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The M/F Thread 2009: The Quickening
gospel:
Iron and Wine - Around the Well
"Love Vigilantes" (AMAZING Cover) - YouTube
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--- Quote from: allmusic ---Named after a lyric from "The Trapeze Swinger," Around the Well collects two discs' worth of B-sides, rarities, soundtrack inclusions, and discarded tracks from the Iron & Wine catalog. Such compilations can be tricky to assemble, but Around the Well is both comprehensive and conveniently presented, with each disc representing the two amorphous halves of Iron & Wine's career. Disc one is limited to the group's early days, featuring the soft bedroom whispers, homespun acoustics, and resolutely lo-fi production that fueled Sam Beam's home recording sessions. Material from those same sessions would later pepper the set list of The Creek Drank the Cradle, but Around the Well pays attention to the songs that were cut from the album, offering several gems amidst a constant dream of pleasing, stay-in-bed songcraft. Meanwhile, the second disc highlights Iron & Wine's shift from intimate solo project to collaborative indie folk affair, beginning with the Our Endless Numbered Days sessions and culminating in the pastoral psychedelia of The Shepherd's Dog. Some of these selections are already familiar to Iron & Wine's most fervent fans, including Beam's cover of "Such Great Heights" (heard on the Garden State soundtrack, as well as an oddly kaleidoscopic M&Ms commercial) and the gorgeous concert staple "The Trapeze Swinger." Nevertheless, the compilation does offer some surprising inclusions -- just listen to the piano-fueled barroom strut of "Kingdom of the Animals," or the vaguely Middle Eastern experimentation of "Arms of a Thief" -- and Around the Well serves as a helpful reminder that a discarded Iron & Wine song is still better than many fine-tuned cuts from similar bands.
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Ray LaMontagne - Gossip in the Grain
"Sarah" - YouTube
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--- Quote from: allmusic ---Ray LaMontagne's third album, Gossip in the Grain is as different from 2007's Till the Sun Turns Black as that album was from 2006's Trouble. The deep, heart-of-night atmospherics of the preceding disc have been jettisoned in favor of a brightly lit palette of textures and instruments that legendary producer and multi-instrumentalist Ethan Johns uses to illustrate LaMontagne's considerable ambitions as a writer. The set opens with the singer channeling his inner Memphis soul man on "You Are the Best Thing." Horns, strings, and a female backing chorus underscore LaMontagne's heartfelt uptempo rasp that touches on Sam Cooke as much as it does Tim Buckley with a hook worthy of Stax/Volt. In terms of sequencing, it certainly grabs the listener, but it is also arguably the best track here. "Let It Be Me" follows with a folksier, looser soul groove, where acoustic guitars, a Telecaster, piano, and strings underscore the hypnotic lilt in the verse. But LaMontagne can write a coda and a bridge and he gets his voice right into the meat of the lyric. We may have heard lyrics of this type a thousand times before, as they evoke loneliness and longing, but rarely have they been expressed this authentically and this dramatically. Echoes of Van Morrison's Astral Weeks are apparent in the gorgeous chamber jazz of "Sarah," and eerie, psychedelic British Isles folk -- complete with an otherworldly pedal steel -- haunts the grooves on "I Still Care for You." LaMontagne and Johns are able to create varying yet webbed atmospheres in these songs. Ray can find a style and write in it as if he'd created it. Johns adds so much depth and dimension in the mix that it feels as if both singer and songwriter will never be able to extricate themselves either from the emotional intentions expressed in his lyrics, or from the sound itself. The most notorious track on this set is the humorous yet tender "Meg White," for the White Stripes' drummer. With its imaginative use of an Ennio Morricone-esque spaghetti western intro, Johns playing Wurlitzer and Mellotron, a Pink Floyd cadenza, and drumming of the sort White trademarked, it's no throwaway; add to this a seemingly sincere offer of friendship and empathy and there is an undeniable emotional appeal. "Hey Me, Hey Mama," has a back porch singalong feel, and features a banjo, trombone, and trumpet. The rambling free-form blues of "Henry Nearly Killed Me, (It's a Shame)" touches on Canned Heat, John Lee Hooker, and the Rolling Stones; it's another high point here.
Gossip in the Grain is LaMontagne's most adventurous recording, yet in many ways it's also the most focused and well executed. The partnership with Johns has become almost symbiotic at this point; his songwriting has become so confident, sure, and expressive -- despite the ready intimacy in its subject matter -- that he's become a kind of force majeure. One thing is certain, that given the consistency and vision LaMontagne has shown on all three albums, punters are certain to follow him wherever he goes next.
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Port O'Brien - Threadbare
"I Woke Up Today" - YouTube
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--- Quote from: allmusic ---Port O'Brien's 2007 debut helped established the nomadic collective in the upper tier of the wind-swept, Pacific Northwest folk scene. Like Fleet Foxes or Blitzen Trapper, the band's penchant for dreamy, reverb-heavy forays into the wilds of the rainy Northern California coastlines elicited numerous comparisons to indie folk demigods like Will Oldham and Jason Molina, and their blue collar day jobs (crabbers, bakers, and canners) brought an authenticity to the songs that most landlocked bands looking for the ocean in a cornfield with a conch shell lack. 2009's Threadbare follows in its predecessor's wet footsteps, and the death of a bandmember's sibling casts a long shadow over the project that sadly meshes beautifully with the outfit's sparsely delivered, yet emotionally rich sound. Bookended by a pair of oddly infectious laments called "High Without the Hope 3" and "High Without the Hope 72," Threadbare is most compelling when it's operating at half speed. Stand-out cuts like the aforementioned "High Without Hope 3," "Next Season," and the brooding title cut feel distinctly of the moment, and while the more upbeat tracks on Threadbare are competent and downright catchy, they're ultimately engulfed by the fog from which they were born.
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If the latest Detritus album, Things Gone Wrong, "accidentally" appeared here--well--I wouldn't complain. /awkward cough
JD:
Alas I Cannot Swim-Laura Marling[2008]
--- Quote ---Due to her youth (16 when she first hit Myspace, 17 when signed to an imprint of EMI, and 18 when her debut album came out), perky-cute looks and extremely British diction, singer/songwriter Laura Marling got a lot of comparisons to Lily Allen in her early buzz, but the quietly compelling Alas I Cannot Swim is not at all a frothy pop confection. A folk-tinged AAA pop record based on Marling's alluringly husky voice and graceful acoustic guitar, Alas I Cannot Swim would be more aptly compared to the likes of Feist, Keren Ann, or Regina Spektor. (In the album's press kit, Marling reveals her primary influence to be Bonnie "Prince" Billy, which also seems appropriate.) Although not to draw too forbidding a comparison, opening track and first single "Ghosts" is most strongly reminiscent of Joni Mitchell circa For the Roses, both in Marling's expressive vocal phrasing and the expert shifts in the arrangement between solo acoustic passages and full-band sections, not to mention an excellently deployed string section. That old-school '70s singer/songwriter vibe predominates throughout the album, in fact. There's one straight-up pop song here, the deceptively chipper-sounding "Cross Your Fingers" ("...hold your toes/We're all gonna die when the building blows" continues the sweetly sung chorus), but aside from that, Alas I Cannot Swim is the kind of album that takes a couple of listens for its charms to completely sink in. Rather than swath every track in prominent, ear-grabbing hooks, Marling and producer Charlie Fink choose to keep the decorations off in the distance on songs like "The Captain and Hourglass," where swells of pedal steel stay buried deep in the mix under Marling's hypnotic guitar line and quietly insistent vocals. There's every chance that Laura Marling will get lost in the shuffle as the unexpected commercial success of Feist's The Reminder leads major labels to unleash hordes of similarly talented female singer/songwriters, but Alas I Cannot Swim is far better than the average coffee house-endorsed girly pop.
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Between this and Alela Diane, I seem to be on a bit of a folk binge
gospel:
--- Quote from: Zombiedude on 16 Oct 2009, 20:14 ---Between this and Alela Diane, I seem to be on a bit of a folk binge
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Nothing wrong with that!
And thanks for the album.
E. Spaceman:
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JD:
/thread
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