Rykarda Parasol recently released the videos for “Thee Art of Libertee” and “Your Arrondissement or Mine?” from her album, Against the Sun. The former is a noirish black and white affair, while the latter is a straightforward but nonetheless captivating live performance.
Rykarda Parasol’s new album, Against The Sun, gives her signature noirish rock sound a modern polish without compromising its dark, artistic integrity. Recorded primarily in Paris, the title of the new album is the loosely translated English of Parasol’s name in Latin. I first posted the title track in March and I’m happy to say the rest of the album is every bit as exciting…
What impresses me most about Against the Sun are the little details, particularly the vocal embellishments woven into the arrangements. Rykarda uses her voice as much as any instrument: haunting moans and surprising ooh la la’s in “The Cloak of Comedy”; echoing yelps in “I Know Where My Journey Will End”; the chilling multi-tracked glory of “Island of the Dead (O mi, O my)”; melodic whistles in “Withdrawal, Feathers and All”; and Mamas & Papas harmonies in “I Vahnt Tou Beh Alohne.”
The outlaw anthem “Take Only What You Can Carry” is the standout track. There aren’t many songs that possess lyrical references to graves and a beat catchy enough to clap your hands along with.
At times the sound of the album reminds me of Wave-era Patti Smith — “Your Arrondissement or Mine?” in particular recalls “Dancing Barefoot.” And it’s all wrapped up in Rykarda’s remarkable, throaty voice and eerily poetic lyrics.
Against The Sun is the kind of richly layered album that immediately mesmerizes and still gets even better with each listen.
Rykarda Parasol Official Site (Buy CD)
I’m so excited to write that Rykarda Parasol will release her third album, Against the Sun, on April 15th! Recorded primarily in Paris, the title of the new album is the loosely translated English of Parasol’s name in Latin. You can hear a preview from the album below…
It’s that time of year again! Below are my personal favorite albums of 2013. This year the list fell together fairly easily – due both to the excellence of the following albums and the lackluster nature of their competition. Though I’m shocked by my #1 album, which only recently knocked two other favorites from the top spot. The top three are really interchangeable, they are far too brilliant and too different from each other to truly rank. But I’ve been playing my #1 album on almost continuous repeat for the past three months, so it’s undeniably my favorite of the moment. Click on the album titles to read the full reviews, purchase the albums, and, in some cases, watch videos and/or download mp3s. And please feel free to comment with your own favorite albums (or songs) of the year.
“…their multi-genre, multi-instrumental style runs the gamut from Americana and folk to rock, soul and blues…bluesy, sparse, soul-rock…delicious shades of Nick Cave“
“…What a delight this little folk-rock gem is!…produces the same immediate reaction of refreshment and affection as Adams’ Gold – though there’s more of a classic country-folk swagger.“
“…unlike anything you’ve ever heard before…acoustic blues masterpiece swiftly carried along by Valerie’s distintive voice… exquisite marriage of a low-fi folk melody and sweet, plucky bluegrass instrumentation…grinding, funky blues-rock sound associated with bands like The Black Keys and Alabama Shakes, but Valerie’s voice and phrasing give it a soulful, gospel-folk spin“
“…Comedian turned bluegrass musician Steve Martin and singer Edie Brickell have joined forces…what a delight their collaboration turned out to be! Martin’s deft, delicate banjo playing is the perfect complement for Brickell’s gentle, melodious voice. “
“…a sexy and very moody collection. At times the band’s dark, trippy electro-pop style sounds like a mix of Depeche Mode, Ultravox, Julee Cruise, Lacuna Coil and MS MR.“
20. One Mile An Hour
“…brilliant, self-produced, self-titled debut album, which they accurately call a “complex, introverted outsider-folk record”…airy, panoramic, beautiful, unusual folk music…swirling, psychedelic folk guitar riffs, slightly raspy and softly plaintive vocals. A bit of Ray LaMontagne, a little Elliot Smith, even hints of Jeff Buckley and Pink Floyd and something totally Other – a ghostly, intangible mood. This is why I love music, why I love writing about music. This is inspiration“
“…puts an ambient and electro-pop spin on Chopin’s classical melodies…magnificent, mindblowingly lovely…not your standard classical album…absolutely fantastic“
“…one of those albums I love more intensely with each listen…pure, old school American rock that often reminds me of classic Foreigner, maybe a bit of Scorpions or even Cinderella…big, theatrical voice of lead singer, Jimmy Gnecco, should also appeal to Muse fans“
Ours – Pretty Pain (mp3)*
“…The Wailin’ Jennys are spawning some excellent solo albums…Moody’s angelic, lilting soprano tangles with pop-polished bluegrass and folk. “
“…comparison to The Lumineers is still fairly accurate. The two bands definitely share a certain multi-instrumental, melodic sensibility, but Ivan & Alyosha’s music is distinctively different enough to stand on its own merit…as lovely, comforting and encouraging as an old friend…somewhere between Ryan Adams and The Low Anthem“
“…absolutely outstanding…instrumentation is gorgeous, lush and elegantly Southern..phenomenal, thought-provoking“
“…gives her signature noirish rock sound a modern polish without compromising its dark, artistic integrity…Rykarda uses her voice as much as any instrument: haunting moans and surprising ooh la la’s…echoing yelps…melodic whistles…and Mamas & Papas harmonies…the kind of richly layered album that immediately mesmerizes and still gets even better with each listen“
13. Molly Drake
“…Nick Drake’s mother. Molly was a very talented poet, composer, singer and pianist whose music obviously had a strong influence on her son’s work. Sadly, Molly’s exquisite music was mostly a family secret during her life and is only now being released to the public…the entire album features Molly Drake’s unusually pretty soprano and piano in a lilting, old-fashioned parlour style of music. Her lyrics, however, delve into the same kind of elegant, poetic, somewhat melancholy introspection that her son would eventually explore“
“…an extraordinary collection…a beautiful, brilliant and absolutely enchanting album…thunderous piano crashes layered over bombastic horns and choral voices“
11. Bing Satellites
I’m bending the rules here a bit, as Bing Satellites has released too many albums this year to narrow down to one and the ambient nature of his music makes it difficult to differentiate one track from another. I especially like his latest release, King Midas in Reverse, and Twilight Sessions: Volume 11. We at the Muruch household have a giant Bing Satellites mp3 playlist that is on almost daily rotation. Bing’s music is the perfect soundtrack for reading and relaxation.
“…what a lush piece of work…a touch of Celtic folk in the instrumentation, haunting backing vocals and a slow building, seething tension until Allison unleashes her wail…I predict we’ll be seeing Allison Crowe not once but twice on our best of the year list.“
“…a multi-instrumental, multi-genre sound that encompasses the atmospheric, high energy electro-pop of Butterfly Boucher, the folk revival instrumentation of Mumford & Sons and a dash of Hannah Fury‘s Gothic, antiquarian sensibility“
“…as interesting, diverse and addictive as we’ve come to expect from Janelle and finds her collaborating with Prince, Erykah Badu, Solange, Miguel and Esperanza Spalding…artistic attention to detail combined with a gorgeous voice, a flare both for the dramatic as well as the funky and a science fiction churning imagination continue to put Janelle Monáe into a category all her own: Cyber-Soul“
“…finds Elton John making a welcome return to his musical roots with a basic piano-bass-drums set-up and features some of his finest piano playing in the past four decades…it’s a sadly rare album these days with lyrics that actually mean something…The Diving Board already sounds like a classic and is a worthy release for the man behind “Goodbye Yellow Brick Road,” “Levon” and “Tiny Dancer.”“
“…dramatic, bombastic, sexy, moody and utterly fantastic…falls somewhere between Florence + the Machine‘s delicious over the top theatrics and Great Northern‘s haunting melodies with a little extra rhythmic oomph…like Kate Rusby fronting a ’90s trip-hop band like Faithless or Morcheeba…basically MS MR are everything I could want in a band…absolutely addictive and will surely be on my best of the year list“
“…will be battling Foxygen for my Top Album of 2013…Hem have all but perfected their “Metropolitan Country” sound and singer Sally Ellyson’s voice is truly timeless…a dazzling transcontinental journey — by air and by sea“
“…a masterful and exquisite song cycle that brilliantly bridges the gap between Elliot Smith’s pensive folk-pop and Ryan Adams’ rustic alt-country…I’m so happy and relieved to have fallen in love with this album. I can’t remember the last time I listened to an entire album repeatedly without skipping at least one track…moody, melodic and magnificent. It’s certainly one of the best albums of the year and one whose songs stay with you long after it ends.“
“…If Foxygen’s We Are the 21st Century Ambassadors of Peace & Magic isn’t my #1 of 2013, we have a spectacular year of music ahead of us…the rare album that truly deserves to be called Beatlesque…elements of vintage psychedelic rock, modern indie- and garage rock, a bit o’ The Animals, a splash of Elvis, a smidgen of blues and various other experimental feats that defy category. It’s unusual, innovative and totally fantastic…a sublime slice of pop perfection.“
“…plays like a lovely, vintage collection of traditional Irish and Canadian folk ballads, lively sea chanteys and drinking songs, parlour songs and country tunes with surprising retro, girl-pop harmonies woven throughout…full of dazzling melody and such a unique charm…Allison’s voice is so strong and spectacular, I’m afraid Foxygen has fierce competition here for my favorite album of the year.“
“…more than lives up to all the hype…one of those rare song cycles that flows seamlessly from beginning to end and keeps the same level of energy throughout…Lorde’s signature blend of heavy, sporadic beats and witty, sardonic lyrics, which are often written from an outsider’s point of view in a poetic style.“
*all mp3s, streams & videos uploaded by & posted w/ permission of artists, labels and/or their PR reps
It’s that time of year again! Following are my Top 15 Albums of 2009. As usual, I tried to balance the order of the list between what I personally perceive as artistic merit (quality of songwriting, vocals, and instrumentation) and basic listenability (how many times I played the album throughout the year). I’ve included some new commentary and brief quotes from the original reviews. Click on the album titles to read the full reviews, purchase the albums, and in some cases download mp3s…
“…all dusty roads and sunsets buoyed by rock guitar and drum crashes that eventually give way to sprawling piano and mournful strings” – As his previous release did on 2008′s list, Joshua’s album pushed its way onto this list at the last minute. I suppose it’s the subtlety of his music that prevents it from being more prominent in my memory, but it wasn’t until I listened to the album again that I remembered its excellence.
“…noirish rock sound with lyrics that alternate between whiskey-splashed cabaret and blood-soaked Gothic poetry” – I haven’t had much time to get to know this new release, but it’s already a favorite. I hope more people pay attention to Rykarda’s unique talent.
“… elegant, Medieval chamber-folk instrumentals and haunting traditional vocal pieces ” – This was a surprise. My enjoyment of instrumental music has grown tremendously this year, but I usually place a higher value on vocals. But this lovely album has been one that I’ve returned to and enjoyed many times over the year.
“…Maura O’Connell’s unparalleled vocal power is beautifully displayed in her impressive new album” – This one was sabotaged by the amount of emotion Maura’s voice rips out of me. It’s a gorgeous album from beginning to end, I just have to be in a particular mood to listen to it.
“…filled to the brim with the kind of warped traditional Eastern European music that made me love Luminescent Orchestrii in the first place” – I really expected this to be #1 when I first reviewed it and the stand out tracks are absolutely stunning, but overall I don’t listen to it nearly as much as the albums below.
“…dark, catchy synth-rock with a slight retro Goth feel…think “Blue Monday” by New Order” – This ominously infectious little album worked its way up the list throughout the year. The title track in particular is one that echoes in my head long after the music has stopped.
“…The Decemberists transformed themselves into the hard rock progeny of Led Zeppelin for portions of the album” – This magnificent concept album may be #1 when it comes to artistic merit, but it lacks the overall listenability of others on the list. Still, it’s one of the more impressive projects of the year.
“…finally puts his pipes to good use over soaring rock arrangements” – I loved this album when I first reviewed it and put it on heavy rotation last winter, but hadn’t listened to it much since then. Playing it again made me wonder why I neglected it for so long. If albums have personalities, it has the strongest of the year.
“…whether humming in such hushed tones or belting to the rafters as in latter tracks, there’s an elegance to each note the sextet sings” – This was another release that faded in my memory until I dug it out again and rediscovered how wonderful it is. Now I love it even more than I did when I reviewed it. The duet with Sara Bareilles on “Gravity” is very moving, and their a cappella cover of “White Winter Hymnal” is one of the loveliest recordings I’ve ever heard.
“…Integrating classical and opera music into their theatrical electro-rock sound, Muse have created one of the most exciting song cycles I’ve ever heard” – The brilliance and complexity of Muse’s album still surprises me every time I listen to it. Not only do I love this album, but it’s the one that everyone I know immediately asks about when I play it.
“…the kind of guttural, robust, bluesy soul of James Brown and Screaming Jay Hawkins” – I’ve played this countless times and it’s probably the most fun listen of the year.
“…marries foreboding metal guitar and militant drums to pretty piano and angelic backing vocals, reminding us of Gaba’s fondness for Iron Maiden” – The Top 4 albums on this list are pretty much interchangeable. This is probably the most unusual and creative album on my list. I’ve known Gaba for almost a decade now, and I was happy to see her popularity in Poland skyrocket this year. I think she’s going to be a huge international star someday.
“…a breathtaking blend of militant beats and orchestral strings” – I loved this album from the beginning, but it also turned out to be a grower as repeated listens revealed even more layers to its beauty. It is definitely the most beautiful release of the year, but there are two albums I’ve listened to more…
“…Ominous instrumentation is barely restrained as Stolte’s sultry croon initially floats in” – If the order of this list was based solely on the number of times I’ve listened to an album this year, Great Northern would’ve been #1 by a landslide since I’ve played the album nearly every day since March. It may not be the innovative recording on this list, but it is certainly the most addictive. Only one man could keep it from the top spot…
“…I can’t imagine a more perfect score for my favorite novel of all time” – The quote says it all. This album had an edge since it was based on my favorite book (Cat’s Cradle) and featured my favorite author (Vonnegut), but Soldier’s innovative compositions helped push it to the top of the list. If my imagination had a soundtrack, this would be it.
Rykarda Parasol just released For Blood and Wine at the end of October. Much like her debut Our Hearts First Meet (one of my Top 2006 albums), the new song set delves into a noirish rock sound with lyrics that alternate between whiskey-splashed cabaret and blood-soaked Gothic poetry. In addition to writing and producing the new disc, Parasol has also independently released it as she searches for a new label.
the ivory lace was woven as a crawler’s web
the dress be bone, though my sash was rose-ed red
white henry in my hair and sapporo lily in my hand
at twenty and one hope is plenty – unrest hard to fathom
From the eerie opening wails of “The Road is Long” through the gritty rock of “A Drinking Song,” For Blood and Wine is propelled by the dusky power of Rykarda’s voice.
Delicate piano winds through the beautiful and menacing “Widow in White,” which calls to mind Nick Cave’s murder ballad “Where the Wild Roses Grow.” Militant drum and a backing choir of male voices help shape the stunning “One For Joy!” into an ominous sea chantey. The two songs are my personal favorites on the album.
Just when tracks like “Oh My Blood” push the album to the edge of the blackest abyss, the sweet tones of “My Spirit Lives in Shadows” and “Je Suis Une Fleur” bring it back into murky light. Then the finale “Kindness, You’re Killing Me” breaks free of the album’s prevailing darkness with a gentle, melancholic folk strum.
I was not granted permission to share a full mp3 from the album, but Rykarda did provide the following mp3 clip and video. You can also hear more samples at the links below.
Rykarda Parasol – Je Suis Une Fleur (YouTube Video)
*mp3 hosted by & posted w/ permission of artist
Contrast Podcast – Musicians Introduce Their Own Songs (mp3 removed)
The moody “Hannah Leah” creeps in with a languid guitar strum beneath Rykarda’s rich voice before unleashing a choir of ghostly wails. “Arrival, A Rival” is another highlight with a sparse tumbleweed guitar twang churning with elegant piano into an eerie crescendo that would do Siouxsie Sioux & The Banshees proud.
“Night on Red River” kicks up the rock rhythm for a wailing PJ Harvey sound, while songs like “Lullaby for Blacktail” and “Candy Gold” barely lighten the mood with swaying and swaggering beats.
Parasol’s lyrics are poetic, ominous, and often morbid. The funeral of a friend in “En Route” and the racial violence of the Langston Hughes inspired “Lonesome Place” each paint a vivid portrait of death. But it’s Rykarda’s slinky, smokey voice that holds you captive, particularly when she plays the love-scorned narrator of “How Does A Woman Fall?” and the world-weary traveller in “Texas Midnight Radio”.