TRACK | Purple Mountains – All My Happiness is Gone

5/5 golden merles

Howdy, friends, ever bought a digital album from a dead man?

“Lately I tend to make strangers wherever I go / Some of them were once people I was happy to know”

In my estimation, if you ever write a line that good for the rest of your life, it was more or less worth it. David’s death coinciding with the release of this album reminds me a bit of some anecdote from Camus about a young author who wrote a novel then (in part) killed himself to promote it. The joke is that it did get the attention of the newspapers but the work itself was universally panned.

Unlike this dead fellow, Purple Mountain’s self title release is superb. The parallel is only the timing, the creative act, and the demise. I also greatly enjoy Berman’s poetry, like this from 1999’s Actual Air:

“Snow”

Walking through a field with my little brother Seth
I pointed to a place where kids had made angels in the snow.
For some reason, I told him that a troop of angels
had been shot and dissolved when they hit the ground.
He asked who had shot them and I said a farmer.


Then we were on the roof of the lake.
The ice looked like a photograph of water.
Why he asked. Why did he shoot them.
I didn’t know where I was going with this.
They were on his property, I said.


When it’s snowing, the outdoors seem like a room.
Today I traded hellos with my neighbor
Our voices hung close in the new acoustics.
A room with the walls blasted to shreds and falling.
We returned to our shoveling, working side by side in silence.


But why were they on his property, he asked.

TRACK | Timber Timbre – Black Water

5/5 golden merles

Sunshine is the best disinfectant. Unless of course you’ve got some bleach, in which case sunshine can go screw.

This is a timeless track. Many distinct elements compile in concert, with great measure and purpose: horns, synthetic strings, a bass line that goads and simmers throughout.

There’s no reason to be afraid, technically. It probably won’t help. Unless the fear is a prerequisite to the release of adrenaline. Unless the body can’t administer this panic without adequate fear, a mere recognition of the danger insufficient to trigger the response.

ALBUM | Cate Le Bon – Mug Museum

5/5 golden merles

The title track off 2013’s Mug Museum is one of my favorites among many. The whole album is intriguingly sonically textured and well written.

One of the two primary reasons my partner responded to my online profile was a reference to Cate Le Bon and another to David Mitchell & Robert Webb’s Peepshow. So I am in it’s/her debt.

Though I have felt slightly distanced from the colder, more abstracted art rock direction she is exploring in the last few releases, it is all still worth looking into. But to my taste, she has not yet returned to this level of melodic and lyrically qualitative consistency since.

On this record, the bridge has yet to be retracted. There is a great effort at precision in the lines and the onus is not put upon the audience to rearrange the fragments of coherence. Which is fine, too. An audience has been built, tediously, over decades. Do what you like. We don’t need the same thing in endlessly mild variations.

All that shit said, I am still very glad Mug Museum exists and it is proudly one of the paltry 19 vinyl records in my collection.

TRACK | Big Thief – Certainty

5/5 golden merles

Similar to the stylistical influences of The Mystery Lights, Big Thief always appear to draw from something deeper &/or richer.

Adrianne Lenker is one of the most imaginative and compelling American songwriters working today. And this timeless track is not any exception to the very fine records she’s been rapidly producing the last few years.

I was lucky enough to see them around Brooklyn/manhattan several times in the Masterpiece era and a little thereafter, the first time with Alvvays and Ducktails at Prospect Park/Bandshell. For free! And I walked over to it! You suckers.

That’s well worth the thousands of dollars in monthly rent that all of us alternate suckers pay to live in this wonderful/hellish city… or, anyway, it’s some kind of compensation. And proof that some of the funds diverted away from the piss-soaked half burnt out subway go to things that aren’t entirely worthless.

Christ knows that Big Thief don’t need any more press. They’re the one band written about on this blog so far that your mom knows. But rightfully so, qualitatively.

The five tracks capable of preview for Dragon New Warm Mountain I Believe In You are all solid and inventive, both in melody, construction and the usage of language. It seems like Masterpiece and Capacity came out 6 months ago and I am surely already dead / time moves quickly.


TRACK | The Mountain Goats – The Water Song

5/5 golden merles

John Darnielle has carved out a place in the world for himself through an exhaustive output of decades worth catchy and insightful pop music.

It is seemingly self-sustaining and I admire him a great deal for this achievement. As the gears about us churn and crush everyone else, John has managed not to be ground into a fine paste.

That is not at all to say that he didn’t have his fair share of hard times, from what I understand, those due all sentient beasts. But that he continued to create throughout them and continues to make interesting media. At some point most people stop.

This song is gleefully dire. There are some field recording elements for texture, subtle but sticky backing vocals in the chorus, and the bareness of John’s grating/glorious voice.

I am most familiar with this song in the context of a mix in which it feeds directly into Jeans Wilder’s Sparkler. And that will be posted next. Due to the way chronology works in archiving posts, it will be in order but now perceived out of order. The trick is that it doesn’t matter.

TRACK | Casiotone for the Painfully Alone – Tom Justice, The Choir Boy Robber, Apprehended at Ace Hardware in Libertyville, IL

5/5 golden merles

“26 without a shot / that’s more than Bonnie and Clyde got”

Never one to shy away from a lengthy title no matter whose blog title section it will disrupt, CFTPA/Owen Ashworth writes songs plenty good enough to overlook this flaw.

It starts with twinkling starlight keys affixed to a broad void of bass drum, just listen to the song. It is all beginning. Synthetic clapping, you should listen for that. And there’s a tremendous organ solo that plays Tom off. You can just listen to it.


ALBUM | Katie Von Schleicher – Shitty Hits

5/5 golden merles

Shitty Hits is one of the best albums of the last decade. It is endlessly impressive and inspiring material, awash in fervent commiseration, fearsome eulogizing, and in this way it is difficult to choose one track to feature.

Knowing how good the subsequent offerings are, starting with track one makes sense.

There are no fewer than several dozen instances in which effortlessness combines seamlessly with the elaborate. Like in Going Down when it almost sounds like it’s all about to fall apart, stalling just after the field recording, then careening back into the chorus, outdoing the previous effort’s loop. Or essentially all of The Image, or Life’s a lie... or Isolator, or Hold…

There is a great quote that is applicable here from an article reviewing Denis Johnson’s Lament of the Sea Maiden by Geoff Dyer, “Control is achieved through willing proximity to its loss.”

And that is anything with content and form, style and substance, design and function. But rarely is it metered so consistently with such exactitude and genius.

With great rarity does the lo-fi indie bedroom-rock world produce things that are both believably personal and properly anthemic. Generally speaking, for most working within this subset, the ambition doesn’t stretch much farther than the size of the room it was crafted in.

Exceptions include the occasional track by Joanna, Spencer and that immensely talented okie who wrote Funeral. But they are everywhere here. If you play it you too will become pleasantly impaled on one of the very many hooks.

Katie Von Schleicher has written two remarkable albums in the last few years and I doubt either of you vulgarians own them yet. You can still buy Shitty Hits on vinyl at the bandcamp.

Also follow on Instagram for quality bird-centric social media content second only to Marianne Williamson.

TRACK | Shana Cleveland – Face of the Sun

5/5 golden merles

La Luz’s Shana Cleveland made a tremendously good solo album, Night of the Worm Moon. And the favored track here is Face of the Sun.

“you stumbled right / into the blinding light”

The mix layers well the live elements (the occasional pulse and shriek of a hand shifting on the guitar string) and combines them expertly within the subsequent layered tracks (waves of backing vocals, piling and pulling the chorus apart).

The tones are complex and complimentary. The melody is direct and absorbing. It adds up to something of significance worth logging and celebrating in the void.

ALBUM | The Lentils – Brattleboro is Flooding

5/5 golden merles

Brattleboro is flooding is one of my favorite albums of the last decade.

Sweet Disease is one of the finest tracks of that admirable set. Although it feels like the dawn rising, it is the 2nd to last song on the album. Not a bad way to end: a beginning factored in, locked and loaded. Something to remember and maybe clumsily burglarize.

Csehak has written many rich and originative lines in his time occupying space on this earth and more than a few of them found their way into this album.

“You gotta hand it to the other side / at least they’re forgiven.”

Other standout tracks are I lost my favorite enemy, a theory of drowning, and brattleboro is flooding.

These fine young thugs have found their way onto most mixes I have made over the last few years. The Heart is a lonely Mangler (Botanical Castings) and The Loaves of Oblivion (11 new flavors of oblivion and why the shining ones don’t want you to know about them) will feature on this archive at some point soon, if I am to continue having these things appear daily.

TRACK | Lean Year – Come and See

5/5 golden merles

It is within our capacity to build better worlds.

This is a song that encourages this practice, implores a reassessment of unjust hierarchies, and seems to reference one of the greatest films ever made, Elem Klimov’s Come and See.

“Fuck off, the old world.”

With a rich and subtle arrangement, Lean Year provide a good base for reinvention. Like Adam Curtis in Can’t get you out of my head: This entry is not the vision but a request for one.

The song is a precursor to the vision, but nonetheless a necessity, a rebuff, and a necessary bridge to what is coming. A good prompt and great entreaty.