Moby is a curious cat. After breaking techno wide open in the early '90s, he dabbled in industrial-lite dance music, only to wind up the hero of Pure Moods compilation makers and the people who make in-store soundtracks for stores that have a philosophy. His new album, Last . . .
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Those who saw last year's gritty Grinderman side trip as a return to form need look no further that The Bad Seeds new full length Dig!!! Lazarus Dig!!!. Like the Grinderman project,
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Has it really been an entire decade since the Olivia Tremor Control released their Black Foliage album? Almost, as the album hit retail shelves in 1999. Sonically both an epic, psychedelic collage, as well as a reverent paean to Sixties pop, Olivia Tremor Control created records that begged for your headphones. Below, AD contributor . . .
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Last week The B-52's released Funplex, their first album in sixteen years. After three decades together, they haven't lost it. We'll discuss Funplex further at a later date, but right now we're gonna go back a couple of records (and nearly 20 years).
It's springtime, which means as the weather gets warmer the more often I . . .
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In response to my Badfinger post from last month, Duke sent me this solo version of "Without You" that can be found on the Pete Ham collection Golders Green. Elegant minimalism and simplicity.
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MP3 . . .
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Springfield, MO: both the home of Americanized Cashew Chicken (yes, true) and Someone Still Loves You Boris Yeltsin -- both, also, very tasty. Pershing, SSLYBY's sophomore album, is an uncomplicated, yet excellent, pop record - the kind that won't leave your car's stereo all Spring. Available April 8th via Polyvinyl Records.
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Previously: Jim James/M. Ward :: SXSW 2008 (Acoustic)
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Tuesday, while walking through the hallowed halls of Capitol Records' studios, in Hollywood, surrounded by decades of recorded musical history, I had a conversation with a friend regarding album art: the power it can wield, and its demise over the past 20+ years, thanks to, first, compact discs, and more recently MP3s (guilty). This got me thinking about the relationship between music and its presentation, both visually, and in the sense of the packaging itself. Despite the ease, and immediacy, of digital music I still love the tactile sense of a physical album in my hands, be it vinyl, or . . .
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The last time I heard The Kills was 2005's No Wow which popped up on my radar and grabbed me with its dirty, minimalist swagger. I had apparently missed their first album, but it positioned them squarely with the equally squalling Raveonettes whose debut EP had surfaced about the same time as The . . .
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Our weekly two hour show on SIRIUS, channel 26 Left Of Center, can now be heard twice, every Friday - Noon EST and then an encore broadcast at Midnight EST. Below is this week’s playlist.
SIRIUS 41: Phosphorescent - A Picture of Our Torn Up Praise ++ Sandro Perri - Everybody's Talkin' ++ Bon Iver - For Emma ++ J. Tillman - Steel On Steel ++ Megafaun - Find Your . . .
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photo credit: jonlachance, sxsw 2008
Jim James & M. Ward / St. David's Church /SXSW 2008- March 15, 2008
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Zipped Show: Jim James/M. Ward :: St. David's Church /SXSW 2008
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Show details and set list after the jump...
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In 1995 and 1996 I was lucky enough to catch Morphine, live, three times during the Yes tour. Truly a club band if there ever was one, Morphine's noir musical vision was all blue cigarette smoke, beat poetry and style. Below, J. Neas reflects on the last great Morphine album - the third in their canon - 1995's Yes. - AD
The '90s. Fabled land of mirth where all sorts of things went right for indie-rock. That may sound a bit odd to say, but there really hasn't been a more commercially open time for music, before or since. (Feel free to argue with me about that in the comments.) The early '90s paved the way for record labels to start grabbing all sorts of names out of the local scenes and granting them national contracts. Sometimes it paid off and sometimes it didn't. But think about it - record stores actually had sections labeled 'alternative,' as if it were some sort of defined genre. You had all sorts of weird, random bands lumped together. It was everything music should be. For awhile.
In the midsts of this golden soup of bands was one in particular who repeatedly stood out in style and substance: Morphine. Armed with a two-string slide bass, a baritone sax, drums and the languid, cool vocals of Mark Sandman, Morphine was unique. By the time their third album, Yes, came about, they had built a sizable cult audience on the back of their previous album, Cure For Pain, selling more than 300,000 copies. Not bad at all for an indie release.
Continue Reading After The Jump.....
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Is there an unfair, uphill battle that female artists face in rock and roll? The battle I refer to is the race to find another female artist with which to compare them to. While we certainly pull out the big, comparative guns for male-fronted rock bands, and solo artists, there isn't quite the sheer vehemence that seems to come out in reviews of female artists. Pity the poor women who were endlessly compared to Sheryl Crow, Alanis Morrisette, or, in the wake of alt.country's peak years, Lucinda Williams. Is it that these artists are really that . . .
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Download:
MP3: Phosphorescent :: A Picture of Our Torn Up Praise
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Amazon: Phosphorescent - Pride
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Released last Fall, Sandro Perri's LP, Tiny Mirrors, (amongst its other charms) boasts a lo-fi cover of Fred Neil's "Everybody's Talkin." No stranger to interpretation, Perri's rendering inhibits a mournful and folksy, late-night, quality, subtly accompanied by light percussion, dual harmonies and multiple, interweaving, acoustic guitars. Next to Harry Nilsson's (definitive) cover, this might be my favorite version yet. Highly recommended.
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MP3: