What the CL Music Team is listening to on this fine Monday to rocket launch the work week. Click here to check out previous entries.
Leilani - Here We Go Magic, A Different Ship (out May 12 via Secretly Canadian)
The forthcoming Here We Go Magic album hasn't been released yet and is already one of my favorites this year. Produced by Radiohead's Nigel Godrich, the fivesome's third full-length opens with a light cacophony of found sounds before segueing into the stunning simplistic alt folk beauty of "Hard to Be Close." All throughout, the record draws on the Kraut-y/post-punk rhythms that have become the band's trademark, sometimes picking up a more insistent pace, as in "Make Up Your Mind" [download after the jump] and "I Believe in Action," but generally offering a more subdued tone of melodic indie rock with moments of blissful electro folkedelia. Luke Temple's vocals slide and sigh and coo over it, breathy warmth, tender and channeling shades of Paul Simon and Sting. The title track closes the album with mesmerizing gentleness that building to a swirling cacophony of vocals, feedback and ambient noise.
While frontman Ryan Boldt has always possessed a cavernous, baritone croon, his band’s sound has evolved from the straight country found on early tracks like “Downtown” and “Bakersfield” into a rich, soulful, and breathtaking blend of swirling organ, weeping lead guitar, and heartbreaking vocals that all shine on cuts like "Mary's Gone," "The Banks Of Leopold Canal," and The Place I Left Behind's title-track. It's seriously the most affecting harmony this side of Fleet Foxes, and it comes to Crowbar in Ybor City when the band plays alongside Tampa.s own Geri X and Sarasota's Have Gun, Will Travel on Fri., May 4.
Justin - Joey Ramone, Rock n' Roll is the Answer RSD 7" and Carl Perkins, Whole Lotta Shakin' (1958)
This Saturday, for Record Store Day, I went and picked up the new Joey Ramone 7", which features tracks from his
upcoming posthumous full length, … ya know?, to be released in May. Now, I love the Ramones, and I love Joey, and I really liked his first solo record, but he's been dead for 11 years now, and I know that he had just put the finishing touches on his first solo record when he passed away. So, it only makes sense that these songs are rejects from 2002's Don't Worry About Me. That's okay, I'm a completist and I love some deep cuts as much as the next super-fan, but these songs are just not that good. The record notes, "Side A" and "Side AA," but don't fall for it… these are "C's" and "D's" all day long.
However, I'm not one to naysay without bringing something else to the table. I also picked up the Rumble Records re-issue of Carl Perkins' 1958 Columbia release, Whole Lotta Shakin', and I haven't been able to stop listening to it. It mostly features Carl doing covers of hits from the era, like "Shake, Rattle & Roll," "Long Tall Sally," and "That's All Right," and baby, that's all right [video below]. Perkins' renditions of these songs are quickly becoming some of my favorite versions, and my little girl and I are having a great time be-boppin' around the house to ol' Carl.
Nicole (elawgrrl) - Tim Barry, 40 MileR (2012) and Billy + Joe, Breathe EP (2012)
#MM after Record Store Day is a tough one with so many new treasures to listen to over and over again. However, this morning, I'm alternating between Tim Barry's new record, and Billy + Joe's brand new EP. Billy + Joe is a newish partnership between Billy of Billy The Kid & The Southside Boys and Joe McMahon of Smoke or Fire. Each copy of the tour version of the EP has a unique hand drawn cover - I love my frog version (pictured right). The six songs showcase this lovely sonic collaboration while also highlighting their individual talents. Take a listen to my favorite track, "Falling" below. I'm looking forward to hearing these songs live this Wed., April 25, when Tim Barry and Billy + Joe play Local 662 in St. Pete.
I put the record on expecting more of Amy's usual sound — hushed, listless, sort of misty Pacific Northwest indie rock (light on the rock) — but what I heard was so different, I initially thought that there had been an error; I had to Google to confirm that, yes, this was Amy's new record. No longer whispering languidly into the mic, Amy sounded like a blend of Melanie Safka, Karen Dalton and the Casady sisters from CocoRosie, both of-the-past and timeless, ancient and ageless. Any pretense of rock has been left behind; in its place: pure high-plains folk music.
Instead of listening to a recording, I felt as though I were there with Amy, sitting on the banister of a termite-riddled front porch somewhere in the middle of the Oklahoma panhandle during a summer storm with mason jars of moonshine next to us, watching her and a few of her friends, all with rag-tag, pawn shop instruments, jamming in time with the thunder. There's a warbly upright piano, hand claps, a smattering of horns and backing vocals like warm winds. After a while, only Amy remains, outlasting the rest of the jamboree. Her voice, dirt-stained and weary, muddles with her dampened acoustic guitar as she closes out the night. I felt honored that I was privy to such an intimate event, even if only within the mental picture The Cimarron Banks elicited for me, but even better than that, I get to re-experience it whenever I want.
There's not much out online yet, but check the video for "Sixteen Saltines" below for a glimpse of destructive adolescence at it's finest, and the near demise of our hero, Jack.