Fun Stuff > BAND

The M/F Thread 2009: The Quickening

<< < (769/810) > >>

Weepie McGee:

--- Quote from: SirJuggles on 03 Dec 2009, 13:44 ---So it's supposed to go track 1-2-3-4-5-12-13?

--- End quote ---

dang.  no.  i'll re-up.

dignan:


Larkin Grimm - Parplar (2009, V2 mp3 files with album art)

Saw this lovely young lady open up for the Mountain Goats last week, and I was impressed and bought the vinyl. She looked like she was 6-foot-eight on stage, and starkly beautiful. Some seriously messed-up freak-folk, with plenty o' weird instruments, but in spite of that a minimalistic feel. Lyrically, I am not certain that there is any body part that does not get a mention here, but somehow manages to avoid being (too) gross. The first, nearly-acapella song gives me creepy chills: "Who told you/You're going to be alright?/Well, they were wrong, all wrong/And in my mind, you are already gone." If Syd Barrett meets Bjork Gottmundsdottir in a wiccan commune in the woods of the Northeast U.S., these songs might be their sacred hymns.


--- Code: ---http://www.mediaf!re.com/?zc3l040ymen
--- End code ---

JD:
William Fitzsimmons - The Sparrow And The Crow[2008]

(8 out of 10)

--- Quote ---It’s taken me a hell of a long time to feel comfortable enough to sit down and write this review. William Fitzsimmons was a name I had heard of a few years due to the track “Funeral Dress”, an incredibly beautiful track that stuck with me. When I saw his name on the review list I instantly chose to be the one who got his CD. Now, singer-songwriters don’t make up the bulk of my collection, in fact a quick scan will show they fall somewhere behind ‘80s Synth Pop’ and ‘Hair Metal’, so any comparisons I draw may seem simplistic and I apologise.

The Sparrow and Crow is honest, crushingly so in fact. No-one is going to be having any major problems working out what Fitzsimmons is singing about, and this adds to the discomfort of the listening experience. The album is the result of the break-up of his parents’ marriage, followed by the break-up of his own, and it is understandable that he would want to write this album. Rarely have I listened to a piece of music that has allowed me to feel what the songwriter was feeling at the time with such clarity. Again, this is as far from easy listening as it is possible to get. You don’t just have this on in the background, it reels you in and you are consumed by it.

This is not to say that Fitzsimmons has sacrificed his ability to write beautiful music in his new confessional songwriting style. Just Not Each Other is both simplistic and devastatingly beautiful, praise I seldom give music. Comparisons with both Bon Iver and Elliott Smith seem inevitable, and to my ears are wholly justified. However, The Sparrow and The Crow sounds more polished than most of Smith’s early work and certainly more so than Bon Iver’s ‘For Emma, For Ever Ago’, yet it is lyrically more raw, ignoring symbolism and analogy in favour of straight up honesty. This juxtaposition of music and words makes the message that much more powerful.

Despite the subject matter of the album it never feels over self-pitying or self-absorbed. While this may be a hard album to listen to, I’m sure it was a harder album to write and release. We should be thankful that Fitzsimmons did, because it is a fantastic album. After Afterall a re-working of the closing track from his previous album, is a haunting way to start the album, and to finish the album with the optimistic Goodmorning Fitzsimmons finds a way to almost make the listener forget about the pain and agony of the proceeding 11 tracks.

This is an album that will stay with you for a long time and rightly so, it is a beautiful CD.
--- End quote ---


--- Code: ---http://www.mediaf!re.com/?2igmzn0xyyt
--- End code ---
After Afterall

ADRIAN WOODHOUSE:
LITTLE TEETH - child bearing man

sounds like : folk/pop/crazytown-gypsies








--- Quote ---Little Teeth create a Bohemian-pop rhapsody on their latest album, Child Bearing Man that has a gypsy punk clamor liken to Gogol Bordello with avant folk splashing and glam-pop histrionics reminiscent of The Dresden Dolls. No matter how many times you play Child Bearing Man, the album always sounds like a music student’s project with the goal to incorporate all of the classmates instruments into the compositions. It does not matter how out of key the vocals are, or how much the banging in the movements veer off-kilter, as long as everyone is accounted for that is all that matters.

The San Francisco based trio of Little Teeth did just that with lead singer Dannie Murrie’s vocals creaking at every point. Ammo Eisu’s drumming and cello and violin chords trundle at a metronome that ticks to its own internal timing, and Andy Tisdall’s banjo shuffles and bass thumps mousy through the melodic phrases like a rolling bale of hay skidding across a field. There are overtones of bluegrass and country when Tisdall’s banjo and Murrie’s mandolin and accordion keys spin off into jamming whirlies, but most of the album has a gypsy punk folk fluster that have a tattered make-up and toy-like chimes giving the tunes a great amount of playfulness and wobbling. The gypsy punk rumples of “Oh Drag” have the kiddy-toy chimes of The Sippy Cups but with the adult handling of The Flaming Lips. The bluegrass shindig of “Applegate” is sleeved in showy flails with a square dance/hootenanny pace and a gypsy propped cadence.

The album delves into an avant art-pop tunage in “OHM” and “Livers & Heart Disease,” while the country shades of the banjo in “Between My Ears” are backed up by traditional toe tapping rhythms. The lyrics in “Between My Ears” show the band’s penchant to use symbolism and figurative expressions in their verses like, “Could’a held my hand / But busy fingers played a note with no repair / It’s the piece of promise there that was tangled in my hair.” Murrie’s vocal blemishes are not only apparent but exaggerated by her hoarse timbres. The slow drifting acoustics of tracks like “Good Girls and Boys” “White Houses,” and “Japanese Candy” are gently whisked while strolling along a carousal ride’s axel. The band executes circus-like stylistics and theatrics that recall of Vagabond Opera producing a brigade of instruments. The clicking beats of “Sideways” are ribbed by whiny strings which create a Bohemian vibe, and then smoothen to a satiny texture on the wind-chimed fillings of “Terrible News.”

Little Teeth may only be made up of three people but their brigades have the might of thirty. They exude a Bohemian-pop playfulness in their songs that is totally off-beat and skewed far from mainstream. Child Bearing Man is original without a doubt, and music that you would expect from a student becoming acquainted with the building blocks of tunesmith, and Little Teeth do not purport to be anything more that that.
--- End quote ---
  from absolutepunk.net




--- Code: ---http://www.mediafire.com/?yymnzzkli05
--- End code ---

gospel:
What a fantastic page. The William Fitzsimmons seems especially good thus far, and the Little Teeth is quite interesting. The few folk/gypsy albums earlier weren't bad either.

EDIT: I concur with the Larkin as well. Somehow, I almost missed it; glad I didn't.

Navigation

[0] Message Index

[#] Next page

[*] Previous page