The Sharrows, Days of Yore

sharrows2

The Sharrows are: Matt Smith (guitar), Phil Sharrow (lead vocals, bass), Joe Hermanson (keyboards), Sylvia Janicki (cello) and Jacob Bicknase (drums). They are from Madison, Wisconsin. Days of Yore, their second release, was recorded at Zebra Ranch, the North Mississippi Allstars’ home studio.

It’s got a little bit of fuzz and a little bit of shimmy-shake; mostly it’s good company on a slow summer afternoon.

The first song, Yours and Mine, is a slice of solid country blues:

But my favorite is Echo, because it has a little more rock and roll in it, and also because I love the idea of heart echoes calling to one another:

And as an additional enticement, here they are with Sometimes, from their first record, Starting at the End:

http://youtu.be/sOkiN0igvpc

For more, check out their bandcamp page!

Tour Alert: Jail Weddings “After Dark”

Attention all fans of high quality rock and roll: JAIL WEDDINGS IS TOURING OFF THE WEST COAST.

You can see them at the following times and places:

jailweddings_hollywood_IG_v4

They are going out on this jaunt in support of their second record, Meltdown: A Declaration of Unpopular Emotion, which has just been turned loose upon the world.

Some excerpts, to whet your appetite:

And in conclusion, the video for Summer Fades:

Jail Weddings - Summer Fades

White Sea, In Cold Blood

whitesea1

White Sea is the solo project of Morgan Kibby (M83). In Cold Blood is her most recent release. It’s lush, in the sense that it is expansive and textured and the kind of thing you can easily sink into. It is operatic, in the sense that it grabs the heart, it stirs things buried deep, and then it soars. The first time I listened to it was also the third, fourth and fifth times I listened to it because I kept scrolling back and plunging back in.

It’s also solid; there isn’t a single song I’d brush off as filler. I’m especially fond of They Don’t Know (the hook; if you aren’t snagged, move on); Warsaw (about being someone who should come with a warning label and knows it); Small December (because goodbye doesn’t mean you don’t love them anymore, and you can tear things down, but the outline will always remain); and NYC Loves You (because it’s true, the city will always take you back).

If that stream disappears, you can also hear some excerpts at her Soundcloud page.

Alex Greenwald, Yo

GreenwaldYo

INTERNETS. NESSIE HAS SURFACED.

Alex Greenwald has put his solo record out – it is called Yo – and mysteriously not said anything about it. In the event this is because he’s conducting some sort of marketing experiment, I offer my data-point, which is that it took the Tumblr-tide three weeks to bring the news to my door.

Anyway, I have now listened to it four times in a row, and my reaction is: Mmm. Hmm. Interesting. It’s pop music with some echo and wubble-bubble, and for all one of the songs is a love song about a knife, there’s none of the fuzzy rage and jagged aggression that showed up in Phantom Planet’s sound. Lest that make it sound like a weightless, disposable confection, know also that lyrics have razor-sharp edges, sometimes in unexpected places. It is very much the kind of thing that becomes richer with repeated listening.

Simulacre and Still Too Soon: The first two tracks are, in order, a 13 second sample of something I didn’t recognize and a song about how all the sunshine in Los Angeles can really mess with your head. This was something I wondered about when I visited, actually, if all the perfect weather eventually makes it feel like you’re living in a weightless summer camp dream all the time. I mean, say what you want about New York, but when the December wind comes whipping down the skyscraper-canyons and through your bones, you have to be real with yourself about if you have to live here. Because there are definitely easier places to struggle.

Movin’ On: Some people break up with their friends and lovers quickly; others take a little longer. I guess it comes down to whether you want a quick pain, or an extended unraveling.

Track03: Actually track four; I thought this was a labeling mistake and made a mental note to figure out the real title and fix it, and then it turned out to be meta-commentary about the placement and role of songs on mix cds.

Balisong: The aforementioned love song about a knife; one of my favorite songs on the record. Also the only one I can currently find on the internet in a relatively easy-to-share location. That said, those of you who have Spotify, you can listen to this song and the rest of the record there.

On My Own: A really bouncy song about being crushed by the city and your dreams and the disappointment of your loved ones. I imagine I will find myself dancing around my kitchen to this in the future.

Bitch Sinister Bitch: Perhaps a tiny hint of a reggae rhythm amid the shimmer and swirl; mostly about being an irritatant, and choosing the times you are an irritant wisely? I think? I wish I had the lyrics for this one.

R.O.T.K.: My other (current) favorite song on the record, mainly because it drops into the same dark register as Balisong.

You Found Each Other: A song about believing in romance, but only because it keeps happening to people who are not you. It’s cheerful and encouraging but in a slightly manic and cynical way.

The Wind-up Birds, Poor Music

Poor Music by the Wind-up Birds

 

When I retired from NTSIB, I threatened to return with the release of the next album from the Wind-up Birds, the Leeds four-piece whose first full-length album, The Land, was dropped into my lap in 2012 and reminded me of why I started this blog in the first place. Well, Poor Music, which comes out on May 27th, gives me 17 tracks worth of fantastic reasons to make good on my threat.

 

They killed off all our favourite TV characters
So we became TV characters
We started off subtly by giving stupid answers on quiz shows
But then, we just took the whole thing over

 

And the musicians tried to keep selling us their past
So we trapped them and beamed them up
Into an infinite loop of knowing references
And made them perform their best album, in order, for ever

 

Opening with the power drill riff of “There Will Be No Departures from This Stand”, Poor Music asserts that, no, the Wind-up Birds are not going to start taking it easy on you now. Like The Land‘s opener, “Good Shop Shuts”, “There Will Be No Departures […]” calls us all to examine ourselves and our actions, and we can only nod in resignation as Kroyd points out all-too-astutely that “…we agreed that compassion was just one of life’s luxuries.”

But Poor Music reads less like a lesson book and more like a short story collection full of uncomfortable, and sometimes disturbingly familiar, situations, ranging in scope from global to personal – stories populated with characters, wandering in and out of scenes, who are sometimes allegorical, sometimes representational, sometimes biographical, and the lines blur between them. In “Addis Ababa”, the story of a young child’s sartorial mishap on a school field trip calls into question not only the real aim of the sometimes bizarre practices of educators but also the act of conforming that we seem to be called on to do from birth until death.

 

 

Like in the best books, the ones that stay with you, some of the characters of Poor Music will tear your heart right out, like the “non-gender-specified teen” of the three-part “Glue Factory” suite that is interspersed throughout the album, whose affecting story plays out against a sparse arrangement of organ chords as you watch the teen being torn down by growing up. Then there is the narrator of “A Song or Two” whose candid, raw chronicling of his madness spiral left me, for one, reeling from the too-close-for-comfort familiarity. (A personal thanks to the band for following up “A Song or Two” with the relief of “The Wind-up Birds Songwriting Workshop” dance party – which you can hear as a part of this month’s Feel Bad For You mix.)

But even the best book lacks Poor Music‘s biggest delight: the compelling, sometimes surprising, music. The sounds of Poor Music are bigger, brighter, more varied, and often more aggressive than those of The Land. I’ve already talked about the music of “Glue Factory” and “The Wind-up Birds Songwriting Workshop”, and songs like “The Gristle” and “Guy Ritchie” (both personal favorites) grab you by the neck and gleefully shake you around. The band continue to hone their chops to the point where individual moments will stick with you just as much as overall songs – Kroyd’s startling rage on “A Song or Two”, Oli Jefferson’s loose and funky drumming on the title track, Ben Dawson’s carousel-like (up, down, and around) bassline on “Two Ambulance Day”, the insistence of Mat Forrest’s sharp-edged guitar (with help from Ben Dawson on additional guitar) that grows near-transcendent through the last half of “Guy Ritchie”. (There are a ridiculous number of great guitar riffs on this album, really.)

 

 

I could go on about this album, but then I’d be writing a book myself. So why don’t you just tuck in yourself and discover the joys that I haven’t even been able to touch on in this post? You can download the single of “The Gristle” (with special non-album B-side “The Fun Never Starts”) right now and pay what you want, and you can pre-order the full album.

Additionally, the album is so good that it requires two launch shows, the first in London on release day, May 27th, and the second in Leeds on May 29th.

 

The Wind-up Birds Official Website

The Wind-up Birds @ Bandcamp

The Wind-up Birds @ Twitter

The Wind-up Birds @ Facebook

 

Bobby Bare Jr. and Young Criminals’ Starvation League, Undefeated

undefeated

Undefeated, which comes out today (April 15) is Bobby Bare Jr‘s first full-length release since Storm — A Tree — My Mother’s Head (2010). Storm was a solo effort, and landed more on the country end of the spectrum. On Undefeated, he’s backed by a full band, and the tunes are pure roadhouse rock n’ roll: sometimes gritty and aggressive, other times playful.

The first thirty seconds of the first track – North of Alabama by Mornin’ – is a burst of static, the audible of equivalent of a fuse being lit and slowly burning down. The rest of the song – the rest of the record, really – is a meditation on the shape of the resulting explosion.

The Big Time, a dry, biting, carefully observed exploration of changes wrought by success, is an example of the lighter fare:

He’s currently on tour with Cory Branan – New York, your show is this Saturday, at the Mercury Lounge – and in some cities, the documentary about his life Don’t Follow Me (I’m Lost) will be screened before the show. You can also rent it from the REELHOUSE website.