Carl Sandburg Visits Me In A Dream

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“

The critically acclaimed, clean-shaven, San Diegoan Greg Laswell has woken from his sleepy coastal disposition and released a dazzling sophomore album.  Admittedly, I was rather underwhelmed by his debut Through Toledo, despite the attention it was given.  So you may understand why I was hesitant to even pick up Laswell’s new album.  But I’m a man who gives second chances, and I’m glad I gave Laswell one.

In Spanish, alto nido means “high nest”.  As I was listening to this spectacular album, I kept thinking about this phrase.  What does it mean be three flights from a high nest?  Is he aspiring to something greater?  Is he acknowledging that it will take a great deal to reach this high nest (the three flights)?  But the answer became all the more clearer as the record began to play. The opening track “That it Moves” features what appears to be Laswell’s signature pop-piano technique as he hypnotizingly asks, ‘Do you like the way that it moves?’.  The answer is yes, I do like the way.  The slower ballad “Comes and Goes (in Waves)” showcases his rather wide vocal range and establishes him as a full blown troubadour.  The definite highlight of the album “How the Day Sounds” has a pounding piano riff that only emphasizes Laswell’s enhanced pop sensibilties, while the finale track “And Then You” begins ever so gently only to rise in a crescendo of high-pitched pianos.  As a body of work, it does seem to me that Laswell is trying to create a sound bigger than himself, that relates to an audience that is much wider than that of his first album.  In essence, this is what appears to be his ‘high nest’, and indeed it seems as though he’s well on his way.

Go and get a copy of Three Flights from Alto Nido.

Listen to “How the Day Sounds”

Listen to “That it Moves“

Norwegian pop queen Annie has returned after what seems like a rather large hiatus from the music scene.  Coming from a place more known for its skiing than its music, Annie’s debut Anniemal was an unexpected pop masterpiece that certainly showed her one-name moniker was apt indeed.  She shows the spunk of a Madonna, and like the latter, she delivers musical goodies that mix genres and styles.  But the similarities aren’t totally consistent.

Her sophomore album (to be released October 6th) Don’t Stop is a real work of pop deliciousness.  Beginning with “My Love is Better”, where Franz Ferdinand’s Alex Kapranos adds his own nifty guitar work, Annie shows that she’s honed her rock sensibilities to near perfection.  Though the other tracks on the album don’t top the first, there’s much to enjoy here.  “I Know UR Girlfriend Hates Me” is a ridiculously infectious tune that is pure saccharine fun, while “Sweet” could’ve been sung by Madonna with its lilting chorus of ’sweet’s and high-charged rhythms (you’ve also got to hear “Loco”!).

Go and get your copy of Don’t Stop.

Listen to “My Love is Better”

Listen to “Loco“

Eclectic electro-jazz-funk groover Mr. Scruff has become more and more aptly titled as he presents his unbridled style of jazztronica fusion.   His new EP Music Takes Me Up centers around the title track sung by Alice Russell as she ponders what life would be like without music.  I’ve always thought that Senor Scruff has been on the verge of making every song of his a hit, but he somehow always seems to just miss the boat.  What usually does Scruff in is his inability to avoid redundancy.  But nevertheless, “Music Takes Me Up” is a delightful ditty….

Listen to Mr. Scruff - “Music Takes Me Up (Radio Edit)”

AND, AS A RANDOM BONUS: Jackson Browne - “Doctor My Eyes“

Many of you may be aware of my absolute obsession with all things Andrew Bird.  His Birdness continues to produce both sonically and visually magnificent works of art.  He recently (2 weeks ago, and I’ve been negligent!) performed at a free concert at Millennium Park in downtown Chicago. The stunning ‘bandshell’ designed renowned architect Frank Gehry was the perfect eclectic backdrop for the one of the most eclectic, engaging, captivating artists I know.  This was my third time seeing Bird, and I have to say it was my favorite.  He was as intense as ever (his socks off and bow flailing) but he had this unmistakable moxie to him that made him even more affable.  The LED screens on and beside the stage also added to the allure, as they showed live footage of Bird from multiple angles.  Martin Dosh and the rest of Bird’s crew was also in attendance-on stage, that is-and together they put on an electric show.  As a long-time fan of Bird’s, the most amazing moment for me was towards the end when the people in the way back (you have to come on time, my friends!!) rushed to the front of the stage to sing along with Bird. It seemed the culmination of long journey for Bird as a musician-and a musician in Chicago.  To have such an enthusiastic outpouring of support must have been an incredible experience for him, and Bird looked obviously honored and touched.

Faronheit is so awesome, for they actually recorded the concert in excellently quality for you to enjoy!  And I’m sure they spelled Fahrenheit wrong on purpose…

For readers of CSV, the Jacksonville-based band JJ Grey & Mofro should be a familiar name.  I featured their soulful Country Ghetto about a year ago, and I come to you now with their recent project Orange Blossoms.  Though it may not seem prudent to analyze an album starting from the end of it, the last track “I Believe (In Everything)” makes sense of what Orange Blossoms is all about.  That bluesy, folky ballad features the band crooning “I believe in everything / I’m a believer”, and after listening to this album, I can indeed verify that statement.

Being a ‘believer’ means to have a profound appreciation for ways of both mother and human nature, and how these come together comprise fate.  So whether JG&M are singing about “Orange Blossoms” and their evocative scents (albeit with a amazing southern-rock rhythm to boot), or whether it’s the swampy, bass-happy way they sing about a girl whose looks give her the appearance that she’s colloquially “On Fire”, JG&M are ‘believers’ bent on bringing the south alive.  Be sure to listen for saxophones (at the end of “I Believe” especially) and some gospel choir singing (”Everything Good is Bad” and “Move it On”).  Whether you’re buying my interpretation or not, the bottom line is that you’ve got to get off your tush and get this album.

Buy a copy of Orange Blossoms.

Listen to “I Believe (in Everything)”

Listen to “Wylef“

Just wanted to share this with you, a site that tracks the popularity of first names (in the US) since 1880.  It’s definitely one of the top 1,000 things I’ve ever seen in my life.