Tag: United States

TRACK | Dinero Romero – Laser Beam of Consciousness

5/5 golden merles

“Laser Beam of Consciousness” from Louisville’s Dinero Romero was a central piece of the last mix. With much warmth and warbling, the track is a kind of psych rock which evolves like a placid fever dream, methodical and yet genial in its delirium.

The song in no way begins to address the question of whether it’s performers are… “either people dressed in regalia to look like spirits, or they are spirits.” It’s anybody’s guess. But they are employed, with heads filled with fog and in a stupor on the trip home. A nice, dreamy track concerning how you spend your time and to what do you devote the few brief moments of coherent focus.

It can be bought for an increasingly devalued buck.

TRACK | Amy Annelle – Buckskin Stallion Blues (Townes Van Zandt)

5/5 golden merles

It is with rare exception that a cover is featured here. And usually only if it takes things in a strange and inventive direction, or I hadn’t ever heard the original.

Despite being a fan of Townes and very much loving classics like “Waiting Around To Die” and “Pancho and Lefty,” somehow managed to evade this track prior to hearing the Amy Annelle rendition.

I have written about Annelle previously, and her criminally underrated 2010 album The Cimarron Banks. Here that voice and method is combined with Townes songwriting in a era-spanning idyllic Americana partnership.

There may be plenty of Greenland sharks older than this nation, roughly 250-500 years in age. But within our nascent eons, and just either side of what appears to be the pinnacle of whatever it was supposed to be, this must be one of the finest collaborations to take place across the empire.

The Great Unveiling also features covers from other greats like Ray Davies, Billie Holiday, and Neil Young, and is only modestly requesting a $7.00 increment from wherever you store the digital representation of your wealth.

TRACK | The Lentils – some people sure can leave a mark

5/5 golden merles

I am a fan of The Lentils and think Luke Csehak is one of the best songwriters working in the cesspool of innovation that is our common era. “Some people sure can leave a mark” is a track of great ambivalence, ruminating and rejoicing in the navigation of interpersonal alternate timelines, and of acceptance for the one we find ourselves enduring.

I would settle for being kind to myself / and just once deny the idol of my regrets

The track balances the interlocking plucking and melodic spirals well with the focused yet expansive subject matter. And the depths of the topic are sufficiently plumbed: the outsized influences of some brief instances and acquaintances, influential hinge points of inflection at which dramatic alternate directions might have been taken. There’s extensive scrutiny in the musings and the introspection is finely honed.

TRACK | Sam Stansfield – creeps are out

5/5 golden merles

Carefully constructed and richly arranged, Extreme Falcon is a proper album in a manner of speaking. It is also a good lesson on how to take your influences as seeds and how to use them to grow a hybrid vision of a new, compelling world.

There is a different quality to art you not only admire but wish you had made. The warmth of the world-building within the storytelling and the crystalline structures of favorably overlapping tones, it all come across as a place well observed and conceptually rendered. Minimal elements merge together, often subdued or absent of drums but never seeming to lack a solid foundation or structure, legibly blurred and blossoming.

To put it in a kind of context that roughly approximates lineage, there are somewhat similar guts and graces to projects like Guided by Voices, The Microphones/Mount Eerie, and Julie Doiron. My favorite sequence runs tracks 7 through 9, “creeps are out,” “lazer tang,” and “company car.” The arrangement feels not unlike the honor of being forced through a fine mesh screen for your planet. The luckiest of all resolutions.

I recently read that ~90% of Sumerian/cuneiform tablets have yet to be translated. Most appear to be related to basic business or home accounting, but many are journals, myths, histories… It would be nice if future archeologists surveying the muck of the geological record could favor such things that seem to easily contain within them relatable and self-contained multitudes. Black or Turquois vinyl available on Slick Rock Records.

TRACK | Crime of Passing – Vision Talk

5/5 golden merles

Geographically in the world as it has been mapped, Crime of Passing are from Ohio. In the empire of aesthetic this s/t album sits near the capital, wherever that happens to metaphorically lie… probably not far from John Carpenter’s prison island version of Manhattan.

Right out the gate there is apparent enough texture and melody to be a strong contender for the year-end lists.
“Tender Fixation” is the lead single and a great, hounding track. But “Vision Talk” is the easiest revolver for me. If you gave me a hundred years I couldn’t make a single track with this much clarity that is simultaneously as dense and textured.

The tome includes plenty of chrome plated and finely calibrated tracks. Post-punk often loses its edge and some of it’s precision in the prolonged mire of continuing to act despite an acknowledged futility for doing so. But Crime of Passing takes those tones/aesthetic and shocks them back to life, keeping the complexity of the characteristics and sense of impending doom but also maintaining a bit of fire lit underneath it.

Both phasing and finely focused, it regularly, impossibly, rides the line between both decimated and decipherable.

TRACK | The Mystery Lights – What Happens When You Turn The Devil Down

5/5 golden merles

Ambition and rock music are not two things that readily go hand in hand. If they do, it is usually in a gruesome and unnerving manner. If they do it is in a way that gets diverted into purely worshipping form and/or disgusting commercialization.

When it goes wrong in the direction of marketability, you get the generic. When it goes wrong in relation to form, it ends up as math-rock’s hounding idiosyncrasy, which often gets lost in the pattern of its own making, as ornamentation for the sake of overelaboration, and makes a game of the grandiose at the expense of all else.

Surely that can somehow highlight the humanity underneath the approximation of machinery, directing perception toward the margins. But what a lot of faffing about to get to something you can just render directly.

The Mystery Light’s have a different kind of ambition. They’re convinced of their own sensibilities, and when they manifest it is like steel folded over toward a purest form of redundancy. They find a way to pay homage and derive creative works from the primordial soup of classic garage rock somehow without that long simmering bile becoming stale.

There is invention and resourcefulness. There is a craft and creativity to the process so far removed from the infinite covers and karaoke repetitions within the genre. Yet, in an era paranoid of feeling and fueled on derivations, it is easy to see them confused for reenactors. That would be a mistake.

TRACK | Jessica Lea Mayfield – Standing in the Sun

5/5 golden merles

I am occasionally susceptible to bouts of optimism. They afflict even the best of us from time to time. And within these moments I am vulnerable to the influence of works of art that seem to represent this rosier outlook… at least as long as the craft rises to meet the exposition and there is an undercurrent of tenable fallibility or impending collapse.

I would like to see you live / not survive but really live

My first exposure to this excellent album/track was during Mayfield’s 2014 Tiny Desk Concert. Brutal and succinct turns of phrases glide over the accomplished melodic core. Slight alterations or additions keep pace with and expand out from the traditional foundation. There are more than a few layers, the combined attributes of which are getting at something.

“Not survive but really live,” it bears repeating. What a sentiment and phrasing perfectly fit for modern America, in which the living reproach of daily life dehumanizes and deprives of dignity so thoroughly, framing every proposed alternative as by default worthy of consideration.

It almost begins to break you from that spell itself, and starts to expand the realm of the possible. To utter it, at least, is the first step. Both a positive gesture and an act to set us on the path of the gauntlet ahead.

The song embodies the personal struggle within the systemic. Our institutions mirror our infrastructure. At a certain point you stop rebuilding the same flawed, failed blueprints from the same rubble, take what components you can use, and attempt to build something better.

TRACK | The Cowboys – After Sunset

5/5 golden merles

Bloomington Indiana’s masters of tone were on their A game for this one. “After Sunset” is a cultured rumination on the merits of the night, its highs (the moon) and lows (everything else).

There are many convincing details in these numerous doubts, many cleanly laid out facts that act as foundation for the anecdote: …lawn darts, losing one’s self, the casual alienation. It feels like any given evening. And it has plenty of nuance that humanize the narrator and almost makes you believe it was written by a person, a rounded character, bounding about the same damned earth that you inhabit.

I am made of fire today / and I’m trying to think of things to say to you / after sunset

For me, volume 3 and 4 were the sweet spot for these refined midwestern ghouls. But there are many years to come, probably, and perhaps the dreary flagging of their early efforts will return when the polish of clons/flowers wears, burns, or melts off a bit, whatever the case may be.

I haven’t listened to Lovers in Marble yet. I’m too far behind. If everyone could just agree on a truce for 4-5 years, a nice détente, I’ll catch up on these releases.

TRACK | Datenight – Gone Tomorrow

5/5 golden merles

In the muck and bile of all that is, distractions can be a primary preoccupation for a preponderance of your existence. Good news then that Datenight is here to remind you, in stunning fashion, to just let it go.

Clearly recorded live / in the room, whichever one was available in Ben’s parent’s house, there’s much resonant synchronized thrashing and the band is tight. These coordinated exertions in the service of noise are criminally underrated. And I have not even yet arrived at their 2020 release, Is This Also It.

You fools, you feckless thugs, you can still purchase the thing off of Discogs, gently used for about $13 USD, assuming you live near enough to these superficially united states. When I get some more pennies in the piggy bank, I’ll do it myself. That is, however, a second hand purchase and doesn’t benefit the band. Buy the digital version that does.

TRACK | Hand Habits – Flower Glass

5/5 golden merles

“Flower Glass” is a work of not insignificant insight. The reliable and relatable lines pour out of the track, with inventive pacing and distinction, at the normal wartime speed of something under 20 kilometers an hour.

My first exposure to the album was walking into an ACLU/Planned Parenthood benefit mid-way through Hand Habit’s opening set, the crowd rapt in silence, as this track was played. Lots of good was seen that night from Van Etten, Beirut, Rossen, Morby, et al. But with distinction that moment is set apart in the gray matter.

Apparently there is a great breadth of material that has been written and recorded since this time. I have to catch up on Hand Habits releases from Sub Pop, Saddle Creek and a collaborative album featuring Angel Olsen composed of variations on the track “wildfire,” and donating the proceeds to the Amazon Conservation Association. There’s a lot I have missed and I am so far behind.