These hirsute fellows are returning later in the year with new LP Destroyer of the Void. Despite the title sounding like a black metal album, the first tune to surface is a gentle lilt in the style of 'Not Your Lover' or 'Echo...' from the last album. Not sure that this gives any hints about the rest of the album, but my feeling is that the freakout moments of the first two albums may have been discarded in favour of focus.
See for yourself (via Stereogum):
http://stereogum.com/313602/blitzen-trapper-heaven-and-earth/mp3s/
Friday, 26 March 2010
Sunday, 21 March 2010
Julianna Barwick
Oh, there are times when you just want your head to be soothed by music, to let it guide you into a gentle and comforting world. Other worlds, with 'other' music.
Julianna Barwick's music does this for me. A beautiful, harmonious, almost symphonic sound played in some imaginary cathedral. Her wordless vocals seesaw and loop across the electronic soundscapes she creates, and it reminds me of some of Brian Eno's work.
I'd hate to use the word ambient, so I won't. What it is though is blissful, intimate yet unreachable, hypnotic and ethereal.........
http://www.myspace.com/juliannabarwick
http://www.juliannabarwick.com/
Julianna Barwick's music does this for me. A beautiful, harmonious, almost symphonic sound played in some imaginary cathedral. Her wordless vocals seesaw and loop across the electronic soundscapes she creates, and it reminds me of some of Brian Eno's work.
I'd hate to use the word ambient, so I won't. What it is though is blissful, intimate yet unreachable, hypnotic and ethereal.........
http://www.myspace.com/juliannabarwick
http://www.juliannabarwick.com/
Thursday, 11 March 2010
Terrible Love - the return of the greatest band in music today...
The National are back! With new LP High Violet coming in May, they paid a visit to Late Was the Night with Jimmy Fallon to debut new song 'Terrible Love'. You can watch it thanks to Stereogum after the jump:
http://stereogum.com/296301/national-debut-terrible-love-on-fallon/top-stories/lead-story/
As the 'gum drop puts it, "are you ready for some good music?". Oh aye.
Update: 'Bloodbuzz Ohio' has also made its presence known in recent days. Instantly recognisable as classic National:
http://stereogum.com/314001/the-national-bloodbuzz-ohio/mp3s/
http://stereogum.com/296301/national-debut-terrible-love-on-fallon/top-stories/lead-story/
As the 'gum drop puts it, "are you ready for some good music?". Oh aye.
Update: 'Bloodbuzz Ohio' has also made its presence known in recent days. Instantly recognisable as classic National:
http://stereogum.com/314001/the-national-bloodbuzz-ohio/mp3s/
Tuesday, 9 March 2010
Review: Shearwater - The Golden Archipelago
Third in the "islands" trilogy of concept albums, The Golden Archipelago shows listeners that the album format is alive and well. At just 38mins long though, it's still not enough time as I could listen to Jonathan Meiburg's voice all day long.
Veering from a whispered croon to operatic holler, Meiburg's vocal variations are mirrored in the music. Gentle glockenspiel, brushed drums and bowed strings (the delightful Hidden Lakes) make way for thunderous, percussive rock (Corridors, a stirring song about prison islands), which in turn fades away to touching balladry (An Insular Life).
Shearwater's baroque pop works incredibly well live, with Thor Harris' percussion almost stealing the show. They're surprisingly muscular, and incredibly controlled in their quiet/loud switches. Twice I've seen them play in Glasgow, and both times it was a breathtaking experience.
However, the tranquil beauty contained in the album makes itself known over repeated listening, each sutble moment and nuance revealing itself slowly over time.
It's a unique album inasmuch as it's the perfect headphones record that still has the power to stun when played by the band right in front of you.
Veering from a whispered croon to operatic holler, Meiburg's vocal variations are mirrored in the music. Gentle glockenspiel, brushed drums and bowed strings (the delightful Hidden Lakes) make way for thunderous, percussive rock (Corridors, a stirring song about prison islands), which in turn fades away to touching balladry (An Insular Life).
Shearwater's baroque pop works incredibly well live, with Thor Harris' percussion almost stealing the show. They're surprisingly muscular, and incredibly controlled in their quiet/loud switches. Twice I've seen them play in Glasgow, and both times it was a breathtaking experience.
However, the tranquil beauty contained in the album makes itself known over repeated listening, each sutble moment and nuance revealing itself slowly over time.
It's a unique album inasmuch as it's the perfect headphones record that still has the power to stun when played by the band right in front of you.
Monday, 8 March 2010
Gone, not forgotten - Mark Linkous of Sparklehorse
The news of the death of Mark Linkous, the genius behind Sparklehorse, was hard to take. I'm sure that many fans of the band (famous and otherwise) have their own favourite memories, so I'm sharing mine here.
In 1995 Vivadixiesubmarinetransmissionplot was one of the first "alternative" or "alt-country" records I bought that made an impact on my life and opened me up to the possibilities previously hidden from me in music.
Having just left school, on my way to embrace the wonders of university and the city, the way that Mark Linkous looked at the world - probably through those weird goggles he wore on the record sleeve - had quite an impact on me. Vivadixie is still my favourite record of theirs, I love the contrast between the bruised beauty of 'Homecoming Queen' and 'Heart of Darkness' and the euphoria of 'Rainmaker' and 'Someday I Will Treat You Good'. It's a brilliant record and I do credit it with opening me up to a world of other music, and I can hear its touch in much of the music I listen to today.
I had the pleasure of seeing him play in Glasgow a few years back, and it was a great experience, Linkous quietly asserting himself over the audience.
The thing about Linkous' approach to music was that he wasn't afraid to work with a variety of musicians, many of whom might not have shared his take on the world - just look at this list: Dave Fridmann, Cracker, Tom Waits, PJ Harvey, Nina Persson, Christian Fennesz, David Lynch and Danger Mouse. I'd imagine that they all enjoyed the time spent in the company of Mark Linkous.
The thing about Linkous' approach to music was that he wasn't afraid to work with a variety of musicians, many of whom might not have shared his take on the world - just look at this list: Dave Fridmann, Cracker, Tom Waits, PJ Harvey, Nina Persson, Christian Fennesz, David Lynch and Danger Mouse. I'd imagine that they all enjoyed the time spent in the company of Mark Linkous.
He'll be sadly missed.
Saturday, 20 February 2010
Gig Review - Spoon, White Rabbits @ King Tuts, Glasgow 14/02/2010
Blistering.
White Rabbits, whose recent album It's Frightening was produced by Spoon's Britt Daniel, were an unexpected treat. The album is something of a grower, but there was a brutal immediacy to this live performance. The key was the percussive power of the band. Oscillating between two and three drummers/percussionists, the sheer force of the White Rabbits live experience won over a lot of new fans on Valentine's Night.
Clearly accomplished players, evidenced by the amount of instrument swapping that went on, the vocal yelps and harmonies of Stephen Patterson and Gregory Roberts work well together, and it's always a good sign if a band looks like they're having fun. There's magic in songs like the aptly-named Percussion Gun and gig highlight The Salesman(Tramp Life).
All that left Spoon with some work to do. But they pulled it off brilliantly. I know I go on about Spoon a lot on this site, but they're bloody fantastic. If The Beatles were around today they'd be making music like this - all White Album style rawness combined with studio trickery.
With quite a back catalogue to choose from, the band managed to balance old and new pretty well. There were fantastically electric versions of Jonathan Fisk, The Way We Get By and My Mathematical Mind (one of the stand-outs of the night), plus the hiighlights of new album Transference - Written in Reverse, Got Nuffin and a first ever live outing for the heart-meltingly gorgeous Out Go the Lights.
Ending on You Got Yr. Cherry Bomb made everyone happy, and it was off into the night for all the lovers.
White Rabbits, whose recent album It's Frightening was produced by Spoon's Britt Daniel, were an unexpected treat. The album is something of a grower, but there was a brutal immediacy to this live performance. The key was the percussive power of the band. Oscillating between two and three drummers/percussionists, the sheer force of the White Rabbits live experience won over a lot of new fans on Valentine's Night.
Clearly accomplished players, evidenced by the amount of instrument swapping that went on, the vocal yelps and harmonies of Stephen Patterson and Gregory Roberts work well together, and it's always a good sign if a band looks like they're having fun. There's magic in songs like the aptly-named Percussion Gun and gig highlight The Salesman(Tramp Life).
All that left Spoon with some work to do. But they pulled it off brilliantly. I know I go on about Spoon a lot on this site, but they're bloody fantastic. If The Beatles were around today they'd be making music like this - all White Album style rawness combined with studio trickery.
With quite a back catalogue to choose from, the band managed to balance old and new pretty well. There were fantastically electric versions of Jonathan Fisk, The Way We Get By and My Mathematical Mind (one of the stand-outs of the night), plus the hiighlights of new album Transference - Written in Reverse, Got Nuffin and a first ever live outing for the heart-meltingly gorgeous Out Go the Lights.
Ending on You Got Yr. Cherry Bomb made everyone happy, and it was off into the night for all the lovers.
Gig Review - Beach House @ King Tuts, Glasgow 10/02/2010
A stage ensconced in white fur (not velvet, George Costanza fans) was actually the perfect setting for Beach House's reverb-drenched fuzz-pop. After a nervy start (although stage banter was at a premium anyway), Alex Scally and Victoria Legrand's guitar and organ duo, augmented by a drummer, hit their stride with a set heavy on tunes from new album Teen Dream.
Thankfully, the immediacy of the album wasn't lost in the live arena. The songs floated out of the speakers, like a cool breeze breaking the oppresive summerish heat of the venue, the glacial presence of the band - though at times seemingly disconnected from the audience - soothed the senses. Victoria Legrand's voice is a startlingly low register sound, but it's a lovely counterpoint to some of the sharper organ and guitar parts in the mix.
Although it was a touch early for Valentine's Day, some of the songs would be well suited for an initmate couples waltz around a room. A small part of Glasgow was left swooning on a Wednesday night.
Thankfully, the immediacy of the album wasn't lost in the live arena. The songs floated out of the speakers, like a cool breeze breaking the oppresive summerish heat of the venue, the glacial presence of the band - though at times seemingly disconnected from the audience - soothed the senses. Victoria Legrand's voice is a startlingly low register sound, but it's a lovely counterpoint to some of the sharper organ and guitar parts in the mix.
Although it was a touch early for Valentine's Day, some of the songs would be well suited for an initmate couples waltz around a room. A small part of Glasgow was left swooning on a Wednesday night.
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