Tag: Lyrical

Ought – Sun Coming Down

There is a certain beauty just to being alive, and Ought make it their mission to find it through raw rock n’ roll that veers seamlessly between upbeat post-punk, meditative feedback drones, dramatic ballads, and cathartic guitar freak outs.

Recommended for fans of post-punk that blends the moodiness of Joy Division, Iceage, and Television with the experimentation and noisiness of This Heat and No Wave.

Magnolia Electric Co. – What Comes After the Blues

“Human hearts and pain should never be separate, then they wouldn’t tear themselves apart both trying to fit”. The first album under the Magnolia Electric Co. name touches on the loneliness and depression of much of Jason Molina’s work, but it also contains a fair amount of the hope, light, and perseverance one needs in times of struggle. The musicians here were recorded live in a room by the great Steve Albini, featuring slide guitar, fiddle, and beautiful vocal harmonies from Molina’s band members. With its mix of melancholy Americana, country-tinged rock, and stripped back folk, What Comes After the Blues feels like a continuation of Neil Young’s great ditch trilogy.

Bibio – Ribbons

On his latest, producer/composer/multi-instrumentalist Bibio blends serene folk pop, lush instrumentation, pastoral guitar instrumentals, nature field recordings, Walt Whitman-esque lyrics and beat-oriented grooves into the perfectly crafted springtime album. Ribbons feels like daydreaming in a garden or out in the woods under a tree or by a trickling stream.

The Incredible String Band – The Big Huge

Warm, mellow Scottish folk with lyrics that border spiritual, philosophical, and fantasy themes. The arrangements are a bit stripped down from their lush psychedelia of previous releases, but still feature a good amount of sitar, organ, Irish harp, and violin to add some color to the vocals and acoustic guitar-centric songwriting.

King Crimson – In the Court of the Crimson King

Released in 1969 on Atlantic Format: LP Pressing quality: While this album is a masterpiece, these early pressings/masters sound a … More

Exuma – Exuma

Exuma’s first album is a powerful and ritualistic masterpiece of spiritual folk from the Bahamas. Exuma, the Obeah Man, is a master storyteller and preacher, sharing visions, myths, and prayers. His expressive, soulful voice takes on many tones as he delivers his musical sermons, from smooth to raspy, soft to confident. A group of singers, percussionists, whistlers, and toads join him and his acoustic guitar, making me imagine them all circled around a large fire in communal worship and grateful that they let us listeners in on it.

David Grubbs – The Thicket

On experimental musician/author/professor David Grubb’s first album as singer-songwriter, he synthesizes technical bluegrass banjo and fingerstyle acoustic guitar playing with imaginative arrangements, abrupt stylistic shifts, philosophical questioning lyrics, improvisation, drones, and an eclectic cast of musicians, including drummer John McEntire (Tortoise, The Sea and Cake), bassist Josh Abrams (Natural Information Society), and drone violinist Tony Conrad.

Bonnie ‘Prince’ Billy & Bitchin Bajas – Epic Jammers and Fortunate Little Ditties

A far cry from the sparse folk usually recorded by Will Oldham, “Epic Jammers and Fortunate Little Ditties” finds his intimate voice and warbly acoustic guitar enveloped by the cosmic drones, blooming synths, airy flutes, and hypnotic tape loops of Chicago new age trio, Bitchin Bajas. The lyrics are essentially fortune cookie mantras and, while there’s a chance they’re tongue-in-cheek, it’s difficult not to smile and feel a brightening of the spirit when hearing uplifting phrases like “Your hard work is about to pay off, keep on keepin’ on” or “you and your whole family are well” get repeated over and over. This collaboration is a soothing, heartwarming listen and a refreshing change-of-pace from Oldham’s tendency towards melancholy and solemn lyrical content.

Holy Sons – In the Garden

After 20+ years of using his introspective songwriting as a playground for psychedelic lo-fi experimentation, underdog hero Emil Amos hands the production reins to John Angello (Sonic Youth, Dinosaur Jr.) for his most polished album yet, capturing the best aspects of 70’s rock classics without ever feeling cliché. The hi-fi analogue production brings a newfound clarity and depth that allows Amos’ songwriting and instrumental performances to bloom; the choruses are anthemic, the atmospheres are darkly psychedelic, and his lyrics are just as philosophical and contemplative as ever.

Young Jesus – The Whole Thing is Just There

The Whole Thing is Just There is another beautiful and life-affirming release from Young Jesus, the second with the current L.A. iteration of the band. Their inter-band chemistry seems stronger than ever, with telepathic improvisations, symbiotic catharses, and a mutual love for each other that is easily felt from a listener’s perspective. The lyrics deal with self-exploration and one’s relationship with the world around them, finding solace in spirituality, existentialism, literature, and the ethos of free jazz. Stylistically the music seems rooted in late-90’s indie rock and emo, with seamless but adventurous detours into post-rock, noisy post-hardcore, and free improvisation. Excited to see where these guys go next.

Eric Chenaux – Slowly Paradise

Eric Chenaux’s gentle falsetto is the most constant, tangible element on an album characterized by a permanent state of flux. The guitars are warbly and unsteady with their fluctuating tones, volume, and pitch. Yet, despite their experimental nature, they never sound abrasive and, together with some mellow Wurlitzer, create a soft, pillowy environment for Chenaux’s romantic crooning about the nature of love, the moon, and warm nights.