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Archived from the original on 6 August ISSN The Mercury News. Retrieved 14 November The Los Angeles Times. Bedroom Community.
It's like being from Nebraska. Like you are from there if you're from there. It doesn't mean that you can't have a productive life somewhere else. The notion of your genre being something that you have to actively perform, I think is pretty vile.
InMuhly did choral and string quartet arrangements for four of the songs on Brooklyn -based indie rock band Grizzly Bear 's third album, Veckatimest and he worked with Antony and the Johnsons on the albums The Crying Light and Swanlights.
The first recording of the piece, from the Met production, was released on Nonesuch Records in Mellon Foundationand Alfred P.
Moore commissioned Luminous Bodyalso a collaboration with librettist Craig Lucas. The piece premiered on September 9, Inhe toured with Glen Hansard. His musical collaboration, Confessionswith Faroese singer-songwriter Teitur was released in by Nonesuch Records. The minute piece features eight collaborative artists selected by Music Director Esa-Pekka Salonen.
Feast of Wire is the Tucson, Ariz. While their proximity to the Mexican border is still a strong influence, Calexico raises the ante here with more song styles, instruments and collaborators. The result further proves that variety can provide just the right musical chemistry.
Given the somber nature of some of the subject matter, many of the songs on Feast of Wire are unashamedly melancholic. But all are emphatically vibrant and ultimately spiritually fulfilling because of the beauty of their construction and the honesty of their execution. InJohn Darnielle and The Mountain Goats were on the road when Darnielle learned that his abusive stepfather had died. In giving The Sunset Tree over to this man, Darnielle explores a non-linear, irrational series of reactions.
Kristian Matsson plays to his strengths on The Wild Hunthis second album. He keeps it simple, finger-picking strings to propel his gristly vocal melodies, which feel simultaneously cavalier and carefully wrought. Though his acoustic guitar often thwacks like a snare, his songs are uncluttered by percussion, harmonized vocals or the orchestral ornaments that are so prevalent in alt-folk.
After their eponymous debut album earned a well-deserved standing ovation from critics, Fleet Foxes set the bar high for their sophomore album. Helplessness Blues is sweet and comforting at its worst and inspiring at its best. The album is often about love — and the emptiness that can accompany its euphoria.
Forget sexy. Although people with an affinity for homesick soldiers, star-crossed lovers and cleaver-wielding gangsters will find plenty to swoon over, The Decemberists brought epic back—and in a big way. Hailing from the Rust Belt, Molina expertly blended the aggression of industry with a pastoral calm. But XO sure does. Tragically, Smith would have just one more album in him. On The Winter of Mixed DrinksFrightened Rabbit imbue their songs with sighing keyboards, screaming Fine For Now - Grizzly Bear - Veckatimest (CD of melodious distortion, nested rhythms, choral harmonies—all the doodads that rock bands are liable to employ circa album number three.
The arrangements occasion stirring moments on the epic scale of early U2—this is burnished, stadium-sized, cloud-cover rock. The change is more one of scale than style. This is a different sort of intimacy: The Winter of Mixed Drinks is less of a breakup record than a post-breakup record; the more pathetic feelings having hardened into self-reliant moxie.
Frightened Rabbit wrings a winning simplicity from all this august isolation. A cardiac pulse animates many of the songs, a mightily thwacking unison at the core of all the kaleidoscopic embellishment.
When writing songs together, Kakacek and Ehrlich developed a persona: Whitney is a lonely guy who drinks too much and lives alone. It was probably a pretty easy idea to embody. Both Max and Julien are quick to admit that the songs for Light Upon the Lake were written in the midst of consecutive breakups.
They felt a little bit like Whitney, so they built this as a bit of a concept album. If anything, it was the start of something new. The expansive lyrical content and layered allusions of Ys can be pretty hard to follow. The record takes on a mythical cast, but if Newsom is delivering a parable, she leaves it to the listener to determine the moral of the story. Muchacho aims big. Like the benders and busts of Grievous AngelMuchacho pursues both sin and absolution and offers apology for neither.
Houck works with elements of sand and soil and gold and steam to cast love in some comprehensible form of relief. Rather, these songs are her attempt to make sense of it all, and she sifts through the promise, the heartache and the loneliness with dignity, even elegance. Julie Byrne is from New York City. And Seattle. And Chicago. And Buffalo. And probably other places, too. Her second widely distributed album, Not Even Happinessmakes a strong case for the latter.
With a quiver full of memorable melodies and reverb that stretches to the horizon, this album is at once engaging, enigmatic and irresistible. But Not Even Happiness is a beautiful and rewarding journey. InBrandi Carlile returned with her best album since The Storyand also her best yet. That Carlile remains the center of gravity in this star-studded universe is a testament to her considerable talents.
Here she ably navigates a batch of songs that range from folk, country and blues to symphonic pop and rock pieces that would sound at home on a Broadway stage. No matter the backdrop, Carlile sounds completely in control. No one probes the recesses of memory, of lost time and lost relationships, better than Mark Kozelek.
They have no problem transitioning from tempered introspections to fiery declarations, at times within a single song. War has never been so pleasant. His voice—a pinched, warbly, nasal thing—simultaneously strikes as hyper-affected and unselfconscious and might turn a listener off instantly if heard as the former. His songs glide on an ever-shifting bed of gentle fingerpicked cross-rhythms. Cripple Crow is stacked—22 tracks across 80 minutes. Banhart seems the kind of prodigious songwriter who effortlessly breathes material.
Cripple Crow resembles a dream journal of half-remembered morningtime fragments. With mostly acoustic instruments—ukulele, banjo, accordion, violin, cello and trumpet—and soaring choruses, this Denton, Texas, quintet builds nearly every song into a joyful crescendo adding voices—and urgency—as it progresses.
The band went on indefinite hiatus in after moving to Nashville, but left behind this near-perfect snapshot of a time when anything was possible: three multi-instrumentalist buddies living together in a college town, playing house shows, and figuring out what was possible in the studio. Their optimism lives on in every vinyl groove. Scruffily handsome folkies are a dime a dozen in Seattle. Violin and piano help elevate the songs beyond their earthy origins, and three-part harmonies—anchored by co-frontmen Josiah Johnson and Jonathan Russell, and boosted by the Cat-Power-gone-Appalachian crooning of violinist Charity Rose Thielen—sweeten the deal.
Big Thief has amassed a large and devoted fanbase the old-fashioned way: by releasing four astonishingly good albums in just three-and-a-half years, by touring relentlessly and seemingly without rest, by Instagramming a lot of photos of themselves grinning and embracing each other in various bucolic settings.
Two Hands does not dramatically depart from the mesmerizing folk-rock fusion of U. Both records stand as outstanding and individual statements from a band operating at some rare creative peak. Few albums truly exhibit the inscrutable mystery and inescapable desperation of the world as Folklore.
Somehow, David Eugene Edwards and his band explored the edges of those vanished territories of the American folk-music tradition, channeling the fear of now lost pastorals. Stripping away most of the electric guitars and rhythmic drive of their previous work, the album rarely breaks from the dirge-like ruminations on God, judgment, love and murder. Folklore speaks with the earthward metaphors of those who lived in the shadow of unseen pursuers and confronted their worst suspicions with music as their weapon.
While his early releases were more a collage of loose ideas organized around a singular, murky sound, Daze presents 11 carefully composed tracks Fine For Now - Grizzly Bear - Veckatimest (CD beginnings, middles and ends. Vile was always a contemplative songwriter, but here his lyrics became more ponderous and worldly rather than navel-gazing. Themes of movement and escape are the bedrock, providing a calming balance—lyrically, thematically, sonically.
It closes exactly as it begins, with a long, winding, peaceful melody—one of the prettiest Vile has ever penned. In lesser hands, the American Graffiti -styled themes of star-crossed lovers and summer nights would drown in their own sincerity. Here, they provide a pleasant escape to a mythical America of endless horizons and youthful resilience—not such a bad place to be.
Fine For Now - Grizzly Bear - Veckatimest (CD title track is an apocalyptic love song submerged in waltzing, Spector-styled orchestrations—with Tillman embracing his wife, at peace as they drown. Sonically, Honeybear finds Tillman in a ruminative mood, favoring lavish strings, sweeping layers of voices and acoustic guitars.
But the less he Album), the more his songs resonate. For Julie Miller, salvation is always peeking through the cracks of songs. But the songwriter with a dexterous voice that does many things—howl, coo, caress and throttle—remains her own best interpreter. After spending opening for Radiohead and appearing on late-night TV shows, Grizzly Bear was suddenly ubiquitous—even without a new album to promote. But while they were on stage they perfected the material that would comprise their third full-length release, and Veckatimest sounds like the final product of a meticulous and exacting evolutionary process—one that adds depth and color to their swooning chamber pop arrangements, crispness to their intricate rhythms and intensity to their careful performances.
When it comes to storytelling, Courtney Barnett is as clever they come. She finds ways to loop guitar solos into poppy verses, yet she avoids extremes. But his album Rocket comes with a significant bump in interest and attention thanks to Frank Ocean, who recruited Giannascoli to play on his two albums, Endless and Blonde.
Elsewhere, however, Giannascoli is in exploratory mode. He wants more. He wants to try it all. Most of the truly great ones have that quality. Sigh No More flutters to life with an apology. More than anything else, this is an album bursting at the seams with gorgeous remorse. With their Smiths-inspired melodies, chiming guitar lines and the magnetic vocals of Harriet Wheeler, the Sundays created enough buzz from their first club shows to become quickly involved in a bidding war among labels, with Rough Trade earning the honors for their debut, Reading, Writing and Arithmetic.
Nearly three decades later, it remains one of the defining British albums of its era. He croons like a soul singer, his voice occasionally cracking under the weight of emotion, with each of his heavy admissions punctuated with a clashing guitar. Burst Apart is a record of big songs from a Brooklyn band good at generating big songs, but it was just as notable that Album) could be impressive without an overarching concept behind them.
For their artistic breakthrough, these future arena-fillers from North Carolina polished their scruffy Americana sound until it gleamed. The result: an overpowering acoustic album brimming with sadness and soul. The title track—a meditation on three little words—is a three-hanky affair unto itself.
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