Sophia Knapp is probably best known for her work in the band Lights, a group that has recently morphed into Cliffie Swan (their debut was released a couple weeks ago on Drag City). In the midst of this transition, she recorded a single, “Nothing to Lose,” which is also recently out on Drag City. Those who think that vinyl’s audiophile reputation isn’t all that and a bag of chips need to spin this clear 7″ disc. Eugene Wasserman’s 5-string bass lines provide an earthbound anchor for Knapp’s ethereal singing, which breaks into supple harmonies during the hook. Keyboardist Jay Israelson lays down undulating, slightly bluesy, Wurlitzer licks to complete the package.
The b-side is a remix of the song by Caroline Polacheck. She employs a gentle hand here, supplying additional synth halos and tweaking the vocals here and there. But mostly, she rides the golden bass-line and entrancing singing that are already present, pointing up the single’s virtues rather than, as so many remixers sadly are wont to do, obscuring them.
Are 7″ singles still relevant in the MP3 era? If “Nothing to Lose” is the yardstick by which we consider this question, the answer is a resounding yes!
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Note: We review lots of CDs and videos at File Under ?, but we’re always interested in alternative formats. So, if you are pressing a vinyl recording – be it 7″, 10″, or 12″ – for release, or if you’re putting out a cassette or a 3″ CD, please keep us in mind!
Bobby, a band based in Montague, Massachusetts, shares some personnel with Mountain Man (including vocalist Molly Sarle) and is filled with alums from Bennington and Hampshire Colleges. Both of these schools are places that encourage self-starters to pursue eclectic courses of study, and this shows in the group’s self-titled debut. It manages to harness the intimacy of bedroom pop while eschewing a lo-fi aesthetic in favor of a spacious, layered production aesthetic.
If one tried to pin down Bobby to a single genre, they’d likely be oversimplifying matters. The band is fascinated with the polymetric constructions of African drumming and the structures of Javanese gamelan. At the same time, the pastoral arrangements that are buoyed by these intricate rhythms frequently channel alt-folk. Sarle’s supple voice and phrasing remind one in places of Vashti Bunyan. She and band founder Tom Greenberg are fetching partners in several vocal duets on the recording. What’s more, there’s more than a smidgen of electronics savoring the mix, creating surprising juxtapositions with the more rustic post-psych guitar textures.
While locating all of these various signatures requires concentration, one’s labors are amply compensated by the often beautiful musical concoctions Bobby has on offer.
Indie rock singer-songwriter St. Vincent covered Big Black’s “Kerosene” recently at the Bowery Ballroom as part of the Michael Azerrad curated “Our Band Could Be Your Life” supershow. It depicts a more aggressive, noisy, and shredding side of her musical personality.
Lelia Broussard is one of 16 unsigned artists competing for a chance to be on the cover of Rolling Stone Magazine. And while this pop songstress may not be crafting game changers quite yet, her song “Satellite” is a catchy, winsome number that could certainly give the likes of Sara Bareilles a run for her money!
If you’re so inclined, you can vote for Lelia or any of the other unsigned acts here.
Singer-songwriter KT Tunstall has enlisted the help of fans for “Glamour Puss,” her latest YouTube adventure.
The video compiles clips from fans performing on a variety of instruments (from slide guitar to drums to bottles) to support Tunstall’s sassy rock vocal.
It’s an excellent example of a way forward for the music industry that encourages collaboration and participation rather than one-sided consumption. Rock on KT!
Ben Folds and Nick Hornby
Lonely Avenue Nonesuch CD
Nick Hornby has written eloquently about pop songs in the novel High Fidelity and the essay collection Songbook. But what happens when he tries his hand at being a lyricist? On Lonely Avenue, his first musical collaboration with singer-songwriter Ben Folds, Hornby makes the leap convincingly, suggesting that he belongs in the musical realm not just as an astute commentator, but as a full-fledged participant.
Of course, it certainly helps that Hornby’s lyrics are married to eloquent, often poignant, music by Folds. Indeed, Lonely Avenue is his most musically ambitious and wide-ranging effort to date; yet it’s uniformly distinguished. Perhaps in response to the rich lyrical terrain he has before him, Folds incorporates a number of stylistic inflections this time out, from savvily arranged seventies pop to undulating minimalism and from sensitive balladry to brash piano punk.
The CD contains at least three “single-worthy” cuts: “Doc Pomus,” “Picture Window,” and “From Above.” Folds’ piano-playing is as supple as ever – he cooks up some brilliant flourishes on “Doc Pomus” and rocks out with abandon on “Your Dogs.” The arrangements highlight Folds’ piano, but also feature strings and effervescent instrumental contributions and backing vocals from the indie pop duo Pomplamoose.
While one hopes that Hornby doesn’t quit writing compelling stories and cultural criticism anytime soon, he’s welcome to keeping work as a lyricist in the rotation!
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