Yesterday I wrote a short thing for NPR Music’s Songs We Love series on the brilliant mad scientist and dance-off ringleader Dan Deacon, and his fantastic and very poppy new single “Feel The Lightning” — which you can read over here.
I wrote a quick couple paragraphs about Waxahatchee’s amazing new song “Air” from her upcoming album Ivy Tripp. You can read that as part of NPR Music’s Songs We Love series.
You can also read a slightly different version that was used for NPR’s Heavy Rotation series.
Below, here’s a much longer, and unedited ramble about Katie Crutchfield’s music, about being in transition and embracing change, even when it’s hard.
Continue reading Waxahatchee’s ‘Air’ Embraces Change And A Broader Palette
I wrote this short capsule review of “Milkman” by Bully — an excellent new band I first came across during this year’s CMJ Music Marathon, in a crazy early noon slot at Baby’s All Right in Williamsburg. You can read that over at NPR Music’s Heavy Rotation.
Below, you can find the longer version.
This was originally written for NPR Music’s First Listen series. Read the rest over at NPR Music or Soundcheck.
For a record about journeying deep inside the darkest recesses of the mind, there’s nothing introverted about the Cleveland duo Mr. Gnome’s new album, The Heart Of A Dark Star. Named for an evocative phrase in a Neil Gaiman book, The Heart Of A Dark Star is a bold and blustery hurricane of guitars, organs and voices, all swirling around in the night air.
This was originally written for NPR Music’s First Listen series. Read the rest over at NPR Music or Soundcheck.
Whether you know its work or just its reputation, you’ve probably already made up your mind about Phish. Maybe you love the band and its music, maybe you can’t stand them, or maybe you liked them and have since moved on to other things. Phish is one of the most dynamic and celebrated live acts in all of music, with a loyal community any artist would envy, but it’s also divisive. This is a band that inspires passion with its multipart compositions, meandering improvisations, playful (often nonsensical) lyrics and unwavering positivity. For the same reasons, it also courts punchlines from its fervent detractors.
Amid the rumble of traffic, crowded streets, and general persistent din of big city life, it can be challenging to find a moment of calm in New York. So it seemed like a peculiar choice when the enigmatic singer-songwriter Bill Callahan said he was interested in playing in a community garden for a Field Recording video WNYC’s Soundcheck co-produced with NPR Music. You could easily envision Callahan’s plaintive music and deep, detached voice getting lost in that noisy clutter.
But in fact, the lush 6th & B Community Garden in the East Village was just the spot for Callahan’s intimate and eerily transfixing performance. Recording previously as Smog, and now simply under his own name, Callahan writes dark, frequently anguished songs inflected with a bleak sense of doom. And yet, there’s actually a surprisingly warm, pastoral quality to his words, and a comforting voice in his sly delivery.
Surrounded by a rich canopy of greenery, ornamented flower beds, and even a small pond full of turtles, Callahan quietly finger-picked “Small Plane,” a song from his new record Dream River (out Sept. 17). And while sounds from just outside the garden’s tall gates trickled in, all those distractions of the city just outside the gates melted away.
There’s no denying there’s a spiritual quality to the music of Anna von Hausswolff. Much of this can be attributed to the fact that the Swedish singer and musician plays the pipe organ, an instrument that fills cavernous church sanctuaries and holy spaces with rich layers of sound. But it’s also her songs on this year’s superb record Ceremony, that take on an otherworldly transcendence mixing moody orchestrations with engrossing, almost poppy melodies.
So when Soundcheck had the opportunity to film von Hausswolff in New York City, as a co-production with NPR Music’s Field Recordings series it was only natural to seek out a pipe organ in a church that could accommodate. Filmed and recorded inside the spacious and regal Christ Church — a United Methodist church on Park Avenue — von Hausswolff’s rendition of “Funeral For My Future Children” is outright stunning.
Amidst the ornate decorations and glowing candles, the stained glass windows, and simply the sound of the of organ as it swelled and enveloped the entire room, von Hausswolff’s performance showcased the nuanced beauty of her voice and the epic power of the instrument.
Back in late September, we all gathered on a Saturday at the NPR Music offices for a special Tiny Desk Concert with Wilco. One of the best we’ve had, and certainly my favorite I’ve seen and played a part in. I had the pleasure of filming and editing the video along with some great NPR multimedia producers. The result is a pretty stunning and intimate video from one of my all-time favorite bands.
Been awhile since I’ve dumped some links. This time I seem to have a whole boatload…So let’s get to it then.
For the past year I kept an ongoing list of nearly every cover song I came across — from live performances, YouTube clips, web series, compilations and charity albums and more. From that list I whittled it down to two 5-song lists during the year: a mid-year list Five Great Cover Songs From 2010 (So Far) and my year-end round-up of the 5 Best Cover Songs Of 2010.
Originally that final list was intended to be full-on top ten, but we cut it down to what I thought was the most essential. Here are the remaining five from that list:
Atlas Sound: “This Wheel’s On Fire” by Bob Dylan (from Bedroom Databank)
Atlas Sound‘s Bradford Cox has been among the most consistent and prolific artists in recent years. But in 2010 — a year that already saw the release of a gem of an album with Deerhunter, Halcyon Digest — Cox surprised everyone by dumping a whopping four volumes worth of bedroom demo tracks on his blog for free download. These Bedroom Databank recordings were certainly a treat for fans of his blend of ambient indie rock and experimental electronic music, yet it also stirred some controversy when Sony initially ordered him to remove the tracks. But what’s gotten somewhat lost is how great so many of these songs are, including the track that likely sparked the ordeal, a gorgeous cover of Bob Dylan and The Band‘s “This Wheel’s On Fire.” Here, Cox tempers the song in his trademark moody haze of noise and reverb, creating a ramshackle, if not melancholy version that both honors the original and repaints it in his image.
Jonsi: “Time To Pretend” by MGMT (from BBC session)
Taking a big, production-heavy pop song and winnowing it to the bare melodic essentials is harder than it might appear, especially when it’s MGMT, a band built around a huge sound. But in a March interview and performance session for BBC Radio 1, Jónsi delivered a stunning solo piano reduction of MGMT’s big pop hit “Time To Pretend.” Even when stripped of its buoyant dance beats and infectious tapestry of electronics, the song remarkably holds up. But more impressive is the delicate yet soaring falsetto of Jón Birgisson which establishes a somber yet lilting mood. Jonsi’s own music has always been transfixing and transporting, but with this cover, the enigmatic and joyful singer shows another side to his personality.
OMD: “VCR” by The xx (from digital single)
A lot of times a cover song serves as a way for an established band can show support to the next generation. That’s certainly has been true for artists like Bowie performing with TV on the Radio, Bruce Springsteen with Arcade Fire, or in this case, Orchestral Manoeuvres In The Dark doing a cover of The xx‘s “VCR.” The minimal, icy music of The xx is very clearly influenced by ’80s pop and electronic artists, especially Orchestral Manoeuvres In The Dark. So it’s not all that much of a surprise that OMD would both attempt this song, but also expand upon it with a subtle touch. While equally as stripped down as the original, OMD’s take is less detached and aided by the warm analog instrumentation and sweet crooning vocals of Andy McCluskey. It’s a satisfying expert rendition from the synth pop pioneers.
Portland Cello Project featuring Laura Gibson and John Moen: “Dazed And Confused” by Led Zeppelin (from From The Land Of Ice And Snow)
Compared to artists like The Beatles or Bob Dylan, the music of Led Zeppelin is rarely malleable and more difficult to make your own and still retain the band’s seething intensity and edge. So much of their identity comes from that searing, explosive energy, that no matter what an artist does, it often pales in comparison. What make so much of this year’s Zeppelin tribute record, From The Land Of Ice And Snow work is that many of the artists choose not to beat them, but join them in a smart way. “Dazed And Confused” stands out amongst other great renditions because of the way the Portland Cello Project and Laura Gibson play with the tension and release dynamics. With Gibson’s ghostly voice and strings that eerily swoop and trill down the neck, they build the anxiety and paranoia. Then with a cathartic burst from John Moen’s drums, the tension breaks. And with the wash of distorted cello riffs that mimic Jimmy Page’s most fearsome guitar solo, this version serves as an example of how to put a small sonic stamp on such distinctive classic.
Aloe Blacc: “Femme Fatale” by The Velvet Underground and Nico (from Good Things)
Aloe Blacc’s Good Things is one of the few recent soul records I’ve heard that doesn’t pretend to be of another time. Sure, his songs have those stylistic flavors — a steady back beat, a deep grooving bass line and some killer horn stabs. But it’s the way he pushes those ideas forward (see his killer single “I Need A Dollar”) rather than attempting to recapture a retro sound like many of his peers that gives his voice an extra weight. Aloe Blacc’s smoldering rendition of The Velvet Underground and Nico‘s “Femme Fatale” renders the song as a powerful soul ballad that could easily serve as the opening theme to a James Bond film. The song captures the intoxicating mystery, and even danger of falling for a beautiful woman, and he’s helpless to stop himself. “Femme Fatale” is not only one of the record’s strongest songs, but it nearly tops the original by giving it a completely changed perspective.