Carl Sandburg Visits Me In A Dream

The critically acclaimed, highly esteemed and well-received UK downtempo duo is finally back with another release, Yeah Ghost. Details about the album are a little sparse at this point, but Sam and Henry have released a track from the album on their website, titled “Everything Up (Zizou)”. That, I do have for you to hear. No surprises here in terms of the musical style and vocals. I imagine it being one of the more upbeat singles on this album, but I guess only time will tell. Eska Mtungwazi is the one delivering those wonderful vocals.
Check out Zero 7’s Yeah Ghost at their website.
Listen to “Everything Up (Zizou)”

Listen to “Everything Up (Gold Panda Remix)“

I recently rented Bottle Shock, a wonderful film from last year that loosely retells the events that led up to Judgment of Paris in 1976. As it goes, the Judgment of Paris was held on the bicentennial of the United States, and it pitted French and Californian wines against each other in a blind taste test. You really, really, really should see this film–it is a light-hearted comedy that entertains with its quirky characters and beautiful backdrops.

The main theme of the film, though, is my reason for writing a post about Bottle Shock.  The entired soundtrack was composed by Mark Adler, who did a splendid job of brining out the sounds and feelings of Napa Valley and French snobbery. The opening track “Bottle Shock Main Title” opens up with a contemplative triangle and piano. A violin is cued up as the triangle keeps clicking away. The entrance of peculiar stringed instruments (kantele and psaltery) make way for an excellently and eccentrically crafted song.

Check out Mark Adler here.

Listen to “Bottle Shock Main Title“

Well Lupe Fiasco has been quite feisty about his upcoming single “Shining Down” featuring Matthew Santos. It’s not due out until July 7th, but one of the more final versions leaked and is here to enjoy as a taste of what’s to come. My brother tipped me on to this, and I really think this song is going to be huge when it finally drops. Says Santos about the leaked song: WTF. It’s not done (paraphrasing here).

Listen to Lupe Fiasco feat. Matt Santos - “Shining Down“.

If you never were a fan of Conway Twitty (especially from those insufferable scenes from Family Guy), you are going to have to rethink your sentiments with Petra Haden’s “Let Your Love Flow”. The song is a cover of Conway Twitty, and has been recetly featured in several Toyota Prius commericals. I have to say they are excellently done, and every one of them features a different song from Ms. Haden. In context, these tracks are delightful, but I’m not sure how well they translate to a formal listening experience off an album.  Something you should know about Haden is that her voice is the only instrument in her songs–completely acappella in that regard. Enjoy!

Listen to Petra Haden - “Let Your Love Flow”

In honor of Michael Jackson, I think it is only appropriate to add in another Haden cover of Jackson’s “Thriller”. Rest in peace, Michael.

Listen to Petra Haden - “Thriller (Cover)” [courtesy of ]

I’m going to refrain from a full-out review of Andrew Bird’s Fitz and Dizzyspells EP simply because there’s not a whole lot of new material on it. Frankly, I’m a little confused by the release of this extended play; most of the songs appeared on the most recent album Noble Beast, but simply under different names.  “See the Enemy” is really “Anonanimal” while “Ten-You-Us” is really “Tenuousness”, etc. Nonetheless, there are certain perceptible differences between the ‘original’ and alternate versions, and the timely release of these tracks is enough to remind me of how wonderful an album Noble Beast really was. “Sectionate  City” gets some better treatment than on the previously released live EP Solider On, reminding me of the time His Birdness came to Northwestern and performed this same piece for one of his first times. As a live cut, it was simply magical and I remembe being so entranced by it. In terms of the studio version, though, I’m not as enthralled.

Check out Fitz and Dizzyspells (EP)

Listen to “See the Enemy”

Listen to “Sectionate City“

“Isis, Oh Isis / You’re a mystical child”! Here’s one of my favorite Dylan tracks “Isis”, showcasing why he is the master of all storytellers. Many say that this song is about his marriage to and subsequent divorce from Sara (Dylan). Dylan has explicitly said in concerts that this song is ‘about marriage.’ Whatever your take, this track is chock full of mysterious and inspiring imagery that is sure to fit your taste. The following track is actually the slightly more fast-paced version of the song as performed live with the Rolling Thunder Revue.

Listen to “Isis (live)“

‘Oh, dear!’, I say to this intriguing amalgamation of klezmer, Ladino, electronica, and Eastern European influences that is Oi Va Voi. With the release of their 4th LP Travelling the Face of the Globe, this quintet has certainly proved their mettle in transforming traditional European Jewish rhythms into bonafide folk-rock.

It’s a risky proposition when a trumpet and clarinet help make up a band’s core, but there’s always the chance that you’re in for something real special. And certainly if KT Tunstall saw enough in this collective to be involved infrequently for a few years, then hopefully you the listener will find this worthwhile as well. But it gets better: Travelling the Face of the Globe was partly recorded in an old synagogue in London, giving fullness and inspiration to this complex fusion of modernity and tradition.

Check out Travelling the Face of the Globe.

Listen to “Waiting”

Listen to “Magic Carpet“

On the docket today: Miles Davis and his silky smooth “Flamenco Sketches.”

Relax, Miles is here.

“Flamenco Sketches“

I’m not really sure what to do with Fink. Is he writing folk music or some peculiarly joyful derivation of it? Is he writing about why division is futile or why unity is fruitful? Is he accessible or almost-frustratingly inconsistent? While these questions might hint at some musical identity crisis or some marketing failure–I’m not really sure. So all I can tell you is what I think of the music off of Fink’s Sort of Revolution and that’s it.

I know I like “If I Had A Million”, and no, it isn’t some strange cover version of the BNL’s song. The bright guitar illuminates this entire track, giving it a sense of warmth underneath Fink’s lush vocals. I might like “Maker” more if there was a little more to it. The echoing icy backbeat starts out the song well enough, and the layering of Fink’s vocals provides ample dissonance and resolution for my enjoyment. But it feels too improvisatory, as though you the listener are supposed to fill in the blanks (there’s an idea, Beck). I think I like “Sort of Revolution” and then I think I don’t like it (does that help?). It just seems too circumloquatious: “Let me know when we get there/if we get there.” I don’t love “Move on Me” because it sounds like a cheap imitation of Air. I’m mighty sure I love “Walking in the Sun”–it’s jubilant soulful disposition makes it one of the major highlights on this album.

Just get the dang album and see for yourself! Sort of Revolution.

Listen to “Walking in the Sun”

Listen to “If I Had a Million“

To draw comparisons of oneself to Mozart is either a sardonic or a bold statement; I suppose it’s all about context. So here it is: Phoenix played back up for fellow French duo Air on “Kelly Watch the Stars”. And behind the musical direction and vocal stylings of Thomas Mars, it’s been up and up for Phoenix since then. Think of French bombast with American ingenuity, think of heavy synths with twangy guitars, think high-charged rock songs. There’s Phoenix for you.

The French collective’s new LP Wolfgang Amadeus Phoenix is characteristically short but to the point. They don’t beat around the bush, avoiding flowery bridges and avant-garde interludes and preludes. So I’ll do the same. Lead track “Lisztomania” is in Phoenix’s classic frenetic and disciplined rock style , while “Fences” features a splendid bass line to accompany the scrumptious falsetto chorus. The jumpy “Lasso” seems like a song taken out Vampire Weekend’s playbook, but not without Mars imprinting his signature vocal repetition of “Where would you go?”. Both “Rome” and “Girlfriend” offer up complex rhythm structures, that make for an interesting and intriguing listen.

Though it never feels like Phoenix is waging a war on your ears–they’re far too listenable to do that!–they seem to feel the need to end the album with “Armistice” (see what I did there?), a farewell track that leaves me wanting just a little bit more.

I’m sure you want more too. So check out Wolfgang Amadeus Phoenix.

Listen to “Fences”

Listen to “Lisztomania“