Stitches, the new album from Califone, touches on all permutable definitions of the word- its episodes of discomfort and healing rendered with exquisite beauty and craftsmanship. The listener moves through a landscape of Old Testament blood and guts, spaghetti Western deserts and Southwestern horizons, zeroing in on emotions and images that cannot be glanced over.
In some regards, Stitches harks back to those earliest days of Califone, yet the ultimate outcome sounds like the work of an artist reborn. Rutili says. "Instead of writing from my balls and brain, this time I wrote from the nerves, skin, and heart."
In an underground music landscape where 140 characters equals “journalism” and lone MP3s propel bands to momentary internet stardom, bands are here today and gone tomorrow. Califone is a band that defies this blueprint. Their albums are full of layers and textures, offering endless depth, entire universes to lose yourself in – and beyond the thick spectrum of sound, they do something even more important: They write great songs. Califone is a band that will stand the test of time. The band is at the peak of its powers on All My Friends Are Funeral Singers, its sixth song based album. The long-awaited follow-up to 2006’s acclaimed Roots and Crowns, the album is the strongest collection of songs in a career with no shortage of strength. The subtlety and detail of Califone’s previous work is present here – the atmospheres are carefully nuanced, the percussion is both rattling and melodic, the melodies are rich and soulful, interspersed throughout softly strummed folk and electrified blues. All My Friends Are Funeral Singers is a dense collage of sounds, expertly formed into fully realized pop songs. All My Friends Are Funeral Singers is the record that the great Roots and Crowns hinted at. The songwriting is fleshed out, the musical vision is boiling over, the sonic experimentation is indulgent and dense, yet there’s a great cohesion, a sense of purpose and a newfound focus to this Califone effort. Never has the band felt so vibrant, so alive, on one of their albums. All My Friends Are Funeral Singers is built for the long haul. Make space on your record shelf, because this one is here to stay.
Califone's debut album Roomsound - Originally self released in April of 2001. Roomsound covers the same rustic, slightly ramshackle back forty that Tim Rutili has been ploughing through since his previous band Red Red Meat. Only this time the tilled bedrock unveils the most vividly colored, luring crop of songs Rutili has ever harvested. The sleepy, country-blues picking and autumnal backwoods melodies are accented with striking splashes of electronic tone color, obsolete keyboards and off-kilter percussion. Lyrically, Roomsound penetrates the breath of pirates, poison apples at a tango contest and the waiting room between death and canonization where missionaries have quit and 19th-century prostitutes have been rescued for all the wrong reasons. Masterfully produced by Brian Deck, the album is vaulted far beyond the sum of its parts.
Roomsound is a hauntingly unique and distinctive record of crafted and sculpted beauty.
Citay makes a joyous return on Dream Get Together, the San Francisco cosmic wanderers’ expansive third full-length album. Many of the touchstones from Citay’s previous work remain intact – flourishes of Led Zeppelin, Eno/Fripp, Thin Lizzy, Pink Floyd, Popul Vuh and ELO can be heard throughout – but a newfound swagger pushes Dream Get Together way over the top. Seldom has there been a more obvious choice for an album opener than “Careful With That Hat,” a song propelled by a deep groove and swing that practically begs the listener to stand up and air-drum wildly. The vocals soar, the lead guitars catch fire and the mammoth solo (courtesy of guitarist Josh Pollock) builds to an ecstatic explosion. One highlight of Dream Get Together is “Mirror Kisses,” a song Feinberg wrote specifically for guest vocalist Merrill Garbus (of Tune-Yards) to sing in three-part harmony with Harbour and Press of Citay. With the soaring Ebow guitars and vocal harmonies, “Mirror Kisses” is Citay at its most lush and melodic. In contrast, “Hunter” is Citay at its most excessive – a triumphant instrumental anthem that somehow bridges the gap between Klaus Schulze and The Scorpions. This is the shot across the bow. Citay have arrived on Dream Get Together.
This was unexpected. Citay’s 2007 album Little Kingdom made reference to everything from Thin Lizzy and acoustic Led Zeppelin, to Popul Vuh and early Mike Oldfield. So, when the band started asking remixers to rework tracks from Little Kingdom, we were more than a little surprised. As it turns out, the world needs Citay’s Remixes. From the ambient textures of White Rainbows’ “Eye on Dollar” remix to Cornershop’s Anthony Saffery adding sitar and percussion to “First Fantasy,” these are anything but typical remix rave-ups. These Are Powers’ Brenmar (aka Bill Salas) gives “Moonburn” a playful, skittering treatment, while Black Mountains’ Steve McBeam adds his effected vocals to “Former Child” – the end result sounding more like Metallica than like Aphex Twin.
Welcome to Citay’s Little Kingdom. It’s an otherworldly place, full of psychedelic swirl, soaring harmonies and grandiose jams. Little Kingdom is the second album from San Francisco’s Citay. It’s an epic journey, and an album that sounds out of place in 2007 – a classic in the purest sense. Like Citay’s 2006 self-titled debut, the ‘70s rock sensibility is intact; Thin Lizzy, acoustic Led Zeppelin, Big Star and the Byrds all remain touchstones. But Little Kingdom moves further into ambitious composition, referencing Popul Vuh, Animals-era Pink Floyd, the Fripp-Eno collaborations, and early Mike Oldfield. The twin leads are still huge, the ballads still sweet, but Citay is reaching for more on Little Kingdom. Little Kingdom is lush and beautiful; a grand, epic work that harkens back to day when studio excess was encouraged and a premium was placed on composition. To borrow a line from Arthur’s review of Citay’s debut, “this is an album without a sell-by date, with a song for every season.”
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We recorded a song called "My Mystery" a year and a half ago. Kind of a light number, vaguely danceable. Wistful, looking back not unfondly on time spent and dull misadventures had within the dead-as-a-doornail music industry. And the feeling of where it leaves you, like a rat in the middle of the ocean, though not as harsh as that; as if rats could swim an ocean's length. Anyway, the song was not in keeping with the shadow spirit of Poison Season, and so it got shelved.
Then one day DJjohnedwardcollins@gmail.com called me up and said, "You got any shit for me?"...
Destroyer's Poison Season opens swathed in Hunky Dory strings. Dan Bejar's a dashboard Bowie surveying four wracked characters - Jesus, Jacob, Judy, Jack - simultaneously Biblical and musical theatre. This bittersweet, Times Square-set fanfare is reprised twice more on the record - first as swaying, saxophone-stoked "street-rock" and then finally as a curtain-closing reverie.
Broadway Danny Bejar dramatically switches scenes with "Dream Lover," all Style Council strut and brassy, radio-ready bombast (echoes of The Boo Radleys' evergreen earworm "Wake Up Boo!"). This being Destroyer, its paramours-on-the-run exuberance is judiciously spiked by his deadpan delivery: "Oh shit, here comes the sun…"
Like the other DB, Mr. Bejar has long displayed a chameleonic instinct for change while maintaining a unified aesthetic (rather than just pinballing between reference points). No two records sound the same, but they're always uniquely Destroyer. His latest incarnation often appears to take sonic cues from a distinctly British (usually Scottish, to be precise) strain of sophisti-pop: you might hear traces of Aztec Camera, Prefab Sprout, Orange Juice, or The Blow Monkeys. These songs merge a casual literary brilliance with intense melodic verve, nimble arrangements, and a certain blue-eyed soul sadness.
Playfully rueful, "Sun in the Sky" foregrounds cryptic lyrical dexterity over pop-classicist strum before gradually left-fielding into rhythmically supple, delirious avant-squall. It's as if Talk Talk took over a Lloyd Cole show. Originally released on a collaborative EP with electronic maestros Tim Hecker and Loscil (the latter's drones are retained here), a retooled "Archer on the Beach" suggests Sade swimming in The Blue Nile, smooth-jazz marimba melancholy dilated by ecstatic ambience. Flecked in heady dissonance, elusively alluring, Dan hymns its eponymous "impossible raver on your death bed" while implicitly beckoning the listener: "Careful now, watch your step, in you go."
That's Poison Season in essence: familiar yet mysterious, opaquely accessible. Arch, for sure, but ultimately elevatory.
Produced by JC/DC and recorded at their studio in Vancouver earlier this summer, Five Spanish Songs features musical contributions from Nicolas Bragg, David Carswell, John Collins, Stephen Hamm, and Josh Wells.
Dan Bejar writes:It was 2013. The English language seemed spent, despicable, not easily singable. It felt over for English; good for business transactions, but that's about it. The only other language I know is Spanish, and the only Spanish songs I really know are those of Sr. Chinarro, led by Antonio Luque. I've been a decades-long fan of how he conducted his affairs, his strange words, his melodies that have always felt so natural (this is important), his bitter songs about painting the light. Something about them, I knew I could do it...
Kaputt is his latest vision: an opulent, lyrical, game-changing masterpiece to rank with the choicest works of Sade, Scritti Politti, Simply Red and Steely Dan. For a more contemporary touchstone, feel free to consider it the sad-eyed psychic cousin of GAYNGS' smooth opus Relayted. These elaborate songs were lovingly crafted by a large studio ensemble of dedicated players; they are given fresh life on the road by an eight-piece touring band which will visit European shores for the first time this year.
Kaputt was released by the good people of Merge in North America, entering the Billboard chart at number 62 and receiving exultant hosannas from such august publications as The New York Times, Rolling Stone, Spin and The Washington Post.
Over three full lengths, an EP, and five different live bands in four years, David Longstreth has created in Dirty Projectors a body of music of original and variegated beauty. The breadth of his talents as a songwriter, arranger, bandleader and singer call to mind Prince, Joni Mitchell, and Bjork. His constantly evolving sound — both live and on record — the sheer intensity of the music, and the originality of his voice set him apart. Among modern music makers, he is a maverick: a loner and a rebel. From beginning to end, Dirty Projectors' new offering, Rise Above, is a reimagining of Black's Flag seminal 1981 record Damaged. It is not a covers record. Longstreth attempted to rewrite his favorite adolescent album word for word, from memory. A concept so lofty might just be hot wind if Rise Above weren't such a hell of a record on its own terms. It resounds with a kind of elegant simplicity: beautiful interlocking guitar parts, gorgeous three-part vocal harmonies, and some great songwriting. Chris Taylor of Grizzly Bear manned the knobs, giving Rise Above the same rich sound that he brought to his own band’s acclaimed album Yellow House. Longstreth used the same musicians that appeared on the US tour on which he debuted these songs, and Rise Above captures the inventiveness and raw power of Dirty Projectors' live arrangements at long last.
Take the 101 north out of Los Angeles, and you'll pass by Agoura Hills, where the core duo of the band Dub Thompson grew up. Whatever you see in that town won't readily prepare you for the music they wrote while there, but you're free to look.
"Most everyone who's in a group who's our age lives on the Internet," says guitarist Matt Pulos. "The kinds of things that have shaped our band aren't anchored to any one time or place."
Pulos and his bandmate, drummer Evan Laffer, are currently both 19 years old, and are putting that line of thought to the test; their musical influences travel from the Midwestern malaise of Big Black and Pere Ubu, to Kraut pioneers Can and Kraftwerk, while bowing to the British belligerence of The Fall and This Heat.
Recording the album while living with Foxygen's Jonathan Rado at his rented house in Bloomington, the band had its first taste of a heavy Indiana summer, and all the humidity and insect life that buzzes along with it. "We woke up every day, ate hard-boiled eggs and stood on a porch," says Pulos of the experience.
Their first collection of songs slyly unties the shoes of genre and convention, shapeshifts mischievously, and tramples on the promises delivered on the name itself.
There are only eight songs on this rangy debut.
Intense blasts of hook-filled noise rock ("Hayward!"), rocksteady marionette stomp ("No Time"), hypnotic bouts of doomy poetics ("Epicondyles"), outlandishly sexy groove rock ("Dograces"), and a number of other bite-sized forays into parts unknown are made manifest across 9 Songs.
The vibes are strong here. Pulos sings and plays like he's working out long-standing grudges, pulling the most sinewy tones from an acoustic guitar and ripping huge chunks of demon flesh out of his electric. Laffer matches him step for step on the drums, an exacting presence behind the kit who pushes even the band's more placid moments into bouts of tension. Together they succeed in animating their musical ideas to startling, almost unnatural life. Reverb units, keyboards, samples and processing gluing everything together, saturated in the August heat and worn in until they sound second nature, it's like somehow you've been listening to these songs forever.
The Evening Descends… and worlds collide. First you hear the prodigious musical skill: the deft guitar work, the clever pop sensibility, the wild arrangements. But then on other end of the spectrum there is the innocent and youthful charm of a trio of lost boys who seem to have no business making music with such maturity and sophistication. Taken together, you have Evangelicals, a wholly demented ensemble from Norman, OK. Dabbling in glam, slipping in a little funk and soul, drinking the psychedelic Kool-aid, blasting the synths, cranking up the guitars, and wrapping it all up with a dose of pop smarts, The Evening Descends is the first great album of 2008.
Three years in the making, Paul’s Tomb: A Triumph marks Frog Eyes’ thunderous, frantic, fiery return. This is a slow-brewed masterpiece that is unmistakably Frog Eyes, a new album that was very much worth the wait. On this point we feel unassailable: Frog Eyes keeps getting better and better. Frog Eyes are equally informed by Scott Walker and Roxy Music, Nuggets collections and the Everly Brothers. But in truth, Frog Eyes’ recordings sound like nothing else but Frog Eyes. In the past the band has lived in a no-man’s-land reserved for musical anomalies, making music championed by discerning critics and discerning artists (fans of Mercer’s songwriting have included, at one time or another, John Darnielle, Spencer Krug, Dan Bejar, Jonathan Meiburg, and Carl Newman, to name a few). All of the basic tracks on Paul’s Tomb: A Triumph, including many of the vocals, were recorded live off the floor, and this approach has captured a rawness, a punk rock spirit too often smothered by Pro Tools. Singer/guitarist Carey Mercer’s instantly recognizable howl is ever-present, soaring above the frenetic beats of drummer Melanie Campbell. Paul’s Tomb: A Triumph is in the canon of “two-guitar” records: the majestic shredding between Mercer and Ryan Beattie recalls everything from Neil Young/Danny Whitten’s work on early Young recordings to Tom Verlaine and even, occasionally, Hendrix. Mercer’s lyrics are a continuing refinement of warnings and prophecies, threats and terrors, and what he calls “contrapuntal sharp blasts of hope.” As Carl Wilson of Pitchfork put it in his [glowing] review of their 2007 album Tears of the Valedictorian, “[Frontman Carey] Mercer stands in the lineage of rock frontman as half-carnival-barker, half-gnostic-preacher that Greil Marcus describes as the ‘crank prophet,’ from Screamin' Jay Hawkins through Arthur Lee of Love, Captain Beefheart, David Thomas of Pere Ubu, Tom Waits, and the Pixies' Frank Black.” Paul’s Tomb: A Triumph is Mercer—and Frog Eyes—at their most powerful and self-assured.
For all the dark tones pulsing through Gauntlet Hair's new album Stills, there is also a guileless affection for the goth/industrialists and post-punks who blazed a shadowy path through the 80s and 90s. Recorded during Portland, Oregon's grey winter days in producer Jacob Portrait's (Unknown Mortal Orchestra) appropriately named studio "The Cave," Stills is a modern salute to Trent Reznor and his cohort's arena-ready post-apocalyptica.
The album follows the once-Denver-based band's 2011 self-titled debut for Dead Oceans and singles spread across labels like Forest Family and Mexican Summer. After moving back to their hometown of Chicago last year, drummer Craig Nice and singer/guitarist Andy R. looked to their teenage selves for inspiration. "I started listening again to the stuff I would have in my discman in the back of my mom's car," says Nice. "White Zombie, Marilyn Manson — the production on those records is so amazing. Nothing sounds like that anymore."
Over the last year and a half, Gauntlet Hair has seen its noise-pop anthems released on 7"s by tastemaker labels Forest Family ("I Was Thinking..." b/w "Our Scenery") and Mexican Summer ("Out, Don't..." b/w "Heave") respectively. And with the self-titled debut, the duo of Andy R (guitar, vox) and Craig Nice (drums, triggers) fulfill the booming promise of those now collectible singles.
Written and recorded in Spring 2011 at Andy's grandmother's Chicago-area house while she was away on vacation, Gauntlet Hair is a subtle refinement of the sounds we've come to associate with the band — the trunk-rattling bass; the ecstatic, tinny post-punk guitar; the din of ecstasy. But what was once simply jarring in its audacity is now also bursting with new colors. While the band continues to mine the pulse-and-clap cues of modern club rap, the intricacies of Andy's Durutti Column-inspired, circular guitar lines come a bit more to the fore on Gauntlet Hair. They are at once oblique and; pounding and glassy; melodic and exploratory. Standout "Top Bunk," with its tide-like suction and throb, is a cooled-out, coastal slowgrind. The songs multiple sections overlap and interlace through bass throb, elliptical guitars and affably shouted and falsetto-sung mantras. It's a shining, disorienting example of the careful, Byzantine sculpture behind each of these party jams. It's music made with the sole purpose of losing yourself — both mind and body — inside of it. They take the listener into the red, evoking that unmistakable feeling of being squarely in front of the speaker as it is screaming blissfully loud melodies.
Like the wild goose that the Portland-based trio are named after, the members of Greylag have all undertaken amazing journeys, migrating as if by homing instinct from different parts of the US, to create a self-titled debut album that's the latest must-have slice of verdant, far-reaching Americana. Greylag is rich in melody, mood and detail with a range that mirrors the distance between their individual birthplaces, creating a personal twist on some timeless musical traditions, embracing electric and acoustic with a sound that's both subtle and forceful.
Meet Andrew Stonestreet (lead vocal, acoustic guitar, originally from West Virginia), Daniel Dixon (lead guitar and other stringed things, keyboards, from Northern California) and Brady Swan (drums, from Texas). The venerated Phil Ek (Band of Horses, Fleet Foxes, Modest Mouse, The Shins) produced the album at Seattle’s Avast! Studio, who clearly knows a sublime enterprising combination of roots and rock music when he hears it.
The name Greylag looks and sounds strong but has developed more meaning for the band - It's a wild goose, from which all domestic geese originate, so it's the first survivor, and it's still wild, and doing things its own way - the 'lag' part refers to it being the last bird to migrate. It sits back and watches. We love the connotation.
While it's true I did endure a terrible break-up at the beginning of writing this record, this is not a break up record. Dagger Beach is a put-me-the-fuck-back-together record. The break up came in late 2011, after endless months of White Wilderness touring. I returned home to an empty house, and, as that's pretty unbearable when you're not quite right in the head, I decided to set out walking. I hiked the Lost Coast (36 miles of off-the-grid splendor in Southern Humboldt County), I hiked the entire 150-mile trail system of Pt. Reyes, I hiked for days, deep, deep in the woods, usually alone.As I walked and walked, listening to records on repeat, I started obsessing about music again. As the experience changed me, it changed the record. Dagger Beach is looser, weirder, and more free because of it.