Review: Under a full moon to commemorate Portland's official holiday on their first Dead Moon Night, Mike Lastra recorded Michael Hurley play 'Jane' live at Portland City Hall in 2017. He performed, rather wittily, this cover of Portland Oregon Dead Moon's 1991 release to the most well attended non protest event in the history of the hall. Hurley, American "outsider folk" singer-songwriter, guitarist, banjo and fiddle player, and part of the Greenwich Village folk music scene of the 1960s and 70s is not only known for his iconoclastic songs, but also his cartoons and paintings, here illustrating the single's cover. The B Side 'Go My Way' features an unreleased Range Rats track from 1986 recorded at home by Fred Cole, Toody Cole and Rolly (their Roland drum machine), covered paradoxically by Portland's own Dead Moon in 2004, giving a comforting circularity to this limited 7" on Mississippi US, a label that prides itself in supporting artists and their families when crafting ethical and respectful releases of previously overlooked music. So, if you're into the Appalatian folk troubadour tradition with an undertone of irony that has a bluesy edge, you'll love this.
Review: "I'd prefer it to be called just a country album," said TORRES of her collaboration with Baker, nearly a decade in the making, "but I'm proud to have made a 'queer country' album." TORRES had the initial idea to turn to the genre, inviting Baker to collaborate not only because of her shared southern roots but also because she'd also had a similarly religious upbringing that ultimately saw sexual orientation judged and condemned. The result is some deeply autobiographic songwriting on tracks like 'Tuesday', about a traditional family's rage at discovering their daughter was gay, the lilting 'Sylvia' and 'Sugar In The Tank', with pedal steel meeting acoustic guitar strum and very intimate sounding vocals. Bound to cause controversy in certain areas of the US, but it's got the quality and distinctive flavour to stand its ground.
Review: Nathan Salsburg's new project, Hear the Children Sing the Evidence, began as a lullaby ritual for his daughter Talya, where he sang Lungfish's 'The Evidence' to soothe her. This inspired Salsburg to collaborate with Bonnie 'Prince' Billy (Will Oldham) and Tyler Trotter on an album of Lungfish covers. The result is a collection that highlights the timeless power of Lungfish's music. Recorded live without full rehearsals, the album captures a spontaneous and intimate interaction between musicians. 'Hear the Children Sing features delicate guitars, Oldham's malleable voice, Trotter's steady drumbeat, and Zak Riles' banjo. The drum-less 'The Evidence' creates an instant trance with Salsburg's acoustic guitar loop and Rhodes keyboard harmonising with Oldham's vocals. The extended versions reveal the depth of Daniel Higgs' lyrics, with each listen uncovering new meanings. The inclusion of Oldham's daughter Poppy and Salsburg's daughter Talya adds a personal touch, blending mystical songs for adults with lullabies for children. This heartfelt project enriches listeners with profound words and ideas, making it a timeless and meaningful collection that bridges generations through music.
Review: Marking 60 years since the late singer's birth, I Can Only Be Me celebrates the striking talent of Eva Cassidy with an ambitious project. Christopher Willis and William Ross teamed up to compose new arrangements for some of Cassidy's best loved songs, which have been recorded by none other than the London Symphony Orchestra. 'Songbird' is the centrepiece of the project, which made use of new breakthroughs in AI technology to add new dimensions to Cassidy's performance in line with Willis and Ross' new compositions. It's a posthumous collaboration like no other, sure to delight fans who always dreamed of where else Cassidy's music might have taken her if she hadn't died so young.
Review: Ryan Davis has seen "sunsets through every shade of beer", but remains convinced we were not put here to rest on depressed laurels and wonder where it all went so wrong. Words only count for so much, though, but thankfully he's put money and energy where that mouth is. Frontman in delightfully disheveled rock troupe State Champion, figurehead behind Louisville's Cropped Out festival. Sophomore Lounge label boss. And now solo artist with plenty to say and the talent to warrant our attention. Dancing On the Edge is the kind of Americana the world wants to buy into - so culturally specific in sound and phraseology, yet universally relevant. This is country rock that has forgotten its rules, embracing elements of garage, and slacker skate. What's most remarkable, though, is the songwriting. A masterclass in conveying the hypocrisy of humanity. Constantly looking for redemption from our next sin.
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