Muruch

Muruch‘s occasional Chicago reviewer Chelle caught the attention of Mutts with her recent Empires/The Whigs review and Mutts lead Mike Maimone submitted the band’s We Float EP for her consideration. Following is her take on the EP….

Chicago-based trio Mutts are just over a year old, and much like the hodgepodge suggested by their moniker, members Mike Maimone (keys, vocals), Chris Faller (drums), and Bob Buckstaff (bass) punch in off the clock from more pedigreed projects (Company of Thieves, The Hush Sound). And like a zealous, unruly year-old puppy, their EP We Float runs the rambunctious gamut of influences, spanning jazz, blues, grunge, metal, industrial and rock, never quite deciding which one to take by the throat and throttle.

Considering the juxtaposed jumble of components, however, Mutts’ combined output is a cohesive sound; it’s evident they’ve done the work of deciding what they want to do, and forging ahead with it confidently. If you possess any manufactured pop sensibilities, delicate or otherwise, you may not immediately find too much to latch on to amidst the stripped down production and frenetic, raw vocal stylings. But there’s a brutal honesty buried in the roughness, and the moments where the melodies begin to surface and take hold add just enough suggestion of shine to keep you listening.

Mutts have a forthcoming release, The Tells of Parallels EP, available on October 1st. They will also be playing at legendary Chicago venue Schuba’s on Monday, August 30 at 8:00PM as part of the Betta Promotions Showcase. The show is $6, 18+ and tickets are available here. Also appearing are DJ Caural, The Sacred Robe of the Ancient Psychedelic Monks, Scott Lucas & The Married Men, and Volcanoes Make Islands.

Mutts – Beggar (mp3)*
Mutts – We Float (mp3)*

All Mutts music, including We Float and their previous Pretty Pictures EP, is available as free downloads on their website. You can also purchase them on CD at the band’s shows or Amazon…

Buy @ Amazon

*mp3s provided by & posted w/ permission of band

Muruch husband and wife duo Brendan and Vic were among those enamoured with the new Leonard DiCaprio film Inception. Director Christoper Nolan’s trippy intellectual dreamscape successfully combines the sci-fi plots and astounding effects of movies like The Matrix with a noirish mystery and settings seemingly ripped from the work of M.C. Escher. Being the movie soundtrack and Hans Zimmer expert of the house, Brendan took on the review of Zimmer’s score for the Inception soundtrack. You can read his thoughts on the album below…

I’ve enjoyed the music of Hans Zimmer since 1993’s True Romance, one of my earliest soundtrack purchases. On cassette! Remember cassettes? My admiration for that particular score was dampened when I heard the remarkably similar music from an earlier film, Badlands. But Zimmer has done some wonderful work in the past two decades, including Gladiator, The Lion King, The Rock, and The Dark Knight. One of my favorite compliations in recent years has been The Wings of a Film – a concert performance from 2000 featuring Zimmer’s music as performed by the VRO Flemish Radio Orchestra. Highlights from that album include excerpts from The Thin Red Line and Gladiator, the latter featuring Lisa Gerard’s haunting vocals.

On to Zimmer’s latest release, Inception. I listened to it walking through the streets of my town as the sky darkened and the wind grew and thunder crashed. The Inception score was a perfect soundscape – when I heard a snatch of a particular song central to the movie, I felt a strong urge to wake up.

Inception is moody and brooding, somewhat similar to Zimmer’s work on other recent Christopher Nolan collaborations, but intensified by the guitar playing of former Smiths guitarist Johnny Marr.

The final track, “Time,” is representative of this score – an emotional triumph that builds and builds until you feel the love and loss of the character it represents, then fades with a bittersweet solo piano.

Inception is a heady mix of electronics, orchestra and guitar, and surely will be a forerunner for best score when Oscar season arrives.

I was not granted permission to share an mp3, but you can listen to an interview with Hans Zimmer at WV Public Radio and hear samples from the album at the links below…

Buy @ Amazon

John Mellencamp’s new album No Better Than This will be released August 17th on Rounder Records. Mellencamp wrote the album’s thirteen tracks in just thirteen days. Teaming up once again with producer T Bone Burnett (who also produced 2009′s brilliant Life Death Love and Freedom), Mellencamp used only one microphone and other vintage equipment to record the new songs at various historic Southern locations – including legendary Sun Studios. The result is an organic, lo-fi blend of blues, folk, country and rock.

“The West End” is the standout track with Mellencamp growling over a mix of simmering blues guitar and country clang.

“Right Behind Me” is another favorite with its swaggering Tin Pan Alley fiddle and strum.

And “A Graceful Fall” is a classic country barroom number worthy of ole Bad Blake – no surprise since producer T Bone Burnett also wrote the music for Crazy Heart.

If your perception of John Mellencamp’s music has been shaped by his commercial hits in the past, you need to hear the 21st century Mellencamp – particularly if you’re a fan of T Bone Burnett’s. Life Death Love and Freedom and No Better Than This are by far John Mellencamp’s finest albums.

Buy @ Amazon (only $9.99 on CD)

(not yet available)

John Mellencamp Official Site

Heart returns on August 31st with Red Velvet Car, their first new studio album in six years. If you’ve never heard Heart’s music or you’ve written them off as an ’80s novelty act, I urge you to track down classic songs like “Barracuda,” “Crazy on You,” “Alone,” “(Up On) Cherry Blossom Road,” and pretty much the entire Dreamboat Annie album. Then pre-order Red Velvet Car, because the Wilson sisters are back and stronger than ever.

This time around Heart took a step back from the pop-rock endeavors of recent decades in favor of a multi-instrumental style. In addition to her signature guitar, Nancy Wilson and producer Ben Mink tried their hands at mandolin, dobro, banjo, fiddle, viola, cello and autoharp. The result is a tightly woven tapestry of hard rock riffs and multi-layered acoustics reminiscent of Heart’s 1970s catalogue.

Written as a “cautionary tale for a young woman on the red carpet,”, the opener “There You Go” makes fine use of the band’s new multi-instrumental arsenal with a bluesy rumble and stomp.

“WTF” could use a better title, but otherwise the thunderous rock song is a perfect display of Ann’s astounding vocal power and Nancy’s searing guitar riffs. Then the title track stirs, slides, and retracts like a slinky Western sidewinder tempered with airy strings and acoustics.

The standout track “Wheels” simmers with a chasmic bass line and Ann’s deep, echoing voice. Twenty years in the making, the song was well worth the wait.

When I read in the press release that producer Mink (who worked with Ann Wilson on her solo album Hope & Glory) asked Ann to “hold back” on her vocals, I was a little worried. Ann’s unearthly howl has always been Heart’s greatest strength. I would have liked to hear her wail a bit more on the new album, but overall I think the restraint worked well for this particular collection. Though I do hope the next release sets her mighty pipes loose again.

Nancy takes lead vocal on the pretty love song “Hey You” and again on the sultry ballad “Sunflower.” I was surprised to learn that Nancy wrote the latter as an ode to her sister since it sounds like a summer of love anthem.

Most bands place their weakest tracks at the end of their albums, but Heart saves one of their best for the finale. “Sand” was originally recorded by the Wilson sisters as their late ’90s acoustic incarnation The Lovemongers. The layering of Ann’s robust vocals over a stripped down acoustic arrangement in this new version hints at Led Zeppelin’s “Going To California.” The Lovemongers’ cover of Zep’s “The Battle of Evermore” and Ann’s solo take on “Immigrant Song” have obviously had a positive influence on Heart’s own compositions.

The album isn’t without its flaws, but they are few and far between. Red Velvet Car is Heart’s most substantial and artistic effort since Dreamboat Annie.

I was not granted permission to share an mp3, but you can hear samples at the links below.

Buy @ Amazon

Note: According to Heart’s official site, you can receive $1 off your Amazon Pre-order by entering promo code REDCAR10.

(not yet available)

Heart Official Site

The Mountains & The Trees is the astonishingly talented singer-songwriter and multi-instrumentalist Jon Janes. His debut full-length album I Made This For You will be released on August 10th. Janes has a quiet but captivating voice, and he and his bandmates play just about every instrument imaginable – guitar, drums, banjo, mandolin, ukulele, bells, tuba, trumpet, organ, lapsteel, melodica, mellotron, violin, cello, flute, bodhrán, and even some handclaps. Janes skillfully incorporates all of these elements into beautifully, brilliantly arranged folk, country, and Americana melodies. I Made This For You is a multi-layered masterpiece that everyone needs to hear.

The opening track “Fear of Ghosts” slides from a gentle beginning into a jaunty, joyously multi-instrumental arrangement in which the tuba steals the show. Séan McCann of Great Big Sea plays bodhrán on the song.

“More & More & More” is a panoramic Americana travelogue, “Travellin’ Song” is a foot tappin’ country ditty, and “Makes Amends” is another wonderfully unusual standout.

Most of the rest of the album is delicate and lovely with subtle folk melodies and light bluegrass instrumentation.

The Mountains & The Trees – More & More & More (mp3)*
The Mountains & The Trees – Minimum Wage Lovers (mp3)*

Buy @ Amazon

(not yet available)

*mp3s hosted by & posted w/ permission of band’s PR rep

The Mountains & The Trees MySpace

Ukranian singer Lana Mir will release her self-titled debut on August 24th. I would’ve liked the album anyway, but it was truly a breath of fresh air after hearing another atrocious promo (which shall remain nameless, but was described in its press release as “psychedelic folk and speed rapping”)! But I digress. Lana Mir has a smooth, warm voice and the music on her album is mostly airy, mellow acoustic pop with occasional hints of jazz and bossa nova. The centerpiece is a trippy cover of Stone Roses’ “I Wanna Be Adored.”

Lana Mir – I Wanna Be Adored (mp3 removed)*

*mp3 provided by & posted w/ permission of artist’s PR rep on behalf of label

Buy @ Amazon

Lana Mir MySpace

My 2008 review of Lucy Schwartz’s debut Winter in June began with the line “I’m always puzzled when certain female singer-songwriters receive mainstream popularity and media attention while others like seventeen year old Lucy Schwartz remain in the shadows.” Now 20 years old, Lucy has since been heard in several tv shows and movies and her recent EP Help Me! Help Me! made the blogrounds. Her sophomore full-length album Life in Letters will be released on August 31st, and you can download a free mp3 of the non-album single “When We Were Young” by entering your email address in the widget below…

The album is not yet available for pre-order, but should be at the links below closer to the release date…

Buy @ Amazon

Lucy Schwartyz MySpace

Red Wanting Blue’s album These Magnificent Miles will be released on July 27th. Lead singer Scott Terry – who plays guitar and ukulele – has a gritty voice slightly reminiscent of Eddie Vedder, though the comparisons stop there. The songs on the album are rock with a little bit of Americana and a whole lot of substance. These Magnificent Miles also proves how valuable good cover art can be, as it was the bright orange and black carousel image that made the CD stand out in my mountains of promos.

Red Wanting Blue – Where You Wanna Go (mp3)*

Buy @ Amazon

*mp3 hosted by & posted w/ permission of band’s PR rep

Red Wanting Blue MySpace

I never thought of the harp as a versatile instrument until now. Even in classical music, the harp often seems to be used more for embellishment within an orchestra rather than as the focal point of an arrangement. Canadian harpist Valérie Milot showcases the hidden depths of this celestrial instrument on her exquisite new album Revelation. This lovely collection includes works by Dieudonné–Félix Godefroid, Henriette Renié, Carlos Salzedo, Maurice Ravel, and a work composed specifically for Valérie Milot by her former teacher, Caroline Lizotte. It is a serene and beautiful album.

I was not granted permission to share an mp3, but you can hear samples of each track at the links below…

Buy @ Amazon

Valérie Milot Official Site
Valérie Milot MySpace

If I could be any instrument, it would be the harpsichord. On her new release Handel in Darmstadt, harpsichordist Geneviève Soly demonstrates the magnificent, elegant beauty of this inexplicably seldom used (at least in non-classical genres, with the exception of Tori Amos’ Boys for Pele) instrument.

Handel in Darmstadt includes works by Bach contemporary Christoph Graupner and George Friedrich Händel. The album’s title comes from the Darmstadt Harpsichord Book – a manuscript kept at the Darmstadt library from which most of the Händel works in this collection were taken.

I was not granted permission to share an mp3, but you can hear samples of each track at the link below…

Buy @ Amazon

Provenance is the fifth solo album by cellist Maya Beiser. If Maya’s name isn’t familiar, her cello is. Maya played on the soundtracks to M. Night Shyamalan’s The Happening, Denzel Washington’s The Great Debaters, and Edward Zwick’s Blood Diamond. Maya’s own multi-cultural collection Provenance features an exotic array of compositions from Armenia, Iran, Israel, and America. The album took its inspiration from the co-existence of Muslim, Christian, and Jewish art and culture during medieval Spain’s Golden Age.

Provenance opens with the four-movement “I Was There” by Iranian composer Kayhah Kalhor, which is based on a melody by legendary Kurdish poet-musician Ziryab. The arrangement and instrumentation have a darkly evocative and rhythmic flow about them.

The deep, mournful bellow of Maya’s cello ushers in Armenian composer Djivan Gasparian’s somber two-part “Memories.”

The powerful voice of Etty Ben-Zaken stands alone for the haunting acapella intro to “Mar de Leche” before Maya and her band delicately began to play its beautiful, intricate melody. The four-movement piece by Israel’s Tamar Muskal sets an ancient Ladino (Hebrew-Spanish) love song to a contemporary arrangement.

A thunderous, swaying instrumental rendition of Led Zeppelin’s “Kashmir” closes the album. You have to love a classical artist who covers Zep.

I was not granted permission to share an mp3, but you can hear samples at the links below.

Buy @ Amazon

Maya Beiser Official Site

Agent Ribbons bears a strong resemblance to Rasputina and their has been described as “Baroque Pop” and “Victorian Punk,” but their influences and innovations are far too varied for such simple labels. Their impressively eclectic sophomore album Chateau Crone will be released on October 12th. Agent Ribbons are the trio of guitarist-vocalist Natalie Gordon, drummer-percussionist and accordion player Lauren Hess, and violinist-cellist Naomi Cherie (all of whom have taken the stage name “Ribbons”), though they occasionally perform as the original duo of Natalie and Lauren. Lyrically, their new album took much of its inspiration from Grey Gardens – the excellent Drew Barrymore film based on the documentary of a reclusive mother and daughter related to The Kennedys. But the sound is something else entirely.

The catchy opener “I’m Alright” churns atmospheric retro pop-rock with modern rock riffs, handclap percussion, and girl group harmony. The result is somewhere between The Zombies and The Shangri-Las.

“Grey Gardens” falls into an eerie, lo-fi folk-rock style that recalls the Medieval folk themes of Mary Timony’s Mountains album (one of my Best of the Decade, while songs like “I’ll Let You Be My Baby” have anachronistic hints of post-war German cabaret.

Other tracks seem to borrow elements from The Velvet Underground, Sleater Kinney, Neko Case, Luminescent Orchestrii, and everyone in between, yet Agent Ribbons stand in a class (and genre) of their own.

Agent Ribbons – I’m Alright (mp3 expired)*

*mp3 provided by & posted w/ permission of band’s PR rep on behalf of label

Pre-order links to purchase the album were not yet available when this review was posted, but will be at the links below closer to the October release date…

Pre-order @ Amazon

Buy @ Label

Agent Ribbons MySpace

I was so excited to see Sheila Nicholls name on a new press release! I raved about the British singer-songwriter’s 1999 independent debut Brief Strop on the original Muruch site about a decade ago. The inclusion of her song “Fallen For You” on the High Fidelity soundtrack seemed to indicate her career would take off, but sadly she disappeared in the years that followed. Written and recorded over the course of five years, her genre-hopping new album Songs From The Bardo is Sheila’s first release in seven years and is on her own label Essex Girls Records.

The two songs that I’ve been given permission to share below are “Bardo” and “Natural Law.” Both tracks have a much more polished, peppy pop sound than Sheila’s previous releases. I heard them before the rest of the album, so I was initially disappointed in the seemingly drastic change in direction from her old piano pounding and gut-wrenching wails. But even on these two tracks, Sheila’s voice is still unusually pretty and the rest of the album is much better.

The album’s opener “Where None Are Afraid” and songs like “City Between” are beautiful piano ballads that showcase the softer, more fragile side of Sheila’s voice.

The trippy beat of “Pinking It Up” (which you can stream at MySpace) makes for a moody experience, and “Pointless Tackles Vision” further explores that atmospheric, electro-pop style.

“Celery Bay” relaxes into a mellow, R&B vibe, while “Bed” is more of a funky soul ballad. Other tracks are stripped down to a more acoustic sound, but Sheila’s lovely vocals drive every song.

Sheila Nicholls – Bardo (mp3) *

Sheila Nicholls – Natural Law (mp3) *

Buy @ Amazon

*mp3s hosted by & posted w/ permission of artist’s PR rep

Sheila Nicholls MySpace

Cover albums are very tricky projects to undertake, as Wreckless Eric & Amy Rigby’s new album Two-Way Family Favourites clearly shows. The duo is comprised of singer-songwriter Wreckless Eric (a.k.a. Eric Goulden) – best known for his 1977 Stiff Records single “(I’d Go The) Whole Wide World” – and his singer-songwriter wife Amy Rigby (a.k.a. Amelia McMahon). He’s British, she’s American, and they live in France. Their sound is a mix of low-fi pop and quirky acoustic folk with dualing male/female vocals. Two-Way Family Favourites is their sophomore release, and features interpretations of classic songs by Tom Petty, Abba, and the Beach Boys among many others.

This is one of those albums that I initially loved, but subsequent listens revealed one major flaw – a terrible lack of variety.

The good news is that Eric & Amy’s mellow, bare bones approach and off-kilter harmonies work beautifully on their lovely renditions of Jackie DeShannon’s “Put A Little Love In Your Heart,” Abba’s “Fernando,” and The Beach Boys’ “In My Room.” And their tender rendering of Tom Petty’s “Walls” is especially lovely.

Unfortunately, they weakened the rest of this diverse selection of melodies with identical, lackluster arrangements. Coupled with their signature drowsy vocals, this results in an overall impression of monotony. So I’d definitely recommend the aforementioned individual tracks, but listening to the album as a whole just may put you to sleep.

I was not granted permission to share an mp3 (cover songs almost always have too many licensing issues to be offered as legal mp3s), but you can hear samples at the links below…

Buy Mp3s @ Amazon

Wreckless Eric Official Site
Amy Rigby Official Site
Wreckless Eric & Amy Rigby MySpace

Personal Best is a new compilation of the solo work of Stuart Moxham, formerly a member of 1970s post-punk band Young Marble Giants. My generation knew Young Marble Giants best through the cover of their song “Credit in the Straight World” on Hole’s Live Through This album. Personal Best is a collection of new songs, B-sides, and previously unreleased material by Stuart Moxham spanning 1981-2009, and will be released on June 22nd.

The music on Personal Best is an unusual blend of multi-instrumental folk, pop, and rock.

Songs like the opener “Vampire of Love,” “It Says Here,” and the melodic “Sunday Afternoon” have a soft, retro pop style.

The rhythmic instrumental “Golden Childhood” and “Oh Boy” have a light Reggae arrangements, and the apt title “Baroque Calypso” perfectly describes that refreshing little song.

But the stand out is “Save It,” which strikes a strange balance between Andy Partridge quirkiness and the darker sound of The Smiths.

Stuart Moxham – Autumn Song (mp3 removed) *

*mp3 provided by & hosted w/ permission of artist’s PR rep

Buy @ Amazon

Stuart Moxham MySpace

Mouth of Mars is the new sophomore release by singer-songwriter Jen Gloeckner. Jen’s deep vocals and dark, distinctive melodies call to mind the eerily atmospheric music of Johnette Napolitano and at times even classic Patti Smith, with a mix of electronic beats and rock riffs similar to Melissa Auf der Maur.

The astounding title track opens Mouth of Mars, setting the stage for Jen Gloeckner’s churning, pulsating, chill-producing blend of electro-rock.

Standouts “Pulse” and “Sleep to Dream” continue to quake, while the string-accented “Die” and slinky acoustic “Haunt You” are quietly mesmerizing. There isn’t a single weak track on the album.

Jen Gloeckner – Pulse (mp3 removed) *

*mp3 provided by & hosted w/ permission of artist’s PR rep

Buy @ Amazon

Jen Gloeckner Official Site
Jen Gloeckner MySpace

Yes, Florence + The Machine’s debut Lungs should have been on my Top 2009 albums list, but I didn’t get the CD until this year. I did hear “Kiss With a Fist” when Lungs was first released last year and added the album to my ridiculously long wishlist, but I now know that shiny pop single didn’t do the rest of this deliciously multi-layered album justice. I’ve been meaning to post about the album for months, but I’ve had so much fun listening to it in my car and chatting about it to my friends that I forgot to write the review. So here ya go…

this is a gift, it comes with a price
who is the lamb and who is the knife?
Midas is king and he holds me so tight
and turns me to gold in the sunlight

Florence + The Machine’s music weaves the melodic pop breeze of Venus Hum into the theatrical drama of Bat For Lashes, all anchored by the soulful bombast of British singer Florence Welsh’s substantial voice. Florence’s dark epics have been accurately compared to everyone from Kate Bush to Nick Cave, but it’s her wild wails that set her own eccentric songs apart.

My favorite songs from the album are the more atmospheric and monumental tracks like the absolutely addictive “Drumming Song,” the fantastical “Rabbit Heart (Raise It Up),” and the eerie “My Boy Builds Coffins.” But there are also plenty of upbeat pop numbers similar to “Kiss With a Fist” like the summery opener “Dog Days Are Over.”

If you like one song, you will love the entire album. And if you don’t like any of the songs, I question your taste in music!

I couldn’t even get a review copy of this album, let alone obtain permission to post an mp3. But you can watch several videos and hear audio samples at the links below…

Florence + The Machine – Drumming Song (YouTube Video)
Florence + The Machine – Rabbit Heart (Raise It Up) (YouTube Video)
Florence + The Machine – Dog Days Are Over (YouTube Video)

Buy @ Amazon (CD only $9.99!)

Florence + The Machine Official Site
Florence + The Machine MySpace

Australian singer-songwriter Geoffrey “Gurrumul” Yunupingu’s debut solo album Gurrumul has already garnered several prestigious awards internationally and will be released in the U.S. on June 15th. The blind musician is a member of the Gumatj nation from the Aboriginal Reserve of North East Arnhem Land. His music adapts traditional Gumatj songs and stories into his own contemporary arrangements, and he sings mostly in the dialects of the Gumatj clan. Formerly a member of the Aboriginal ensemble Yothu Yindi, Gurrumul has shared the stage with Sting and Elton John since embarking on his own solo career.

Renowned for his beautiful singing voice, Gurrumul is also a gifted multi-instrumentalist who plays guitar, drums, keyboards, and didgeridoo. Most of the songs on the album focus on Gurrumul’s angelic vocals and delicate guitar work, which give his songs a uniquely ethereal quality.

The song “Gurrumul History (I Was Born Blind)” is an especially moving song about Gurrumul’s life. This is one of those quietly captivating albums, with a power that is subtle but irresistible.

I was not granted permission to share an mp3, but you can hear samples at the links below and watch a video of Gurrumul performing “Bapa” at the ARIAs at YouTube.

Buy @ Amazon

Gurrumul Official Site

The Innocence Mission will released their new album My Room In Trees on July 13th. Led by Karen Peris, The Innocence Mission is one of those bands that have been tragically under appreciated by the rest of the world. As I said in my review of their beautiful 2007 We Walked In Song: “I’ve been a fan of the band since 1995’s Glow, which I randomly bought on cassette back in the day without having heard even one note. Back then they were often compared to The Cranberries or The Sundays, but The Innocence Mission has long since broken free of any comparisons. The band has recorded and toured with Joni Mitchell, Emmylou Harris, and 16 Horsepower among others. Most notable of these collaborations was the angelic duet of “When They Ring The Golden Bells” with Natalie Merchant on her Ophelia album.”

the happy Mondays, we blow down alleyways
in our raincoats, in afternoons
the imaginary dogs beside us
are old friends

My Room In Trees is said to be a “celebration of an everyday walk home from school.”

The entire album is pristinely pretty – from the atmospheric opener “Rain” to the fragile beauty of “The Happy Mondays,” which expresses an adolescent’s innocent longing for connection

Sparse arrangements are coupled with poetic lyrics full of scenic imagery and bittersweet emotion – all carried by the lovely soprano of Karen Peris.

Much like their previous release, these new melodies possess a warm, almost childlike charm. But while We Walked In Song shone with the bright, hopeful light of a clear summer day spent with a beloved friend, My Room In Trees has the recurring theme of an introspective, lonely – albeit resilient – walk in a gentle rain.

The Innocence Mission – God is Love (mp3)*
The Innocence Mission – Happy Mondays (mp3)*

*mp3s hosted by & posted w/ permission of band’s PR rep

Buy CD @ Amazon

Buy Mp3s @ Amazon

The Innocence Mission Official Site
The Innocence Mission MySpace

Rasputina‘s seventh studio album Sister Kinderhook will be released on June 15th. Led by singer-songwriter Melora Creager, Rasputina was the seminal band in what I used to call the “creepy girl genre” (that evolved into the broader demented circus genre). They’ve also been called “Steampunk,” a term usually associated with bands who marry punk-rock noise with Victorian style and science fiction or post-apolcalyptic elements. Though Rasputina’s style and lyrical narratives have always had more of a Colonial influence than a Victorian one and they make beautiful use of classical instrumentation in their arrangements. Whatever you call it, Rasputina’s music is truly unique and they continue to dazzle me.

Sister Kinderhook is said to explore “Colonial themes…Emily Dickinson, feral children and the Anti-Rent wars of 1844, not to mention the theory that giants were real, but killed each other off in a self-genocidal holocaust.” Which makes total sense to those of us already familiar with Rasputina’s wonderfully bizarre repertoire.

The opening track is one of my favorites. “Sweet Sister Temperance” has Rasputina’s signature eerie vocals and chamber folk instrumentation anchored by the deep bellow of a Melora’s cello, but there’s a nice retro pop-folk echo to the song’s recording. “My Night Sky” continues on that retro-folk theme with a tinkling acoustic melody snaking its way through the arrangement, but adds depth with lush strings and multi-tracked vocals.

But the true stunners are nestled in the middle of the album, beginning with the rhythmic sitar and percussion instrumental “Olde Dance.”

“Humankind as the Sailor” and the delicious “Calico Indians” resurrect the best elements of old school Rasputina style, but amplify the heavy bass sound of the cello. The former pretties it up with a sea chantey vocal style and the latter quakes in a crescendo of voices and strings that sounds like Siouxsie Sioux leading a chamber orchestra. Meanwhile, Melora’s creeping falsetto sounds more like Hannah Fury (big compliment) on the delicate duo “Snow Hen of Austerlitz” and “Dark February.”

The chirping birds, Appalachian pluck, and choral vocals of “Kinderhook Hoopskirt Works” and the haunting piano finale “This, My Porcelain Life” are especially astounding. The songs give the album’s end an epic feel. Most artists push their weakest tracks to the second half of the album, but Melora Creager has never been like most artists.

Time will tell if these new songs have the endurance of Rasputina classics like “Gingerbread Coffin” and “Transylvanian Concubine,” but for now I think Sister Kinderhook is Rasputina’s strongest work since 2002′s Cabin Fever (my personal favorite of their albums).

The tinny production of “Holocaust of Giants” made its frenzied, high-pitched vocals grate on my nerves at first (I so dislike digital albums), but it grew on me with subsequent listens. But don’t judge the entire album by this one track, because it doesn’t represent the whole at all. It’s simply the only mp3 I could clear to share…

Rasputina – Holocaust of Giants (mp3 removed) *

*mp3 provided by & posted w/ permission of band’s PR rep

You can hear samples of other tracks at the links below.

Buy @ Amazon

Rasputina Official Site

Carney just released their debut album Mr. Green, Vol. 1 today. The L.A. rock quartet is fronted by and named for actor-musician Reeve Carney – formerly a member of Johnny Lang’s backup band and soon to be seen as Ferdinand in Julie Taymor’s upcoming film adaption of Shakespeare’s The Tempest. Carney’s music tempers arena rock pomp with flourishes of psychedelica, pop, and blues.

The opener “Love Me Chase Me” punches up a swirling rock arrangement with militant drumbeats. It and many of the other tracks have a swaggering pop-rock sound reminiscent of Butch Walker’s The Rise and Fall Of….

The middle of the album lags a bit, but there’s a lovely splash of what sounds like old-fashioned slide guitar work in “Amelie” and a slinky hint of Queen in “There She Goes.”

The grand finale “Testify” is a crunchy blend of Zep-like blues and psychedelic rock.

I was not granted permission to share an mp3, but you can watch the video for “Love Me Chase Me” (starring actress Evan Rachel Wood and shot on the set of HBO’s Carnivale) at the link below…

Carney – Love Me Chase me (Video)

Buy @ Amazon

Carney Official Site
Carney MySpace

Former Hole bassist Melissa Auf der Maur released her sophomore album Out of Our Minds last month. This may surprise those who think of this as a folk-oriented music site, but the majority of the music I love (and own) is rock and Hole’s Live Through This remains one of my favorite albums. But aside from her affinity and talent for rock guitar riffs, the solo work of Melissa Auf der Maur (Madm) has more in common with Kate Bush or Placebo than it does with her old band.

If you’re listening…You’re a dreamer,
Come sit by my fire
Travel out of our minds & into our hearts

Melissa’s lyrics are mythical, her voice is unusual, her melodies are sleek, and her eclectic arrangements incorporate pop, rock, and classical instrumentation as well as other sound effects.

Out of Our Minds is being promoted as a “multimedia project” with a companion feature film, graphic novel, and “web experience.” But all I care about is the music…

“The Hunt” opens the album with a heavy, throbbing beat that builds into a crescendo of piano crashes and heartbeat percussion. Save for a few breathy sighs, the track is almost entirely instrumental.

Most of the other songs pair Melissa’s seductive, sometimes eerie vocals with atmospheric, rock-centric arrangements. “Follow The Map” and “Meet Me On The Dark Side” are the stand outs.

“Father’s Grave” would be a solidly haunting ballad on its own, but Glen Danzig’s substantial vocal presence only amplifies its intensity.

“This Would Be Paradise” splices audio clips of twentieth century Canadian politician Tommy Douglas into its melody. This might seem odd on another album, but fits perfectly into Melissa’s strange mix of sounds.

Bury him at sea, He’ll never return to me
Forgive him all his sins,
The mistress of the sea deceived him

You can get a free download of the album’s title track by submitting your email address and also stream the entire album on Melissa Auf der Maur’s Official Site.

Buy @ Amazon (only $8.99!)

I first posted a song from Sing Me To Sleep: Indie Lullabies in January, and recently received the gorgeous limited first edition from indie label American Laundromat Records. The compilation benefits the non-profit childrens’ charity The Valerie Fund, and features a wide variety of charming, serene covers by various indie acts – including Stars, Jenny Owen Youngs, The Real Tuesday Weld, Dean & Britta, O+S, Tanya Donelly, Trespassers William, and Laura Gibson. Sing Me To Sleep will be released on May 18th.

The entire Sing Me To Sleep album flows together to create a lovely, gentle mood. Though the soft arrangements fit well with the “indie lullabies” theme, these are songs originally recorded and just as enjoyable for adults.

Some of the highlights are: a pretty, femme transformation of The Smiths’ “Asleep” by Stars, The Real Tuesday Weld’s crackling “Little Boxes” (originally recorded by Malvina Reynolds and used more recently as the theme for Weeds), an eerie take on The Beatles’ “Dear Prudence” by Ohbijou’s Casey Mecija, Dala’s languid cover of “Dream a Little Dream of Me,” Telekinesis’ haunting version of ELO’s “Can’t Get It Out of My Head,” and former Belly frontwoman Tanya Donelly’s jazzy croon of “Moon River.”

Snowbird’s stunning rendering of “The North Wind Doth Blow” is my absolute favorite track and is one of the few that was actually a nursery rhyme, but there isn’t one song on the disc that I feel compelled to skip.

Sing Me To Sleep‘s quiet mood could certainly lull you to sleep, but then you’d miss some of the most beautiful covers ever recorded.

The limited edition first pressing includes several bonus tracks, including a somewhat creepy cover of “You Are My Sunshine” by Peter Broderick, an atmospheric cover of Don Henley’s “Boys of Summer” by Papercuts, and Laura Gibson’s signature low-fi style on Rodgers & Hammerstein’s “Edelweiss.”

Dean & Britta – Making Me Smile (mp3) *

*mp3 hosted by & posted w/ permission of label

You purchase the limited first edition (w/ alternative artwork, bonus tracks, bonus 7″ vinyl, free digital download, promo pins, poster & more) at the American Laundromat Records, and the regular CD is available at Amazon…

Pre-order 1st Edition @ Label

Buy @ Amazon

Allison Crowe‘s new CD Spiral finally arrived! I posted mp3s from it last November and last month, and the entire album was released digitally on March 17th. But the physical release was delayed due to printing issues, so I didn’t receive my copy until this week. It was well worth the wait. Spiral is Allison Crowe’s best album since Live at Wood Hall (one of my Best of the Decade picks), and is possibly her best studio album ever.

I don’t know what is wrong with everyone,
but I guess I don’t even know what’s wrong with me,
& I won’t try to be judgemental, I won’t try to be holier-than-thou,
but I don’t get this & I’m not going to pretend I do.

Spiral is a prime example of why I will always prefer physical albums over digital ones. The beautiful gold and silver embossed cover has a lovely peacock painting by Tara Thelen. Cover art and liner notes enhance the listening experience, and mp3s can never capture a moment in time the way holding an album in your hands does. An old album can conjure up the same sense of nostalgia as a photograph.

Onto the music…Spiral opens on a somewhat lighter note. The twangy “Dearly” and “Double-Edged Sword” have a buoyant folk-pop style akin to Dar Williams. But the meat of the album is Allison’s voice and piano, both of which take a more prominent position in the third track.

Allison is probably best known for her astounding rendition of Leonard Cohen’s “Hallelujah,” which has become one of my favorite songs of all time. This time around, Allison tackles Cohen’s “Chelsea Hotel No. 2.” Her emotive vocal gives the usually sedate song a whole new sense of desperation.

Yet it’s the acoustic transformation of Annie Lennox’s “Why” that proves to be the album’s most captivating cover. Allison’s heartfelt voice drives the song with some help by a lovely, subdued string arrangement. The album includes two bonus alternative versions of “Why” and the album’s other cover of Hunters & Collectors’ “Throw Your Arms Around Me.”

The stand out track “I Don’t Know” is one of those Allison Crowe stunners. Her voice flawlessly flows between the most pristine soprano and gut-wrenching, full-bodied wails. Her intimate, emotional lyrics are layered over a soul-stirring piano melody.

The album’s title track is just as haunting, but has a more frenetic energy to the instrumentation. Allison’s frenzied piano playing is juxtaposed with fiercely low vocals that give the song a murky, seething mood. I bet it’s particularly chilling and spectacular live.

I hear so much music these days, too much for one person really. I’m inundated with such a flood of sounds both good and bad that I sometimes forget what it feels like when a song literally produces chills on your arms.

Then I hear Allison Crowe sing, and I remember the effect music is supposed to have on you. That awe-inspired rush, that indescribable feeling of communion between artist and audience. The gratitude that someone gifted has expressed through their art an emotion you personally lack the talent to articulate. To quote Allison: “Why music? Why breathing?“

Allison and her manager are exceptionally generous when it comes to sharing mp3s, so I have three free, legal mp3s from Spiral for you. Please support this extraordinary artist by purchasing her album at the links below.

Allison Crowe – I Don’t Know*
Allison Crowe – Oceans *
Allison Crowe – Going Home Tonight **

*mp3s posted w/ permission of artist’s manager
**mp3 hosted by & posted w/ permission of artist’s manager

Buy @ Amazon

Allison Crowe Official Site (Buy directly from artist)

Allison Crowe Reviews

Troubadour was the 2009 sophomore release by Somali-Canadian rapper/singer-songwriter and poet K’NAAN. I was first introduced to K’NAAN’s music last year when a friend played his beautiful song “Wavin’ Flag” for me. A few weeks later, I saw K’NAAN’s jubilant and superbly entertaining performance on Austin City Limits and I was hooked.

K’NAAN is often compared to Bob Marley, but he names modern rapper Nas as his biggest influence. K’NAAN – whose name means “traveller” in the Somali language – fled Mogadishu with his mother when he was just fourteen years old. He found solace in American rap music while living in New York, and eventually began his own musical career in the Canadian hip-hop scene after settling in Toronto.

K’NAAN’s lyrical content is often overtly political, addressing issues in his homeland of Somalia. Many of the songs on Troubadour mix reggae melodies with light hip-hop beats and K’NAAN’s spoken word poetry. Unfortunately, with the exception of “Wavin’ Flag,” the glossy rap-centric production of the album diminishes the joyous, organic quality of K’NAAN’s live performances.

I was not granted permission to post an mp3 from the album, but I can share this “Celebration Mix” from Coca-Cola’s World Cup campaign. I don’t normally bother posting remixes, but I’ll make an exception since this one was reworked by K’NAAN himself and is actually good…

K’NAAN – Wavin’ Flag (Celebration Mix) (mp3 expired) *

*mp3 provided by & posted w/ permission of artist’s PR rep

Buy @ Amazon

K’NAAN Official Site
K’NAAN MySpace

The 5 Browns have an unfortunate band name and their new album In Hollywood has a very cheesy cover photo, but the music turned out to be terrific. The 5 Browns are a piano virtuoso quintet comprised of classically trained siblings from Utah. With In Hollywood, the family band transforms movie music into classical piano instrumentals with elements of jazz and pop.

From the amusingly buoyant yet still somewhat thunderous piano rendition of Darth Vader’s theme from Star Wars through a classical medley of Disney songs to the dramatic Hitchcock medley finale, most of the scores covered are from well known classic films. But also included are recent scores from Atonement, The Hours, and Catch Me If You Can.

My personal favorite is, of course, the Wizard of Oz medley.

I was not granted permission to share an mp3, but you can hear samples at the links below.

Buy @ Amazon

The 5 Browns Official Site

I Learned The Hard Way was just released Tuesday. The fourth album by Sharon Jones & The Dap-Kings continues the brassed up retro soul style of 2007′s 100 Days, 100 Nights, this time with a bit of classic blues thrown in. Sharon and her Dap-Kings have shared the stage with everyone from Spoon to Smokey Robinson, and spearheaded the modern soul trend.

Songs like the opener “The Game Gets Old” have a classic soul sound reminiscent of Gladys Knight & The Pips.

The standouts on the album are the bluesy, lovelorn ballad “If You Call,” the dark-edged title track, and the claphappy “Better Things.”

Overall, I Learned The Hard Way doesn’t strike me as having such a fresh sound as 100 Days, 100 Nights did when I first heard it. But that’s probably because Sharon Jones isn’t breaking new ground this time around, she’s just continuing down her wellworn and brilliant path.

Sharon Jones & The Dap-Kings – I Learned the Hard Way (mp3 expired) *

*mp3 posted w/ permission of band’s PR rep

You can also get a free mp3 of the album’s title track at Daptone Records by entering your email address.

Buy @ Amazon (only $7.99!)

Sharon Jones & The Dap-Kings Official Site
Sharon Jones MySpace

Zooey Deschanel and M. Ward are back She & Him: Volume Two, the aptly titled followup to She & Him: Volume One (one of my Top Albums of 2008). Volume Two is certainly the “feel-good album” that Zooey calls it. The duo have recorded another collection of airy, retro-styled pop songs fleshed out with folk instrumenation.

I want to be where your heart is home,
I want to see you with the light in the morning

An advance of Volume Two was leaked online by NPR weeks ago, but I waited for the proper review copy from the label – which didn’t arrive until after the release date. I don’t know if the prolonged anticipation and hype raised my expectations too high or if it simply suffered by comparison to the magnificent albums that’ve already been released this year, but my initial reaction was one of disappointment. So much so I originally wrote a cynical review comparing it to lackluster sequels that “continue the franchise but neither surpass nor fully recapture the magic of the original.”

But wait, I was so wrong! I decided to give the album another chance without the weight of preconceptions and comparisons to its predecessor. And instead of listening to the digital promo on my computer, I burned it to CD and took it for a drive. This time around I was able to appreciate this album for what it is rather than what it isn’t. And then I fell in love with it.

Whereas Volume One was an intimate, romantic album centered on Zooey’s voice, Volume Two is a breezy pop soundtrack for summer. The songs, vocals, and instrumentation are upbeat and harmonious, often calling to mind classic girl pop groups. While it’s not a great departure from the first album (hence the title), it has a much lighter mood.

Volume Two features original songs penned by Zooey Deschanel as well as two covers – NRBQ’s “Ridin’ In My Car” and the Skeeter Davis song “Gonna Get Along Without You.” Zooey again takes lead vocal, though this time her voice melts more into the arrangements. The first single “In the Sun” features guest vocals by Tilly and the Wall, and it’s definitely one of the standout tracks. My personal favorites are the sweet love song “Home” and the a capella finale “If You Can Sleep.”

You can stream the entire album for free at NPR.

She & Him – Thieves (mp3 expired) *
She & Him – In the Sun (mp3 expired) *

*mp3s provided by & posted w/ permission of Merge Records

Buy @ Amazon

She & Him Official Site

Singer-songwriter David Myles will release his fourth album Turn Time Off on April 19th. The new songs flow through pop, folk, jazz, and blues, and back again. I’d never heard of David Myles until I received an advance of this album, but I’ll be sure to follow his career from now on.

From the opener “Out of Love” through the finale “I Will Love You,” most of the album is a mix of soft Americana and atmospheric pop. Myles’ languid voice and pop-folk melodies remind me of Alexi Murdoch and Peter Bradley Adams.

But there’s also a bit of jazz piano in “Run Away,” a touch of light r&b in “People Don’t Change” a splash of rockabilly in “Need a Break,” and a lil blues swagger in “So Far Away.”

The standout “Peace of Mind” simmers moody pop over a trip-hop beat with a blast of rock guitar.

David Myles – Gone for Long (mp3) *

*mp3 hosted by & posted w/ permission of artist’s PR rep

Buy @ Amazon

Singer-songwriter and didgeridoo virtuoso Xavier Rudd will release his new album Koonyum Sun on April 19th. As I said when I first posted the download link for “Love Comes and Goes” back in February, “with the exception of Hadestown and Allison Crowe’s upcoming Spiral, Xavier’s Koonyum Sun is my most anticipated album of 2010.” Until recently, I said that Xavier Rudd was my favorite contemporary male artist. After hearing this new album and thinking about his entire catalogue (two of his releases were on my Best of the Decade list), I must revise that statement. Xavier Rudd is my favorite artist, full stop.

The opener “Sky to Ground” initially seems to scale back to the simpler acoustics of Xavier’s earlier works, but the song soon bursts into a rock guitar riff recalling the harder sound of Dark Shades of Blue. The Koonyum Soon album as a whole is a beautiful, atmospheric marriage of these two distinct styles.

Many of the tracks – such as “Set Me Free,” the harmonica accented “Fresh Green Freedom,” and psychedelic folk-rock number “Bleed” – combine rock guitar thunder with haunting tribal percussion and chants. Weaved throughout are Xavier’s signature mellow acoustics, multi-faceted voice, and environmentally conscious lyrics.

The soft arrangement of “Love Comes & Goes” is certainly a familiar style for Xavier, but the post-breakup lyrical content is something very new for him. Xavier’s site says 2009 was “a tumultuous year” for him, and lyrics like “no other pain like losing a soulmate” and “picking up the pieces of a broken nest” indicate this song was inspired by the loss of a relationship. Whatever his motivation, Xavier has written the perfect anthem for the brokenhearted.

In contrast, the plucky buoyancy of “Time to Smile” seems to illustrate the joy Xavier feels when performing with his new band Izintaba. Izintaba is a new trio Xavier formed with South African bassist Tio Moloantoa and drummer Andile Nqubezelo, with whom Xavier says he shares an “an undeniable connection – musically, spiritually, and emotionally.”

With the exception of the finale “Badimo,” Xavier’s trademark didgeridoo is conspicuously absent this time around. It’s occasionally used to add texture to the percussion on other songs, but you have to listen very attentively to hear it. I do miss the deep sound of that unique instrument, but otherwise Koonyum Soon is yet another breathtaking masterpiece that’s sure to land Xavier Rudd at the top of my year end list again.

Xavier’s website is offering a free, legal m4a download of the new song “Love Comes and Goes” to anyone who signs up for his official email list at the following link:

Xavier Rudd – Love Comes and Goes (download page) *

*link provided by artist’s official newsletter, you must sign up w/ an email address to access the download.

Buy @ Amazon

Muruch’s Xavier Rudd Reviews

Xavier Rudd Official Site

Memphis singer-songwriter and upright bass player Amy LaVere is one of those wonderfully unique artists that was almost lost to me beneath the massive waves of music I’ve been hit by in recent years. I missed her at Mountain Stage last year, never got around to listening to her album, and had all but forgotten about her since then. But her dazzling performance on PBS’ Sun Studios series finally prompted me to check out her music, and what a wonder she turned out to be.

they fought through the morning & all of the day
she’d have to kill him to get him to stay
killing him didn’t make the love go away

The smooth studio production of Amy LaVere’s sophomore album Anchors & Anvils doesn’t quite capture the excitement of the live Sun Studios set, but it’s still a great album.

The lilting charm of Amy’s voice is certainly a big draw. Her beautiful inflections and unusual vocal phrasing remind me of both Billie Holiday and Emiliana Torrini. In addition to crooning with that fantastic voice of hers, Amy plays upright bass accompanied by drummer Paul Taylor and guitarist Steve Selvidge.

What really stands out about her music is the way she layers that gently curious cadence with instrumentation influenced equally by classic country and punk-rock. This terrifically twisted genre blend is a result of the traditional country music Amy heard as a child and the punk beginnings of her own musical career in the band Last Minute.

Most of the arrangements on Anchors & Anvils – such as “Time is a Train” and “Pointless Drinking” – lean more toward the country side of things, resting somewhere between bluegrass and Appalachian folk.

It’s the songs that veer from the traditional path that truly set Amy apart from everyone else. The stand outs tracks are the jazzy, sweetly venomous murder ballad “Killing Him,” the melancholy waltz “Overcome,” and especially the rhythmic, discontented housewife anthem “Washing Machine.”

the chains on the front porch swing
were creaking like steps in the dark
one day soon this is all gonna end

Amy’s new EP Died of Love finds her taking an even more interesting, slightly harder direction with her music. I hope she will continue this experimentation with psychedelic folk-rock on future albums. The EP includes a selection of traditional songs like “Railroad Boy (Died of Love)” and a cover Michelle Shocked’s “If Love was a Train.” There’s also a new, rocked up “reloaded” version of “Washing Machine.”

Archer Records has generously granted me permission to share both versions of “Washing Machine.” The first is the original from Anchors & Anvils and the second is the new rock version from Died of Love. If you like either track, I highly recommend purchasing both albums.

Amy LaVere – Washing Machine (mp3 expired)*
Amy LaVere – Washing Machine (Reloaded) (mp3 expired)*

*mp3s provided by & posted w/ permission of Archer Records for a limited time

Amy LaVere – Killing Him (Sun Studios) (YouTube Video)

Buy Anchors & Anvils @ Amazon

Buy Died of Love @ Amazon

Amy LaVere Official Site

Amy LaVere MySpace