320 kbps | 92 MB | LINKS
Tracklist:
01. Gravidade 3:50
02. Caretano 3:58
03. Boca de Sal 5:57
04. É Só Uma Canção 3:30
05. Domingo Desportivo 4:16
06. Cor de Osso 3:29
07. Semi Tédio dos Prazeres 4:53
08. Quase se Fez Uma Casa 3:42
09. Se Me Agiganto 4:50
10. Amares Volta (Bonus Track) 7:04
320 kbps | 87 MB | LINKS
Indie folk songwriter Kyle Wall has released three albums under his Wharfer moniker, most recently 2017’s Scenes of the Tourist. Now, just a little over a year later, his fourth LP is set to drop; it’s titled The Road Dissolved the View and is due out February 9th.
Spanning 11 tracks, the full-length was written, performed, recorded, and mixed by Wall himself from the comforts of his Brooklyn home. Wall, who is originally from Scranton, Pennsylvania, convened sessions throughout Spring and Summer 2017. Compared to its predecessors, The Road employs a different palette of sounds, with Wall this time opting for a “spacier, hazier terrain” of drum machines mixed with manipulated vocals.
To coincide with the album news, Wall has shared a single called “Lumière”. A stately yet moving piano-accompanied track, it finds him hazily reflecting, “I’ll always want to thank you for bleeding out my roots/ And when I’m draining out the old days, these songs will be the proof.”
320 kbps | 78 MB | LINKS
Having long admired Jersey’s Ribeye Brothers, first as a roots-rockin’ offshoot of Monster Magnet, and, ultimately, as a hard-edged combo with genre subversion in mind, yours truly continues to get sucker-punched. That’s what Tim Cronin, Jon Kleiman, Joe Calandra, Brent Sisk, and Neil O’Brian aim to do—fuck up fans’ expectations—and they now deliver another masterful set steeped in rich melodies, a compellingly propulsive rhythmic attack, and of course their trademark sense of humor. But there’s a twist.
All Hat, No Cattle is the followup to 2014’s Call of the Scrapheap, a sterling slice of pure garage rock that invoked the ghosts of 13th Floor Elevators, Bo Diddley, Link Wray, and the Velvets. This time out, though, the gang lobs a huge curveball by covering themselves in country-rock fashion. Which means, for example, that the previously rollicking “Call of the Scrapheap” cranks up, instead, the banjo, brings in the pedal steel and fiddle, and twangs its little heart out. Similarly, the tune “Shit Car,” from 2013’s New Ways to Fail, had a bit of a power pop injection, but here it’s in pure honky tonk territory. And “Death or Greyhound,” when rendered in 2005 for Bar Ballads and Cautionary Tales, came across in contemporary times as a gently luminous folk-rock anthem; this time around, it’s gone full Bakersfield.
The twang ethos has always been part of the Ribeyes’ approach, don’t get me wrong. So a track like “Gunga Din” doesn’t get too radically overhauled compared to its 2014 counterpart; it simply gets its countrypolitan groove on with a bit more deliberation. So in essence, we fans get a unique spin on already familiar material, and the A-B comparison is borderline fascinating. Years ago, Southern Culture on the Skids did a cool little thing for their live shows, opening for themselves as the straight-country outfit The Pinecones, then shifting back to their signature swamp-choogle during the main set. It would be great to see the Ribeye Brothers doing likewise in concert, doing a set of garage and psych, followed by the same setlist but countrified.
BY FRED MILLS
320 kbps | 53 MB | LINKS
The backstory on the County Liners is not promising — two hipster musicians from Olympia, Washington decide to write some country songs while one is stuck in bed with a bum ankle. But if history teaches us anything, it’s that you can never tell where a batch of good tunes is going to come from, and Mary Jane Dunphe and Chris McDonnell clearly know how to put together a song on the basis of their debut EP. Mary Jane Dunphe & Chris McDonnell in the County Liners sounds just the right amount of ragged, the rough and ready sound of two urban Appalachians fighting their way through a hangover with the help of some cheap guitars and a drum kit. The country influences are often more felt than heard here, but these tales of life and love on the wrong side of the tracks bear the ring of truth, and like the Fear and Whiskey-era Mekons, this band weds a scrappy rural undertow to a big city outlook in a way that makes the most of both sides. The slow crawl of “The County Line,” the bluesy plea of “Walkin’ Out,” and the wiry snap of “Love Letter” show Dunphe and McDonnell are as capable with melodies as they are with lyrics; these tunes may not be complicated, but they set a mood and make it stick, and with some help from Riley Kendig and Mirce Popovic, they’re a fierce little band who can give the material just the right amount of low-tech glory. (And their cover of Lucinda Williams’ “Maria” reveals they know how to put their stamp on other folks work as well.) At a mere five tunes, Mary Jane Dunphe & Chris McDonnell in the County Liners offers just a taste of what these folks can do, but it’s satisfying enough that a full-length effort from this band can’t come soon enough.
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