Now that I've had a couple months to scurry around like a nut-hungry squirrel, buying property and touring foreign nations, it's time to catch my breath and check in again with a couple more bands discovered during the annual Lolla pilgrimage. We didn't get to catch either band full on, but snapped up the tail end of their sets coming to or from other stages. What we caught was enough to warrant further inspection, though, and after spending more time with them the last few months I'm glad I did.
First up's the twosome from LA, Papa, whose late-year debut Tender Madness is a swing for the fences affair that connects almost without fail. Chock full of earnest little gems, lead singer Darren Weiss croons tunes that dance between lovesick tenderness and belt it to the rafters passion. It's a tightly assembled effort -- there are loads of blissful melodies to lose yourself in, and Weiss' honey-laden voice matches nicely with fellow bandmate Daniel Presant as they harmonize on a handful of tracks. "Put Me To Work," "Young Rut," and "If You're My Girl, Then I'm Your Man" are runaway train anthems, while "Got To Move," "Forgotten Days," and "I Am The Lion King" -- the only carryover from their debut EP, A Good Woman is Hard to Find -- capture a languid, confident groove, surfing atop sumptuous bass lines and sparkling, bright guitar parts. The rest is just flat out prettiness -- "If The Moon Rises" and the title track chief among them -- but nothing encapsulates things better than the closing track from the aforementioned EP, "A Song for Mike Gigliotti." This mini-epic ebbs and flows from hushed ballad to frothy, frantic embrace over its brilliant six minutes. It, like the remainder of the band's efforts to date, shimmers with inviting warmth.
Next is Jungle, a somewhat mysterious collective of lads and lasses from London, who roll in with a breezy self-titled debut that smacks of all the glitz and glamor of a 70s coke party. Similar to last year's offering from Daft Punk, this one conjures up the bygone era of polyester pants and butterfly collars, but without the arch or weird flourishes that stymied that album. There's no documentary style Moroder narration, no Broadway style numbers here -- just smooth, soulful disco that whips you into motion for the album's forty minute duration. It's not a simple dance party, though, but an album that rewards repeat listening to unearth its hidden layers. There's the police sirens and talking voices backing the opening "The Heat," which brings to mind a street scene in 1970s New York with the steam coming out of the sewers and the breeze ruffling your fur collared coat under the subway tracks. There's the wind chimes chirping in the back of "Platoon" and the creaking door and floorboards of "Drops;" the finger snaps, record pops, and rolling waves of "Lucky I Got What I Want." The vocals set the tone, shifting from a Justin Vernon/Marvin Gaye croon ("Lemonade Lake," "Accelerate") to an exuberant Bee Gees style falsetto ("Julia," "Crumbler"), sometimes in the same song. It's a rich, luscious affair, and none better than lead single "Busy Earnin'," which packs a lot of magic into its scant three minutes. Check it out here:
Saturday, November 1, 2014
Saturday, August 16, 2014
Old Faithful: The Annual Lolla Roundup
As I digest the bounty of riches obtained during my annual pilgrimage home to the Temple of Lolla, wanted to offer up some initial observations for folks to try out and (hopefully) enjoy. Here's the quick and dirty on some of the instant winners:
Best in Show (Newcomers Division): The Districts and Vance Joy -- Multiple power outages during their set couldn't stop this quartet from Lancaster County, PA who left absolutely everything they had out on the stage on Day II, closing their high noon set by smashing their guitars and toppling their drum kit and leaving a bowled over crowd of new fans in their wake. Lead singer Rob Grote howled and flailed around stage, with power and without, taking the crowd through a batch of alt-folk songs that rise and fall like a country breeze before exploding into full-fledged storms. There's a ton of great tunes for such a new band -- the soulful "Lyla" and "Funeral Beds," the combustible "Call Box" and "Long Distance" (both of which screamed live), but for me nothing's better than "4&4," which is a perfect mix of their jangly country vibe and their raucous howl. Keep your eyes out for these guys if they're coming to town, and take a taste of what they have to offer here:
Australian folky Vance wasn't a discovery like the Districts -- I've been in love with his debut EP God Loves You When You're Dancing since I picked it up a few months ago -- but his performance was a confirmation that love was well-deserved. Joy's name is indicative of what his music evokes, as each track builds upon the warmth and exuberance of the last, leading to group-wide singalongs in the park. Songs like "Emmylou," "Playing With Fire," and "Snaggletooth" shine off the EP, as do songs like "Mess is Mine" from the upcoming full-length. At times, sitting in the sun in the park with Joy on stage felt like sitting around a campfire, all warmth and golden glow. With Joy's warm voice, heartfelt lyrics, and lovely ukelele, it's hard to find much to dislike, let alone not sing along with at the top of your lungs. None moreso than on lead single "Riptide," a little over three short minutes of pure, unadulterated Joy:
Best in Show (Recent Favorites Division): Parquet Courts and Run the Jewels -- For the five of you that read my annual lists, you already know the Courts and RTJ are two of my recent faves (the Courts being one of the best in many, many years -- a sentiment not dissuaded by their new album, which will undoubtedly be making its way onto this year's list. See me in January for precisely where...) RTJ was more of the unknown heading into the weekend -- only one album behind them, and the fact that virtually all rap performances I've seen are utter shit was making me a little nervous. Thankfully, though, these guys were anomalies and absolutely crushed their set in the rain. El-P and Killer Mike sounded fantastic, had tons of energy and were bounding around stage riling the crowd (which is impressive as Mike is no tiny ballerina), and the beats were absolute sledgehammers.
Same goes for the Courts, who erupted on stage with a blistering string of tracks from their new album and their flawless debut before going on (for me) a too-long meander into their slower stuff, which killed the momentum. I understand balancing your sets and wanting to give folks a breather, but they'd done such a great job working everyone into a lather this was a bit like stuffing a toddler full of cupcakes and sugar and then telling him to sit still in the corner for 30 minutes. Thankfully they ended on a high note, ripping off a string of high-octane jams that culminated in the moment I'd been most looking forward to for the festival, and a batshit crazy rendition of "Sunbathing Animal" off their new album. Two huge sets from two of my recent faves.
Best in Show (Old-timers Division): Interpol and Spoon -- These two were surprises, one because I wasn't expecting that much from them, the other because they exceeded what I was. For the former, Interpol is a band I've cooled on over the years. I saw them years ago for a birthday show in Chicago in support of their debut album, which remains one of my all-time faves, and that remains one of my favorite concert experiences. (Partly because they were playing along with my favorite band no one has ever heard of -- buy me a drink sometime and maybe I'll clue you in to who they are...) Their follow-on album Antics was pretty solid, but Our Love to Admire was a little bloated and I didn't even buy their fourth album, so I was pretty floored when they gave one of the best top to bottom performances of the weekend. There was a sense of urgency from them that I hadn't seen in years -- maybe it was partly because they were playing a greatest hits set that leaned heavily on their first two albums (I only recall one or two tracks off their forthcoming album), but they played with fire and sounded fantastic. Absolute home run.
Spoon, on the other hand, is the definition of consistency. They're one of those bands that I've always really liked, but for whatever reason never gone CRAAAAZY over, the way I have for Parquet Courts or J Roddy, say, to pick two recent headbombers. They're the sonic equivalent of apple pie, for me -- tons of people love it, and I'm probably not going to shove it away if I find it in front of me, but I'm not going to go hunt it down because IGOTTAHAVESOMERIGHTNOW! So I was surprised at how good these guys were live. They balanced their set a bit more, sampling from almost all of their eight albums while being sure to give equal footing to their most recently released material. And it all sounded great -- lead singer Britt Daniel was diffident and cool as always, but retains his killer gravelly voice, and the rest of the band played with a ton of energy, too. Maybe I will have a slice of pie, Margaret...
Best Time: Joywave and Gemini Club -- These two gave great performances on the side stages, starting dance parties in the rain, and sparked the biggest sense of deja vu from the previous year. Both gave buoyant, upbeat performances, showcasing their 80s style brand of synth pop nicely to get people moving, and because of their stages and sound called to mind two discoveries who did the same last year, Wild Cub and Atlas Genius, respectively. It's a complimentary comparison -- like those bands, these guys keep it simple, but execute it well. The NY-based Joywave offer bouncy tracks like "Golden State," "True Grit," and "In Clover," which all ride along on frontman Daniel Armbruster's high-pitched falsetto. (Who looks uncannily like a mustachioed Noonan, making it even more difficult not to love them.) "Tongues" is the standout track, both for its quirkiness and catchiness. You'll find yourself humming the melody hours after, and not hating that you are.
Hometown boys Gemini Club offer similar batches of joy and gave one of the more memorable sets of the weekend, keeping people dancing and happy in the midst of an utter deluge. Lead singer Tom Gavin belted out winners like "Sparklers," "Nothing but History," and "By Surprise," jumping out into the crowd to dance with folks in the middle of the rain. Having listened to their albums, I think they actually sound better live, as the synths were more in balance than on the recorded offerings, but still a good time however you hear em. Check out "Show my Hands" (a winner in both arenas) here:
Best Discoveries: Fly Golden Eagle and Royal Blood -- These two are slightly different, sonically, but both gave killer performances that left the tree-covered BMI stage (perennially the best at the show) a singed, smoking heap. First up are Eagle, a four-pack from Nashville that hearken back to 70s AM radio with a great classic rock vibe. Wild maned lead singer Ben Trimble's nasally falsetto flies high over the proceedings, which is an amalgam of gritty blues and redolent soul. Tracks like "Far Out," "Devil's Eye (Basilisk)," and "Bed of Roses" smolder live, while "Psyche's Dagger," and "Need Some Money" bathe you in warmth. "Violet Crown" shows them at their overall best, mixing the two to potent effect -- see for yourself here:
On the other hand, the only thing British duo Royal Blood bathe you in is a wall of scuzzy, sludgy bass and bludgeoning drums. Coming from a long line of bluesy twosomes of late (White Stripes, Black Keys, etc) what these guys do isn't complicated, but it also isn't easy to ignore. Lead singer Mike Kerr and drummer Ben Thatcher offer up a range of heavy riffs and melodies that were absolutely irresistible live. (Thatcher came off his stool several times throughout the set to more effectively annihilate his kit -- fuck. yes.) They've only released a four-track EP so far, but the rest of the material they played was equally excellent, so will definitely keep my eyes peeled for their formal debut. Tracks like "Hole" and "Out of the Black" ebb and flow nicely, while "Come on Over" is a freight train rolling downhill. Lead single "Little Monster" shows their potency well, though, building to a thunderous climax that's sure to have you thrashing. Check it out here:
Best in Show (Newcomers Division): The Districts and Vance Joy -- Multiple power outages during their set couldn't stop this quartet from Lancaster County, PA who left absolutely everything they had out on the stage on Day II, closing their high noon set by smashing their guitars and toppling their drum kit and leaving a bowled over crowd of new fans in their wake. Lead singer Rob Grote howled and flailed around stage, with power and without, taking the crowd through a batch of alt-folk songs that rise and fall like a country breeze before exploding into full-fledged storms. There's a ton of great tunes for such a new band -- the soulful "Lyla" and "Funeral Beds," the combustible "Call Box" and "Long Distance" (both of which screamed live), but for me nothing's better than "4&4," which is a perfect mix of their jangly country vibe and their raucous howl. Keep your eyes out for these guys if they're coming to town, and take a taste of what they have to offer here:
Australian folky Vance wasn't a discovery like the Districts -- I've been in love with his debut EP God Loves You When You're Dancing since I picked it up a few months ago -- but his performance was a confirmation that love was well-deserved. Joy's name is indicative of what his music evokes, as each track builds upon the warmth and exuberance of the last, leading to group-wide singalongs in the park. Songs like "Emmylou," "Playing With Fire," and "Snaggletooth" shine off the EP, as do songs like "Mess is Mine" from the upcoming full-length. At times, sitting in the sun in the park with Joy on stage felt like sitting around a campfire, all warmth and golden glow. With Joy's warm voice, heartfelt lyrics, and lovely ukelele, it's hard to find much to dislike, let alone not sing along with at the top of your lungs. None moreso than on lead single "Riptide," a little over three short minutes of pure, unadulterated Joy:
Best in Show (Recent Favorites Division): Parquet Courts and Run the Jewels -- For the five of you that read my annual lists, you already know the Courts and RTJ are two of my recent faves (the Courts being one of the best in many, many years -- a sentiment not dissuaded by their new album, which will undoubtedly be making its way onto this year's list. See me in January for precisely where...) RTJ was more of the unknown heading into the weekend -- only one album behind them, and the fact that virtually all rap performances I've seen are utter shit was making me a little nervous. Thankfully, though, these guys were anomalies and absolutely crushed their set in the rain. El-P and Killer Mike sounded fantastic, had tons of energy and were bounding around stage riling the crowd (which is impressive as Mike is no tiny ballerina), and the beats were absolute sledgehammers.
Same goes for the Courts, who erupted on stage with a blistering string of tracks from their new album and their flawless debut before going on (for me) a too-long meander into their slower stuff, which killed the momentum. I understand balancing your sets and wanting to give folks a breather, but they'd done such a great job working everyone into a lather this was a bit like stuffing a toddler full of cupcakes and sugar and then telling him to sit still in the corner for 30 minutes. Thankfully they ended on a high note, ripping off a string of high-octane jams that culminated in the moment I'd been most looking forward to for the festival, and a batshit crazy rendition of "Sunbathing Animal" off their new album. Two huge sets from two of my recent faves.
Best in Show (Old-timers Division): Interpol and Spoon -- These two were surprises, one because I wasn't expecting that much from them, the other because they exceeded what I was. For the former, Interpol is a band I've cooled on over the years. I saw them years ago for a birthday show in Chicago in support of their debut album, which remains one of my all-time faves, and that remains one of my favorite concert experiences. (Partly because they were playing along with my favorite band no one has ever heard of -- buy me a drink sometime and maybe I'll clue you in to who they are...) Their follow-on album Antics was pretty solid, but Our Love to Admire was a little bloated and I didn't even buy their fourth album, so I was pretty floored when they gave one of the best top to bottom performances of the weekend. There was a sense of urgency from them that I hadn't seen in years -- maybe it was partly because they were playing a greatest hits set that leaned heavily on their first two albums (I only recall one or two tracks off their forthcoming album), but they played with fire and sounded fantastic. Absolute home run.
Spoon, on the other hand, is the definition of consistency. They're one of those bands that I've always really liked, but for whatever reason never gone CRAAAAZY over, the way I have for Parquet Courts or J Roddy, say, to pick two recent headbombers. They're the sonic equivalent of apple pie, for me -- tons of people love it, and I'm probably not going to shove it away if I find it in front of me, but I'm not going to go hunt it down because IGOTTAHAVESOMERIGHTNOW! So I was surprised at how good these guys were live. They balanced their set a bit more, sampling from almost all of their eight albums while being sure to give equal footing to their most recently released material. And it all sounded great -- lead singer Britt Daniel was diffident and cool as always, but retains his killer gravelly voice, and the rest of the band played with a ton of energy, too. Maybe I will have a slice of pie, Margaret...
Best Time: Joywave and Gemini Club -- These two gave great performances on the side stages, starting dance parties in the rain, and sparked the biggest sense of deja vu from the previous year. Both gave buoyant, upbeat performances, showcasing their 80s style brand of synth pop nicely to get people moving, and because of their stages and sound called to mind two discoveries who did the same last year, Wild Cub and Atlas Genius, respectively. It's a complimentary comparison -- like those bands, these guys keep it simple, but execute it well. The NY-based Joywave offer bouncy tracks like "Golden State," "True Grit," and "In Clover," which all ride along on frontman Daniel Armbruster's high-pitched falsetto. (Who looks uncannily like a mustachioed Noonan, making it even more difficult not to love them.) "Tongues" is the standout track, both for its quirkiness and catchiness. You'll find yourself humming the melody hours after, and not hating that you are.
Hometown boys Gemini Club offer similar batches of joy and gave one of the more memorable sets of the weekend, keeping people dancing and happy in the midst of an utter deluge. Lead singer Tom Gavin belted out winners like "Sparklers," "Nothing but History," and "By Surprise," jumping out into the crowd to dance with folks in the middle of the rain. Having listened to their albums, I think they actually sound better live, as the synths were more in balance than on the recorded offerings, but still a good time however you hear em. Check out "Show my Hands" (a winner in both arenas) here:
Best Discoveries: Fly Golden Eagle and Royal Blood -- These two are slightly different, sonically, but both gave killer performances that left the tree-covered BMI stage (perennially the best at the show) a singed, smoking heap. First up are Eagle, a four-pack from Nashville that hearken back to 70s AM radio with a great classic rock vibe. Wild maned lead singer Ben Trimble's nasally falsetto flies high over the proceedings, which is an amalgam of gritty blues and redolent soul. Tracks like "Far Out," "Devil's Eye (Basilisk)," and "Bed of Roses" smolder live, while "Psyche's Dagger," and "Need Some Money" bathe you in warmth. "Violet Crown" shows them at their overall best, mixing the two to potent effect -- see for yourself here:
On the other hand, the only thing British duo Royal Blood bathe you in is a wall of scuzzy, sludgy bass and bludgeoning drums. Coming from a long line of bluesy twosomes of late (White Stripes, Black Keys, etc) what these guys do isn't complicated, but it also isn't easy to ignore. Lead singer Mike Kerr and drummer Ben Thatcher offer up a range of heavy riffs and melodies that were absolutely irresistible live. (Thatcher came off his stool several times throughout the set to more effectively annihilate his kit -- fuck. yes.) They've only released a four-track EP so far, but the rest of the material they played was equally excellent, so will definitely keep my eyes peeled for their formal debut. Tracks like "Hole" and "Out of the Black" ebb and flow nicely, while "Come on Over" is a freight train rolling downhill. Lead single "Little Monster" shows their potency well, though, building to a thunderous climax that's sure to have you thrashing. Check it out here:
Sunday, July 27, 2014
A Quick One, Before He's Away
Wanted to take a moment to scribble one more entry before my annual pilgrimage home for a glorious weekend of musical tapas in my beloved city by the lake. I'll check in afterwards with my usual Lolla roundup, but for now wanted to offer a bit about the great new album by Brooklyn quartet Woods, With Light and Love. The album's touchstones span genres and eras -- early Americana with some country-fried crumbles sprinkled in, 60s era Brit rock like The Byrds with a little 70s era Band or Neil Young there as well -- which lends the affair an immediately recognizable vibe. Across the album's ten songs and 40 short minutes, you'll find yourself slipping into riffs and progressions as easily and invitingly as a well-worn shoe.
Much of that has to do with lead singer Jeremy Earl's high-pitched falsetto, which wraps each song in a golden glow only augmented by the nostalgia evoked by the album's influences. The band effortlessly shifts between the latter, running through all three of them in order on the album's opening trio -- from the blissful honkytonk of "Shepherd" to the taut psychedelia of "Shining" and the smoldering jam of the title track, the band showcases an impressive range on this, their sixth album.
They continue the shifts across the remaining tracks, with high points being the radiant "New Light," whose harmonies kick in halfway through and elevate things to the atmosphere; the languid and lovely "Full Moon," which glides along on a shimmering slide guitar riff; and the elegant and stately "Leaves Like Glass," which sounds like a long lost outtake from The Last Waltz, one every bit as worthy of that legendary band's performance. Nothing tops the below track, "Moving to the Left" for me, though -- beautiful harmony and melody, simple, solid lyrics, and an overall feel that is warm, bright, and instantly familiar, much like the album that contains it. A great track on an equally great album -- check it out here:
Much of that has to do with lead singer Jeremy Earl's high-pitched falsetto, which wraps each song in a golden glow only augmented by the nostalgia evoked by the album's influences. The band effortlessly shifts between the latter, running through all three of them in order on the album's opening trio -- from the blissful honkytonk of "Shepherd" to the taut psychedelia of "Shining" and the smoldering jam of the title track, the band showcases an impressive range on this, their sixth album.
They continue the shifts across the remaining tracks, with high points being the radiant "New Light," whose harmonies kick in halfway through and elevate things to the atmosphere; the languid and lovely "Full Moon," which glides along on a shimmering slide guitar riff; and the elegant and stately "Leaves Like Glass," which sounds like a long lost outtake from The Last Waltz, one every bit as worthy of that legendary band's performance. Nothing tops the below track, "Moving to the Left" for me, though -- beautiful harmony and melody, simple, solid lyrics, and an overall feel that is warm, bright, and instantly familiar, much like the album that contains it. A great track on an equally great album -- check it out here:
Saturday, July 5, 2014
Nothing Ordinary: Lucius
Wanted to take a minute in between Cup games to throw a new log on the fire, the debut from Brooklyn quintet Lucius, Wildewoman. I've been listening to this one for months now and haven't been able to fully shake it; woke up humming a couple tracks from it again this morning, in fact. It's a beguiling mix -- at turns 60s-era girl group pop (the title track and "Hey, Doreen"), at others quiet folk spirituals ("Go Home" and "Two of Us on the Run"). Still others find you falling victim to some strange Santigold-style drive-by (the propulsive "Nothing Ordinary," for example).
What makes them all hang together -- and what makes the album so eminently memorable writ large -- are the impeccable vocal harmonies of lead singers Jess Wolfe and Holly Laessig. No matter the style, the pair's voices wind together so beautifully it's impossible not to enjoy. Guitarists Andrew Burri, Peter Lalish, and drummer Danny Molad lend to the polish and the evocative 60s atmosphere, crafting some likeable hooks and rhythms, but the ultimate draw are Wolfe's and Laessig's voices. It's a thing to behold, and an exciting sign of things to come, hopefully.
The band shows a facility moving between the disparate styles, equally at home with the more stripped down numbers as the quickfire pop blasts, and I'm looking forward to checking them out next month live at Lolla. For me, the band is at its best when it's sampling across the influences, with tracks like "Until we Get There" and "Turn it Around," which shine as amalgamations as varied as the patrons of a DC barroom. My favorite is the album's midpoint, the excellent "Tempest," which dances along on 80s synth, a simple strummed guitar, and the resonant vocals of Wolfe and Laessig. Simple, yet effective. Check it out here:
What makes them all hang together -- and what makes the album so eminently memorable writ large -- are the impeccable vocal harmonies of lead singers Jess Wolfe and Holly Laessig. No matter the style, the pair's voices wind together so beautifully it's impossible not to enjoy. Guitarists Andrew Burri, Peter Lalish, and drummer Danny Molad lend to the polish and the evocative 60s atmosphere, crafting some likeable hooks and rhythms, but the ultimate draw are Wolfe's and Laessig's voices. It's a thing to behold, and an exciting sign of things to come, hopefully.
The band shows a facility moving between the disparate styles, equally at home with the more stripped down numbers as the quickfire pop blasts, and I'm looking forward to checking them out next month live at Lolla. For me, the band is at its best when it's sampling across the influences, with tracks like "Until we Get There" and "Turn it Around," which shine as amalgamations as varied as the patrons of a DC barroom. My favorite is the album's midpoint, the excellent "Tempest," which dances along on 80s synth, a simple strummed guitar, and the resonant vocals of Wolfe and Laessig. Simple, yet effective. Check it out here:
Sunday, May 25, 2014
Time Capsule: Everything Remains the Same
It being Memorial Day I figured I'd honor the spirit of the weekend and highlight a couple bands whose music will get you reflecting upon earlier times and the people who've come and gone with them, courtesy of the throwback debuts from Temples and Foxygen. There's a lot of similarities between the two, hence my pairing them together here -- both are backward-looking time capsules that wouldn't sound out of place on AM radio in the late sixties, full of shimmering guitars, lush pop flourishes (harps, Mellotrons, etc), and catchy, lovely melodies that paint the room with sunshine.
Both albums are best consumed in their entirety, as the song cycles and tonal shifts flow into each other nicely, leaving the listener with a more satisfying meal at the end than is possible snacking on the songs one at a time. Which is not to say the songs can't stand on their own -- between the two albums there really isn't a weak song in the bunch -- it's just that the experience is all the more transportive if digested as a whole. And both albums are also immediately evocative of bands that came before -- for Temples the itch is primarily of fellow Britons The Byrds (along with more modern purveyors/replicators Kula Shaker), while Foxygen's parallel is undeniably The London Years-era Rolling Stones. In fact, for the latter, lead singer Sam France's voice at times sounds so similar to early-era Jagger that it's uncanny -- you think you've landed in some treasure trove of lost Stones classics rather than new songs from a completely different (modern) band.
Which is all to say, somewhat unsurprisingly considering those parallels, these are both really great little albums. Temples' debut (Sun Structures) tips more towards the psychedelic pop side of the spectrum, with its reverb-laden guitars and vocals, tripped-out lyrics, and Indian influences characteristic of the era. From the shimmery lead single (and album opener) "Shelter Song" to similar gems "The Golden Throne," "Keep in the Dark," and "The Guesser," there's a warmth and sheen that permeates proceedings and casts a metaphorical glow. (The lyrics and song titles lend to the effect too, with their repeated references to gold, light, sun, and color.)
Foxygen tips more towards the bluesy end of the spectrum with their stellar debut, We are the 21st Century Ambassadors of Peace and Magic, mixing in healthy doses of pop for good measure. (Don't let the clunky title throw you -- I promise the album's worth it.) They waste no time showing off those capabilities, with the album's first two songs album showing both sides in sequence. The album opens with the latter first (the shiny "In the Darkness") before showing off their bluesy swagger with the devastating "No Destruction," which is five minutes of pure perfection. France's vocals there start like someone who's barely awake, but as the song builds he rouses himself into a fervor, like Jagger at his finest.
What follows dances between these two poles (throwing in the random surfer guitar instrumental ("Bowling Trophies") for good measure) -- tracks like "San Francisco" and "Shuggie" are classic 60s pop, while "On Blue Mountain" and the title track show off a little muscle. (And tracks like "Oh Yeah" walk the line between the two.) All of it hands together nicely, though. Their debut clocks in at about half the duration of Temples', so definitely leaves you wanting more, but what's present still gives you plenty to chew on over repeated listens.
Two solid debuts from two bands who will transport you back in time -- check out "Shelter Song" from Temples and "No Destruction" from Foxygen to see for yourself:
Both albums are best consumed in their entirety, as the song cycles and tonal shifts flow into each other nicely, leaving the listener with a more satisfying meal at the end than is possible snacking on the songs one at a time. Which is not to say the songs can't stand on their own -- between the two albums there really isn't a weak song in the bunch -- it's just that the experience is all the more transportive if digested as a whole. And both albums are also immediately evocative of bands that came before -- for Temples the itch is primarily of fellow Britons The Byrds (along with more modern purveyors/replicators Kula Shaker), while Foxygen's parallel is undeniably The London Years-era Rolling Stones. In fact, for the latter, lead singer Sam France's voice at times sounds so similar to early-era Jagger that it's uncanny -- you think you've landed in some treasure trove of lost Stones classics rather than new songs from a completely different (modern) band.
Which is all to say, somewhat unsurprisingly considering those parallels, these are both really great little albums. Temples' debut (Sun Structures) tips more towards the psychedelic pop side of the spectrum, with its reverb-laden guitars and vocals, tripped-out lyrics, and Indian influences characteristic of the era. From the shimmery lead single (and album opener) "Shelter Song" to similar gems "The Golden Throne," "Keep in the Dark," and "The Guesser," there's a warmth and sheen that permeates proceedings and casts a metaphorical glow. (The lyrics and song titles lend to the effect too, with their repeated references to gold, light, sun, and color.)
Foxygen tips more towards the bluesy end of the spectrum with their stellar debut, We are the 21st Century Ambassadors of Peace and Magic, mixing in healthy doses of pop for good measure. (Don't let the clunky title throw you -- I promise the album's worth it.) They waste no time showing off those capabilities, with the album's first two songs album showing both sides in sequence. The album opens with the latter first (the shiny "In the Darkness") before showing off their bluesy swagger with the devastating "No Destruction," which is five minutes of pure perfection. France's vocals there start like someone who's barely awake, but as the song builds he rouses himself into a fervor, like Jagger at his finest.
What follows dances between these two poles (throwing in the random surfer guitar instrumental ("Bowling Trophies") for good measure) -- tracks like "San Francisco" and "Shuggie" are classic 60s pop, while "On Blue Mountain" and the title track show off a little muscle. (And tracks like "Oh Yeah" walk the line between the two.) All of it hands together nicely, though. Their debut clocks in at about half the duration of Temples', so definitely leaves you wanting more, but what's present still gives you plenty to chew on over repeated listens.
Two solid debuts from two bands who will transport you back in time -- check out "Shelter Song" from Temples and "No Destruction" from Foxygen to see for yourself:
Saturday, April 26, 2014
Songs of the South
Based on the response to my last post (a whole TWO people read it that aren't planning to marry me! I'm positively drowning in fan mail now!) I thought we'd start this one with another One You Should Know, this time for the enigmatic threesome The Devil Makes Three. Sonically, there's nothing amiss -- a couple acoustic guitars, a string bass, and a bunch of catchy, singalong tunes to harmonize with. Throw in the occasional fiddle, some banjo, and a jug in the back and you've got yourself a good ole time. What's strange is that you wouldn't necessarily expect a trio of New Englanders in a California band to make such solid Southern music. Truth is stranger than fiction, though, and just like another legendary band that could instantly conjure the depths of the bayou from the California sun (Creedence), these guys deliver in spades.
Four albums in at this point -- including their most recent gem, I'm a Stranger Here, released late last year -- the band creates a vivid atmosphere, full of songs about fall-down drinking, storms a-brewing, and doom come judgment day. All the quintessential Southern themes are here, in rich, three-part harmony -- love, the Lord, bourbon, and signs of ill portent everywhere you look. It's a potent brew, one that works on the porch with a julep as well as it does at the 'tonk with a whiskey and a beer. (Or at the concert hall with all three, if you're lucky enough to catch them live -- I saw them several years ago in Chicago and loved em at the outset.)
Below represents some of my favorites from their four albums, showing off the range of their charm and talent. They're in no particular order -- just four from each of the albums, from oldest on -- so stick em on shuffle and get ready to ramble.
The Devil Makes Three
1. Shades (The Devil Makes Three)
2. Old Number Seven
3. To the Hilt
4. Nobody's Dirty Business
5. Man Tap (Longjohns, Boots, and a Belt)
6. Sweeping
7. Judgment Day
8. Tow
9. All Hail (Do Wrong Right)
10. Gracefully Facedown
11. For Good Again
12. Poison Trees
13. Forty Days (I'm a Stranger Here)
14. Dead Body Moving
15. Hand Back Down
16. Mr. Midnight
---------------------------------
I'm not sure what it is lately -- whether it's a response to my ongoing hatred of the self-important assholes surrounding me in DC, or a resurgence of my Midwestern by way of the South upbringing coming out in my old age -- but I've been fixating on the low country the last few months. (Maybe it's spending 70+ hours a week with two of the finest rednecks I've had the pleasure of knowing, too.) Either way, I've been captivated by the South of late, so wanted to throw a couple more from down in the holler out there for your enjoyment.
First up is New Orleans' Hurray for the Riff Raff and a tune from their fourth album, Small Town Heroes, which was released early this year. Consisting of frontwoman Alynda Lee, drummer Yosi Pearlstein, and bassist David Maclay, the trio specializes in folky blues -- nothing elaborate, nothing fussy, just simple, honest tunes built around Lee's lovely voice. The album strikes a slightly more somber tone than early offerings -- there's still uptempo winners like opener "Blue Ridge Mountain," "End of the Line," and "I Know it's Wrong (But That's Alright)" -- but the bulk of the album strikes a more melancholic note.
Which suits the band just fine -- Lee's voice is warm and inviting, even in the darkness, like an ember in the firepit while the wind howls around you. Tracks like "Crash on the Highway," "Good Time Blues (An Outlaw's Lament)," and "The Body Electric" all shine in spite of the lyrics threaded with black. Nothing's better in that vein than the spare "The New SF Bay Blues," which is primarily Lee, her guitar, and acres of space. You can picture her singing the hushed lullaby on a moonless night, her honey-dripped tones wafting off the porch like fireflies alight on the summer breeze. It's a great tune on an overall solid album. Check it out here:
We'll close with a little more Southern hospitality, this batch courtesy of the Kentucky quartet Houndmouth, who fill their debut album From the Hills Below the City with a dozen tracks that'll have you singing along with them in no time. Chock full of three-part harmonies and belt it to the rafters choruses, there's nothing fancy going on here -- the album is part of the neo-Southern revival hastened by bands like the Alabama Shakes and the Lumineers -- but like those bands' offerings, there doesn't need to be. Not when what's given is so good. From the opening notes of lead track "On the Road," you're pretty well done. What follows is the slow burn of "Come On, Illinois," the grand swell of "Penitentiary," the bluesy twang of "Ludlow," "Houston Train," and "Comin' Round Again," all of which shine even on withering repeat. (Which is what I've been subjecting them to.)
A perfect culmination comes in the smoldering "Krampus," which starts with a simple fingerpicked guitar and vocal and slowly adds in harmonies and instruments from the other band members, building to a climax with the soaring chorus. Simple, winning, and oh-so effective. This song, like the rest of the album around it, will leave you eager for what the band turns out next. Keep your eyes peeled...
Four albums in at this point -- including their most recent gem, I'm a Stranger Here, released late last year -- the band creates a vivid atmosphere, full of songs about fall-down drinking, storms a-brewing, and doom come judgment day. All the quintessential Southern themes are here, in rich, three-part harmony -- love, the Lord, bourbon, and signs of ill portent everywhere you look. It's a potent brew, one that works on the porch with a julep as well as it does at the 'tonk with a whiskey and a beer. (Or at the concert hall with all three, if you're lucky enough to catch them live -- I saw them several years ago in Chicago and loved em at the outset.)
Below represents some of my favorites from their four albums, showing off the range of their charm and talent. They're in no particular order -- just four from each of the albums, from oldest on -- so stick em on shuffle and get ready to ramble.
The Devil Makes Three
1. Shades (The Devil Makes Three)
2. Old Number Seven
3. To the Hilt
4. Nobody's Dirty Business
5. Man Tap (Longjohns, Boots, and a Belt)
6. Sweeping
7. Judgment Day
8. Tow
9. All Hail (Do Wrong Right)
10. Gracefully Facedown
11. For Good Again
12. Poison Trees
13. Forty Days (I'm a Stranger Here)
14. Dead Body Moving
15. Hand Back Down
16. Mr. Midnight
---------------------------------
I'm not sure what it is lately -- whether it's a response to my ongoing hatred of the self-important assholes surrounding me in DC, or a resurgence of my Midwestern by way of the South upbringing coming out in my old age -- but I've been fixating on the low country the last few months. (Maybe it's spending 70+ hours a week with two of the finest rednecks I've had the pleasure of knowing, too.) Either way, I've been captivated by the South of late, so wanted to throw a couple more from down in the holler out there for your enjoyment.
First up is New Orleans' Hurray for the Riff Raff and a tune from their fourth album, Small Town Heroes, which was released early this year. Consisting of frontwoman Alynda Lee, drummer Yosi Pearlstein, and bassist David Maclay, the trio specializes in folky blues -- nothing elaborate, nothing fussy, just simple, honest tunes built around Lee's lovely voice. The album strikes a slightly more somber tone than early offerings -- there's still uptempo winners like opener "Blue Ridge Mountain," "End of the Line," and "I Know it's Wrong (But That's Alright)" -- but the bulk of the album strikes a more melancholic note.
Which suits the band just fine -- Lee's voice is warm and inviting, even in the darkness, like an ember in the firepit while the wind howls around you. Tracks like "Crash on the Highway," "Good Time Blues (An Outlaw's Lament)," and "The Body Electric" all shine in spite of the lyrics threaded with black. Nothing's better in that vein than the spare "The New SF Bay Blues," which is primarily Lee, her guitar, and acres of space. You can picture her singing the hushed lullaby on a moonless night, her honey-dripped tones wafting off the porch like fireflies alight on the summer breeze. It's a great tune on an overall solid album. Check it out here:
We'll close with a little more Southern hospitality, this batch courtesy of the Kentucky quartet Houndmouth, who fill their debut album From the Hills Below the City with a dozen tracks that'll have you singing along with them in no time. Chock full of three-part harmonies and belt it to the rafters choruses, there's nothing fancy going on here -- the album is part of the neo-Southern revival hastened by bands like the Alabama Shakes and the Lumineers -- but like those bands' offerings, there doesn't need to be. Not when what's given is so good. From the opening notes of lead track "On the Road," you're pretty well done. What follows is the slow burn of "Come On, Illinois," the grand swell of "Penitentiary," the bluesy twang of "Ludlow," "Houston Train," and "Comin' Round Again," all of which shine even on withering repeat. (Which is what I've been subjecting them to.)
A perfect culmination comes in the smoldering "Krampus," which starts with a simple fingerpicked guitar and vocal and slowly adds in harmonies and instruments from the other band members, building to a climax with the soaring chorus. Simple, winning, and oh-so effective. This song, like the rest of the album around it, will leave you eager for what the band turns out next. Keep your eyes peeled...
Saturday, March 22, 2014
One You Should Know: J Roddy Walston & the Business
In honor of the madness for which this month is known, I thought I'd break with the tradition of the past few years and post something outside the year in review. And to double the insanity I thought I'd dust off one of my favorite old formats, the titular form meant to showcase bands that are too good to ignore anymore and come with a helpful setlist highlighting the best the band can do.
The band good enough to make me break my vow of silence is the fantastic four piece from Baltimore (by way of Chattanooga) J Roddy Walston & the Business. Harnessing the chicken-fried vibe of their former environs while armoring it with the no-nonsense attitude of their current home, these guys bowl you over like a pissed off biker at a honkytonk. I had the pleasure of catching them live last month and probably would have liked them anyway, for not only was the concert free, but the BEER was too. (Thanks, Lagunitas!) Thankfully these guys seemed even more determined to wow as a result, and they definitely got folks to shut up and start moving during a positively blistering set. (Prompting some in the crowd to even start circle dancing around folks like mildly inebriated predators.)
Whether you get to see them live or not (and if given the option I highly recommend you do), it's easy to see why these guys have earned such a rabid following -- a point hopefully evidenced by the selections below. The band is three albums in at this point, and they've sharpened their attack to near lethal effect from 2007's Hail Mega Boys. That album was a more straightforward mix of Southern rock and shambling piano -- which is not to intimate it was simple. Songs like "Rock and Roll the Second," "Go For It," and "Used to Did" (among the others below) all had you reaching for the volume and bellowing along.
This year's release, Essential Tremors -- to say nothing of their near flawless self-titled album in between -- unleashed something different, though. There's still the irresistible alchemy of barroom blues and Zeppelin-style riffs and swagger, but they've concentrated it to such a degree it's potent enough to liquidate your brain at times. There are plenty of examples, lots of them in the below -- "Caroline," "Brave Man's Death," and top two favorite "Pigs and Pearls" represent the former, belt them to the rafters barnburners, while "Don't Break the Needle," "Don't Get Old," and "Sweat Shock" (among so many others) showcase the latter, blow out your speakers and maybe start a fist fight (or start circle dancing) ragers.
Nothing does it better than "Heavy Bells," though -- a perfect distillation of both categories that is so good it snaps something in your brain and makes you a maniac damn near every time you hear it. It's a song that's honestly so good I can't say enough positive things about it, but am also reluctant to talk about it for fear of ruining it forever. Suffice it to say it blew my brain apart the first time I heard it and made me a J Roddy acolyte instantly (and it made a room full of grownups lose their fucking MINDS when they played it live last month). So hopefully you'll find it to your liking.
It -- and the rest of the Business' best (five from each of their three albums) -- are arranged for your enjoyment below:
J Roddy Walston & the Business --
1. Don't Break the Needle (J Roddy Walston & the Business)
2. Marigold (Essential Tremors)
3. Used to Did (Hail Mega Boys)
4. Heavy Bells (Essential Tremors)
5. Sweat Shock (Essential Tremors)
6. Don't Get Old (J Roddy Walston & the Business)
7. I'll Tell You What (Hail Mega Boys)
8. Take it as it Comes (Essential Tremors)
9. Nineteen Ought Four (Hail Mega Boys)
10. Midnight Cry (Essential Tremors)
11. Brave Man's Death (J Roddy Walston & the Business)
12. Caroline (J Roddy Walston & the Business)
13. Go Malachi (Hail Mega Boys)
14. Sally Bangs (Hail Mega Boys)
15. Pigs & Pearls (J Roddy Walston & the Business)
----------------------------
One other treat before I run out again for who knows how long. As if the aforementioned Roddy concert wasn't good enough (did I mention the free beer? I mean c'mon, people!), I also was treated to a great discovery with the opening act, Low Cut Connie, whose boozy mix of shambling piano, howling group vocals, and vintage rock and roll was enough to wow even without all the other pluses that night. Their 2012 album, Call Me Sylvia, is a fun medley of the above, showcasing the band's rotating arsenal of vocalists and sounds. There's the Buddy Holly vibe of tracks like "Brand New Cadillac," the surfer rock of "Don't Cry Baby Blue," the Meters/Dirtbombs funk of "Pity Party," and the glammy punch of the title track.
Lead single "Boozophilia" is the best among equals, though, a high energy romp from Philly to my beloved city by the lake that'll have you singing along with the boys in no time. Check it (and the album writ large) out here:
The band good enough to make me break my vow of silence is the fantastic four piece from Baltimore (by way of Chattanooga) J Roddy Walston & the Business. Harnessing the chicken-fried vibe of their former environs while armoring it with the no-nonsense attitude of their current home, these guys bowl you over like a pissed off biker at a honkytonk. I had the pleasure of catching them live last month and probably would have liked them anyway, for not only was the concert free, but the BEER was too. (Thanks, Lagunitas!) Thankfully these guys seemed even more determined to wow as a result, and they definitely got folks to shut up and start moving during a positively blistering set. (Prompting some in the crowd to even start circle dancing around folks like mildly inebriated predators.)
Whether you get to see them live or not (and if given the option I highly recommend you do), it's easy to see why these guys have earned such a rabid following -- a point hopefully evidenced by the selections below. The band is three albums in at this point, and they've sharpened their attack to near lethal effect from 2007's Hail Mega Boys. That album was a more straightforward mix of Southern rock and shambling piano -- which is not to intimate it was simple. Songs like "Rock and Roll the Second," "Go For It," and "Used to Did" (among the others below) all had you reaching for the volume and bellowing along.
This year's release, Essential Tremors -- to say nothing of their near flawless self-titled album in between -- unleashed something different, though. There's still the irresistible alchemy of barroom blues and Zeppelin-style riffs and swagger, but they've concentrated it to such a degree it's potent enough to liquidate your brain at times. There are plenty of examples, lots of them in the below -- "Caroline," "Brave Man's Death," and top two favorite "Pigs and Pearls" represent the former, belt them to the rafters barnburners, while "Don't Break the Needle," "Don't Get Old," and "Sweat Shock" (among so many others) showcase the latter, blow out your speakers and maybe start a fist fight (or start circle dancing) ragers.
Nothing does it better than "Heavy Bells," though -- a perfect distillation of both categories that is so good it snaps something in your brain and makes you a maniac damn near every time you hear it. It's a song that's honestly so good I can't say enough positive things about it, but am also reluctant to talk about it for fear of ruining it forever. Suffice it to say it blew my brain apart the first time I heard it and made me a J Roddy acolyte instantly (and it made a room full of grownups lose their fucking MINDS when they played it live last month). So hopefully you'll find it to your liking.
It -- and the rest of the Business' best (five from each of their three albums) -- are arranged for your enjoyment below:
J Roddy Walston & the Business --
1. Don't Break the Needle (J Roddy Walston & the Business)
2. Marigold (Essential Tremors)
3. Used to Did (Hail Mega Boys)
4. Heavy Bells (Essential Tremors)
5. Sweat Shock (Essential Tremors)
6. Don't Get Old (J Roddy Walston & the Business)
7. I'll Tell You What (Hail Mega Boys)
8. Take it as it Comes (Essential Tremors)
9. Nineteen Ought Four (Hail Mega Boys)
10. Midnight Cry (Essential Tremors)
11. Brave Man's Death (J Roddy Walston & the Business)
12. Caroline (J Roddy Walston & the Business)
13. Go Malachi (Hail Mega Boys)
14. Sally Bangs (Hail Mega Boys)
15. Pigs & Pearls (J Roddy Walston & the Business)
----------------------------
One other treat before I run out again for who knows how long. As if the aforementioned Roddy concert wasn't good enough (did I mention the free beer? I mean c'mon, people!), I also was treated to a great discovery with the opening act, Low Cut Connie, whose boozy mix of shambling piano, howling group vocals, and vintage rock and roll was enough to wow even without all the other pluses that night. Their 2012 album, Call Me Sylvia, is a fun medley of the above, showcasing the band's rotating arsenal of vocalists and sounds. There's the Buddy Holly vibe of tracks like "Brand New Cadillac," the surfer rock of "Don't Cry Baby Blue," the Meters/Dirtbombs funk of "Pity Party," and the glammy punch of the title track.
Lead single "Boozophilia" is the best among equals, though, a high energy romp from Philly to my beloved city by the lake that'll have you singing along with the boys in no time. Check it (and the album writ large) out here:
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