Idaho have been making beautifully slow and sad music for close to twenty years, and the main man in all that period has been one Jeff Martin. The band/solo project/duo were always seen as pioneers of the sadcore/slowcore scene of the mid-1990s, along with bands like Low, Codeine and Red House Painters.
Over the years Jeff Martin has ventured down other avenues such as music for soundtracks, and even short film making, but has returned to music making with new album You Were a Dick. Under the guise of The Line Of Best FitI caught up with Jeff, a resident of California's famous Laurel Canyon to find out what's been happening over the last ten years or so.
New York duo Exitmusic exist in their own gloomy, gothic world of electronic music, trip-hop and Radiohead (well, where did you think the name came from?). New EP From Silence, out on Secretly Canadian of all labels, is a stylised and insular release, and it's a very curious record.
It's reviewed over at The Line Of Best Fit by me, and although I try to find the positives in most releases, sometimes the artist makes it very hard......
Anyway, find out more about what I think the band should do next by clicking here.
Being a firmly Californian band, San Francisco's Wooden Shjips embody everything about the mythical "West" and west coast. Infusing their music with psychedelia, jazz, garage rock and Cosmic American Music, Ripley Johnson's band of travellers haven't always been easy listening. Bowing before the altar of the groove, the eponymous debut and then Dos were jammy, headcrushing epics, marrying balls-out Stooges rock with spacey Hawkwind segments, culminating in the likes of the 11-minute 'Down By the Sea' from that second record.
Third album West - the first recorded in a proper studio space - comes hot on the heels of Johnson's record as Moon Duo, and finds the band in a more compact and accessible frame of mind. It'd be a stretch to call West pop or commercial, but it does find the band in a slightly different frame of mind, yet still exploring the outer limits of rock music.
Opener 'Black Smoke Rise' begins by kicking out the jams MC5 style, with the fuzzy guitars married to a wonderful organ drone. What Johnson seems to do is to find that one effects pedal and stamp on it til he decides it's time to end the song. Next track 'Crossing' is a martial and hypnotic track, almost brought to a crashing end by a crackling and echoey Crazy Horse solo, adding a further feeling of dread to the track, which already touches on inescapable death.
The more compact side of Wooden Shjips is shown on the 3-minute boogie of 'Lazy Bones', it being a track that wouldn't be out of place on The Doors' LA Woman. This is further added to by the straight-ahead rock and roll of 'Home'. It's the track that most reflects Johnson's statement that the record might be influenced by Neil Young and Crazy Horse, and it very much sounds like a lost track from Rust Never Sleeps (the band of course covered 'Vampire Blues' on Vol.2) or a cut from Dirty-era Sonic Youth.
'Flight' coats metallic riffs in organ swirls for 5 minutes, and 'Looking Out' verges on Nuggets pastiche, but ends up being great ramalama fun. Closing track 'Rising' is recorded entirely backwards, and in hands other than Wooden Shjips' it might sound preposterous but within the context of the album it works completely.
West continues the Wooden Shjips journey along the coast of California, and if you're looking for an entry into their psych space-rock world, you'll not find a better place to start.
Longer version: Childhood friends Johan Angergård (Club 8, Acid House Kings) and Henrik Mårtensson finally get round to making a full album together after years of collaborating in one form or another. The debut record by Pallers is well-worth checking out if you like a bit of dream pop/electro. It's sad and uplifting, and my review is as always over at The Line Of Best Fit.
With the sad news that Jason Molina (Songs:Ohia, Magnolia Electric Co.) is battling his demons in the face of spiralling medical costs, it got me thinking about the massive influence his music has had on me over the past ten years or so. An incredibly prolific artists, there did seem to be something untoward about the two-year musical silence since he cancelled his tour to promote the album he made with Centro-Matic's Will Johnson. So, here at 78sDW I'm taking a look at the music of Jason Molina, and pointing you to some career high points.
The first time I heard Molina's name was on the Amalgamated Sons of Rest EP, a one-off project between Molina, fellow 78sDW hero Will Oldham and Alasdair Roberts. Although Molina's voice was somewhat in the background, it was enough to get me interested in what else was out there. What came next was something quite different, as the first Molina record I bought was the goodbye to the Songs:Ohia moniker, 2003's Magnolia Electric Co. Turning up the volume to an extent, this record was my first immersion into the world of Jason Molina, a world of snakes, wolves, stars, the moon, the dark, crossroads, and many other leitmotifs that continually crop up throughout his body of work. It's a record of Springsteen/Neil Young blue-collar road-rock, plus some sparser alt. country moments, all produced by Steve Albini.
Just to give you an idea of the brilliance of this record, witness opener 'Farewell Transmission'. A one-take recording with musicians who didn't know the chord progression beforehand, the song takes everything about Molina and squeezes it into 7 truly wonderful minutes of music:
There are many more moments to be cherished here, such as Scout Niblett's falsetto on 'Peoria Lunch Box Blues, and the crunch of 'John Henry Split My Heart', before it ends on the heartbreak of 'Hold On Magnolia'.
Before going on to the post-Songs:Ohia future though, my next experience was that name's 2002 record 'Didn't It Rain'. This album remains my favourite Molina moment, and one of my favourite records. A sparse and desolate experience compared to the record that followed, it's often Molina, his guitar and piano, and the backing vocals of collaborator Jennie Benford. It's a sad and exhausting record, pulling the listener in and forcing you to share Molina's emotions. There are many wonderful moments on the album, with 'Ring the Bell' and 'Cross the Road, Molina' to name but two, and Steve Albini's contributions to the record earn him a name check, but the opening track, 'Didn't It Rain', says everything you need:
"They think you got it, they're gonna beat it out of you /through work and debt, whatever all else there." That one couplet expresses the heaviness all across this record. It's actually the sixth Songs:Ohia record, with Ghost Tropic and The Lioness being the ones you should really check out.
With Songs:Ohia laid to rest, 2004 saw Molina release Pyramid Electric Co. under his own name. Intended to be released as a companion piece at the same time as Magnolia Electric Co. the records could not be more different. A vinyl-only release (with a CD inside), it's basically just Molina with detuned and spiky guitar, and some piano for company. It's far from an easy listen, but does contain one of my favourite Molina moments, 'Division St Girl'. It's hard to track down online, but here it is. Molina's voice is raw throughout, but it's an album worth hearing, if you can stomach the depressive mood throughout. And you should, 'cos it's bloody brilliant.
The first studio album under the name Magnolia Electric Co. came in 2005 (following a blistering live album, Trials and Errors), and What Comes After the Blues was something of a hit-and-miss affair. Still miles better than most alt.country albums, it lacked a bit of power but still contains the wonderfully meandering and harmony-drenched 'Northstar Blues' and 'I Can Not Have Seen the Light':
2006's Fading Trails is a better affair, although suffers from being a collection of knitted-together recording sessions, which leads us into 2007 and the epic undertaking of box-set Sojourner.
A 4-CD set of recordings from various sessions, it takes the songs on Fading Trails and returns them to their proper contexts. Split into 'Nashville Moon', 'Black Ram', 'Sun Session' and 'Shohola', and coming with a DVD, postcards with original artwork and a medallion, all boxed in a wooden container, it was a massive undertaking from both Molina and Secretly Canadian, and it's the ultimate immersive Molina experience. There's so much to enjoy across 33 tracks, whether it's the Molina and his guitar sparseness of the 'Shohola' songs, the traditional country reworkings taped at the legendary Sun Studios, or the use of two different bands on 'Nashville Moon' and 'Black Ram'. And just to show it's not all intense and moody, here's Molina and band rolling through a joyful version of 'What Comes After the Blues', better than what's found on the album of the same name.
And that takes us to the last Magnolia Electric Co. recording as it stands for now. 2009's Josephine was a true return to form after the minor disappointments of the last two regular studio albums. A soulful record with Molina sounding in great voice, it came after him roadtesting songs on a brief solo tour. I saw him play in Glasgow, just Molina and his electric guitar, and the songs were great, and Jason himself looked in great health. The record is a fine example of his songwriting, the usual motifs are there with tributes to the places of his childhood scattered throughout. In October of that year the band stopped by Daytrotter to record a great session, that includes a rollicking take on Warren Zevon's 'Lawyers, Guns and Money'.
I do hope that Jason Molina overcomes whatever problems he has and returns to making great music. I wish him all the best in his recovery and hope that farm life restores him to rude health.
If you want to send well-wishes, or make a donation, see this link for more details:
A Winged Victory for the Sullen's eponymous debut record is reviewed by me over at The Line Of Best Fit.
You really do have to listen to this record, it's deeply moving and one of the best album's I've heard all year. You can read more by clicking along here. But seriously, just listen to it, it's out now on Erased Tapes.
With a family lineage that includes Woody Guthrie and John Steinbeck, Sarah Lee Guthrie and Johnny Irion don't have to look far for any kind of musical or literary inspiration. Still, it's also a lot to live up to, so there's a bit of pressure on new album Bright Examples.
As you might expect it's a record of alt.country, with some added pop touches and it's reviewed over at The Line Of Best Fit.
So if you'd like to read my hopefully error-free review (sorry, Peggy Sue!) you can do so by clicking here.
