Natten (“The Night”) is a beautiful album of ambience and improvisation from Denmark duo Bremer / McCoy. Written and recorded straight to tape, with no room for second takes, the album becomes meditations and explorations for the bassist (Bremer) and keyboardist (McCoy).
The title track, written by McCoy as he watched a Swedish sunset, opens the record with groovy organ that reminds one of riding in a taxi from the airport into a quiet city as the night emerges. “Mit Hjerte” and “Gratitude” have bright, shining piano from McCoy. “Hjertebarn” sounds like something Vince Guaraldi might’ve dreamed up one night in his studio.
“Nu og Altid” and “April” are dreamy, drifting tracks. “Aurora” and “Nova,” on the other hand, are trippy, cosmic chill-outs. “Måneskin” effortlessly drifts into “Natten (Part 2)” – a welcome return on our relaxing journey – before we end with the sexy and subtle “Lalibela.”
This whole album blends together for an intoxicating sound that lingers with you for a while after you hear it. It’s a delight.
Thanks to all who listened to my Deep Dive of My Bloody Valentine and then two hours of eclectic stuff on Nocturne. Here’s my Nocturne set list in case you weren’t able to stay up until 1am Eastern time.
Thanks to all who listened to my Deep Dive of Ernest Tubb last night from 8pm to 11pm, and then three hours of my Nocturne show until 2am. It was nice to have a lot of listeners enjoying everything from classic country to Tuareg music. Here’s my Nocturne set list for all interested.
It’s easy to write nowadays that albums released this year are reflective on the trying times of the previous year (that still persist into this year and probably 2022), but Blackwater Holylight‘s new album, Silence / Motion, captures the ache of those times like few others. It’s at times sorrowful, other times euphoric.
The album opens with dark, folk-like sounds of gray sky guitars and violins before it turns into a heavy, doomy growler on “Delusional.” Lead singer Allison “Sunny” Faris sings “I can’t describe this pain I wear. It suffocates and you left it here.” on “Who the Hell,” a gut-wrenching song about loss. The title track winds around you like a ghost that desperately wants you to understand why she can’t leave this plane just yet. Sarah McKenna‘s synths on it are like the sound of that ghost piercing the veil.
“Falling Faster” starts off sounding like a gothic ballad and then McKenna’s synths brighten it up to almost a synthwave track you’d hear on late night 1988 public access television. “MDIII” is mixes ethereal vocals with buzzing guitars from her and Mikayla Mayhew. I love the guitars on “Around You,” which are solid shoegaze riffs. The album ends with the psychedelic, heavy, and spooky “Every Corner.” Eliese Dorsay saves some of her best chops for the end, pounding out metal chops with the urgency of a fierce warrior.
It’s a haunting album. I mean, the cover image alone should tell you this. The sound of it gets under your skin and in the back of your head, creeping around for a long while.
Keep your mind open.
[Move on over to the subscription box while you’re here.]
Constructed from a lot of improvised jam sessions, Parquet Courts‘ new album, Sympathy for Life, continues to embrace the band’s love of dance music and club rock.
Starting out with the groovy, bad-ass “Walking at a Downtown Pace,” the band makes you want to dress up, throw on some sunglasses at night, and strut your stuff on the way, at, and back from the club. The bass line is killer, the guitars a bit frantic, and the drums downright wicked. The song, like all the others on the record, was written before the pandemic, but now takes on an altered meaning post-pandemic. The lyrics are brutal truths: “I’m making plans for the day all of this is through…Food that I’ll taste and all the drinks that I’ll consume, return the smile on an unmasked friend…” / “Walk at a downtown pace and treasure the crowds that once made me act so annoyed.” / “Planning the future as if time is yours to choose.”
“Black Widow Spider” is a rocker about intense grief and trying to move beyond it. Believe me, I get it. “Marathon of Anger” brings in more synthesizers and electronic beats to create a dub-like banger about all of us getting back to the work of supporting each other after being separated for so long. “Just Shadows” is a tale of becoming addicted to routine, and how that gives you the false impression that you’re happy and everything is go well.
The beats on “Plant Life” would fit right in on a Talking Heads record. “Application Apparatus” is a song about the benefits and creepiness of GPS mapping – told with post-punk electro dance beats and guitar. “Homo Sapien” cranks the distortion for a song about how we’ve evolved from ancestors who beat stones into tools to people who crave “the sensual touch of glass, so smooth on the fingertips, the erotic quality of not feeling meaningless.” The title track seems to have been recorded with the ghost of Curtis Mayfield in the studio – it’s that groovy.
“Zoom Out” encourages us to look at the bigger picture (“When you zoom out, tomorrow is now. When you zoom out, together is now.”) – and to dance. “Trullo” is a weird, funky, skronky tale about cabin fever. The closer, “Pulcinella,” is a tale about being hesitant to embrace love again, especially after a long time away from it (“…the mind wanders home like a cat does when it knows it’s time to feed again.”). Again, I can relate.
The album is a clever mix of excellent lyrics, funky beats, and the promise of more epic things to come. Two of the tracks, “Marathon of Anger” and “Plant Life” were edited down from forty-minute jam sessions. I hope they kept recordings of them, because I’d love to hear those. How about releasing them to start afresh in 2022, PQ?
Hailing from Bern, Switzerland, The Monsters are punk giants in their homeland who make unapologetic trash rock, as is evidenced on their newest album You’re Class, I’m Trash.
The album opens with the explosive “Gimme Germs,” and sets the tone for the whole record. You barely have time to breathe throughout it. “Smell My Tongue” belongs on a soundtrack for a John Waters film with its trashy lyrics and frantic pounding. “Carpool Lane” borders on sludge rock. “Dead” cranks up the fuzz on the guitars and vocals (Them yelling “Dead!”).
The guitars on “Stranger to Me” sound like angry hornets. “Blasphemy” is equally angry. “Yellow Snow Drink” is almost goth-country, and “Electro Bike Asshole” is back to the fiery punk (and might be the best punk song title of 2021). “Get Drunk on You” must slay live because it flattens your immediate surroundings coming out of your speakers as they subtly sing about oral sex with lyrics like, “I eat you, baby, and you eat me.” “I Love You” is a love song sung by a madman.
“Devil Baby” could fit into a 1960s Italian horror film (especially with the creepy opening piano chords) or an occult biker movie (with the wild guitars) with ease. “My Down Is Your Up” sounds like something Mr. Bungle wishes they’d written. The album ends with another, even spookier version of “Dead,” a live version of “Gimme Germs,” and the title track – which sounds like a runaway train in which the musical entertainment in the dining car is a zombie DJ playing scratched records.
Recorded in a week in a small studio in Benton Harbor, Michigan, Protomartyr‘s third album, The Agent Intellect, is almost bursting at the seams with powerful energy.
Opening cut “The Devil in His Youth” feels almost like an early New Order track with its urgent guitars from Greg Ahee. His riffs on “Cowards Starve” take on a slight shoegaze touch as Joe Casey sings about the dangers of social pressures (“If you think about them all of the time, you’re gonna find that your head’s been kicked in.”). I once read a YouTube comment that described Protomartyr as “Three guys playing post-punk riffs, and a guy with some cans of beer in his pocket walks onstage and just starts talking, and band keeps playing.” That’s not a bad little description of their live shows, and not a bad description of the sound of “I Forgive You.”
“Boyce or Boice” seems to be a tale of coming to grips with aging and past sins. Then again, “There’s no use bein’ sad about it. What’s the point of cryin’ about it?” Casey chants on “Pontiac 87,” perhaps the most post-punk track on the record (judging from Scott Davidson‘s bass riff alone). “Uncle Mother’s” guitar fuzz is quite good, and I like the way it’s complimented with a slight distortion of Casey’s vocals. “Dope Cloud” is hazy, yet a bit frantic (a style that Protomartyr can pull off seemingly without effort).
“The Hermit” catches you off-guard with its soft start before Alex Leonard unleashes his drums and the rest of the band almost scrambles to keep up with him. “Clandestine Time” sounds like an out of control clock with its weird beats, Leonard’s cymbal crashes, Davidson’s bass notes that sound like heavy bells, and Ahee’s guitar acting as the whirling gears within it. Casey’s voice is the alarm.
The trembling beats of “Why Does It Shake?” match the simmering panic in Casey’s lyrics about trying to hold onto sanity while the U.S. (in 2015) was on the verge of madness as it approached an election that would turn the country upside-down. Casey’s vocals are pulled back (in terms of volume, not depth) on “Ellen,” while his bandmates move forward in a track about waiting for a love that might not ever show up. The closer, “Feast of Stephen,” has, as far as I can tell, nothing to do with Christmas and everything to do with big riffs and vocals that bounce off the walls behind you and flatten you twice.
It’s a record you can get lost in and probably find different nuances in the instruments and meaning in the vocals every time you hear it. Not many bands can do that. Then again, not every band is Protomartyr either.
Located at 417 Broadway in Nashville, Ernest Tubb Record Shop is a must-visit place if you’re a fan of record stores, classic country music, or music history. It’s been in business since 1947 and has hosted a long-running live music program that has featured classic and modern artists for decades.
The place is a gold mine of country vinyl, CDs, and books covering classic country and modern country artists. You’re in the wrong place if you can’t find your favorite country artists here.
The place is also a museum of Ernest Tubb, Loretta Lynn, and other stars’ memorabilia, including stage-worn outfits, instruments, and the original stage where Tubb’s live radio program was broadcast.
I scored an Ernest Tubb album and a Wanda Jacksonanthology while I was there. There’s plenty more I would’ve bought if I’d had more money and time. Be prepared to spend some cash and wonder while you’re there.
I finally got back to WSND during Thanksgiving break at the University of Notre Dame, and they let me spin for three hours instead of two. Here’s what I spun that night.
Come back soon, as my Deep Dive shows will return in a couple weeks on WSND. The first Deep Dive will be into the career of country legend Ernest Tubb.
The Big Ears Music Festival returns March 24-27, 2022 to downtown Knoxville, TN with its most adventurous and multi-dimensional line up to date. The four-day weekend will feature over 100 concerts—gathering groundbreaking composers, virtuoso instrumentalists, singular bands, improvisers and DJs, icons, and upstarts—creating an exhilarating and kaleidoscopic musical experience like none other.
This year—returning for the first time since 2019—Big Ears is upping the ante. Boundary-pushing rockers from Sparks and Kim Gordon to Animal Collective and Efterklang; a mind-expanding journey into the rich musical world of New Orleans and the deep Haitian and Cuban forces that fuel it, including Preservation Hall Jazz Band, RAM, Pedrito Martinez, Leyla McCalla, and Dafnis Prieto; and visionary genre-defying young voices, from Moses Sumney, Arooj Aftab, and Lido Pimienta to Yves Tumor, Georgia Anne Muldrow, Alabaster DePlume, and Dawn Richard offer just a hint of the breathtaking artistic diversity at this year’s Big Ears.
All-too-rare in North America outside of New York City, the prolific, iconoclastic composer/instrumentalist John Zorn will present eight concerts spanning some of his most recent work—among them the dazzling virtuoso guitar trio of Bill Frisell, Julian Lage, and Gyan Riley; songs written with lyricist Jesse Harris for Petra Haden; the “heavy metal” Hammond B-3 organ trio fronted by John Medeski; and the New Masada Quartet. Additionally, Terry Allen, Bill Callahan, Joe Henry, Cassandra Jenkins, Hadestown-creator Anais Mitchell (Bonny Light Horseman), and Andy Shauf will share their contributions to a new alternative American Songbook.
There’s a jazz festival within the festival, presenting titans like Andrew Cyrille, Jason Moran, and Ron Miles, powerful younger players like Ambrose Akinmusire, Kris Davis, and Christian Scott aTunde Adjuah, and the movers and shakers of the fresh, vital new jazz scenes in Chicago and London—Jaimie Branch, Damon Locks, Angel Bat Dawid, Sons of Kemet, and Nubya Garcia.
The iconic composer/vocal pioneer Meredith Monk returns, collaborating with Bang on a Can All-Stars for the live world-premiere performance of Memory Games, as well as an intimate duo performance with percussionist John Hollenbeck. The renowned Kronos Quartet will return to present their collaboration with filmmaker, Sam Green, A Thousand Thoughts, along with a second special program, and genre-defying legend Annette Peacock will offer a rare solo performance.
A new generation of visionary composers/performers will also showcase new work. Among them: 2013 Pulitzer Prize winner Caroline Shaw will perform her collaboration with SōPercussion; 2019 Pulitzer Prize winner Ellen Reid will present the live premiere of her Soundwalk Ensemble; composer/singer/flutist Nathalie Joachim will perform Femn d’Ayiti celebrating her Haitian heritage with Spektral Quartet; composer Tristan Perich will unveil a new piece for organ, performed by James McVinnie, one-bit electronics and 100 loudspeakers; and San Fermin’s Ellis Ludwig-Leone will premiere a new in-progress chamber opera.
There is, of course, much more. The full line up of confirmed artists is at bigearsfestival.org with more performers and special programs, films, readings, talks, exhibitions, happenings, parties, and surprises still to be announced.
