La música que me gusta y comparto con amigos
31 ene 2012
30 ene 2012
Craig Finn - Clear Heart Full Eyes
El cantante de Hold Steady nos deleita con su trabajo en solitario
Review
by Gregory Heaney
Whether he’s spinning tales of arson and murder over the angular, synth-kissed indie rock of Lifter Puller, or recounting the excesses and fatal flaws of his fictional Twin Cities denizen with the Hold Steady’s swagger-filled bar rock behind him, Craig Finn has always had a way of blending in with whatever music he’s accompanied by without losing his writerly voice. With its mellow, lonely sound, Finn’s solo debut, Clear Heart Full Eyes, finds the songwriter looking for a change of sonic scenery that feels more like a vacation from his other work than a departure, with the singer maintaining his identity as a songwriter as he adapts to a more distinctly country sound. Over the course of its 11 tracks, the album unfolds like a series of vacation snapshots that show Finn being himself in a new locale. Unsurprisingly, the singer is able to deftly adapt to his new surroundings, with his narrative, story-filled lyrics taking on a newfound earnestness that reflects the plaintive strains of pedal steel that weaves in and out of these more restrained arrangements. This ability to meld with, rather than take over, the songs he’s on is a testament to Finn’s abilities not just as a lyricist and a singer, but as a raconteur. Finn’s guileless, observational create a clean, engrossing narrative that allows listeners to escape into another world for a few minutes at a time. Though this kind of approach doesn’t leave a whole lot up to interpretation, its directness gives you the opportunity to contemplate the “who,” “where,” when,” and “why” of the songs rather than just the “what.” Anyone expecting the bar rock bravado of the Hold Steady is probably going to be disappointed by Clear Heart Full Eyes’ subdued vibe, but anyone looking for more of Craig Finn’s sprawling tales will feel right at home.
Review
by Gregory Heaney
Whether he’s spinning tales of arson and murder over the angular, synth-kissed indie rock of Lifter Puller, or recounting the excesses and fatal flaws of his fictional Twin Cities denizen with the Hold Steady’s swagger-filled bar rock behind him, Craig Finn has always had a way of blending in with whatever music he’s accompanied by without losing his writerly voice. With its mellow, lonely sound, Finn’s solo debut, Clear Heart Full Eyes, finds the songwriter looking for a change of sonic scenery that feels more like a vacation from his other work than a departure, with the singer maintaining his identity as a songwriter as he adapts to a more distinctly country sound. Over the course of its 11 tracks, the album unfolds like a series of vacation snapshots that show Finn being himself in a new locale. Unsurprisingly, the singer is able to deftly adapt to his new surroundings, with his narrative, story-filled lyrics taking on a newfound earnestness that reflects the plaintive strains of pedal steel that weaves in and out of these more restrained arrangements. This ability to meld with, rather than take over, the songs he’s on is a testament to Finn’s abilities not just as a lyricist and a singer, but as a raconteur. Finn’s guileless, observational create a clean, engrossing narrative that allows listeners to escape into another world for a few minutes at a time. Though this kind of approach doesn’t leave a whole lot up to interpretation, its directness gives you the opportunity to contemplate the “who,” “where,” when,” and “why” of the songs rather than just the “what.” Anyone expecting the bar rock bravado of the Hold Steady is probably going to be disappointed by Clear Heart Full Eyes’ subdued vibe, but anyone looking for more of Craig Finn’s sprawling tales will feel right at home.
28 ene 2012
Little Barrie - How Come (King Of The Waves)
Recuperando otra novedad del 2011
Review
by Jon O'Brien
Having enlisted the services of indie pop stalwart Edwyn Collins for a second time, Nottingham trio Little Barrie return from a rather lengthy five-year absence with their third record, King of the Waves, aiming to recapture the raucousness and raw energy of their electrifying live sound. Right from the first track, "Surf Hell" (recently heard as the theme tune to C4 comedy drama Sirens), it's clear they mean business, as Barrie Cadogan's attitude-laden vocals swagger their way through an array of '60s Brit-pop harmonies and blistering rockabilly riffs, while the galloping dirty basslines and foot-stomping rhythms of "How Come" and the Kasabian-esque "Does the Halo Rust" keep up the authentic garage rock revival schtick. While this opening trio has a certain old-fashioned charm, there are times when the muddy production begins to sound tired rather than vintage, particularly on the self-indulgent jam session of "Tip It Over" and the formulaic acid rock of "I Can't Wait." Luckily, there are a few mellower moments that allow the band to explore its more experimental side. "Precious Pressure" is a gorgeous slice of laid-back Primal Scream-esque funk that interweaves languid beats and soulful melodies with Hendrix-style psychedelic guitar hooks; "Dream to Live" is a slightly sinister lullaby awash with creeping basslines, shimmering guitars, and hazy Jim Morrison-inspired vocals; while the title track is an effortlessly cool bluesy stoner rock anthem that sounds like it belongs on the Easy Rider soundtrack. Of course, King of the Waves is always going to come off second best when compared to the bands that inspired it, but the occasional filler aside, it's easily one of the more palatable retro homages that the current British indie scene seems so fond of.
Review
by Jon O'Brien
Having enlisted the services of indie pop stalwart Edwyn Collins for a second time, Nottingham trio Little Barrie return from a rather lengthy five-year absence with their third record, King of the Waves, aiming to recapture the raucousness and raw energy of their electrifying live sound. Right from the first track, "Surf Hell" (recently heard as the theme tune to C4 comedy drama Sirens), it's clear they mean business, as Barrie Cadogan's attitude-laden vocals swagger their way through an array of '60s Brit-pop harmonies and blistering rockabilly riffs, while the galloping dirty basslines and foot-stomping rhythms of "How Come" and the Kasabian-esque "Does the Halo Rust" keep up the authentic garage rock revival schtick. While this opening trio has a certain old-fashioned charm, there are times when the muddy production begins to sound tired rather than vintage, particularly on the self-indulgent jam session of "Tip It Over" and the formulaic acid rock of "I Can't Wait." Luckily, there are a few mellower moments that allow the band to explore its more experimental side. "Precious Pressure" is a gorgeous slice of laid-back Primal Scream-esque funk that interweaves languid beats and soulful melodies with Hendrix-style psychedelic guitar hooks; "Dream to Live" is a slightly sinister lullaby awash with creeping basslines, shimmering guitars, and hazy Jim Morrison-inspired vocals; while the title track is an effortlessly cool bluesy stoner rock anthem that sounds like it belongs on the Easy Rider soundtrack. Of course, King of the Waves is always going to come off second best when compared to the bands that inspired it, but the occasional filler aside, it's easily one of the more palatable retro homages that the current British indie scene seems so fond of.
Ron Sexsmith - Believe It When I See It CMT Special (2011)
LAS MEJORES CANCIONES DEL 2011
Nº 7
Ron Sexmith es uno de esos artistas "olvidados" por la mayoría de la prensa musical actual y que en su momento estuvo en el altar de lo más , es decir cuando practicamenente encontrabas su nuevo disco en las listas de lo mejor del año, pero desafortunadamente esto ya no es así. Tuve la suerte de leer la opinión de algún músico y que ahora no recuerdo (creo que era Nick Lowe) que uno de sus discos favoritos del año era el de Ron Sexmith "Long Player Late Bloomer" en donde se encuentra esta impresionante canción . Otro disco que no paro de escuchar de mi selección anual!!
También se puede encontrar en you tube la versión acústica en un directo de la BBC.
Suscribirse a:
Entradas (Atom)