Category: Reviews
Morgan Delt: ‘Morgan Delt’
Drop everything, lie down, and immerse yourself in the swirling ambient tunes of Morgan Delt’s first full-length album, set to debut on Tuesday Jan. 28. The self-titled effort brings to mind the wispy vocals of Simon and Garfunkel, mixed with the psychedelic qualities of Tame Impala heard in slow motion, nothing short of pleasant.
The album, made available by Chicago Label Trouble In Mind, will contain five additional tracks to accompany those already on the EP, Psychic Death Hole, released last year in true hippy fashion: by cassette-tape only. Fortunately, the full-length effort will be released in a more accessible medium, available now to pre-order on iTunes or for vinyl pre-order via Trouble In Mind Records.
The album boasts a wide range of sounds that reverberate through the multiple layers of audio and trippy effects that have been cast in a beautifully complex way. The complexities become immediately apparent in “Make My Grey Brain Green,” the first track on the album that certainly does not beat around the bush to reveal Morgan Delt’s signature sound of rich psychedelic pop/rock.
Highly pitched guitar riffs slide right out of the speakers during the stand out track, “Barbarian Kings,” resembling a slow meandering river of sound. A similar effect can be heard on “Obstacle Eyes,” almost reaching the same level as the pleasing rising and falling sensation of sound blossoming from the latter.
The pace picks up slightly with tracks “Beneath the Black and Purple” and “Chakra Sharks,” in which Delt ironically croons “I’m gonna ruin your meditation.”
Things begin to turn slightly eerie and melancholy during “Sad Sad Trip,” an aptly named deeper cut off the album. The eeriness lingers through “Backwards Bird Inc.,” characterized by an inaudible voice that echoes in and out of the foreground, building until finally crashing into a downward spiral of heavy guitar.
The echoes continue throughout “Tropicana,” as multiple voices are layered over each other in melodic fashion, complimentary to the ear. A ghostly sound that resembles an organ fades out onto a set of foot steps walking away, a brilliant finish to a carefully composed track.
“Main Title Sequence” rounds the album out quite nicely, returning to the wistfulness of the first tracks, suggesting repetitive listening as a compelling possibility.
Delt’s self-titled album does not easily lend itself to be played in the background. Despite its easy listening tracks of psychedelic rock/pop, it demands our attention from start to finish.
Morgan Delt comes out January 28th on Trouble in Mind. You can pre-order your copy here.
Jenny Lewis: “Completely Not Me” to be featured on ‘Girls Volume 2’ soundtrack
Singer/Songwriter Jenny Lewis, formally of Rilo Kiley (and contributing vocals of Postal Service– we might add) is coming clean in her new single track titled, “Completely Not Me”.
In this celebratory song of rebirth-produced by Rostam Batmanglij of Vampire Weekend– Lewis lays bare her story as she reminisces of “a night back in June” when things went a little crazy.
Lewis’s voice is velvety and playful as she demonstrates her vulnerability in the form of raw high notes, and pulls through self assuredly. Lewis confesses her sins in a way that makes it easy for us to forgive her in this upbeat and almost choral-sounding tune- not to mention the girl sure can strum a guitar! You’re gonna want this track on your playlist in time for the next sunny day…think windows down, wind in your hair.
The song, which has been recently featured on the 3rd season premier of popular HBO series Girls- is included in the shows second soundtrack titled Girls Volume 2: All Adventurous Women Do…’ along with some other amazing singles by the likes of M. Ward, Beck, and Lily Allen to name a few. (scroll down for the whole playlist)
“Completely Not Me” is available officially Feb 11- but preorder and get a free download of the song now.
And if you just cant get enough -Lewis will be coming to Atlanta soon on tour as part of the Shaky Knees Festival May 9th– 11th at Atlantic Station- Ill be seeing you there my friends!
1. Vampire Weekend – “I’m Going Down”
2. Jenny Lewis – “Completely Not Me” *
3. M Ward – “I Get Ideas”
4. Lily Allen – “Late Comer”
5. Beck – “Blue Moon”
6. Miguel – “simplethings” *
7. Christina Perri – “I Don’t Wanna Break”
8. Oasis – “Wonderwall”
9. Zero DeZire – “It’s My Birthday (Remix)” *
10. Aimee Mann – “How Am I Different”
11. Father John Misty – “Nancy From Now On”
12. Jake Bugg – “There’s A Beast And We All Feed It”
13. Cat Power – “Free (Gigamesh Remix)” *
14. Daniel Johnston – “Life In Vain (Live At Austin City Limits)”
15. Michael Penn – “Daisy (From One Man’s Trash)” *
Blondfire: Young at Heart
On a wave of cotton candy vocals, brother-sister duo Blondfire manage to simultaneously show off some L.A. edge on their first full-length album, Young Heart. Set to release February 11, this indie-pop record is the ideal mixture of sugar, spice and everything nice.
But it’s no surprise that Erica and Bruce Driscoll have released pure gold; these two have years of industry experience. Having already been in the bands Nectar and Astaire – a name that they were forced to drop after Fred Astaire’s estate threatened rather large legal fees – the Driscolls peeled off their cocoon to become Blondfire. Soon enough, they were the first unsigned act to become #1 on the iTunes Alternative chart.
There’s no doubt that Young Heart will keep them on their fizzy rise to fame. The album features fan favorites from their Where the Kids Are EP, including “Walking With The Giants” and the “Where The Kids Are” track. These two synth-y titles are insanely catchy, but most notable for the way they make you feel: as if the world was made for adventure and anything could happen.
But we want to take a moment to focus on the album’s title track, released before the rest of the album. Exploring the darker side of youth, its shady lyrics are balanced by its dreamy instrumentals, which are slightly reminiscent of a lullaby. Similarly, lyrics like, “Crawling to feel/What you need isn’t all that matters now” speak to the lost child in all of us.
Despite all that wonderment, “Dear In Your Headlights” is undoubtedly our favorite track. Danceable enough to be heard on Top 40 radio yet sophisticated enough to be on any indie devotee’s playlist, this song sounds like what would happen if Gwen Stefani decided to front Phoenix. And that would be epic.
All in all, Blondfire’s new release bounces back and forth from a pop-y, almost Katy Perry sound to one that – electronically, at least – reminds us quite a lot of Empire of the Sun. I know that combination sounds entirely off-kilter, but paired with lyrics about grasping your youth and embracing the everyday, Young Heart proves to be pure magic.
Xiu Xiu: Angel Guts: Red Classroom
There’s a picture of Death Valley on Xiu Xiu’s website. It is here, in this vast landscape, that I imagine the first track of Xiu Xiu’s most recent album reached its inspiration, or some place like it. What sounds like a steady breeze opens the album, Angel Guts: Red Classroom, along with a few ominous notes – as if singer songwriter, Jamie Stewart, hopes to hint at the emotional sound of this album for his devoted listeners. Most who hear it may find it distressing or even scary – and it is just that – but it is Xiu Xiu’s talent for evoking these feelings from listeners that makes it a piece of art.
Jamie Stewart began Xiu Xiu in San Jose, California and has taken on members Shayna Dunkelman and Angela Seo. The name comes from a 1998 Chinese film, Xiu Xiu: The Sent Down Girl, about a 15 year old girl who is betrayed and violated by government officials, and Xiu Xiu is not afraid of being as controversial as their name’s source. But don’t be swayed. Angel Guts: Red Classroom is a surprisingly relaxing journey and offers release from the day’s events, specifically when listening to the softer songs of the album like “Botanica de Los Angeles” and “New Life Immigration”. Whether or not it is Stewart’s choleric, deep voice, or the rhythmic synthesizers, or a combination of the two that can cause a jump from solemnity to rage is up to you.
Since Xiu Xiu’s first album, Knife Play, released in 2002, their sound has gone through minor changes, but Stewart’s voice has remained the same, a unique one. Deep is the only way to describe it, but never monotone, deep in the sense that his voice somehow gives a deeper meaning to his words. And then at times, you can feel the pent up emotion when Stewart screams in “El Naco” and “Silver Platter”. Although “deep” may seem to limit Stewart’s style, he is very capable of sounding soft as in A Promise, and also sensual as in Nina, a Nina Simone cover album released right before Angel Guts: Red Classroom.
“:Red Classroom” ends the album with the continuous breeze, but no ominous notes. Instead, a frightening noise similar to that of a revving engine, then the breeze as a note of relief, and then nothing.
Angel Guts: Red Classroom is to be released February 4.
Crushed Stars: Farewell Young Lovers
Farewell Young Lovers is the most current album of Todd Gautreau and Jeff Ryan, out January 21st. The euphoric album opens with the upbeat “Flowerbomb,” for which they just released a video. Crushed Stars has kept their dream-like style since their earlier albums such as in In The Bright Rain and even their cover of “99 Red Balloons.”
The album takes on a somewhat psychedelic sound in “Our Interest in Claire,” but still eloquent, as if this would be the theme song to watching a lava lamp move. Then “Fly,” a lullaby of sorts, follows with a sprinkling of piano keys and harmony from a female voice. “Poppies” takes an instrumental approach, an intermission in the album. The second half opens strong with “Haters,” a sound different than most of Crushed Stars’ tracks. “Haters” is easily the most energetic, but still maintains that weightless feeling of the entire album. Finally, “Crocodiles” ends the album on a peaceful note.
The album is languid and simply beautiful. Everything should move in slow motion while this album is playing, and that goes for all of Crushed Stars’ albums. It can sing you to sleep (as it did to me late one night), ease your daily woes, or make you see objects in a softer light. Farewell Young Lovers is a unified album that brings to mind summer sunsets, nostalgia, thoughtfulness, and contentment. The album opens optimistically and closes with a sweet farewell.
Although Crushed Stars has a continuous and particular style, they are very versatile as shown in this album. They are able to evoke a feeling of high-ness and also one similar to a dream state. “Fantastic Birds” for example, Gautreau describes, “And we are like fantastic birds/ With our voices still unheard/ Under a canopy of trees/ Laughter and iridescent streams.” The vividness continues in “Haters”, “Singing in the churches with our hearts too full of hate/Shining on the surface but they won’t get through the gate.” Crushed Stars ends appropriately with “Crocodiles”, bidding farewell to all the young lovers, “So long my friend, we’ll see what tomorrow brings.” A complete album made truly with love and delicacy.
The Casket Girls: “Day to Day”
Got someone’s hand to hold on Valentine’s Day? Whatever your relationship status, we suggest you make your way to 529 in Atlanta to catch The Casket Girls. Straight out of spooky Savannah, this ethereal trio just released a new single off their second album, True Love Kills The Fairy Tale. And much like the group, we don’t believe in coincidences – they’re coming on February 14 to sweep us off our feet.
First things first, though: this kickass single. “Day To Day” is a mystical track from CG’s upcoming album, True Love Kills The Fairy Tale, featuring shoegaze-y beats by Ryan Graveface, of Black Moth Super Rainbow fame (or you may know him from our awesome interview last year). These instrumentals remind us subtly of My Bloody Valentine, but the beauty is in how they mingle with the harmonies of sisters Phaedra and Elsa Greene. Light but not too frothy, their voices play well with quite an intense backdrop. What we’re most impressed by, though, is how this release manages to be both moody and uplifting at the same time.
Don’t be afraid to let your mind wander when listening to the track – after all, the chorus puts you in a dark fairy tale sort of mood with lyrics like, “Day to day/Straight from the rabbit hole/But we’re still going down.” Feeling like Alice yet? Good. We’re betting that’s no coincidence either.
Don’t forget to mark your calendars for the release of True Love Kills The Fairy Tale, out February 11 through Graveface Records.
Casket Girls Tour
2/14/2014 Atlanta GA @ 529
2/15/2014 Charlotte, NC @ Snug Harbor
2/16/2014 Washington DC @ DC9
2/17/2014 Brooklyn @ Shea Stadium
2/18/2014 New York NY @ Mercury Lounge
2/19/2014 Philadelphia PA @ Johnny Brenda’s
2/20/2014 Allston MA @ Great Scott w/ TW Walsh!!
2/21/2014 Montreal QC @ Casa Del Popolo
2/22/2014 Toronto ON @ The Garrison
2/23/2014 Grand Rapids MI @ Founders Brewery, Co. *FREE*
2/24/2014 Chicago IL @ Empty Bottle *FREE*
2/25/2014 Minneapolis MN Triple Rock Social Club
2/26/2014 Fargo ND @ The Aquarium
2/28/2014 Missoula MT @ VFW
3/1/2014 Seattle WA @ The Vera Project
3/2/2014 Portland OR @ Holocene
3/4/2014 San Francisco CA @ Bottom of the Hill
3/5/2014 Santa Cruz @ The Crepe Place
3/6/2014 Los Angeles CA @ The Echo
3/7/2014 San Diego CA @ The Void
3/12/2014 Austin TX @ SXSW
3/13/2014 Austin TX @ SXSW
3/14/2014 Austin TX @ SXSW
3/15/2014 Austin TX @ SXSW
3/17/2014 New Orleans LA @ The Circle Bar
3/19/2014 Tampa FL @ Crowbar
3/20/2014 Miami FL @ Churchills
3/21/2014 Orlando FL @ Will’s Pub
3/22/2014 Savannah GA @ Dollhouse GRAVEFACE FEST 2
Morgan Delt: “Obstacle Eyes”
When Los Angeles based psychedelic singer-songwriter Morgan Delt released his latest single to accompany his debut self-titled album (coming January 28 via Trouble in Mind) and previously released as a limited edition cassette, you can only expect a song as mysterious as Delt. Operating off the grid, Delt is notoriously hard to find information about, only adding to his anachronistic brilliance.
His single, “Obstacle Eyes,” is a nod to sixties psychedelia with cascades of layered chords and twisty melodies anchored by Delt’s smoothly elusive vocals that lure the listener into a hazy drone of melodic repetition. With an instantly catchy hook, Delt creates a trippy fusion of druggy sixties rock with the ambient textures of Ariel Pink.
The song rambles back and forth like a tinkering old music box, igniting a thoughtful introspection that remains transfixed by an enigmatic forward and backward progression. This is a track that deserves your full attention, so sit back and let Delt transport you to a summery sixties acid trip on the California coast.
Take a listen here:
Justin Townes Earle at The Melting Point
There’s just something about Americana music that’s endearing. Maybe it’s the people who play it. Maybe it’s the music itself. Or quite possibly it’s a combination of the two that reminds us of the humble, determined spirit that comprises the culture of both America past and America present. This was certainly the case when Justin Townes Earle partnered with Whatever it Takes and took to The Melting Point stage to raise money for impoverished children and families in the Athens, Georgia area.
Whatever it Takes is an Athens-based organization whose goal is to ensure “that all children in Athens are healthy, safe, engaged in the community and on course to graduate from a post-secondary education.” As openers Eliot Bronson and Jonathan Byrd and the Pickup Cowboys graced the stage with their guitars it was no surprise that honest, passionate artists such as these were performing for such an admirable cause. Eliot Bronson’s smooth solo vocals had the crowd clapping for more as he gave way to the twangy tunes of Jonathan Byrd and the Pickup Cowboys. As Byrd and his band crooned their way through violin-led love ballads and harmony-laden lullabies, the floor filled with dancing fans who gave the band the first curtain call for an opener that I have ever seen.
By the time Jonathan Byrd and the Pickup Cowboys finished playing their well-deserved encore, the crowd was pining for the soulful sounds of Justin Townes Earle. Earle, a singer/songwriter who combines the best of blues with folk and Americana made his way to the stage amidst a rapturous applause. Justin stood alone with nothing more than an acoustic guitar when he greeted the amped Athens crowd. “Let’s see what I can forget the lyrics to tonight,” laughed Justin before opening with “They Killed John Henry,” a song that he informed us was written for his grandfather. Next up was “Memphis in the Rain,” a blues-heavy hit from Earle’s new album Nothing’s Gonna Change the Way You Feel About Me Now. Earle’s bluesy influences were apparent as he played a cover of Bo Carter’s “Your Biscuits are Big Enough for Me,” as well as Lightnin’ Hopkins’ “My Starter Won’t Start This Morning,” a song that was once performed by Townes Van Zandt, for whom Justin Townes Earle gets his middle name.
As Earle fingerpicked his way through his set, he displayed the same sort of honesty that makes Americana music endearing. He shared intimate stories from his past involving turbulent relationships that he’s been able to transform into songs. Each song was a story, and Earle graciously shared not only the songs with us, but also the stories behind the songs.
“If I drink or do narcotics I break out in handcuffs,” Earle said through a grin as he plucked his way through fan favorites like “One More Night in Brooklyn” and “Mama’s Eyes.” At one point, Earle even stopped playing mid-song to inform the audience that he had forgotten a line. “It doesn’t mess me up when I forget lyrics, because I’m human,” Earle confessed. “I don’t put myself on a pedestal, because I’m only human. That’s what happened to Pete Rose. We put him on a pedestal and he disappointed us. But if ya ask me I think they need to let ole Charlie Hustle in the Hall of Fame for being human,” said Earle. Honest moments like these not only made the evening more intimate, but they made it obvious why Earle is such a talented songwriter.
Earle only briefly left the stage before being beckoned back by the audience’s roaring applause. After plucking and slapping away at his strings, Earle concluded the night with “Christchurch Woman,” a hopeful love song that displays Earle’s ability to tap into heavy heartache and create songs that have both lyrical weight as well as graceful guitar melodies.
Justin Townes Earle exemplifies the endearing honesty of Americana music. His music is reminiscent of a simpler time while remaining hopeful for the future. His honest and vulnerable songs made it feel as though he were confiding in us his deepest hopes and fears. And as he shared his stories, he made us feel as though we were a part of those stories.
Kevin Devine at Union Transfer
I’m a baseball fan. In fact, the guy writing this uses the stage name September Call-Up. And in keeping with that theme I’d like to think of myself as a pinch hitter, or better yet, a middle reliever (I am a lefty after all) – in the sense that the editor of this very website missed the Kevin Devine show in Georgia due to the flu. I then gave her my own version of the “put me in, coach!” speech, since I was all set to attend the Philadelphia offering. She kindly obliged, and now I’m here to review a show from the guy whose first band was named after the ’86 Mets. Full Circle. Play ball!
Leading off was Harrison Hudson, who along with Mike Strandberg, was pulling double duty as a member of the Goddamn Band. The set was full of catchy pop-rock that floated somewhere between a friendlier version of The Strokes and a late 90’s Beach Boys revival (thanks to friends Jesse and Sara for those comparisons – I couldn’t think of anything more apt). The set was short, catchy and kept the crowd engaged, in all a good opener.
Next up was Now, Now who hail from Minneapolis but looked and sounded like they’d be more at home in Brooklyn or Philadelphia’s Fishtown neighborhood. Their sound was very lush, reverby electro indie-rock. Something that from start to finish sounded more like one long consistent film soundtrack than a collection of individual songs. Devine, himself, noted during his set that they were “cinematic”. Spot on.
In baseball, you put your best hitter in the 3-hole, so appropriately next came Devine with the Goddamn Band. Right from the start this was a more raucous version of the band. There was noticeably more energy. In fact, Devine could hardly stand still. He spent most of the set jumping around like a mad man, which felt an appropriate treatment for the new offerings on Bubblegum.
The set opened with long time crowd favorite “Cotton Crush” then settled in for some of the newer catalogue. “Private First Class”, the Chelsea Manning commentary with its meaningful lyrics and catchy melody is one of my new favorites along with title track “Bubblegum”. Going through the set, Devine played songs from five albums, mostly drawing from Bubblegum and 2009’s Brother’s Blood. The initial set ended with the rocking “Brother’s Blood”. Afterward, instead of walking off, Devine politely asked that we pretend that he did and went right into the encore. The lack of pretense and taking yourself too seriously was immediately shown by the fact that the encore started with a 10 minute long medley of 90’s-2000’s pop/rock hits which seems to have become commonplace at the Goddamn Band Shows and is a crowd pleaser for sure.
The encore concluded rockingly with Bubblegum’s masterpiece “RedBird”, after which the band left Devine on stage with a lone electric guitar where he performed “Safe”, which was beautiful and poignant in the large, quiet room. This was followed by usual closer and favorite “Ballgame”, which seemed to have a noticeably more positive outlook than in past performances of the song. Perhaps a result of Devine’s recent nuptials and a bit of the artist coming through in his work. It’s nice as a songwriter when those things that drive you to put pen to paper sometimes, albeit all too rarely, end up working out in the best possible way. I’m happy for him. It was a nostalgic, touching, welcome end to a wonderful performance. It put a smile on your face, and you feel like you left the game with a win.
Neutral Milk Hotel at Tabernacle in Atlanta
The crowd at the Tabernacle last Saturday night seemed particularly anxious and with good reason. When the elusive Jeff Mangum announced six months ago that Neutral Milk Hotel would be putting on a reunion show, diehard fans everywhere rejoiced. For some, they had been waiting almost 15 years to hear the band live.
As the show began Mangum, almost unrecognizable with a long full beard, walked calmly to stage left and thanked everyone for being there. Mangum, known for his appreciation for privacy asked politely to keep cell phones and cameras off for the entirety of the show, a request that miraculously almost everyone was happy to oblige.
Mangum started to sing “Oh Comely” weaving in and out of verses first powerful then melancholy while playing acoustic guitar. Right before the songs climax, Scott Spillman joined on stage and began to blow the trumpet fiercely. For the last 45 seconds of the song the rest of the ensemble joined them on stage including well-known members Julian Koster, and Jeremy Barnes.
During the “King of Carrot Flowers parts 1, 2, & 3”, Koster introduced the accordion masterfully before switching to the banjo while Spillman blew the horns. Barnes picked up the tempo on drums, and the song evolved into a rowdy chorus that the crowd agreed is worth a little enthusiasm.
Giving the crowd a small opportunity to catch their breath, Mangum belted out the lyrics to the slow-paced and twisted “A Baby For Pree” before launching into “Gardenhead/Leave Me Alone”, all singles from high energy album, On Avery Island.
During the beginning of “Holland 1945”, the band experienced some feedback issues with microphones but sorted it by the end. The extremely fast paced ode to Anne Frank gave the singer little time to take a breath, and Mangum had some minor difficulty keeping up with the melody.
Perhaps one of the most well known songs off In The Aeroplane Over The Sea is the song of the same name. One of the band’s most uplifting songs, “Aeroplane” is an amalgamation of horns and the eerie musical saw, which Koster and Spillman brought to life.
As the rest of the band retreated off stage, Mangum, adorned in faithful mountain wool sweater and cap, picked up an acoustic guitar and began to sing “Two Headed Boy”. The crowd went crazy and began to sing along as he belted the majority of the song at the top of his lungs, never missing a beat. The band returned and followed with the “The Fool”, complimenting the previous track with trumpets and accordion.
The band closed out the show with “Ruby Bulbs” and “Snow Song Part One”, lesser-known songs that Mangum asked crowd members who knew the words to sing along to.
During the encore the bands played three songs from In the Aeroplane Over The Sea including “Ghost”, “Untitled” and “Two Headed Boy Part 2” which caused the crowd to become very emotional. At this time Koster exited the stage for the last time, leaving Magnum to finish the show by himself and the crowd to send him off with a heavy applause.
As Mangum finished up his encore, and his seventh bottle of water, he looked out to each tier of the Tabernacle’s balconies and thanked his fans for their unyielding support over the years. Neutral Milk Hotel pulled their reunion off almost flawlessly, giving die-hard fans an experience that was absolutely worth the wait.