David Bazan

Curse Your Branches

Barsuk CD Bark83

During the 1990s, David Bazan’s principal project was Pedro the Lion, which featured lightly scored renditions of his gentle, Christian-themed ballads. With such a beginning, it’s easy to get typecast as a “religious artist.” Bazan is very open about his faith, but the notion that it fully describes his musical work, pigeonholing it in a specific genre, is firmly placed to rest on Curse Your Branches.

Indeed, many of the songs on the CD, his first full length released under his own name, wrestle with doubt and adversity. Thus its opener, “Hard to Be,” can be seen as Bazan’s exploration of the “Dark Night of the Soul,” while “Please, Baby, Please” tells a tale of a husband’s substance abuse and betrayal of his wife. Even overt mentions of religion, such as a father explaining religious values to his children on “Bearing Witness,” present the complicated picture of faith in a fallen world.

As such, Bazan’s eloquent lyrics and emotive singing – he keens at the previously unexplored top of his range frequently on the LP – have resonance for those equally at pains to make sense of things during the current hard times. And even amidst adversity, Bazan seeks moments of transcendence. On “Bless this Mess,” he gratefully accepts and celebrates life warts and all: unvarnished, with all its foibles, yet often exquisitely beautiful. Much the same can be said of Curse Your Branches.

MP3: Bless This Mess (Courtesy Spinner)

Last week, New York Magazine featured a story on Hoboken, NJ’s indie stalwarts Yo La Tengo. They are celebrating 25 years as a band with the release of their sixteenth album, Popular Songs (Matador).

Like much of Yo La Tengo’s work, the new LP combines memorable hooks and melodic turns that would make many a mainstream pop songwriter quiver with jealousy. And while there are indeed a number of three-minute nuggets (“If it’s True,” “Nothing to Hide”) to be found here, the band’s concurrent interest in long-form compositions (“The Fireside,” “And the Glitter is Gone”) and enthusiastic explorations of noisy, feedback-laden terrain suggest that the LP’s title will seem ironic for those outside of indie circles.

Those already in the know – as well as, it is hoped, some new listeners just discovering the band – are likely to heartily agree with the title’s optimism. It’s tantalizing to imagine the hit parade reconfigured. In a just parallel universe, perhaps Yo La Tengo would dominate the covers of Rolling Stone and Spin while Kanye West and Britney Spears still schlep their own gear!

In the NY Magazine article, Georgia Hubley, Ira Kaplan, and James McNew admit that they’re surprised at the band’s longevity; but they show no signs of slowing down. Indeed, Popular Songs sounds vital and creative.  Music-making still seems just as fun for the band as YLT’s songs are for its audience.

Video: “Nothing to Hide” (courtesy of YouTube)

David Sylvian

Manafon

Sound CD ss016

On its surface, Manafon may be David Sylvian at his most subdued to date. But the meditative aura evoked by frequent rests and spare accompaniment does nothing to blunt the potency of his music-making. Indeed, “Small Metal Gods’” strophic repetitions are seductive, a hushed exhortation that draws the listener in.

But by no means will they be treated to a bump-free ride. As Sylvian intones in the next song, “The Rabbit Skinner,” there’s “no easy resting place;” this amid subtle touches of free jazz saxophone and angular keyboard interjections (all played piano).

Things continue similarly for much for the CD’s length. Sylvian’s voice is the primary instrument, and it is abetted by a background accompaniment that often takes on an ominous cast.

Given many recordings’ penchant for filling the sound space and limiting the dynamic spectrum, Sylvian’s willingness to keep things spare is a courageous move. It’s also an affecting one for those who enter Manaphon’s mysterious sound world with attentive ears.

Video: Small Gods (YouTube)

This announcement just in from NJAC’s director, Darren Gage:

new jersey arts collective
presents

FOOD FOR THOUGHT:
CLASSICAL BRUNCH

Sunday, October 11, at Noon
FITZGERALD’S 1928
13 Herman Street, Glen Ridge, NJ

This all-inclusive package features world-class chamber music interspersed with a sumptuous brunch at Glen Ridge’s hot upscale tavern, FITZGERALD’S. New York string players OLIVIA DE PRATO (violin) and JODY REDHAGE (cello) will perform vibrant, exhilarating classical music from Eastern Europe in the warm, friendly atmosphere of the restaurant. FITZGERALD’S will serve fresh fruit, a choice of four entrees, and coffee/tea. The package costs only $35 per person, and includes gratuity and even a complimentary mimosa or bloody mary. It’s an intimate classical concert and a great meal in one!

Tickets available exclusively online at:
www.brownpapertickets.com/event/82893

MP3: Daniel Rossen: Waterfall

MP3: Friday Hyvonen: Jesus was a Crossmaker

(Links courtesy of American Dust and Stereogum)

Crayon Angel: A Tribute to the Music of Judee Sill

Various Artists

American Dust CD

Judee Sill (1944-79) was not a prolific recording artist; the singer-songwriter released only a couple of proper studio albums before leaving the industry (a number of compilations and reissues are out there as well). But she was an influential figure for folk artists willing to take on spiritual themes in a secular era. Her lyrics feature an off-kilter yet fervent take on motifs from Christianity (her one hit – “Jesus was a Crossmaker”). But there’s a concomitant spaceyness that sets her work far apart from more mainstream religious pop artists.

Crayon Angels features both established and emerging indie artists performing some of Sills’ best known songs. Highlights include a one-two punch at the beginning of the album; Ron Sexsmith’s honey-voiced take on the title track and Beth Orton’s spare, affecting piano ballad rendition of “Reach for the Sky.” Also stirring are Grizzly Bear’s singer Daniel Rossen, whose version of “Waterfall” alternates impressive walls of vocals with more simply adorned voice-guitar verses, and Frida Hyvonen’s rousing “Jesus Was a Crossmaker.”

Princeton captures the psych-folk flavor of “Where the Valleys Are Low,” pitting carnival keys against baritone vocals in a sweet-tart send-up. The Bye Bye Blackbirds give “There’s a Rugged Road” a countrified cast, bringing suave harmony singing and pedal steel to the mix.  Meg Baird’s “When the Bridegroom Comes” recalls Dixieland jazz with a brass band accompaniment.

Sure, like most comps, not all of the tracks are winners. However, Crayon Angels features a number of well-crafted musical tributes to an underappreciated songwriter.

In it’s day, David Bowie’s “Let’s Dance” was a contemporary-sounding, trendy uptempo hit single.

But some of the best covers completely remake a song from a different vantage point.

LA artist Holmes has given “Let’s Dance” a decidedly downtempo cast, recasting it as a piano ballad laden with string accompaniment.

MP3: Let’s Dance

Ralph Shapey

I’m currently revising my article about Ralph Shapey’s late music.

One of the issues I’m addressing in the revision is providing context for Shapey’s reduction of materials in his last pieces.

A reader suggested that I find parallels in other composers’ late works.

Here’s a partial list of recent composers who seem to limit and consolidate materials/approaches in their late works:

Carter

Babbitt

Feldman

Berio

Cage

Who else?

Correspondingly, who are some composers who have an “everything but the kitchen sink” approach during their late period?

Recital by Joseph Arndt, organist

September 27, 2009 at 4:00 pm

Free-will offering

Music to include:

The King of Instruments
by William Albright

Louie Crew, narrator

New organ pieces by Christian Carey,
Barry Cohen, and Conrad Cummings

Prelude & Fugue in E minor, “The Wedge” by J. S. Bach

Grace Church in Newark

950 Broad Street

Newark, NJ 07102

(973) 623-1733

www.gracechurchinnewark.org

Beverly Hills electronica act Jump Clubb prefers old school lo-fi sounds and an atmosphere of quasi-anonymity.

In preparation for the release of their debut LP The Love of No Dance on October 6th, they are sharing the track “No Fun” as a free download.

No Fun

You can also check out a video for the LP’s title track on YouTube.

This morning I’m banishing the rainy day blues with pianist George Colligan’s new trio CD, Come Together (Sunny Side).  Colligan is joined by bassist Boris Kozlov and drummer Donald Edwards for a stirring date that combines neo-trad staples with fresh-sounding new pieces.

Apparently, Beatlemania’s recent resurgence has extended to the jazz world, as the CD leads off with a killer version of “Come Together:” funky, raucously swinging, and full of punchy rhythmic vitality.

The recording’s other cover is Johnny Mandel’s “The Shadow of Your Smile,” which the trio gives a delicate yet potent reading.

The rest of the material consists of originals by Colligan. The music takes on an ominous, sinuous cast on “Venom,” featuring athletic lines from Kozlov and chromatic chord solos from Colligan.

Another highlight is “Open Your Heart,” a ballad that manages an earnestly straightforward approach and considerable melodic appeal without ever lapsing into sentimentality.

Come Together closes with the sci-fi jazz of “Uncharted Territory,” a lengthy excursion into alternate accentuations and nonstandard scale types that brings the trio to the brink of “out” but retains a swinging sensibility.

George Colligan