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Author Topic: 2014 New Releases  (Read 53213 times)
Lowbacca
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« Reply #75 on: June 18, 2014, 04:47:01 AM »

Checked out 3 new 2014 releases this morning.

The Glass Animals' ZABA (decent, but not my cup of tea), enchanting chanteuse Jill Barber's new album Fool's Gold (recommended!) and Avey Tare's (of Animal Collective) new project Avey Tare's Slasher Flicks with the album Enter The Slasher House (I fell asleep during it, but that was due to lack of coffee. What I noticed was good sh*t, though. Second spin pending...).




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« Reply #76 on: June 22, 2014, 09:15:49 AM »

This morning I finally listened to Lana Del Rey's new Ultraviolence, which has been getting so much attention both in general (New York Times and NPR features, for example) and here (the BW recording). My first exposure to her was the single "Video Games," which I heard in the car while going to visit a girlfriend. I sat in the car to let it finish before going up, which meant it made some impression or other on me, but at the time I sat there listening, I couldn't decide whether it was good or just laughably bad. Somehow I'm still not sure (though I did include it on my best-of playlist that year), which in its own way makes it good. I think.

I still feel the same about Lana Del Rey. She's not a very good singer. Her persona is as painstakingly crafted as her music, the latter of which she writes lyrics and melodies for, leaving the fuller arrangements to collaborators. (No sin in that.) She's not much of a singer. And she's not much of a writer. Yet somehow there is something worthwhile about what she's doing, and for the life of me I'm not entirely sure what it is.

Ultraviolence is a narcotic haze of ironic or detached taboos. I take "Brooklyn Baby" and "f***ed My Way Up to the Top" as satires, jokes. "West Coast" is a decent single, kind of smouldering and less languorous than much of the album, though the "Wicked Game"esque slowdown for the refrain is an odd choice. The innocent (attempts at Midwestern?) affectations in "Pretty When You Cry," the over-pronunciations of the letter R in every word, are hard to listen to. Yet the song is good.

If nothing else, she got me to listen to another album. I doubt I'll buy it, but who knows, I may end up getting a song or two.
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« Reply #77 on: July 03, 2014, 02:36:40 PM »

I there is approximately one other Of Montreal fan here, so I'll note that their documentary officially came out a week or so ago. The Past is a Grotesque Animal focuses on frontman Kevin Barnes, and especially takes the narrative of him as the sole consistent member of the band while others--including friends--come and go. A lot of negative talk from others about him, and some vice versa. He doesn't come off as especially lovable but I appreciate that approach, stripping out what I consider to be unrealistic "magic" and getting down to the reality of what it's about, which is crafting and playing music.

The film is in some theatres--presumably very limited release.
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« Reply #78 on: July 03, 2014, 02:54:06 PM »

Kevin was signed a solo artist for his first record deal, of Montreal has never been a band. I guess it's just easier to market his style of music as a band, maybe.
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« Reply #79 on: July 03, 2014, 03:25:55 PM »

Kevin was signed a solo artist for his first record deal, of Montreal has never been a band. I guess it's just easier to market his style of music as a band, maybe.

Oh, I'm aware. The band was created to perform the music, and he just went with it. It's not even unusual: we've seen plenty of people who are sold as bands, both before and since. (Eels, for example. Final Fantasy before Owen Pallet went by his own name.) But the creative ownership has always been Kevin's, and people who want otherwise, well, that's fair ... it's just not reality. We all have our favorite incarnations. But it's up to KB to do what he wants.

Interesting tidbit from the doc that I didn't know, Sylvianbriar was actually conceived as a solo project that he eventually decided made more sense to market under the OM name. (I wholly agree, especially considering the previous sentiment: it doesn't matter who else is a part of it, it's oM as long as Kevin wants it to be.)
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« Reply #80 on: July 03, 2014, 04:11:33 PM »

On the Elephant 6 kick...

Circulatory System released a new album last week, Mosaics Within Mosaics. The band, led by one of the two primary Olivia Tremor Control songwriters, Will Cullen Hart (The late Bill Doss went on to form the poppier The Sunshine Fix in the post-OTC years.), leans toward the sound collage, trippier aspects of OTC, with few fully fleshed-out songs. Instead it has focused on short pieces and collaboration presumably digitally equivalent to the early days of E6 tape-sharing, contributions from far and wide.

I'm not a big fan, personally. It's the pop side of OTC (and E6 in general) that has always appealed most to me. I usually find noise, collage, and "experimentalism" anything but the latter. Then again, I don't use psychedelics, so I plead ignorance, I guess. That said, I do like Hart's more traditional tidbits sometimes (though the acoustic guitar sound throughout sounds awful to me, like a bad dream of a thin-toned, brittle, plastic-backed Ovation). The title track, "Tiny Planes on Canvas," and "When You're Small" struck me on my first listen as pretty cool.

Oh, and allmusic.com was kind enough to skip the obligatory Smile reference. Rolling Stone wasn't...
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« Reply #81 on: July 03, 2014, 10:18:27 PM »

Kevin was signed a solo artist for his first record deal, of Montreal has never been a band. I guess it's just easier to market his style of music as a band, maybe.

Oh, I'm aware. The band was created to perform the music, and he just went with it. It's not even unusual: we've seen plenty of people who are sold as bands, both before and since. (Eels, for example. Final Fantasy before Owen Pallet went by his own name.) But the creative ownership has always been Kevin's, and people who want otherwise, well, that's fair ... it's just not reality. We all have our favorite incarnations. But it's up to KB to do what he wants.

Interesting tidbit from the doc that I didn't know, Sylvianbriar was actually conceived as a solo project that he eventually decided made more sense to market under the OM name. (I wholly agree, especially considering the previous sentiment: it doesn't matter who else is a part of it, it's oM as long as Kevin wants it to be.)

Sylvianbriar seems like a natural progression from Paralytic Stales songs like Wintered Debts. It's funny he wanted to market the album under a different moniker when his career has been defined by stylistic evolution. Maybe he thought the label and his fans wanted more electro-pop?
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« Reply #82 on: July 04, 2014, 05:06:14 AM »


Sylvianbriar seems like a natural progression from Paralytic Stales songs like Wintered Debts. It's funny he wanted to market the album under a different moniker when his career has been defined by stylistic evolution. Maybe he thought the label and his fans wanted more electro-pop?


I don't really know what he was thinking. Maybe it was more that he wanted to really start featuring Rebecca Cash and thought somehow that made more sense outside of the band? Really no idea. But I'd guess his eventual conclusion was exactly what we've both said in this thread, which is that he has always changed both styles and personnel, and so it could just as well be of Montreal as any other incarnation could be of Montreal.
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« Reply #83 on: July 04, 2014, 01:59:13 PM »

Scanning things online and found that Kacey Musgraves released a new single a few weeks ago, "The Trailer Song." Typically funny (I think) and clever musically, though nothing earth-shattering by any means. Decided to post a 2013 performance from her Grand Ole Opry debut rather than the studio track because that was just a still pic of the cover and the performance isn't far off the studio version anyway. (Plus, hey, she's pretty ... it's a pleasure to watch her perform!) I bought it and really enjoy it. Still not sure how she meshes with Brian Wilson, but I guess we'll find out in a few months.

So here's some pop (but just barely, more in the 1970s sense than the 2010s sense) country for you.

The Trailer Song
https://www.youtube.com/watch?v=4ugS08zy1cA
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« Reply #84 on: July 04, 2014, 02:08:47 PM »

Scanning things online and found that Kacey Musgraves released a new single a few weeks ago, "The Trailer Song." Typically funny (I think) and clever musically, though nothing earth-shattering by any means. Decided to post a 2013 performance from her Grand Ole Opry debut rather than the studio track because that was just a still pic of the cover and the performance isn't far off the studio version anyway. (Plus, hey, she's pretty ... it's a pleasure to watch her perform!) I bought it and really enjoy it. Still not sure how she meshes with Brian Wilson, but I guess we'll find out in a few months.

So here's some pop (but just barely, more in the 1970s sense than the 2010s sense) country for you.

The Trailer Song
http://youtu.be/S-KPOxqMazI

Wow, I had no idea she was such a good guitar player.
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« Reply #85 on: July 04, 2014, 02:15:21 PM »

Scanning things online and found that Kacey Musgraves released a new single a few weeks ago, "The Trailer Song." Typically funny (I think) and clever musically, though nothing earth-shattering by any means. Decided to post a 2013 performance from her Grand Ole Opry debut rather than the studio track because that was just a still pic of the cover and the performance isn't far off the studio version anyway. (Plus, hey, she's pretty ... it's a pleasure to watch her perform!) I bought it and really enjoy it. Still not sure how she meshes with Brian Wilson, but I guess we'll find out in a few months.

So here's some pop (but just barely, more in the 1970s sense than the 2010s sense) country for you.

The Trailer Song
http://youtu.be/S-KPOxqMazI

f***. Whoops. Fixed.
Wow, I had no idea she was such a good guitar player.

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« Reply #86 on: July 10, 2014, 07:27:12 AM »

On the Elephant 6 kick...

Circulatory System released a new album last week, Mosaics Within Mosaics. The band, led by one of the two primary Olivia Tremor Control songwriters, Will Cullen Hart (The late Bill Doss went on to form the poppier The Sunshine Fix in the post-OTC years.), leans toward the sound collage, trippier aspects of OTC, with few fully fleshed-out songs. Instead it has focused on short pieces and collaboration presumably digitally equivalent to the early days of E6 tape-sharing, contributions from far and wide.

I'm not a big fan, personally. It's the pop side of OTC (and E6 in general) that has always appealed most to me. I usually find noise, collage, and "experimentalism" anything but the latter. Then again, I don't use psychedelics, so I plead ignorance, I guess. That said, I do like Hart's more traditional tidbits sometimes (though the acoustic guitar sound throughout sounds awful to me, like a bad dream of a thin-toned, brittle, plastic-backed Ovation). The title track, "Tiny Planes on Canvas," and "When You're Small" struck me on my first listen as pretty cool.

Oh, and allmusic.com was kind enough to skip the obligatory Smile reference. Rolling Stone wasn't...

I'll have to listen, though like you I am a big fan of the poppier side of the Elephant 6 bands.

(In that vein, I've come to know Tammy Ealom from Dressy Bessy through my own band, and they're recording a new album.  This pleases me.)
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« Reply #87 on: July 10, 2014, 07:41:01 AM »

One of the releases I am most looking forward to this year is coming out on October 7.  It's the debut album from Mary Timony's new band, Ex Hex.



For the unfamiliar, Mary Timony first rose to (indie) fame in the '90s as the guitarist & frontwoman of the alt-distorto-fairy tale-pop/rock trio Helium.  Their two albums, the noisy & distorted "The Dirt of Luck" and the trippy alt-space-pop of "The Magic City," are two of my absolute favorites of the '90s.  After Helium, she ran through four solo albums (starting with crazy minimalist medieval-pop and heading into big rock numbers) before winding up as one of the guitarists in the recent sort-of supergroup Wild Flag (a big old-fashioned rock four-piece also featuring Carrie Brownstein and Janet Weiss of Sleater-Kinney and Rebecca Cole of The Minders).

After Wild Flag ended, Mary wound up hooking up with bassist Betsy Wright of Chain & The Gang and drummer Laura Harris of Aquarium to form a new hard-charging rock power trio called Ex Hex (taking the name from one of Mary's solo albums).  They put out a 7" with three songs early this year as a taste of things to come, and have been recording a full-length in Mary's basement studio in D.C.  They just put out the first track from the album, "Don't Wanna Lose," on the Merge Records Soundcloud account.

https://soundcloud.com/mergerecords/ex-hex-dont-wanna-lose

Mary is a phenomenal guitarist and has a way with words - whether they be straightforward or trippy - and the new band is great.  Really excited for the album.

There's a video for one of the songs from the original 7" - "Hot and Cold":

https://www.youtube.com/watch?v=2bhLw3v_tiY
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« Reply #88 on: July 11, 2014, 02:52:33 PM »

I don't have a love-hate relationship with Christopher Owens, former frontman and songwriter of the defunct band Girls. I have a sometimes-really-like-sometimes-not-so-much relationship with him. But he doesn't know about our relationship. (He did once puke at a friend's apartment once, but that's really not the point. And to be honest, it could have been somebody else in that version of Girls. I don't have the story straight. I hope Mr. Owens isn't litigious.)

Point being, I read yesterday that he's got a new solo album coming out this fall, which will be his second. I wasn't a fan of his first, in large part because I don't really like concept albums much. This from the guy who still considers Pepper the best Beatles album and is a full-fledged Zappa fanatic. (The man doesn't only have concept albums, but a concept catalogue.) But even that album, Lysandre, had some great tunes. Owens has a pop gift. When he's at his best, he writes formulaic gems. The man should team up with Mr. Love: whatever drugs he does, he certainly seems willing to not f*** with the formula, but rather embrace it in the best way. Sometimes the formula can be your friend, the boundaries an artist needs to explore within. No boundaries, no rules, means no frame. And a frame is what makes art in the first place. (See the Zappa autobiography. Also award me points for two FZ references in a single post about a musician totally unrelated to FZ.)

Anyway, here is the first single from Owens' upcoming album. It's called "Nothing More than Everything To Me," and it's got some superficial country trappings ... but it's the same pop he's been doing all along (when he's doing things right, anyway).
 
https://www.youtube.com/watch?v=iboUa31Hdzg
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« Reply #89 on: July 11, 2014, 02:55:32 PM »

One of the releases I am most looking forward to this year is coming out on October 7.  It's the debut album from Mary Timony's new band, Ex Hex.



For the unfamiliar, Mary Timony first rose to (indie) fame in the '90s as the guitarist & frontwoman of the alt-distorto-fairy tale-pop/rock trio Helium.  Their two albums, the noisy & distorted "The Dirt of Luck" and the trippy alt-space-pop of "The Magic City," are two of my absolute favorites of the '90s.  After Helium, she ran through four solo albums (starting with crazy minimalist medieval-pop and heading into big rock numbers) before winding up as one of the guitarists in the recent sort-of supergroup Wild Flag (a big old-fashioned rock four-piece also featuring Carrie Brownstein and Janet Weiss of Sleater-Kinney and Rebecca Cole of The Minders).

After Wild Flag ended, Mary wound up hooking up with bassist Betsy Wright of Chain & The Gang and drummer Laura Harris of Aquarium to form a new hard-charging rock power trio called Ex Hex (taking the name from one of Mary's solo albums).  They put out a 7" with three songs early this year as a taste of things to come, and have been recording a full-length in Mary's basement studio in D.C.  They just put out the first track from the album, "Don't Wanna Lose," on the Merge Records Soundcloud account.

https://soundcloud.com/mergerecords/ex-hex-dont-wanna-lose

Mary is a phenomenal guitarist and has a way with words - whether they be straightforward or trippy - and the new band is great.  Really excited for the album.

There's a video for one of the songs from the original 7" - "Hot and Cold":

https://www.youtube.com/watch?v=2bhLw3v_tiY

Here comes my entry to the category for Worst Story Ever.

I recall getting a Mary Timony album for review back when I did that sort of thing (maybe 10 years ago or so). I recall thinking she was a great guitarist. I don't recall, or still have, the album or my review of it. The end.

I will now get to work on my award acceptance speech and choosing the appropriate baseball cap to wear while giving it.
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« Reply #90 on: July 11, 2014, 07:05:38 PM »

.
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« Reply #91 on: July 12, 2014, 12:25:21 PM »

Here comes my entry to the category for Worst Story Ever.

I recall getting a Mary Timony album for review back when I did that sort of thing (maybe 10 years ago or so). I recall thinking she was a great guitarist. I don't recall, or still have, the album or my review of it. The end.

I will now get to work on my award acceptance speech and choosing the appropriate baseball cap to wear while giving it.

Ha, that's a pretty great Worst Story.  Smiley

Mary's cool.  She's a great guitarist and I love her general overall weirdness and sense of humor - not like a "I can't function in public" weirdness, more a "here's a song about dragons, I'm going to go wear a golden cat mask" weirdness.

We got to meet her & the rest of the band at SXSW - that's my wife/our guitarist & vocalist on the left with them.  Total freakin' thrill for us.  Smiley

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« Reply #92 on: July 15, 2014, 08:49:29 AM »

Looking for something exciting this summer, something to really capture the wildness of rock 'n' roll while the days are long and hot? This, my friends, is not the album for you.

Luluc's Passerby is understated and subtly beautiful, wholly inappropriate for the season but wonderful nonetheless. It's not the music leading up to the first encounter, but the music during or after, comfortable, contemplative, languorous. It's the autumn Sunday morning with coffee and a blanket to ward off the chilly breeze coming through your open window. In fact, it's one of the best couple of albums I've heard this year. Does Australian folk get any better? I have no idea, I've never heard Australian folk as far as I know. But I know I love this.

Zoe Randell handles most of the lead vocals, with Steve Hassett singing harmonies. The arrangements are soft and guitar-based, either acoustic or soft, mostly clean electrics. There are strings, horns, reed, keyboards, and percussion, but they sneak up on you. If anyone asked, you might say it's just an acoustic-and-vocal record. It gives that impression, almost the way Nick Drake's records might.

"Without a Face" is as good a representative of the album as any--ok, largely because it's on youtube--and you can hear it here: https://www.youtube.com/watch?v=QQetpSkYnA8

But I'm especially partial to "Reverie on Norfolk Street" and "Tangled Heart."

The entire album, just out today on SubPop, is good. I bought it.
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« Reply #93 on: July 15, 2014, 11:08:35 AM »

nice.  I hear the Nick Drake connection in the writing.  I'll give it a listen when the rest of the album gets uploaded. 
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« Reply #94 on: July 30, 2014, 03:58:47 PM »

This evening I'm listening to the new Beck Song Reader album, by various artists. You'll likely recall that a couple years back, Beck released sheet music of new songs without any corresponding recordings. These are some (all? I have no idea, I never looked into it) of those songs as performed by several artists, including Beck.

The highlight for me so far is the instrumental "The Last Polka," by Marc Ribot, whom you may know from his work with Tom Waits since the '80s. Eleanor Friedberger (of the Fiery Furnaces) does a nice version of "Old Shanghai" and I really liked Jeff Tweedy's "The Wolf is on the Hill." Oh, and Laura Marling's "Sorry." Also on the album are Jason Isbell, Jack White, Jack Black, David Johansen, Fun., Norah Jones, and several others.

I can't really comment much beyond that yet, in that I'm only at the Friedberger song (3/4 through the album) with one semi-distracted listen to those first 15 songs. I'm making salsa, damnit.

The idea of this is interesting to me, though.
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« Reply #95 on: July 30, 2014, 05:01:28 PM »

Another new one to which I've given a little--but admittedly not a lot--of time is Jenny Lewis's The Voyager. I'm not a huge Lewis fan, though she semi-won me over with her mid-00s album Rabbit Fur Coat. (Here is "You Are What You Love," the single that got played a lot at the time: https://www.youtube.com/watch?v=r0gLt8j-45s ) Pretty much everything I've heard from her since, though, has been somewhat disappointing to me.

The Voyager, then? Eh. Meh. I don't hate it, but I really don't love it. A lot of what I've read talks about it being an album of live performance, of first takes, which surprises me because it sounds pretty heavily produced to me. But I guess to be fair, it's not especially difficult music, so if well recorded, it could easily be done live (basic tracks, I mean). Here is one of the singles, "One of the Guys."

https://www.youtube.com/watch?v=Irvcf6dCk-k

Her lyrics just don't connect. She always overwrote for my taste, and keeps doing so here, jamming words into lines to get them all in however awkward the fit. (I'm reminded of of a line in "You Are What You Love" when she says "a bullshit canvas," but has the wrong accented syllables. Bull-sh*t can-VAS. That kind of thing can drive me nuts. That said, she writes good melodies, sings well, has some really quality music sometimes. I think she just exists on the periphery of my musical taste, not essential to my experience but certainly not a detractor in the big picture.
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« Reply #96 on: July 31, 2014, 09:24:44 AM »

If your're a fan of SPOON or similar bands, check out their new LP - They Want My Soul.

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« Reply #97 on: July 31, 2014, 12:58:43 PM »

As a curmudgeon and geezer, I still listen to new music and I like a lot of it.  I just can't keep up with or remember the names of the artists.  I feel like somone of my father's generation trying to recall and reference such names as Jefferson Airplane and Electric Prunes. Huh
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« Reply #98 on: July 31, 2014, 04:44:22 PM »

I keep hearing about that Spoon LP, I'll have to check it out today.

One of my favorite bands for years, sElf (that's the band name),  just released a new EP this past Tuesday. I've been listening to it on repeat. I think it's great and the lead single is killer. The EP is called Super Fake Nice and the lead single is "Runaway".

You can check the EP out here:
https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/41985830%3Fsecret_token%3Ds-whR6I&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true

They actually just made their television debut (after about 20 years!) on Jimmy Kimmel last night. It was pretty exciting for me, having been a fan of theirs for quite some time.
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« Reply #99 on: July 31, 2014, 06:24:16 PM »

As a curmudgeon and geezer, I still listen to new music and I like a lot of it.  I just can't keep up with or remember the names of the artists.  I feel like somone of my father's generation trying to recall and reference such names as Jefferson Airplane and Electric Prunes. Huh

My mom worked for our local newspaper when I was a kid, and I recall a column of hers back in the '80s showing confusion about band names: how apparently she couldn't tell whether a phrase was a band name or a song name.
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Demon-Fighting Genius; Patronizing Twaddler; Argumentative, Sanctimonious Prick; Sensationalist Dullard; and Douche who (occasionally to rarely) puts songs here.

No interest in your assorted grudges and nonsense.
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