On location: Swear and Shake - "Suddenly"

The first time I saw Swear and Shake at the B.O.M.B. Festival in Hartford CT it was love at first listen.  So when they agreed to play our Newport Nightcap folk festival after-party I was beyond excited.  The band played a killer set, instantly winning over the packed, sweaty and sun-burned crowd just as quickly as they won me over a couple months prior.  The next morning Swear and Shake woke up early and joined us on the pier in downtown Newport for an acoustic session.  While I shook off the cobwebs from the previous day and night, the band played an absolutely gorgeous version of "Suddenly", a new song from their upcoming Kickstarter-funded Maple Ridge LP.  That record will drop sometime before the end of the year, but watch the video for a preview and, for just a moment, get transported back to warmer days:

As always, huge thanks to Kitchen Sessions for the video work!

Catching up: The Barr Brothers, Ryan Adams and Real Estate

Words // Scott Pingeton

Each of these albums rightly deserves it's own full review, but I've been busy and procrastinating and it's just not happening.  So, let's call this a quick catch up on new(ish) stuff you should be listening to...

The Barr Brothers - self-titled

Beggar In The Morning

Since being tipped-off to these guys by a VV reader over a year ago, I've been anxiously awaiting the release of The Barr Brothers' self-titled debut; a wait made more excruciating by the fact that I've known the album has been complete for months, but haven't been able to hear it.  Now it's finally out and I've spent some time with it I can say it was well worth the wait.  The brothers Barr have traded in some of the glossier production from their former band The Slip (highly recommended as well) in favor of more subtle, earthy and ethereal nuances that recall their friends The Low Anthem.  In fact, some of the tracks (see "Cloud (For Lhasa)" and "Ooh, Belle") would not sound at all out of place on a Low Anthem record - and Jocie Adams even makes an appearance on the record.  "Beggar In The Morning" will probably end up on many year-end "best song" lists, but the secret is there's about 4 other songs on the album that are just as good.  If you're a fan of The Low Anthem, Iron & Wine and the like this is absolute must-listen stuff.

Ryan Adams - Ashes & Fire

Ashes & Fire

Ryan Adams emerges from semi-retirement with one of the most impressive records of his turbulent post-Whiskeytown years.  That isn't to say it's his best - or even close to it - but it's certainly one of his most consistent.  Ashes & Fire signals return to folkier territory after the increasingly alt-pop leanings of the latter Cardinals records.  That alone would be a welcome change from my perspective, but the songs themselves are some of the best he has released in the last 5 years.  "Dirty Rain", "Ashes & Fire", "Lucky Now" and "Do I Wait" are all among Adams' best work. For a songwriter that made his name playing the "lovelorn trouadour" card, he shows that he can write from the happier side of love too.  In fact, he finally sounds comfortable, unafraid to be honest - maybe the best is yet to come.  Great new records from Wilco and Ryan Adams?  Feels like I'm in college again.

Real Estate - Days

It's Real

Full disclosure:  I'm a total Real Estate fan boy.  I've been all-in on this band since I grabbed their "Black Lake" 7" on a whim and totally fell in love.  I wore out the band's self-titled debut and tracked down every live recording and b-side I could.  Every new track I heard leading up to the release of their sophomore LP Days ratcheted up my anticipation more - "Out Of Tune", "It's Real", "Green Aisles" - reaching a fever pitch.  I held off on listening to the full album until my vinyl copy finally arrived last week, and since then I've fully immersed myself in it.  And this is truly music to get immersed in - with swirling, hypnotic guitar lines and a laid-back summer vibe.  While the band certainly hasn't abandon the hazy vibe of the band's previous work, Days does show a progression towards a cleaner more accessible sound.  While the songs still sound like they were conceived in a basement, it no longer sounds like they were recorded in one.  Let this be your antidote to winter.

The Devil Whale Live at Royale Boston 9.30.11

Words // Scott Pingeton
Photo // Music Savage

Over the past few months I've made no secret of the fact that The Devil Whale's new album Teeth is one of my favorite records of the year.  Brinton Jones' often-obtuse, poetic turns of phrase mix with the catchiest amalgam of folk, psych and indie rock this side of Dr. Dog.  Do yourself a favor and check it out, you won't be sorry.

As big of a fan as I am though, I hadn't had a chance to see the band live.  That changed a couple weeks ago, when The Head And The Heart brought The Devil Whale to town as support for their sold out show at Royale.  It was the band's first ever show in Boston, and they made the most of their super-early club-night Royale timeslot.  The band worked hard to win over new fans as the room slowly filled up, and as far as I could tell they were hugely successful.  What started as a distracted crowd became more engaged as the set went on - clapping along, whispering how great this band was and finally reacting with a huge ovation as the band left the stage.

As expected the set drew heavily from Teeth, including most of the album with the unfortunate exception of "Earthquake Dreams -- one of my favorite tracks.  Live the songs were faithful to the originals, with perhaps a bit more grit and energy than the studio versions.  The 8-song, 30-minute set was well-paced, mixing upbeat tracks such as "Standing Stones" and "Barracudas" with slower ones like "Television Zoo" which showcased the band's range.  The set closer "The Road To Hell" had everyone clapping along and making mental notes to stop by the merch table at the end of the night.  One of many standouts from Teeth, the song's casual, tossed-off vibe belies the depth of the lyrics, which include some of my favorite lines...

I want to listen to the radio
But they keep playing the same war
He's got a gun under his pillow
And Jesus on his dresser
But neither one makes him feel safe anymore

I can't wait for The Devil Whale to return to Boston for a headlining show, but until then here's a complete recording of the band's set at Royale.  Sound quality is just as good as The Head And The Heart recording from last week, which is to say it's excellent.  Enjoy and please support the band by buying their music!

The Devil Whale
Royale - Boston, MA
September 30, 2011

So-Called War
Magic Numbers
Barracudas
Standing Stones
Golden
Television Zoo
Indian
The Road To Hell

Full set download:  mp3 zip

Bonus: another acoustic track filmed by Kitchen Sessions on the street in Boston after the band's set - "Magic Numbers" is one of my favorite tracks off the album and it sounds especially great echoing through a Theater District alley here...

Review: Joe Henry - Reverie

Words // Sarah V.

Rarely has an album been as perfectly named as Joe Henry's latest release, "Reverie." It has that dark, late-night feel that lets you lean back in a comfortable chair and lose yourself in thoughts and memories. Henry's decision to record live in his home studio with the windows wide open gives it a very homey ambience - you can distantly hear cars driving past, barking dogs, people talking, doors closing, birds chirping. Since it was recorded live, it has a very natural sound to it and it feels like you're listening to a few talented friends jamming in someone's backyard. 

It should be no surprise that the album has a fantastic sound to it, since Joe Henry is a multiple-Grammy-award-winning producer, having produced albums for a long list of musicians including Allen Toussaint, Elvis Costello, Loudon Wainwright III, and Anti- label-mates Bettye Lavette and Ramblin' Jack Elliott.

Henry has long been influenced in his own songwriting by many uniquely American music genres, like jazz, blues, country and gospel. This album is no exception. The true focus, however, is on the quality of the songs. The all-acoustic band and the live recording with minimal overdubs results in a simplicity and straightforwardness that emphasizes the songs rather than the performances or the production.

Highlights  of "Reverie" include bluesy foot-tapper "Sticks and Stones," dreamy and wistful "Room at Arles," and the peacefully sublime "The World and All I Know," which serves as an unusually satisfying album closer.

Joe Henry - Sticks & Stones by antirecords

New music: Caleb Groh - Down, Dakota!

Words // Scott Pingeton

As I tend to do from time to time, I was surfing blindly through the catacombs of Bandcamp over the weekend and stumbled upon this little gem.  The opening banjo plucks on "All That Sultry Summer Long" off Caleb Groh's brand-spanking-new Down, Dakota! EP caught my ear and didn't let go until the final notes of "Tegucigalpa" faded away.  At which point I promptly downloaded the entire thing and put it on repeat.  If you know Groh's previous work under the Happiest Lion moniker you'll likely dig the new stuff.  Compared to what I know of Happiest Lion, the new material trades in a little bit of polish for an organic, off-the-cuff sound and more focused and mature songwriting.  I personally love the freewheelin' vibe these songs have.

The record opens with "All That Sultry Summer Long" - a breezy banjo-driven summer hymn that bounces along carefree on handclaps and harmonica fills.  "Matter of Moons" is a beat-inspired spoken word poem that is every bit as musical in its delivery as the actual songs in this collection.  "Cairo" is a herky-jerky stomper that channels a wordy young Dylan and a little bit of ramshackle punk spirit.  "Tegucigalpa" takes a simple, hummable melody adds a shuffling beat and wraps it in gently-plucked banjo and more harmonica.  Clocking in at around 10 minutes it leaves me wanting more.  It might take a while for these songs to leave my rotation, but I'm anxious to hear more from one of Boston's best young songwriters.  The first 200 downloads from Groh's bandcamp page are 'pay what you want', but I'd gladly shell out some hard-earned dollahs for this.

On location: The Devil Whale - "Indian"

The Devil Whale's latest LP Teeth has been in near-constant rotation since it's release in May.  The band creates catchy indie-pop that draws from a deep well of influences - 60s British Invasion pop, psych, classic rock and folk.  Brinton Jones' songs are fleshed out with rich multi-part harmonies, vintage keys and crunchy guitars - obviously right up my alley, and if you read this blog I'm guessing you'll dig them too. 

Currently touring with The Head And The Heart, The Devil Whale made their first trip to Boston a couple weeks ago and were kind enough to play a few songs for us after their set.  Steve from Kitchen Sessions was there to catch it all on video - check out an incredible, acoustic version "Indian" below, filmed on the street behind Royale and check back soon for a live recording of the band's actual set that night and another acoustic track.

The Devil Whale on Bandcamp

Review: Explosions In The Sky - Orpheum Theater, Boston 10.5.11

Words // Todd Harrington

Walking down the alley towards the historic Orpheum Theater had me feeling a bit worried. How would this post rock band from Texas handle the theater crowd? Blending some of the quietest to suddenly loudest music your mind, ear and soul can bear it was actually the audience I was worried about. Would they clap at the wrong time? Would the calmness of a moment result in the random yelps from the audience? Yes on both questions, but Explosions In The Sky had everyone in the palm of their hand few would mind.

Arriving on stage at 8:45 the members went to their instruments. To the left was guitarist Mark Smith, Mike James, who played more guitar than bass this time around, in the center, drummer Chris Hransky on drums, touring bassist Carlos Torres to his left and Munaf Rayani to the right. Munaf is the lone person with a microphone and all it is used for is to say hello and goodbye. Okay, so he said more than that, but other than a polite, and very humble “thank you for coming and listening to our music” the band strapped in and started the 90 minute set with “The Only Moment We Were Alone”, the second track off the album “The Earth is Not a Cold Dead Place”. Over the course of the next ten minutes the wall of sound, the flailing bodies worked ear drums like a speed bag. Smith is rather calm for the bulk of the show but James and Rayani punch their guitars like they did something wrong.

For “Greet Death” James would strap on his bass and continue to beat it like it stole something from him raising it high above his head and Rayani would peel his guitar off and drag it back and forth from front to back along the floor. The song transitions to a cool calm feel at which point Rayani remained on the floor teasing his strings with a small metallic object and off setting it with a slide. Smith ran a loop effect on his guitar as the track winds down, and its looping scratch rung in the halls seemingly for minutes after. The band rolled forward on the epic “Six Days at the Bottom of the Ocean” and the long slow build up found Hransky hitting the floor tom to a venue shaking rumble, he'd do it a few times and the band grew in urgency as the guitars seemed to be coming from all sides.

Even with all this wall of sound it was fun to pan the audience from time to time to look at faces. Some jaws slightly dropped, others just with their eyes closed waving head from side to side, others squirming in their seats wishing everyone else would just stand up already. Not a face was seen of frustration, just a gentle calm in an very loud setting.

Songs would have quiet build ups and the audience was on the edge of their seat. Many seeming to wait for the right time to let it all out. Even this reviewer was hard pressed to not shout a joyous roar of approval. The audience seemed to know the right time and even shouting song requests were kept to the quiet transitions between tracks.

On what turned out to be the final song of the evening in “The Moon is Down” Rayani the band took the usual long epic build up which then found him huddled on the floor toggling with his array of effect pedals. Next thing you know he pulls out an ebow (a device that sends a signal to a guitar sting for a long continuous drone type sound) and tapes the device to his guitar that is now laying on the floor. Still on his knees Rayani takes to a tambourine and just hits it as hard as he can on the floor over and over.

Then, it ends. The audience shoots to their feet, hands over head and letting the last 90 minutes of pent up adoration pour out. Hransky rises from his drum kit, waves as does James and Smith. Rayani takes to the microphone once more and in the calmest and sincerest tone thanks us again for “our time” and “lending them our ears”. The band, who never encores, was hardly off the stage before the house lights came up.

The full set.
The Only Moment We Were Alone
Last Known Surroundings
Catastrophe and the Cure
Postcards from 1952
Greet Death
Six Days at the Bottom of the Ocean
Let Me Back In
The Birth and Death of the The Day
The Moon is Down

Walking in to the cool Boston night the muttering of “awesome” and “just epic” were heard more than once as people pulled earplugs out and had smiles seemingly from ear to ear. Explosions in the Sky continue to shine in a live setting.

Review: Les Rhinocéros - Self-titled

Words // Sarah V.

Les Rhinocéros' self-titled debut album was the first release in indie label Tzadik's new Spotlight Series - a series of albums meant to throw a spotlight on some young up-and-coming musicians who are making adventurous new music. Les Rhinos fit the bill perfectly: a group of teenagers who are making some of the most creative music you'll hear this year. Their exact genre is difficult to pin down, with equal parts rock, jazz, and ambient with bits of world music, noise, and even a little circus music sneaking in. The instrumentation is unusually diverse, incorporating your standard rock-band stuff (guitar, piano, drums, bass) as well as strings, brass, noise-making toys, loops and samples.

The album starts off quietly, with birds chirping and a calm recitation of a somewhat surreal poem involving rhinoceroses. The rest of the album is mostly instrumental, about equally divided between fun, upbeat tracks and more reflective pieces that have more of a focus on  ambience and texture. With these slow, dreamy interludes, Les Rhinocéros is an album that wants to be listened to as a whole album, all tracks in order - it just doesn't sound right if you put it on shuffle mode. And yet, this is a music blog, so I'll take one out of context for you anyway:

If you're interested in picking up their album, I recommend checking out their Kickstarter page. For about the same amount of money as you'd spend elsewhere, you can get a digital or physical copy of the album and help them pay the initial costs for their first European tour.

New music: Portage - "Into the River"

Words // Adam Sharp

There's something exciting about hearing a band for the first time that you never knew existed and who make the kind of music that's right in your wheelhouse. I had that happen today with Minneapolis' Portage, a band recommended to me by a reader named Lee. Ten bucks and five spins through their debut album, The Unsalted Sea, later and I'm ready to proclaim Lee made a fantastic suggestion.

Ranging from soulful and joyous to contemplative and haunting, The Unsalted Sea is an album full of songs that feel like beautiful, concise, complete thoughts despite all but two songs coming in under the 3 minute mark. My favorite track is 'Into the River,' a short, sweet, restrained tune that features that most gorgeous harmonizing between lead singer Trent Waterman and Sarah Krueger found on the record. The added element of the strings help enhance the smoky, soulful vibe of the harmonies and push this song from good to great.

The Unsalted Sea is available now, and it's a pretty great debut. Head on over to Portage's Bandcamp and give it a listen and then go ahead and (digitally) get out your $10 bucks and buy it. Enjoy.