Yo La Tengo - I Can Hear The Heart Beating As One (1997)
Showing posts with label Folk. Show all posts
Showing posts with label Folk. Show all posts
13 May 2010
22 February 2010
09 February 2010
09 December 2009
25 October 2009
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24 October 2009
04 August 2009
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09 June 2009
Kurt Vile
Kurt Vile - Constant Hitmaker (2009)
"Constant Hitmaker's songs are varied and twisted in their arrangements, but most often include exquisite melodies floating atop a bed of hissing psych-pop experiments that fall together as nearly perfect pop songs. The album is steeped in an atmosphere of four-track recording and homespun obscurity, however it frequently, almost if by mistake, references a collection of some of pop music's best: My Bloody Valentine are felt on 'Space Forklift,' Lee Hazelwood's spirit haunts 'Slow Talkers,' and Lou Reed adorns 'Don't Get Cute.' All this without mentioning the album's most distinct song, 'Freeway,' the lone studio recording and a piece of music that will become lodged in every head that hears it. Constant Hitmaker comes off a bit straighter than anything on the Siltbreeze label, but more lovingly deranged than most every other indie rock album. It's something noteworthy, no doubt, and not just because it lives up to its title." - Skyscraper Magazine
24 April 2009
Iron & Wine
Iron & Wine - Around the Well (2009)
Disc 1:
01. Dearest Forsaken
02. Morning
03. Loud As Hope
04. Peng! 33
05. Sacred Vision
06. Friends They Are Jewels
07. Hickory
08. Waitin For A Superman
09. Swans And The Swimming
10. Call Your Boys
11. Such Great Heights
Disc 2:
01. Communication Cups And Someones Coat
02. Belated Promise Ring
03. God Made The Automobile
04. Homeward These Shoes
05. Love Vigilantes
06. Sinning Hands
07. No Moon
08. Serpent Charmer
09. Carried Home
10. Kingdom Of The Animals
11. Arms Of A Thief
12. The Trapeze Swinger
Around The Well is a collection of Sam Beams rare tracks, ranging from out of print to previously unreleased material. The collection will be released on June 1.
The songs on Around The Well date back to Iron & Wines earliest recordings (some of which yielded the bands 2002 debut The Creek Drank The Cradle), through to material recorded for 2007s The Shepherds Dog.
The collection is divided into two discs, with the first half an assortment of unedited home recordings, while the second half features studio recorded songs.
01. Dearest Forsaken
02. Morning
03. Loud As Hope
04. Peng! 33
05. Sacred Vision
06. Friends They Are Jewels
07. Hickory
08. Waitin For A Superman
09. Swans And The Swimming
10. Call Your Boys
11. Such Great Heights
Disc 2:
01. Communication Cups And Someones Coat
02. Belated Promise Ring
03. God Made The Automobile
04. Homeward These Shoes
05. Love Vigilantes
06. Sinning Hands
07. No Moon
08. Serpent Charmer
09. Carried Home
10. Kingdom Of The Animals
11. Arms Of A Thief
12. The Trapeze Swinger
Around The Well is a collection of Sam Beams rare tracks, ranging from out of print to previously unreleased material. The collection will be released on June 1.
The songs on Around The Well date back to Iron & Wines earliest recordings (some of which yielded the bands 2002 debut The Creek Drank The Cradle), through to material recorded for 2007s The Shepherds Dog.
The collection is divided into two discs, with the first half an assortment of unedited home recordings, while the second half features studio recorded songs.
20 April 2009
14 April 2009
24 March 2009
Sin Fang Bous
Sin Fang Bous - Clangour (2008)
Welcome to the Wunderkammer. Pop music with a bow, a present from Reykjavik and from Sindri Mar Sigfusson. A present that he gave to us and especially to himself. A surprise album, a search game in terms of pop music.
At the beginning there was an atmosphere of breaking up. Whereas on the one hand face and body of his band Seabear (whose debut was released on Morr Music in August 2007) gained their outlines more clearly, there remained a deliberately left open game with the sounds on the other hand. The name for this game was soon found: Sin Fang Bous.
Sindri Mar Sigfusson took his time. And he let time blow through the tracks. Gravitation processes, drifts, accumulations. What began as a miniature - a voice, a guitar - changed its textures and re-coloured its leaves. "Pocket Symphonies" one is inclined to say with Brian Wilson. Reduced to the max and equally concentrated up to its essence. Songs, sounds and samples are crystal clear and yet able to raise a storm.
Like in "Advent in Ives garden", a greenhouse in paradise, an "always more" of melody miniatures and sound pieces. Or, as the choirs in "Catch the light", it is his own voice that Sindri Mar Sigfusson expects of and even dares to do most of all. "I wanted to try to do stuff with my voice I hadn't done before so there's some singing above my range there and singing through lots of effect stuff."
Still there is this direct, intuitive sound - a reliance in sounds that also characterises Seabear's music. Embraces in pop, distinctive naivety. And yet Sin Fang Bous knows about the process-relatedness of pop music's production. Though, this debut has become a producer's album, too. Another talent of only 26-year-old Sindri Mar Sigfusson.
At the beginning there was an atmosphere of breaking up. Whereas on the one hand face and body of his band Seabear (whose debut was released on Morr Music in August 2007) gained their outlines more clearly, there remained a deliberately left open game with the sounds on the other hand. The name for this game was soon found: Sin Fang Bous.
Sindri Mar Sigfusson took his time. And he let time blow through the tracks. Gravitation processes, drifts, accumulations. What began as a miniature - a voice, a guitar - changed its textures and re-coloured its leaves. "Pocket Symphonies" one is inclined to say with Brian Wilson. Reduced to the max and equally concentrated up to its essence. Songs, sounds and samples are crystal clear and yet able to raise a storm.
Like in "Advent in Ives garden", a greenhouse in paradise, an "always more" of melody miniatures and sound pieces. Or, as the choirs in "Catch the light", it is his own voice that Sindri Mar Sigfusson expects of and even dares to do most of all. "I wanted to try to do stuff with my voice I hadn't done before so there's some singing above my range there and singing through lots of effect stuff."
Still there is this direct, intuitive sound - a reliance in sounds that also characterises Seabear's music. Embraces in pop, distinctive naivety. And yet Sin Fang Bous knows about the process-relatedness of pop music's production. Though, this debut has become a producer's album, too. Another talent of only 26-year-old Sindri Mar Sigfusson.
10 March 2009
Mountainhood
Mountainhood - Goldeness Being Part 1 in the Multivisorial Dream Saga Called The Light (2009)
Michael Curtis Hilde, a.k.a Mountainhood (born October 18, 1981 in Northern California) is an American singer, songwriter, and visual artist. Hilde currently lives in New York City.
Prior to performing and recording as Mountainhood, Hilde was at various times known as Almaden, Almaden Wood, or Almaden Wood and the Transplendence XIV - taking the name from the Mercury mining town where Hilde grew up, a place where Hells Angels and farmers lived. Though style and genre shift from album to album, it has been written that “This is introverted music played as the blues should be.”
While operating in San Francisco, Hilde curated and performed at a monthly gathering called The Story. With posters painted by Hilde and visual artist Arik Roper, The Story outlined a new school made up of folk singers and drone groups where “each performer adds a bit to a running narrative during their set” . The Story is still going on in New York. Another one happened in December 2008.
The California series took place at The Stork Club in Oakland, and followed in the footsteps of Hilde’s San Siern Holyoake & Wood Festival at The Hotel Utah in San Francisco, May 2007, touted as “A Holy Sunday Gathering of the Brightest in New Folk Music from the Length of California”
Michael Curtis Hilde first began writing and recording while living in the Big Sur redwoods.
His first official release (as Almaden) appeared in Finland on the forest-folk imprint, 267 Lattajjaa, bearing an album title of over fifty words ending in “Blessedhood”. He signed to Time-Lag records in 2008
Prior to performing and recording as Mountainhood, Hilde was at various times known as Almaden, Almaden Wood, or Almaden Wood and the Transplendence XIV - taking the name from the Mercury mining town where Hilde grew up, a place where Hells Angels and farmers lived. Though style and genre shift from album to album, it has been written that “This is introverted music played as the blues should be.”
While operating in San Francisco, Hilde curated and performed at a monthly gathering called The Story. With posters painted by Hilde and visual artist Arik Roper, The Story outlined a new school made up of folk singers and drone groups where “each performer adds a bit to a running narrative during their set” . The Story is still going on in New York. Another one happened in December 2008.
The California series took place at The Stork Club in Oakland, and followed in the footsteps of Hilde’s San Siern Holyoake & Wood Festival at The Hotel Utah in San Francisco, May 2007, touted as “A Holy Sunday Gathering of the Brightest in New Folk Music from the Length of California”
Michael Curtis Hilde first began writing and recording while living in the Big Sur redwoods.
His first official release (as Almaden) appeared in Finland on the forest-folk imprint, 267 Lattajjaa, bearing an album title of over fifty words ending in “Blessedhood”. He signed to Time-Lag records in 2008
07 March 2009
04 March 2009
Grizzly Bear
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Grizzly Bear - Veckatimest (2009)
Grizzly Bear is a Brooklyn-based indie rock band currently on Warp Records and consists of Daniel Rossen (songwriting/guitar), Ed Droste (songwriting/guitar), Chris Taylor (bass/woodwinds/electronics/vocals) and Christopher Bear (drums/vocals). The band employs traditional and electronic instruments, ranging from a recorder to a laptop, and all four members contribute vocals. Their sound is categorized as experimental rock, folk rock, or just indie rock, and is most dominated by the use of acoustic guitars and vocal harmonies. The band is one of the few non-electronic artists signed to Warp Records. Rossen is also a member of the duo Department of Eagles.
27 February 2009
The Love Language
The Love Language - The Love Language (2009)
“After three decades of sonic observation, you start to realize what really good music sounds like. You know what you like. You like the Beatles. You like Thin Lizzy. You like Stevie Wonder. The declaration, “You’ll love this band!” no longer arouses much excitement. You’ve heard thousands of bands, millions of songs, and find little incentive to embark on any audible adventure when “The Boys are Back In Town” has already been written. In terms of music, we download it, we burn it, but we rarely really listen to it. Perhaps I’m being selfish, but I listen to the Love Language because they write music I wish I’d written. I often picture myself playing these songs for some awkwardly shy, yet strikingly beautiful French girl on a jetty in Quebec, romantically duping her with my plagiarized sentiments. Dishonest, yet undeniably feasible. I could figure out those chords on guitar, and placidly convince some girl that these thoughts and feelings were my own. It’s not like trying to pass off “Blackbird” as an original composition. As you strum, you begin wishing that these poetically mundane moments were parts of your own past, until you realize that they are. That’s what the Love Language is to me: The modest declaration of the universal obvious. Songs written about apartments you’ve lived in and rotary phones that you’ve hung up. Although McLamb’s arrangements are typically overcast, each song reminds you of the towering trees that relish each falling drop. That there are winners and losers, but sometime tragedy makes the most beautiful story. After all, no one would remember the Titanic had it not sunk. That is the Love Language- the celebration of the sinking ship. Bon Voyage.” – Jon Kirby, Wax Poetics
26 February 2009
Bob Dylan and George Harrison
The Dylan Harrison Sessions (1970)
This session is from May 1970, when both artists were busy on solo projects.
Indeed Bob Dylan released two albums in 1970, 'Self Portrait' and 'New Morning', the latter proving far more popular with his critics.
George Harrison was of course working on 'All Things Must Pass' his legendary 'triple' album.
Bob Dylan co-wrote 'I'd Have You Anytime' with George Harrison, which appeared as the opening track on 'All Things Must Pass' (which also included a cover of Dylan's 'If Not For You').
These sessions may well have prompted or been a part of those developments, whatever the case, it is clear as you listen, that they were very comfortable with each other, and enjoying themselves.
This then is Bob Dylan and George Harrison's Studio Sessions at Columbia Studios B, New York, NY, on the 1st May 1970.
Indeed Bob Dylan released two albums in 1970, 'Self Portrait' and 'New Morning', the latter proving far more popular with his critics.
George Harrison was of course working on 'All Things Must Pass' his legendary 'triple' album.
Bob Dylan co-wrote 'I'd Have You Anytime' with George Harrison, which appeared as the opening track on 'All Things Must Pass' (which also included a cover of Dylan's 'If Not For You').
These sessions may well have prompted or been a part of those developments, whatever the case, it is clear as you listen, that they were very comfortable with each other, and enjoying themselves.
This then is Bob Dylan and George Harrison's Studio Sessions at Columbia Studios B, New York, NY, on the 1st May 1970.
Ribbons
Ribbons - Royals (2009)
Multi-instrumentalist, composer, and producer Jherek Bischoff has had one of the more quietly prolific careers in the last decade of independent music. He’s served as both full-time member and guest musician/arranger for experimental pop crews The Dead Science, Xiu Xiu and Parenthetical Girls, composed music for dance and orchestral performances, and elegantly produced records for many of his talented friends including Casiotone for the Painfully Alone’s critically acclaimed Etiquette and Parenthetical Girls’ Safe As Houses.
His multisyllabic musical capabilities and voracious attention to detail have lent all of these projects layers of intricate loveliness and classical drama, qualities that find full flight on Royals, the debut release from Bischoff’s solo project Ribbons.
Through various shifts in musical genre however, Royals maintains a keen focus on the observance of sheer beauty in all of its fractured, 21st century forms, and so makes a record of winningly old-fashioned emotionality.
Someone has giving this record through my email, and this is quitely great project by jherek bischoff.. thanks to beardsociety
His multisyllabic musical capabilities and voracious attention to detail have lent all of these projects layers of intricate loveliness and classical drama, qualities that find full flight on Royals, the debut release from Bischoff’s solo project Ribbons.
Through various shifts in musical genre however, Royals maintains a keen focus on the observance of sheer beauty in all of its fractured, 21st century forms, and so makes a record of winningly old-fashioned emotionality.
Someone has giving this record through my email, and this is quitely great project by jherek bischoff.. thanks to beardsociety
24 February 2009
Lambchop
Lambchop - OH (ohio) (2008)
‘OH (ohio)’ was recorded in Lambchop’s hometown Nashville, and co-produced by the group’s songwriter/vocalist/guiding force Kurt Wagner and part-time ‘Chopper Mark Nevers, at the latter’s Beech House studio. It features eleven new songs all written by Wagner, with evocative titles - like the stately soul folk of “Slipped Dissolved and Loosed,” the galloping rhythms and chiming guitar-piano interplay of “National Talk Like a Pirate Day,” and the shapeshifting, nearly funky “Popeye” - that have come to be a Lambchop hallmark.
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