Fun Stuff > BAND
The M/F Thread 2009: The Quickening
Rubin:
Hey You beautiful people.
I'm doing a dj set in a cocktail bar in Copenhagen soon, and I'm thinking I'd do it purely in slightly-to-highly pornographic rock and roll, along the lines og EoDM, Grinderman and stuff like that. I have lots of ideas, but thinking as you can never have enough, I'm wondering if you guys have some ideas you'd throw at me!?
valley_parade:
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--- Quote from: valley_parade on 04 Jan 2008, 07:13 ---Boris - Vein (hardcore version)
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YESSSS BORIS THAT I HAVE NEVER HEARD BEFORE NOM NOM <BONER>
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Have you heard the droney version of Vein? I think I posted it back there..somewhere.
valley_parade:
It's getting so hard to find stuff I haven't either downloaded from here or have already uploaded. Here's some more goodies, three albums, two EPs and a live set from one of my favorite bands.
The Bye Bye Blackbirds - Apology Accepted EP
While hanging out with Yelley, Jason, and Patrick in California, we went to Amoeba Records in Berkeley. I found myself intrigued by the album cover for "Hollywood", which came out in '06. This is the only thing I've been able to find online (they have a higher bitrate version on their website). I like to think of them as a more mellow version of Teenage Fanclub.
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Chick Magnet 225 - '65 EP
This is the original incantation of my friend Noel's band, Next President. I think they put this out in '99? It was a few years before I met him, anyway. Next President is still playing some of these songs live (seeing that it IS 3/4 of Chick Magnet 225).
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The Lawrence Arms live @ The Fest 6
The sound quality is surprisingly good. This show was late in October '07, about a week and a half after I saw them in Boston.
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The Broadways - Broken Star
The Broadways were another one of the bands coming of the breakup of Slapstick in the mid-90s. See also: Tuesday, Smoking Popes, and Alkaline Trio. After the Broadways split up, Chris McCaughan and Brendan Kelly went on to form The Lawrence Arms, which explains the two Broadways covers on the live set above.
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Stan Getz & Gerry Mulligan - Getz Meets Mulligan
Two of my favorite West Coast jazz artists collaborating on an album. This is from 1957, so it's as old as my mom.
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Death From Above 1979 - Romance Bloody Romance: Remixes & B-Sides
There's a remix of "Blood On Our Hands" by Justice that ended up on a mix CD Emilio had made for me as a part of Secret Santa. I also really dig Sammy Danger remix of "Black History Month". It's DFA 1979, do you really need more info? I will tell you that most of the mixes are either of "Black History Month" or "Romantic Rights".
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valley_parade:
Jens, forget the title, are you looking at those sunglasses on the cover?
Tyler:
A whole lot of Will, Part 1.
The Continental OP - Slitch Music
Could not find a decent review, but this is golden. Grab it.
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Amalgamated Sons of Rest - S/T
--- Quote from: AMG ---In September 2001, Will Oldham, Jason Molina of Songs: Ohia, and Alasdair Roberts of Appendix Out met up in Louisville to record what would become this EP, a one-off project called Amalgamated Sons of Rest. Given the core trio of forlorn voices involved, this seven-song (including a bonus cut) album sounds like about what you'd expect: dark, wistful, and sparse. A general format is followed: One singer takes lead vocals and the other two add backup. The instrumentation is mostly acoustic, with drums and piano making brief appearances. Roberts starts things off with a reading of the traditional "Maa Bonny Lad." Oldham follows with an almost spoken-word interpretation of the whaling ballad "My Donal," while Molina completes the circle with his own brooding tale, "The Gypsy He-Witch." Roberts' "The Last House" and Oldham's "Major March" pass somewhat unnoticed, but the EP ends nicely with Molina's "Jennie Blackbird's Blues." The trio finally jelling, it's the only song that doesn't sound at all tossed off. (The EP ends in earnest with an obligatory-sounding hidden track, "I Will Be Good," which was written by Oldham and sees the trio singing in the round, trading off lead.) While there aren't a lot of surprises here, Amalgamated Sons of Rest is a pleasant enough curiosity for fans of any of these three indie folk standard-bearers.
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Dutch Harbor: Where the Sea Breaks Its Back - Original ST (Boxhead Ensemble)
--- Quote from: AMG ---The collection of musicians on this album is incredible: Jim O'Rourke, David Grubbs, Douglas McCombs, and many others. But, despite the caliber of the performers, something seems to be missing. This album was recorded as the soundtrack to the movie Dutch Harbor, and consists of improvised pieces recorded in one day. The film is a documentary about the fishermen of Alaska, and some of the scenes are rather bleak and depressing, but unfortunately most of the music is as well. This is not to slander gloomy music, but the compositions on this album are depressing from a thematic standpoint. There is no doubt that this is a collection of more than apt musicians, but the feeling perpetuated on this album is one of over-electronic and expansive monotony. This music might be ample accompaniment to the film itself, but lacks concrete direction and enthusiasm. The mere comparison of this effort to Last Place to Go, the improvised pieces taken from the movie's European tour, evidences the disappointing nature of the original soundtrack. Both O'Rourke and Grubbs experiment with ambient, synthesized guitar sounds on tracks like "Introduction" and "Ship Supply" to no avail. The highlights of the album come with the more organic sounding "At Sea," "In Closing" and the Will Oldham composition, "Ebbs Folly." Despite these high moments of more inspired playing the lack of continuity remains. Perhaps if more time had been allotted to record this album better results might have resulted. Although admirable for its completion in one day, the Dutch Harbor Original Soundtrack could still use some work.
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Palace Brothers - There Is No-One What Will Take Care of You
--- Quote from: AMG ---Will Oldham's first album under the Palace rubric, There Is No-One What Will Take Care of You, seemed to emerge from under a cloud of mystery on its first release in 1993. The first edition had no credits save a list of names under the heading "Impossible Without," leading to all manner of speculation in the indie community about who was responsible; the album sounded as if some ancient songsters who had somehow escaped Harry Smith's attention years before had recorded a session in their living room, which somehow found its way to the offices of Drag City. On There Is No-One What Will Take Care of You, Oldham sounds like a lost-lost cousin of the Louvin Brothers who, after ending up on skid row, is equally convinced that Satan is real, since he smells his foul breath every waking moment of his life. Oldham's stark, intimate tales of sin, lust, alcohol, and hopelessness are fascinating, horribly compelling stuff, and while it would be easy for this material to sound ironic or condescending, it isn't -- Oldham makes his characters' shame, confusion, and desperate search for grace real and genuinely moving. There Is No-One What Will Take Care of You may not be the best Palace album, but it is the work where Will Oldham's obsession with sin and redemption shines forth with the most painful and absorbing clarity.
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Palace Brothers - Days in the Wake
--- Quote from: AMG ---The second album from Palace Brothers would seem to barely qualify on either count -- at a shade over 27 minutes, Days in the Wake seems a bit skimpy in the era of the 80-minute CD, and only one song, "Come a Little Dog," clearly features any musicians besides Will Oldham and his rickety acoustic guitar. But the stark simplicity and audio vérité ambience of Days in the Wake builds on the already dramatic emotional power of There Is No-One What Will Take Care of You, and if Will Oldham's obsession with sin and retribution is less forcefully stated in these songs, that's not to say it isn't clearly present on most of these songs, especially the cautionary tale "You Will Miss Me When I Burn," the mournful but fiercely proud "No More Workhorse Blues," and "Pushkin," which begins with the declaration "God is the answer/God lies within," without making it sound like a concept in which Oldham can take much comfort. Oldham's lyrics would become increasingly cryptic from this point on, but while the literal meaning of songs like "Wither Thou Goest" and "I Am a Cinematographer" is elusive, the emotional power of these performances is as eloquent as anyone could hope for. Days in the Wake is the simplest work in the Palace canon, and among the very best. (Days in the Wake was originally released simply as Palace Brothers.)
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Tortoise and Bonnie 'Prince' Billy - The Brave and the Bold
--- Quote from: AMG ---Well, this one is a surprise. The Brave and the Bold is an all-covers collaboration between Bonnie "Prince" Billy (Will Oldham) and Tortoise, and it's got a set of songs that has to be among the most eclectic of any such project, ever. From Melanie to Devo to Richard Thompson to Lungfish to Milton Nascimento, this is one interesting mix. Some of the songs are done reasonably faithfully to the originals. "Some Say (I Got Devil)" is so faithful that the gender is left intact! And while "Cravo é Canela" keeps the rhythm and melody of the original, it benefits from beefed-up instrumentation, great production, and a surprisingly spirited Portuguese vocal from Oldham. "Love Is Love" trades the guitar grind of Lungfish's original for an industrial synth sound. Others are completely transformed, like the brooding "Thunder Road" and the newly ominous "Daniel." The Minutemen's "It's Expected I'm Gone" loses its tense punk rock edge but gains a great "out" solo section, and the cover of "Calvary Cross" is fantastic, but they should have let the guitar outro go on longer. This is a fun project to be sure, but don't expect more than that. It sheds a bit more light on what kind of eclectic music fans these guys are, and shows that Tortoise are consummate musicians, able to tackle virtually any style convincingly. It's not the new Tortoise album (that comes later in 2006), and it's clearly not your standard Bonnie "Prince" Billy effort, either. Approach it as a slightly goofy one-off, and you won't be disappointed.
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Matt Sweeney and Bonnie 'Prince' Billy - Superwolf
--- Quote from: AMG ---Will Oldham's musical personality is strong and distinct enough that when he collaborates with another artist, with rare exception he firmly takes the lead (whether or not that was the intention). And while guitarist Matt Sweeney (formerly of Chavez and Zwan) gets equal billing with Oldham's alter ego Bonnie "Prince" Billy on 2005's Superwolf, one listen confirms that this is primarily Oldham's work, with Sweeney obviously second in command. (The liner notes state that Oldham wrote the lyrics and Sweeney wrote the music, though to these ears Sweeney is either remarkably gifted at channeling Oldham's musical notions or the lyricist passed along a few melodic ideas as well.) However, this isn't to say Sweeney's presence isn't strongly and clearly felt here -- Superwolf exists in a musical landscape very much like Bonnie "Prince" Billy's earlier recorded work, such as Ease Down the Road and I See a Darkness, but Sweeney's periodic interjections of hard guitar lines give this a firmer musical texture and a stronger structural backbone than one might expect. Also, with Sweeney on hand, Oldham has kept some of his less appealing musical eccentricities in check -- this is one of his strongest and best-focused works in years, with the slow tempos adding drama to songs that manage to go somewhere in dramatic fashion despite their deliberate pace, and Sweeney's spare but evocative guitar lines fill the spaces without cluttering the frames. Even if Oldham ends up being front and center on Superwolf, the results make it clear the man works best with a strong collaborator, and it's hard not to hope Oldham and Sweeney continue to work together in the future.
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Will Oldham and Rian Murphy - All Most Heaven
--- Quote from: AMG ---One of the more perplexing of Will Oldham's between-album projects, All Most Heaven is also one of the most satisfying once fully digested. A joint release with well-traveled Chicago sideman Rian Murphy (who produces here), this release is the lighthearted counterpart to the somber and prayer-like Get on Jolly EP, which was released around the same time. Grandiose and overblown in almost every way except it's length, this four-song, bite-sized EP has the sound of a Disney movie soundtrack. Arranger Jim O'Rourke leads an indie rock all-star team which includes a good chunk of Drag City label roster -- from Smog's Bill Callahan to David Grubbs to Edith Frost -- not to mention Stereolab's Laetitia Sadier and Archer Prewitt. On top of this lush, intentionally overwrought musical backdrop, Oldham, with his trademark warble, belts out some of the best nonsense verse since Lewis Carroll, which, hilariously, is printed on an enclosed lyric sheet. (Sample: "fame I'd a said all a ba hoo/fame all a nod is a game/a fagen horror/and a low berra don.") The effect of all of this, because Oldham only just hints at actual English words, is that not only do you hear something different instrumentally with each listen, but you hear different words too. For those willing to put in the effort, All Most Heaven has one of the best four-song payoffs of anything in Oldham's canon, not to mention a ridiculous must-see rear cover showing he and Murphy leg wrestling.
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Palace Music - Arise Therefore
--- Quote from: AMG ---Once again, Will Oldham emerges out of the murky, Midwestern haze with another helping of lovely, low-key musings on his fourth full-length album, Arise, Therefore, this time recorded under the name Palace Music (previously Palace Brothers, Palace Songs, or just plain Palace). Much quieter than Viva Last Blues and less-Appalachian in its folk spirit than Palace's earlier music, the songs on Arise, Therefore shift and moan with breathy cracks and shivers; Oldham's meandering, poet-speak vocals; and guitar accompanied by his brother, Ned's bass, David Grubbs' piano, and (surprise!) a Maya Tone drum machine. The lyrics (included for the first time) are beautiful in their stark, pale honesty as often as they are indecipherable. "I watch things painted on public walls/Now but I see other things as well/Behind but right f*ck in front of my spirit is how the real road's laid out in a line," he sings on "Kid of Harith." Don't ask for an interpretation: It will come with time, or it won't.
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Palace Music - Viva Last Blues
--- Quote from: AMG ---This incarnation of Palace, one of its more impressive, sees frontman Will Oldham turning out some of the strongest bleak country-rock in his career and taking the music in a few intriguing and even upbeat directions. With a great supporting cast that includes, among others, Sebadoh's Jason Loewenstein on drums and Oldham's brother Ned on bass, the group busts out laid-back twangy tunes that can really rock when the opportunity comes up. Most notably, tracks like "Work Hard/Play Hard" and the opening "More Brother Rides" are brimming with energy that may not overwhelm, but certainly provides a hefty backbone. Alternately, slower brooding tracks like the longing "New Partner" see the band proving their chops in a more refined setting. Oldham's cracking backcountry voice may be a bit of an acquired taste, but it's worth the time, as his inflections are capable of powerful feelings and certain honesty. The Palace team has put out many a record, but as far as accessible and slightly upbeat musical ruminations go, Viva Last Blues certainly sees the players near the top of their game. Things are a little thicker and dirtier than on the more laid-back acoustic records this prolific artist has put out, but the rock approach adds worlds to the delivery and creates a powerful palette for the equally important lyrics. Oldham is a truly underrated American talent, and this is among his best work, so take the time to find it.
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Palace Music - Lost Blues and Other Songs
--- Quote from: AMG ---Despite the overall excellence of albums like There Is No-One What Will Take Care of You and Viva Last Blues, Will Oldham tended to save his best Palace offerings for the group's singles; Lost Blues & Other Songs is a career-capping collection of those 7" releases which serves as a superb overview of the Palace project's mercurial history. Although a few stray tracks (like the German-only "Gezundheit," a cover of Lynyrd Skynyrd's "Every Mother's Son," and the live Lounge Ax single) are MIA, the set includes all of the truly crucial Palace singles from the first (1993's "Ohio River Boat Song") to the last (1997's "Little Blue Eyes"), along with unreleased material like "Valentine's Day," "Lost Blues," and a more ragged rendition of the debut album's classic, "Riding." The highlights are many, but the true standouts are the anthemic cover of the Mekons' "Horses" and both sides of the "West Palm Beach"/"Gulf Shores" single, a luminously pastoral effort reminiscent of Red House Painters. A stunning recapitulation of a truly unique musical vision, Lost Blues & Other Songs is an essential record from an essential band.
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