To be honest, I am immediately dubious of any band with a 7” EP called “King Corpse.” Something about a name like that brings to mind disturbing thoughts of death metal and the scary existence of bands like this. But listening to the Lil’ Daggers teaser of an EP, I was once again reminded not to judge a book by its cover. Read More »
Initially drawn to this album by the ambiguous nature of its cover art (man-babies playing lutes in feathered headdresses have always bespoken good music in the past) I expected, at the very least, an interesting effort. I was not entirely disappointed, although Tristen’s first album Charlatans At The Garden Gate is perhaps not quite as bizarre as I was hoping it would be.
When I typed typed “Esben and the Witch” into the Google search engine, I found results informing me that it was not only the name of a British gothic art rock band, but also a intriguingly dark Danish folktale. My first instinct was to read the tale because I have a soft spot for disturbing fairy tales, but I decided to listen to the band’s first full-length album Violet Cries before dedicating my time to read the (rather long) story. I didn’t want to say I was inspired by a mediocre band to read a folktale it named itself after.
Needless to say, I read the story. And I have no qualms about telling people that Esben and the Witch’s new album Violet Cries inspired me to do so. Read More »
Mogwai’s most recent album is different from what we have been accustomed to expect from the Scots, without sacrificing their recognizable style and delivery. Unlike much of their older material, we encounter a concise record that shies away from long songs, while maintaining a good pace. Whereas they used to depend on theatrical buildups that would culminate in wrathful explosions of sound in past efforts such as Mr. Beast, Hardcore Will Never Die, But You Will presents a shift toward shorter songs that not always follow that same predictable pattern, without losing their signature melodramatic guitar style. Read More »
Tuesday, Feb. 15 is the release date for Bright Eyes‘ latest, The People’s Key. It’s also Conor Oberst’s 31st birthday, a milestone that could make an entire generation of Bright Eyes fans feel the infirmities of age begin to wear upon them. In the 2001-released “Happy Birthday to Me (Feb. 15),” Oberst sang of “Another year I claim of total indifference” and “these wasted years” and “I guess it’s just like breathing or not wanting to.” On The People’s Key, released ten years later, Oberst finds himself grappling the same demons but with a renewed vigor and purpose that has him out of the corner, less angry than prepared, with his amps turned up and his maps and encyclopedias out and perhaps, even, the verve to smile: he is the perfect counterpoint to indifference. Read More »
Is it possible to be original and not creative? Or, is it possible for something to be more original than it is creative? I don’t think I ever tried to deviate those two terms—they correlate so frequently that it never came up. But, I think this is the case with James Blake’s eponymous debut. I think this is what Pitchfork writer Mike Powell meant when he wrote of James’ work, “..it’s like I’d walked into the kitchen and saw a big prickly triangular fruit in the fruit bowl.” That’s exactly it. This album is fresh, it’s brand new, and you’re sure not to find anything like anywhere else. But, it is ultimately new because it combines elements of what you know, and what Blake knows you love, in ways that haven’t been combined before.
Dan Bejar, the lead man behind the Destroyer moniker, frequently seems an enigmatic figure within the indie rock community. Despite his noteworthy contributions to the New Pornographers and Swan Lake, Bejar has always maintained an aura of detachment from his collaborative projects. Stylistically and temperamentally, he has never quite fit in with the rest of his sprightly New Pornographers bandmates, an impression reinforced by his oddly captivating stage presence with the band when I saw them last July. Disheveled and aloof, yet constantly in control, Bejar commanded the audience’s attention with incredible ease. On his latest Destroyer release, Kaputt, Bejar continues to surprise with stealthily entrancing songs that intentionally linger long after the music has stopped.
“I don’t need any guide, I already know the way,” sings Wanda Jackson in her cover of “Thunder on the Mountain.” But one wonders if Jackson didn’t crack a smile at the utterance of Dylan’s words. After all, Jack White, who has somewhat of a penchant for reviving the careers of aging starlets (like Loretta Lynn’s in 2004), was unequivocally the driving force behind Jackson’s most recent release: The Party Ain’t Over. White not only chose the songs for the album but also gathered up a troupe of talented musicians in his Nashville studio to give Jackson’s voice the backing support it deserves. The resulting effort nicely showcases Jackson’s talents and solidifies her place in history. Read More »
