It wasn’t so long ago that people were counting out “hard copy” recording formats, prognosticating that digital would reign supreme and that vinyl and cassette tapes would be on the scrap heap or, at best, fodder for flea markets and garage sales. While the LP’s resurgence in recent years has been variously chalked up to increased attention to aesthetics, desire for higher fidelity, and a pop culture trend in its own right, many still assumed that cassettes were too sonically compromised and kitschy for a comeback in their own right. But then, lo-fi indie exploded, and the landscape changed.
While Northern Spy’s first in a projected series of Clandestine Cassettes isn’t just concerned with lo-fi aesthetics, one can see why the scrappy Brooklyn import, and others like it, embrace the cassette format. It’s inexpensive, easily portable, and yes, has its own nostalgic artifact qualities. But CC#1 isn’t a novelty item: it’s a fascinating mini-sampler of Northern Spy artists, revealing an EP length recording of avant rock drone-filled soundscapes by the likes of Zaimph and Messages. There’s also “August is All,” a beautiful track of slowly evolving, minimalist yet blues-inflected improvisation by guitarist Tom Carter. A little avant folk star power is in force on “Live at Union Pool,” a reverberant duet by Loren Connors and bassist Margarida Garcia. Garcia also contributes the cassette’s artwork, which recalls homemade mixes and tape trading.
Although you can still get MP3s or FLAC, this tape’s already sold out. But rest assured, there will be more cassettes to come: from Northern Spy and elsewhere on the scene.
Already got rid of your tape deck? No worries; for now, they’re not expensive to acquire. But be warned: I recently learned from Twitter that no less a tastemaker than Steve Smithhas gotten a new Walkman. Can it be long before this microtrend explodes and cassette decks are the new iPad? Stay tuned.
Baltimorean duo Wye Oak, comprised of guitarist/vocalist Jenn Wasner and drummer/vocalist Andy Stack, craft their most nuanced music to date on Civilian, their third LP. That’s not to say that the band doesn’t thunder with abandon in places, such as the splashes of distortion and vigorous guitar crescendos on “Holy Holy” and “Dog Eyes.” But elsewhere, as on opener “Two Small Deaths,” there is a subtle incorporation of ambient sounds, high, ethereal vocals, and a more layered arranging touch at work.
While Wye Oak has long been in the “indie rock” bin, Civilian complicates this designation by adding a strong influence of folk music to the mix. One can hear it in the gently strummed acoustic guitars that introduce and populate many of the songs, even those that eventually swell and swoon in a more elaborate and electrified ambience. For example, there’s a rustic quality on the title track’s vocal that reminds one of a folk ballad. That said, rock eventually asserts itself: acoustic instruments give way to a wall of electric guitars, including a shredding solo from Wasner reminiscent of Freedom-era Neil Young. Elsewhere, rock and folk are simultaneously juxtaposed, as on “Hot as Day,” where mathy syncopated rhythms underpin a crooning vocal.
On the beautiful duet “The Altar,” one can’t help but adjust their perceptions of Wye Oak to encompass a wider spectrum of styles than the indie rock template that previously dominated their sound; the strands of alt-folk commingling with indie guitars and even some synth-pop underpinnings. It’s a microcosm of the signature achievement of Civilian: expanding Wye Oak’s reach while remaining true to the essence of the band’s music making.
Bucharest born singer Sanda Weigl will be performing at the 92nd Street Y Tribeca tonight. She’s celebrating the release of Gypsy in a Tree, her new album of Romanian folk music inflected with jazz, rock, and out there sounds.
She joined by a diverse group of collaborators: Stomu and Satoshi Takeishi, Shoko Nagai, Doug Wieselman, and Ben Stapp; a rock band, a gypsy band led by Emil Bizga, and appearances by Anthony Coleman, Ned Rothenberg and Ljova Zurbin.
You can check out a stream of Gypsy in a Tree, as well as show details, below.
Friday, April 22 at the 92Y Tribeca,
200 Hudson Street, NYC.
Doors open at 8 p.m. for the 9 p.m. show.
$15 in advance, $18 at the door.
212-601-1000.
Indie folk quintet O’Death return with their third album Outside, which sees release next week. It’s their strongest and most affecting work to date, demonstrating the band’s growth from both musical and personal vantage points. The latter lessons were particularly hard won. During their 2009 tour, O’Death drummer David Rogers-Berry was diagnosed with Osteosarcoma. His subsequent treatment regimen included shoulder replacement surgery and chemotherapy.
Both grateful for their bandmate’s recovery and perhaps more mindful of life’s fleeting quality, O’Death returned to the studio to create Outside. While no one would wish adversity on a group to improve their music, they’ve clearly made meaning out of the events of the past few years, using the opportunity to record as a catharsis.
Songs such as “Bugs” and “Don’t Come Back” wend their way between gorgeous melodies and gritty alt-folk signatures – rustic banjo licks, vibrant violin solos, mandolin flurries, and the occasional sonic smear of distortion – presenting an intriguing ambience. While all of the power and rhythmic drive of their previous work is still evident, there’s also a fragility and even tenderness. The depths of loss are plumbed on the album’s closer, the reflective “The Lake Departed.” But fear not, all isn’t bittersweet; there’s joy to be found here as well. The band is still plenty capable of memorable hooks and gruff yet danceable grooves, such as the sing along and single-worthy track “Pushing Out.”
O’Death have taken a significant step forward: Outside is a mature and thoroughly engaging recording.
In this era of ephemeral pop and manufactured idols, one might readily dismiss the “supergroup” concept. But wait, not so fast! If By Yes release their debut album “Salt On Sea Glass” on Sean Lennon’s Chimera label today.
The band includes vocalist Petra Haden (Beck, Decemberists, that dog, etc.), producer/keyboardist Yuka Honda (Cibo Matto, Sean Lennon), guitarist Hirotaka Shimizu and drummer Yuko Araki (both from the band Cornelius). Together, they create suave electro-pop that simultaneously calls on the indie folk vocals-oriented projects favored by Haden and a synthesized world beat vibe that will get toes tapping and postmodern lounges pouring celebratory libations.
The album is streaming in its entirety all this week on Spinner. Haden has also posted a video for Cornelius’ remix of the band’s track “You Feel Right.”
Singer-songwriter Haroula Rose writes gently rendered, folk-inflected and primarily acoustic pop songs that show a sense of balance and restraint all too rare today. Yes, her style would be eminently suitable to a Lilith Fair revival show and her material seems ripe for soundtrack work. But she never gives us the overwrought, overly confessional aspect that plagues some singer-songwriters’ music. Instead, her still, small (and eminently winsome) voice seamlessly inhabits the many tuneful and elegantly arranged songs on These Open Roads, her debut LP.
Andy LeMaster does a particularly fine job producing the record, allowing for a variety of instruments to visit the proceedings without ever making things sound too busy. Deft touches, such as the intertwining rhythm guitars plus slide on “Close My Eyes to See,” the whistles on “Free to be Me,” and the pairing of banjo and cello on “A Place Under the Sun,” enliven the material. Rose’s voice is close-miked and intimate without ever seeming precious. While some may like their pop with more oomph than is present here, I’m very fond of this “less is more” approach. It allows the singer – and her songs – to speak for themselves. When they have a lot to say, as does Haroula Rose, it’s quite a winning approach.
When reading about the music industry of late, the challenging economy and flagging album sales have made the headlines. But, if you care to look, there are success stories too. Not accepting the industry’s “no” for an answer, fans helped to fund Over the Rhine’s new LP The Long Surrender. It sees release today. Produced by Joe Henry, it shows the Ohioans’ blend of Americana alt-folk and winsome alt-pop hooks to best advantage.
Spinner is sharing a stream of the album this week.
The band is touring in support of the release (dates below).
Tour Dates
Feb. 20 – NASHVILLE, TN @ 3rd & Lindsley
Feb. 21 – LEXINGTON, KY @ WoodSongs
March 25 – BOSTON, MA The Red Room @ Café 939 (Berklee)
March 26 – NEW YORK, N.Y. @ Highline Ballroom
March 27 – ALEXANDRIA, VA/WASHINGTON, DC @ Birchmere
March 29 – PHILADELPHIA, PA @ World Café Live
April 1 – PITTSBURGH, PA @ Mr. Small’s
April 2 – AKRON, OH @ Musica
April 5 – ANN ARBOR, MI @ The Ark
April 7 – MILWAUKEE, WI @ Turner Hall
April 8 – CHICAGO, IL @ Lincoln Hall
April 9 – MADISON, WI @ Majestic Theater
April 10 – MINNEAPOLIS, MN @ Cedar Cultural Center
•••
Seattle musician Eric Elbogen is back with another LP of material, appearing as his Say Hi project on the Barsuk imprint. Once again, he plays most of the instruments himself, crafting adroit layers of keyboards, guitars, and percussion in arrangements that certainly have the potency of many a full band’s studio renditions.
But unlike some of his earlier songs, this time out the subject matter isn’t quite so light-hearted. The focus is often matters of the heart; in particular, the times when said matters involve unrequited love or desire from afar. Indeed, one can hear flashes of bitterness and regret in the singer-songwriter’s voice. It’s as if Elbogen is channeling early Elvis Costello’s frequent sneers and snarls into a highly distilled version of postmodern indie angst. This is particularly evident in his ballads. Based on the wrenching delivery the singer adopts in the alt-folk song “Bruises to Prove It,” one can certainly believe the title’s claim of Elbogen’s pain.
Still, all hope isn’t lost on Um, Uh Oh. “Devils” mounts a sultry, feisty, mid tempo groove. On the rollicking up tempo number “Take Ya’ Dancin,’” Elbogen drops the ironic stance and instead adopts a jaunty swagger and woos his intended like a rock star.
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