Carl Sandburg Visits Me In A Dream

There are certain artists where the complete sound doesn’t totally make sense until you actually see the artist.  Not necessarily in person (though that’s ideal) but just seeing the artist himself.  And if the avant-garde goofishness of James Yuill’s look doesn’t makes his sound more coherent, then I’ll be darned! Yuill’s electro-folk fusion is certainly interesting, in the sense that I can’t recall folk music with such upbeat rhythms.  But then again, maybe I’m completely off on the ‘folk’ characterization.  But I think one or two listens will make more sense of what I’m telling you here.  The London native seems an expert at creating suspense, but perhaps even more astute at relieving it.  “The Ghost” has Yuill displaying his chops at the troubadour role, the least infused with electronic instruments and the like.  On the other end is “No Surprise”, which sounds like the lovechild of the Postal Service and Savage Garden (the thought of it kind of makes me cringe, but the song is well executed).  “She Said in Jest” first appears as a dead-end song, until drum synths break in to give the track a whole new life.  These are just a couple of the morsels that await you, so now it’s only time to have a listen yourself.

Get a copy of Turning Down Water for Air.

Listen to “No Surprise”

Listen to “She Said in Jest“

Last year’s 2nd best album (according to the extremely accurate CSV Top 20) was the product of Angered, Sweden native Jens Lekman.  But Lekman has remained under the radar for the past year, prompting critics and listeners to joke, “You’re so silent, Jens”.  Well, if you’ve been paying careful attention, you may have noticed a new Lekman track out on a recently released EP Four Songs by Arthur Russell. Lekman lends his musical stylings to reinterpret the song “A Little Lost”.

Listen to “A Little Lost” by Jens Lekman.

Before there was indie rock (or whatever it is that is covered in that blog–genres are so last millennium) there was electronica.  At least for me.  Early on, I fell in love with emerging electronic artists like Zero 7, Stereolab, Massive Attack, Neon Heights…the conglomeration of sounds were so unique-sounding to me.  Foreign melodies, intoxicating vocals, drizzling rhythms–I was enthralled.  But it all started for me with Thievery Corporation.  The D.C. duo has alwasy held a special place at the top shelf.  And so, I’d rather not inundate you with the improbable rise of Hilton and Garza’s rise to ‘lounge’ music fame, but I’d like to let you know about their new album Radio Retaliation.

Seemingly continuing on their socially-conscious themes (prominent on The Richest Man in Babylon and The Cosmic Game as well), the ‘thieves’ have again managed to meld exquisite instrumentation with equally intriguing vocals.  Familiar voices like Notch and Sleepy Wonder reappear on Radio Retaliation, but a whole new slew of vocalists (Seu Jorge, Femi Kuti, to name a few) lend their talents as well.  “Vampires” walks a brilliant line between jazz and bossa nova, with Kuti’s voice a clarion call to action.  The soulful Jorge infuses every part of his being into the horned symphonic delight “Hare Krisna”.  Like a dense forest, the album is full of sprouting rhythms, each one as sonically pleasing as the next until broad-leafed evergreen goodness envelopes the listener.  The slow rolling, off-the-tongue “33 Degree” is silky smooth, Zee’s whispering rasp lulling the listener into submission.

The second half of the album is notably slower than the first, with the psychadelia of “La Femme Parallel” mixing with the aptly titled and loungy “Retaliation Suite”. But surprises lurk here as well, with the funked out “The Numbers Game” that will have you saying ‘bock-a-chik-a-wow-wow’ in no time.  “Blasting Through the City” leans toward the reggae style that Notch does best (see “Richest Man in Babylon”), while “Sweet Tides” is a wonderful farewell to the listener as the ‘thieves’ bid adieu until next time.

But don’t worry.  You can always go back and listen all over again.  All you gotta do is get yourself a copy of Radio Retaliation.

Listen to “Hare Krisna”

Listen to “Vampires”

**Happy Birthday Patrick!**

Everybody’s favorite band that falsely claims they’re from Barcelona is releasing their sophomore album Who Killed Harry Houdini?. I was wildly impressed by I’m From Barcelona’s debut album, instantly falling in love with the epic chorii and lovingly done instrumentation. My anticipation for a follow-up album was high, but I have to say that Who Killed Harry Houdini? leaves much to be desired.  The theme (if there is one) is convoluted, and the Harry Houdini reference is incoherent and inconsistent throughout the album.  The song names (mostly people’s first names) seem like they’d be more suited for an Allman Brothers’ album.  But I think I’d be able to forgive all these things if the album were a little more sonically enticing. “Ophelia” recaptures the magic of their past debut with its arching chorus and its lightness, but it doesn’t build on anything. Most of the album is fixated on creating dissonance (“Andy”, for example) but fails to ever offset it with any harmony (though “Rufus” makes a good case).  And hence, I end up simply confused and anxious, but not in a way that will make me want to come back and listen to this repeatedly.  But it’s also quite possible that I’m entirely full of it, and I want your opinions.

Get a copy of Who Killed Harry Houdini?

Listen to “Ophelia”

Listen to “Rufus“

If I had a dime for every Andrew Bird comparison made to your ‘run-of-the-mill’ esoteric singer-songwriter, I’d probably have something like $5.00.  But think about it, that’s a lot of dimes.  I was ready to add another 10 cent piece to my piggy bank when I heard the hype about the chamber/string folk-pop rock that artist Ben Sollee was pushing on his Learning to Bend.  I decided to give Sollee a try, intrigued by his Kentuckian roots and his interesting album title–I was immediately captivated.  Apparently, Learning to Bend is representative of a grand metaphor, as Sollee was inspired by the way in which the seemingly frail cattails near his home could survive the harsh winds of each passing day.

Opening his album with “A Few Honest Words”, Sollee establishes himself as an earnest and politically motivated troubadour from the outright.  His voice gentle but not strong, his words pertinent but not pithy, his vocal talents must be heard to be truly appreciated.  But it’s also impossible to ignore Sollee’s mettle and skill with stringed instruments.  “Bury Me With My Car” features a rich, concerted violin over the fast-paced country-soul of the track.  “It’s Not Impossible” begins with the swaying of Sollee’s voice, that magically breaks out into a strumming banjo and a delicate saxophone–a strange concoction that becomes a tremendous elixir. “How to See the Sun Rise” is a waltzy pop number, irresistibly fun and engaging.  His remake of Sam Cooke’s “A Change is Gonna Come” is beautifully and enchantingly reinterpreted through the eyes of a songwriter that sees the world through his strings. Thinking back to the album title, it seems as though he’s saying that if we, the audience, can learn to be as accommodating and flexible as his strings, surely we are affirming our existence.  But in the end, all it is really about is the artist connecting with his audience–he’s made a fan out of me, and certainly you will be next. It’s okay to lose those 10 cents once in a while.

Buy Learning to Bend.

Listen to “It’s Not Impossible”

Listen to “A Change is Gonna Come“

For those of you aware of the ginger-haired, youtful-looking, savvy songwriter Brett Dennen, you might have heard about his much awaited new album due out October 21st Hope for the Hopeless. The track was written earlier this year, in reference to the current political and economic situation in the US.  But it seems that it is only becoming more applicable as time progresses.  Enjoy.

Listen to “Make You Crazy”

Pre-order Hope for the Hopless.

It would be convenient to be able to classify The Sea and Cake as ‘soft spoken alt-rockers’.  But then again, I’d be wrong. The veteran Chicago collective is as musically sound as they are prolific, and boy they are prolific!  Aside from excellent musicianship, though, The Sea and Cake have single-handedly gradually created their own style of subtle, accesible rock that has far more to it than what may seem on the surface.  Behind the delightful soft rasp of lead singer Sam Prekop, it seems that this Windy City group has found a signature sound along with a level of comfort.

And it certainly shows on their new album Car Alarm (due out Oct. 21).  From the intriguing solo bridge and tricky harmonies on “New Schools” to the funkier “On A Letter”, The Sea and Cake manages to meld a multitude of sounds without overwhelming the listener.  In other words, this is music, not noise.  The warm disposition of “Down in the City” will surely make you smile with its jangly guitars and the lilting vocals of Prekop.  There’s so much to love in only a 12-track package, that you’ll have to give this several listens to fully enjoy.  So, get a copy of Car Alarm!

Listen to “New Schools”

Listen to “On a Letter“