Shadows of the Indie (Indie Central CCXVI)

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Op maandag 8 december 2014 19:04 schreef Heufd het volgende:

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Ja! Echt geweldig. Net als Bored in the USA. En de albumtrailer. Klinkt allemaal heel veelbelovend.

Father John Misty - I Love You Honeybear [ALBUM TRAILER]

Father John Misty - I Love You, Honey Bear (Little Big Show #5)

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Op maandag 8 december 2014 19:12 schreef Maxerazzi het volgende:

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Yes, heb echt ontzettend veel zin in die plaat. I Love You Honeybear staat al een tijdje op YT overigens, al kan de studioversie natuurlijk nog redelijk verschillen:

Father John Misty - I Love You, Honey Bear (Little Big Show #5)

Yo La Tengo [01] Big Day Coming

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Let's be undecided, let's take our time
And sooner or later, we will know our mind
We'll be on the outside, we won't care
Cause we're together, that's somewhere

And there's a big day coming, about a mile away
There's a big day coming, I can hardly wait

Let's wake up the neighbors, let's turn up our amps
And we know we're used to without a plan
We can play a Stones song, sitting on a fence
And it'll sound pretty good, til I forget how it ends

I woke up early, couldn't go back to sleep
Cause I had been thinking of where it all would lead
So I made you wake up, I said, "Let's take a walk,
I wanna hold your hand, we don't have to talk"

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Op maandag 8 december 2014 22:52 schreef Maxerazzi het volgende:
Gezien de release van Extra Painful afgelopen week maar weer eens dit meesterwerkje aangeslingerd, en bij Big Day Coming staat het kippenvel al bijna weer op de armen. Yo La Tengo, helden helden helden helden helden.

Yo La Tengo [01] Big Day Coming

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Op maandag 8 december 2014 22:58 schreef Norrage het volgende:

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En vorig jaar pas YLT ontdekt

Maxi

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Op dinsdag 9 december 2014 08:14 schreef Norrage het volgende:
Conferentie!

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Op dinsdag 9 december 2014 08:15 schreef Maxerazzi het volgende:

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Vakantie dus.

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DeYarmond Edison, Bon Iver, Megafaun and one twisted story

New York bands can operate in a bubble, but smaller musical enclaves like our own must connect within and without to thrive.

The Triangle has a history of forming intimate musical connections with other regions: Consider the ties to Florida since a constellation of Gainesville and Jacksonville musicians centered around Fin Fang Foom moved here in the late '90s, or the Nebraska natives of Sorry About Dresden who linked Triangle musicians with their Omaha counterparts and, on occasion, that city's influential Saddle Creek record label.

Now add Eau Claire, Wis., to the list. It's where the members of DeYarmond Edison grew up before spending the final year of their four-year career in Raleigh. When the band broke up last fall, it's where DeYarmond Edison frontman Justin Vernon returned to record his new album under his new name, Bon Iver. The remaining members—Joe Westerlund and brothers Brad and Phil Cook—stayed in the Triangle to reconvene as Megafaun, carrying on the DeYarmond Edison tradition of blending traditional folk idioms with modern experimental ones in a wilder, rawer way.

DeYarmond Edison leavened aching Midwestern rock, folk and country tunes with subtle sections of drone. Their sharply imagistic lyrics and restrained experimentation recalled Richard Buckner, although singer-songwriter Vernon's honeyed croon—more overt than Buckner's—supplied a haywire Son Volt surface. While recording its excellent second album, Silent Signs, the band conjoined resonator blurs and Tibetan singing bowls with pedal steel and banjo. Vernon's warm lead melodies and rich guitars lit dark, flickering strains.

The band's music was always enriched by the tension between Vernon's classically inclined songwriting and the avant-garde mindset of the band members who would become Megafaun. After all, drummer Westerlund studied with Albert Ayler collaborator Milford Graves, while Vernon studied the records of John Prine and Jackson Browne. With jazz training in their backgrounds, the members were flexible, equally capable of wreathing songs in extemporaneous noise or playing them close to the hip. Early in 2006, DeYarmond Edison began a five-month, five-show residency at Bickett Gallery, where it separated those traits into 20 minute phase-pieces for four keyboards and a cappella spirituals with the goal of making both sides stronger and bringing them back together. They weren't flexible enough to make such tension last forever, and they broke up while recording a five-song EP.

Lucky for us: We get two new bands in the bargain. Lucky for them: Almost a year after DeYarmond Edison broke up, large independent labels recently offered Megafaun and Bon Iver record deals on the same day.

Since Vernon was DeYarmond Edison's frontman (the band's name is actually his middle names), you'd think Bon Iver would more closely resemble DeYarmond Edison than Megafaun. That the opposite is true speaks volumes about Megafaun's divisive dynamic. Megafaun goes further than DeYarmond Edison in imbuing loose, gritty folk music with the mutating energy of free jazz.

On Bury the Square (to be released nationwide by Table of Elements' Radium imprint), the ideas that underpinned DeYarmond Edison's music are explored in less fettered, more pungent forms. Tomcat yowls and delirious barbershop harmonies replace Vernon's mannered vocal style. Instead of dressing up polished alt-country songs with veils of hum, Megafaun pickles rickety back-porch folk reconstructions in a brine of chaotic field recordings and organic, free-form atmospheres. It's an album so ingeniously balanced that it stands a chance of satisfying both folk and experimental music fans. For the former, there's the clattering bluegrass/rock of "Lazy Suicide" and twinkling weeper "Drains." For the latter, there's the cacophonous crescendo and melting decrescendo of "Where We Belong" and the musique concrète of "Tired and Troubled." For non-partisans, there's simply a seamless marriage of two memes, one traditional and one relatively modern, reminding us that folk and experimental music both revolve around the same spirit of exploratory expression.

Meanwhile, Bon Iver's For Emma, Forever Ago, now in contract negotiations with a large independent label, seems like a deliberate effort on Vernon's part to break away from the style he established in DeYarmond Edison: The only thing the two projects really share is a songwriter and an Eau Claire zip code.

That should be a lot, but it isn't, furthering the suspicion that Bon Iver was a starting-over point for Vernon—not just in music, but in life. To contrast the two bands is a study in opposites: DeYarmond Edison's songs were sturdy and emphatic; Bon Iver's are wispy and vanishing, comprised mostly of vaporous acoustic guitars and rudimentary percussion. DeYarmond Edison's vocals were naturalistic and lubricated; Bon Iver's are falsetto and creaky. DeYarmond Edison sounded like Richard Buckner and the Band; Bon Iver doesn't even sound like the indie-pop of The Rosebuds, which one might expect considering that Vernon has been their touring guitarist and produced parts of Night of the Furies. Instead, it recalls something between Devendra Banhart and TV on the Radio's Kyp Malone.

Vernon recorded the elegiac album, which revolves around a long-lost relationship, in a cabin. This tends to be music-journo shorthand for authenticity, but it's not necessary here. That For Emma, Forever Ago is a product of authentic personal inspiration is manifest in its sudden stylistic left-turn and its gorgeous, haunting songs. Especially at moments like the celestial choral harmony that opens the galloping ballad "Lump Sum," it reveals another facet to Vernon the songwriter: He plays the role of pensive wilderness mystic in Bon Iver just as convincingly as he did that of rust-belt journeyman in DeYarmond Edison.

http://www.indyweek.com/i(...)/Content?oid=1203910

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Op dinsdag 9 december 2014 16:53 schreef methodmich het volgende:
Voor de liefhebbers van lijstjes en Belgische artiesten, dit is volgens Demofarm.be de top 60 van Belgische albums uit 2014:

http://www.demofarm.be/muziek/60-beste-belgische-albums-van-2014/

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Op dinsdag 9 december 2014 16:53 schreef methodmich het volgende:
Voor de liefhebbers van lijstjes en Belgische artiesten, dit is volgens Demofarm.be de top 60 van Belgische albums uit 2014:

http://www.demofarm.be/muziek/60-beste-belgische-albums-van-2014/

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Op dinsdag 9 december 2014 08:15 schreef Maxerazzi het volgende:

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Vakantie dus.

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Op dinsdag 9 december 2014 21:32 schreef richolio het volgende:
[ afbeelding ]

J Cole - Wet Dreams (2014 Forest Hills Drive)

Goed nummer.

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Op woensdag 10 december 2014 03:45 schreef thijsdetweede het volgende:
SF again?

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Op woensdag 10 december 2014 01:11 schreef DO2 het volgende:
Luister na lange tijd weer eens naar deze:

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Nog altijd fenomenaal, !

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Op woensdag 10 december 2014 18:22 schreef Tchock het volgende:

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Ik weet dat het een slecht vooroordeel is maar albums met dit soort artwork kan ik altijd maar lastig serieus nemen.

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Op woensdag 10 december 2014 18:45 schreef Maxerazzi het volgende:
Dit is ook een goed voorbeeld van een afschuwelijke hoes waar een fantastische plaat achter schuilt:

[ afbeelding ]

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Op woensdag 10 december 2014 18:46 schreef Norrage het volgende:
Kunnen jullie nog goede concerten uit deze lijst filteren? Er zijn teveel resultaten

http://www.sfweekly.com/concerts/

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Op woensdag 10 december 2014 18:49 schreef Norrage het volgende:
Oooeh Ryan Adams en Jenny Lewis

http://sfmasonic.com/event/ryan-adams-with-jenny-lewis/

Maar beetje duur

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Op woensdag 10 december 2014 18:22 schreef Tchock het volgende:

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Zeg, wat wordt er hier weinig Johan gepost de laatste tijd.

Johan | Tumble & Fall

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Op woensdag 10 december 2014 19:03 schreef Maxerazzi het volgende:

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Zijn jullie ook ineens super veel Sigur Rós aan het luisteren?

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Op woensdag 10 december 2014 19:08 schreef Maxerazzi het volgende:
'Jonsí appoves'.

[ afbeelding ]

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Op woensdag 10 december 2014 19:08 schreef Tchock het volgende:

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Je accent aigu mist zijn doelwit een beetje.

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Op woensdag 10 december 2014 19:11 schreef DO2 het volgende:
... approves.