Saturday, April 27, 2013
The blissed out, lo-fi pop sounds of Musical Chairs began as Ian Schlein's bedroom project in 1988, and didn't become a full band until 1993. The group was reasonably prolific in the studio in the '90s, but rarely performed live. While never making a mark in the mainstream, the band earned a deserved following among indie pop fans. In my view, their sound reminds me of Glasgow's iconic The Pastels, and no band sailing the indie pop waters can feel anything but satisfied with that comparison.
On Retraced: 1992 - 1999, Jigsaw Records gathers together all of Musical Chairs non-album tracks. That's 32 tracks from 7"s, numerous indie pop compilations and the "unreleased" vaults. The tracks include languid dream pop, upbeat jangle pop and even some energetic noise pop. I'm impressed with the quality of the songs, and at $7 for 32 digital tracks, it feels almost illegal.
Bandcamp for album
Friday, April 26, 2013
Love this video where he talks about the making of the album, essentially spooling out the stream-of-consciousness lyrics he didn't put on the album of instrumentals:
Apr 27 Bloomington, IN — Landlocked Music Free in-store performance at 3PM
May 31 Nelsonville, OH — Nelsonville Music Festival
Jun 13 Toronto, ON — The Garrison- Panache NXNE Festival Showcase
Jun 15 Manchester, TN — Bonnaroo Festival
Jul 19 Columbus, OH — Ace of Cups
Jul 23 Boulder, CO — Fox Theater
Jul 24 Salt Lake City, UT — Kilby Court
Jul 25 Boise, ID — Visual Arts Collective
Jul 26 Seattle, WA — Capitol Hill Block Party Vera Stage
Jul 27 Portland, OR — Mississippi Studios
Jul 30 San Francisco, CA — Rickshaw Stop *
Jul 31 Monterey, CA — Golden State Theatre Lobby
Aug 2 Los Angeles, CA — The Echo *
Aug 3 San Diego, CA — Casbah *
Aug 4 Phoenix, AZ — Rhythm Room *
Aug 5 El Paso, TX — Lowbrow Palace
Aug 7 Austin, TX — Mohawk Inside
Aug 9 Oxford, MS — Lamar Lounge
* w/ Daughn Gibson
Here's "The Greenland Problem", which seems to have a little bit more of a Latin lilt to it, but still explodes with the guitars and shouted vocals:
The EP is out this week (Apr. 22) and they're touring the UK:
Sat 27th – LINCOLN The Shed
Sun 28th – LIVERPOOL Kazimier
Wed 1st – LONDON The Old Blue Last
Thu 2nd – SOUTHAMPTON Avondale House
Fri 3rd – LIVERPOOL Sound City
Sat 4th – LEEDS The Packhorse
One of my favorite George Jones moments comes from a duets album he released in 1994. In the worst ice storm in the history of Nashville, Tennessee, an amazing cast of music characters assembled in Owen Bradley's studio in Mt. Juliet, outside Nashville, to record new versions of established George Jones songs. The album, entitled The Bradley Barn Sessions, is a true joy, a real treasure. Jones was still in very fine form and obviously happy to show some of these young country and rock artists how a great singer approaches his work.
Liner notes from the session detail how much respect each artist had for Jones, and how he exceeded their admittedly lofty expectations. Keith Richards sang along with George on "Say It's Not You", and was quoted to observe that he was happy as a "pig in shit".
The musical highlight of the album, to me, is Jones' duet with Alan Jackson on "A Good Year For The Roses". When I heard the news today of Jones' passing, I reached for some of his music, and this one was the first I put on. I made it through George's rollicking, good-time duet with the great Marty Stuart - "One Woman Man" - but when it got to "Good Year", well... try it yourself:
If you want to listen to the album, you can get the MP3's at Amazon right now.
But my favorite George Jones song is not that one... luckily, another great collection of classic Jones honky-tonk was released in February on the terrific reissue label Omnivore - The Complete United Artists Solo Singles. It starts off with my favorite Jones song, "She Thinks I Still Care". There are not many lyrics in that song - perhaps the beauty is the simplicity, which gave Jones room to fill it with his impeccable phrasing - I could listen to the way he sings the word "She" over and over, as well as the clever way he rhymes "cheer" and "idea" without actually saying "idear". Sure, he had a voice as sweet as honey, but so do a lot of people. He knew how to sing! Just wonderful:
Other singers could not say enough good things about Jones.
Johnny Cash, asked who was his favorite singer, would respond: "You mean, other than George Jones?"
James Taylor: "He didn't sound like he was influenced by any other singers. He sounds like a steel guitar. It's the way he blends notes, the way he comes up to them and leaves them..."
Waylon Jennings: "If we could all sound like we wanted to, we'd all sound like George Jones."
Elvis Costello claimed him as a principle influence, and recorded a terrific country album with a pretty faithful cover of "A Good Year For The Roses".
And Frank Sinatra called him "the second best white singer in America". Modest, that Chairman...
RIP, George and thank you.
Stubborn Heart is UK duo Luca Santucci and Ben Fitzgerald. They fuse the worlds of electronic grooves and pop soul. In the middle of April they released Better Than This on the One Little Indian label. The record consists of four tracks, the album version of the title song, "Do Tomorrow", the 'soft' version of the title song, and a Graham Massey remix of the title song. Stubborn Heart isn't the only, or even the first, group to combine a traditional genre such as soul or R&B with electronica. But their take feels fresh and interesting, with full understanding of the importance of the groove to give the track life. Give it a try.
One Little Indian
George Jones is considered by many as the greatest country singer of all time. From hardcore honk-tonk to ballads there was no one better. I have often thought that if I could sing like anyone it would be George Jones. He died today at the age of 81. His longevity confounded many observers of country music. His addictions were fodder for country gossip sheets from the 50's through the 80's and made him an annual choice in dead pools. He was polpularly referred to as "No Show" Jones, The peak of of his celebrity gossip status occurred during his short lived marriage to Tammy Wynette, Here's a video overview of his career starting with early honk-tonk recordings.
Jones recorded "The Race is On" in 1964. At this time he was deep in the throes of a apmhetamine addiction. The eyes tell no lies. Check his eyes in the following video.
Some more songs of pain, drinking and cheating.
One of many classic George and Tammy duets.
A tribute to Conway Twitty.
A fitting epitaph for George
Yes, the self-titled debut from Melbourne's Bored Nothing was officially released in 2012 in Australia. But if an album drops and WYMA doesn't cover it, has it really been released? Silly question, I know. In any case, Bored Nothing now is released in the US and, in my nearly almost humble opinion it is a very good album. Full to overflowing with slacker pop hooks, fuzz, haze and a rubbery bass -- it certainly is neither nothing, nor boring. Even while sometimes exploring the boring nature of nothingness.
Bored Nothing is Fergus Miller. Apparently he wrote the songs on this album over a period of a few years when he was traveling about, and the rootless, somewhat aimless existence influences the themes in the material. While those themes may not reflect your existence, his descriptions convey sincerity and understanding. And the sounds are delightful guitar pop, from the Byrdsian "Shit For Brains" to hints of Pavement to echoes of Elliott Smith (e.g. "Get Out of Here"). Overall, the charm in Bored Nothing isn't in invention, it is in pitch perfect representation. I like the album, and I look forward to more from Mr. Miller.
You can stream the entire album at the Soundcloud link below, but here are three tracks I particularly like.
Stand back kids, genius at work here this week.
Captain Beefheart and His Magic Band with a Bo Diddley song that they turend into a garage rock, bluesy stomp classic, "Diddy Wah Diddy" from 1966:
The Captain Beefheart story is a long one, but Don Van Vliet (1941-2010) is certainly a singular figure in rock'n'roll. An innovative musician blessed with a great voice of amazing range, Captain Beefheart as he was known, made a dozen wildly original and influential LPs from 1965-1982 before deciding to lay low. He and Frank Zappa were kindred spirits. Captain Beefheart, didn't sell a lot of records and was far from the mainstream, but was an inspiration to Tom Waits and many others.
As a bonus this week, we'll give you one from Trout Mask Replica, Captain Beefheart and His Magic Band's 1969 avant garde magnum opus. "My smile is stuck, I cannot go back to your Frownland":
Thursday, April 25, 2013
It was released as a single, with "Mine All Mine" on the b side, in March:
This is in advance of an album due out later this summer. Highly recommended if you're looking for a new source of good heavy rock.
Heavy Glow Website
The second cut on the EP, "No Shame", is a little bit janglier. A little bit. Still plenty of distortion and pure punk vocals, though:
As a bonus, here's a video they released last year for "Central American Man":
This music is delightful, and the band name is so inspired I can't believe nobody else has thought of it before. They have two EP's available if you click through to their Bandcamp above, and promise there is more to come. The sooner the better...
The band, formed in 2010, has been through a couple of incarnations, the constant being Pete on lead vocals and guitar. Currently, it features Pete, Ed Van Dyk on lead guitar, J.D. Norwood on bass and Scott Carruthers on drums.
Pete wants you to have this song for free, presumably as a taster of a forthcoming album.
"Wrecking Ball" is a long cut and a good sampler of what Heliocentrics are up to - Eastern and African influences merge with hip-hop rhythms, jazz improvisation and prog experimentation that wouldn't be out of place in some of Zappa's or Pink Floyd's work. But above all (and certainly underneath it all) Heliocentrics are funky. Another good example of the funk intentions, and their strong execution of those intentions, "Mr. Owusu, I Presume":
Frequently the songs sort of coalesce - "Mr. Owusu" is a perfect example - the opening sounds are sort of muted, chaotic - a guitar scratch here, cymbal there, and the beginnings of a bass line... then the bass line comes up and takes over the song, but the guitar part is played right in rhythm with the bass, building a devastating groove before the guitar and drums diverge into alternating solos. But nothing ever gets far enough from the beat to disturb the groove.
This is terrific stuff - there are several interludes, with found sounds (spoken word recordings, including the famous proclamation of "a new world order"), guitar and synth noodling - but the longer pieces are all self-contained, and each one sort of lives in a world of its own. As, really, do the Heliocentrics.
Heliocentrics at Now-Again Records
I love albums like this -- a collection of songs by various artists in various styles, most of which I haven't previously heard or I'd heard by forgotten about. Shoc Wave - A Bristol Story is billed as the story of Shoc Wave Records, however, at its most basic level it is the sound of a specific place, Bristol, and a specific period, the late '70s to the '90s, and styles or artists ignored by the mainstream pop world.
Shoc Wave Records was helmed by Gene Walsh, a Dominican immigrant, and Fitz Watson and Melford Gardener. Its sweet spot was acts that were ignored by mainstream labels and unable to finance their own releases. Reggae and soul acts were staple genres, but the releases included roots, dancehall, soca, lovers rock, disco and pop. Clearly, quality was more important than genre. Bristol Reggae Archives has collected 19 representative tracks for inclusion in Shoc Wave - A Bristol Story.
The album begins with two lovers rock tunes, including "Mr. Guy" from Sharon Bengamin" --
Punky new wave/ska gets a delightful slot from The Rimshots' "Stuck In A Boat", which is one of my favorite songs in the compilation, and "I Don't Wanna Be A Hero" (a background note is that the lead singer of The Rimshots was Mike Darby, the man behind several Bristol labels, including Bristol Archive Records -- hey Mike, more Rimshots releases, please!). Roots reggae is represented by, among others, this fine track from Bunny Marrett --
"Get Down (Cause I Love Your Body)" from Nite Watch showcases the label's disco side, as does "Dancing Easy" by Sweet Energy. Ska is provided via Black Flames, and lovers rock from Buggs Durrant (ahhh, those horns!) --
Felix the Cat delivers dancehall nuggets. Sweet Energy comes back with the bass heavy R&B cover of "Family Affair" (and I think it wears better than Sly's version) and the funky, groovy "One Day". The tropical party that is Socca comes from "Live Jam" by Joshua. Deep funk is represented by Haswell's "Prissy Miss Maybe". Quite fittingly, the compilation closes with head man Gene Walsh's Calypso "Independence Fever".
I suspect that even Sly would appreciate this version --
Shoc Wave - A Bristol Story is out now, and is available on CD and digital download.
Bandcamp for album
Bristol Archive Records
Facebook for Bristol Archive Records
As readers may recall, I was impressed with Our House On The Hill, the debut LP by Brooklyn's The Babies (review here) and even ranked it in my top 50 for the 2012 (list here). So I'm quite happy to bring you this video for album track "Mess Me Around". The song is good, and so is the video, which stars the band members.
Wednesday, April 24, 2013
They'll be taking their live-wire dance rock on the road - here are the stops for the early part of the summer:
May 7 Washington, DC 9:30 Club
May 8 Philadelphia, PA Union Transfer
May 10 New York, NY Webster Hall
May 11 Boston, MA Paradise
May 13 Montreal, QC La Sala Rosa
May 14 Toronto, ONT The Opera House
May 15 Detroit, MI The Magic Bag
May 16 Chicago, IL Metro
May 17 Minneapolis, MN Varsity Theater
May 20 Vancouver, BC Commodore Ballroom
May 21 Portland, OR Aladdin Theater
May 22 San Francisco, CA Great American Music Hall
May 23 Los Angeles, CA El Rey
May 24 Los Angeles, CA El Rey
May 25 George, WA Sasquatch Festival
You can still listen or buy the album at Merge Records.
And for the guy in the back who shouted "ooga booga to you too, Scott", I can only say 'don't be so freaking immature'.
Yes, Ooga Boogas by Ooga Boogas was released in February, and we are in the last week of April. I don't even have the excuse that it was released by AARGHT! Records in Australia only and I'm in the US, because Goner Records in Memphis distributes the album as well. And I can't use the excuse that it isn't worth writing about, because it is one of my favorite albums of the year so far. So I'm going to use the excuse that the initial run of the album sold out, and was recently restocked. And that part actually is true. Conveniently true? Yes, but that's good enough.
OK, so what is Ooga Boogas about? To my ears, this album seems to have a punk/garage base, particularly the rhythm section. But if most bands performing in that genre color with a 24 crayon box on a standard canvas, Ooga Boogas are using the full 64 crayon set, and they are using it on your entire living room wall (and the adjoining hallway). The songs spiral out into new wave (album opener "Circle of Trust"), boogie rock ("Oogie Boogie II"), garage stompers ("Archie & Me"), garage pop ("It's A Sign"), rock anthem (the closer, "A Night to Remember), even a twangy, country-tinged ballad ("Ecstasy"). The snaking groove of "FYI" will demand repeated plays. Taut post-punk track "Mind Reader" spits out what we've all said to a partner at some point - "I can't read your fucking mind", with perhaps a bit more bitterness than I can convey in mere words. And then there is the eight minute funky sleaze of "Sex In The Chillzone", a song that would sound dirty even without lyrics. If you are looking for a late night party dance tune just as assignations are being arranged, you'll want to consider "Chillzone". Of the ten tracks, the only one that didn't thrill me was "Studio of My Mind", but that may be residual resentment of the former girlfriend who once responded to my failure to understand her "needs" with the comment "no brain, no pain" (I still wonder what she meant).
If you still need some convincing, below are a few clips, as well as a Power Point the band prepared to promote the album.
The Power Point:
Ooga Boogas formed in 2006, and previously have released a debut LP (2008's Romance And Adventure) and a couple of 7" records, and they toured the US once. However, the relatively slight production doesn't appear attributable to sloth. In addition to founding AARGHT! Records, the members have other musical projects (and, one presumes, lives). Frontman Leon Stackpole has been playing in several other bands. Guitarist Mikey Young is in Eddy Current Supression Ring and Total Control, as well as producing for Boomgates and Dick Diver, among others. Bassist Richard Stanley also is the bassist for The Onyas. And of course, running a label means devoting time to putting out other bands records. And we note that the excellent art work for the album cover was provided by Barbra Lindstrom, the aunt of drummer Per Bystrom.
Aarght Records on Facebook
Goner Records page for album
Another great curated sampler by the Allah-Lahs. I never know what tangential search the playlist may send me off on. The theme continues to be 60's and 70's treats combined with a few musical commentaries on 60's mind expansion by the Fugs, Tandyn Almer, and LSD-march. As the Fugs sum it up in another classic song "It Crawled into My Hand, Honest." Tandyn Almer wrote "Along Comes Mary" for The Association, and "Sail on,Sailor" for The Beach Boys. In addition to his song writing talents, Almer invented a water pipe called the Slave-Master described in A Child's Garden of Grass as the "perfect bong."
Chris Darrow's first band Kaleidoscope included David Lyndley. He later joined The Nitty Gritty Dirty Band as Jackson Browne's replacement. In addition, Darrow was the leader of Linda Ronstadt's backup band. His musical credits span the last 5 decades.
Take the dive. Sit back and let this week's music crawl into your head.
Tuesday, April 23, 2013
Given that Tullycraft has existed in one form or another for nearly 20 years, you're welcome to scoff at my declaration of "discovery" - but I'm not lying. I was not familiar with Tullycraft and their punk-inflected, upbeat, poppy music and their tight vocal harmonies prior to receiving Lost In Light Rotation for consideration. It's been six years since their last release, and it appears the lineup has changed a bit, but I can say this lineup has got impeccable pop sensibilities, a strong sense of its unique musical style and chops to spare.
Example, here's the video for "Dig Up The Graves":
They set a brisk pace, and then seem to turn up the velocity even further on songs like "Wake Up, Wake Up" - the drums push the pace, and the guitars play fast and loose with the tension/release thing.
Here's the title track - kind of Apples in Stereo pop/punk pacing meets They Might Be Giants playfulness, again, with terrific musicianship:
The band's line-up includes Sean Tollefson, Jenny Mears, Chris Munford, Jeff Fell and Cori Hale. Tollefson's and Mears' vocals are terrific, whether they're trading leads or harmonizing, and there is some truly jaw-dropping guitar work throughout the record. My favorite song is probably album closer "Anacortes" - love the drumming on this one, and the chanting vaguely reminiscent of The Bay City Rollers' "Saturday Night" (there's that playfulness again) over the outro...
It's out on Magic Marker Records, or Fortuna Pop, today (April 23).
Here's the title track - I hear echoes of "Wild Horses" in the intro of this one, and really enjoy the way he sings the chorus, sort of behind the beat and letting everything take its time and sink in:
He's a terrific singer - hard to believe that most of these songs were recorded live, and some in single takes. It doesn't feel fussed-over, but it's damn near perfect. The band on this record is Will Courtney on acoustic, electric and baritone guitars, piano and keyboards, Zander Schloss on 12-string guitar, electric guitar and bouzouki, Raymond Richards on upright bass, electric bass, electric guitar, dobro, pedal steel and vibrophone, Franck Fiser on drums, Tim Butterworth on accordion and Kaitlin Wolfberg on violin.
Here is "There's No Answer" - a beautiful song that is, for now, my favorite on the album. There's just the right amount of reverb on the vocals, and the way it slowly builds, through a sweetly sung chorus, with the keyboards quietly rising, until the drums and baritone guitar kick in about a minute in:
And you can download "There's No Answer" - click here.
On the acoustic side, showcasing his voice and quiet strumming, here's a cover of "I'd Have To Be Crazy" by Texas troubador Steven Fromholz:
If you're familiar with the tradition of Texas singer/songwriters, and the legends of California country rockers like the Burrito Brothers, you will have a sense of Courtney's style. And you ought not miss this record.
Will Courtney Facebook
Will Courtney on Reverb Nation
We profiled Melbourne's The Stevens a couple of months ago (link). They are an exciting young band and we're looking forward to their LP release on Chapter Music later this year. An EP that they recorded earlier is available on vinyl from Chapter Music and digitally from Bandcamp. And they recently released this video for track three on the EP, "Teenage Satellites" --
Released by Bristol Archive Records as a 2013 Record Store Day special, this is a limited edition re-issue of the critically acclaimed 1983 debut LP from Bristol's Black Roots. Featuring eight impeccable roots tracks, Black Roots is likely to be snapped up by reggae lovers. Here is standout track "Juvenile Delinquent" --
Black Roots is a vinyl-only release, and is limited to 500 copies. One hundred copies will be individually numbered and have a special hand-printed sleeve.
Black Roots is active again and in fine form again, and has released a compilation, the On the Ground LP and a dub album in the past couple of years. But this may be the last chance to get their original gem.
Bristol Archive Records
Black Roots on Facebook
Richie Havens died Monday of a heart attack at the age of 72. He was a man of immense talent and spirit. He was one of the first musicians to truly move me when I first became a serious listener to popular music 40+ years ago in high school. That voice conveyed so much emotion and real life as did every guitar note. Mr. Havens' simultaneously ferocious and beautiful acoustic guitar playing proved that neither "folk music" nor acoustic guitar left behind anything in terms of ability to stir the soul and send chills down your spine.
Havens first rose to major stardom in 1969 with his 3 hour set that opened the Woodstock concert, elongated because so many artists were stuck in traffic and couldn't get there. Even sharing the stage with the likes of Jimi Hendrix and The Who both in their absolute prime, no one at Woodstock played with more power than the bearded man from Brooklyn (later settling in Greenwich Village) backed by just an acoustic guitar. He wrote and performed this now classic impromptu near the end of his Woodstock set as he ran out of material to play:
To call him righteous, soulful and a great man would be true but wouldn't begin to sum up this artist. When there was a concert that stood for something important, chances are that Richie Havens was on the bill, as when 100,000 gathered for the Tibetan Freedom Concert of 1996.
Musically, Havens was a master interpreter, able to take a great composition and give it new weight and power under his open tuning guitar style and incredible voice. He had an especially good way with Beatles songs, "Here Comes the Sun" perhaps being his best known Beatles cover, done here live in 1971:
And his recent rendition of "Tombstone Blues" from the film I'm Not There is one of my favorite Bob Dylan covers:
WYMA favorite Joe Henry produced Haven's "Tombstone Blues" and had this to say today on his Facebook page about the passing of his friend:
I am heartsick to have just learned of the passing of the great richie havens. he was and remains an enormous influence, as he has been for countless others.
his gift was immense, and completely singular. his voice had the reach and authority of an ancient and towering cypress tree, and he offered it with unfailing generosity. his right hand at the guitar had the rhythmic force of a brazilian carnival drum corps, and was both powerful and viscerally intimate.
i had the honor of producing a track on richie for todd haynes' film on bob dylan, "i'm not there." richie blew through bob's "tombstone blues" with such joy and lyrical ferocity that todd felt inclined to create a role for richie in the film, and did.
on that day at sear sound in new york, richie was kind, buoyant, open, excited, and wildly focused; and i was so smitten to be in his company and at his service that i never fully ceased my nagging efforts to lure him back in for a full album.
"i mean, do you know how easy it would be to make a great richie havens record?" i remember blurting out to him, almost as if i was speaking to another of his admirers. he simply threw his head back and laughed; nodded.
yes, he knew.
it is a dream for me that will now must remain unfulfilled; but my gratitude for his life and work is complete. and i will linger with it.
godspeed, richie havens. you did your work here beautifully, and with love for all.
Joe Henry, being far more articulate than me, leaves me little more to add, except to close with one of my favorite Richie Havens songs, "Follow" recorded in 1967:
Monday, April 22, 2013
Tropical Popsicle's Dawn of Delight is one of the best "out of nowhere" records I've encountered in years. Released on the French label Talitres, this album features great psychedelic sounds from San Diego resident Tim Hines, veteran of the Stereotypes and Lights On. Hines has fleshed out the band with the addition of Kyle Whatley (guitar, organ, backing vox), Chase Elliott (bass and synths), and Ryan Hand (drums and rattles). In places reminiscent of old Pink Floyd, in other places reminiscent of The Jesus & Mary Chain, and with plenty of guitar jangle thrown in from place to place, it's hard to precisely categorize but easy to listen to.
The opening track is "Always Awake In Shadows" and it's drenched in reverb, tambourines and heavy keyboards:
If full-on guitar jangle is your thing, "Age of Attraction" is as good as it gets, and the transition from the insistent beat of the verses to the soaring vocals of the chorus is just absolutely wonderful:
Here's "Ghost Beacons" - a tremendous accomplishment, as it combines the strands of post-punk, new wave, garage rock and hazy psychedelic sounds:
This record is a true delight - as light and airy in places as the sunniest bit of psychedelic pop ever made, and as heavy in places as, say, the Ramones or Jesus & Mary Chain.
Here's "The View From The Dihedral Wall" - combine the heavy psychedelic sounds with these lyrics, and see what happens:
The view is oh so clear
From the Dihedral Wall
We've lost communication
and all depth perception
Twin burning Suns
The King of Ages
The Bloodlines run…
Take your ropes and Lanterns
Into the idle Mansions
where can we go from here?
The mystery getting clear
Out last week (April 15) and available via the Bandcamp links in the tracks above, or physical copies available at Talitres now.
Spring finally is seeping into the mossy Pacific Northwest, so it is time to pull off the earmuffs and look for the defining sounds of springtime, version 2013. At this point, I think any well constructed playlist of such sounds will have a liberal serving from Ultramarine, by Montreal's Young Galaxy. Recorded and produced across the Atlantic by Swedish producer Dan Lissvik, Ultramarine boast rich textures of melodies and rhythms, with deep, thick bass, hints of a tropical atmosphere, and the diva-quality vocals of Catherine McCandless. Sometimes sounding like disco/EDM royalty, and sometimes evoking Kate Bush, she convinces you of the immediacy and sincerity of the music. While detachment is a defining characteristic of much electro-pop, Young Galaxy takes the opposite tack -- the energy and emotions are on the surface for all to share. For you playlist makers, here is a suggested serving of Ultramarine:
I will add that the up-tempo joys of the above tracks should not cause you to avoid the wonderful tracks that take a less aggressive approach. "Eternal Summer", "In Fire" and "Sleepwalk With Me", for example, prove that the band cannot be categorized as solely a purveyor of music for the dance floor or the beach. In fact, it is the emotional depth of such songs that anchor the album in your brain after you feet have stopped moving.
Young Galaxy is Stephen Ramsay, Catherine McCandless, Stephen Kamp, Matthew Shapiro, and Andrea Silver.
Ultramarine is available on Tuesday, April 23 via Paper Bag Records.
Twitter ( @younggalaxy )
Paper Bag Records
Sunday, April 21, 2013
Now-Again Goodness: Some free Zambian Psych Rock, limited edition reissues and upcoming records from WITCH and Musi-O-Tunya
Here's a track from WITCH:
Recently, Chanda and Ililonga went to Rennes to perform Zamrock live with Karl Hector & The Malcouns at France’s Transmusicales Festival. The proceedings were recorded, and Now-Again has made two tracks available for free download:
"Munzi Wa Kangwada"
Also, Now-Again is currently offering some single LP reissues of their Zamrock archive - the original box sets sold out. Click here for more information.
And later this summer a new Musi-O-Tunya record will be available. Stay tuned, because we'll have more to say and hopefully share closer to the date... Ililonga's guitar creativity is simply amazing, as is the bounty of output from Now-Again Records.