320 kbps | 120 MB | LINKS
“Freedom and Dreams is extremely honest and captures N.M.O.’s relaxed chemistry so well, most of these songs did not even have a proper count off or beginning,” says Allstars guitarist-vocalist Luther Dickinson in a new press release. “We were interested in combining Anders’ singing and songwriting with NMA’s groove and aesthetic to create something unique that neither of us could do without the other — a type of modern Southern folk rock.” Luther, along with brother Cody, are the sons of legendary record producer and musician Jim Dickinson, known for his work with the likes of Big Star, the Replacements, the Rolling Stones and Ry Cooder, just to name a few.
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One of the brightest alt-country debuts in recent years, Red Shahan’s 2015 release Men & Coyotes was a greasy, tuneful, literate blast of Americana. It didn’t turn him into an instant headliner but it proved to be a grower, a worthy showcase for an adventurous songwriter who was drawing more attention with each radio spin and increasingly-crowded live show. If you were concerned that independent Texas country-rock might be overtaken by bands going too heavy on the polish and too shallow on the depth, Red Shahan and Men & Coyotes were a welcomely gritty refresh, with barbed guitar riffs and hard-luck tales offsetting his deceptively sweet tenor vocals.
His sophomore effort, Culberson County, proves that the optimism of thousands of newly won fans (not to mention more than a few supportive fellow artists) was justified. The gradual growth doesn’t seem to have resulted in an oversized head — the humility and humor in “Someone Someday” comes from the POV of a man who sees himself as still having a ways to go — but he’s lived up to and exceeded his own first-album standards.
Not unlike his freshman effort, Shahan is mostly unbound by genre; there’s a touch of twang to his vocals, and the gut-level storytelling speaks to his country roots, but he deftly jumps from Fogerty-ish classic rock (the offhandedly funny opener “Waterbill”) to crunching modern rock (“6 Feet”) to something resembling R&B of the slow-burn variety (“Idle Hands”) or a bigger, gospel-tinged feel (the anthemic closer “Try”). All the gear-shifting avoids feeling too scattered or jarring, though, with some smart sequencing and threads of sonic cohesion carefully spun by Shahan and simpatico producer Elijah Ford.
Shahan’s small-scale storytelling remains a strength, but there’s some bigger thematic reaches happening here too. “How They Lie” and “Memphis” look at the psychic damage wrought by greedy land-grabbers and deadbeat dads, respectively, detailed enough to ring personal but resonant enough to grab you by the empathy and never let go. “Revolution” is a pretty rousing slab of guitar rock, high on urgency but low on details; unlike the lefty rock anthems that get misappropriated by seemingly incompatible political campaigns every couple of years, it’s really not specific enough to qualify as misunderstood no matter who’s marching along. But Shahan’s aching plea of “Let’s keep the lonely places, lonely as long as we can/Let’s keep it all out of reach, for anyone who doesn’t understand …” hits a more poignant spot on the title track, serenading the sparsely inhabited loveliness of places like West Texas. There’s probably a metaphor in there, intentional or otherwise, for ambitious songwriters like Shahan who’d hate to be accused of watering down their craft to pander to a wider audience. Hopefully staying the course is Shahan’s plan; his work is lovely enough at its best to draw a crowd just as it is. — MIKE ETHAN MESSICK
Tania Chen with Thurston Moore, David Toop, and Jon Leidecker
John Cage: Electronic Music For Piano
(Omnivore Recordings, 2018)
more details
Mind Over Mirrors
Bellowing Sun
(Paradise Of Bachelors, 2018)
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320 kbps | 91 MB | LINKS
Tracklist:
1 It Must Be Love (Deve Ser Amore)
2 Chorus for Metronome (Choro Para Metronome)
3 Adagio
4 Berimbau
5 Samba In Prelude (Samba Em Preludo)
6 Winter Song (Cancao De Inverno)
7 Sad Samba (Samba Triste)
8 Song for Jussara (Bercauses a Jussara)
9 Prelude
10 Euridice
11 Bachiana
12 The Girl from Ipanema (Garota De Ipanema)
Throughout his career, Brazilian singer, composer, and multi-instrumentalist Domenico Lancellotti has thrived on collaboration and experimentation, transforming samba, bossa nova, and tropicalia traditions into creative adventures of pop eccentricity. As part of the collective project the +2’s, he worked alongside musical peers Moreno Veloso and Alexandre Kassin on a trio of records for the Luaka Bop label where each member acted as bandleader, adding the +2 suffix after his name to front a release. While 2007’s Domenico+2: Sincerely Hot, was in a sense a solo effort, he made it official in 2011 with the vibrant and wiley carioca pop of Cine Privê, his proper solo debut. Primarily a drummer, Cine Privê saw Lancellotti asserting his command on a wide variety of…
…instruments with the help of former bandmates Veloso and Kassin as well as newcomers like American producer Money Mark and Wilco drummer Glenn Kotche.
Arriving seven years later, his follow-up, The Good Is a Big God, is a similarly adventurous effort that also benefits from a host of distinctive participants, the most apparent of whom is co-producer Sean O’Hagan of U.K. indie pop stalwarts the High Llamas. Interestingly, this collaboration came about when Lancellotti was invited to take part in an artistic occupation of London during the 2012 Olympic Games. The rough guitar sketches he sent to O’Hagan earned beautifully detailed string arrangements, eventually forming the basis of this beautifully crafted collection. As a creative foil to Lancellotti’s soothing yet ambitious approach, O’Hagan is a perfect fit, enhancing instrumental tracks like the lilting title cut and the gorgeous “Árvores” with exquisitely rendered string parts that seem both featherlight and absolutely essential. As on previous releases, both Kassin and Veloso also return to help out, the former adding sitar, guitars, and synth to the mysterious “Aracne” and the latter singing and co-writing the breezy highlight “Tudo ao Redor.” For his part, Lancellotti remains the captain here, singing, arranging, playing a multitude of instruments, and turning out challenging avant-garde pop on “Asas” and sunny samba rhythms on “Insatiable,” and crooning over eerie synths on the magical “Dama da Noite.”
The Good Is a Big God may be a lofty album rich in layers, details, and rhythms, yet it never flaunts its ambition. Lancellotti is a master of subtlety, gracefully melding his own attributes with the strengths of others to great effect on this excellent sophomore outing. — AMG
320 kbps | 91 MB | LINKS
Tracklist:
1 It Must Be Love (Deve Ser Amore)
2 Chorus for Metronome (Choro Para Metronome)
3 Adagio
4 Berimbau
5 Samba In Prelude (Samba Em Preludo)
6 Winter Song (Cancao De Inverno)
7 Sad Samba (Samba Triste)
8 Song for Jussara (Bercauses a Jussara)
9 Prelude
10 Euridice
11 Bachiana
12 The Girl from Ipanema (Garota De Ipanema)
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