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Author Topic: 2015 New Releases  (Read 27558 times)
Dudd
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« Reply #50 on: July 20, 2015, 09:26:58 AM »

Nice! I really like "Please Take Me Home".
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« Reply #51 on: July 27, 2015, 12:43:32 AM »

There's a new Vince Staples album out today that I'm looking forward to hearing, too.

So, what do you think of his album? I've been listening to it and enjoying it.
It totally does not need to be 2 CDs and that's annoying.
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« Reply #52 on: August 01, 2015, 09:01:35 AM »

WHERE THE F*** IS IT, FRANK OCEAN
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« Reply #53 on: August 01, 2015, 04:53:34 PM »

There's a new Vince Staples album out today that I'm looking forward to hearing, too.

So, what do you think of his album? I've been listening to it and enjoying it.
It totally does not need to be 2 CDs and that's annoying.

You know, I surprised myself by not really giving it a shot yet. I've skimmed some songs here and there, but haven't listened in full, straight through, much less bought it yet. I'm sure I'll get to it sometime this year, though. I like his voice a lot and his lyrics sometimes, so I'm sure I'll at least end up buying a few songs. The criticism of length, that's one I have with a lot of rap. The whole bazillion songs with skits and linking tracks is something I rarely like in any genre, but I think Prince Paul made it something a little too popular with rappers / hip hop producers, for my taste. Generally speaking, I like my albums 30-45 minutes long. Concise and solid straight through.
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« Reply #54 on: August 01, 2015, 07:40:47 PM »

There's a new Vince Staples album out today that I'm looking forward to hearing, too.

So, what do you think of his album? I've been listening to it and enjoying it.
It totally does not need to be 2 CDs and that's annoying.

You know, I surprised myself by not really giving it a shot yet. I've skimmed some songs here and there, but haven't listened in full, straight through, much less bought it yet. I'm sure I'll get to it sometime this year, though. I like his voice a lot and his lyrics sometimes, so I'm sure I'll at least end up buying a few songs. The criticism of length, that's one I have with a lot of rap. The whole bazillion songs with skits and linking tracks is something I rarely like in any genre, but I think Prince Paul made it something a little too popular with rappers / hip hop producers, for my taste. Generally speaking, I like my albums 30-45 minutes long. Concise and solid straight through.

Well, that's not what I meant exactly, but I do have that criticism as well. Like, seriously De La Soul... is that all really necessary? However, there aren't any skits on the Vince Staples album, thankfully. Actually, the album is only about 60 minutes long, which leaves about 100 minutes of free space left over on the CDs.  I watched an interview where he disparaged bonus tracks as a scheme to make a quick $5 on a "deluxe edition", but that's basically the same thing he's done by selling you 2 CDs when all you actually need is 1. This probably won't affect you much because I know you're likely to just buy the songs you like and move on, but I like getting the whole albums and it irked me.
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« Reply #55 on: August 02, 2015, 06:57:46 AM »

This probably won't affect you much because I know you're likely to just buy the songs you like and move on, but I like getting the whole albums and it irked me.

I see why you could get that impression, but actually most of the music I buy is in the form of full albums. I just checked and 12 of 305 songs I have bought this year that were released this year were not bought as part of albums, the other 293 were as parts of the albums on which they appeared. And actually several of those 12--six, to be specific--aren't available as parts of albums, or weren't when I bought them.

It's just that there was a time when I'd only buy full albums, as if that were the form in which the gods bequeathed music unto the world, as if songs on their own were a deviance. And I've since changed my mind to say a song here and there is fine, there's no need for an artist or listener to think in terms of albums, necessarily.
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« Reply #56 on: August 07, 2015, 01:39:27 PM »

On Your Own Love Again, by Jessica Pratt

What is this, some old unearthed, reissued late '60s or early '70s Bay Area singer songwriter? While both the cover art and music itself suggest that could be the case, this is a contemporary artist and a new recording. Its nine songs pass in not much more than 30 minutes, gone before you feel you've quite grabbed onto the melodies or ideas, leaving a pleasant feeling in which you're not quite confident.

Pratt accompanies her unique voice--think a huskier Joanna Newsom, maybe, minus the yelps and squeaks--on acoustic guitar through songs that feel more folk than pop, but not folk of the repetitiously strummed-three-chord variety. Structurally Joni Mitchell keeps coming to mind as songs turn left when you expected right, Pratt picking her way through sometimes unexpected arpeggios (the dissonance in "I've Got a Feeling" for example).

There fuller arrangements than guitar-and-voice … but not many, and not always immediately obvious. Sometimes its only a few bars into an electric piano or some such subservient supplement that it's noticeable at all. Her own vocal harmony overdubs stand out more immediately.

Hers is an interesting voice, Pratt's. It has an affectation now and then of cuteness, maybe coyness. There is almost a touch of an accent that almost borders on English and decidedly is not native to Pratt's California: one suspects an act. But for whatever turnoff a faux-sprite could cause, Pratt's voice has some scratch to it now and again, especially when she explores the low end of her range (an unusual move for a female pop singer), as in "Greycedes" and the lovely "Jacqueline in the Background." That song also finds (presumably digital) "tape speed" affecting the pitch of the entire performance, a disconcerting finale to a pretty piece of music.

Those songs are two of the better on the album. "Game That I Play" is another one. "People's faces blend together like a watercolor you can't remember in time, dah-doo, day-doo." The song ebbs slowly, takes patience. Chords last measures. Lines sink in through elongated oohs and ahhs. You may find yourself not paying attention as the song washes you slowly. Poppier and more immediate is "Back, Baby," an uptempo tune rare for its prominent strummed guitar.

The most immediately singable and maybe memorable song, "Strange Melody," is also the least enjoyable to these ears. It calls to mind hippies thinking they're onto something deep and mystical as they babble their way through a minor key. Different strokes, but its the subtler songs that feel more substantive. Those songs, with a guitar not always entirely in tune and a voice struggling to be heard, earn repeated listens.
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« Reply #57 on: August 10, 2015, 07:06:32 AM »

New Joanna Newsom in October.

http://www.dragcity.com/products/divers
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« Reply #58 on: August 10, 2015, 07:12:53 AM »

New Joanna Newsom in October.

http://www.dragcity.com/products/divers

That's great. I really liked her past two albums. Those were so different from each other, I wonder what direction this will take.
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« Reply #59 on: August 10, 2015, 02:50:26 PM »

Not sure this has been noted in this thread, but Lana Del Rey has another new album reportedly coming out this fall. (I say "another" because she just had one in '14.) Album or not, she has been putting out plenty of tracks lately, including this new "High By the Beach." The link is to the Pitchfork story, which talks about the album and links to the clip of the song.

http://pitchfork.com/news/60726-lana-del-rey-shares-high-by-the-beach/
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« Reply #60 on: August 10, 2015, 03:30:53 PM »

New Joanna Newsom in October.

http://www.dragcity.com/products/divers

That's great. I really liked her past two albums. Those were so different from each other, I wonder what direction this will take.

Well, you can find out by clicking the link below:
https://www.youtube.com/watch?t=31&v=ky9Ro9pP2gc
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« Reply #61 on: August 10, 2015, 04:34:54 PM »

New Joanna Newsom in October.

http://www.dragcity.com/products/divers

That's great. I really liked her past two albums. Those were so different from each other, I wonder what direction this will take.

Well, you can find out by clicking the link below:
https://www.youtube.com/watch?t=31&v=ky9Ro9pP2gc

Well la-di-goshdarn-da, wouldja look at that... Thanks, Schmubbly. Interesting song. Great piano in there. (And as for styles, I'd say it's splitting the difference.)
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« Reply #62 on: August 10, 2015, 08:33:38 PM »

New Joanna Newsom in October.

http://www.dragcity.com/products/divers

That's great. I really liked her past two albums. Those were so different from each other, I wonder what direction this will take.

Well, you can find out by clicking the link below:
https://www.youtube.com/watch?t=31&v=ky9Ro9pP2gc

Well la-di-goshdarn-da, wouldja look at that... Thanks, Schmubbly. Interesting song. Great piano in there. (And as for styles, I'd say it's splitting the difference.)

I thought it was okay at first, but it's really grown on me with each listen. I really like that piano, too. I would love to figure out how someone goes about writing something like that. So happy to have this in a couple months.
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the captain
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« Reply #63 on: August 15, 2015, 06:39:04 AM »

New Joanna Newsom in October.

http://www.dragcity.com/products/divers

That's great. I really liked her past two albums. Those were so different from each other, I wonder what direction this will take.

Well, you can find out by clicking the link below:
https://www.youtube.com/watch?t=31&v=ky9Ro9pP2gc

Well la-di-goshdarn-da, wouldja look at that... Thanks, Schmubbly. Interesting song. Great piano in there. (And as for styles, I'd say it's splitting the difference.)

I thought it was okay at first, but it's really grown on me with each listen. I really like that piano, too. I would love to figure out how someone goes about writing something like that. So happy to have this in a couple months.

That's my experience with Joanna Newsom in general: wherever I end up with any particular piece, each one inevitably requires some time and breathing room to come to the conclusion.
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« Reply #64 on: August 15, 2015, 09:05:17 AM »

Kacey Musgraves, Pageant Material
If you watched the Food Network in the '00s, you almost certainly saw "Good Eats," one of its staples in that mostly pre-game show era of the network's dramatic rise. Host Alton Brown broke down the science of foods, recipes, nutrition, and the like, usually with charming homemade props and costumed characters.

There is a point. Bear with me.

One of Brown's most often-repeated maxims was never to buy a kitchen tool that could only do one thing, a "unitasker." Do you really need a panini maker taking up a cupboard shelf, or mightn't you use a couple of cast iron pans?

Music--like all art, I suppose--delights me because of its multitasking nature. It does not have a purpose, a function; rather, it has every purpose, every function. In fact, exactly that which makes a song so great at A makes it terrible at B. That's why the listener is so important: it takes the experience of the listener to make it successful at A (and for that matter, terrible at B). The most beautiful ballad in the world is an atrocious failure to the club kids who just want to dance to a throbbing, bass-heavy beat.

It's this long-winded preamble that sets the stage for this: Kacey Musgraves is the kind of songwriter who won't blow your mind with innovative forms. Hers is not an unfamiliar art. But her second major-label album, Pageant Material, is a second example of her preternatural skill for working subtle nuances within well established frameworks. Those who seek a blunt, powerful hammer will miss the beauty of Musgraves's work.

Maybe it's countrypolitan, maybe it's just pop, this shiny, clean production that's country mostly in its affectations and its down-home populism. It's country by a stoned Southern girl in a bedazzled miniskirt surrounded by neon-lined plastic cacti.

Pageant Material hasn't felt like a phenomenon in the way its predecessor, Same Trailer, Different Park, did--possibly because the novelty of a young, photogenic, pot-smoking, gay-friendly country musician who appealed to an NPR crowd has worn off. But it was a Number One on the country album charts and its singles have generally matched the success of her previous releases, "Follow Your Arrow" notwithstanding.

It does reaffirm Musgraves's--not to dismiss her various co-writers, most often Luke Laird, Shane McAnally, and Josh Osborne--gift for crafting melodies, chord structures, and catchy (and sometimes kitschy) phrases.

"Fine," the gorgeous, languid waltz of a narrator who's anything but, shows each of these gifts. The verses laze through two chords: an E-flat and a B-flat embellished with its sixth. The overlying melody is based two notes: the tonic of the E-flat chord and the third of the B-flat chord. E-flat, D, E-flat, D. The pattern moves to the four-chord, if one can call something so fully expected motion. Time barely moves in our narrator's depressed world, her lover away:

I picked those tomatoes we grew off the vine
They look out the window just killing* time
I reach for the phone just to make sure it's on.
I'm fine.

I put on my makeup for no one at all
My heels on the hardwood, they go down the hall
I open the wardrobe, put my face in your clothes.
And I'm fine.


Piano, acoustic bass, and acoustic guitar compose much of the musical backdrop. But even this simplicity belies the subtlety of the expanding arrangement: an electric guitar, the ghostly pedal steel, strings … and suddenly we've reached a larger refrain. We cover more ground, musically speaking. And Musgraves harmonizes with herself, her voice not a powerhouse, but on.

I try to sleep but just lie here awake
I stopped counting sheep, now I just count the days
til you're back in this bed that I remake every time.
And if they ask, I'll say I'm fine.


The second time the refrain comes around, its fuller still, though the same basic framework. These touches, these are part of what makes Musgraves great. Her sense of the drama of music, the use of music to complement the narrative, is sublime.

Her sense of humor permeates the record. It's corny, making it another of those "it's successful unless you were wanting it to be something else" touchstones. In the right mood, though, what's not to love about:

Hoe your own row and raise your own babies
Smoke your own smoke and grow your own daisies
Mend your own fences and own your own crazy
Mind your own biscuits and life will be gravy.


"Biscuits" isn't newfound wisdom, for god's sake: it's wordplay on homespun cliches from a clever twentysomething. (Well, it's wisdom, too. Just not newfound wisdom.) And it's fun. Bounce along! It's fun!

That sense of fun runs through maybe half of the album (contrasted by sentimental ballads): "Family is Family," "Pageant Material," "This Town," and "Cup of Tea" each exhibit that kind of breezy, almost superficial spirit--but a spirit that is overlaid with both musical and lyrical craftsmanship. Yes, that word again--because Musgraves is one of the best craftsmen (craftswomen?) in popular music, country or otherwise.

Someday she might make a major statement, a record heavier on ideas and lighter on the almost gamesmanship her puzzle-piece songs so often seem to be today. But it doesn't matter if she doesn't. If her work continues along the lines it has followed thus far, she'll still leave a legacy in popular music that warrants not only praise--because who cares about that?--but more importantly, that warrants repeated listening.


This word, "killing" is unclear. I actually think I hear "kidding," but that doesn't seem right. Online lyric resources say "in," as in "just in time." But I hear multiple syllables and I swear it's kicked off with a K.
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« Reply #65 on: August 20, 2015, 10:53:54 AM »

The past couple days I've been listening to Lindi Ortega's Faded Gloryville. she's been around a while, though I only just heard of her with this release. It's a rootsy (rockabilly, country, maybe soul?) sound and she's got a voice a little like Emmylou Harris. I'll probably write about it later, but for now, if that kind of thing seems up your alley, check it out.
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« Reply #66 on: August 22, 2015, 02:53:24 PM »

Lindi Ortega, Faded Gloryville
Radio can still deliver pleasant surprises every now and again. The drive home, the passive acceptance of the sound someone else planned. That’s how I heard one of my favorite singles of the ‘00s, the Noisettes’ “Never Forget You.” And this week it’s how I heard Lindi Ortega, whose new album Faded Gloryville was given a positive review and caught my attention.

The album was described as country, which I’m not sure I quite buy, though it’s not not country, either. There’s rockabilly and what I might just call a rootsy brand of rock and roll as much as there is country. Whatever the genre or subgenre into which you want to shelve it, it’s a fresh and exciting sound for someone neither new to the music scene nor innovating in the slightest.

Ortega’s persona is the key. Her narrators throughout seem to be the kind of girls parents in the 1950s must have associated with this newfangled rock and roll: smoking cigarettes (and more), drinking liquor, and—gasp!—no doubt going all the way.

After a slow (literally: slow tempos) start, it’s the second half of the album that really heats up. The smouldering “When You Ain’t Home” opens what would be Side Two, but, sexy as it is, things only get better from there. The side’s—and the album’s—highlight is what one hopes will be a hit single, “I Ain’t the Girl.”

https://www.youtube.com/watch?v=1X2hBMmlLrM

The piano and punchy percussion punctuate this acoustic guitar-founded folk-pop send-off. Ortega relieves herself of the suit-and-tie, shined shoes kind of guy for whom, as the title says plainly, she ain’t the girl. She likes guys with long hair, tattoos, and trucks with rusty parts.

She also likes weed and cigarettes, whisky and rum, or so she sings in the raucously fun “Run-Down Neighborhood.”

https://www.youtube.com/watch?v=9JEYSHCE0PM

It’s a pair of down-on-their-luck lovers sharing whatever it is each of them has on hand as they “get messed up together in this run-down neighborhood” where they “ain’t got much to do, but sure got plenty of time.” You probably won’t want to use it to teach your kids how to share, but it is one of the most catchy, fun songs in the bunch.

Ortega has more a grip on ballads, too. “Someday Soon” shuffles along in a slow 12/8 beneath her voice, reminiscent of an Emmylou Harris/Gram Parsons duet. In fact, Ortega often calls to mind Harris with her genre blurring rasp and mastery of moods.

The Muscle Shoals sound—literally, in some cases, with several songs recorded there—grounds the album in a gutsy, fleshy environment miles away from the clean polish of, say, Kacey Musgraves’s Pageant Material. Her cover of the Bee Gees’ “To Love Somebody” is downright funky.

Faded Gloryville is a chance to sweat away the last weeks of summer with a seductive country-rock singer-songwriter your mother would prefer you didn’t get to know.
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« Reply #67 on: August 22, 2015, 06:37:24 PM »

Here's some random stuff that's already been released and some stuff I'm looking forward to (basically anything I haven't actually bought yet):

Algiers - "Black Eunuch"
Already been released. This is dark, gritty, aggressive soul music.

Deerhunter - "Snakeskin"
This one's coming in October. When I listen to this song, I play it at least twice in a row. What a killer groove.

Girl Band - "Paul"
September 25th for this one. If you like post-punk, this could be for you. If you're not taken with the song, the music video's still pretty good.

Royal Headache - "High"
This one was released this week. I cannot deny myself that melody. I'm not entirely sold on their other songs, but I love this one.

Destroyer - "Dream Lover"
Being released on the 28th. The music has bit of the E Street Band sound to it, but I find this guy much more tolerable than Bruce.

Wand - "The Unexplored Map"
This one was released a while ago. If Tame Impala isn't heavy enough for you...

Uncle Acid - "Waiting for Blood"
This one's out on September 4th. If Wand wasn't heavy enough for you...

C. Duncan - "Garden"
This one's already out there. This one's got a bit of the 60's sound thing going on, but with rich, multi-layered vocals. Not entirely in love with his other songs.

Ezra Furman - "Restless Year"
Already released. Feel-good-have-fun-time-music. A bit of the Velvet Underground's Loaded.

Protomartyr - "Why Does It Shake"
Coming in October. This is some more post-punk-y stuff. I dunno, I dig it.

METZ - "The Swimmer"
This one's out. This is basically what I would call punk music, but a bit more experimental.

Mbongwana Star - "Malukayi"
You can find this somewhere probably. I want to like this, but those vocals make no sense to my Western ears.

Anyway, there's some stuff I don't think has been mentioned here yet. Maybe you'll like some of it.
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« Reply #68 on: August 23, 2015, 09:45:07 AM »

Always glad to have someone recommend things I haven't heard, and that's the case with several of these.

Algiers - "Black Eunuch"
Already been released. This is dark, gritty, aggressive soul music.
Feels to me like they've got a sound, but not a song.


Deerhunter - "Snakeskin"
This one's coming in October. When I listen to this song, I play it at least twice in a row. What a killer groove.
I've never liked Deerhunter. Like, at all. Maybe it's the almost-Bo-Diddly beat, but this is all right! What a creepy video...

Ezra Furman - "Restless Year"
Already released. Feel-good-have-fun-time-music. A bit of the Velvet Underground's Loaded.
Not sure about the Loaded comp, but this is pretty good, as you said, as "feel-good-fun-time" music.

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« Reply #69 on: September 01, 2015, 05:54:48 AM »

https://www.youtube.com/watch?v=NDEdhNnO-28

Okay I kinda hate this song. But I like the guitars and production. I've figured it out. Mind's made up. That's the ticket.

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« Reply #70 on: September 01, 2015, 06:53:05 AM »

The new Beach House album is gorgeous.
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« Reply #71 on: September 01, 2015, 08:04:58 AM »

https://www.youtube.com/watch?v=NDEdhNnO-28

Okay I kinda hate this song. But I like the guitars and production. I've figured it out. Mind's made up. That's the ticket.



Did you hear that on MPR this morning? (I did.) I liked it. Made note to check out in more detail after work.
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« Reply #72 on: September 01, 2015, 10:06:01 AM »



Did you hear that on MPR this morning? 
Yes.  police
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« Reply #73 on: September 01, 2015, 11:56:35 AM »

https://www.youtube.com/watch?v=NDEdhNnO-28

Okay I kinda hate this song. But I like the guitars and production. I've figured it out. Mind's made up. That's the ticket.



I didn't know they still made videos!
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« Reply #74 on: September 01, 2015, 03:18:31 PM »

I think they probably make more videos now than they did during MTV's heyday. Fewer gigantic / epic ones, but with filming and editing cheaper and easier and youtube and such for distribution, everyone makes them. (I pretty much never watch them, though. I still like listening to music, myself. And when I was a teen watching MTV, the visuals were mostly to see what scantily clad performers would be gracing the screens of Poison's or Whitesnake's latest hits...)

Bought "Julia" when I got home, by the way. I enjoy it. Very Elvis Costello. Not sure about the guitar tone, myself, but that+chimes is kind of a cool touch.
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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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