I love it when music channels a different era and takes the listener back to a time and place that they never experienced, that lives only in their imagination. My newest obsession is Radiation City, a Portland OR band that does just that. The music transports me to a strangely magical place where the 1960s and 2010s are happening concurrently - where my parents' generation and my own are one in the same. The band's debut The Hands That Take You is vividly cinematic, and the images it creates are mostly grainy, black and white home videos found in a dusty box. The Color Of Industry sets a saccharine doo-wop melody against a twitchy digital sound field.
"Construction" is more straightforward in its approach to channeling the past. A smoky, soulful song that brims and overflows with emotion. Here's the beautifully shot black and white video:
I highly recommend getting the full-length debut here (cassette or vinyl) - or wait for the upcoming re-release (including CD I assume) on September 27. The band just finished an east coast trip but sadly skipped Boston...here's hoping they'll be back this way soon. Thanks to Sound On The Sound for the tip on these guys (and many others), there is no finer blog around than what those folks are doing out in Seattle.
I remember getting Cymbals Eat Guitars' self-released (and later re-released) debut Why There Are Mountains and absolutely falling in love. It was an album I could get lost in, scream along to and just geek out on. I fucking wore that record out - back to front - "Cold Spring", "Indiana", "Living North"...the whole damn thing.
In the months after Why There Are Mountains was re-released, new songs started to emerge. One was "Plainclothes", a dark story song about murder and drug and sex. My favorite, "Another Tunguska" pulls you in and tightens it grip as it explodes into chaos, then relaxes again. Now those songs are out in official form on the band's sophomore LP Lenses Alien. This is not a review of Lenses Alien, but just an ackowledgement of two fantastic songs that I fell in love with over a year ago and now get to hear anew.
Ryan Adams' semi-retirement ends on October 11 when Ashes & Fire drops, the once-prolific songwriter's first collection of new music since the lackluster Cardinology (III/IV were from the Easy Tiger sessions, so that doesn't count). The first single "Lucky Now" finds Adam trading in the glossier pop/rock production of his later work with the Cardinals for a more stripped-down sound that will appeal to fans of his earlier solo work. A great song and strong indication that Ashes & Fire might be a wecome return to form. Preorder Ashes & Fire here and check out "Lucky Now" below...
If you've noticed a slowing pace of updates these past couple months, you're right...and thanks for following close enough to notice! I've been busy buying and moving into a new house, working (that is, my real job that I actually get paid for) and planning and preparing for the Newport Nightcap party. Visible Voice has taken a bit of a backseat to real life. Now, after a weeklong internet-free vacation I feel recharged and ready to share some great new tunes...
The War On Drugs' new record Slave Ambient is out, and I can't stop spinning it. If you were a fan of 2008's stellar Wagonwheel Blues or the more recent Future Weather EP you need to pick this up. Spaceman 3 dope haze meets Americana grit - a stunning collection of songs that is as obtuse as it is accessible. The type of record that will blow your mind and clear your head all at once.
Grant Olsen's solo project Gold Leaves has been long in the making - four full years - but it has been worth the wait. With plenty of time to refine and live in these songs, Olsen has created a collection that is as much inspired by 50s doo-wop as it is 60s psych-pop. Sonically the songs seem to split the difference between Fleet Foxes and Beach House, a little bit folk and a little bit dreamy beach pop. Really getting into this.
Widowspeak's single "Gun Shy" caught my attention a couple months ago and earned a spot on my summer mix tape. Now the full LP is out and I have to say, I'm even more impressed than I thought I'd be. There is a lot to like here - gritty, bouncy pop alongsidea brooding slow-burners that recall Sharon Van Etten and Cat Power. You can't deny the Mazzy Star influence which I guarantee every review will cite, but I think Widowspeak can stand on their own.
Words by Scott Pingeton | Photos by Nina Mashurova
For me, Saturday at Newport was a blur. There was the wide eyed anticipation of a great weekend of music that laid ahead of me, but also the disorienting buzz of the crowd morphing from an orderly line into a chaotic mass of humanity as we passed through the gates. Once through the gates, it's a land grab for coveted blanket real estate. And finally, a brief moment to look around and take in the beautiful surroundings - the salt air and sailboats, the rows of vendors, the bright colors of the beach chairs and blankets. Then the madness begins. With music pulling you in all directions it doesn't take long before the carefully-planned strategy is a distant memory as I rush from stage to stage to see as much music as possible. And this year, there was the nagging reminder that our Nightcap afterparty looming just a few hours away - equal parts excitement and nerves.
Despite having to leave just a few hours into the day to start setting up for the afterparty, Saturday was full of highlights. River City Extension delivered a stunning set of anthemic folk-rock, replete with rousing horns, breathless energy and a visit into the crowd. Sallie Ford and the Sound Outside overcame a brief power outage to open the Quad stage with an impressive set of early rock n' roll-influenced songs. Later, Delta Spirit proved why they are my favorite live band in the world. It was a long whirlwind of a day.
But on Sunday, with the successful Nightcap behind us and another full day of music from some of my favorite bands ahead, I was able to slow things down and take it all in. My day started just as it did a year ago...waiting anxiously for David Wax Museum to take the stage. Only this time it was the much bigger main stage. It's been well-documented how David Wax and company seized their opportunity to play the Quad Stage last year after winning a contest, turning in one of the most memorable sets of the weekend and following that up with the release of Everything Is Saved (a shoe-in for my albums of the year list), a Tiny Desk Concert, Mountain Stage appearance, nonstop national touring and opening slots for Josh Ritter, The Avett Brothers and Dave Matthews Band. They topped last year's appearance with an exuberant main stage set that won over so many of the blanket-mafia that they got called back for an encore. It felt like a victory lap to see the band come full circle in such a big way, but I get the feeling that it was just a second wind in their sails on the way to even bigger fame.
Up next it was a mad dash to catch some of Mountain Man's gorgeous harmonies. I got chills as they led the huge crowd at the Harbor Stage in a round on "Now I Walk In Beauty". Then I was off to catch a bit of Secret Sisters before returning to the main stage for some Carolina Chocolate Drops - one of my favorite sets of the day. I sacrificed Cave Singers - painful since I've never seen them live - to camp out for all of Trampled By Turtles...and boy am I glad I didn't leave their show early. The intensity ramped up throughout the entire set of ragged breakneck bluegrass, culminating with "Wait So Long" and an encore of The Pixies' "Where Is My Mind". I left the Quad Stage just long enough to catch a bit of Wanda Jackson whipping everyone into an absolute frenzy with "Let's Have A Party", returning in time for Justin Townes Earle's fantastic set. Earle has a commanding stage presence, baring his soul in his lyrics and witty between song banter. If you're on the fence, you gotta see him live - Justin Townes Earle is not getting by on name alone, he's the real fucking deal.
The hometown heroes (Deer Tick), budding stars (Dawes) and 2011 festival standouts (Delta Spirit) joined forces as Middle Brother for one of the true highlights of the weekend -- a raggedly fun set of rock n' roll that will likely be the supergroup's final appearance together for quite some time. But before Dawes got called out for an impromptu encore of their own I was off to catch The Head And The Heart serenade an overflowing crowd at the Harbor Stage about canyons and valleys and rivers and roads. Meanwhile Elvis Costello was playing a not-so-acoustic set on the main stage with the help from his Imposters. It was a welcome sight to see Steve Nieve and Pete Thomas on stage with Costello and he didn't disappoint - bringing Chris Thile up for a gorgeous rendition of "Brilliant Mistake" and Emmylou Harris for "Scarlet Tide" before closing the set with the classic "(What's So Funny 'Bout) Peace, Love and Understanding".
As the sun cooled and set in the west, I caught the acoustic half of M. Ward's set from the side of the stage - the softly fingerpicked "Here Comes The Sun Again" was a gorgeous highlight. As I made my way back to the main stage for Emmylou Harris that familiar bittersweet feeling came again. Newport Folk was winding down, the crowd was starting to thin, the sun was getting low - it was time to go home.
2011 was a landmark year in Newport Folk's history - the first advance sell-out in years, a diverse and deep lineup, perfect weather and a flawlessly-run festival. If there was any room for improvement last year, it was improved this year. More beer tents, larger Quad Stage, blanket-free zone in front of the Fort Stage - the list goes on. As New Englanders we are truly lucky to have a festival of this caliber to call our own. What was once a quaint little festival that's past far overshadowed it's present is now one of the premier music festivals in the world. I cannot fathom a summer without a trip to Newport Folk. It will be a long wait for 2012, but I'm already excited for what next year's festival will bring.
So there it is, the climax of the year gone. Truth is, if you're a music fan in around these parts, the whole year pretty much revolves around Newport Folk...at least it does for me. It's the avatar of summer, a microcosm of all that is good in life: friendship, community, music, collaboration, discovery, beer and sunshine. On the coldest nights of an unrelenting New England winter there is the knowledge that, unfathomable as it may be, before you know it you'll be back at Fort Adams basking in the sun. By springtime, it starts to feel like a reality again - the lineup is announced, you scramble to absorb all the new music, you buy tickets, the the countdown begins. Then inevitably, in the blink of an eye, it's over and you're left grasping on to the memories. Here are just a few of our memories from Saturday at Newport...
Photos by Nina Mashurova
Lots more to come on Newport Folk 2011 - stay tuned...
We're looking forward to soaking in some folk and UV rays in Newport this weekend, the best weekend of the year is once again upon us! And 2011 is a big year for Newport Folk - not only did the festival sell out weeks in advance for the first time ever...the (unofficial) Newport Nightcap and (official) Backyard BBQ late-night parties are making their debut - extending the festivities well into the night. In the words of Dawes, "The only point of looking back is to see how far we've come", so with that in mind, let's take a look back at some of the memories from Newport Folk 2010:
Newport Folk Festival weekend is (finally!) upon us again, and this year in addition to the beautiful weather (mid-80s and sunny!), postcard-perfect setting and unbelievable lineup, there is something new to look forward to...Newport Nightcap, our very own festival afterparty. A huge THANK YOU to everyone that helped us sell out our limited allotment of advance tickets! If you didn't get a ticket don't worry - there's plenty of room and the cover will be just $5 at the door. Here are the details...
Schedule:
7:00pm - Doors open, food/drinks available 8:00pm - Vikesh Kappor (Portland, OR) 9:00pm - Pearl And The Beard (NYC) 10:30pm - Swear And Shake (NYC) 11:30pm - Kingsley Flood (Boston)
Note: if you have an advance ticket, please plan to arrive by 10pm if possible
Location: Gas Lamp Grille - 206 Thames St. Newport RI
Seeing Kurt Vile is not as easy as one would think. For one, he quickly sold out the 340-person Brighton Music Hall, leaving a gaggle of onlookers inquiring about extra tickets from behind angular bangs.
Further complicating the matter, he and his band sport serious hair, often obfuscating his face. Combine this with an overpowering sound system and a maxed out mix, and suddenly hearing Vile and the Violators was not as easy as one would think either.
On record, Vile comes across as methodically moving. There’s a certain beauty in its simplicity, patiently building swells, swoons and poignant pay-offs. In concert, his effect-laden guitars (and his proficient but painfully loud band) absolutely overpowered and overwhelmed the venue.
Gone were the swirling, building textures and in its place was brash and ballsy noise, which - it should be noted - was performed well. Drummer Mike Zanghi pounded out primal, open-handed cymbal splashes on opening “Overnight Rebellion.” And closing tunes “Society is My Friend” and “Freak Train” careened to dizzying heights. But too often the opened-tune guitar parts tried to build buzz, but without the textured dynamics, instead blared out blindly.
Not that the capacity crowd cared.
The boisterous bunch bellowed approval for the tracks from Vile’s excellent Smoke Rings From My Halo and indeed the attitude of the evening owed much to album opener “On Tour.”
“On tour, lord of the flies,” Vile’s voice rang. “Aw, hey, who cares? What’s a guitar?”
For those who had the good fortune to see (and hear) Vile on tour, who cares indeed.
Arc In Round (Philadelphia, Penn.) began the night with cathartic, shoegaze-y dream-pop. Their distorted textures started soundly with pscyhadelic swirls but unfortunately the aforementioned sound system didn’t allow the ideas to fully flourish.# Guitarist Jeff Ziegler led the sound with ambient guitar lines and filled in on vocals, but the band took highest flight when keyboardist/ vocalist Mikele Edwards took the lead with a sweet, Asobi Seksu-like sound. You can name your own price for their latest EP II from their bandcamp page.
Woods were next with their blend of folksy, lo-fi, rock. Most eye catching is the woozy backing vocals and sounds form tape effects technician G. Lucas Crane. The sounds generally gravitated towards Congratulations-era MGMT meets Brian Wilson pop phrasings. The head noddings picked up in earnest when they dug into deep, heavy grooves.
Wednesday, August 31, 2011 at 9:10AM 
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