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.
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.
Florence + the Machine’s third studio release, How Big How Blue How Beautiful is possibly the most aptly titled album ever with its big, brassy orchestral sound, beautiful vocals and wistful, poetic lyrics.
I am teaching myself how to be free.
Lungs and Ceremonials are among my all-time favorite albums and this new collection is a very worthy followup. I purchased the Target version of the album (yes a physical CD in a brick and mortar store!), which contains two exclusive additional tracks plus the Deluxe Edition’s four bonus tracks for a total of eighteen new Florence songs.
How Big How Blue How Beautiful bursts open with the singles “Ship to Wreck” and “What Kind of Man” before sliding into the gorgeously symphonic title track.
Standout tracks “Queen of Peace” and “Various Storms & Saints” recall the exquisite, operatic pop drama of Ceremonials before “Delilah” dances in.
The demo “Which Witch” is such a dazzling, intricately constructed piece of wonderment, it boggles my mind that it’s only a bonus track. It’s unfathomable that a song this good was not considered worthy of inclusion on the final album tracklist. Whether you purhase the Deluxe Edition as a whole or the individual mp3, you need to hear “Which Witch.”
The two Target bonus tracks are lovely, especially the finale “Conductor.” The song uses a symphony metaphor for a turbulent relationship and ends with the line “I am the orchestra, the conductor too. My heart is a concert hall and I filled it with you.”
With three magnificent albums under her belt, Florence Welch and her machine have cemented their place as my favorite modern band.
It’s here! And it’s magnificent! Brandi Carlile’s fifth studio album, The Firewatcher’s Daughter, was just released via ATO Records and it sure is somethin’ else. Recorded almost entirely as first takes without any demoing and little rehearsal, The Firewatcher’s Daughter is an unparalleled display of musical brillance.
We throw around the word “wail” so easily when it comes to big voices, but Brandi’s wail is a true, heart-in-throat keen so full of emotion it sounds on the verge of breaking yet so strong it deftly bends every note to her whim. And her longtime collaborators Tim and Phil Hanseroth (a.k.a. “The Twins.”) are with her every glorious step of the way.
“Wherever is Your Heart,” “Beginning to Feel the Years,” “Wilder (We’re Chained)” and the string-accented “I Belong to You” are the kind of beautiful ballads that would tug heartstrings no matter who sang them, but Brandi’s supernatural voice lifts them up to a celestial realm.
The album’s first single, “The Eye,” finds Brandi reigning in her extraordinarily big voice for gentler, sun-drenched, pop-folk harmonies.
“Things I Regret” is a deceptively uptempo, high energy road song that quickly builds, gaining momentum like a steam engine til the roaring finale.
Then “Mainstream Kid” throws a quaking, blues-rock stick of absolute dynamite on the tracks and blows the whole thing to hell. This woman can make Hendrix, Skynyrd, Ram Jam and Nirvana sound like soft jazz!
“Alibi” stays at full throttle rock level, but there’s an unexpected, subtle undercurrent of summery, California pop to the chorus melody that gives it a catchy and slightly disorienting swirl.
“The Stranger at My Door” is an intoxicating, mesmeric gulp of noir, a phantasmagoric masterpiece that bends the mind as much it does genre…like Johnny Cash fronting Led Zeppelin in a David Lynch movie then Trans-Siberian Orchetra jumps on stage to close with a freakin’ rock riff of “When Johnny Comes Marchin’ Home Again!” It is one of the greatest, most deliciously unusual songs ever constructed. Wow, just wow.
The album closes with a fitting cover of The Avett Brothers’ “Murder in the City.”
There is truly no one like Brandi Carlile at her fierce, brilliant best. She’s somehow simultaneously the heir to The Beatles, Janis Joplin and The Man in Black. I’ll be shocked if The Firewatcher’s Daughter isn’t my #1 album come December.