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Drag City US Schallplatten & CDs
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Review: Quiet introspection and a fascinating view of 'ordinary life' characterise the latest solo record from singer-songwriter Bill Callahan. Many of his lyrics are observations of the mundane, but elevated by his wordplay and the dreamy, lullaby like quality of the guitar strumming around them. Nothing along the way here is ever forced, it unfolds with a sense of realism that is compelling throughout, and though much of it is masculine in subject, there is a feminine side to the emotion that make it widely accessible. Folky music this warm, heartfelt and filled with simple gratitude is a stable for this label, but few do it as well as Bill.
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Review: There's something uniquely Japanese and slightly off-kilter about the pop-making prowess of Eiko Ishibashi, a singer-songwriter, improvisational drummer, pianist and all-round experimentalist that counts Editions Mego and Oren Ambarchi's Black Truffle as labels she has released on. She returns to Drag City, an all time Chicago label famous for records by Pavement and Stereolab to more recently music from Ty Segall and the all-talented John Mulaney. Ishibashi's music here, however, sways from heavy industrial beats to future, funky and avant pop numbers like "Iron Veil". It's a record that will take some getting used to but there's no denying you will get used to it too; if you can keep up with its modernity that comes from way out leftfield.
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VARIOUS
John Mulaney & The Sack Lunch Bunch (Soundtrack) (gatefold LP)
Cat: DC 774. Rel: 21 Aug 20
Soundtracks
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Gespielt von: Juno Recommends Leftfield, Juno Recommends Experimental
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Review: Five years after the second life of Death was started with the release of their revelatory 1976 album, "For The Whole World To See", "III" slams the door on the vault with a powerful set of songs that bring equal amounts of rock and ethereal soul-searching, in high-fidelity, rich bottomed, studio-grade sound. Alongside songs from 1975, 1976 and 1980, "III" contains two songs from 1992, as the Hackney brothers reconvened nearly a decade after they'd stopped playing together. The album serves as a companion piece of sorts to the "A Band Called Death" documentary, tracking the band's movement from spiritual young rockers to older and wiser, bruised-but-undefeated brothers, in pure musical terms. David Hackney's visual representation of Death was a triangle, where "spiritual", "mental" and "physical" formed the three angles. With this in mind, "For The Whole World To See" is clearly the physical corner, with its undeniable proto-punk power; "Spiritual-Mental-Physical" explores the mental axis, with Death working through some of their influences including The Beatles, Jimi Hendrix, The Who and even ELO in their practice space. "III" is the spiritual end of the portrait, bookended by the dreamlike rock visions of David Hackney that created and propelled the band called Death.
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Review: Ty Segall, one of the leading lights and most hard-working artists of America's west coast garage scene, perfectly balances quality and quantity with 'Freedom's Goblin', his tenth studio album under his own name (include his live records, aliases and collaborations, and the total body of work effectively doubles). Having seemingly ditched the songwriting rules he had set himself on previous albums, 'Freedom's Goblin' sees Ty Segall at his most explosive and full-throttle, inventively exploring the many avenues of sub-genres of rock and psychedelia. Consisting of 19 ironclad songs that clock in at nearly eighty minutes, this is an expansive and exhilarating album that never becomes tiring. The wild combination of flawless production (co-engineered by the legendary Nirvana producer Steve Albini) and Segall's balance of raw power and melodic sensibility, makes 'Freedom's Goblin' another astoundingly high-calibre addition to an already colossal catalogue.
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Review: Ty Segall's first album in two years takes the artist into rather new and unexpected musical territory. The production has had a whole redesign and come out the other side with a synthtastic sound but there remains a load of keys and guitars, too. As such Harmonizer sounds new and fresh with plenty of bursts of transcendent energy. The Freedom Band were called upon during the origin of this album and so appear all throughout it, but often one at a time. This intense record is a grown up soul sound that gets more and more compelling with each listen as fresh details keep on revealing themselves.
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Review: Mind Maintenance is certainly an appropriate name for this duo. Usually grounded in jazz, here bassist Joshua Abrams and drummer Chad Taylor look far beyond the world of cool cats and late night bars, casting their gaze on more organic and earthy tones. Picking up a guimba - perhaps better known to some as the guitar-ish sintir regularly heard in Moroccan music - and mbira, a family of Zimbabwean percussive instruments, the tones are, unsurprisingly, transportive.
Through highly complex but minimalistic arrangements we are taken to places that can only really be described as 'not here'. The repetitive loops of padded beats and chimed melodies seem to go straight for the mind's eye, boring ever deeper into our subconscious and holding on tight once there. Close your eyes and the world in front of you quickly fades, leaving nothing but hypnotic tones that deserve to be heard outside, beneath the stars, by the fire.
… Read moreThrough highly complex but minimalistic arrangements we are taken to places that can only really be described as 'not here'. The repetitive loops of padded beats and chimed melodies seem to go straight for the mind's eye, boring ever deeper into our subconscious and holding on tight once there. Close your eyes and the world in front of you quickly fades, leaving nothing but hypnotic tones that deserve to be heard outside, beneath the stars, by the fire.
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Review: Singer-songwriting wrapped up in the dusty acid wash denim of Americana doesn't really get more authentic than what Bill Callahan of Silver Spring, Maryland, can deliver. His latest LP, a mass saunter through 20 tracks of smokey spoken word and lightly sung lyrics, falls upon a picturesque bevvy of humble and acoustic instrumentation. Callahan's songs croon with romance, metaphor, and folky yarns that find their place among fingerpicked guitars and light melodies that enjoy a contrast with the darker musings of Callahan's own world of experience and storytelling. It presents the artist with his first studio in some five years, and a sound that is looser than a typical Bill Callahan missive but full of melodrama that centres around life and death. Our pick, Callahan's cover of the Carter Family's "Lonesome Valley".
… Read moreGespielt von: Juno Recommends Rock/Indie
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Review: Whirlybird is a documentary which demanded a different sort of sound from Ty Segall,. He departs for his usual rock vibe and took on this challenge with an all new vibe. The resulting soundtrack is crafted from a variety of synth sounds, electric keyboards, drums, percussion and saxophones and off course, some of his signature guitars, It is sorry telling instrumental music with a real sense of its own narrative and perfectly frames the film's compulsive themes and images. It stands alone as a fine listen and a great testament to Ty's versatility.
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