Superchunk maintain post-reunion album title hot streak with forthcoming album What a Time to Be Alive

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Heads up, all you musical cosmopolitans out there: Superchunk (a.k.a. good ol’ Mac, Laura, Jim, and Jon — a.k.a. “the most credible power pop band in music”) have announced a new album called What a Time to Be Alive, and it’s due out February 16, 2018. And if the title sounds familiar to you, that’s likely because What a Time to Be Alive is also the title of Drake and Future’s surprise-released collaborative from 2015.

Superchunk’s What a Time to Be Alive will be the indie rock mainstays’ first full-length in four years, following 2014’s I Hate Music. It will also mark the band’s second full-length since returning from a lengthy hiatus with 2010’s Majesty Shredding.

How comparable is Superchunk biting a Drake and Future title in 2017 to The Replacements biting Let It Be from the Beatles in ’84? Just what is Superchunk implying here? Well, according to main-man Mac McCaughan, “the album is about a lot of things of course but mainly dealing with anxiety and worse in the face of incipient authoritarianism.” It’s a record, he says, “about a pretty dire and depressing situation but hopefully not a record that is dire and depressing to listen to.”

Anyway, while there’s as yet no word on whether the record’s B-sides will include a cover of “Jumpman,” the first single from Superchunk’s What a Time to Be Alive is also titled “What a Time to Be Alive.” You can listen to it right now below and pre-order the album in all kinds of formats from about a zillion different retailers with the click of a few buttons! Oh man (yup, here it comes!), What a time to be alive!


What a Time to provide a tracklisting:

01. What a Time to Be Alive
02. Lost My Brain
03. Break the Glass
04. Bad Choices
05. Dead Photographers
06. Erasure
07. I Got Cut
08. Reagan Youth
09. Cloud of Hate
10. All for You
11. Black Thread

Superchunk on tour:

02.15.17 – Baltimore, MD – Ottobar ^
02.17.17 – Richmond, VA – The Broadberry ^
02.21.17 – San Diego, CA – The Casbah ^
02.22.17 – Los Angeles, CA – The Moroccan Lounge ^
02.23.17 – Los Angeles, CA – The Teragram Ballroom ^
02.24.17 – San Francisco, CA – Great American Music Hall at Noise Pop Festival ^
02.26.17 – Portland, OR – Mississippi Studios^
02.27.17 – Seattle, WA – Neumos ^
02.28.17 – Vancouver, British Columbia – Rickshaw Theatre ^
04.03.17 – Washington, DC – Black Cat ~
04.04.17 – Philadelphia, PA – Union Transfer ~
04.06.17 – Cambridge, MA – The Sinclair ~
04.07.17 – New York, NY – Bowery Ballroom ~
04.08.17 – New York, NY – Bowery Ballroom ~
04.26.17 – Atlanta, GA – Terminal West
04.27.17 – Carrboro, NC – Cat’s Cradle
04.28.17 – Asheville, NC – The Grey Eagle

^ Bat Fangs
~ Swearin’

Ought figured they really ought to formally announce their new album, Room Inside the World, on Merge (so they did)

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Not to “twist your arm” or whatever, but: Montreal’s current most-awesome post-punk foursome Ought have announced their new album, Room Inside the World, and you kinda really ought to know about it.

See, it’s the band’s third album and their first since signing to Merge. It was written in Ought’s sock sock factory rehearsal space with the help of a “digital moodboard” featuring artists from Brian Eno to Kenneth Anger. It was recorded with the help of less-digital moodboard Nicolas Vernhes at Brooklyn’s Rare Book Room.

You also really ought to make yourself aware that the first single from the new album, “These 3 Things,” is accompanied by a video directed by Scottie Cameron and Johnny Look, who has also worked with Grizzly Bear, Cloud Nothings and Cass McCombs.

Finally, Ought are currently in the middle of a tour with Waxahatchee, but they figured they really ought to plot a headlining tour of their own next year, so they’ve announced those dates as well. You might wanna check them out down below.

Pre-order Room Inside the World here and watch the video for “These 3 Things,” also down below. (Not that you “have to,” or anything…)


Room Inside the World tracklisting:

01. Into the Sea
02. Disgraced in America
03. Disaffectation
04. These 3 Things
05. Desire
06. Brief Shield
07. Take Everything
08. Pieces Wasted
09. Alice

Ought to hit the road:

11.08.17 – Pittsburgh, PA – Spirit*
11.09.17 – Bloomington, IN – The Bishop*
11.10.17 – Louisville, KY – Zanzabar*
11.11.17 – Chattanooga, TN – Sluggo’s*
11.12.17 – Tallahassee, FL – The Wilbury*
11.13.17 – Gainesville, FL – The Wooly*
11.14.17 – Miami, FL – Gramps*
11.16.17 – Orlando, FL – The Social*
11.17.17 – St. Petersburg, FL – Et Cultura Festival*
11.18.17 – Charleston, SC – The Royal American*
11.19.17 – Richmond, VA – Capital Ale House*
11.20.17 – Arden, DE – Arden Gild Hall#
03.06.18 – Montreal, QC – Théâtre Fairmount^
03.07.18 – Toronto, ON – Lee’s Palace
03.09.18 – Chicago, IL – Lincoln Hall
03.10.18 – St Louis, MO – Off Broadway^
03.11.18 – Kansas City, MO – The Riot Room^
03.17.18 – Mesa, AZ – Underground%
03.18.18 – Santa Ana, CA – Constellation Room%
03.19.18 – Los Angeles, CA – Teragram Ballroom%
03.20.18 – San Francisco, CA – The Independent%
03.22.18 – Portland, OR – Mississippi Studios%
03.23.18 – Seattle, WA – Chop Suey%
03.24.18 – Vancouver, BC – The Cobalt%
03.26.18 – Calgary, AB – The Palomino%
03.27.18 – Saskatoon, SK – Amigo’s Cantina%
03.29.18 – Winnipeg, MB – The Good Will Social Club%
03.30.18 – Minneapolis, MN – 7th Street Entry%
03.31.18 – Madison, WI – High Noon%
04.02.18 – Columbus, OH – Ace of Cups%
04.04.18 – Washington, DC – The Black Cat
04.05.18 – Philadelphia, PA – First Unitarian Church
04.06.18 – Brooklyn, NY – Music Hall of Williamsburg
04.07.18 – Boston, MA – The Sinclair
04.20.18 – Bristol, UK – The Exchange
04.21.18 – Leeds, UK – Brudenell Social Club
04.22.18 – Glasgow, UK – Stereo
04.23.18 – Birmingham, UK – Hare & Hounds
04.24.18 – London, UK – Garage
04.26.18 – Paris, FR – Maroquinerie
04.27.18 – Nantes, FR – Stereolux
04.28.18 – Bordeaux, FR – Iboat
04.30.18 – Lausanne, CH – Le Romandie
05.01.18 – Winterthur, CH – Albani
05.02.18 – Brussels, BE – Botanique
05.03.18 – Cologne, DE – Bumann & Sohn
05.04.18 – Berlin, DE – Kantine am Berghain
05.05.18 – Copenhagen, DK – Loppen
05.07.18 – Amsterdam, NL – Paradiso Noord

* Waxahatchee
^ Snail Mail
% Flasher
$ Trace Mountains and Boys Online
# Shame and Grace Vonderkuhn

Music Review: Destroyer – ken

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Destroyer

ken

[Merge; 2017]

Rating: 2.5/5

When you listen to ken, you’ll think of “the 80s.” While it’s easy to evoke that period with instrumentation, it’s more difficult to do so with what you might call “a sensibility.” Sure, ken has a lot of synths, but so did Your Blues. There’s a way in which things all sorta come together — irrespective of the instruments on which they’re being played — that recalls the type of songwriting practiced by a certain strand of mid-to-late-80s British rock outfits — for instance, in the jangly bombast of “Cover From the Sun.” But allusions to styles and genres aren’t new for Destroyer, and here they’re mostly oblique, as they have been on past records.

ken retains a similar spirit to Poison Season and Kaputt, with its mostly glossy, foggy presence, punctuated by the occasional brash guitar lick or uncanny horns, but there’s an almost gothic bleakness here that feels like a new preoccupation. From the opening lines of “Sky’s Grey,” we’re introduced to the barbiturate-laced, droning vocal delivery, ebbing in and out of the distance, that permeates much of the record. There’s a flatness throughout, a plodding malaise with the seeming intention of lulling or softly bludgeoning the listener with its persistence. This is matched musically with what is mostly mid-tempo, structurally unassuming progressions, which is distinct from the jarring turns of, say, City of Daughters or Streethawk: A Seduction.

It’s difficult, of course, to talk about Destroyer without talking about Dan Bejar’s lyrics. In a 2006 interview with CBC, he had this to say about the lyrics in Destroyer’s Rubies:

I can say that if it was like a Destroyer 101 class, it’d be like, something epic, and fatalist, followed by an aside that you mumble to your friend who’s non-existent. And then something really material and maybe banal, and then another aside commenting on that which just came before it, the material or banal thing.

I think about this quote a lot when listening to Destroyer records, because it’s so accurate. There’s a humor in these juxtapositions, in saying things like, “Vancouver’s got a new Caligula/ Hey, that’s cool” (“Sometimes in the World”). While plenty of other little traits can make a Destroyer lyric a Destroyer lyric, there’s something evocative about a truly successful Destroyer lyric, even if it’s formulaic or mundane; a successfully mundane Destroyer lyric manages also to be vague enough to cause your mind to rush to fill in the blanks, as in “Tinseltown Swimming in Blood”: “I was a dreamer/ Watch me leave” (repeated six times, to really drive the point home).

Playing with tense and person in that way, indicating some larger story than is actually being conveyed, makes for the seemingly effortless poetry present in Bejar’s best work, but most of the lyrics on ken accomplish next to nothing. Although a superficial reading of Bejar’s lyrics might conclude that they’re composed largely of rambling non-sequiturs, ken helps demonstrate just how difficult or serendipitous it is to work out a lyric like those in his earlier work (or the lines that make up the best parts of ken). At the risk of oversimplifying things, I’m tempted to describe these lyrics as placeholders that were never revisited.

On the other hand, there are lines like “Tinseltown swimming in blood” that are simply too gratuitous in their reach, demonstrating how precarious it can be to go in the opposite direction. The brilliance of a good Destroyer lyric is its ability to toe the line between these two extremes, and the failure of ken is that this doesn’t happen often enough.

Put together, this spells out the album’s main problem: the lyrics can’t support the music, and vice-versa. That’s not to say there aren’t some great moments for people who’ve been following Bejar’s work — “Ivory Coast” and much of the second half of the record have a lot of noteworthy moments, in both their musical adventurousness and lyrical successes. But the interplay between flatness and richness that Bejar describes as integral to his lyrics — and that can be extended to its interplay with his music — isn’t here a lot of the time. Rather than doing a lot with a little, ken is just… little.

Considered as a whole, ken sets a dark, overcast mood that’s been hinted at in recent work but is mostly rare for Destroyer, so it’ll be interesting to see where things go in the future if this thread is followed. I suspect, however, that this might be the end of the Kaputt sound, described by Bejar at the time as “ambient disco;” notably, it’s a sound that’s been settled into and explored for three records straight, all of which have black-and-white covers, and Bejar has been historically restless. A hunch tells me this might be an intentional “trilogy,” which would be characteristically melodramatic — but with Destroyer, you never know.

Destroyer toots on his MIDI sax and out pops a shiny new music video and a sopping wet string of North American tour dates!

This post was originally published on this site

You guys are never gonna believe this, but: in advance of his newest and 12th-est album under the Destroyer moniker — which, last time I checked, was still entitled Ken and was still due October 20 on Merge (and could still be pre-ordered thusly) — Dan “Curly” Bejar has just un-the-fuck-leashed a new video for the album’s second single “Tinseltown Swimming in Blood.” What a totally kooky and impetuous thing to do, right?

I said: “RIGHT?!?”

Seriously though: the clip for this groovy, new wave-inspired jam was directed by “KC” (a.k.a. Karen Zolo) and configured as “an adaptation of the much-revered classic film La Jetée, which addresses contemporary issues of identity, borders, and race.” Or, in slightly more words than that:

I’d just had a conversation about artist Chris Marker with a friend when I was approached to make a music video for the upcoming Destroyer album. “You have a month.” Okay… I had no idea what the song even sounded like, but the only idea I had was to remake Chris Marker’s La Jetée as faithfully as possible. It’s not just an homage to the great cine-poet; it’s also about the medium of film, about still photography. It would have been a billion times easier and less stressful to shoot it digitally, but it was worth it.

COMPLETELY COINCIDENTALLY, the unveiling of this latest audio/visual gesamptkuntzwerk also coincides seamlessly with Bejar’s announcement of a whole slew-y slew of North American tour dates (and this is on top of the equally slew-y slew of European dates he’d already conjured up for this fall) which are scheduled for early 2018 — provided this crumby continent makes it that far into the future. But don’t take my word for it; check out the insane string of numbers and place names for yourself down below…after you watch the video, of course.

Are you watching it?

Are you??

Dan Bejar’s Path of Ultimate Destroyction:

11.12.17 – Hamburg, DE – Kampnagel
11.13.17 – Aarhus, DK – Voxhall
11.14.17 – Oslo, NO – John Dee
11.15.17 – Stockholm, SE – Fasching
11.16.17 – Copenhagen, DN – Vega
11.16.17 – Berlin, DE – Festsaal Kreuzberg
11.19.17 – Dusseldorf, DE – New Fall Festival
11.21.17 – Zurich, CH – Rote Fabrik
11.22.17 – Montpellier, FR – Le Rockstore
11.23.17 – San Sebastian, ES – Teatro Victoria Eugenia
11.24.17 – Lisbon, PR – Mexefest
11.25.17 – Madrid, ES – Teatro Barcelo
11.26.17 – Valencia, ES – La Rambleta
11.27.17 – Barcelona, ES – Sala Bikini
11.29.17 – Lille, FR – L’ Aeronef
11.30.17 – Brighton, UK – Patterns
12.01.17 – Leeds, UK – Brudenell Social Club
12.03.17 – Dublin, IE – Button Factory
12.05.17 – Glasgow, UK – CCA (270)
12.06.17 – Newcastle, UK – The Cluny
12.07.17 – London, UK – Scala
12.08.17 – Paris, FR – Petit Bain
12.09.17 – Amsterdam, NE – Paradiso Noord
12.10.17 – Brussels, BE – Botanique Brussels

01.10.18 – Portland, OR – The Wonder Ballroom
01.11.18 – San Francisco, CA – The Fillmore
01.12.18 – Los Angeles, CA – The Regent Theater
01.13.18 – Phoenix, AZ – The Crescent Ballroom
01.15.18 – Austin, TX – The Mohawk
01.16.18 – Dallas, TX – Club Dada
01.17.18 – Kansas City, MO – Record Bar
01.18.18 – Minneapolis, MN – Fine Line Music Cafe
01.19.18 – Madison, WI – High Noon Saloon
01.20.18 – Chicago, IL – Metro
01.21.18 – Detroit, MI – Magic Stick
01.22.18 – Toronto, ON – Phoenix Concert Theatre
01.23.18 – Montreal, QC – Theatre Fairmount
01.24.18 – Cambridge, MA – The Sinclair
01.26.18 – Philadelphia, PA – Underground Arts
01.27.18 – Brooklyn, NY – Brooklyn Steel
01.28.18 – Washington, DC – Black Cat
01.29.18 – Asheville, NC – Grey Eagle
01.30.18 – Carrboro, NC – Cat’s Cradle
01. 31.18 – Atlanta, GA – Terminal West
02.01.18 – Nashville, TN – Mercy Lounge
02.02.18 – St. Louis, MO -Blueberry Hill
02.03.18 – Omaha, NE – The Waiting Room
02.05.18 – Denver, CO – Bluebird Theater
02.06.18 – Salt Lake City, UT – Urban Lounge
02.07.18 – Boise, ID – Olympic Venue
02.08.18 – Seattle, WA – Neptune Theatre
02.09.18 – Vancouver, BC – The Commodore Ballroom

Spoon’s Ga Ga Ga Ga Ga 10th Anniversary Reissue set for October 20 release

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Hey. LISTEN UP, all you glue-sniffing vaporware punks and delinquent footwork upstarts! Much like James Hurley, Spoon is still cool…in fact, SPOON has ALWAYS BEEN COOL.

And, lest some errant “hot thought” makes you forget that stone-cold FACT here in 2017, the stalwart defenders of capital-I Indie Rock over at Merge Records will fucking PROVE IT to you with the announcement of a snazzy, deluxe, 2-LP, 10th anniversary edition of the album that cemented the Austin-based “rock” band’s COOLNESS once-and-for-all back in the day: the inimitable motherfucking “Ga Ga Ga Ga Ga.

I mean, seriously; WHO THE HELL ARE YOU not to appreciate this landmark record…made with real instruments…on magnetic tape machines…by Britt Daniel, Jim Eno, and…uh, you know, some other guys??? Nobody; that’s who. Keep reading.

In addition to the complete studio album — fully remastered by Howie Weinberg — the new 10th anniversary package features the rare-AF, 12-track Get Nice! EP— and both albums have been lovingly, painstakingly hand carved, ONE GROOVE AT A TIME, onto 180-gram vinyl mined from an asteroid in outer space by super-intelligent robots and packaged “in a gatefold jacket with updated art.” It’s just crazy.

Also, if you pre-order the reissue from Merge’s webstore, you can get this sweet t-shirt thrown in “at a $5 bundle discount.” (See, back in 2007, people used to walk around wearing t-shirts with band names printed on them and jeans instead of yoga pants and Under Amour “athleisure-ware” like they do here in “the future.”)

So, get those orders in today, ya little punks. Also, please check out this amazing smattering of Spoon-related info-tainment that I gathered up for you. IT TOOK ME A LONG TIME.




Ga Ga Ga Ga Ga tracklisting:

01. Don’t Make Me a Target
02. The Ghost of You Lingers
03. You Got Yr. Cherry Bomb
04. Don’t You Evah
05. Rhthm & Soul
06. Eddie’s Ragga
07. The Underdog
08. My Little Japanese Cigarette Case
09. Finer Feelings
10. Black Like Me

Get Nice tracklisting:

01. I Got Mine
02. Be Still My Servant
03. Leave Your Effects Where They’re Easily Seen
04. I Summon You (Cool)
05. Mean Mad Margaret
06. Love Makes You Feel
07. You Got Yr. Cherry Bomb
08. Tasty Fish
09. Dracula’s Cigarette
10. 1975
11. I Can Feel It Fade Like An AM Single
12. Curfew Tolls

Destroyer’s Dan Bejar wants you to “ken” that his band has a new album coming out in October

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Destroyer, the ever-mutating Canadian outfit fronted by former New Pornographers member and songwriter extraordinaire Dan Bejar, have announced their eleventh studio LP. Ken is coming out on October 20 via Merge, and is ushered now by a video for a new song, “Sky’s Grey.”

The album was recorded in a Vancouver studio called The Balloon Factory, with Black Mountain’s Joshua Wells producing. According to Bejar, its name was lifted from the original title of Suede’s “The Wild Ones.” Even though he considers the song to be “one of the great English-language ballads of the last 100 years or so,” Bejar sees the connection between it and the new album to be unclear, stressing that “[He] was not thinking about Suede when making this record.” What he was thinking of, however, were the last few years of Margaret Thatcher’s rule in Britain, when music really came to him like a bad spell of sickness.

If all of this makes sense to you, great! Then you can pre-order the results right there! The album will be released as a deluxe yellow vinyl, too, together with a bonus 7” of solo acoustic material. Check out Ken’s complete tracklist, as well as a bunch of forthcoming Destroyer tour dates, after the video for “Sky’s Grey:”


Ken tracklisting:

01. Sky’s Grey
02. In the Morning
03. Tinseltown Swimming in Blood
04. Cover From the Sun
05. Saw You at the Hospital
06. A Light Travels Down the Catwalk
07. Rome
08. Sometimes In the World
09. Ivory Coast
10. Stay Lost
11. La Regle du Jeu

Destroyer tour dates:

11.12.17 – Hamburg, DE – Kampnagel
11.13.17 – Aarhus, DK – Voxhall
11.14.17 – Oslo, NO – John Dee
11.15.17 – Stockholm, SE – Fasching
11.16.17 – Copenhagen, DN – Vega
11.16.17 – Berlin, DE – Festsaal Kreuzberg
11.19.17 – Dusseldorf, DE – New Fall Festival
11.21.17 – Zurich, CH – Rote Fabrik
11.22.17 – Montpellier, FR – Le Rockstore
11.23.17 – San Sebastian, ES – Teatro Victoria Eugenia
11.24.17 – Lisbon, PR – Mexefest
11.25.17 – Madrid, ES – Teatro Barcelo
11.26.17 – Valencia, ES – La Rambleta
11.27.17 – Barcelona, ES – Sala Bikini
11.29.17 – Lille, FR – L’ Aeronef
11.30.17 – Brighton, UK – Patterns
12.01.17 – Leeds, UK – Brudenell Social Club
12.03.17 – Dublin, IE – Button Factory
12.05.17 – Glasgow, UK – CCA (270)
12.06.17 – Newcastle, UK – The Cluny
12.07.17 – London, UK – Scala
12.08.17 – Paris, FR – Petit Bain
12.09.17 – Amsterdam, NE – Paradiso Noord
12.10.17 – Brussels, BE – Botanique Brussels

Destroyer’s Dan Bejar wants you to “ken” that his band has a new album coming out in October

This post was originally published on this site

Destroyer, the ever-mutating Canadian outfit fronted by former New Pornographers member and songwriter extraordinaire Dan Bejar, have announced their eleventh studio LP. Ken is coming out on October 20 via Merge, and is ushered now by a video for a new song, “Sky’s Grey.”

The album was recorded in a Vancouver studio called The Balloon Factory, with Black Mountain’s Joshua Wells producing. According to Bejar, its name was lifted from the original title of Suede’s “The Wild Ones.” Even though he considers the song to be “one of the great English-language ballads of the last 100 years or so,” Bejar sees the connection between it and the new album to be unclear, stressing that “[He] was not thinking about Suede when making this record.” What he was thinking of, however, were the last few years of Margaret Thatcher’s rule in Britain, when music really came to him like a bad spell of sickness.

If all of this makes sense to you, great! Then you can pre-order the results right there! The album will be released as a deluxe yellow vinyl, too, together with a bonus 7” of solo acoustic material. Check out Ken’s complete tracklist, as well as a bunch of forthcoming Destroyer tour dates, after the video for “Sky’s Grey:”


Ken tracklisting:

01. Sky’s Grey
02. In the Morning
03. Tinseltown Swimming in Blood
04. Cover From the Sun
05. Saw You at the Hospital
06. A Light Travels Down the Catwalk
07. Rome
08. Sometimes In the World
09. Ivory Coast
10. Stay Lost
11. La Regle du Jeu

Destroyer tour dates:

11.12.17 – Hamburg, DE – Kampnagel
11.13.17 – Aarhus, DK – Voxhall
11.14.17 – Oslo, NO – John Dee
11.15.17 – Stockholm, SE – Fasching
11.16.17 – Copenhagen, DN – Vega
11.16.17 – Berlin, DE – Festsaal Kreuzberg
11.19.17 – Dusseldorf, DE – New Fall Festival
11.21.17 – Zurich, CH – Rote Fabrik
11.22.17 – Montpellier, FR – Le Rockstore
11.23.17 – San Sebastian, ES – Teatro Victoria Eugenia
11.24.17 – Lisbon, PR – Mexefest
11.25.17 – Madrid, ES – Teatro Barcelo
11.26.17 – Valencia, ES – La Rambleta
11.27.17 – Barcelona, ES – Sala Bikini
11.29.17 – Lille, FR – L’ Aeronef
11.30.17 – Brighton, UK – Patterns
12.01.17 – Leeds, UK – Brudenell Social Club
12.03.17 – Dublin, IE – Button Factory
12.05.17 – Glasgow, UK – CCA (270)
12.06.17 – Newcastle, UK – The Cluny
12.07.17 – London, UK – Scala
12.08.17 – Paris, FR – Petit Bain
12.09.17 – Amsterdam, NE – Paradiso Noord
12.10.17 – Brussels, BE – Botanique Brussels

Music Review: Waxahatchee – Out in the Storm

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Waxahatchee

Out in the Storm

[Merge; 2017]

Rating: 4/5

I was in the bar reading periodicals while waiting for a slow friend, suspecting that The New Yorker might just be a rag in which rich people sublimate each other’s money on the astral plane. But it’s how I found out about her. All the news was routine, tales of the big men and the little guys, but one right turn led me to something else entirely, a feature about a siren-saint named Katie Crutchfield. From that magazine page, pancake flat, her words emerged like a body from an alpine lake: crisp, revitalized, treacherously truthful.

I sussed out and turned up her then-current Cerulean Salt, its title announcing all the good in it: those soft starting letters sounding alike but looking so not, each vowel taking turns with all the others like a backbeat. “Lively,” her best song, not only describes veracity (“You lie/ When the truth is as vast as the dark, gray sky”), but also enacts it (“You’d die/ Before you’d look me in the eye,” she sings, peering at us). I made my way to her earlier American Weekend, lo-fi in the classic sense: sturdy, bare, fraught. Nothing but spine-strong words, elegantly idiomatic verse made by curved knuckles and painted nails, language I could hear myself with.

Out in the Storm hones that truth; it wonders about it. “You ring me up/ I tell the truth,” goes “Fade,” and “You’ll have your truth/ I’ll have mine,” goes “Hear You.” Ten songs divulge it, which don’t have sections so much as well-portioned energies: a steady wash on “Silver,” a momentous stretching out in the joints of “Never Been Wrong,” a thrilling slowing down at the long end of “No Question,” where a series of harmonic modulations spins out a repetition: “It sets you free.” And “8 Ball,” an utterly summer song, is Crutchfield’s best one yet, lovelier even than “Lively,” with her recitations skipping across the surface of a pleasant surf sound: “I’ll dream, embarrassing reverie/ I’m all detached, feeling like myself.”

The record’s adversarial feeling imprints — a wall punched out, a face yelled in — are cancelled by their wry sincerity, shy of sarcastic. Addressees receive loving second-person accusations, angled toward some you, this spiteful you who will “name my weakness” and “brand my losing streak,” this stubborn you who will “politely point out all the goodness this world lacks,” this radiant you who wants to be the rain. Against it, her I observes mingled self-knowledge and -pity in others via its own “death grip on some faint humility,” seen clearly through her sister’s eyes: “Everyone will hear me complain/ Everyone will pity my pain.”

Truth requires no triangulation; it doesn’t even need one witness. And yet, the “jagged truth left unheard,” when revealed, makes you feel, as Caroline Rayner wrote of Ivy Tripp, less washed up. “I hoped telling all this truth would be liberating,” sings Crutchfield on “No Question,” and I hope it was. While everybody is telling everyone else how to spell our fake names, she’s up at 9 AM, hands full of pencils and guitars. She claims she diligently keeps “business hours” to make her music, that she tosses away even the catchiest song if one syllable is mistaken. Reading that vast fact, the songs its settled proof, made me feel less strange, spaciously unseen, just broken open enough. If lies, they might as well be true.

Wye Oak to whisper sweet nothings in your ear on intimate fall tour, announce limited-edition 7-inch

This post was originally published on this site

This September, Wye Oak are going on tour. “AY, BIG DEAL,” you scoff at the computer screen. “Bands go on tours all da time, who cares? You gonna tell me this tour ‘sposeda be somethin’ special?” Well actually, SIR OR MADAM, this run of dates will be a little more “special” than your basic tour. There will be no paying 170 dollars to stand in a cavernous arena, five thousand feet from the stage, stuck behind the tallest guy in the place who also happens to be wearing a bulky backpack here. No, these Wye Oak dates will be a much classier and far more intimate affair.

The Baltimore-based duo will be hitting up small venues up and down the east-ish coast, trying out brand new material, exchanging friendly banter, and apparently drinking lots of wine, because they’re playing no less than four places called City Winery. The intimate nature probably opens up a lot of room to ask the band deep, personal questions too; like what their favorite season of Fargo has been, who would win in a footrace between Gene Hackman and Sean Connery, or what type of Girl Scout Cookie is best. Just make sure you don’t say anything embarrassing to the band, like, “Ay! What’s yer favorite color?” They’re going to be right there, and that would make the rest of the show awkward and uncomfortable for everyone.

Also happening this September — September 22 to be exact — Wye Oak will release “Spiral” b/w “Wave is Not the Water” as a limited-edition 7-inch via Merge. Both of these songs were previously released in partnership with Adult Swim; “Spiral” during the 2012 Singles Program, and “Wave is Not the Water” as part of the dream-pop compilation LUXE from way back in May. Only…NOW, they’ll be together for the first time…on red vinyl!

You can check out all of Wye Oak’s intimate fall tour dates, and listen to both “Spiral” and “Wave is Not the Water” below. If you like what you hear, pre-order the limited edition 7-inch here. (If you don’t, at least try to show a little decorum and keep your opinions to yourself.)


Upcoming Wye Oak wine tastings:

09.28.17 – Charlotte, NC – Side Stage @ The Neighborhood
09.29.17 – Atlanta, GA – City Winery
09.30.17 – Pittsboro, NC – Shakori Hills w/ Sylvan Esso
10.02.17 – Nashville, TN – City Winery
10.03.17 – Newport, KY – The Southgate House Revival
10.04.17 – Pittsburgh, PA – Club Cafe
10.05.17 – Hudson, NY – Club Helsinki
10.06.17 – New York, NY – City Winery
10.07.17 – Baltimore, MD – The Ottobar
10.08.17 – Pawtucket, RI – The Met Cafe
10.09.17 – Boston, MA – City Winery

The Clientele announce first LP on this side of the decade, share lyric video for new song “Lunar Days”

This post was originally published on this site

There comes a point in the life of the aging music obsessive when, despite concerted efforts to “stay relevant,” the forthcoming album release that excites you most isn’t by an experimental reggaeton crew from Chile but a British rock trio of moderate bores who once soundtracked your most painful high-school break-up. Resisting this is absolutely pointless, so please get excited about this with me: The. Clientele. Are. Back. The band have just announced that their seventh studio LP, titled Music for the Age of Miracles, is going to stream down upon us from on-high on September 22 courtesy of their old pals Merge— and not only THAT: but they have also shared a lyric video for a brand new number, “Lunar Days,” to help ease the wait.

The comeback was sparked by a rekindling of an old friendship, when The Clientele’s chief songwriter Alasdair MacLean ran into former collaborator Anthony Harmer. One thing leading to another, and the two started jamming again. Harmer, who is an accomplished Santoor (Iranian version of the dulcimer) player, eventually contributed string and brass arrangements, as well as guitars, vocals, keyboards, and saz to Music for the Age of Miracles.

In case you don’t remember (or are only like eight years old), The Clientele’s previous full-length, Bonfires on the Heath, came out in 2009. It was followed by the mini album Minotaur a year later, a best-of compilation, and reissues of Suburban Light and Strange Geometry — the albums largely responsible for the group’s reputation as a cult aughts/zeros/two-thousands act. (And, to be fair, McLean hasn’t exactly been squandering his days locked in his apartment with a Dominos pizza and a Playstation 4: he’s released two records with partner Lupe Núñez-Fernández (as Amor de Días), and has become a father.)

Watch the lyrics video for “Lunar Days” below, and then (you guessed it) check out the cover art, full album tracklist, and the Clientele’s upcoming tour dates in support of the comeback LP — all down below. And c’mon, admit it: you’re excited too, right?)


Music for the Age of Miracles tracklisting:

01. The Neighbour
02. Lyra in April
03. Lunar Days
04. Falling Asleep
05. Everything You See Tonight Is Different From Itself
06. Lyra in October
07. Everyone You Meet
08. The Circus
09. Constellations Echo Lanes
10. The Museum of Fog
11. North Circular Days
12. The Age of Miracles

The Clientele on tour:

09.22.17 – London, UK – Oslo
10.31.17 – Toronto, ON – Great Hall
11.02.17 – Washington, DC – Rock & Roll Hotel
11.03.17 – Philadelphia, PA – Boot & Saddle
11.04.17 – Boston, MA – The Sinclair
11.05.17 – Brooklyn, NY – The Bell House
11.07.17 – Chicago, IL – Subterranean
11.09.17 – Seattle, WA – Neumos
11.10.17 – Portland, OR – Mississippi Studios
11.12.17 – San Francisco, CA – The Chapel
11.14.17 – Los Angeles, CA – Teragram Ballroom