You Should Know: James Vincent McMorrow

With a softly soulful voice and penchant for heartbroken lyrics, James Vincent McMorrow makes the Bon Iver/Justin Vernon comparisons all too easy. Even the way in which the two artists recorded their debuts is similar, in isolated houses with almost no outside assistance. But McMorrow's first effort, Early in the Morning, carves out a distinct niche for the Irish songwriter, one a little more pop friendly than Vernon's but just as emotionally powerful and beautifully eerie. McMorrow's disarming vocals will certainly draw the most attention, but his songwriting and musicianship are remarkable as well, making Early in the Morning one of 2011's best early debut's.

Recommended Tracks: "If I Had a Boat," "We Don't Eat," "Follow You Down to the Red Oak Tree"

Head over to Spinner to grab one of the album's best tracks, opener "If I Had a Boat"

RCRD LBL has another song to download, "This Old Dark Machine," though it's mislabeled as "Early in the Morning"

Check out his Facebook page for more info.

Review: Will Stratton - New Vanguard Blues (* * * * 1/2)

Patience is a virtue, sure, but one that tends to slow things down and occasionally even seems completely unnecessary. Will Stratton’s third album, New Vanguard Blues, serves as a reminder that impatience can be just as valuable a trait. After offering one of my favorite records of 2009—the consistently stunning No Wonder— Stratton apparently didn’t want to bother taking the traditional route in releasing his third full-length. Recorded and mixed by the songwriter himself over the weekend of July 9th, the album was made available online only a couple weeks later, an unusual but certainly welcome decision as New Vanguard Blues is in many ways Stratton's best effort to date. Shedding the varied sonic decorations that enhanced the tunes on No Wonder, his latest is simple and stripped-down, resulting in a tighter, more focused set of songs that relies almost exclusively on his impressive guitar work for accompaniment. But the album mostly succeeds for the same reason the last one did: Stratton’s singular songwriting, which has only gotten better with time. (Continue reading at In Review Online. . .)

Daily Dose - 9/29/10: The Migrant

Artist: The Migrant
Latest Release: Travels in Lowland
Genre: Indie/Folk/Pop

It's rare for me to stumble upon Danish artists in my constant search for great indie music, but it seems every time I do it's a fantastic experience. The latest Denmark native to catch my ear is singer/songwriter Bjarke Bendtsen, recording and performing as The Migrant, which is a somehow fitting moniker for the eclectic mix of styles and influences he incorporates into his unique folk sound. Favoring an acoustic guitar but throwing in everything from accordion to flute to violin, Bendtsen subtly shifts between genres--psychedelia and retro pop, to name a couple--while maintaining his signature aesthetic. He's created a truly absorbing record with his debut, Travels in Lowland, and you can hear/download a couple of the best tunes right here!

Key Tracks: "The Organ Grinder," "Nothing But Clues," "Lullabye (Play It On the Radio)"

Download: The Organ Grinder (MP3) In the Sun (MP3)
[Right click to save]

MySpace

Daily Dose - 9/22: Stornoway

Artist: Stornoway
Latest Release: Beachcomber's Windowsill
Genre: Pop/Folk/Indie

Stornoway's debut album, Beachcomber's Windowsill, is the perfect combination of intelligent pop and emotional folk, and has served as something of a soundtrack to ease my transition from summer to fall this year. It's no wonder the English quartet (at times a sextet) found themselves a home on 4AD as they fit in quite comfortably with indie heavyweights Bon Iver, Camera Obscura and Department of Eagles. That's high but certainly appropriate praise which you're likely to understand if you give their fantastic first effort a listen. The richly detailed instrumentation, arresting vocal harmonies and singer Brian Briggs' soaring melodies are about impossible to resist. Required listening for 2010, trust me.

Key Tracks: "Zorbing," "I Saw You Blink," "Watching Birds"

MySpace

This four-song set from the 4AD Sessions is worth watching in its entirety, but here's one tune:

Daily Dose - 9/15: Frontier Ruckus

Artist: Frontier Ruckus
Latest Release: Deadmalls & Nightfalls
Genre: Folk/Americana/Indie

I've been loving Deadmalls & Nightfalls, the latest album from indie folksters Frontier Ruckus, for a few months now, so I think it's high time I spread the word. The band's intense and intelligent take on folk music is unlike anything else I've heard, an entrancing recipe of lush instrumentation (acoustic guitars, accordions, horns, drums, banjos, etc.) and singer Matthew Milia's delightfully strange and detailed narratives. Packing verses thick with vivid imagery and clever phrasing, the group's songs often take a few spins to comprehend, but exploring the frenzied highs and brooding lows of the record is an enlightening experience. A must-hear for 2010.

Key Tracks: "Nerves of the Nightmind," "Pontiac, the Nightbrink," "I Do Need Saving"

Download: Nerves of the Nightmind (via Radio Free Chicago)

MySpace

Daily Dose - 9/14: Kim Taylor

Artist: Kim Taylor
Latest Release: Little Miracle
Genre: Folk/Singer-songwriter/Americana










This has been a great year for singer-songwriters, especially those of the more traditional folk/Americana variety, and though you may not have heard Kim Taylor's name mentioned in that sort of discussion yet, you should expect to soon. Her new album, Little Miracle, drops next week, and it's a stunner. Taylor's blend of folk, blues, and pop is both emotionally gripping and sonically gorgeous, with world-weary tales delivered in captivating melodies by her rich, smokey voice. The record draws you in from the start and demands your attention right through the very last chord, a rare thing indeed.

Key Tracks: "Lost and Found," "American Child," "Fruits of my Labor"

Download: Lost and Found

Homepage

Review: Mountain Man - Made the Harbor (* * * 1/2)

After a few years filled with the emergence of high-profile indie bands like Girls and Women, both of which are comprised entirely of males, perhaps we shouldn’t be at all surprised to find that a band named Mountain Man is not, in fact, a man, but three women. And really that’s a welcome surprise in this case, as such a seemingly straightforward moniker conjures thoughts of yet another sup-par songwriter attempting to follow the success of breakout acts Fleet Foxes, Tallest Man On Earth, and the like. These girls will still appropriately be lumped in with their fellow folk revivalists due to their earthy, sparse sound and nature-themed lyrics, but Vermont’s Molly Erin Sarle, Alexandra Sauser-Monnig and Amelia Randall Meath have created something uniquely lovely on their debut full-length, Made the Harbor. (Continue @ In Review Online)

Review: The Acorn - No Ghost (* * * 1/2)

It’s a risky move releasing a concept album early in your career, but Canada's the Acorn proved quite capable of doing just that with their 2007 sophomore effort, Glory Hope Mountain. That record chronicles the life of singer Rolf Klausener’s mother (whose journey from Honduras included a great deal of drama and adventure) over the course of twelve woodsy folk songs featuring delicate harmonies and intricate guitar signatures, revealing impressive musicianship for such a young group. The songs work both as part of the whole and are engaging individually—no small achievement given the source material—and the record showed the Acorn could be ambitious without overreaching. So while Glory Hope Mountain didn’t make overnight sensations of the band, they gathered enough fans that high expectations were instated for future endeavors. Their third album, No Ghost, appears uninterested in an overarching concept, and in fact feels more modest than their previous release despite its broader stylistic range. It doesn’t quite propel the band forward or equal the considerable quality of what preceded it, but No Ghost is at least an enjoyable entry in the band’s catalog. (Please read the rest of my review @ In Review Online)

Best Albums of 2010 So Far - Honorable Mentions

It's time to take a look at the best (read: my favorite) albums of 2010 so far. It's been a great year and quite honestly, this list has changed about a dozen times in the last week, but what you see hear should give you a good idea of the best music I've heard this year.

Below are my five honorable mentions and soon I'll give you my top 10.

Honorable Mentions/11-15 (Alphabetical):

Darwin Deez - Darwin Deez

Singer/songwriter Darwin Deez's self-titled debut is a pop-rock album with little in the way of excess, getting by primarily on Deez's gift for great melodies and simply catchy riffs. It's the kind of record that many will dismiss because of its plainness, but these sunny pop tunes are consistently great and all the more admirable for their straightforward compositions. Deez shows how much he can accomplish with just the basics, and the results are both entertaining and impressive.

LCD Soundsystem - This is Happening

James Murphy's supposed last album, This is Happening, leaves things on a high note with a collection of nine diverse and engaging tracks that contains some of the artist's best material. From the introspective cuts "All I Want" and "Home" to the aggressively funky numbers like "Pow Pow," Murphy offers plenty of reasons why it pains us to see him retire from the game (you know, if that indeed is the case). Of course, James Murphy would settle for nothing less than a dramatic and stylish exit.

Maps & Atlases - Perch Patchwork

Perch Patchwork, the first full-length record from talented newcomers Maps & Atlases, is one of those rare albums that manages to successfully marry technically impressive and progressive musicianship with pop accessibility. Even through all the sudden tempo changes and impossibly fast guitar riffs, the band keeps the hooks coming and the melodies memorable. It's a fun mix of pop, folk and prog-rock that shows even the most cerebral indie rock can be enjoyed by all.

Meursault - All Creatures Shall Make Merry

Meursault could probably be counted among the large group of emotionally intense Scottish indie bands that have been so popular lately, but it's clear from All Creatures Shall Make Merry that they are anything but typical of the genre. Blending digital soundscapes and filtered vocals with acoustic guitars, Meursault's latest moves from moments of quiet loneliness to explosive outbursts of anger and noise, using unusual production to create a uniquely stunning experience.

Villagers - Becoming a Jackal

Conor J O'Brien's debut as Villagers is, I must admit, just the kind of thing I'm prone to fall in love with. O'Brien is an Irish singer/songwriter with a decidedly eerie edge to his music, which puts him in league with the likes of DM Stith or Mimicking Birds--good company to keep. But on his first album, Becoming a Jackal, O'Brien proves himself a compelling lyricist and a talented musician whose hauntingly beautiful work stands apart from that of his peers.

Introducing...Hey Marseilles

I'd never heard the term "folkestra" before I saw it on indie band Hey Marseilles' MySpace page, but it's about the perfect way to describe the group's chosen genre. This Seattle collective, seven members strong, seamlessly mixes elements of both traditional folk and orchestral pop (among other things) with consistently gorgeous and melodic results on their upcoming album, To Travels & Trunks, due out June 29th. This appropriately titled debut indeed travels over a variety of musical landscapes during its hour length, ranging from soaring epics to lovely instrumental interludes and utilizing the enormous collective talent of the musicians involved. My favorites include the string-led ode to exploration "Rio," the unbelievably beautiful "Calabasas," and the multifaceted, emotional "Cannonball," which begins as an acoustic ballad before exploding into a catchy rock anthem. However, while these songs with more traditional structures will catch your ear immediately, the intimate beauty found within less usual cuts--like the meandering "Cities"--is what makes To Travels & Trunks a truly absorbing and thoroughly interesting listen.

Hey Marseilles is off to a great start here, and I'll certainly be looking for more from them in the future. Get yourself introduced right away by downloading "Rio" below, then be sure to check out the band's stellar debut as soon as possible.

MP3 Download: Rio

MySpace

You Should Know: Chris Pureka

A songwriter since 8 and a guitarist at 16, it still took a while for Chris Pureka to get her musical career off the ground. But a little maturity and experience seem to have payed off; since 2004 this talented musician has released three acclaimed albums, and her latest--entitled How I Learned to See in the Dark--has really made an impression on me. Pureka makes gorgeous and often haunting Americana music, relying on her expressive voice and compelling songwriting to stand out from among her many like-minded peers. At times Pureka sounds withdrawn and delicate, but these quiet spells don't last for long before she elevates her voice to a powerful croon that's truly unforgettable. Her songs are not overly earnest and they aren't often focused on traditional (or at least obvious) relationship issues, but her tunes are more compelling because of that, and with a backdrop of slide guitar, violin, and simple percussion, her lyrics are imbued with a gripping emotional energy.

The new record's highlights show Pureka's ability to provide a good deal of variety with a fairly straightforward folk approach, ranging from the dark, weighty "Wrecking Ball" to the uneasy yet beautiful "Landlocked" to the lovely ballad "August 28th" that closes the album. How I Learned to See in the Dark is a thoroughly engrossing Americana album and you should know Chris Pureka.

MP3 Download: Wrecking Ball

MySpace

Live Review: mewithoutYou/Rocky Votolato/Rubik

The Avalon, Salt Lake City

June 5th, 2010

Rubik

I arrived probably earlier than was necessary at The Avalon to get a close seat for the show, but I had a feeling it would be worth it to see openers Rubik live. Granted, I had no real reason to expect they would be fantastic--I was just betting that was the case. And you know what? I wasn't disappointed in the least. Rubik hail from Finland and definitely had a very distinct sense of fashion and presentation, but there was absolutely no barrier between them and a largely uninitiated crowd when it came to the music. From the moment they began--with an ethereal introduction showcasing frontman Artturi Taira's vocals--everyone in the room seemed instantly drawn to these unusual pop performers. The band's intense energy and their obvious love for making music was infectious, to say the least, and each song drew a more enthusiastic response than the one that preceded it.

Taira led the bunch with some absolutely stellar singing and frenzied dance moves, but everyone on stage seemed to be having the time of their lives, shouting, running, and feverishly pounding their instruments. I counted at least four keyboards, plenty of drums, two trombones, and more that the band used to replicate personal favorites like "Karhu Junassa" and "Goji Berries" with the kind of emotion that can only exist in a live performance. And after a wonderful alternate version of "Wasteland," they exited the stage far sooner than any of us would have preferred to a standing ovation which was received with sincere gratitude. In fact, when Taira came back to take his mic and keyboards down, it drew another enthusiastic cheer. I've rarely seen an opening band win over a crowd with this same sort of impact, it was nothing short of spectacular. (MySpace) (Free EP Available Here)

Rocky Votolato

Rocky Votolato didn't have nearly as much to prove as Rubik certainly must have, but he still gave a remarkable and memorable performance. Being relatively well-versed in his music, it was nice to hear Votolato play music from most of his records, opening even with "Alabaster," one of the best from his breakout album, Suicide Medicine. It was also refreshing to see a musician perform with absolutely no need for a backing band--it was just him, his guitar, and a couple harmonicas. The performance's starkness contrasted sharply with both the other bands playing that evening, but not only was it a nice reprieve from the noise, it was just as captivating. His clear voice was every bit as effective on stage as it is on his recordings, and his simple instrumentation was the compliment to his world-weary tunes.

He played nearly all of my favorites, which was nice, but I felt that the material from his new record, True Devotion, was the most emotionally powerful despite the fact that I don't think the album is one of his best. "Sun Devil" especially was hypnotic, and even the high ceilings of the room couldn't distract from what was a compellingly intimate and touching performance. Of course, career highlights "White Daisy Passing," "Suicide Medicine," and "Portland is Leaving" were the best received as they were the most familiar, but no matter your previous experience with Rocky Votolato's music, his heartfelt, dynamic performance was impossible to deny that night. (MySpace)

mewithoutYou

I have less to say about mewithoutYou, but not because their performance wasn't great. In fact, they played a lengthy and consistently energetic set that kept about everyone in the audience with their eyes glued to the stage as frontman Aaron Weiss bounded about, twirling and yelling at times and then retreating to the background when the tempo died down. I've never been the band's biggest fan, but I found their show a fun, engaging experience. And, without a doubt, the highlight of the evening was mewithoutYou's encore, during which they played some of their most popular and exciting tunes and even were gracious enough to finish the final song after 20 or so people climbed on stage to provide the band with unexpected backup chanting and dance accompaniment. (MySpace)

It was the perfect ending to a long and consistently fantastic show. If anyone left unsatisfied that night, they had only themselves to blame.

Introducing...River City Extension

New Jersey octet River City Extension makes music I'm pretty much programmed to like--a combustible mix of folk, rock, and pop that revels in big choruses and gritty lyricism. So take that for what it's worth, but I'm fairly certain their full-length debut album, ...And The Unmistakable Man, is a great record despite any bias on my part. Having eight members in a band would suggest a lot going on, noise wise, and you get what you expect in that department. Thumping drums, crunchy guitars, blaring horns and more add to the record's energetic and often riotous nature, resulting in music that is consistently fun and thoroughly entertaining. Adding to the album's appeal is the fact that River City Extension isn't playing Americana rock by the numbers; songs rarely go where you'd expect and there's a wide array of styles on display over the lengthy 13 tracks, revealing a band with plenty of ideas and plenty of talent to carry them out.

Lead singer Sam Tacon's rough tenor fits perfectly amid the brass-heavy rock style, transitioning from a unhinged yelp to a smooth croon, often within one song. This is anything but a one man show, however, ...And the Unmistakable Man sounds like the work of eight tight-knit musicians working toward one glorious goal, and achieving it. Favorites of mine from the record include the tropically-tinged rocker "Something Salty, Something Sweet," the incredibly eclectic jam "Our New Intelligence," and the surprisingly sweet ballad "Today, I Feel Like I'm Evolving." River City Extension is a fantastic new band that absolutely should NOT be ignored--a must-listen for 2010.

MySpace

Review: Sam Amidon - I See the Sign (* * * *)

Given the unusual way in which Sam Amidon approached his first two albums, you might expect him to either be relegated to the smallest of niche markets or to feel pressure to write a record using more conventional methods. Instead, the young folk musician has found his unique songcraft to be quite sustainable, and he's garnered increased acclaim over the past few years—especially with 2008’s lovely All Is Well. Of course, Amidon isn’t the first person to take traditional folk tunes and reinterpret them with a personal twist, but the obscurity of his chosen songs and the lengths to which he goes to make them his own labels him as a genuinely fascinating artist. His third effort, I See the Sign, is once again a collection of covers, though as is par for the course, it’s unlikely (with but one notable exception) that you’ve heard them before—and with his often dramatic rearrangements, it would hardly matter if you had. The new record isn’t necessarily better than its predecessor, but the growth Amidon shows here in the complexity of his arrangements and in the confidence of his presentation make it his most compelling to date. (Read the rest @ In Review Online)

Concert Review: Frightened Rabbit w/ Maps & Atlases

Urban Lounge, SLC
May 13, 2010

I've mentioned this before, but shows at the Urban Lounge start late. Like 10 p.m. late, and sometimes after a long day of work I find myself struggling to get excited about a show on the weekdays (yeah, I'm prematurely old - alright!?). But Thursday the 13th I had no issues getting myself out of the house to see Frightened Rabbit and Maps & Atlases. I arrived and--as expected--found the place fairly full, awaiting the latter band to take the stage (I unfortunately missed what was apparently a great performance by Our Brother the Native).

Maps & Atlases

Given that Maps & Atlases have yet to release their debut LP (they have a couple EPs to their name, though, check 'em out), I was curious to know what kind of reception they would receive, and if they could get the energy going that night despite their "under the radar" status. Turns out my worry was wasted as it immediately became clear that the band had all the talent and showmanship necessary to put on a great show. Maps & Atlases, a quartet, make extremely technical music--with weird time signatures, constant tempo changes, and some seriously impressive guitar work (if you geek out about that stuff, like I do). But it's also fun music, and when the band kicked into their first number, an upbeat, percussion-heavy tune, the crowd responded almost immediately. Throughout the group's 45-minute set, the audience grew increasingly connected to these engaging performers; Maps & Atlases certainly gained some converts that night.

Behind mountain man-esque frontman Dave Davison and his nasally croon, Maps & Atlases worked their way through both bouncy indie pop tunes and fiercer rockers with apparent ease, showing off with intricate riffs and a few lengthy guitar solos without letting things devolve into an uninteresting jam session. The joyful sound they made was impossible to deny, and though their more danceable cuts were obviously the best received tunes, no matter what the guys played they seemed to get a better ovation each time. The band ended with one of their best numbers, a burning rock 'n' roll tune that went on for some time, but though they'd played a very solid and satisfying opening set--I feel confident saying we all would have enjoyed an encore, even at the expense of waiting for Frightened Rabbit to play. Maps & Atlases proved clearly that even the most cerebral, technical music can--and should--provide for an awesome show.

MySpace


Frightened Rabbit

Frightened Rabbit took the show around 11:30 that night, but even after a length sound check they had everyone's attention when they took the stage. I didn't really know what to expect from singer/songwriter Scott Hutchison, given the often dark and depressing nature of his lyrics, but he was friendly, personable, and complimentary of the group's previous experience in Utah. Then the boys launched into a slowly building introduction into "Skip the Youth" from this year's Winter of Mixed Drinks and it became obvious Hutchison isn't the withdrawn, tortured soul I half expected him to be. He sings loudly, confidently, and makes the most of the music's climactic moments. Earlier this year I was a little critical in my review of the band's new album due to the bigger, more grandiose style, but I soon was rethinking my analysis. The group perfectly replicates the more epic approach on stage, with each member contributing vocal harmony and playing a variety of instruments to do so. And with the crowd singing along at every turn, Frightened Rabbit turned in one hell of a performance.

They played about equal parts their new record and 2008's Midnight Organ Fight, with personal favorites like "Old Old Fashioned," "Swim Until You Can't See Land" and "Foot Shooter" given an extra boost by the rowdy atmosphere and increasingly intense Scott Hutchison, who seemed to get looser with each song. At times he became almost unhinged, yelling emphatically and then subsiding into a quieter passage with an equally powerful emotional delivery. The group finished with a fiery rendition of "Good Arms vs Bad Arms," but everyone knew the drill and cheered loudly until the band returned for their encore. Hutchison appeared alone at first, singing the terribly sad "Poke" with just his acoustic guitar, even removing himself from the mic for the end of the song so the audience could join in what became a drunken sing-a-long. Then the rest of the band joined for "Living in Colour" and "Keep Yourself Warm," the latter of which earned a hearty cheer when announced. It was a thoroughly entertaining and engaging finish to a concert that has set the bar high for any other shows I may see this summer.

MySpace

You Should Know: Dana Falconberry

Austin singer/songwriter Dana Falconberry seems to have already made a name for herself in her hometown. The Austin Chronicle even labeled her as one of the city's "most arresting female vocalists," which, considering what must be stiff competition, seems like pretty high praise. And with her most recent album, Halletts, I think she just might find a bigger audience for her stirring brand of folk music. The collection of eight tunes revisits some previous recordings and includes some new songs as well - though for me it has just served as a convincing introduction to Falconberry's simply beautiful songwriting.

With the help of a full band (for the first time), Falconberry works her way through this easy-going, yet emotionally engaging set of tunes with a spare, almost rustic approach. The presence of other musicians is obvious, with touches of banjo, ukulele, and more helping to bring these musical tales to life, but the songs stay grounded and focuses right where they should be--on her uniquely gorgeous voice. Highlights include the pleasant and warm "Blue Umbrella," the darkly tinged "Baby Blue Sky," and the lovely closing thought "Birthday Song." With Halletts, Dana Falconberry offers plenty of reasons to label her as an artist to watch--keep an eye on her going forward.

Download: "Crooked River" (not from the album, but one of the best I've heard from her)

MySpace

Review: The Tallest Man on Earth - The Wild Hunt (* * * *)

Kristian Matsson, Swedish folk singer-songwriter and lone artist behind the Tallest Man on Earth moniker, is a man that appears to eschew artistic excess of most any kind, musical or otherwise. Sure, many musicians keep things simple and record on a shoestring budget because they have to, but it’s clear on his full-length sophomore record that Matsson actually prefers to operate in a limited, sparse musical setting—and it truly would be difficult to imagine his songs presented any other way. As a result, his latest effort, The Wild Hunt, sounds much like his debut (2008's Shallow Grave), with Matsson writing, recording and producing the record entirely by himself and using a limited selection of instruments (guitar, banjo, piano) to compliment his somewhat harsh, Dylan-esque voice. It’s a testament to his ability and maturity that The Wild Hunt is not only a refinement of this young artist’s songcraft, but a real step forward from his first album in terms of emotional breadth and resonance. (Read the rest @ In Review Online)

You Should Know: Kris Drever

Known by some as the son of Ivan Drever, member of Celtic band Wolfstone, Kris Drever has now blazed a trail of his own, first as a guitarist with the band Lau (who I've admittedly never heard of) and lately with a couple of fantastic solo albums, the last of which was just recently released. 2010's Mark the Hard Earth was my introduction to Drever's enchanting folk music, though after listening I immediately sought out his debut, Black Water, which I found equally impressive. His clear, warm voice at times could be described as what James Taylor might sound like with an Scottish accent (which means, of course, that I love it), and his engrossing storytelling conjures striking imagery both modern and antiquated. Neither of his records break much new ground or aim to push boundaries, but each is thoroughly excellent and together they serve to establish Kris Drever as a noteworthy voice in the folk community.

For his latest, I recommend the bittersweet title/opening track, the bright and bouncy "Sweet Honey in the Rock" and the more lively duet "The Banks of the Nile," which has a slightly Decemberist-style edge to it. Each highlight perfectly exemplifies his seemingly natural melodic gift, his remarkable songwriting, and his most powerful weapon - that radiant and emotive tenor voice. I really can't lavish enough praise on this guy, he's incredible, so go listen!

I wasn't able to find a legit link to offer you a free download from the new record, but you can find a good selection of older songs to stream on his website and newer ones at his MySpace.

Website

MySpace.

Review: Annuals - Sweet Sister EP (* * * 1/2)

After a major label debut LP a couple years ago, Annuals return, not with another major release, but with a self-produced/self-released EP entitled Sweet Sister. I'm not sure if it's a precursor to a full-length later this year or simply a chance to release some material without outside influence, but Sweet Sister seems to have the free-spirited feeling and exploratory nature of the latter. The five songs of the EP are often stylistically similar to the group's previous effort, Such Fun, but an obvious influx of influences (along with total control over the end result) makes for some entertaining if unfocused detours here. So the album doesn't play as a cohesive statement or even establish a certain new direction for the band, but it's fun, lighthearted, and easily enjoyable - the perfect accompaniment to the approaching Spring season.

Beginning with the smooth, rhythmic opener "Loxtep," it's immediately clear that Annuals intended to widen their sonic palette a great deal here. With bright synth riffs, marimbas, and a sampled choir of children, the track should be a mess, and I suppose it could easily be labeled as such, but it's a really catchy mess and intelligently assembled as well. The title track blends similarly disparate influences to an effective result, but "Holler and Howl" abruptly switches gears to a horn and accordion-laden circus tune that bounces its way to a beautiful orchestral outro. With the exception of the lackluster "Turncloaking," the album is a good deal of fun if you don't mind the head-spinning flow of the thing, and with a sunny (and relatively normal) cover of Johnny Cash's "Flesh and Blood" to close, Sweet Sister is a treat for fans that should tide them (us) over until Annuals give us a full compliment of songs.

Loxtep (MP3)

MySpace

Review: Frightened Rabbit - The Winter of Mixed Drinks (* * * 1/2)

Progress is—by most definitions—a game of give and take. In the music business, it’s nearly impossible to grow artistically or explore different musical avenues without leaving something behind. A clear illustration of such growing pains is exemplified in Scottish indie-rockers Frightened Rabbit, whose third record, The Winter of Mixed Drinks, comes two years after the band’s excellent breakthrough, the compelling and abrasively emotional Midnight Organ Fight.

Of course, much of what made the band unique remains—especially the intensely dramatic songwriting and singer Scott Hutchison’s thickly accented unstable tenor—but along with an expanding lineup (yes, they actually have a bass player now), Frightened Rabbit’s latest marks a decided turning point in the band’s trajectory. Their bigger, more arena-ready sound will surely prove to be an effective bid for mainstream audiences, and it shows an increased maturity and approachability, but in the process the boys have sacrificed some of the fragile intimacy that made their previous material so engaging. (Continue reading @ In Review Online)