Tag: #hamiltonleithauser

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Bracket Busting with Bobby: A Sweet Sixteen of Spring Cleaning

In honor of March Madness and the laundry list of places targeted in the President’s big announcement this week I thought it was time to check in and offer a series of recommendations to fill up your free time. As in both those instances there are a lot of entrants, some of varying degrees of merit, and thanks to the Spots cutting the number of bands you can see in your history at any one time I need to write about them because they keep falling off the edge into oblivion, so consider this both a public service and an act of self-preservation, otherwise I’d forget about them. (Sadly all bands mentioned will also be hit with tariffs, as is mandatory practice now…)

Since there are so many and the consistency of the albums is so varied we won’t spend equal time on all of them — in some cases just a quick score check and highlight before flitting off to another game — but wanted to give each their moment in the sun(shine), as most won’t be making it to the championship. (My beloved year end list!) That said, there’s still plenty of goodness to enjoy, so wanted to focus on the bright spots and share since I’m sure we could all use a little more joy in our days right now… We’ll start with the lower seeds and work our way up, building in quality and impact as we go, so without further ado, bring on the brackets!

The first pairing is of a couple of quiet singer/songwriters whose last albums landed on my vaunted year end list — both in 2023. One landed at number 10, the other landed in a three way tie at the top (!), so I was excited to hear they both had new offerings in store for us. Unfortunately, both are a bit too monochromatic for my tastes this time with the songs bleeding into each other in an indiscernible heap. The two artists are the UK’s Charlie Cunningham and hometowner Sofia Jensen, aka Free Range, and while both albums give you more of what worked so well on the last ones — “another elegant mix of piano, acoustic guitar, and quiet, contemplative lyrics of love and faith,” to cite myself — the distinctions between those items (and songs) isn’t as sharp. Don’t get me wrong, both albums are quite calming and pretty — nothing to sneeze at these days, believe me — but I found myself struggling to latch on to any particular item within them, be it a melody or a song, to give me purchase and call me back. Maybe that’ll change over time, but as of now I found both to be a bit of a blur and thus a little letdown. (A theme with a lot of these former list makers, as you’ll soon see…) Check out my two favorites, though, and see if you get better footing than I have so far — “New Symmetry” from Cunningham and “Big Star” from Free Range:


We’ll stay in the shade of similarity and another pair of albums that suffer a bit for their homogeneity. They’re from another two artists I’ve written about before, and while they haven’t yet made their way onto a year end list, I consider both exciting finds and have really enjoyed listening to their stuff. We’ll start with the Bozeman-based Richy Mitch and the Coal Miners, as their latest suffers from the same malady as the last two. The album (Colorado’s On Fire Again) is their fourth overall and their first since 2019’s Subliming, and it’s another dreamy mix of echoey vocals, 80s-style guitar, and delicate piano and acoustic parts. The songs are mostly suites here, sketches that shift from melody to melody like half-formed thoughts flitting through your brain. Because of that and how far back in the mix the instruments are, everything has this gauzy feel to it, like you’re hearing it half awake or through the walls to the apartment next door. It makes it hard to differentiate one song/thought from the other and as a result everything blurs together in an admittedly pleasant haze, as if rising from a nap on a warm summer day. You’re not going to get any of them stuck in your head and say “oh I love that song!” like “Lake Missoula” or “St. Paul” off previous albums. That said, there’s plenty of prettiness to lose yourself in, if nothing else to inspire one of those cozy midafternoon naps, perhaps — check out one example, “El, Imponderable,” here:


Their slotmate is Birmingham’s Will Stewart, back with his fourth album, Moon Winx, his first since last year’s very cool homage to Morphine on the 90 Acre Farm covers EP.  While the previous band suffered a bit from their songs bleeding together in mood and mixing, Stewart’s do so more from tempo and balance. He remains something of a shapeshifter overall, this time offering us a mix of Petty, Uncle Tupelo, and even some glimmers of Gin Blossoms’ jangle on the album’s energetic tracks. Unfortunately those are balanced out with far more muted (and numerous) meditations that weigh things down a bit too much. They’re all perfectly pleasant slow songs (songs like “Roxy Blue” and “Late for the Banquet” are both touching tunes about love and addiction), but they bog things down a bit compared to those energetic highs and smother some of Stewart’s most attractive elements. Overall it’s still a pretty solid listen, I just found myself wanting more of the bright, effervescent tunes since they showcase his many strengths best. Check out a case in point, current fave “Bird in the Hand,” here:


We’ll shift from the similarity theme to a pair of albums that have plenty of variety and share a somewhat Southern feel — along with a #fridayfreshness crown from our sister site on the ‘Gram, which is how I discovered both acts. The first is former Chicagoan (and current Angelino) Truman Sinclair who recently released his debut album American Recordings. Its lead single “Chicago Flood” won the aforementioned crown with its glimmers of Peter Gabriel and it’s joined here by a handful of tracks which call to mind other heavy hitters.  There’s the strong Neil Young vibes of “Bloodline” with its harmonica bridge (or the folksy epic “Joel Roberts,” which has a nice finger-plucked banjo accompaniment), as well as hints of REM on the ode to his friend “Frank” with its mandolin or Counting Crows on the boisterous “Mary.” Sinclair moves quickly, hopping from touchstone to touchstone like a frog across a river, and the album itself lasts but a brief half hour. It’s a promising start (or continuation if you’ve enjoyed his earlier EPs and singles, as I have) — check out the outlaw epic “Joel Roberts” here:


Sinclair is joined in this slot by South Carolina’s Bear Rinehart, better known as Wilder Woods, who’s back with his third solo album, Curioso. It’s been two years since his last one (2023’s FEVER / SKY) and it finds him in an upbeat mood, jumping from sound to sound almost as frequently as Sinclair. There’s the furious Strokes-style guitars in opening “Swimming in the Ocean” and the Wilderado-inflected “Hide Anymore,” the proto-soul of “Time on our Hands” (which sports a solid cameo from MMJ astronomer Jim James — more on him in a bit), and the semi-tribal jungle vibe of “Where Do We Go From Here.” There’s more standard country pop like “Love Last” and the bluesy rumble of “Devil in my Eyes” as well, rounding out the array. Contrary to the previous slot’s Stewart, the softer moments are the ones that send things over the top here, from the breezy beauty “Kind of Magic” to the duo of damsel duets that are the album’s high points — the closing “Wild Fire” with Maggie Rogers and the lights out “Offering” with Anna Graves, which won a #FF crown recently over on the ‘Gram. The latter is so good it’s worth anointing again here: bliss out on its beauty here:


The next bracket is another set of solo shapeshifters, only minus the Southern feel this time. One’s a ‘Gram-mar champion and the other a ‘Spots spillover, my two most reliable ways to find music these days. The first is the former, Nashville singer/songwriter Max Helgemo, whose real self is almost impossible to pick up as you listen to his songs, like a watermelon seed sitting on the linoleum — there’s bits of Shakey Graves (“Taken for a Spin”), Andy Shauf (“Pretty, Pretty,” “You in Mind”), Pete Yorn (“Back at You,” “Uncovered”), and Rufus Wainwright (“Kylie”), but somehow they all work for him.  His debut album Looking for an Island came out two years ago and it’s a pretty solid listen, as is his EP New License, which preceded it by three years. Helgemo has recently released a few singles (one of which took the crown over on the ‘Gram) hinting at a hopefully inbound sophomore album, but in the meantime give the lush, melancholic “Spin,” which kicks off his first one, a try here:


Helgemo’s slotmate is Philly singer/songwriter Jordan Caiola who performs as a solo artist under his last name, in addition to fronting the feel good band Mo Lowda & the Humble. He’s released a handful of albums under each guise (two as the former, four as the latter), but the one that’s been spinning on endless repeat lately is his solo album from last year, This Could be Everything. It’s got hints of Noah Kahan on there, singing about the woods and cicadas, as well as Bon Iver and Kings of Leon. (The latter being probably the most prominent echo, both here and on his band’s albums, for how closely his voice mirrors that of Kings frontman Caleb Followil’s.) The songs are really catchy, with Caiola’s voice and a slew of winning melodies drawing you in. Tracks like “Warning Streets” (with phellow Philly phrontman Barney Cortez), “Driving in After You,” and “Los Angeles” all lodge themselves firmly in your brain, as do the aforementioned Kahan-inspired tunes “NY Woods” and “Year of the Cicadas.” My current fave among many is the quiet beauty “Fuji Harvest,” which is just Caiola and an acoustic, softly breaking your heart. Give it a listen here:


The next bracket contains a pair of folkies, one introduced to me courtesy of fan mail, the other the aforementioned #fridayfreshness competition. Both are known for their spare, simple melodies and warm, inviting voices, and I had the privilege of seeing them play together recently at an intimate little show that nearly rocked the crowd to sleep with their soft, soothing lullabies. (I spent the majority of the show with my eyes closed, just letting the words wash over me as I fervently fought actually nodding off.) The headliner that night was Jeffrey Martin, the bearded bard from Portland who my right fielder recommended to me several months ago (apparently he’s big among the softballing community from Seattle) and Martin’s lightly gruff voice and storytelling won me over.  He’s released four albums and an EP since getting started in 2009, the last coming two years ago (the solid Thank God we Left the Garden), and he spent several years as a teacher in extremely rural Alaska before doing this. (Which probably gave him the quiet patience and introspective exhaustion he exudes both on stage and in his songs.) His voice reminds me a bit of David Gray and it weaves the same magic, drawing you into his lyrics before pushing you back against the wall when it starts booming. The track “Paper Crown” off his last album was one of the highlights of the show and is a current fave — give it a try here:


While Martin may have had top billing I was most excited to see his opener, Durham’s Lou Hazel, whose debut album Riot of the Red came out last month. Its lead single (the title track) was the one that caught my ear and won a recent #FF competition, which sent me down a rabbithole listening to both it and his earlier EP, 2020’s Carolina (Out of my Mind), on repeat. Hazel might not have as much material as Martin yet, but what he has is every bit as good. He recorded the album a full four years ago, but wasn’t able to release until this year for whatever reason. (He was working as guitar tech for another band and it sounds like that and some label struggles prevented it from seeing the light until now.) It was definitely worth the wait, though, as it’s packed with really good songs. Hazel’s voice flickers between Dylan and Paul Simon while his lyrics explore similar inspirations as those legends, being filled with images of nature and the working man’s world — nothing fancy or forced, just simple slices of regular life. Hazel (not his real name) is an interesting guy, judging just by his banter on stage at the show — his close friend currently lives in a haunted bowling alley in small town Pennsylvania (he’s trying to refurbish it), he makes faces out of mushrooms and plant life while wandering in the woods (he then sells them on t-shirts and merch at his shows), and he’s wary of crows, who he thinks might be following him. (He threw a rock at them once as a child, an act that allegedly sparked this decades-long tension.) His quirkiness is pretty winning, though, and his confessional demeanor won the crowd over, quickly forgiving him when he made a couple mistakes and had to restart (and then abandon) one of the songs in his short set. (He was pretty sick and admitted he was hopped up on Theraflu, but otherwise sounded fantastic.) The song he screwed up just happened to be my favorite on the album, but the rest of his set was so good it didn’t matter. Give “Little Peace” a listen here and enjoy:

The next bracket is for a pair of grizzled veterans and two artists who rank among my faves, both having shown up repeatedly here over the years.  The first, Hamilton Leithauser, formerly fronted the beloved Walkmen, who were routine guests on my year end lists and had two show up on my best of the last 15 celebration (landing at #3 in 2010 and #4 in 2008), while the second, Guided by Voices, are almost perennial participants, often having multiple albums land there in a single year.  (They’ve done so the last six years in a row, landing at #9 last year, #4 in 2023, #6 in 2022, etc etc etc…) Both are back with kitchen sink affairs, throwing a bunch of new elements in the mix to broaden their sound (and maybe keep themselves interested, at least for the latter), but unfortunately it’s not always for the better.

Ham delivers the stronger of the two, back for the first time in five years with his fourth solo album. In the years since 2020’s The Loves of Your Life he’s reunited his old band for a series of successful tours (I got a chance to attend and was impressed with how well they approximated the heat of their heyday) and tinkered with the songs here, some of which he’s reportedly been working on for the last eight years. There’s a little bit of everything in here and that somewhat haphazard approach to instrumentation and accompaniments means the album is a little tough to pin down. There’s 60s-style “do dos” on “Fists of Flowers” (one-upping itself in the following song with “do do dos” on “Burn the Boats,” along with annoying phaser style sound effects), there’s sax on “Ocean Roar,” there’s marimba and horns on “What Do I Think?” It’s a lot less of the Sinatra-style crooner he’d been showing on some of his earlier albums, but it still leaves me longing for his old band more than anything else. I appreciate that he’s still out there (and I still love his voice when it’s in full throat), the songs just don’t resonate with me like they used to, for whatever reason. “Knockin Heart” is a straightforward fave, though (along with the majestic title track), one that gives you glimmers of that rowdy former self. Give it a listen here:


For the other half of the bracket the relentlessly productive dudes from Dayton GBV offer another sprawling affair, packed with 17 tracks that are a bit more experimental than their recent outings, taking you back to their earlier lo-fi pastiches. Dr Bob gives us a slew of atonal vocals and other elements this time — UFO-sounding phaser waves on “Driving Time,” strings on “Great Man,” Mellotron on “Dawn Believes.” There’s even folky instrumentals as on “The Well Known Soldier” and a Flamenco vibe on “Fran Cisco.” For some reason, though, they ditch most of the hooks that have been in such abundance of late. Pollard said he deliberately stripped the songs back a lot to limit repetition and give listeners a “wild ride” so they’d have to revisit them multiple times to fully appreciate them, but for me the fact that so many songs are missing those melodic bits to latch onto it makes it difficult to want to. There are a few exceptions (the aforementioned “Great Man” and “Fran Cisco” being two) but for the first time in a LONG time I find myself uninterested in going back to this one. We’ll see if that changes as the year transpires, but as of now it seems like the six year streak might sadly be done, unless they salvage things with another album later in the year. In the meantime, check out “Hers Purple,” a winning little blip in an otherwise bleak sea:

The next bracket is for another pair of acts I’ve written about multiple times, with both having landed in that fabled fairground of the year end celebrants. The UK’s Doves last did so five years ago with their album The Universal Want, which landed at #11 on that year’s list. Since that time lead singer Jimi Goodwin said he will no longer tour with the band in order to protect his mental health (the Williams brothers will carry on without him, handling the vocals best they can on the road), but beside that things seem fine for the most part. There’s a couple hints of dissonance (the space age squiggles and theatrical jangles that mar the otherwise pleasant “Strange Weather” and plaintive piano ballad “Orlando,” respectively), but otherwise things sound like they always do. The band’s trademark lushness that will leave you swooning and lightheaded is as plentiful as ever, along with some tiny new wrinkles like the hints of Duran Duran that show up in “A Drop in the Ocean” or the Asian instrumentation that flutters to the surface on “In the Butterfly House.” It’s another pretty solid affair with a lot of good tunes to sink your teeth into — from the soaring, swaggering groove of “Cold Dreaming” to the woozy elegance of “Last Year’s Man” and the stately harmonization on “Saint Teresa.” Lead single and opener “Renegade” is the current fave, though, another textbook distillation of their singular sound. Give it a listen here:

The back half of the bracket belongs to the prolific Texan Charley Crockett, back with another album after dropping two on us just last year. (Both landed on my year end list at #6.) This latest one starts strong with the one-two punch of the title track “Lonesome Drifter” and “Game I Can’t Win” (the latter of which sports some sweet banjo rampages), but then shifts to a curious remake of Tanya Tucker’s “Jamestown Ferry” (a song he already covered on 2017’s Honky Tonk Jubilee) and a slew of slow swaying ballads that quickly put the brakes on that early momentum. They’re all perfectly pleasant (“Easy Money” and the closing “Amarillo by Morning” both shimmer), but overall it leans too heavily on that softer side for my tastes. There are a couple of back half tracks that flex their muscles and/or boost the tempo (the quietly growling “One Trick Pony” and “Never No More,” respectively, the latter of which shows off his trademark soulful side) but writ large it stifles some of his biggest charms. (The high energy charisma and showmanship that comes thru even without watching him live.) That said, similar to Doves this is another mostly solid outing from the tireless ten dollar cowboy and definitely worth your time.  Give the aforementioned title track a try here:

The last bracket contains another pair of bands I’ve written about before, though the former hasn’t appeared here for a whopping eleven years!  Thankfully we’re fixing that now with the exciting return of California trio Devil Makes Three, back with their seventh studio outing (their first in as many years), and they offer us an excellent album full of specters, struggles, and substances. There’s references to the former in the title track and “Ghosts Are Weak,” the latter in “Ghosts,” “Half as High,” and the hilarious ode to escapism “I Love Doing Drugs,” and the middle in the aptly named “Hard Times” and the somber, stately song of survival that closes things out, “Holding On.” It’s all done with the band’s characteristic mix of old time imagery and folksy instrumentation, and it continues to be irresistible.

The lyrics remain vivid paintings (or protests), depending on what topic we’re exploring — there’s angry mobs and free tombstones on “The Dark Gets the Best of You,” torches and hurled stones in “Divide and Conquer,” and cigarette smoke, stolen cars, and poisoned wells (to go along with the poisoned trees they sang about on on an earlier album) in the song of the latter name. Those ride alongside glimpses of the band’s punk roots, which are evident in the subtle thread (or threat?) of resistance that runs throughout the album.  Aside from the inherent grittiness present in the songs about survival (“I don’t believe in chance, I don’t believe in fate, I just believe in holding on”), there’s the reasons behind hurling those aforementioned stones — being misled by those in power (“when they said it was gonna trickle down, you know that they were lyin'”), being manipulated by (and fuel for) their divisionist tactics (“hey, everybody, bring somebody to burn — if it isn’t you now, then you’re waiting your turn”), or being cheated and betrayed by them writ large. (“Underneath the spell, all are forsaken, without a fence think of the profits they would rake in. Nothin’ here was given, all had to be taken – you think this is what they wanted, you are sorely mistaken.”) It all makes for another fantastic listen (this one will almost certainly show up again at the end of the year) so check out the opening “Lights on Me,” which crackles with sinister foreshadowing and sets the scene perfectly:

Joining them in this slot is another perennial fave, the much loved shamans of the stars My Morning Jacket, who are back with their eighth album and first in four years (their self-titled seventh landed at #4 on my list in 2021), but it finds them as strong (and polished) as ever.  They continue their trend of opening with a song that soars, serving as the perfect start to both their album and subsequent live shows (a tradition dating back almost to their beginning), and chase that with a handful of songs that are bound to be staples in said shows moving forward. (Lead single “Time Waited,” with its lovely piano and feel good lyrics are tailor-made to spark mid-set singalongs, while the easy, infectious groove of “Everyday Magic” is another bound to sizzle in person.) They throw in some  interesting wrinkles again along the way — there’s the hurky jurky “Half a Lifetime,” which initially sounds like the machine was eating the tape before settling into its synthetic rhythm, the island-inspired mashup of “‘Dyer Maker” and the band’s “Slow Slow Tune” on “I Can Hear Your Love,” and the “Maneater” boosting “Lemme Know,” which is every bit as catchy as that sample. (TELL ME you don’t hear it…) Each of them hew more towards experiments like Evil Urges’ much-maligned “Highly Suspicious” and I’m sure will be criticized by fans who only want It Still Moves-era crunchiness and riffs. And while I love that album as much as everyone (it was top on my ranking of the band’s catalog), I’ve also come to embrace their modern day incarnation, with their simplified (some might say greeting card style) lyrics about love and peace and the sometimes strange (and less incendiary) side steps they may take sonically.

Do I wish tracks like “Beginning from the Ending” and “Die For It” would push a little farther, seizing the opening to send things into the stratosphere rather than pull their punch a bit to stay in the pocket? Sure. That said, I still like their current state and am certain they will get stretched out live to unleash the customary flurry of fireworks and achieve their full fury. And do I think frontman Jim James’ lyrics sometimes lean a little heavy on the hippie dippie stuff that might push some people away? I suppose, but he’s still singing the sh#$ out of these songs, blowing your hair back with his delivery so I’m not gonna critique him too harshly. (Just try to question his sincerity (or match him hitting those high notes) in tracks like “Lifetime” or “Squid Ink,” the latter of which comes closest to capturing that live feel on the album, offering a smoldering little solo at the end.) So while there may be a couple instances where you question the decision to hold back (or fade away, as they do on the closing classic “River Road” whose sinister, lurching groove sizzles before inexplicably fading to black in a Sopranos finale type situation), ultimately they feel like minor concerns because a) the songs still get stuck in your head (it’s been a new one every other day for me lately) and b) the omissions only make me want to see how they adjust them live even more (particularly the last track, which could go on for another ten minutes and I’d be happy). In short, I understand some of the concerns, but don’t share them. (I even kinda like “Suspicious” now!)  Instead I’m allowing myself to succumb to the album’s overarching positivity and vibe, which is as bright and sunny as our days currently are not. Check out that killer closer (and don’t freak out at the end, frantically checking your gear like I did the first time I listened) here:

 That’s it for now — hopefully this tides y’all over for a bit. Until next time, amici…

–BS

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Fright Night — A Soundtrack to the Screams

In honor of today’s holiday, I thought what better way to celebrate than swooping in with a much delayed post (what better way to scare the bejeebus out of someone than seeing my face at your door/posts in your stream, right? “Oh god no — IT’S HIM AGAIN!!!) And to keep it festive we’ll run another round of everyone’s favorite game — SUNSHINE SPEED DATING! (Halloween edition) So without further ado, get your patented one-liners and heartbreaking nostalgia ready, cuz it’s time to roll!

DING! “Why hello there — look at all of you! You look like the sweetest group of grandmas and grandpas I’ve ever seen, with your pressed guayaberas and lovely dresses.  You must be out celebrating the 25th anniversary of the amazing Buena Vista Social Club album!  That album was SO good — I remember when I traveled there around that time, those songs were everywhere.  Coming out of bars, the hotels, even random performers on the street would play some of the songs.  Not that I’m complaining — those songs were and still are amazing and it’s nice to hear you all humming them still. Your voices harmonized together so beautifully.  It’s really an honor to meet you all.

I have to admit, though, I’m a little surprised to see you all at a speed dating event. What’s that? Yes, I know 80% of those over 65 are still sexually active. And yes, I know I wouldn’t be here if folks like you didn’t “get your grind on” when your “plums were howling” back in the day.  You don’t need to be so graphic, senor.  I’m just saying, you gotta be careful — STDs are rampant in your age group. Like, out of control — historically high rates of chlamydia, gonorrhea, and syphilis! That sh#$ can drive you insane — it killed Al Capone, ya know. Napoleon too! Oh don’t get offended, I’m only trying to protect you. Just cuz you’re 90 doesn’t mean you shouldn’t wrap it up, that’s all I’m saying!  Oh cmon, don’t be like that…  Well, I still love the album and really enjoyed the extra disc full of unreleased songs. “La Pluma’s” one of my faves! Have a good day — stay safe!”


DING! “Oh hey! Kevin Morby and Hamilton Leithauser!  So cool to meet you guys — you are two of my favorites!  Did you guys come dressed as each other? That’s pretty funny — is that something you guys are doing as part of the joint tour you’re on now? Cuz that’d be pretty funny.  Ham, you’d come out in a long, wavy wig and sing Kevin’s songs and he’d come out in a suit and tie and sing yours. And then in the third act y’all could switch back and just trade songs as yourselves and close things out with a bang. It could be pretty epic — really live up to that “Fall Mixer” title, ya know?

Speaking of — have you guys come up with a cool combo name now that you’re touring together? Like Bennifer or Morbzahatchee, like when Kevin was doing the weekly virtual shows/rodeos with Ms Katie? You could go indie band and be Leitby, or more ad slogany like 2021 — In Need of Mor Leit. Or play up the academic angle and call yourselves Morhaus University. OOH! Maybe go truly extreme and call it the Hammorb of the Gods. That’d be pretty sick. What’s that? No, you’re right — I guess  Fall Mixer’s good, too…   Just kind of… plain. Anyway — don’t get offended.  I’m excited to see the show in a few weeks. Really like the new song — the intro reminds me of “Blackout” a little.  In a good way!”


DING! “Hey! Eddie Vedder! SO cool to meet you — I LOVE your costume. Tom Petty from the Alice in Wonderland video! That’s so cool. I love Tom Petty. And that was such a fun/weird video. Yeah, can’t believe he’s been gone so long — four frigging years?! I don’t know how that’s even possible. What’s that?  Oh yeah — I’m really looking forward to watching that new documentary on the making of Wildflowers. That was such a good album…

You know it’s funny you came dressed as him because the first thing that popped into my head when I listened to your new song from the upcoming album was that it totally reminded me of a Petty track. Just out on the open road, big hooks and melody — I really liked it.  Eager to see what else you’ve got in store for us.  Hey remember that time you climbed into the rafters at those early shows and were hanging there above the stage?  You, like, totally could have died, man.  Do you ever think about that? And now that dude who’s banging Megan Fox copied you and did it at a show recently. Does it annoy you that people like him are stealing your moves and not somebody cooler? Oh it does. And you didn’t know that’d happened? Oh. Ohhhhhhh now I feel bad. Oh man, um, don’t….don’t feel bad, I’m sure it was a sincere homage and not a desperate cry for attention. You still rule? Really! Ed Ved! Don’t despair!”


DING!  “WHOA! Speaking of dudes who rule — the Coug and the Boss! You guys are legends! What’s that? Sorry, Mr Mellencamp, I know no one calls you the Cougar anymore. That’s just what I grew up knowing you as, didn’t mean to offend you. And I’m sorry Mr Springsteen, I know I should show more respect to you, too. Yes, I know you hang out with the former President, sir.  No, I don’t think HE calls you the Boss (although to be honest, I’m pretty sure he could if he wanted to, right? Cuz he’s, like, THE Boss? And if THE Boss wants to call the OTHER Boss The Boss, theennnnnnnnn…. ya kinda just gotta go with it, right? Yes, I know I’m not the President. Yes, not even close, sir. And nobody cares that we’re from the same city — got it. Sorry to offend….)

AAAAANYway — off to a really good start here… I gotta say, it’s so funny you two came dressed as each other, too — did you see Leithauser and Morby did the same thing?  Great minds, I guess. You should think about keeping your hair that way, Mr Springsteen — that upswoop looks really fun. Gives you a more lighthearted feel.  Not that anyone would think you’re a bit prickly. Nooo….. Hey, I dig the song you two did together — really gives off a classic Mellencamp vibe.  What’s that? No I don’t think it overshadows you, Mr Boss, your part holds its own. It’s just the music sounds more Mellencampy to me — not in a bad way, Mr Cougar! What now? No I don’t think the President overshadows you either — he just has a lot to say and kind of talks slower so it SEEMS like he might be taking more time. And you know, like you said, he IS the former President and all, right? So it’s kind of an honor to be cut off by him, right? Leader of the free world!  Oh cmon, don’t be like that — you’re still the Boss, right? Bruuuuuuuuuuuce.  BRUUUUUUUUUCE! Cheer up!”

DING! “Oh wow, Mr Yorke, I didn’t expect to see you here! You flew all the way over here just for the event? That’s pretty impressive.  They don’t have things like this back in the UK? Oh you just love costumed celebrations? I guess that makes sense. Only — what are you dressed as?  You just look like a random mix of words on a poster. Kind of like someone swirled those magnetic poetry things around on the fridge into an unintelligible mess. Oh it’s a protest board. Got it. So all the things you despise.  Makes sense.  Ah yes, I see now — capitalism, technology, government… Definitely picked those up from you over the years.

I gotta say, there’s a LOT of words on here, Mr Yorke — almost too many to make sense of them. What’s that? Yes, I know there’s a lot to be upset about these days. Yes, the past five years HAVE been exceedingly difficult. Almost overwhelming at times — completely agree.  Hey I was glad to hear the band was releasing a bunch of unreleased tracks for the anniversaries of Kid A and Amnesiac next month! That’s got to be pretty exciting right? “If You Say the Word” was really good — really excited to see what else is on there.  What’s that? Yes, I know it doesn’t make up for all the things we’ve got to fix in the world and at best offers “scant few seconds of solace,” you’re right. I gotta say, though — some of these things on your board seem sort of trivial. Like wearing black socks with gym shoes?  Or white bean chili? None of those things seem worth losing sleep over. And cargo shorts — are they really that offensive? I mean seriously.  Oh alright — there’s no need to shout, Mr Yorke. I can see you feel strongly on this issue. “Unholy abomination” seems a LITTLE excessive, but let’s agree to disagree here. I still love your guys’ music (even if the last album was a disappointment — that’s right, I said it! Stick THAT in your single set of pockets and sulk!) Byeeeeeeeeee!”

DING! “Oh wow, Aaron Dessner and Justin Vernon!  Cool to see you guys here! Did you….BOTH….come dressed as Bruce Hornsby?  Wow. That’s, uh….a weird choice, but yeah, I guess it makes sense.  Yes, I know he’s a huge influence and you love his music. Can TOTALLY tell.  (Particularly you, Mr Vernon… Yes, I did see you had him come onstage to play a song or two with you on your last tour.  That….rocked?)

Um anyways… so I saw you two recently released the second album under your Big Red Machine moniker. Some nice stuff on there.  Now that you mention it, I actually think you might have more guest stars than tones on the album! What’s that? I mean — Sharon Van Etten, Fleet Foxes, Michael Stipe, Ben Howard, Taylor Swift… All give nice contributions, it just sounds a little….monotone after a bit.  Kind of like….no — I won’t say it… No, don’t tear up Mr Vernon, I just don’t like him as much as you two do. He’s fine in small doses — I just wouldn’t have used him as the template for like half of my recent material. But that’s just me — what do I know?! It’s fine — you two have fun out there. I bet you’ll get a ton of candy. Nothing gets the people pumped like midtempo piano crooners….

DING DING DING!

We’ll close with a couple live tunes, since I’m slowly filling the biggest hole I’ve had for that stuff since I started going to shows ~25 years ago. The first one comes from hometown hero Jeff Tweedy, who recently did a solid Neil Young cover with his sons and a few other musicians at the beloved hole in the wall the Hideout back home. It’s this super weird/cool bar that’s basically in a house in this industrial part of town — totally out of sorts with its surroundings (“one of these things is nooooot like the other!”), but also totally cool. You can sense the warm, welcoming vibe in the clip — check out Tweedy doing “Old Country Waltz” here:

Lastly wanted to highlight a show that My Morning Jacket did the other night as part of its ongoing tour. I’ve been obsessively listening to the album since it came out a week or two ago, and each day or two a new song gets lodged in my head like an unrelenting earworm. They played a couple of the tracks when I got to see them recently (pretty much the best return to live music I could have expected after all this time away), but this set has several more I didn’t get to hear that night (including current faves “In Color,” “Complex,” and “Never in the Real World.”) They also deliver some scorching versions of old favorites, such as “Mahgeetah,” “Evil Urges,” and “Lay Low.” They even did a ripping version of “Dancefloors,” which they haven’t played regularly since like 2015! You can watch the entire ~2.5 hour set here — it’s definitely worth your time.

That’s it for now — hope everyone enjoys their circus peanuts and Almond Joys! Until next time, amici!

–BS

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Double Shot Saturday — Andy and a Bunch of Punks

Phew — quite a week we just had there. As the wider world slowly started to shut down — professional sports, music festivals and concerts, marathons, movie theaters, and parades, travel to or from entire continents, etc — it was only fitting that I was concurrently closing up my current job, home to so many heartaches and frustrations over the years. (Nothing says “post-apocalyptic disaster” better than a career in the USG…) So for the first time in nearly a decade as a non-government stooge (and only the second time in nearly 15), I thought I would stop in as a regular human and highlight some new discoveries. (Maybe that’s what’s been holding the readership down all these years!)

There have been a bunch recently — most of the loud, punky variety thanks to my mood as I was winding down my service — but we’ll start with the soft one, a Saskatchewanian named Shauf.  Andy Shauf, to be exact, and I stumbled on him thanks to a recent recommendation list from Esquire.  I didn’t like anything else on said list, but was really happy to find this one.  Back with his fifth album overall, Shauf’s latest follows the model of his previous one and focuses all of the songs on a single theme — his last one was songs about one night at a party, told from the perspectives of the various attendees (aptly titled The Party), while this one centers around one night at a bar, the titular Neon Skyline.

It’s a simple concept, but one that works well as you bounce between the lives and eyes of the various individuals. Shauf’s narratives (and melodies) are at times reminiscent of Paul Simon’s, while others call to mind my beloved Elliott Smith.  Add to that Shauf’s thick Canadian accent (“I’m soary I’m from another port of the country,” instead of “sorry”/”part,” for one example) and his penchant for throwing in clarinet (he grew up playing the instrument, among many others, in his family’s Christian rock band) and you’ve got quite a charming, interesting mix.  It works well, though — both those albums are top to bottom winners, as are his earlier ones.  Warm, calming, and oh so pretty — exactly what we need to take the edge off weeks like the last.  Start with the Simon-y lead single “Neon Skyline” and see if you get similarly hooked, and then jump to the more Elliottesque “Alexander All Alone” from his last one:

For you fellow Dylan Thomas fans not quite ready to go quiet into the night, there’s a trio of brasher bands I came across to fuel your fury (or fever, if you’re infected with corona).  First comes one I got to too late, the defunct LA post-punk band Corners. I came across their debut (and unfortunately only) album, Maxed Out on Distractions, when its lead single “Against It” slipped into my Spotify feed.  It’s a great tune, all jangly guitars and nervous energy, and that got me to explore (and ultimately enjoy) the entire album.  Over the course of its too brief 30 minutes it calls to mind Joy Division moodiness and Rapture-like freneticism, which unsurprisingly makes for a great listen, so it was a real bummer to learn they broke up back in 2016. Seems like the four members grew apart over their two years of touring for the debut and wanted to focus on their solo projects instead of sticking with the band, so this is all we’ll be getting. (They somewhat strangely put out a four track EP last year with leftovers from that 2014 recording session, but nothing else seems forthcoming.) Thankfully we’ve at least got this — start with that first single, “Against It,” which is reminiscent of that Joy Division sound before jumping in “The Spaceship” and riding it to the Rapture:

Next comes another California punk band, this one hailing from the northern part of the state in San Francisco, and another throwback to that 70s sound, albeit more on the early side when The Clash and Sex Pistols were raining fire on everyone. Spiritual Cramp is the band, and while the name may be terrible, the music sure isn’t.  Mixing the aforementioned influences with more modern ones like the Hives, their debut album Television is a blast.  It puts their first two EPs alongside six new tracks (two of which are covers — one from the Pistols, the other from Billy Bragg, oddly enough) and there are a ton of winners in there.  “Television” and “I Feel Bad Bein’ Me” really bring out those Clash reggae elements and driving beat, while “Upset Stomach” and the eponymous “Spiritual Cramp” surface those Hives-ian elements. And then there’s lead single “The Erasure,” which is something else entirely (lead singer Michael Bingham’s mumbled vocals and the bouncing beat almost call to mind early Talking Heads).  It’s a winning mix — start with the lead single and then jump to the burning flame of the band’s name:

Last stop on the Discovery channel takes us to the Emerald Isle, which is fitting with St Patty’s Day right around the corner. The band is another crummily named one — Girl Band — but similar to the others, the quality of their craft is high.  These guys take elements of LCD Soundsystem (frontman Dara Kiely sounds a lot like James Murphy, while their best songs are eminently danceable) and smash them into the noise punk pieces of bands like METZ, which works really well.  The band has released two full lengths — 2015’s Holding Hands with Jamie and last year’s The Talkies — which are solid, if sometimes meandering affairs.  Their first EP, the aptly named The Early Years, though, perfectly captures their sound — fully focused, no fucking around, it’s buttressed by two monster tracks — “Lawman” and the techno cover “Why They Hide Their Bodies Under my Garage?”  Both of them sport infectious beats to draw you in, as well as minute-plus noise-filled freakouts to drive you away, before bringing you back home at the close.  They’re both irresistible, building to a frenzy that’s almost impossible to ignore — off-putting noise explosions or not. Kiely does nothing more in the latter track than hypnotically chant the song title with increasing intensity before unleashing in exhilarating fashion at the end — it’s fantastic. Check both of em out and see for yourself:

We’ll close back in familiar territory with a couple recent releases from some old friends — first comes Kevin Morby with a couple tracks from the recording sessions from his last album, Oh My God. (Which landed at #7 on last year’s list.) There’s nothing drastically different here — just the same winning formula that’s made him such a favored find the past few years — and there ain’t nothin’ wrong with THAT! Check out “Gift Horse” here:

Next comes the latest from Woods, fresh off their supporting role on David Berman’s outstanding Purple Mountains album last year (which landed at #2 on my list). It’s the first single from their upcoming album — Strange to Explain is due out in May — their first since their disappointing 2017 cheeseball, Love is Love. Thankfully this sounds like a return to their more normal fare — still a little folksy, but less overtly hippie dippy than that last one. Let’s hope for more of the same come May!  In the meantime, check out “Where do you go When you Dream?” here:

Up third comes the second single from former Walkmen frontman Hamilton Leithauser’s upcoming album.  Since we last checked in we’ve gotten a release date and title from Ham — The Loves of your Life will be out April 10 — and another song to enjoy. Seems like we’re going to be in for another lush, winning album based on the first two tracks.  Check out “Isabella” and relish Ham’s wondrous, timeless voice:

We’ll stick with Walkmen alum for this next one, too, and the intriguing new side project for that band’s former drummer, Matt Barrick.  Teaming with Interpol frontman Paul Banks and indie hopscotcher Josh Kaufman (he’s played with Bonny Light Horseman, the National, Craig Finn, etc), they’re calling themselves Muzz.  And while the name doesn’t necessarily make a ton of sense (short for muzzle? slang for a morphine buzz? nickname of their best friend Pete Remuzzi?) the music sure does.  Channeling the more languid, laid back vibe of his former band’s later days, Barrick and Co stretch out luxuriantly on the lead single “Bad Feeling.” There’s no word on a broader album yet, but I’m sure hoping one is coming — check out the appetizer here:

And we’ll close where we started, back in the midst of a tumultuous global crisis and at the end of a long, frustrating chapter in my professional life.  What better soundtrack than the newly reunited Rage for such fare? I’ve been listening to these guys a lot lately, thanks in part to the news of their upcoming tour (which, assuming the world doesn’t end I shall be attending), but particularly as I wrapped up my service to Uncle Sam and finally decided to leave.  The first time I tried this ten years ago I left feeling a lot more optimistic — I’d suffered less battle damage, was moving back to my favorite place on earth and planning to get married, and while disappointed the job didn’t work out, I didn’t feel as let down — it was more unfortunate than anything else.  My walkout song therefore mirrored those sentiments — the joyous climax of the Pumpkins’ “Rocket” perfectly captured that feeling of breaking free from what was holding you down and shooting off into the blissful expanse of the unknown.

This time, I’m a lot angrier.  I’ve got ten more years of incessant battling, ten more years of frustration, bitterness, and disappointment — and the resulting damage they’ve inflicted — coursing through my arteries. Ten more years of momentary highs and major letdowns clogging my brain. The analogy I’ve kept using is one of an abusive relationship — you still care about/love the person (or in this case, place), still feel like just maybe it’ll be better tomorrow, maybe it’ll be that thing you fell in love with and felt so fulfilled by again, that thing that formed such a large part of your persona and an even bigger part of your life.  If only they would stop ignoring you, or worse, beating the ever-loving shit out of you.  Over. And over. And over.

Just like those relationships, though, at some point you reach a point where you know that’s likely not going to happen.  Where you know you have to put yourself, your happiness, and your safety first.  Where you finally decide you no longer want to deal with that and walk away.  (And that in walking away you are not a quitter, or a pussy, or avoiding work because it’s hard, but have done everything you possibly could to salvage things and it still wasn’t enough — and that’s ok — because some things aren’t fixable, and some things aren’t yours to fix.)

Just like those relationships, everybody’s tolerance is going to differ and so, as a result, will their breaking point.  I reached mine this year — and then a hundred times over again — so knew it was time to go.  That chapter came to a close yesterday — with a final toast from the person I respect most from my time there — before playing this walkout song as I drove away from the building.  It aptly captures my current mood and comes courtesy of the aforementioned Rage — for as Zach sings with increasing intensity and anger, I ain’t gonna work on Maggie’s farm no more…

Until next time, amici… (BTW, added another location to the travel pages on the right — Philly in tha house!)

–BS

 

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…And On — Six More Weeks of Winter

Like Punxsutawney Phil (or the furry groundhog asleep on my lap now in his spastic explorations of the couch each night) I’ve been burrowed deep in my hole since you last saw me, hoping for a reprieve from all the cold and nonsense swirling at the surface.  And while Phil seems to think it’s going to end soon, I’m not as convinced thanks to several spontaneous home repairs, interpersonal spats (fuck you, Socks, I’m still angry), and that never-fallow font of fabulousness, work, recently.  Hopefully that hibernating hero is right, though, and we can find our way into brighter, warmer times soon.  In the meantime, here’s some things that’ve caught my eye since the annual year-end post.

First, we’ll stay in Phil’s realm to catch the latest from the legendary electro outfit bearing its name, Underworld, and the first of two treasure troves from the land of our former masters. This one captures an entire year’s worth of work from the duo and its ambitious Drift project where they aimed to record and release a new song every week last year.  The Raveonettes tried something similar back in 2016, releasing a new song every month (compiled in the mostly ok Atomized), but doing so every week definitely represents a level up difficulty-wise.  And while they may not have hit their initial goal (there’s “only” 40 songs and alternate mixes packaged in the release), what’s impressive is both how close they came and how good the overwhelming majority of the songs are.

Well over half of them are really solid, from the opening “Another Silent Way” and “Dexters Chalk” to later cuts like “Universe of Can When Back,” “Soniamode,” “Appleshine (All of the Lights),” and “STAR.” I’d dipped in and out of this project over the course of the year and kept meaning to write about it, but its inherently ephemeral nature (new shiny object each week!) meant I never spent as much time with the material and the topic always got forgotten in the flurry of the norm.  Now that it’s packaged in one place, though, you’re immediately able to appreciate both the size of the effort and the quality of its results.  The pair have always oozed sensuality — from Rick Smith and/or Darren Emerson’s languid beats and musical influences to Karl Hyde’s voice and colorful, cryptic lyrics — it’s why they are synonymous with the dark, be it of the club, the bedroom, or the car you’re using to drive in between.  They do nothing to change that linkage here, giving us close to six hours’ worth of work to explore here, and it’s definitely worth the effort. (“Mile Bush Wide” can almost bring you to completion in a scant 90 seconds.)

The pair are doing a rare and extremely limited tour of North America this summer, which might be worth a roadtrip to catch a peek of the human versions of Phil.  I was out with forty percent of my readership when this came up last night and they informed me  a broader playlist of the duo’s work would be helpful — primarily because none of them had heard of the duo (they also hadn’t seen Trainspotting, with its classic use of the group, which is a double dagger) — but that’s an injustice I’ll seek to correct in a future post. In the meantime, give a listen to some of the choicer cuts from Drift below and get ready to bliss out.

The other bounty of riches from our friends in the UK comes from the perennially persnickety lads of Radiohead who recently announced the launch of the Radiohead Public Library, which is an amazing compilation of rare tracks, live performances, photos, and merchandise dating all the way back to the band’s formation. Essentially the band has curated the best of everything they’ve done, sifting through the oceans of poor quality copies and nonsense available on the interwebs, and given us high quality versions all in one place here. It’s pretty amazing — there’s full festival shows never publicly available, copies of the beloved “From the Basement” DVDs showing how the band meticulously assembles their songs, shirts and merchandise that hasn’t been available for 15-20 years — all sorted by the album the band had recorded at the time.

There are hours upon hours’ worth of goodness here — I’ve particularly been enjoying the numerous live performances, which aside from full concert sets also include the band’s TV performances, including this Limbs-era one on the Colbert Report I’d forgotten about. (I remember seeing it at the time, but didn’t realize they’d played 3 or 4 unaired songs too.) Similar to their aforementioned countrymen of the underground, it’s a testament to both how much work the band has done over the years, as well as how good it almost all is — so hop in your time machine and start your surfing now!

We’ll stay on the island for one more offering, this one the latest from Gorillaz, Damon Albarn’s hit or miss cartoon collective, which is gearing back into action after a couple of years of quiet.  Similar to Underworld’s Drift, it sounds like the band plans to release a series of “episodes” over the course of the year as part of its Song Machine project, with each episode detailing the fruits of a new collaboration.  First up is Albarn’s pairing with rapper slowthai on the song “Momentary Bliss.” It’s a pretty solid outing — I’ve cooled on these guys a ton since their magic self-titled debut in 2001, but Albarn always stumbles on a couple interesting things on the albums, so credit him for continuing to keep things fresh and mine new terrain.  We’ll see how the rest of the project turns out — in the interim, give this one a spin:

Next we’ll depart the island, but stay within the kingdom, jetting over to check on the latest from Silverbacks, the promising new five-piece from Ireland who’s been putting out some really catchy singles.  I’ve posted about these guys before — up and comers from the island sporting a triple guitar attack and some jittery, catchy riffs.  Still haven’t found much more on them online, still waiting on their debut release, but if they keep releasing singles like this I won’t complain too much.  It’s another winning affair — lead singer Daniel O’Kelly does his best Julian Casablancas impression while name checking another of that era’s giants, LCD Soundsystem, as the propulsive bass riff drives things along.  The band’s on quite a roll — let’s hope they keep it up (either on that much awaited full length or its continued string of singles) in the coming months.

Speaking of triple guitar attacks, we’ll continue our island hopping getaway and fly a little further afield, this time to the outback to check on the latest from the lads in Rolling Blackouts Coastal Fever. I’ve written about these guys a bunch, having been a favored find since Shaky Knees and their landing on my year end list in 2018.  They’ve released a string of solid singles in the interim, including this latest one, the oddly named “Cars in Space.” (Shout out to Elon Musk?) It’s another vintage turn — as much as a band this new can have a vintage — full of swirling guitars and melodies that builds to an invigorating crescendo before leaving you thirsty for more, much like the waves of their eponymous coast.  These guys really are an exciting new outfit, so let’s hope they keep the hot streak up for years to come. For now, check out [cue echo] “Caaaaaaaaaars! Iiiiiiiiiin! SPAAAAAAAAAAAAAAAACE!” here:

We’ll head back to the mainland and the safety of North America, stopping first with our friends up north to hear the latest from Wolf Parade. It’s their first outing since 2018’s Cry, Cry, Cry and the first since bassist/guitarist Dante DeCaro (of former Hot Hot Heat fame) left the band, closing a run of three excellent albums with the group. (At Mount Zoomer, Expo 86, and the aforementioned Cry.) Left in his wake is the original three-piece and the band sounds little worse for wear on its fifth, Thin Mind (which is no knock on DeCaro and the importance of his previous contributions). Released just last week I’m still delving into the album as a whole, but the first couple singles have been strong, including this latest, “Julia Take Your Man Home.”  Similar to first passes through the album, what stands out is the clarity and muscle of Spencer Krug’s and Dan Boeckner’s guitars.  They’d always been there before, but they feel more prominent here, like abs after you lay off the sweets and start running. It’s a welcome reappearance, writ large and on “Julia,” a catchy little tune that’s all bright and shiny (and filled with shapes that look like dicks) — give it a listen here:

We’ll close with a couple solo outings on our return to the states, the first from Afghan Whigs frontman Greg Dulli, who’s set to release his first solo album next year, Random Desire.  He’s been working on songs the past three years, since the Whigs’ last album, In Spades, in 2017, during which time the band’s guitarist Dave Rosser passed away.  We’ll have to see how much of that shows up in the album’s lyrics, but there’s nothing overt in the first single, “Pantomima.”  It’s a good listen, marrying that sultry swagger Dulli’s known for with some muscular guitar — hopefully the rest of the album matches this one’s fire.  Give it a ride here:

Lastly we’ll visit our old pal Hamilton Leithauser, the former frontman of the beloved Walkmen, who’s back with a new single, “Here They Come.” Ham’s been largely invisible since his last major outing, 2016’s I Had a Dream That You Were Mine, which landed at #6 on that year’s list. (He did a one-off single with Angel Olsen in 2017, but not much else.) There’s nothing concrete yet in terms of release dates or titles, but it sounds like he’s got a new album almost ready, of which this would apparently be the first glimpse.  If so it seems like it’ll be comparable to his previous two albums, with Ham belting out emotional Walkmen-style wallops and balancing those with his Sinatra-inspired crooning, which is just fine with me. Yes, I miss his former band (possibly moreso than any other disbanded unit of recent years), but Ham’s voice remains a singular delight, capable of hitting the stratosphere at a moment’s notice after lancing your heart with similar ease. Same recipe applies here — give it a listen while we wait for more company for it here:

–BS

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Spring Forward — Less Sleep, More Songs

Of course it being the weekend and finally having an opportunity to sleep in a little, my body decides to wake up even earlier than during the week (4am instead of the normally sporty 5), compounding the deficit we’ll all shortly have with the extra hour of sleep we lose tonight.  Whether you lose a bunch like me or you lose just the single hour tomorrow, there’s a ton of new stuff out to help you wile away the time.  It’s another sign of the coming spring after a long stretch of cold, barren months — new songs and albums popping up like bright green growth from last year’s bulbs. It’s a welcome sight and hopefully bodes well for a bounty harvest. Since there’s so many I’ll bore you less with my insights than normal (the eight of you got your wish!), so without further ado let’s kick off a round of Sunshine Speed Dating!

DING! “Hi, what’s your name? Grian? How do you spell that? Oh you’re in a band? What’s it called?  Oh…….[long pause] you know that place is filled with assholes and idiots, don’t you…” [cue both parties looking at their watches, neither of whom are actually wearing one] First up meet Fontaines D.C., a band from one of the best places on earth (Ireland) whose name calls out one of the worst (this shitbox) and whose frontman’s (Grian Chatten) I’m still not sure how to say.  Don’t let the monikers keep you away, though, as these guys have some pretty catchy tunes on their debut, Dogrel, which comes out in April.  None moreso than the lead single, “Big,” which is the perfect soundtrack for one of these rounds — bright, energetic, and just about two minutes long.  Give it a ride here:

Next!  “Oh you look familiar — Czarface, isn’t it? Something’s a little different, though — did you ombre your hair?! No? You just brought in another emcee?  Mmm…I dunno, I still think you did something to your hair…”   State of the strands aside, the touch of color Czarface bring to their already good getup is Ghostface, teaming with his Wu brother Inspectah Deck (along with Esoteric and 7L) for the first time since that band’s official albums. This group continues its recent pattern of pairing with another big name act to make an album (along with their overall hit or miss streak), dropping this on the heels of last year’s partnership with MF Doom. Similar to that one, it’s got a couple good tracks on it, including this puppy, “Mongolian Beef,” so check out the latest fishscale here:

 

Next up — “Oh hi! Good to see you again — Will, isn’t it? Ha, yes, not Will-i.am, that guy’s a bit of a clown. You have spent the last few years re-recording your early material as synthy dance tracks, though, so…” [insert awkward silence and shuffling] The Will in this case is Toledo, the frontman/brainchild of Car Seat Headrest, and while he has spent more time reworking (“improving”) old songs than I’d like (as on last year’s Twin Fantasy), it seems like he’s been writing new material based on some recent shows. One of those tracks is “Can’t Cool Me Down,” which despite the nearly two minute synth intro (honestly — if one more band starts dicking around with synths………..) is a pretty catchy tune.  We’ll see what else he churns out — in the meantime, see what you think:

Neeeeeeeeeeeeeeeeext! “Oh hello! My that’s a lovely accent you have.  Oh all five of you have it — meoooow!  Where are you from again?  Oh nice — ha yes I’m sure you all have a tremendous amount of thunder down under, but I’m quite fine not seeing it firsthand, thanks…” The lads with the didgeridoos in their Dockers here are the Aussie quintet Rolling Blackouts Coastal Fever who look to be coming back from their full-length debut last year (which landed at #13 on my list) and releasing some new material.  The first single is “In the Capital” (which apparently will be followed by one called “Read My Mind,” based on the cover) and it’s another winner in the vein of War on Drugs or Roadkill Ghost Choir — bright guitars, shining melody, and the perfect soundtrack for a drive on the coast with the windows down. Take it for a spin yourself:

NEXT! “HELL-o, laaaaaaaaaaDEEZ… Pleased to make your acquaintance.  Or should I say ‘acquaintances.’  Cuz there’s three of you.  I’m good at counting. I took math a bunch.  In school.  What?  No I’m not nervous. Why would I be? Girls don’t terrify me. I read an article on what they search for on porn sites and it totally didn’t make me break into a sweat…” (Side note — I’m very worried about what’s happening in Iowa, Missouri, and Maine… special shout out to the Uzbek women as the globe’s sole proponents for research on MILfs) The ladies in question here are Mary Timony’s posse from Ex Hex who are back for the first time since their debut, 2015’s aptly named Rips (which landed at #13 on that year’s list), and it sounds like they’ve lost none of their edge the past four years.  They’ve already released a couple singles from the upcoming album (It’s Real, due out March 22nd), but this third one “Rainbow Shiner” is my favorite so far — another ripper right in line with 80s rockers from Joan Jett and Heart (and their debut). Break out the leather and Aqua Net and crank up the volume:

NEEEEEEEEEEEEEEEEEEEEEXT! “What’re you doing here? I thought you were dating the Waxahatchee lady? She’s got a pretty voice — I love her first couple albums.  The covers you two have been doing together are pretty great, too.  Hey has anyone ever told you you sound a lot like Bob Dylan?  Oh all the time?  Literally every person you meet?  Well that’s a bummer.  You really do sound just like him, though…”  That’s right, the boy who sounds like the bard is back again, ready to drop another album full of gems on a mostly unsuspecting population.  That’s a real shame because Morby has quickly become one of my overall favorites, dropping a string of great albums the past few years — City Music landed at #4 on my 2017 list, Singing Saw at #6 on my 2016 one, and Still Life at #10 on my 2014 one.  He’s back with another full length (Oh My God, due out April 26th), which he says will tackle religion and spirituality.  Seems like a dicey proposition, but based on the initial track will likely be worth a listen.  It’s a different subject matter for him and maybe as a result so is the sound he’s surrounding it with — in addition to the hand claps there’s also flute, sax, and piano with almost nary no guitar to be found.  It still works, though, so we’ll see what the rest of the album brings — in the meantime check out “No Halo” here:

LIGHTNING ROUND! “Oh man! You used to be in the Walkmen! (You guys were one of my absolute faves) But now you’re doing solo stuff (that’s also been really good, very glitzy and Sinatra-like) and you did one album with the dude from Vampire Weekend (I know he left, but you’ll be fine — that’s why you’re here!) but you also did an album with your old guitarist in there that no one heard about (Dear God). It came out three years ago?  Eesh, I’m really sorry — well I really like the one song I found, “Proud Irene” — I’m going to go look for the rest of the album now.  Hope to see you again soon — good luck!”

DING! “Oh hey, you’re the guy who sounds like Dave Grohl when he sings!  I love Dave Grohl.  He seems like the coolest dude.  I’d love to have a drink with him or just hang out. He is just so funny! And MAN what a drummer — our generation’s John Bonham. Do you know Dave Grohl?  Oh right sorry — no I really like your band Pile too.  I’ve written about em a couple of times on my blog.  Well, don’t get too excited, literally like eight people read it.  But I try. One day I’ll break into double digits… Anyway, I really dig you guys. You really rip when you let loose.  I’m glad to hear you’ve got a new album coming out (Green and Gray, due May 3).  The first single is pretty cool — I’m not sure what a “Bruxist Grin” is (is that the smile of a Marxist Teddy Ruxpin or something? I should look it up…) but it sounds cool.  I’m looking forward to the rest of the album — hopefully it rocks a little more than Hairshirt, that was a little weird…”

DING! “OOOOH Chemical Brothers, you guys NEVER come to the States.  It’s an honor!  I saw the video for “We’ve Got to Try” and it’s pretty great.  Where’d you get the idea to have a dog drive a racecar? And then become an astronaut! Ha, that was really funny.  My dog doesn’t do much but snuggle and fart — sometimes at the same time.  Just like my wife!  I kid, I kid.  Anyway, I’m glad to see you guys have a new album coming out soon (No Geography, due April 12th) — your ninth!  That’s super impressive.  You guys are always really good — I’m looking forward to hearing the rest of the album.  By the way — can you please do some shows in the States? I’m too lazy to travel and afraid of foreign food — just fast food and golf carts for me.  Just like the President!  Wait where are you going? It’s nothing to be ashamed of!”

DING! “Wow. That is a huge glass of red wine, Mr Berninger.  What is it, merlot? Remember that scene from the movie Sideways? ‘I am NOT drinking any fucking merlot!’ That was a pretty funny scene.  That guy kind of reminds me of you.  Bearded, smart, kind of cranky and forlorn. Do you know him? I think we’d get along well together — I mean, YOU’D get along well together.  I’m nothing like that… Anyway.  I love your band — the new single’s nice.  The female vocalist was a nice touch, but I wish you guys would let up with the electronic stuff a bit, though.  You trying to be Radiohead or Bon Iver?  Wait Justin Vernon is really tight with your guitarist? And they were actually in a band together and curated a festival last year? Oh wow right, I forgot.  Anyway, you guys always make my year end lists (2017, 2013, 2010, and 2008) and Boxer’s one of my all-time faves.  Yeah yep, I write a blog, one day people will read it, it’s about the love of the music and doesn’t matter how many people hit it, I know, you’re right.  Boxer, though, what an amazing album.  It was the soundtrack to one of my old relationships and its explosive end.  Yeah it was a MESS. That is kind of a dark album. Time, too.  Man oh man, what a show… but we get out of it — you’re right. I’m glad you’re in a better place, too, Mr Giamatti — hey do you mind if I have a sip of that merlot?”

DING! “Dan Auerbach! Man I love your band.  You and Carney have been faves since thickfreakness. I’ve seen you live like a gajillion times.  There was one stretch where either you or the band were at Lolla for like five years straight.  It was almost like you were the house band! I’ve written about you a ton too — Attack and Release was my album of the year back in 2008 and Turn Blue came in second in 2014.  What? Oh yeah I have a blog.  No, not many people read it, you’re right.  Ha yep, you have more albums than I have readers, that’s probably true. Very funny, Mr Auerbach…  Anyway, I know you’ve been busy producing a bunch of people the past few years — Pat too — but I’m really glad to hear you two have an album coming out soon. Yeah I know it doesn’t sound very different from your other stuff, but that’s ok — the world could use a little consistency and rock and roll right now.  Yeah, I know Greta’s doing rock and roll — have you heard their lyrics though? Fucking cornball fantasy nonsense and cheesy cliches about getting high when you’re low. Wait you guys have a line like that too?  In this song?! I’m sure it’s just a coincidence — I didn’t mean you guys were corny.  I love you guys — come back!”

DING! FINAL ROUND!  “Oh hey Local Natives! You guys are great — and back with TWO new singles?!  Who are you trying to impress?  Ha oh right, me, that’s why you’re here. “Cafe Amarillo” was nice and I really liked “When Am I going to Lose You.” I saw Kate Mara in the video for that one — she’s really pretty.  Did you get nervous talking to her? That never happens to me, but I hear it does to some people. Particularly when you think about what they’re thinking about.  Like — do you know what girls in New England look for on the internet?  Squirts, and I don’t think they’re talking about the beverage… Anyway, you guys are great — I love how chill your albums are.  Your last one made my year end list (Sunlit Youth, #8 in 2016). What?  Yeah I have a blog.  No, I know not many people read it.  Yeah I could see why you’d think that’s a big waste of time.  Yeah particularly when I’ve been doing it for over ten years.  For this page.  Other ones were…..exactly the same.  But yeah, you guys are great.  Hey it’s really been fun to talk to you — where’s Berninger with that fucking merlot…”

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Under the Covers: A Dance Between the Raindrops

Nothing like another quiet, calm week to really give one a sense of perspective…  sweet fucking Josephine, shit is off the rails lately.  In the midst of all the craziness this week, found a couple nuggets worth relaying, though.  First up is this cover by former Walkmen frontman Hamilton Leithauser of former Pogues frontman Shane MacGowan’s track “The Song with No Name.”  The song is part of the upcoming compilation record Philia: Artists Rise Against Islamophobia, which will have tracks from the Dodos, Fruit Bats, and Vetiver among others.  It’s a pretty great cover — Ham singing almost anything is a recipe for success, but particularly an Irish folk tune.  Check it out here:

Next is a cover by the Afghan Whigs that Pitchfork posted of New Orleans band Pleasure Club this week.  It’s from the latter band’s second album The Fugitive Kind and was recorded in honor of the recent passing of the Whigs’ guitarist Dave Rosser.  On its own it’s a solid listen — Dulli’s vocals and mood smolder somewhat seductively before the song breaks into a glorious roar midway through — but even moreso since it’s from a band I’d never heard of. First, check the cover (and download it for free here if you like it):

That got me wondering, though, about who the heck Pleasure Club was and how they’d escaped my notice, so did a little research and really dug what I found. It was a short lived outfit — frontman James Hall and Co only released two albums, the aforementioned follow on and their debut, Here Comes the Trick, between 2002 and 2004 and disbanded around the time Katrina tore their hometown apart.  Hall has done some solo stuff since then, but that was it for the band — which is a shame when you listen to the albums.  It’s pretty great stuff — Hall’s voice has a reedy, punky swagger that feels instantly familiar and sounds right at home behind the muscular power of his rhythm section.

And that power is considerable.  The band flat out rips — the debut album is chock full of winners that’ll have you cranking the volume and thrashing along — and I’m real glad the Whigs helped me find em.  The best place to start is the beginning — they get you from the outset on their debut with the barnburner “Permanent Solution” (the opening line is “I was born into a terminal dive” — try to argue with that) and you’re rolling from there.  Everything else is just extra speed on the highway.  Buckle up and enjoy the ride:

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