The Tallest Man on Earth’s next album will be The Wild Hunt, and he’s switched labels to Dead Oceans. The album is set for an April 13 release in the US. Everyone’s live favorite “King of Spain” (below) is the first listen we’re getting from it; as you might’ve expected, it’s pretty true to the live version. He also played a song called “The Wild Hunt” at the last few New York shows. Can’t wait to hear the rest!
Listen To This
Daytrotter posted a Thee Oh Sees session yesterday (“Ruby Go Home” included), and while the accompanying text talks about front man John Dwyer at length, it doesn’t mention Brigid Dawson by name once. But if you’re like me, it’s pretty obvious that the band would have half its might without Ms. Dawson. This thought led me to her wikipedia page, which had been deleted twice because she wasn’t deemed “notable” enough. So I went ahead and spent a good part of the morning re-creating a new one for her, highlighting her notability: My new Brigid Dawson page on Wikipedia.
Let’s see how long it will stay up.
I just found out I’m allowed to post another track from that Beets album, Spit in the Face of People Who Don’t Want to Be Cool, so here’s one I like slightly better than the one I posted before. Besides, I forgot to mention that the parents of the two members who grew up in Jackson Heights, Queens (where cheap and delicious food of international flavors abound) were in attendance at the Brooklyn Museum show. Juan’s were notably excited and giddy. When they showed up he said, “Now I’m nervous”. I noticed the parents were wrapped in a Uruguayan flag, and there’s a Uruguayan flag on the back of their CD as well. You know who else is from Uruguay? The amazing Eduardo Galeano!
Sweden’s Miss Li is the newest to join the line of iPod commercial stars, with her perky song “Bourgeois Shangri-La” gracing the equally colorful and hyper iPod Nano ad that shows off the device’s video-recording capabilities (and how much fun and color it can add to your otherwise bleak life!). What sticks out in the 30 seconds of this perfect iPod saleability is that bit of crunchy rock-and-roll-ness to Miss Li’s otherwise flirty, girly voice. I hope she intends to do a few blues numbers, too. (Photo stolen from her myspace page)
Download “Bourgeois Shangri-La” by Miss Li
Remember Luke Winslow-King and his friends, who played a song for us on a rooftop back in January when it was freaking cold and the tuba froze?! His full-length Old/New Baby, inspired by the streets of New Orleans, is coming out this month on Fox on a Hill Records. Above everything, it feels like a work of romance: when he sings “Where there’s two mocking birds”, and takes his voice up to say “mocking high”, and back down to “mocking low”, you want to leave the dishes half done, drop all your kitchen things, and go find yourself a new love story. It’s only disappointing that you can’t actually smell the flowers you know are blossoming somewhere between those notes and that your face isn’t physically warmed by the dash of sun tumbling down the fabric of horns.
Download “If I” | Here’s some Piers Faccini music as promised. And an excerpt from an interview with Santa Barbara Independent, dated December 2006:
Does your worldly upbringing give you better insight into songwriting? The music that I do is influenced by a lot of different kinds of music from around the world. It’s a very kind of eclectic music, which I’ve been listening to ever since I was 18 really. I don’t know if I could say definitely [that it makes me a better songwriter], but the fact that I wasn’t in one country, that I moved around speaking more than one language, that made me an outsider constantly. I know how England works, I speak the language, but I don’t feel English. I go to France, I don’t feel French. I go to Italy, and I don’t feel Italian. That gave me more a sense of whit and scope for when I write songs. I don’t feel limited to any particular format.
These are the corresponding “spirit animals” of the members of The Grates— singer Patience is a seal, drummer Alana is a tadpole, and guitarist John is a grizzly bear, as I have just learnt from the special biography essay posted on the band’s website. I love the song “Burn Bridges” that is now out in video form. The album ‘Teeth Lost Hearts Won’ is coming out on August 2 in Australia. Until then, Fast Louder has Ben Lee interview the band, the band has a blog, and the blog has production photos and more.
Download “RR vs. D” | There is a fresh pop collective on the horizon, from Portland no less, for warmer days that await us. The preview track from Au’s summer record, Verbs, is so tinged with the colors of sand, grass, the sun, parades, and crisp rolling waves, that it can only mean one thing: Behold! Summer Marches Towards Us. The group has announced some tour dates, but these don’t include the east coast yet. However, the album comes out June 26th, so I’m sure we’ll be getting our share of the feast: Verbs was recorded over three days with Luke Wyland pulling in nearly thirty collaborators from the area. Listen to “RR vs. D” — it’s an absolute blast.
Download “Tyrants” (from In the Future)
When I picked up Black Mountain’s In the Future and asked my friend Lev if he’d heard of the band, his eyes popped in such diameters of familiarity and glee that I had to ask him to write up the review. Says he:
Release: January 22, 2008 (from Jag Jaguwar)
Whether intentionally sarcastic, or accidentally honey-tongued, the title of Black Mountain’s second full-length “In The Future” is a perfectly unfitting title to describe the music contained therein. The opening chords of “Stormy High” teleport you back to the smoke-filled seventies, doused in all of the psychedelic fervor, debauchery, and flower-power that gleamed so bright some-forty-odd years ago. Large doses of whirling organ, fuzzed out Gibson SG’s, and dual vocal harmonies drowned in reverb, undoubtably, and comfortably, place this record alongside some of the dusty vinyl in your dad’s record collection. The album’s song structures stick to such a relentlessly precise formula of combing abrupt moments of energy and drudging meditative breaks that the schizophrenic rhythm of the album sometimes begs for a shorter, more impactive musical delivery. Ultimately, this album will appeal to people either attempting to relive their youth under the guise of the seventies, or those assuming the seventies never ended.
Release: October 23, 2007 from Dead Oceans
As much as it’s filled with repetitious melodies and lyrics that aren’t the full force of poetry yet, Matthew Houck’s Pride, released under the name Phosphorescent, is a beautiful album. Indeed, the repetitions evoke a sense of containment, which effects a devotion that requires little or no straying. And so the voice stays on course one wistful song after the other, borrowing their solemness from hymns, though tucked away in the background of some are movements more energetic and spontaneous. There is also a successful employment of a choir throughout, which is apt for a project that sounds like it was produced for the singer’s own salvation, and which smooths the sound surrounding his flaking voice.
More after the jump.