Friday, July 21, 2017

Kurt Vile - Smoke Ring for My Halo

Kurt Vile released his fourth album in 2011.  It's an interesting mishmash sounding album, opening with the gentle guitar picking of Baby's Arms.  Vile's vocals are something of an acquired taste, and definitely have the capacity to annoy some listeners at times.  His over-accented faux-Dylan vocals don't ruin some fine music, such as the sunny, propulsive Smiths-like guitar licks of Jesus Fever.  Charming music abounds, whether it's the electric, Stones-y Puppet to the Man, or the acoustic On Tour.  A lot of the melodies on tracks like Society Is My Friend and Runner Ups feel vaguely familiar (stop me...) but Vile brings these songs somewhere else.  Classic rock influences abound, the car stereo anthems In My Time and the title track reek of Tom Petty and the Heartbreakers, while he also fits in folkier stuff like Peeping Tomboy, but who can quibble when the songs are put together so well.  He finishes with the six minute epic Ghost Town.

Overall, a fairly impressive piece of work.

Thursday, July 20, 2017

Molina and Johnson

Molina and Johnson was a collaboration between Jason Molina and Will Johnson of Centro-matic.  Although billed as a collaboration they tend not to sing together, mainly taking a song each on the album.  Nevertheless it hangs together well as an album.  Johnson's contributions are generally more accessible, tracks like Twenty Circles to the Ground, Don't Take My Night From Me and Lenore's Lullaby are decent quality, if fairly standard alt-country singer-songwriter fare.  All Gone, All Gone is a dark country-blues duet with Sarah Jaffe and is something of a highlight.

Molina on the other hand brings a more haunted, austere quality to his songs, more akin to his work as Songs:Ohia rather than Magnolia Electric Co.  All Falls Together features dead slow, spacey guitar and Molina's spooked-out wail.  The downcast strum Almost Let You In is the one true duet featuring both Johnson and Molina trading verses and it's pretty fine.  Later into the album, Now, Divide is mainly just the pair of them harmonising wordlessly over guitar rumbles.  For As Long As It Will Matter features a fairly forlorn keyboard part and Molina's broken-hearted lyric about "all my mistakes right where you'd hope for them to happen".  34 Blues is even sparser, just Molina and a lightly strummed guitar in the dead of night.

So although the album gives both artists equal billing, the further into the album we go, having started out like a Will Johnson album, later Jason Molina comes more to the fore.

Wednesday, July 19, 2017

Bonnie Prince Billy - The Letting Go

The Letting Go, released in 2006 is perhaps the lushest album in Will Oldham's career.  Recorded in Iceland, it features sweeping melodies and sumptuous strings, not something you'd usually associate with him.  The strings that open the album on Love Comes To Me threaten to be overpowering on what is (on the surface) a relatively 'sweet' song, but Dawn McCarthy's high-pitched backing vocals and Emmett Kelly's guitar keep things on an even keel.  Indeed Kelly's guitar is what really lifts the following track Strange Form of Life from being just another run-of-the-mill Bonnie Prince Billy track, with some really fine, clean guitar licks.  Wai appears to be a return to the austere folk of Master and Everyone.

The centrepiece is undoubtedly the five and a half minute Cursed Sleep, with a guitar figure and string arrangement that is highly evocative of Nick Drake's Bryter Layter.  It's definitely the track on the album that showcases Nico Muhly's string arrangements to the greatest effect, but it's not a particularly relaxed track, more an exercise in building tension.  No Bad News is more stately folk, with gently plucked guitars, muted drums and a low undercurrent of strings.  After this the album does a complete about turn with Cold & Wet, a slice of throwaway blues.  Later into the album, almost title track Then The Letting Go is a highlight, chiefly due to McCarthy's exquisite, almost 'Call of the Wild' backing vocals and wintry, picked guitars and lyrics.  God's Small Song, is more impressionistic, a bit like something label-mate Bill Callahan might do in his looser moments.

A fairly atypical Bonnie Prince Billy album, but a pretty strong one.

Tuesday, July 18, 2017

Wilco - Sky Blue Sky

Wilco released this 'back-to-basics' album in 2007.  They had completely left behind the avant-garde feel of A Ghost Is Born.  In its place are soft-rock guitar stylings, exemplified by the lush, if a little bland opener Either Way.  You Are My Face throws in a bit of heavy guitar halfway through, as if the band are saying 'hey we can still rock'.  But mainly the default setting is 'amiable country shuffle' mode, and the album delivers this in spades on tracks like the aforementioned Either Way, and the title track.

Elsewhere, Side with the Seeds and Shake It Off allow the band to stretch out a bit with Nels Cline and Jeff Tweedy's guitars duelling.  The more hushed likes of Please Be Patient With Me also impresses with its wonderfully subtle playing, Hate It Here successfully channels late 60s Beatles, and What Light even evokes early Dylan.  At times all this bonhomie gets a bit much, Walken is a bit perky for its own good.

The standout track is Impossible Germany which opens with intricate, Television-like guitars, before unleashing epic guitar soloing courtesy of Cline.  It's a highlight, not just of the album but of Wilco's entire career.

All in all, those who enjoyed A Ghost Is Born might feel this is the sound of Wilco treading water.  They'll be listening out for the 'twist', and when it doesn't arrive (which it doesn't) that might feel like the biggest twist of the lot.  Songs go in unexpected directions, sure, but there are no noise freakouts to contend with.  Which makes it an album fairly easy to listen to, without being dull.

Thursday, July 13, 2017

Loose Fur - Born Again In The USA

The second album from Jeff Tweedy and Jim O'Rourke's Loose Fur side-project was released in 2006.  If anything, it's less cohesive than the debut.  Instead of going for a purely immersive effect, they've decided that rocking out might be worth a try.  Hey Chicken swaggers in on Stones-y rock riffs, and rocks out for a solid three minutes before checking out.  The Ruling Class follows, all country strumming and good-natured whistling.  Stupid as the Sun is a kind of boppy rock song, sung by O'Rourke, it's not unpleasant but a bit forgettable.  The clattering Apostolic and Pretty Sparks are less pleasant, you could live without them.  Thou Shalt Wilt and Wanted are easy enough to listen to, if a little anonymous.

For those who enjoyed the first Loose Fur album they are best directed to the more introspective tracks here.  Answers To Your Questions sounds more like a Jim O'Rourke track than anything else here.  A gentle ballad sung by O'Rourke, it's a quiet beauty with a fine touch of steel guitar.  The instrumental An Ecumenical Matter, has gorgeous summery guitar licks and nice bit of piano.  At eight and a half minutes, Wreckroom is the longest track here, and its ebb and flow would not have been out of place on Wilco's A Ghost Is Born album, with fine guitar work ranging from lazy licks to full-on pounding riffs.  The last four minutes of the track or mainly a muted, piano coda with a hint of percussion.

So a fairly mixed, and mixed-up album, one that doesn't hang together particularly well but has its moments.

Wednesday, July 12, 2017

Matt Sweeney and Bonnie Prince Billy - Superwolf

For this album, released in 2005, Bonnie Prince Billy teamed up with Matt Sweeney, who had recorded with Zwan.  The results are among the fullest sounding, and most musical produced by Oldham.  My Home Is The Sea is a kind of rollicking, rock song, lurching back and forth across riffs.  It's followed up by the gentle, melodic, shimmering Beast for Thee, then more moody guitars introduce What Are You?.  This latter track contains lyrics with 'ear-grabbing' lines like "to take you over my knee and spank you mercilessly", sung so sweetly by Oldham and Sweeney you end up doing a WTF, a kind of double-take.  It's a hugely tuneful and melodic opening three songs.

After this the quiet lulls and crashing guitars of Goat and Ram move the album in another direction momentarily.  The musicianship on this album is a joy, Lift Us Up features a terrific guitar solo, while the harmonies on Rudy Foolish, unlike Oldham's work as Palace, are almost wilfully in tune.  Only Someone Running is more rustic, featuring country fingerpicking, with some jaunty whistling thrown in.

Towards the end, Blood Embrace, the penultimate track on the album is something of a centrepiece.  At nearly eight minutes long, its creeping, tension-building guitar figure gently unfurls in a manner evoking Neil Young's Down by the River.  The album finishes with the blues-folk of I Gave You.

Highly recommended for anyone curious about Will Oldham, definitely one of the more 'musical' albums he's been involved with.

Tuesday, July 11, 2017

Mark Eitzel - West

For Mark Eitzel's second solo album, released in 1997, he teamed up with REM's Peter Buck.  Both artists were riding high at the time, in their own particular way, having come through an imperious decade from the late 80s through to the mid 90s.  The album opens promisingly with what turns out to be it's best track, If You Have To Ask.  Dominated by strings, it features a really strong vocal by Eitzel and a clever lyric about lighting "a fire in your brain".  It's a really lush arrangement, and it suits Eitzel down to the ground, it's one of the finer songs in his solo work.  After that, we come (relatively) down to earth.  Songs like Free of Harm, Stunned and Frozen, and In Your Life are fairly straightforward, sub-REM pop-rock songs with bright guitar lines and catchy, repeated choruses.  Mark Eitzel will surely never sing a simpler chorus than "I live in your life".  The moodier side is well represented here too on Helium, Then It Really Happens and the almost apologetic Lower Eastside Tourist, any of which you could nearly imagine Michael Stipe singing.  Which is kind of the problem with this album: it's not distinctive enough, not Eitzel enough.

Chirpier moments like Three Inches of Wall and Move Myself Ahead don't suit Eitzel that well, and even when he wallows, on Old Photographs and Live or Die it seems simplistic.  The chorus of the latter is flat and obvious ("no-one cares if I live or die").

It's one album in Mark Eitzel's back catalogue that you could pop on in the background and it wouldn't really upset anyone.  Which isn't really the point with Eitzel.

Thursday, June 1, 2017

Clearance - Rapid Rewards

The first album proper from Chicago band Clearance is full of indie guitar thrills.  It opens with the short and spiky double whammy of Delays Expected and You've Been Pre-Approved.  When they slow it down they reap the, er, rewards.  Flowers Epoxy and especially No Glance You Took are classic mid-paced Malkmus grooves, with Mike Bellis' perfectly drawled vocals, and a fine guitar solo in their respective outtros.  The slow, grinding guitars of Rather Not Bother show how this band can transcend their influences.

Songs like Nonplussed and Total Closeout are a little reminiscent of The Strokes (or is it Television?) but don't leave a lasting impression.  Crowded Out/Flimsy Maneuver #2 aims straight for the heart with Velvets style guitars and a cool jam tagged on to the end.

Although there's nothing here that really stands out, it's a good collection of indie guitar tunes.

Thursday, May 18, 2017

Chris Cornell – A Perspective

Article for www.nomoreworkhorse.com 
https://nomoreworkhorse.com/2017/05/18/chris-cornell-a-perspective/

Magnolia Electric Co - Josephine

Listening to Magnolia Electric Co's final album, released in 2009, Jason Molina and co have left behind the dark, slow burning rock of their earlier material and embraced country on the honky tone likes of O Grace! and The Rock of Ages.  Shenandoah and Whip-Poor-Will are equally informed by country music.  Thankfully the title track features some rougher, distorted guitar.  Further into the album The Handing Down is a welcome slab of spooked-out Crazy Horse-style rock, and it's followed by the desperate plea Map of the Falling Sky.  By the time the fine Little Sad Eyes with its eerie organ stabs and high lonesome rocker Knoxville Girl (not the Appalachian murder ballad) arrive you'll wonder why they front loaded the album with all those country songs.  

Wednesday, May 17, 2017

Loose Fur - Loose Fur

Loose Fur was a project featuring Jeff Tweedy and Glenn Kotche from Wilco along with Jim O'Rourke.  They released their first album in 2003, which is fairly much as you might expect, six longish songs with Tweedy and O'Rourke sharing vocal duties.  Many of these songs, such as Laminated Cat are a little on the repetitive side, with a rolling guitar groove that repeats itself ad nauseam without really going anywhere.  The O'Rourke-sung songs such as Elegant Transaction are brighter and more enjoyable in a kind of meditative way.  So Long is odd, in a good way, in that it's reminiscent of the more stripped down and tripped out moments of Queens of the Stone Age.  You Were Young sounds like Wilco flecked with Sonic Youth and is therefore the song that suits Jeff Tweedy the most - it's the one track here that would work on a Wilco album.  The instrumental that follows, Liquidation Totale is pure Jim O'Rourke, while Chinese Apple sounds like what it is: Tweedy singing an acoustic Jim O'Rourke song.  There's lots of guitar noodling on show here so if you tolerate this, there's much to enjoy here.

Tuesday, May 16, 2017

Bonnie 'Prince' Billy - Ease Down The Road

Will Oldham released this album in 2001.  It's considerably more 'musical' than any of his previous albums.  It opens with May It Always Be which features a muted electric guitar, piano and Oldham actually singing 'properly', before a full on guitar solo midway through the song.  Many of the songs on the album are catchy and feature tunes you can really sing along to, such as the trio of Just To See My Holly Home, At The Break of Day and After I Made Love To You.  

A King At Night has a pleading, plaintive yet muted quality to it, a sweet tune distracting from lyrics concerned with "going down on me".  It's an incredibly melodic album in comparison with anything which came before.  The title track is an amiable shuffle, with the just the 'right' amount of each instrument, even the banjo doesn't overshadow anything.  Languid tunes such as Lion Lair and the country-tinged Mrs. William are the order of the day, making the album a great listen.  Grand Dark Feeling of Emptiness and Rich Wife Full of Happiness are bluesier, a bit like a very sparse Nick Cave.  In fact, not a bad place to start with Will Oldham.

Saturday, May 13, 2017

Glaciers - Living Right

More jangly goodness from Australia.  There seem to be several bands called Glaciers, making these guys a bit harder to identify and pigeonhole.  What is definitely the case is they released this album in 2016.  It opens with the quite glorious jangle of Winter, accompanied by soft vocals, which sets the tone for the album.  It's kind of driving around on a (dreaded) sunny day music, exemplified by Local Hero, Weekdays and everything else here.  Career Crisis is vaguely reminiscent of the brighter moments of Lloyd Cole and the Commotions, and how can you not love a band who calls a song Ddouble Vvision!  Later in the album Sensible and the title track feature some gorgeous, liquid guitar lines.

If there is a criticism, it's that there is practically no variation across the album, but on the other hand, each of the 11 tracks here are seriously strong.

Friday, May 12, 2017

Rolling Blackouts Coastal Fever - Talk Tight

Australian band Rolling Blackouts Coastal Fever released a debut EP in 2016.  It opens with the jangly thrills of Wither With You, which comes across like the Go-Betweens with an injection of New York cool.  They sound like they are having a cracking time on the joyful Wide Eyes and Heard You're Moving which zip along nicely.

After the manic pop thrills of the previous four songs, Tender Is The Neck takes the intensity way down with a gorgeous, laid-back number, which adds some of the vulnerability of The Smiths to their jangle fixation.  The EP ends with a flourish on the slightly bored yet cool sounding Career.  With seven tracks of summery guitar goodness here, it's hard to go wrong.

Thursday, May 11, 2017

Clearance - Catalogue Nos.

Chicago band Clearance released this collection of their early singles in 2014.  Walking Papers is an almost perfect indie rock song, with driving swaggering guitars and nonchalant singing from Mike Bellis.  Introduced chronologically, You're Not The Target oozes self-assurance and a relaxed charm.  Selling the Plot and She's Gonna Show You are brighter, with a bit more of a 'pop' feel.  One or two of the songs have a seemingly unconnected jam thrown on the end of them, which gives the tracks something of an enchanted charm....

Ok, I attempted to get through this review without mentioning the band they are most often compared to, Pavement, but to no avail.  The breezy charm of Close Encounters strongly evokes this band, while the navel-gazing Face the Frontier has a wonderful, lazy charm that emulates classic mid-period Pavement such as Father to a Sister of Thought brilliantly.  In fact, when this band slow it down on this and the sub-two minute Safer Passage they really excel, sounding effortless and just a little ragged.

They don't ignore more rocking moments, Drive Out! and Carte Blanche are a bit more forceful than anything else here, in a Velvet Underground/Strokes kind of way.  

It really is top drawer stuff.  An album of old-fashioned guitar thrills.  What's not to like?

Wednesday, May 10, 2017

Kings of Convenience - Quiet Is The New Loud

Responsible for some kind of quiet music movement based on their album title, this was the Norwegian duo's debut album, released in 2001.    Consisting mainly of acoustic guitar and harmony-led songs, it's a highly melodic collection of songs.  Production is crisp and clear, which allows these songs to stand out and sound good in either winter or summer.  It opens slowly with Winning The Battle, Losing the War which has a nice electric guitar in the coda.  While it sounds very pretty a whole album of songs at this pace would seriously drag, so it's refreshing that Toxic Girl picks up the pace.  To a gentle, quiet trot rather than a sprint or anything.  An early highlight is I Don't Know What I Can Save You From, this and the following track Failure feature lovely, rolling acoustic guitar patterns.   Sometimes the album gets quite 'loungey' as on the soft shuffle Leaning Against The Wall and The Passenger.  Later on the album, Summer on the Westhill is almost impossibly pretty.

But really, if you like sumptuous harmonies and acoustic music, any of these tracks will work for you.  The album is very consistent across all 12 tracks, and a fine listen.

Thursday, April 27, 2017

BNQT - Volume 1

So it seems the soft-rock mid-70s are well and truly back, with bands like Midlake, Fleet Foxes etc, but not only that we have a supergroup in the shape of BNQT.  It's really a project led by Midlake's Eric Pulido, Jason Lytle from Grandaddy, Ben Bridwell from Band of Horses and, a little incongruously, Alex Kapranos of Franz Ferdinand and Fran Healy of Travis.  With each singer being given 2 songs each this could have come across an incoherent mess but, anchored by Midlake as the backing band it gels together well.  Pulido opens up with the propulsive, catchy Restart.  Bridwell's relaxed, borderline cheesy Unlikely Force follows.  It's like something ripped straight out of Crosby Stills and Nash's 70s songbook and it works really well, Bridwell singing "you and me make such an unlikely force" with gorgeous harmonies from the other singers.  The track is so evocative you'll feel your trousers flaring and your hair growing longer.  100 Million Miles has the cosmic essence of Lytle's band Grandaddy with strings to give it added grace.  Healy's Mind of A Man is takes a heavy spoonful of Fleetwood Mac's Rumours with a tempo and atmosphere that conjures up that band's Dreams.  Kapranos sounds a bit out of place on the oddly titled Hey Banana, neither gelling totally with the band nor sounding particularly distinct.  That's not to say the track doesn't work, it just comes up short in comparison to what precedes it.  The poppy and upbeat Real Love is more of a band effort, featuring what sounds like all singers.  In fact the second half of the album is less impressive than the first, Lytle's plodding Failing at Feeling is practically MOR, while the Stones-lite of Healy's L.A. On My Mind, Bridwell's foul-mouthed yet chirpy Tara and Kapranos' slow-burning keyboard don't really ignite.

Definitely recommended for fans of Midlake, or any of the bands referenced above.

Wednesday, April 19, 2017

Stephen Malkmus & The Jicks - Real Emotional Trash

2008's Real Emotional Trash is the album where Stephen Malkmus finally casts off the shackles of his former band Pavement.  It opens in somewhat lumbering fashion, with the heavy riffs of Dragonfly Pie and the Doors-isms of Hopscotch Willie.  Very much a guitarist album, the ten minute title track is, despite its long-windedness, something of a highlight, taking its time to unfurl some seriously impressive guitar work by Malkmus.  Muscular, riffy rock is the order of the day on tracks like Out of Reaches and Baltimore, which are a long way from the indie sound Pavement were known for.  In other words if intricate fretwork is not your bag, don't come anywhere near this album.  Many of these songs are pretty unfocused.  The terribly titled Elmo Delmo is certainly that, but it works well, albeit in a late 60s/early 70s rock way, ie 'pass the joint' and all that.  Following this, We Can't Help You is practically The Band.  It comes as something of a relief after so much bluster when final track Wicked Wanda starts in relatively quiet fashion before the mighty riffs kick in, in fairness, to pretty excellent effect.  The real question is: is this Malkmus pretending to do a 70s rock album, or is this the real deal?

Sunday, April 16, 2017

Magnolia Electric Co - Sojourner

Magnolia Electric Co's 2006 album Fading Trails proved to be just a taster for 2007's Sojourner box set, a treasure trove containing FOUR albums.  The first, Nashville Moon has Jason Molina and co gone full-on country rock with rockers Lonesome Valley, Montgomery and Don't Fade On Me, each of which appeared on Fading Trails.  Elsewhere?  We get a ragged, rocking take on Hammer Down, followed closely by No Moon On The Water, again rocking pretty hard leading nicely into the country soul Stones-y title track.  There are plenty of uptempo tracks preventing the pace from becoming too plodding, such as the bluesy strut of What Comes After The Blues or the country swing of Don't This Look Like The Dark.  North Star is a honky tonk ballad which gathers momentum throughout the song, swelling to a fine brew of sound.  This music truly is equal parts messy rock and honky-tonk country.

However it has nothing on the second disc, Black Ram.  For me this is everything that Neil Young's Tonight's the Night was made out to be, a dark, mellow yet angry night time rock album.  In The Human World has a simple, descending melody before the addition of strings sweeps the track along providing a perfect introduction.  Austere, grim guitars open the title track which just gets more beat down and heavier as the track progresses.  What's Broken Becomes Better and Will-O-The-Wisp are fine, doleful laments with hard electric guitars.  Gentle banjo introduces Kanawha which builds to a guitar solo that cold only be described as 'stonking'.  Which in the context of this, is a good thing.  The wounded Neil Young-isms are present and correct on the towering A Little At A Time.  Many songs, such as Blackbird and And The Moon Hits The Water would be quite ordinary but for the way the guitars are recorded, with such clarity and bite, they really lift each track to great heights.  It's a definite highpoint in the extensive catalogue of Jason Molina.

The third disc, Sun Session is the shortest at only four songs.  No let up in quality here - Talk to Me Devil Again takes a prime Neil Young sounding delicate riff and combines it with a little organ for Molina to sing his lament.  The other 3 tracks are equally strong, including a rootsy rendition of Hold On, Magnolia.

The final disc, Shohola, is something else entirely.  The bleakest, most-stripped down set here, it features Jason Molina alone with a guitar, as he wails softly through laments like Steady Now and Take One Thing Along.  Night Country and The Spell are grim, resigned and life-affirming, sharing the tone of Gillian Welch's most downbeat material.  Shiloh Temple is classic country folk of the kind that Townes Van Zandt used to play.  The Lamb's Song features such soft guitar playing you actually lean in to listen harder.  This collection is even more downbeat than Molina usually is, one for those long dark nights of the soul.

Possibly Jason Molina's defining project, and definitely one his most ambitious.  It contains some of his best work and is essential for anyone interested in his music.

Thursday, April 13, 2017

Wilco - A Ghost Is Born

Wilco's fifth album came out in 2004, and was instantly pegged as their 'experimental' album.  This it definitely is.  But it's also enjoyable to listen to, more so than its predecessor Yankee Hotel Foxtrot.  It opens quietly with At Least That's What You Said, initially with just piano and Jeff Tweedy's voice, before he unleashes Neil Young-style guitar licks after a couple of minutes.  And what towering guitar licks they are, on an album where Tweedy's guitar playing really comes to the fore.  It's followed by a change of tack with the understated piano soft-rock of Hell Is Chrome, before shifting again with ten minute epic Spiders.  With a pulsing beat and repetitive keyboard motif, it sounds a long way from what you'd expect from Wilco.  The tension builds for a few minutes before a joyous, riffing guitar breakdown with a hint of Sonic Youth.  They stretch this out over ten minutes, yet it doesn't ever feel boring, though it eventually ends quite abruptly.  

Muzzle of Bees is a gentle, rootsy strum for the most part with occasional fretwork interludes.  Tweedy's Beatles fixation comes to the fore on piano-dominated tracks like Hummingbird and Theologians.  In the main, fine pop/rock songs like Handshake Drugs and Company In My Back abound on this album.  

The most polarising track for most people will be the 15 minute Less Than You Think.  For the first three minutes it's a soft piano ballad before giving way to 12 minutes of maddening machine drone.  It's total self-indulgence and depending on your mood that's either good or bad.  But rather than finishing with this, we get one final song, the enjoyable Faces-style throwaway The Late Greats.

But it's an album that, once you get into it, is most enjoyable.

Wednesday, April 12, 2017

Cian Nugent - Night Fiction

Night Fiction is the third album from Cian Nugent.  Released in 2016, it's the first to feature his languid vocals over his... languid guitar playing.  Actually his guitar playing is very accomplished, right from the opener Lost Your Way.  We're very much in Steve Gunn/Ryley Walker territory here.  Lengthy songs like Night Run and Shadows very much act as a relaxed springboard for Nugent to unleash his excellent guitar playing.  Nugent is by no means a great singer, but it's more than compensated by his seemingly effortless sounding but actually complex guitar playing.

A short, pastoral, fingerpicking instrumental Lucy divides the album neatly in two, but the lazy, hazy vibe very much remains the same on Things Don't Change That Fast and Nightlife.  It's left to eleven minute closing track Year of the Snake to provide a sense of ebb and flow, the track building from slow beginnings to an almost LA Woman style rave-up.

Tuesday, April 11, 2017

Wilco - Yankee Hotel Foxtrot

Wilco's fourth album is an odd oul beast.  In 2001 Reprise Records refused to release it, and it eventually came out in 2002.  It's seen by some as their Kid A.  While it's not that, it does mark the point where Wilco moved away from their alt-country roots and established their own sound.  Opener I Am Trying To Break Your Heart won't jar with anyone familiar with Misunderstood, the opener on Being There - it's a slowbuilding track, melodic for the most part but containing noisier passages.  In truth the album is a kind of enjoyable mess, which, perhaps due to its background, received far more praise than merited from critics.  It has many softly strummed, accessible songs such as Kamera, the repetitive War on War and the Cure-referencing Pot Kettle Black.  Any of these would not have been out of place on Summerteeth, nor would Heavy Metal Drummer, the most uptempo and 'knowing' lyrics here ("shiny, shiny pants and bleached blonde hair, double kick drum by the river").  I'm The Man Who Loves You is a bit like the Beatles played by Crazy Horse while the jaunty folk of Jesus Etc is downright odd.

Far more interesting are the deathly slow crawls.  Radio Cure is the one song here you could imagine Thom Yorke singing.  Instrumentation is minimal, percussion barely there at all, yet this song gets under the skin.  Ashes of American Flags is pure Beatles' White Album.  And not Obla-di Obla-da either, especially the final minute or two of noise.  Better still, the final twelve and a half minutes of the album are occupied by two slow crawls.  The first of these, Poor Places, is a fairly definitive slow march towards nowhere in particular.  Reservations on the other hand is more of a funereal drift into nothingness.  Or if you prefer, a plaintive love song ("I've got reservations about so many things but not about you").  And it is that which sums up the album, it can be taken in more than one way.

Monday, April 10, 2017

Will Oldham - Joya

Joya was released in 1997 under the Will Oldham name.  From the opening track O Let It Be, the album features a much fuller sound than any of the Palace material, with prominent electric guitar from David Pajo and more of a band feel.  The creeping, lurching Antagonism is muted and interesting but doesn't really go anywhere.  And so it goes for the album.  New Gypsy has a bluesy backwoods tone to it but Under What Was Oppression and Open Your Heart are more like what you'd expect from him but leave little impression.

Be Still and Know God is almost strident, with a straightforward guitar lick propelling the song along.  But for the most part this music is solipsistic and unremarkable.

Wednesday, April 5, 2017

Palace Music - Lost Blues and Other Songs

This is a compilation of singles and rare tracks from the various incarnations of Will Oldham as Palace/Palace Brothers/Palace Music etc.  As many collections like this can be, it's a bit all over the shop.  It opens with the dead slow but effective folk march of Ohio River Boat Song.  Many tracks here are, let's face it, hard going: the rough-as-fuck version of Riding, the completely out of tune singing on Stable Will to name but two.

But mostly downbeat folk is the order of the day on tracks like Valentine's Day, Trudy Dies and Come In.  Some of the stronger material is towards the end: O How I Enjoy The Light is a fairly typical Oldham lament with a neat line in warped guitar.  The two essential tracks are the relaxed, warm West Palm Beach which features some gorgeous electric guitar lines, and then the Stones-y lazy blues Gulf Shores, a bit like an updated No Expectations.  This latter track actually features soothing vocals from Will Oldham and a nice bit of piano.  But overall, not a collection for the fairweather fan.