The Dog Days Are Over: A Fall Music Preview

The proverbial dog days of summer are fading away, as we prepare to head back into the routine that fall brings. We’ve enjoyed our days at the beach, nights out, and the feeling of the breeze rustling our hair as we cruise around with nothing to do. So, as we say farewell to another summer come and gone, let’s look ahead to some of the great music that will get us through the next season.
-- Jared Iversen

Ra Ra Riot – The Orchard – August 24^th

The Syracuse-based band (don’t hold it against them) will offer up more of their orchestral pop on the follow up to their critically acclaimed debut album. This isn’t really a fall release, but I missed it on the Summer Music Preview, and it’s supposed to be “so poppy you will want to throw up on yourself” (in a good way, I’m assuming). And seeing as it was produced and mixed by members of Death Cab for Cutie and Vampire Weekend, that is entirely possible. Listen to the single (and other tracks from the album) and decide for yourself.

The Walkmen – Lisbon – September 14^th

Indie rock veterans The Walkmen will release their sixth studio album next month. The record’s title and Romantic spirit were inspired by the band’s trips to the Portuguese capital city, which spurred the writing of nearly 30 songs (11 of which found their place on this album). The lead single, Stranded, features regal horns and Hamilton Leithauser’s distinguished whine, and creates a perfect cocoon of sound, with just the right dose of melancholy and nostalgia, to get you through those early days of fall.

Of Montreal – False Priest – September 14^th

The always strange and interesting Athens, Georgia band will release their tenth studio album next month. The upcoming LP features hip-hop sensation Janelle Monae, who they are currently touring with to promote the album. The two singles indicate the record will have more of the band’s signature funky and danceable pop. And the album cover is pretty sweet.

Deerhunter – Halcyon Digest – September 28^th

The fourth album from Bradford Cox’s band is a concept album of sorts about “the way that we write and rewrite and edit our memories to be a digest version of what we want to remember, and how that's kind of sad.” The album was produced and mixed by Ben Allen, who also worked on Animal Collective’s Merriweather Post Pavilion, and, despite the more guitar based sound of the album’s pleasant single, this suggests there should be more brilliant ambient, psych-pop on the way. This album cover is just creepy though.

Girls – TBA - TBA

Last year, San Francisco beach rockers Girls released their debut album, quickly becoming to the indie world what Justin Bieber is to 12 year old girls. In a recent interview, front man Christopher Owens revealed that a new Girls album would be released “sometime in the fall.” There’s not too many deets at the moment, but for now check out this new song in which Owens shows a much softer side.

Kid Cudi – Man On The Moon II: The Legend of Mr. Rager - October 26^th

KiD CuDi is dropping the sequel to his debut album, Man on the Moon: The End of Day, in October, saying it will bring “you into [his] reality, good and bad.” The rapper’s brand of electronic hip-hop will likely provide one or two songs that will become staples at Village A parties this fall. Until then, listen to the official single (featuring Kanyeezee) and a couple other tracks, and cop his latest mixtape.

Nelly – Nelly 5.0 – November 16^th

We finally have an answer to the question everyone has been asking (mainly just Caroline) – what happened to Nelly? The St. Louis rapper hasn’t had a hit song since 2005, when Facebook still required an invitation to join and Twitter wasn’t even invented (you know, the good old days), and seemingly dropped off the grid for the second half of the decade. The man who kicked off the new millennium with classics like “Country Grammar,” “Ride Wit Me,” and “Hot in Herre” appears to be making a comeback, with the release of his sixth studio album. Listen to the single and get ready to shake ya tailfeather.

Dale Earnhardt Jr. Jr. - TBA- TBA

This ectro-folk-psych-pop duo is the best thing to be associated with NASCAR since, umm, ever (except for maybe this, and probably this, ok and definitely this). According to their MySpace, the debut album will be out in the fall, but in the meantime check out their painfully catchy Horse Power EP, which features a cover of The Beach Boys' "God Only Knows" (Do I smell/hear a feature on Take Cover?).

Kanye West – Dark Twisted Fantasy – November

Speaking of comebacks, ladies and gentlemen, Kanye West is back. It seems the enigmatic rapper has abandoned the abhorrent auto tune that was featured prominently on his last album, the emo dud 808’s and Heartbreak, and has returned to form. He recently joined the web’s most popular narcissistic outlet, and has shown no signs of checking his ego when discussing the new album either, comparing it to the “masterwork” of “Michelangelo, Picasso, [and] the pyramids.” He says his goal is to reach “that Avatar level,” but let’s hope he doesn’t substitute substance for some glitzy gimmick. Then again, glitzy gimmicks are what ‘Ye does best. As if that’s not enough, it has been confirmed that he flew Justin Vernon (of Bon Iver) out to his studio in Hawaii to lay down vocals for “at least 10 songs!” While I can confidently say this album won’t actually compare to this or this or this, Kanye appears to be as motivated and cocky as ever, and that is a very good thing. Check out the single and a leaked track.

Other releases to be on the lookout for:

Fleet Foxes are supposed to release their sophomore album around “stocking-stuffer” time

(You’re my boy) Blu is slated to drop his album NoYork! this yea.

And of course there’s always the possibility of a new Radiohead album...

Artist of the Week: Dawes

Artist of the Week: Dawes

I stumbled upon Dawes, a four-piece band from Los, Angeles, at this year’s Newport Folk Festival, and I was instantly taken with their endearing folk rock. Hailing from the renowned Laurel Canyon region of California, they don’t shy away from their influences, infusing the warm harmonies of CSNY and the comforting melodies of The Band into their familiar sound. What really set these guys apart though are the lyrics, inspired and poetic, yet somehow instantly germane and deeply human. They’re debut album, North Hills, came out last summer, and it is a compelling collection of Americana songs that show a remarkable maturity for a few guys in their early twenties.

-- Jared Iversen

Listen to a few tracks below:

Dawes & The Morning Benders "When My Time Comes" from Yours Truly on Vimeo.

Recap: Newport Folk Festival 2010

DJ and Biz Director Jared Iversen took to the New England countryside to catch some folk-rockers new and old and reported back to us with some sweet pictures. Check out his review and the gallery below.

The Newport Folk Festival began in 1959, and is probably best known for launching Bob Dylan’s career and as the site of his notorious 1965 performance, where he went electric and changed the face of both folk and rock music. This past weekend, nearly 18,000 people descended upon Fort Adams, an 18th Century military base situated on the pristine shores of Newport, Rhode Island, for the 51st performance of this historic concert. It was my first time at a music festival, and the relaxed air of the folk fest proved to be a great introduction to the festival experience.

On Saturday morning, my friends and I departed Providence behind schedule and anxiously drove across the state, hoping to make it in time for Blitzen Trapper’s set. We drove through the quaint Newport streets, passing mansions and battling traffic, finally making it to the scenic hilltop that hosted the festival. As we entered the gates, we heard the first chords of “Furr” and excitedly ran to the Harbor Stage, arriving just in time to see our favorite song. The memory of the day’s shaky start melted away as we stood in the blissful aura of the crowd, watching the Seattle folk rockers finish up their set.

We left the Harbor Stage satisfied that we had caught “Furr,” and began wandering around, scouring the numerous vendors for free food (thanks CLIF) and just taking in the gorgeous sites. After watching snippets of sets by the foot-stompin’ O’Death, the incredible mandolin and banjo based bluegrass of Sam Bush, and the soulful Brandi Carlile, we settled back down at the Harbor Stage to watch one of my favorite artists, Jim James of My Morning Jacket (performing as Yim Yames). As James took the stage, replacing Sam Bush, the average age of the crowd was cut in half, as its size nearly doubled. People drifted off between sets and we snagged seats about 12 rows from the stage, watching the bearded James, dressed in a stylish maroon suit and sunglasses, set up.

After a few minutes, James began his set with the Monsters of Folk tune “His Master’s Voice,” and I gazed admiringly, pretty much like this, as he stood alone on the stage, plucking his acoustic guitar and singing like an angel. The crowd seemed to share my adoration, as everyone sat enraptured by James’ intimate performance, only breaking their silence for an occasional hoot or holler as he showed off his vocal range and an explosion of applause after each song. He continued his beautiful, heartfelt set with an unreleased song called “Wonderful (The Way I Feel),” and the My Morning Jacket songs “Look at You,” “Tonight I Want to Celebrate With You,” and “Bermuda Highway.” At this point, he took a moment to remember his friend, cartoonist and musician John Callahan, who had passed away the week before, dedicating the performance to him and playing a cover of Callahan’s song “Summer Never Ends.” He continued with “It Beats 4 U” and a very subdued version of “What A Wonderful Man,” both of which carried a new gravity in light of James’ earnest tribute. Continuing the festival's collaborative tradition, he called up his friends Ben Sollee and Daniel Martin Moore, who recently released an album to raise awareness for mountain top removal, which James produced. They added a cello, bass, and drums to James’ acoustic guitar, picking up the pace on the next few songs, before ending the stellar set with knockout versions of “Smokin’ From Shootin’” and “Gideon.”

As the sun shined on our smiling faces, we hurried over to the Main Stage to watch Andrew Bird, who stood on the huge platform all by himself, playing his violin, surrounded by the bevy of other instruments and equipment he would use during his set. Bird started off by playing what he called “musical ideas,” bits and pieces of music that weren’t really fully formed songs yet. We ended up making our way towards the front of the stage, and stumbled upon a small group of people dancing off to the side, in front of the press tents. We immediately joined in, jumping around joyously and uninhibited, as Bird was accompanied on stage by Calexico, and launched into “Plasticities,” “A Nervous Tic Motion of the Head,” and “Tables and Chairs.” People stared at us. And laughed. And took pictures. But we didn’t care. It was one of those special moments that music festivals seem to induce, where strangers come together, and yell as loud as they can that “oooh there will be snacks there will.” We tried to get other people to join, and attempted to orchestrate a group clap, but the crowd seemed more content to just lounge around on the lawn, only half paying attention to Bird’s impressive set.

As the day wound down, and the sun began to approach the sailboats on the horizon, we decided to check out one more band before leaving. As we approached the smaller Quad Stage, Dawes had just finished their set, but, continuing the day’s good fortune, they asked, “Anybody wanna hear one more?” and came back out for a rare encore. I had never heard of these guys, but they instantly won me over with their uplifting anthem, “I Got a Feeling,” and sent me off with my favorite song of the day, which is still stuck in my head. After the first stanza, front man Taylor Goldsmith called his father, a musician and former member of Sweathog, onstage to help him belt out the catchy refrain. The crowd joined in, chanting elatedly as Taylor strummed his guitar and hopped around the stage with childish excitement, seemingly thrilled at how the crowd had embraced his band. Dawes was a real pleasant surprise and, after seeing their rousing performance, I discovered that this California band released a beautiful album last summer called North Hills, filled with warm harmonies reminiscent of fellow Laurel Canyonmusicians Crosby, Stills, and Nash. They are definitely one of the most promising young bands on the Americana scene, and Goldsmith has joined forces with a couple of other rising folk stars, John McCauley from Deer Tick and Matt Vasquez from Delta Spirit, and is slated to release an album with them sometime this year.

This wasn't a huge music festival, and I only saw some of the band's on just one of the two days, but it was still one of my greatest music going experiences. During his set Jim James mused at “what a miracle it all is,” asking “how can things be so great?” Wonderful music, perfect weather, and lots of cheerful people, all set against a picturesque backdrop, can make things great, and the Newport Folk Festival was nothing short of that.

Review: Admiral Radley, I Heart California

Admiral Radley

I Heart California

B

Admiral Radley is a union of four long-time friends and indie musicians - Jason Lytle and Aaron Burtch of Granddaddy with Aaron Espinoza and Ariana Murray of Earlimart. They initially tried to express this collaborative effort in the band's name, wavering between Grandimart and Earlidaddy, but realized that these were not very good names for a rock band. Inspiration struck when the band mates had a chance encounter with a mysterious seaman, who called himself Admiral Radley and suggested they name their band after him and “go forth and play shows and spread [their] loose and enjoyable message.” They took his advice. This proved to be a much more fitting name for the Golden State musicians, who make music intimately tied to their coastal roots with an understated coolness.

This project is similar in style to what these bands have produced over the years, and is stamped with Jason Lytle's lighthearted pop sound, while Earlimart contributes a folksier element, with ethereal electronic noises and breathy vocals common throughout. The album opens with its title track, on the surface a catchy synth-pop ode to the band’s home state, although a satirical derision of California life lurks in the verses, as Lytle pokes fun at drugs in diaper bags and “fake tits.” The track strikes a balance between its hook-driven, upbeat pop aspect and the reflective, yet witty lyrics, something that these musicians have made a career of, and aptly bring to this album.

Somewhat surprisingly, the Earlimart compositions are what really stand out on the album, with “Ending of Me” and “Chingas in the West” proving to be two of the album’s best tracks. Espinoza’s other contributions, “Ghosts of Syllables” and “Lonesome Co.,” are also both stirring and pleasant tracks, carried by layered acoustic and electric guitars complemented by piano and synth riffs. Not to be outdone, Murray supplies a wonderful love song in “The Thread,” affectionately singing poetic lyrics like “Will we live to 98? Watch our hair go gray / Will we go out with a bang? Will we fade away? / In other words I hope that we'll still hold hands / and laugh about the way things end.”

Admiral Radley are heartfelt at times, catchy at others, but they never take themselves too seriously; they mock the Governator in “I Heart California,” and even made a karaoke video to complement the single; during a section of “Sunburn Kids” they mention various countries and play instruments characteristic of each place; they sing songs about Star Trek (“GNDN”) and skateboarding (“Red Curbs”). However, underneath the pop hooks and humorous references are well-crafted and compelling songs. As Espinoza put it, it’s "a fun record with serious moments.” For example, in “GNDN,” one of Lytle’s best contributions to the album, he tenderly sings about “Spock” and the Enterprise, and the catchy hook “It goes nowhere / and it does nothing” is a reference to Star Trek, but the song may also be a metaphor for the musicians themselves, as when he sings "The critics would say the sounds you would make were so second-rate / and your instruments were fake / well of course they were fake.”

Unfortunately, their casual attitude causes them to miss the mark on occasion. “I’m All Fucked on Beer” is a frantic party anthem that seemed to be a lot of fun to make, as all the band members drunkenly yell the chorus with their tongues comfortably planted in their cheeks and can be heard laughing in the studio as the recording ends. This time though, their ode to good times just ends up being obnoxious, with its heavy distortion, incessant backbeat, and yelled vocals. All in all though, these seasoned indie artists do not disappoint, delivering fun and sincere pop songs that ooze with west coast influences and summer living, providing plenty of reasons to heart Admiral Radley.

-- Jared Iversen

Sounds of Summer: A Summer Music Preview

Sounds of Summer:

A Summer Music Preview

We are now more than half-way through 2010,

and it has been a phenomenal year for music so far. We have seen (or rather heard), top-notch albums from high profile names such as The National, LCD Soundsystem, She & Him, and Beach House, as well as some surprisingly great albums from up and coming artists like Delta Spirit, Avi Buffalo, Surfer Blood, and The Tallest Man On Earth. Things don’t seem to be slowing down either, as a slew of summer releases will keep the good music coming through the sunny season. Here are some of the season’s albums we’re eagerly awaiting.

Review: The Moondoggies, You'll Find No Answers Here EP

The Moondoggies

You'll Find No Answers Here - EP

B

The Moondoggies are a four-piece band from Seattle, Washington who blend blues, soul, rock, and country to create an infectious sound that radiates with whiskey-soaked Americana. Their music is fresh, but familiar, harkening back to the woodsy, psychedelic sounds of greats like The Grateful Dead and The Band, while sharing elements with fellow west coasters Fleet Foxes and The Donkeys, namely soft harmonies and laid back guitars, but a bit rougher around the edges. The Moondoggies effortlessly combine all of these different components, comfortably living in a nearly unclassifiable genre (at least not without using multiple hyphens) with a sound that lies somewhere between the west coast and the south, classic rock and modern folk. There’s something endearing about these long-haired, bearded guys and the music they make, or maybe it’s the name.

Their debut album, Don’t Be a Stranger, provided a handful of great tracks, including “Black Shoe,” “Ain’t No Lord,” and “Bogachiel Rain Blues,” and garnered them some attention from the blogosphere. Their new EP, You’ll Find No Answers Here, has more of what made that album a success - hook-heavy tunes backed by warm three-part harmonies, jangly guitars, and a Rhodes organ. The EP opens with “It’s Hard to Love Someone,” an upbeat country boogie whose piano melody and sing-along harmonies juxtapose its lyrical content about the trials and tribulations of love. From there, the music slows down, aligning with the overall melancholic mood of the lyrics, as dreary vocals and a softly plucked acoustic guitar serve as the only instrumentation on “Just Makes Sense to Me.” The third track, “Down the River,” is a departure from The Moondoggies’ traditional sound, but it works beautifully, and may be the EP’s best cut. Substituting the three-part harmonies for a female backing vocal adds a lovely dichotomy that mirrors the lyrical theme of unrequited love. The Moondoggies pick things up again and return to their bread and butter (see above) with “Sad and Lonely.” Finally, they close out the five-song EP with “Fly Mama Fly,” which poetically connects the themes established in the previous four songs over cascading guitars and vocal harmonies, telling us we’ll “find no answers here.” The EP lacks the same catchiness as the promising debut, but it seems to show more maturity and growth as songwriters, and is a tenderly crafted concept album that focuses on the pains of love. Oh, and these were just five songs that “didn’t make it onto their next proper studio” album, Tidelands, due out September 14.

Note: Catch The Moondoggies on tour with fellow Seattle band Blitzen Trapper.

-- Jared Iversen

Review: Delta Spirit, History from Below

Delta Spirit

History From Below

A

 Note: Delta Spirit will be performing at the 9:30 Club on July 3^rd. You should totally go. 

I know what you’re thinking, “Another A album? WGTB has more grade inflation than a high school English class.” Maybe, but Delta Spirit’s sophomore album History From Below is a wonderfully crafted portrait of Americana that is deserving of such praise. The five-piece San Diego band delivers a mature and intelligent album that aims to say something meaningful about life with genuine emotion and conviction.

Musically, the album is a palatable blend of soul, blues, and folk rock, with undertones of Bob Dylan, which alternates between beautifully understated acoustic songs, marked by plucked guitars and sweeping strings, and more heavily instrumented tracks, with amplified guitars, pianos, and kick drums. The true driving force behind the album is lead singer Matt Vasquez, who joined the band when he was discovered serendipitously by drummer Brandon Young singing on a bench at 2 in the morning. His brooding, yet gentle voice delivers the poignant lyrics with a sense of urgency that make even the down tempo songs compelling. Most tracks have a chorus that is easy to sing-along with, often augmented by Vazquez’s backup harmonies, adding to the album’s folksy tone. The best example of this, and probably the album’s top track, is “Golden State,” which grooves around a simple guitar and piano riff, eventually culminating in an outro of “ohhh oh ohhhs.” Other standout tracks include the opener, “911,” a sneering critique of American militarism, and “Ransom Man,” where Vazquez’s tender voice really shines over a plucked guitar and heavily reverbed strings.

However, History From Below is more than just a collection of pleasant sounding folk rock songs, and the lyrics are what make it stand out. With lines like Everyone wants what nobody needs/Silver and gold (“St. Francis”), I want to get an answer/To why I was even born, and the earth is so tender and cruel/Well if you're not there it's still so beautiful (“Salt in the Wound”), Delta Spirit explore the cliché themes of life, death, love, and destiny in a cerebral and authentic way. Delta Spirit is a band with a conscience, and they have a lot of ideas worth listening to, especially when Vazquez is singing them. 

-- Jared Iversen

Review: The Rolling Stones, Exile on Main St. (Reissue)

The Rolling Stones

Exile on Main St. (Deluxe Edition)

One of the Best Albums of All Time.

            Why am I writing a review for an album that was released 38 ago? The simple reason is that Universal Music Enterprises has just released a re-mastered version of The Rolling Stones’ sprawling masterpiece Exile on Main St. that includes 10 previously unreleased tracks, in what is hopefully becoming a growing trend (see Jimi Hendrix’s Valleys of Neptune). But the real reason is that this album has had such a profound impact on music, including sparking my own interest in rock n’ roll, that a review of it nearly four decades later is still relevant.

            By 1971, The Stones already boasted a couple of #1 albums, including that year’s Let It Bleed, but their commercial success was marred by a growing ‘bad boy’ image, due largely to drug problems, the fiasco at Altamont Speedway in 1969, and being forced out of England due to a large tax debt. It was in this environment, as literal exiles, that the Stones found themselves in the summer of ‘71, traveling to the south of France to record their next album. Once arriving, they continued to encounter problems and, unable to find a satisfactory studio, descended into the basement of Keith Richards’ villa to record Exile, a fitting setting for the devilish outlaws of rock. Despite Richards’ worsening heroin addiction and Jagger’s preoccupation with his newborn baby, the band was able to lay down enough material for what would become a double album, comprised of 18 tracks that would revive rock n’ roll.

Jagger and Richards in the basement of Richards’ villa, Nellcote

“It wasn't a great environment for, like, breathing”

           

The album initially received lukewarm reviews at best, and was criticized for being too long and dense. However, it has since been recognized as a masterpiece, sitting at number 7 on Rolling Stone’s list of the 500 Greatest Albums of All Time, and serving as inspiration to musicians and fans alike. (continued after the jump!)