Country : Costa Rica Genre : Post Rock Style : Alternative Rock , Psychedelic , Post Punk , Shoeagaze
Label : Auto Prod Year : 2013
DJ DEMONANGEL Rating : 4/5 FAN Rating : 4/5
The Great Wilderness is a dream rock band from San José, Costa Rica influenced by British post punk, alternative rock and inspired by bands such as B.R.M.C., The Big Pink, M83, Joy Division and Sonic Youth.
1.Vonnegut 02:59 2.Hexagon 04:13 3.(Dawn) Platonic 04:35 4.Wetlands 03:46 5.The Seer 03:14 6.Blinders 03:07 7.In the Hour of the Wolf 03:45 8.Cellar Door 04:31 9.Valley of Light 12:38
Country : Australia Genre : Alternative Rock Style : Indie Punk , Blues Rock , Experimental
Label : Incubator Recording Year : 2013
When Kim Salmon and Spencer P Jones got together to play some gigs as a single entity in early 2012 there was an expectation of chaos – here were two musos with the swagger and baggage of a lifetime in rock n roll. During a month-long residency at The Old Bar in Melbourne, they developed a number of new songs and a divergent collection of covers from Kanye West to Peggy Lee to Jeffery Lee Pierce. Revealing monologues and rants were added to old blues songs and standards and new songs were deconstructed rather than rendered. Working with engineer Adrian Akkerman of Incubator Recording Studio, Salmon and Jones coaxed 12 songs for the album ‘Runaways’. The first single is a Salmon/Jones collaboration called ‘A Bitter Projection’ b/w ‘Monkey’ featuring saxophonist Ross Beaton (Eagle & The Worm). ‘Runaways’ is the first and possibly only album to ever be made by Kim Salmon and Spencer P Jones. Source
Tracklist :
01. A Bitter Projection 03:29 02. I Asked For Water 05:38 03. I Need Somebody 03:57 04. Is That All There Is? 02:42 05. It's All The Same 02:24 06. Jack On Fire 04:36 07. Loose Ends 06:52 08. The Monkey 03:02 09. Run Away 05:52 10. Scorched Earth Pearl 03:45 11. Underclass 04:40 12. The Whole of the Law 02:41
Country : USA Genre : Alternative Rock Style : Indie Rock , Country
Label : Sub Pop Year : 2013
It’s easy to forget and hard to believe that Low have been doing this for 20 years now. Alan Sparhawk, Mimi Parker, and John Nichols started the group in 1993, following in the wake of Codeine and Galaxie 500 but eventually coming to represent the slowcore sub-subgenre by dint of sheer longevity. Those two acts have already reissued their entire catalogs, but Low have kept on keeping on. Still, slowcore is an odd sound to buoy such a long career and sturdy catalog, if only because it’s defined by its self-imposed limitation: at its best, that slow tempo can be as intense as a punk song; as boring as wallpaper at its worst. Having hit both extremes at one point or another, the most perfectly named band on the planet have owned up to the restrictions of their aesthetic. As a result, their catalog is not necessarily diverse, but they’ve managed to find a great deal of variety within this small patch of terrain, thanks primarily to the open-ended nature of the band. Sparhawk and Parker have proved mainstays, with numerous musicians caught in their orbit over time (the latest being multi-instrumentalist Steve Garrington). Furthermore, Low have never shied away from working with producers who bring their own specific styles and aesthetics to their songs. In the late 1990s, Kramer, Steve Fisk, and Steve Albini helped them define and refine their sound; in the next decade, Dave Fridmann and Matt Beckley helmed albums with varying success. All used the band’s glacial dirges as a blank canvas, and Low savored these outside perspectives, as though they knew the band was never quite a self-contained unit. The latest producer to helm the boards for Low is Jeff Tweedy of Wilco, who recorded the band at the Loft in Chicago. On one hand, he’s such a perfect match that it’s surprising they’ve never worked together before: they’re all indie veterans who have come to represent various aspects of the Midwest-- Tweedy the busyness of Chicago and Low the remote plane of Duluth. On the other hand, Tweedy may be the most Americana-bound producer Low have hired, and at the very least represents a departure from Albini’s punk austerity, Fridmann’s art-sprawl, and Beckley’s pop haze. Especially compared to their 2000s output, The Invisible Way sounds crisp and live, produced to emphasize the individual instruments and to highlight their natural reverb. The sustain of the piano is a major component on “So Blue” and “Waiting”, and the Loft shapes the fading tones of Sparhawk’s sharply picked acoustic guitar on “Amethyst”. The album sounds so good-- and so quintessentially Low-- that the music distracts from the occasionally weak songwriting, which is just what it’s supposed to do. This sparer sound allows Low and Tweedy to emphasize the drama of the album that distinguishes it from previous Low efforts. While “Holy Ghost” and “Mother” sound sharp in their soft-spoken approach, the pace of “Just Make It Stop” is relentless, at least relative to how we perceive the band, with the piano pushing Parker’s vocals to a subtly harried and desperate pace that fits the lyrics. She’s a stronger presence on this album, singing five songs (nearly half the tracklist) instead of her usual one or two. Even when she’s not taking lead, she remains prominent. As Sparhawk ponders the nature of time and songwriting on opener “Plastic Cup”, Parker ghosts his vocals, her voice trailing off of his and turning each line into a question thrown into the abyss. Parker and Sparhawk sound like true equals on The Invisible Way, as their songwriting, singing, and playing complement each other vividly. Still, he gets saddled with two of the weakest tracks here, which is especially disappointing coming so soon after his excellent Retribution Gospel Choir album, 3. With its prominent, yet distracting proper nouns, “Clarence White” sounds like it should allude to something specific, yet the only thing truly harrowing about it is the steady, unsettling drum tattoo. When every other instrument falls away, that simple rhythm sounds like that old horror trope: the lumbering monster you can’t seem to outrun. “On My Own” begins with a sweet, straightforward melody about the looming fear of solitude, but then blunders into a lengthy outro that awkwardly languishes in some guitar fuzz and wishes you happy birthday 32 damn times. Repetition has always been a useful, if risky tool in Low’s songwriting kit, but here it just sounds jarring, even embarrassing. Even when it stumbles, though, The Invisible Way gives the impression of a band on the run. From what, not even they can say. But something horrible lies in wait just offscreen, something like time or death or irrelevance or separation. Low are wise enough not to show the monster, which means these songs are compelled by a strange desperation and worry-- as though Low are barely keeping their demons at bay. Nothing on these songs sounds the least bit rote or comfortable, and that’s remarkable for a band so far into an unlikely career. The Invisible Way suggests that Parker and Sparhawk have been able to maintain the band for so long by never making it easy on themselves. They’ve questioned every assumption about what a band like Low-- a band with a very rigid aesthetic-- can do, which has proven a sound strategy for turning a trend like slowcore into a career. Source
Tracklist :
1 Plastic Cup 2 Amethyst 3 So Blue 4 Holy Ghost 5 Waiting 6 Clarence White 7 Four Score 8 Just Make It Stop 9 Mother 10 On My Own 11 To Our Knees
Country : USA Genre : Blues Style : Country , Blues, Electric Blues, Alternative
Label : Telarc Year : 2013
En novembre 2012 il recevait le grand prix international de l’académie Charles Cros dans la catégorie blues pour son album "Contraband". Le bluesman Otis Taylor revient avec son "Trance blues" et un treizième album "My world is gone". Colosse hirsute de Boulder (Colorado) à la voix profonde, Otis Taylor est un personnage atypique dans le monde du blues ; au cours d'une longue pause musicale il a été ancien antiquaire, entraîneur cycliste, enseignant... Atypique comme sa musique, un blues épais, hypnotique, lancinant, contemporain qui puise dans le patrimoine musical afro-américain son inspiration. Ses chansons explorent sans concessions l'histoire des relations raciales et des injustices sociales. Si il à longtemps raconté les pages oubliées de l’histoire afro-américaine, aujourd'hui il se penche sur le peuple amérindien, plus particulèrement la tribu Nakota dont fait partie le guitariste et chanteur du groupe Indigenous Mato Nanji qui joue ici sur six titres. Sur "My world is gone" le multi-instrumentiste délaisse quelque peu sa guitare pour le banjo son premier instrument et une fois de plus il transfigure ce blues que nous pensions connaître. Bien sûr, les fantômes du Mississipi rodent comme celui de John Lee Hooker sur "The Wind Comes In". Mais le reste est un mix unique de vieilles chansons du sud, de rock, de jazz, de blues minimal ou électrique. Un conteur exceptionnel à voir sur scène absolument. Source
Tracklist :
01 – My World Is Gone [00:04:28] 02 – Lost My Horse [00:03:30] 03 – Huckleberry Blues [00:04:39] 04 – Sand Creek Massacre Mourning [00:04:32] 05 – The Wind Comes In [00:05:48] 06 – Blue Rain In Africa [00:04:14] 07 – Never Been To The Reservation [00:05:02] 08 – Girl Friend’s House [00:04:36] 09 – Jae Jae Waltz [00:04:10] 10 – Gangster And Iztatoz Chauffer [00:05:11] 11 – Coming With Crosses [00:06:06] 12 – Green Apples [00:03:52] 13 – Sit Across Your Table [00:04:29]
Info File : Playtime: 00:60:44 Audio codec: MP3 Bitrate: 320 kbps File: Zip Size: 149 MB
Country : Australia Genre : Alternative Rock Style : Alternative Rock , Experimental
Label : Bad Seed Ltd. Year : 2013
Nick Cave & the Bad Seeds release their fifteenth studio album PUSH THE SKY AWAY on 18 February 2013 “Well, if I were to use that threadbare metaphor of albums being like children, then Push The Sky Away is the ghost-baby in the incubator and Warren’s loops are its tiny, trembling heart-beat.” Nick Cave At the heart of Push the Sky Away is a naturalism and warmth that makes it the most subtly beautiful of all the Bad Seeds albums. The contemporary settings of myths, and the cultural references that have time-stamped Nick’s songs of the twenty-first century mist lightly through details drawn from the life he observed around his seaside home, through the tall windows on the album’s mysterious and ambiguous cover. The songs on this album took form in a modest notebook with shellac covers over the course of almost a year. The notebook is a treasured analogue artefact but the internet is equally important to Nick: Googling curiosities, being entranced by exotic Wikipedia entries “whether they’re true or not”. These songs convey how on the internet profoundly significant events, momentary fads and mystically-tinged absurdities sit side-by-side and question how we might recognise and assign weight to what’s genuinely important. Push the Sky Away was produced by Nick Launay and recorded at La Fabrique, a recording studio based in a 19th Century mansion in the South of France, where the walls of the main studio are lined with an immense collection of classical vinyl. “I enter the studio with a handful of ideas, unformed and pupal; it’s the Bad Seeds that transform them into things of wonder. Ask anyone who has seen them at work. They are unlike any other band on earth for pure, instinctive inventiveness.” Nick Cave On this album it’s not always apparent what instruments the band is playing: they may be traditional musical instruments but other sounds are clearly generated by objects unrelated to musical instruments. What’s being created is a collective musical language that’s rich and complex. Push the Sky Away has a clarity and sweet strangeness that’s built upon the refusal to accept limitations, whether they be the traditional uses and sounds of musical instruments, lyric styles, or diminished spiritual horizons. “I don’t know, this record just seems new, you know, but new in an old school kind of way” Nick Cave.Source
Tracklist :
01 We No Who U R 02 Wide Lovely Eyes 03 Water’s Edge 04 Jubilee Street 05 Mermaids 06 We Real Cool 07 Finishing Jubilee Street 08 Higgs Boson Blues 09 Push The Sky Away
Country : U.S.A Genre : Rock Soul Blues Style : Psychedelic Rock , Blues Rock , Soul
Label : Hybrid Recordings
Tracklist :
1. Gonna Move 2. New Train 3. Jet Airliner 4. Wait On What You Want 5. Venutian Lady 6. Cosmic Mirror 7. Let's Move And Groove Together 8. Indian Boy 9. A Bit Of All Right 10. Taking Your Love Down
Produced by: Ben Sidran Special guests on the album include: Jerry Garcia, Merle Saunders, and The Persuasions.
Key Players – Paul Pena – guitar, vocals and piano. Ben Sidran – Piano and Organ. Harvey Brooks – bass. Gary Malabar – drums and percussion
Country : USA Genre : Rock Style : Alternative Rock, Indie Rock
Label : Jagjaguwar
Tracklist :
01. Don’t Pretend You Didn’t Know 02. Watch the Corners 03. Almost Fare 04. Stick a Toe In 05. Rude 06. I Know It Oh So Well 07. Pierce the Morning Rain 08. What Was That 09. Recognition 10. See It on Your Side
