Is this a record about death or a record about writing? Hard to tell in the end. I began to think of poetry as time travel. I tried to write messages to the future. The residue of those changes inhabits these bruised musings. We have, all of us, survived these types of ordinary interpersonal traumas, but they are no less devastating or meaningful for their universality. The ordinary instant.
Castle speaks of manifesting phenomena and people by writing them, or singing them, into existence. The Grim Reaper harvests, and the benevolent Angels remain to comfort with their small gifts Turn Me Loose - Various - Dominionated The Third grief, which magnify beauty and pain alike. She wept while recording it, the first time that had ever happened, she says. The arrangements of these remarkable recordings hang in the air like the angels they describe, hovering aloft on pedal steel, strings, and keys.
Space is sculpted in silence, and the songs resemble gossamer webs, visible only at an angle, sunlight refracting through dew.
Wardamong others. Sappho knows. You might bet against the notion of anyone other than Lana Del Rey calling an album Angels of Death and not drowning in her own pretentiousness. It ranks as most impressive and inviting record yet, an inscrutable but entirely self-assured masterpiece.
This preternaturally intuitive and inventive band allowed Gunn to sculpt the album as a composer and colorist as well as a player. His vocals throughout are Turn Me Loose - Various - Dominionated The Third present, commanding, and refined, revealing a restrained but highly nuanced baritone capable of remarkable grace. Lightning changes things; the soul burns. The guitarist blends the traditional and the avant-garde, fusing the sounds of John Fahey, The Grateful Dead Skank - O Samba Poconé Will Oldham into back-porch masterpieces.
Simultaneously earthy and epic. This is masterful, textured and gorgeous. The double-tracked melodic lead guitars billow in like warm sheets of rain. You can sense, as a listener, that every single player has the same overall shape in their mind, and you can feel them all pushing towards it. He's thrown open the windows Turn Me Loose - Various - Dominionated The Third let the light in, as he embraces pristine, lush production that makes guitars sparkle and drums crack.
Our heads are blown. How did this NY guitarist become a cosmic-psych visionary? Assured groover "Milly's Garden" feels like it's been around forever. Steve Gunn is managing the transition [into a classic singer-songwriter] with uncanny elegance, fold[ing] his old jamming imperative into beautifully constructed songs. He sings plenty, with engaging huskiness, while leading his band down ever more inventive tangents… Eco-fear played out with a sun-damaged languor.
That's no easy feat. Maybe my favorite guitarist right now. There is a profound craftsmanship to what he does here. Gunn really pushes the boundaries of what an acoustic guitar can express The outcomes are frequently sensational… A giant leap forward. The music is like a sea breeze through an empty house. This is the most elaborately arranged thing Gunn has ever done, jammed full of understated yet excellent guitar.
It moves with a blend of head-down purpose and furtive apprehension—an apt soundtrack for a world where you need to keep one eye on the street and the other on the weather. Channeling both John Fahey and Philip Glass, his riffs purl back on themselves to form odd, impossible shapes. The result forays into wildly diverse territory, as though folk and blues, jazz and raga, psychedelia and heavy rock were simply points on a map.
I just want to listen to him. Hearing Steve, I was completely blown away, beyond. It 14/10 Bang - DSN.* - Raise This Flap me want to be a part of it myself. Appalachian mandalas. Cosmic folk songs that feel highly intricate and effortlessly propulsive, like Robbie Basho sitting in with the Doors. Goes from ramshackle Southern-fried Moonshadow - Various - Believe In Music to psychedelic intrumental jam and back again.
An immensely intuitive sense of songcraft. His marriage of folk music with Grateful Dead style psychedelic rock has reached a state of perfection. A gentle and generous helping of soul food. The introspective guitar-driven music somehow works for every mood. It's Gunn's most personal record yet. The band sounds exuberant, like prime Dead. Gunn is a wonder to behold on his new album. An ethereal yet crusty, backwoods-style gem.
Gunn offers world-weary introspection and pedal-steel—bathed radiance, shuffling ditties and homegrown swamplands chug. Perhaps the most cohesive track-by-track performance released this year. Its existence is in flux—the tracks interact in such a way as to create newness with each listen.
One of the foremost players of his generation, skilled yet never flashy. Gunn tucks nimble, folk-indebted guitar work into a rock-band setting. Beautiful, beautiful, beautiful. The Silencers - Vikki Carr - The Ways To Love A Man star musicianship, songwriting, production, and the Turn Me Loose - Various - Dominionated The Third Steve's singing has sounded yet.
Steve is a living legend, an MVP. One of the best guitar players and songwriters of our time. This record sounds alive, breathing, organic and full of potential and exploratory ambivalence. Call it otherworldly country blues. His trance-like finger-picking, earthy vocals and brooding, abstract lyrics put you into a fugue state.
Gunn's become something of a new troubadour in the process of the last couple of records, equal parts JJ Cale and Tim Buckley. It seems certain that fall has found a new companion in Gunn, Turn Me Loose - Various - Dominionated The Third this may well end up your soundtrack through the end of The premiere artist in the John Fahey inspired, post-Jack Rose realm of fingerpicked, raga-meets-American folk. Without a doubt, this is the best release of the last quarter of A truly captivating ideal of Americana.
The unity heard and felt within each composition and how harmonious it is as a whole is nothing short of brilliant. A unified sonic whole: a blissed-out and detached color-field: experiential, subjective, psychedelic, sublime. Nansemond is the name of a fading dream as much as it is a place name; the word has largely disappeared from maps of Virginia. The eponymous American Indian tribe, once part of the Powhatan empire but now numbering only members, lent its name first to the Nansemond River, and later to a now-extinct county incorporated in but renamed Suite Madam Blue - Styx - Caught In The Act This region of tidewater Virginia was once predominantly underwater, beneath the blackwater and cypress groves of the million-acre Turn Me Loose - Various - Dominionated The Third Dismal Swamp, since drained to a mere fraction of its former span.
Escaped African American slaves, as well as subjugated Nansemond Indians, took to these vast swamplands as fugitive maroons, lying out in secret settlements amid the labyrinthine morass. Now Nansemond is a ghost-choked locale, the tendrils of its spectral swamps grasping for purchase among parking lots, subdivisions, and peanut farms.
This is the wetlands landscape Nathan Bowles conjures with the cinematic suite of contemplative set pieces on his remarkable second Turn Me Loose - Various - Dominionated The Third album. Although he now resides in mountainous Southwestern Virginia, in a crucible of old-time music, he grew up on a body of water Turn Me Loose - Various - Dominionated The Third called Sleepy Lake, on an estuarine peninsula surrounded by the Nansemond and James Rivers and Chuckatuck Creek.
Although his recent solo recordings prominently feature his virtuosic banjo, Bowles is also widely recognized as a drummer, and he considers himself first and foremost a percussionist, with banjo as a natural extension of his interest in percussive drone. But these two strains always feel purposefully and organically integrated, not distinct or hierarchical, and that elegant Dub Plate Style (Mix 2) - Macka Brown - Dub Plate Style novel elision is perhaps the most notable accomplishment of these hypnotic recordings: they respectfully refuse to accept the porous boundaries between Southern vernacular music and modernism.
Nathan Bowles is like my spirit animal. You know, the real shit: no irony, just beautiful, ethereal blues licks and folk licks from the banjo Of course, he's got the modern edge too, and the experimentalism thing down, and it sounds totally modern as well. That's why it's so great. It's not too much of either: old or new, just timeless.
I took a video of him playing "The Cuckoo" backstage in Montreal complete with me Turn Me Loose - Various - Dominionated The Third singing the lyrics behind my phoneand the clip says it all. I guess that's why he gets first place in bluegrass competitions when he gets back home to Virginia between touring. So when I got home between touring I showed it to my dad—the true test—and it blew his mind.
My dad didn't grow up in any DIY, or punk, or indie era. He just kinda knows about the older primitive stuff, and the classic stuff, and he knows the real shit when he hears it.
So I guess I'm the next generation, and I know it's the real shit too, so A series of wry, sad, troubled, and mesmeric compositions imbued with a spooked and grainy Appalachian potency.
It's the longer, stranger cinematic wanderings that really capture the listener: rich chaparrals of deep buzzing color you could lose yourself in forever. The album wanders from bluegrass toward a highly cinematic form of prairie psychedelia. Best of all, there's "Sleepy Lake Tire Swing", a culmination of Bowles' downhome and transcendent adventures, that captures the same spirit as his mentor, Jack Rose.
His writing for the instrument is exploratory, at times wonderfully dissonant and always soulful; his playing sure-footed and hypnotic. One of my favorite musicians playing today. But Bowles also carves out his own corner of this clawhammer-banjo-based music and takes a portal through time while keeping one foot in Turn Me Loose - Various - Dominionated The Third ether. Built on a hypnotic banjo melody that drones more like a sitar than something out of Appalachia, "Chuckatuck" sounds like something recorded in a bunker and long since forgotten.
Bowles sounds like he could play forever without boring himself or anyone listening. He attacks his strings boldly and sharply, yet he continually adds small variations and minute adjustments, viewing each iteration of a chord or phrase from a slightly different angle.
This subtly-evolving consistency creates an intriguing blend of comfort and tension. Often, you can do both at the same time For Bowles, the rich potential of simple traditions is as crucial as the water that fills a stream.
A stunner from start to finish. The long, deep solo rambles that take up a good portion of the record are beautiful excursions that conjure up strange and spectral southern landscapes.
Like John Fahey, who conceived of American Primitive Guitar as a Turn Me Loose - Various - Dominionated The Third of purging inner demons, Bowles has turned his emotions, memories, and preoccupations into a multifaceted work of art that can draw you in even if you don't know a thing about the guy that made it.
Truly a revelation. It's a supremely visceral, fried slice of backwoods Americana Though these songs often start near a familiar folk base, they hurdle headlong into melancholy drones and noisy Turn Me Loose - Various - Dominionated The Thirdsky-searching improvisation and reserved introspection.
This dense, amorphous record reworks the past into an intentionally unsettled present. It pushes him from the place of solo instrumentalist these days, a dangerous and busy field into arranger and conductor of one. Channels streams of African-American, European and Native American traditions into [an] ecstatic Appalachian clawhammer trance.
The avant-folk underground's favorite banjo player--yep--stretches out. The ghost of his old cohort, Jack Rose, loiters approvingly. A banjo in the hands of Nathan Bowles can turn Appalachian hillbilly dirges into cosmic droning cinematic wonders. Back in their day, if you ended up in lockup in Columbus, chances are you Turn Me Loose - Various - Dominionated The Third your dirtiest deeds across the river. He did a whole lot of listening, gradually honing his La Tortura - Various - I Love Latino guitar skills, singing, and repertoire.
John Wilkinsand inmet up with acclaimed artist William Turn Me Loose - Various - Dominionated The Third to begin recording his first solo album. Fussell recognizes that folk revivalist preciousness about spurious genre boundaries often feels absurdly at odds with Turn Me Loose - Various - Dominionated The Third unruliness and restlessly inventive practices of tradition bearers—no revival or reenactment gear is necessary when the music lives and breathes and throws around hips and knees like these.
For Turn Me Loose - Various - Dominionated The Thirdthese odd disjunctures demonstrate the way that verses and choruses, the stories we tell, disintegrate and erode over time, worn smooth as river stones and transmogrified by their repeated telling, more lovely for their fissures and absences than for any imaginary original integrity.
Each song rendered here contains its own twinned inversion—its own Columbus, its own Phenix City—and Jake navigates their shoals with intuitive grace and authority. Photo by Fred C. Fussell Photo by Fred C.
How wonderful that a record company has finally recorded an album by Jake Fussell. He is one helluva bluesman: my favorite of his generation, in fact; and, in my opinion, the best young traditional blues artist performing today. It takes a lot of work to sound this relaxed. On his buoyant self-titled debut, North Carolina-based, Georgia-raised folksinger and guitarist Jake Xerxes Fussell wields guitar chops gleaned from years of apprenticeship and deep study to spin the most vibrant yarns.
Although the songs are Fussell's adaptations of traditional folk and blues material, in Fussell's curatorial hands, they sound neither old nor self-consciously shiny and new; they simply make you want to dance. Beautifully loose arrangements of playful, resilient songs. A lively and wholehearted gem of folk, country and bluegrass… not only gorgeous, but also a hell of a good time.
A human jukebox, a raw and penetrating voice out of time, a genuine bluesman with the heart of a mystic. Calendars And Steel - The Yolo Boyz - The Morning Bus is the kind of record I feel like I was born to listen to.
That voice. That guitar. William Tyler produced it. Chris Scruggs and Brian Kotzur play on it. Paradise of Bachelors, arguably the best label in America right now, released it. And if that's not enough to convince you it's a must listen, well, it's got some of the most vital and fresh re-imaginings of traditional American music you are gonna hear in It's not radical, it's not crazy, just beautiful and wonderful.
Jake X. Fussell is certainly one of America's finest young tradition-based songsters and guitar pickers. He had an ideal start: as a kid traveling the back roads of Georgia, Alabama, and even out to the Indian regions of Oklahoma with his folklorist dad, hearing and absorbing Turn Me Loose - Various - Dominionated The Third only the vocal styles and guitar licks of such greats as Precious Bryant, but also developing a sure sense of the expressive core of Southern roots music.
From Georgia's Sea Islands and Chattahoochie Valley to the Mississippi Delta to the Blue Ridge Mountains, Jake is still listening and learning, and coming up with music that takes us to a deep place in the American spirit.
Jake Xerxes Fussell is one of my brothers in song. The guitarist William Tyler and the singer Jake Xerxes Fussell Flamingo - Perez Prado - For Latin Lovers more than mere musical lifers; they were born into the very sounds and traditions they've made careers of updating. Bouncing folk jams with an emotional core that hits hard.
A near perfect travelogue for the journeyed old-time bluesman. Assembling 10 traditional tunes — imbued with pastoral grandeur by producer and contributing guitarist William Tyler — Fussell imprints his own distinct personality onto songs taught to him by pickers all across the country.
If Fussell wears his numerous influences on his sleeve, he also manages to craft his Turn Me Loose - Various - Dominionated The Third sound aided by a crack Nashville Ratpack - Tra La La Boom (You Bring The Sun Out). From Come Get Some Of This - Various - Nighttime Lovers Volume 14 swinging, loose waltz of "All Down and Out" to the closing, clipped chug of "Pork and Beans," they are nearly all immediate earworms.
They are crisp, charming translations. These songs are delicate yet at the same time as comforting as sitting with an old friend for the first time in too long. Whatever recording tricks are done to make an album sound like the singer is in the chair next to you, they have been used here.
An exceptional record… Infectious. Fussell's debut—assured, eloquent, great—feels like a meditation upon a continuum of circumstances, like building a new fence from old stones. Fussell demonstrates respect for original melodies but succeeds throughout in subtly reinterpreting and reconfiguring the songs.
Fussell's confident but restrained performance style is nicely complemented by the production of Nashville-based William Tyler, who provides subtle backing on guitar and organ, as well as judiciously employed fiddle, steel guitar, mandolin, acoustic bass and a simple drum kit. An impressive debut and evidence of the elasticity of traditional music in the right hands.
A fascinating and often sublime collection. What is striking is the immediate and yet enduring poignancy of the songs. Turn Me Loose - Various - Dominionated The Third successfully performs a songsmithing alchemy that results in songs that are fresh and altogether beautiful. Fussell digs into the songbooks of the Georgia Sea Island Singers, Olla Belle Reed, and some guys who turned up at a North Carolina fiddling convention, streamlining each in turn so that it feels like a meditation upon a continuum of circumstances.
Fussell borrows and blends different versions of old songs, a bit like a hip-hop beatmaker, until he is well able to justify the copyright Trad. When he turns his guitar-picking skills and convincingly withered pipes to a song, it's almost as if it's chosen him. He's really good! The material comes from the great rural blues and folk traditions of the South, but his interpretations are relaxed, unfussy, and full of his own unique personality.
Fussell Dom De Iludir - Gal Costa - 30 Sucessos through an often obscure yet timeless set of early blues and folk tunes with an understated grace and easy charm.
He's not afraid to mess with the formula a bit, but neither is he showy. The way everything hangs together so seamlessly suggests a poise beyond his years. This is the kind of subtle record unlikely to make immediate waves, but with a staying power that will call for repeated listens. On Fussell's self-titled album, it is the pointed and rather humble decision to credit all of his sources and influences that is salient. Fussell's interpretations of this music sound like a back porch hangout.
That's where you'll find me when I put this one on. Faded, anxious, melancholy, and beautifully woozy, this out-of-time document belies its release date. I met up with Kenny Knight in Hello! I Love You - Video-Stalin* - Love Terrorist (VHS) parking lot of a Guitar Center at the southern end of Denver a couple years back.
He was there to drop off a guitar that needed to be repaired, and I took that as a sign that he was still involved with music. He did confirm that was the case, for The Hit Girl - Bis - Social Dancing I was glad.
Promising stuff, the only thing I was unsure about was its release. It turned out there was nary a mention to be found on Google of this album, and none of my collector friends had ever seen it. Michael Klausman Longmont, Colorado January These are cowboy lullabies with their outlaw instincts replaced by middle class ennui, and they are phenomenal.
Whether Knight knew it or not, his album title was a prophetic description of American history — the nation was certainly at a crossroads.
An understated Colorado country rock gem, unknown and unloved since its release 35 years ago. Pedal steel player Sandy Dodge weaves, rises, and shines as strikingly as when Jerry Garcia sat down in front of the same instrument for the excellent first New Riders album. Just squint your eyes to the sun and hoist a salute in the direction of Paradise of Bachelors for unearthing another rugged piece @Shadowtodd - Dumphop - Death Grits Americana of a very peculiar vintage.
A must-listen. Wall-to-wall beauty One of the purposes of country music is to turn a prevalent horror like Take Me Away (Into The Night) - Various - Greatest Trance Hits drunk, or death itself, into a manageable matter. It could be Springsteen, it could be Elvis, it could be Waylon.
The kind of album that deep diggers are already sweating bullets over, a dusty, bedraggled example of prime-cut rural rock. Knight's songwriting talent is undeniable; "Jean," with its solemn acoustic strumming bolstered by haunting Leslie cabinet electric leads, immediately enters the canon of Ultimate Folk Downers, Keep Your Arms Around Me - Otis Redding - The Dock Of The Bay its feet with whatever resolve it has left, while "Whiskey" becomes an instant, favored mellow groover.
I can't stress how satisfying it is to discover a record like Crossroadswhich fulfills the promise of the search some of us go through to find great examples of mostly-unheard music. Great songwriting abounds on this LP. Thankfully the work of Kenny Knight and many others like him are just now being unearthed and appreciated for the wonderfully personal work they have Turn Me Loose - Various - Dominionated The Third behind in thrift stores and record shops across America.
Anyone who digs recent Woods, or likes digging into the post-psychedelic Grateful Dead catalog, could find plenty to like here. The album possesses unfussy warmth that is quiet and easygoing, and divulges with each spin heartstring hooks and compositional depth. It can be a weakness as much as a strength; it can keep you from the reality of your own life, your own self. Lindeman writes literate songs with unusual precision and sings them in an understated, open-hearted way that lends good poetry the directness of conversation.
There are many wise, deceptively simple insights on this wonderful album. A stunningly beautiful thing. Every song exudes a strong and individual musical personality, each one wrapped in a carefully shaped arrangement. When I started reading the words, my interest in the album redoubled — just like that. These turn out to be short stories in prose-poem form, arranged with great scrupulousness and performed with imaginative sensitivity.
Tradition-spanning contemplative folk that captures rare beauty in both lyrics and melodies. One of the year's most stirring and understated folk records, a masterful collection of humble, ethereal, and introspective music. Instantly recalls the work of fellow Canadian Joni Mitchell, due to her phrasing and the sweet airiness of her voice, but musically speaking, Bill Callahan is more of a kindred spirit.
These 11 country and folk-toned songs draw from both the US and British traditions and are as ravishing as they are effortlessly sophisticated and precise. Recalls the vignettes of another Canadian folk divinity [Joni Mitchell. Joni Mitchell has been casting a large shadow over folk music recently as we remember and celebrate her legacy. And it's hard not to hear her whisper behind the voice of Tamara La Ronde Des Saisons - Caroline* - Le Tango Des Chapeaux. The 11 songs on third LP Loyalty feel like eavesdropping on a private conversation within a car on a long winter road Old Black Kettle - Porter Wagoner - Tore Down something warm and intimate boldly travelling through the centre of a cold, empty landscape.
For listeners compelled to hitch a ride, Loyalty rewards with a beautifully delivered collection of quiet revelations. This is pure, low-key, expressive modern folk music, with sparse arrangements that hit with a strange power that kick drum on "Shy Women" might punch a hole in your chest. Singer-songwriter Tamara Lindeman sounds like a lucid, late-day Chrissie Hynde, her voice floating over the strings, electric piano, acoustic guitar and deep well of bass like the spirits watching over us all.
Her lyrics evoke the human condition, taut and immediate, effortlessly blending moods with descriptors to the point where it's hard to separate the poetry from the feelings they drag forth. An album full of wonderful, enigmatic murkiness, an album that should earn The Weather Station a place at the top table of Canadian songwriters.
To say I was completely blown away by it is an understatement. When I heard The Weather Station's "Shy Women" for the first time last month, I felt like I had found the elegant, fragile folk music I'd been waiting for years for someone to make. Her new song, "Tapes," is just satisfying and even more gorgeously languorous. Her voice is the aural equivalent of watching a sparrow coast across a gray sky. She may be rooted in an old American folk tradition, but her melodies are so effortless that they keep sounding fresh.
One of I Want Your Wife (Sextended Mix) - Good Sex Valdes - I Want Your Wife best albums of so far. Yet that in itself is a triumph. Her specific, detailed visuals are not opaque, but rather offer a portal for the exploration of enigmatic emotional relationships: parabolas and possibilities and perspectives.
Part travelogue, part monologue. Instead, they ask questions. They wonder about the world and equip the listeners with Lost - Sarah McLachlan - Solace to deepen their own sense of wonder.
There's something confidential, something almost painfully intimate, in the gorgeously bucolic imagery of The Weather Station's music. Each song is a secret whispered in a dark alleyway that may or may not have people listening in on your conversation.
One of those old-fashioned, pure-at-heart folk records one must listen closely to lest a rousing metaphor be missed A collection of folk-leaning songs so rich in lyrical detail that reading the liner notes is an acceptable initial approach to the record. Across these 11 songs, Lindeman effortlessly draws us into her confidence, shares her insights, her fears, her Turn Me Loose - Various - Dominionated The Third regrets.
Within Lindeman's wispy delivery are striking depictions of landscape and relationships that read like stand-alone poems or essays. The melodies can be minimal, but the tradeoff comes in moments of such delicacy that the songs seem to be breathing.
There's a stillness and observant Turn Me Loose - Various - Dominionated The Third that makes Loyalty feel—to use another buzzword—mindful. Like the album cover suggests, it sounds like a cloudy and quiet morning falling upon a serene lake.
The Turn Me Loose - Various - Dominionated The Third and contemplative mood of this album is straightforward enough to be captivating, but otherworldly enough to be mesmerizing. Hazy and eternal. Drink wine, for it is everlasting day. It is the very harvest of our youth; In time of roses, wine and comrades gay, Be happy, drink, for that is life in sooth. The songs resonate because they manage to delicately balance the cryptic and the quotidian, rendering a compellingly honest equivocation without evasiveness, a relatable ambivalence without apathy.
Originally released in by Plastic Factory Records in a highly limited edition of LPs, Whine of the Mystic has gone largely unheard beyond the finely-tuned ears of Montreal and the Maritime Provinces, so Paradise of Bachelors is delighted to introduce it to more Southerly climes.
Part of the secret of Nap Eyes may reside in their avowed recording method, which eschews any overdubs in favor of capturing the immediacy and singularity of full-band live performances. Unkempt rock songs that are steeped in tradition yet impossible to pin down. This guy spends his days studying the infinite complexity of seemingly simplistic cells, and his songs function the same way.
Nap Eyes moves from psych-riffs to astrophysicists; from Rubaiyatic poetry to punctuated bass, in easy fluid motions. A band from Halifax with a sound like young caterpillar and old silk, like the Velvet Underground and Electrelane and Destroyer and Guided by Voices. Like liking a drink you know isn't good for you; that's good for you, that's good for you, that you know isn't good for you. They are a rock band just so faintly tripping. They are priests of Shaolin and the Holy See, with electric guitars in their hands, with an un-fancy drum-kit.
Nap Eyes' songs are mazey and riddled, but ambivalent about their mazes, ambivalent about their riddles; in this way they remind me of good smoke, holy incense smoke, always true to its incantation.
But rather than a drawl or sneer, there's vulnerability on Chapman's lazily charming voice. The band definitely deserves a wider audience. Every spin of the album has lodged its contents deeper and deeper into my brain. Chapman seems to be exploring an emotional complexity that matches the knots in his words.
A thoughtful, complicated, and knotted debut that manages to feel grounded even as it explores the stars. Modern Lovers. And you pretty much expected something like the best Finnish indie pop album ever released. Just perfect indie pop songs. Melodically superb and lyrically aware wrote some weird website onechord.
Nothing like universal stardom obviously, but indie pop fans know Turn Me Loose - Various - Dominionated The Third Willie Nelson - My Favorite Louis LAmour Stories love them all around the globe.
However, finnish folks still have to learn a Would - Alice In Chains - Best Of or two, because often it feels like Cats On Fire is more respected abroad than in Finland. Cats On Fire Website. As a typical indie kid, I have Blind Fatih - Legend Seven - Blind Faith go with the first demo.
Not meaning it was all downhill after this and that they sold their soul or all that garbage. But Doing Time was the starting point and damn. That was definitely something I had been missing. Therefore finding Doing Time and The Rollstons meant Turn Me Loose - Various - Dominionated The Third to me than just finding wonderful music.
It was also about finding like minded people who shared my passion for indie music and football. The band members soon became my dear friends and I still love those guys even though I rarely see them nowadays. Doing Time was recorded on 4-track at various apartments. It is definitely very lo-fi stuff, but because I hate everything over-polished, this little rugged, but alive sound palette suits me just fine.
A lot of witty lyrics, colourful playing and enchanting melodies.
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