After a few hours of Ween, and an episode of the under-appreciated former HBO series Carnivale, the lady Lecca and I sat down for a light movie experience.
Seriously, fuck music. If you do anything with your time this week, watch this documentary. It's really powerful, and quite troubling. _________________ http://jonnyleather.com
meccaleccaVoice of ReasonProfile The Land of Enchantment
Started my morning by revisiting Bill Fay's 2012 release Life Is People. Fay's first album since 71's Time of the Last Persecution is unphased by the 40 year gap of time between records. Much more sparse and somber than his early work, Life Is People is an introspective album that would be appreciated by fans of Nick Drake and Neil Young's most somber works. Fay's cover of Wilco's "Jesus, etc" is worth the price of admission on its own.
DAY 2:
Fay's cover of Wilco's "Jesus, etc" is worth the price of admission on its own.
ikr? That cover is sick. First time I listened to that album, I hadn't really checked out the track listing and just hit play, and when it came on I made a face similar to 😮 _________________ Doubles & Conch
meccaleccaVoice of ReasonProfile The Land of Enchantment
Followed Mr Fay with Black Heart Procession's 2010 mini album Blood Bunny/Black Rabbit. One of their only releases I was unfamiliar with, it serves it's purpose time filler following Six, but really isn't anywhere near as enjoyable as their first three albums. My personal favorite Black Heart Procession album is two. If you like slow, dark, nuanced rock, this is for you.
Made the long trek into the office, waiting for the trains in the nasty sweaty subway stations. Naturally, the internet and severs weren't working, so I couldn't do anything. Back to home I went.
Along the way, I gave a more focused listen to The Antlers' brand new record Familiars. As someone who wasn't blown way by Burst Apart, I wasn't sure what to expect, but goddamn is this a beautiful record. They idolize Talk Talk, and it's never been more clear. While I miss some of the energy and variety that they showcased on earlier records, Familiars is so just gorgeous that I don't mind.
On my return trip home, my headphones blasted EMA's The Future's Void. I'm not sure how many times I've listened to this one so far, but with each listen it's really grown on me more and more to the point of love.
Along the way, I wrote the following words in regards to the album...
Frayed wires send electrical charges through her spine.
"So Blonde" is a throwback to the great 90s female singers that combined sweet with a rough around the edges attitude that basically said "I've got a crush on this boy, but he better not think he can fuck me over." And that's pretty much the spirit of EMA's latest release, The Future's Void. For all the pop hooks, there's plenty of raw nerves that give each and every track a sense of human vitality. it's the kind of record that should please Yeah yeah Yeahs fans who think the band lost their edge over the years. Taking cues from the industrial music playbook, there's a machine-like aesthetic to The Future's Void, but EMA maintains enough human emotion to avoid falling into the realm of soulless robotic terror. Album highlight "Smoulder" utilizes vocal distortion and feedback effects to intensify the aching ballad into something special. _________________ http://jonnyleather.com
meccaleccaVoice of ReasonProfile The Land of Enchantment
And now I just took the gamble and listened to Ultraviolence. Fuck you Lana Del Rey, and fuck you Dan Auerbach. I really wanted to hate this record. There's a bullshit aesthetic at work, but I can't help it. It's an aesthetic that appeals to me, so I can't hate it. Auerbach did a fine job with the production and there's a couple of decent moments. I did grow bored with the record eventually, but the album even closed well with "The Other Woman".
And then I realized that Julia Holter released a cover of "Don't Make Me Over" (written by Bacharach/David, performed by Dionne Warwick). Good got it's beautiful.
Saw this on SPIN's list of overlooked records of 2014. There was something about them sounding like Mike Skinner fronting The Fall. God, that would be a really interesting project. Unfortunately Divide and Exit was merely a good record with an excellent sense of humor. It reminded me a bit of Art Brut. The lyrics are quite clever but it's lacking something musically.
I've never been much of a Metronomy fan but saw this getting good reviews, so I gave it a spin. I think there's a lot to like here. It's kind of like an indie pop version of ELO.
Light in the Attic records has a way of digging up forgotten relics. In the past they've pressed brilliant records by Rodriguez, Roky Erickson and Lee Hazelwood, so I'm always interested in anything they release. Teenage brothers, Donnie & Joe Emerson essentially crafted some soft rock magic. Think Hall & Oates minus some of the terrible 80s production choices. Not every song is great, but there's some real gems. The poppy "Don't Fight" sounds a lot like The Drums.
And Herd Runners by Cherry Ghost
Second time listening to this one. Still feel lukewarm on it. There's something good enough for me to keep coming back, but it lacks that special something. _________________ http://jonnyleather.com
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meccalecca
Hayden
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