It’s been a month since I put up any new music, and I’ve discovered several albums that are worth adding to the list. Let’s start with Nick Cave’s cover of “Cosmic Dancer” by T. Rex from the upcoming all-star tribute album titled, AngelHeaded Hipster set to be released on September 4, 2020. It will be a double album with 26 tracks featuring U2, Elton John, Joan Jett, Perry Farrell, Sean Lennon, Lucinda Williams, and more!
X had planned on touring to promote their new album, Alphabetland and then the coronavirus pandemic started, so no 40th anniversary tour for now. Hopefully they can reschedule it after the pandemic subsides so we can see the original lineup perform the new songs on this album mixed in with their hits dating back to 1980. Here’s one of the new songs. The album was released on streaming services last month. The physical albums will be available August 21st.
I had never heard of Jaimie Wyatt until Greg Vandy played “Neon Cross” on The Roadhouse about a month ago. I really liked the song, so I did a little searching and found out it’s a song from her sophomore album of the same name produced by Shooter Jennings that will be released on May 29th. Jaimie says:
Neon Cross is a collection of my most vulnerable lyrics and vocal performances to date. My friend Shooter, our manager and most of the band had literally witnessed me as a walking disaster when I was grieving death, divorce, and trying to come out of the closet, while heavily self-medicating and nearly self-destructing with drugs and alcohol.
Many people are not familiar with Terry Allen and the Panhandle Mystery Band. I think I first heard him on KEXP’s Swingin’ Doors show around twenty years ago when Don Slack played “Gimme a Ride to Heaven” from the the 1983 album Bloodlines. I bought that album and have been following him ever since. No Depression describes his new album, Just Like Moby Dick, like this;
Instead of a voyage on the Pequod, Allen takes his listeners on a journey that covers a lot of ground, from Houdini facing death after life in “Houdini Didn’t Like the Spiritualists” to a town lamenting the loss of its last local dancer in “Death of the Last Stripper.” Allen brings clown-killing vampires into the light on “City of the Vampires” and delivers the storytelling masterpiece “Pirate Jenny,” which serves as a nod to Kurt Weill and Bertolt Brecht’s original of the same name.
Here is “Sailin’ on Through”. Enjoy!
Drive By Truckers have been putting out great southern rock music for decades now. They are not shy about expressing their political views, so it’s no surprise that during this year of a presidential election they have released their most political album ever, The Unraveling. Here’s their response to the nutjob, Christian, second-amendment crowd who won’t do anything about the epidemic of mass killings committed with ridiculously powerful automatic weapons except offer up their “Thoughts and Prayers”.
Stephen Malkmus has put out several solo albums, and they all sound a little different – some sound similar to his seminal band Pavement, some a little like Sonic Youth, some are bit electronic, and this new one titled Traditional Techniques is less rock, less electric, more acoustic, and maybe sounds a little bit like Wilco.
This next one is the title track from Tré Burt’s new album, Caught it From the Rye. You will probably find that the instrumentation and vocals sound very much like someone you know. Sean Jewell over at American Standard Time, in a somewhat amusing fashion, goes to great lengths not to name that singer/songwriter, because well… Sean has his own set of principles to which he must adhere.
I, on the other hand, will name that person. He happens to be an artist I have been listing to quite a bit lately. Bob Dylan has released two new songs on YouTube in the past three weeks. I won’t post the actual videos, because they are already ubiquitous on the internet. “Murder Most Foul“, about the assassination of President Kennedy and what it means to the American psyche, was released a few weeks ago. Today he released “I Contain Multitudes” which seems to be about all the things that have influenced his work.
There’s nothing better than listening to music while you are sheltering in place, so I have put together a few video tracks of my favorite albums that have been released this year.
I learned of Porridge Radio a few weeks ago, and I have been listening to them via YouTube because before the pandemic when I was able to go to Easy Street Records in West Seattle or Sonic Boom Records in Ballard, neither store had any of their music in stock. I guess I will have to order it and have it delivered.
Lilac, meanwhile, turns that emotional journey on its head. This time around, Margolin repeats: “I don’t want to get bitter, I want us to get better, I want us to be kinder to ourselves and to each other.” What looks like a self-help platitude on paper slowly builds up a power at odds with its sentiment, becoming increasingly frenzied and raw-throated, in a way that completely undercuts any optimism. By the end of the song, it sounds confoundingly like a threat.
This tension of opposites is a recurring theme, not just in Margolin’s ability to destabilise a lyric with her voice, but in the words themselves. They’re big on inconsistency – “I don’t know what I want, but I know what I want” – and frequently sound like frantic internal dialogues that capture a very twentysomething brand of angst, where the realisation that you’re now an adult crashes against uncertainty about whether you’re doing adulthood correctly.
In the extraordinary “Kinda Dark,” he delivers his apocalyptic verses in a distracted whisper over subdued electronic scenery. When the drums hit and the electric guitar attacks out of nowhere, it feels genuinely startling: the appearance of the looming threat he’s been slowly backing away from the whole time.
This sense of unease spans the record, making uptempo songs like the glittery “It Just Doesn’t Happen” and the soaring “Crimson Tide” sound like dispatches from a doomed adventure. Other songs exist in the cloud of smoke that’s left behind.
I first heard this new “supergroup” Bonny Light Horseman while wandering around Sonic Boom Records a couple months ago. The band members are Eric D. Johnson, Anaïs Mitchell, and Josh Kaufman – all of whom I am not that familiar with, but I guess many people are because they are SUPER. I was struck by the clarity of their sound and their perfect vocal harmonies, so I bought their eponymously titled debut album. The video is from a live performance and it sounds very muck like it does on the album. No Depression wrote this about it:
That winter [of 2018], they made the trek to Dreamland Recording in Woodstock, New York, for another quick session to finish what they hoped would be enough for a record. “When we went to Woodstock, we knew we were trying to finish a record, and I think the question became, how to record in a way that felt of-a-piece with the Berlin stuff in an environment that was so different,” Mitchell says. They had a blast over the course of two days, again standing close to one another, playing live without headphones, and joined by Michael Lewis (bass, saxophone) and JT Bates (drums, percussion), as well as engineer Bella Blasco and mixer D. James Goodwin. That live sound results in an intimate, but atmospheric vibe that permeates every song on the album. These sessions took on that same sense of immediacy the band felt in Berlin, particularly with songs like “Deep in Love” and “The Roving,” two of the album’s standouts.
This last one is by another singer I learned about this year while reading No Depression reviews. Her name is Kyshona Armstrong. Here’s a snippet from the review.
Kyshona Armstrong honed her craft in the state mental hospital. Not as an inmate, but as a teacher. She broadened her musical healing abilities in prisons and also in schools, working with children diagnosed with emotional behavior disorders.
The singer, who records under her first name, has said that she never wanted to be in the spotlight. Armstrong had aspirations to be a psychologist, but a music scholarship opened up new possibilities for her in the field of musical therapy. She eventually realized that her message could do good from the stage as well.
On the title cut, Kyshona urges people within the sound of her voice to start their activism by the simple act of listening: “I know you wanna help / but you’re deaf to the mission / Even when you see the hand I’m dealt / You pretend it’s my decision.”
And last but not least, Pearl Jam is releasing a new album titled Gigaton tomorrow. Alexis Petridis wrote this about “Quick Escape” for The Guardian:
Quick Escape does a lot of Pearl Jammy stuff – big soaring chorus, more guitar histrionics – but sets them against an atmosphere that’s authentically spacey and strange, as again befits lyrics that have taken on an entirely unwitting kind of currency. If you’re going to release a song about the human race facing such catastrophe that escaping to another planet feels appealing, now is probably the moment to do it.
That’s all for this week. I’ll try and do this more often – maybe every couple of weeks or so.
Seattle air quality index (AQI) like smoking 5 of something that burns per day
1 cigarette after accidentally lighting the filter and keeping going till it’s gone.
The “left over” tobacco recovered from select unfinished butts in an outside coffee can ashtray wrapped in a page torn from the Bible. Leviticus or Revelation only, and only because you currently, honestly believe it would be better than nicotine withdrawal.
2016 was a terrible year in many ways, but it was a great year of music. Here is my list of the best albums of 2016.
1. Skeleton Tree, by Nick Cave and the Bad Seeds. This album was started before Nick’s son Arthur died in 2015. Understandably, that tragedy weighed heavily on Nick as he wrote the songs for this album. The album is sad in a beautiful way. If you haven’t seen the movie, One More Time with Feeling, that played in cinemas around the globe on the eve of the release of this album, you should.
My 8 year old’s big plans for this past weekend: “Can we go to the Mystery Soda Machine? You really don’t know what’s going to come out and then you have to drink it no matter what it is. The buttons just have question marks all over them. And it’s really dirty.” Nobody knows who fills it, it’s empty until you put your coins in, and there’s a magic rule that you have to drink what you get.
That machine has been there for as long as I can remember. Seems like it only had one “mystery” button before, though. Now they’re all “?M?Y?S?T?E?R?Y?” buttons. It’s been forever since I even paid attention to it.
Adding to the silliness of the whole thing, the mystery was amplified by my never letting on that I knew exactly where we were going and that there was nothing actually mysterious about the mystery soda machine in any way and I have walked by it (with both of them!) more times than I can count and have lived around the corner from it more days of my life than I have not.
I’m rarely as impressed by a viral video as the descriptions suggest I will be. But I don’t think this one can be over-hyped. It is technically tight, doesn’t overreach creatively, and combines iconic moments from some of the best movies of the last 40 years that give you that archived serotonin rush from your love of those movies, the chosen scenes in particular.
It makes masterful use of audio and music. Flawless as far as a non-audio tech nerd can tell (me). I was especially impressed by the Stayin’ Alive/The Wall segue/superimposition. …
2013 was an awesome year for music. There were many great albums put out by some of my favorite artists, and there were several outstanding albums put out by artists I’d never paid much attention to in previous years, and a few by brand new artists. That said, let’s get to the number one album of the year:
1. Nick Cave and the Bad Seeds – Push the Sky Away. This is the album I listened to the most during the year. It is a quiet follow-up to the cacophonous noise of Dig!!! Lazarus Dig!!! released five years earlier. The album sounds as spacious as the brightly lit room on the cover, but sounds much darker and as beautiful as the model on the cover – his wife, Susie Bick (in the nude!). Key tracks are “Jubilee Street” and “Higgs Boson Blues“. Here’s video about the making of the album.
2. Valerie June – Pushin’ Against a Stone. I first heard Valerie June on Greg Vandy’s show, The Roadhouse, on KEXP. I was captivated by her arresting voice and the expert blending of folk, country, blues, and country music. Her album was released in Europe early in the year, and you could watch videos and listen to it on the web, but it wasn’t released in the US until August. The album was coproduced by Kevin Augunas and Dan Auerbach of The Black Keys, who no doubt drew some extra attention from the press, and received great reviews in many major music publications. I bought it the day it came out and have been listening to it ever since. Key tracks are the title track and “Workin’ Woman Blues”. Here’s a video about Valerie and her debut album.
3. Holly Williams – The Highway. Prior to this year I had only heard Holly Williams singing her rendition of her grandfather’s, (Hank Williams, Sr. – she has the blood of Hank in her, and it shows) “Blue is My Heart” on the excellent album project titled The Lost Notebooks of Hank Williams. I was hooked on her voice and her style after hearing the song, and then I read a great review of The Highway in Uncut Magazine and went looking for the album to buy. I ended up buying it from Amazon, and I have yet to see it stocked in a brick-and-mortar store. That’s because it was independently released on her own label Georgiana Records, which apparently wasn’t picked up by any distributors. That’s a shame, because this album is a real gem. Holly’s voice sits front and center of a mostly sparse and acoustic production. The songs are of the south and of her family. Key tracks are the opener, “Drinkin'” and the closer, a song about her grandmother June Bacon White, “Waitin’ on June”.
5. Low – The Invisible Way. I first learned of Low when they opened for Nick Cave and the Bad Seeds at The Fifth Avenue Theater in Seattle way back in 1998. The house was packed with people anxious to see Nick, and Low was kind of a quiet shoegazer band at the time, but I really like what I was hearing when I was able to hear it over the very loud man talking behind me. (I asked him to be quiet or leave. He stayed, but he was quiet.) Since then I’d heard them on the radio and liked the music, but never really got into them until this year. The Invisible Way was produced by Jeff Tweedy, and he has a way about bringing out the best in people. The album opens with a very humorous song, “Plastic Cup” sung by Alan Sparhawk. Mimi Parker sings backup on this one, but she takes the lead vocal on several songs on the album, including “Just Make it Stop“, another standout track.
6. Daughter – If You Leave. Elena Tonra is the leader of this London trio. I was hooked on this band the moment I first heard “Youth” on KEXP. The sound of their debut album is sparse and hypnotic, and the lyrics take you inward to a claustrophobic space. Beautiful record that I listen to all the time. “Amsterdam” is another standout track.