alt folk

Western Theater

admin — Thu, 01 Apr 2010 08:00:00 +0000

Mighty Tiger are the sort of band to open for Animal Collective or Grizzly Bear on tour—and not just because of their similar four-legged names. It’s easy to compare bands in folksy sub-genres, but the truth is, Mighty Tiger are a solid pop-driven fit among more established bands of similar persuasion.

On Western Theater, Mighty Tiger do what other comparable bands do not. They lean on alt-country traditions and add a layer of pop jubilance that makes their folk-country rock a pleasantly danceable treat. This Seattle-based quintet also creates soothing harmonies a la Sufjan Stevens, whereas their freak folk counterparts often make discordant, if enjoyable, sounds.

Maybe because I recently started trying my hand at chess again, board tucked away since childhood battles against my father, the song “Rook and King” drew me in almost immediately. The song also rhymes “Alsatian” and “fornication,” which is somehow incredibly endearing. I should dust off my rhyming dictionary along with my pawns.

Another favorite, the seven-minute “The Most American Thing in America,” would be a perfect addition to a moody, road-trip-ready mix-tape. Admittedly, I haven’t had a tape player in my car since 2000, and even then, I was pretty old school for carting around cassettes of indie hits compiled by friends with far superior tastes. Nevertheless, epic songs make me smile, and this one is no exception. Over and over, the guys repeat, “And we won’t hold on for too long.” I’m all for closure.

On tour this spring in southern and western regions, you can catch Mighty Tiger at South By Southwest and elsewhere, with support from Grand Hallway.

Written by: Brittany Shoot, April 1st 2010

Zebra

admin — Sat, 19 Dec 2009 00:59:00 +0000

By Karl Blau

K Records

“When you hear hoof beats, think horses, not zebras,” admonishes the medical aphorism. There are some quiet percussive hoof beats in “Goodbye Little Song” and other tracks on Karl Blau's new twelve-song release, Zebra.

“Waiting for the Wind” opens with bells that sound like wind chimes and a relaxing vibe. The tempo picks up on “Dark Sedan Returns,” but returns to a righteous sedateness. These are tunes that I wouldn't mind falling asleep to—but in a good way.

The jazz on Zebra is not paint-peeling experimentalism, but strolls between the strangely soporific and strongly folkish. Masterful, evocative, with a kind baritone, the entire project seems somewhat pop-ambient, folk-ambivalent, and has a global flair; the African influence is evident. Karl Blau is a well-traveled musician. He has toured Japan twice, Europe last spring, and both coasts of the United States. He's currently touring with LAKE, but perhaps Africa is next.

“Black with white stripes or white with black stripes?” asks Blau's MySpace page. The alternating stripes mean that this is not a bad zebra to think of.

Written by: Erika Mikkalo, December 18th 2009

Enjoy Your Rabbit

admin — Sun, 04 Oct 2009 18:26:00 +0000

By Sufjan Stevens

Asthmatic Kitty

Sufjan Stevens, god of the indie concept album, is the sort of fellow my evangelical Christian minister grandparents can enjoy. This is not an insult. My maternal grandfather, born in Michigan eighty-some years ago, has never admitted that he enjoys the Stevens album Michigan. I nevertheless suspect that my sometimes secular, former music minister grandpa samples some Sufjan when he thinks no one is around.

Stevens’ second LP, recently reissued by Asthmatic Kitty, essentially marks the beginning of his conceptual career. Recorded in 2001 and based around the Chinese zodiac, all the songs correlate with the year of particular animals. To be fair, the East Asian cycle is often awkwardly translated into English and does not leave space for varying breeds of animals across continents.

When I was a child in Indiana, my single mother and I—and later in my teens, my friends and I—used to frequent a Chinese restaurant named Yip’s Chopstick House. Their red and white paper placemats gave us an introduction to the Chinese zodiac before our egg drop soup and MSG-laden chicken and mushrooms arrived. My mother is the year of the rabbit, which is appropriate since she used to collect bunny-themed tchotchkes and put them in curio cabinets around the house. I am the year of the dog, but I try not to be a bitch.

If you came later to the Stevens game—say, anytime after 2002—Enjoy Your Rabbit may not be for you. Most of the tracks sound more like they’d be found on a Black Dice or Negativland CD. Myself a second wave Stevens fan, I enjoy his efforts from later this decade. When I cue up Sufjan, I expect folk loveliness, not glitchy noise. And yet for fans that enjoy the early catalogs of their favorites, this strangely electronic album can be great fun. I just don’t happen to be one of those hardcore fans. Sometimes, your earliest work is best left alone, best forgotten once you’ve worked out the kinks. I enjoy understanding artistic trajectory as much as the next person, but this album is quite like a video game soundtrack when all I wanted were a few lo-fi lullabies.

Thank god—either the one my grandparents worship or one of your own imagination—that Stevens put down the sound machine and started singing. The world is a much better place for it.

Written by: Brittany Shoot, October 4th 2009

Renaissance: Song of Scheherazade Live

admin — Thu, 24 Sep 2009 23:57:00 +0000

By Renaissance

Cherry Red Films

Renaissance is a notable 1970s folk rock band that developed a large fan base by having symphonic rock instrumentals contrasted by haunting female vocals and whimsical, intelligent lyrics. Renaissance: Song of Scheherazade Live includes video from the band’s performances at Capital Theatre in 1976 and their 1979 performance at Convention Hall. A great fuss was made when Cherry Red announced their release of Renaissance's concert footage. Between 1976 and 1983, Renaissance was in its prime output stage, so fans were excited by the idea of getting to experience the band’s concert during this pivotal point of development. However, it seems all of the enthusiasm was for naught.

The quality of the DVD itself is questionable and has received a great deal of well deserved criticism for the poor quality of the video. Though black and white footage has the potential to be beautiful in its own way, we get grainy, smoky, and at times completely indiscernible images of the concerts. (The menu is hideous, and is, ironically enough, created from a screen capture of the contained footage.) The camerawork is monotonous and rather random at times. Many of the shots were terribly framed. Random microphones and the movements of another band member obstruct the view of Annie Haslam when she sings or speaks. The majority of the shots consist of a rather unusual close up of the talented female lead, where she spends the great deal of time with her eyes closed.

The condition of the audio on this DVD also suffers. Haslma’s beautiful voice is lost within the background crackling, microphone interference, and temperamental volume. Rather than complement her voice, the audio makes the accompanying instruments sound like a swathe of annoying background noise.

The performance itself is passable if you concentrate on the insider dialogue between Haslam, other band members, and the audience. This is something that is truly priceless from the stance of a Renaissance fan, something you could not obtain anywhere else. However, these snippets of conversation between musical numbers were about the only thing I found even remotely entertaining on this DVD.

Unfortunately, the poor quality interferes with the ability to truly enjoy the works of what is arguably one of the most influential folk rock bands of the twentieth century. Though there must be some sort of legitimate reason why the film could not be better restored, I think it is a disappointment to say the least.

All and all, Renaissance: Song of Scheherazade Live is worth the money if you are an avid collector of the band’s works. If not, I suggest you stay away.

Written by: Jacquelyn White, September 24th 2009

The Sun Came Out

admin — Wed, 26 Aug 2009 17:09:00 +0000

By 7 Worlds Collide

Sony

7 Worlds Collide is like an alt-folk “We Are The World” with admittedly fewer people of color. Headed up by Crowded House frontman Neil Finn, the second release from this international supergroup is an OxFam benefit double album featuring completely new material. After the success of the group’s first outing in April 2001, this newly reconvened and reassembled motley crew of performers has created a mellow collection of rock tunes for a laid-back audience that would rather nod heads and tap feet than mosh and scream.

The question is, inevitably: should I be purchasing this album because I like to pretend my supposedly conscious consumerism aids poor children, or am I really so taken with Kiwi musicians that I cannot pass this up? Do I really believe that Finn is capable of more than penning “Don’t Dream It’s Over?”

The success of this project falls equally on its collaborators. Some of the fellas are Wilco’s Jeff Tweedy, Pat Sansone, John Stirratt, Mikael Jorgensen, and Glenn Kotche, and Radiohead’s Ed O’Brien and Phil Selway. The ladies represent with KT Tunstall, Bic Runga, Lisa Germano, and Sharon Finn. These gendered ratios seem inevitably weighted in favor of the men, regardless of the producer’s plans or desires. The road to hell is paved with good intentions.

I once unexpectedly met Jeff Tweedy in a record store. This was during the time in my life when driving twelve hours to a Wilco concert was standard operating procedure, and suddenly faced with my idol in my own city, I burst into tears when I attempted to speak to him. Try to imagine our collective horror. I am quite sure you cannot.

Though my enduring obsession with all things Wilco has given way to a larger array of musical fixations, the songs on this album that do it for me are the Tweedy ones. Another high point is the Tunstall/Runga collaboration. These two beautiful voices have too few opportunities to publicly harmonize.

The rumor is that the recording sessions for The Sun Came Out were a family-friendly affair. It’s important to keep the ideals and message consistent from conception to delivery. If these talented musicians interrupted holidays and honeymoons to collaborate, knowing they were able to bring along their loved ones is reassuring.

You can always send money directly to charity, but if a tangible return on your gift propels you toward philanthropy, consider sampling this indie rock collection. There’s a little something here for everyone.

Written by: Brittany Shoot, August 26th 2009

Heavy Ghost

admin — Tue, 19 May 2009 10:58:00 +0000

By DM Stith

Asthmatic Kitty

DM Stith makes weird music. Heavy Ghost is a weird album. Among his contemporaries, David Stith has been hailed as a genius for his spooky, otherworldly tracks and production. Inspired by working with pal Shara Worden of My Brightest Diamond, Stith recorded an album of his own, which at times draws to mind eccentric label mates Grampall Jookabox and the more orchestral Sufjan Stevens. DM Stith is nothing if not unique. Tracks range between plodding and creepy to upbeat and whimsical.

On “Thanksgiving Moon,” Stith sings about drinking and starting over, backed by an eerie score. “Braid of Voices” is at once unintelligible and moving. “Fire of Birds” is the album’s most melodic track, bringing to mind a more danceable Microphones. As Stith sings about how “we dance like we’re all on fire,” you have to wonder what blend of mania and introspection inspires this man.

Much of the music makes you feel uneasy, unnerved, and a little preoccupied. Stith often sounds like he’s singing himself into a corner, winding back into his own vocals like a less coherent Andrew Bird. The repetition can be unsettling, and more often than not, the aimless melodies sounded like an organ being tuned or a band readying for the actual show. While I wasn’t always drawn into the songs themselves, listening to them made it impossible to focus on anything else at the same time. Jarring, to say the least.

Best under headphones, this is lonely, crazy music for lonely, crazy people.

Written by: Brittany Shoot, May 19th 2009

Lake Bottom LP

admin — Wed, 16 Apr 2008 14:07:00 +0000

By The Chapin Sisters

Plain Recordings

The Chapin Sisters are a trio of gifted recordings artists who have managed to reinvent the love song by incorporating a touch of irony into their modern interpretation of folk- and roots-inspired pop. On their first full length album, Lake Bottom LP, the sisters have created songs that are defined by beautiful melodies and inventive take on the subject of love and all of its consequences, in the tradition of Patty Griffin, Lucinda Williams, and the Be Good Tanyas.

The trio is composed of singer-songwriters Abigail and Lily Chapin, as well as Jessica Craven, and the album has a deceptively simple musical style. The lead song, “Let Me Go,” lets the listener know just what kind of treat they are in for, and “Kill Me Now” and “Can’t We Please” are other particularly memorable tracks. It is refreshing to hear an album of recorded music sung by talented singers who are capable of performing both lead vocals and harmonizing without the intervention of heavy-handed production (and choreography and light shows). I found myself singing along at the first listening, and every subsequent time I turned on the album.

Talented musicians, these women create an interesting contrast by pairing sweet and sleepy acoustic guitar with occasionally blunt lyrics that echo your thoughts after that date, that really bad conversation, that phone call that didn’t happen, or that run-in at the neighborhood coffee shop... You know the one I’m talking about.

Written by: Ruth Cameron, April 16th 2008

Death of the Sun

admin — Thu, 04 Oct 2007 16:22:00 +0000

By Matteah Baim

DiChristina Stair Builders

Former singer/songwriter of the Metallic Falcons (with CocoRosie's Sierra Cassady), Matteah Baim branched out on her own not long ago and has come forth with her debut solo album, which includes collaborations with some of today’s biggest names in hipster folk, including Devendra Banhart and 90 Day Men’s Rob Lowe. While the musical composition stands out to me more than Baim’s crackling voice, her cover of the African-American spiritual, "Michael Row Your Boat Ashore (Michael Row)," is a delightful surprise halfway through the disc. The title track is a short but powerful ascent over a sonic incline, and “Who Knows” and “Far Away Songs” round out the disc’s haunting, minimalist flavor.

To say that this collection resonates with me would be a bit of a lie, but to say this isn’t a solid album with important collaborations and a couple of excellent stand-out songs would also be unfair. Clocking in at only thirty minutes, the album is composed of nine tracks that highlight to Baim’s style. Despite how much this record grew on me over the course of the weeks it spent in my stereo, I suspect this is one of those genre albums you either appreciate or won’t adopt based on this effort alone.

Written by: Brittany Shoot, October 4th 2007

Kurr

admin — Sat, 01 Sep 2007 03:17:00 +0000

By Amiina

Ever Records

Take everything you love about Tom Waits’ junykard orchestra and combine it with the elegance and beauty of Icelandic folk music. This is Amiina, the female quartet who will make you wonder why more musicians don’t learn to play the saw. Their debut album, Kurr, (the Icelandic word for a bird’s coo), is a 12-song lullaby on acid. It employs twenty instruments, each woman taking a turn at playing each instrument to achieve a multitude of unique sounds. Sparely used vocals add to the ethereal quality, and by the end you’ll want both a mug of warm milk and an unfiltered cigarette.

Unlike most industrial music, their sound is rooted in the organic element of folk instrumentals, which lends a tender quality. The four bandmembers first gained recognition as the string backup for fellow Icelandic band, Sigur Rós. But these talented ladies, who first met at the Reykjavik College of Music as classically trained students, shine brightest when they have the spotlight to themselves. Their delicate attention to the subtleties of each instrument, and their perfect pitch and timing, betray their classical background. Kurr quickly rises above such limitations, to explore an atmospheric sound that conjures images of damp Icelandic winters, volcanic mountain ranges and rocky seaside cliffs.

Iceland is a magical land, at least that’s what Bjork told me. Now, thanks to Amiina, I know it’s true.

Written by: Jessica Star Rockers, August 31st 2007

Stromata

admin — Sun, 22 Jul 2007 19:25:00 +0000

By Charlotte Martin

On Charlotte Martin's latest album, Stromata, the songstress presents her most experimental work to date. Stromata presents Martin's typically earnest and honest lyrics against a complex background of synthesizers and electronic beats. Her influences on the album are so varied - from techno to folk to Middle Eastern - that the album lacks a sense of cohesion. Martin is a classically-trained singer with a powerful voice that cuts to the core, but even her aggressive vocals get lost in overproduced techno-infused tracks like "Little Universe."

It is when Martin strips the background - and gets back to her On Your Shore roots - that she shines brightest. Tracks like "A Hopeless Attempt" and "Inch" have simpler melodies, which showcase her adept vocals and create a more intimate sound. At times her vocals echo those of Bjork and Tori Amos - fans of Amos' From the Choirgirl Hotel will appreciate the album's melancholic sound. Lyrically, Stromata is an intriguing and insightful examination of sexual desire and love, the "forbidden fruit" and "demons" she acknowledges in "Redeemed." One of Martin's greatest strengths in this album is her refreshing candor. In "Keep Me In Your Pocket" she asks her lover to "sink your teeth into the taste of me and squeeze hard/til you can feel me splitting and you want more." "The Dance" is a meditation on a relationships end, in which she decides she "better stop crying/hello and goodbying...you get your time and the other half's mine."

Stromata features some lyrical misfires; "Drip" being the worst offender with "can't train myself to hold back any longer/breath mint fornicator." Despite this transgression, however, the album is largely intriguing and insightful. With infectious hooks ("Four Walls") and lyrical gems ("Redeemed" and "The Dance"), Stromata is worth your attention.

Written by: Joanna Chlebus, July 22nd 2007

Animal Crackers

admin — Sat, 24 Feb 2007 02:54:00 +0000

By Wee Hairy Beasties

Bloodshot Records

In the last few years, so-called 'kid rock' has become big business, boosted by big names, CNN articles, and nationwide tours. Animal Crackers is a folk-rock, alt-country album aimed at children and, presumably, parents driven insane by the thirtieth rendition of "Row, Row, Row your Boat." The singers are Jon Langford, Sally Timms, and Kelly Hogan, backed by Chicago's Devil in a Woodpile.

My experimental sample of one, aged two and a half, liked the first track, "Wee Hairy Beasties," and requested an encore. I enjoyed the rousing chorus, but quickly got tired of the echo effect of the female singers repeating each line. By the third track, my son had enough and asked me to turn it off. For someone who enjoys everything from the Doodlebops to Nine Inch Nails, that said a lot.

The album did not improve on the solo listen. Some of the lyrics are clever, and older kids will appreciate the word play on tracks like "Animal Crackers," if the sparse arrangements can keep them listening long enough. For adults, the animal metaphors may get old fast.

The piece de resistance is "Cyril the Karaoke Squirrel," At 4 minutes and 43 seconds, it is by far the longest of the bunch, and tells the story of a squirrel and his wife, Marjorie, the singing bee. They enter a singing contest. They only know one song, but the performance is so amazing that it makes other performers jealous, and they spread nasty rumors about the couple. The audience chases them through the streets with torches, but all ends well when the pursuers get lost in the woods and eaten by Cyril's friends while Cyril and Marjorie sing happily ever after "far away from humanity." I'm not naive enough to believe that kids should not be exposed to violence, but that was too much.

Toenail Moon" was the most enjoyable track on the album. Sally Timm's voice is excellent and the lyrics are amusing. Although the enhanced CD is advertised to contain a video for the song, my Mac claimed otherwise.

Written by: Vita Foster, February 23rd 2007

Temporary Dive

admin — Thu, 15 Feb 2007 12:28:00 +0000

By Ane Brun

DetErMine Records

For anyone who follows the likes of offbeat folk musicians, she is a voice worth hearing. Norwegian born Ane Brun’s second album Temporary Dive, is heir to the melancholic sounds of Jeff Buckley with archaic sensibilities of folk musicians like Gillian Welch or Jollie Holland. With song lyrics like: “My friend you left me in the end/I can't believe I'm writing a song/ Where friend rhymes with end,” you think maybe there is some trick she‘s playing in this melanchoholic indulgence, but as soon as the song starts you know that there isn‘t. Her songs have a surface clarity that can evoke affinity to the most unlikely lyric, and before you‘re realizing it, you’re listening to the song on reapeat, and taking yourself very seriously. So if the melodic elegy of her songs doesn’t get you, her voice will – though it might push you deeper into the cushions of your winter hibernation. It’s so artfully done, you won’t mind lingering there for a while.

Written by: Annie Moss, February 15th 2007

Feels Like Home

admin — Fri, 24 Nov 2006 13:02:00 +0000

By Jessica Bailiff

Kranky

Feels Like Home really does feel like home. Jessica Bailiff’s folky sounds and soothing voice are more toned down from her previous albums Even in Silence (1998), Hour of the Trace (1999) and her self-titled release in 2002. In the past, Bailiff’s shielded her softness with harsh sounds. Here, Bailiff has stripped down and makes her music truly inviting. Beautiful pianos, set before a mystical backdrop, are mixed with electric guitars and simple acoustic chords. This creates a warm space, a perfect companion for reflection and relaxation. Songs like "What’s in Your Mind" and "Cinq" are haunting and dream-like. "If We Could" is reminiscent of her previous works, combining harsh sounding guitars with soothing lyrics. The music is in fact, so beautiful, that it leaves you wanting much, much more; most songs on the album are less than three minutes, but have the potential to go on for much longer. That is not to say this album is a light snack. It is lush, exotic, and mystical. And it is definitely worth a listen.

Written by: Cheryl Santa Maria, November 24th 2006