If, like me, you love Rufus Wainwright and Shakespeare, then this album will make you very, very happy. If, however, you like neither Shakespeare nor Rufus, it’s probably not your cup of tea. This unique collection of Shakespearean sonnets set to theatrical rock music features guests Florence Welch, Martha Wainwright, Anna Prohaska, Siân Phillips, Helena Bonham Carter, Carrie Fisher and William Shatner. But the true stars are Rufus Wainwright and William Shakespeare.
The first two tracks are okay, but a somewhat lackluster start. The album truly begins with the dazzling title track, which is far more Rufus than the Bard.
The standout track is “Unperfect Actor,” in which Helena Bonham Carter gives brief poetic recitation before the song explodes into rock symphony featuring Martha Wainwright and Fiona Cutler.
Other highlights are “When in Disgrace with Fortune and Men’s Eyes,” which is sang as a lovely ballad by Florence Welch, and Anna Prohaska’s operatic “Farewell.”
The album also features new, alternative versions of three sonnets Rufus originally recorded for his Songs for Lulu album: “When Most I Wink,” “For Shame” and “A Woman’s Face.”
I won’t pretend to be unbiased here. Allison Crowe has been Muruch’s musical mascot for over a decade now and we at Muruch are thanked in the liner notes of her new double album, Introducing/Heirs + Grievances. So obviously I was excited and predisposed to love this album before I even listened to it. Still! It’s absolutely fantastic.
The first disc of this 2-CD set is Introducing, a live concert recording with lots of bubbly banter from Allison and a full set of songs performed with her new band.
The second disc, Heirs + Grievances, is a studio-recorded album by Allison and the band. Heirs + Grievances is a gorgeous, full circle showcase of Allison’s growth as a singer-songwriter and multi-instrumentalist. Her extraordinary voice is unrestrained and beautifully accompanied by her bandmates.
Allison and her band’s choral rendition of “Tarry Trousers” is a standout with an almost Medieval folk tone, akin to Medieval Baebes (whom I love).
The final three tracks of the albums are the most capitivating and I’m happy to premiere the free, authorized mp3s below.
This new band rendition of “Words” is even more powerful than the Heavy Graces solo version. I may have cracked a rib gasping in awe when Ally roars “I am so angry!”
Then she split me like a wishbone with the volatile vocal finale of “Lisa’s Song.” It’s Allison at her very best, delving into the rich depths of her lower register then unleashing a banshee wail.
Allison masterfully uses her voice as an agile, spiralling instrument in the finale “Silence.” Her astounding, aerodynamic flourish at the end of the song enters operatic realms.
Saul Williams continues to frustrate my writer’s pen (ok, keyboard) with his brilliance and artistry. How can one capture in mere words the expertly, intricately woven tapestry of experimental sound, song and poetry that is his new album, MartyrLoserKing?
Created during Saul’s travels throughout Eastern Europe, Africa, and America, the album centers on a fictional hacktivist in the third world country of Burundi. However, knowledge of this concept is not required to enjoy and admire the album as a whole or its individual tracks.
Even after repeated listens, my head still spins trying to pin down just one element of the album, of any individual song, to describe, yet there isn’t ever just one element at play here.
Every note of this album churns punked up, politically, socially and historically conscious spoken word poetry, hip hop, EDM, Industrial rock, soul, classical and jazz piano, and steampunk clockwork gear sound effects like a musical genre-welding time machine.
This cornucopia of genius is most evident in the astounding standout singles “Horn of the Clock Bike,” “They Think Like They Book Say” and “The Noise Came From Here.”
Other tracks of note are “Ashes,” “The Bear/Coltan as Cotton,” “Burundi” (feat. Emily Kokal of Warpaint) and the aptly titled “All Coltrane Solos at Once.”
Saul will perform at a record release show at Rough Trade in Brooklyn NY on February 2nd before embarking on his European Tour…
Feb 2 – New York, NY – Rough Trade
Feb 8 – Toronto – Tattoo
Feb 9 – London, UK – Rough Trade
Feb 13 – Bristol, UK – BBC Radio 6 Music Festival
Feb 19 – Montreal, QC – Kanaval Kanpe
Mar 3 – Bristol, UK – The Lantern
Mar 4 – Cardiff, UK – Clwb Ifor Bach
Mar 5 – Liverpool, UK – Kitchen Street
Mar 6 – London, UK – The Garage
Mar 8 – Oslo, Norway – Bla
Mar 9 – Turku, Norway – Klubi
Mar 10 – Helsinki, Finland – Elmun Baari
Mar 11 – Tampere, Finland – Klubi
Mar 12 – Jyvaskyla, Finland – Lutakko
Mar 13 – Amsterdam, The Netherlands – Melkweg
Mar 15 – Riorges, France – Salle du Grand Marais
Mar 16 – Vaulx en Velin, France – A Vaulx Jazz
Mar 17 – Fribourg, Switzerland – Fri-Son
Mar 18 – Geneve, Switzerland – La Graviere
Mar 19 – Bale, Switzerland – La Caserne
Mar 20 – Zurich, Switzerland – Moods
Mar 22 – Antwerp, Belgium – Arenberg Theatre
Mar 23 – The Hague, Netherlands – Paard Van Troje
Mar 24 – Sally-Lez-Lannoy, France – Salle Clovis Defrenne
Mar 25 – Niort, France – Le Camji
Mar 26 – St Nazaire, France – Le Vip
April 9 – Iowa City, IA – Mission Creek Festival
Jun 12 – Morrison, CO – Red Rocks Amphitheatre
Brooke Waggoner just released her new album, Sweven. Brooke has gradually become one of my favorite artists after her beautiful debut, Go Easy Little Doves, and the exhilarating followup, Originator – not to mention her thrilling 2012 live performance at Mountain Stage. So Sweven was definitely my most anticipated album of the new year. I’m happy to say it exceeds even my high expectations of this singularly spectacular artist.
This glorious album somehow manages to marry old-fashioned player piano jauntiness with a futuristic, spatial – as in outer space as well as scope – flow. Think Scott Joplin meets David Bowie.
Even such lofty points of reference are tenuous comparisons at best. Brooke Waggoner’s music continues to be extraordinarily original. Even when you think you have her unique sound pegged down, she throws something even more unexpected into the mix.
Brooke’s deft, playfully beautiful touch on piano is especially distinctive and bewitching in “Proof,” the album’s title track and the exquisite instrumental “Egg Shells.”
The gorgeous song “Fellow” redefines the critically-overused adjective haunting.
“Cherry-Pick” is a spoken word poem set to music. The poem and melody are Brooke’s, but the voice is that of an elderly man. Said man is a geriatric patient of Brooke’s husband, his recitation was recorded by iPhone and his haggard voice is not dissimilar to that of William S. Burroughs.
Other tracks like “Widow Maker” and “Pennies & Youth” have a different kind of unusual juxtaposition, one of catchy pop and dark strings that is reminiscent of The Beatles’ “Eleanor Rigby.”
If Brooke Waggoner’s Sweven is not my #1 album of 2016, it’s gonna be a mind-blowing year for music. It already is.
Brooke will return to Mountain Stage on February 14th.
Download a free, legal EP comprised of 3 mp3s from the album and 2 alternative tracks at Noisetrade.
I debated including the Muruch-curated albums, but they are truly the two albums I have listened to most frequently and loved most intensely this year. Besides, it’s the artists and their music that make them so undeniably spectacular. I was just the DJ. That being said, every time I’ve been asked during the year what I think my #1 album of 2015 would be, my immediate answer has been: “Brandi Carlile’s The Firewatcher’s Daughter.” I love it more with each listen and it has the timelessness of the greatest classic albums.