at Shepherds Bush Empire next month – Bowerbirds are supporting Bon Iver at the sold out show on 11th September. Speaking of Bowerbirds, Brooklyn Vegan has some real nice shots of a recent show of theirs, here.
Women
Jagjaguwar will release Women’s self-titled debut full length on October 7th, 2008 throughout the world (January, 2009 release in the UK, and Canadian label Flemish Eye is releasing the record in Canada.) The band will tour the U.S., Canada and Europe in support of the album throughout 2008, and tour dates will be announced soon.
The band’s debut was recorded by Sub Pop and Flemish Eye artist Chad VanGaalen over 4 months on ghettoblasters and old tape machines in his basement, an outdoor culvert and a crawlspace. Sometimes light and spacious, at other times eerie and dense with an ominous weight, Women hint at the Velvet Underground, Swell Maps or This Heat; a lo-fi masterpiece cloaked in layers of vibrato and guitar wash.
After witnessing the chaos and energy of a These Are Powers live set, Dead Oceans were immediately enthralled with this band, and after a long courtship and some hot and heavy dating, they have finally announced the start of a long and fruitful union. First, Dead Oceans will re-release Taro Tarot and Terrific Seasons in October 2008, followed by an LP of new material in the first part of 2009. The band will support the re-releases with tours of both North America and Europe this autumn.
Secretly Canadian have a couple of decent releases coming up too.. David Vandervelde’s sophomore album Waiting For The Sunrise is released next week in the States (22nd Sept in the UK) – fairly decent easy listening fare. Look out for a review soon. Also, Damien Jurado is set to release his new LP Caught In The Trees on 9th September in the States (27th Oct in the UK) – judging by the lead track ‘Gillian Was A Horse’ we’re in for some what of a treat. I can never understand though why we have to wait so long for UK release dates..
Oh – and one last thing, Dead Oceans new signings The Donkeys will release their staggering self-titled debut on September 8th. It really is quite fantastic – download an mp3 below and see for yourselves. Country-rock at its very finest. Look out for a review nearer the time of release.
