Sleepwalkers

Sleepwalkers

There are bands you appreciate, and then there are bands you root for. Not because they need the extra backing, but because there’s something that joins your experience with theirs. It could be that their music is so good that you feel passionately that it needs to be heard as widely as possible, and that passion acts like glue — their success is your fulfillment. It could also be the case that you meet the members of a band, and their approach to music aligns with some ideal you hold onto — a picture you’ve painted in your mind after hearing and dissecting an album you love.

All of the above applies to Sleepwalkers, who I had the chance to interview for River City Magazine/West End’s Best in early October. The highlights from that conversation just hit the interweb, and you can read them here (a slightly shorter printed version will hit newsstands any day now). There are two quick things I’d like to add:

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Matuto

Matuto

Almost exactly a year ago, rvamag.com published an interview I did with Matuto, a thrilling and innovative NYC-based group that takes strands from different forms of traditional music — American bluegrass and Brazilian forró being two — and interweave them via fun songwriting and truly spectacular musicianship. At the time, the group was fresh off a sold-out Lincoln Center show where they debuted a new piece called “Africa Suite.” That suite just hit the interweb in the form of an EP, and it’s excellent.

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Why You Should Vote Today

Game of Thrones

The list of Record Store Black Friday releases is available, and guess which deliciously ominous TV theme music is being pressed to vinyl?

DAAAH DAAAH DAHDAHDAH DAAAH DAHDAHDUMMMMMM

That’s right – they’re releasing the music from Season 1 of Game of Thrones, which includes the terrifying theme that plays over the opening credits. I love it – it’s so scary and fun and sets such a fitting mood for what follows. Violence. Deception. Plot developments I don’t remotely understand. Hot damn, I love Game of Thrones.

I thought I’d post the theme music today in case some of you out there were considering not voting in this midterm election.

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Happy Halloween!

Sleepwalkers

My October had an auspicious start — on Wednesday the 1st, I got to sit down for an interview with Michael York and Alex De Jong of Sleepwalkers, who made what many (including me) consider one of the best albums released in 2014. I’ll have more to share about that conversation soon (the issue of River City Magazine they’re featured in will be out in early November), but there’s one detail I didn’t get to include in the magazine piece — the band’s love for holidays.

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Flying Lotus

Flying Lotus

Wanna develop an obsession with death? Create a life.

At some point after my daughter was born — I think a few weeks after — it sunk in that I’d just created something that it’s my duty to ensure outlives me. From a zoomed-out, biological perspective, it’s like “Duh, that’s the point of genes and stuff” but on a personal level, it was a weighty epiphany. I’m not an architect who designs buildings, so I can’t point to some big thing in the physical world that will still be there when I’m gone. You could say (and many have said) that writing is an attempt to create something that endures after death, but if someone were to pull the plug on WordPress/Tumblr’s servers, 98% of everything I’ve written in my life would vanish in an ebbing tide of electricity.

Baby YHT, though — she needs to keep going. Not because I think my genes are superior and the world desperately needs them (my wife’s genes, maybe), but because Mrs. YHT and I brought our daughter into this world, and it’s our job to make sure she lives a long, happy and fulfilling life. When Baby YHT cries, it’s hard not to think “Damn. I did this to you” regardless of what’s upsetting her. It’s a little like that moment in teen movies (I can’t think of an example right now, but I’m sure I’ve seen it) when characters at a sleepover take painstaking steps to summon a ghost, and when the ghost appears, they get this scared and guilty look on their faces that says “Ok, what now?”

My dad didn’t like to talk about death. Even near the end, he had a hard time talking about dying and the necessary arrangements, and he and I never had a final heart-to-heart. That’s partly because I didn’t spend enough time at home when he was sick, and partly because the cancer in his brain affected his ability to speak, but I know from conversations with my mom that he had little interest in talking about what was happening. I can’t blame him — I wasn’t in his shoes and it’s impossible to know how you’ll react to death until you’re staring it in the face — but I’d really like to be different.

Maybe it’s morbid, but I think about death all the time. I live with it. I think about how I can be healthier, so I can see my daughter grow up to be older than I was when my dad died. I think about the family members and friends I love and how much time I’ll have with them. I don’t want death to be the elephant in the room — I want to shrink it by feeding it the attention and respect it deserves so that, eventually, it’ll be just as small and cosmically insignificant as I am. Or, better yet, something I can welcome when the universe decides the time is right.

I think that’s why I’m so excited about this Flying Lotus album.

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William Bell

William Bell

You look tense. How’s your week been? Cray? I feel ya. I think we all just need to relax a little bit.

I’ll tell you how I’m planning to relax tonight… William Bell. The Richmond Folk Festival. Just look at the album cover above — that dude is clearly qualified to help you find a more leisurely mindset.

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brb

Boulder

Thing one: I just landed in Denver, en route to Boulder for a friend’s wedding.
Thing two: Big Head Todd and the Monsters, I just learned, formed at CU-Boulder.
Thing three: Big Head Todd and the Monsters, I just learned, recorded an entire album of Robert Johnson covers with the help of B.B. King and Charlie Musselwhite, among others.

So there you have it.

Big Head Todd and the Monsters (featuring Charlie Musselwhite) — “Come On In My Kitchen” (Robert Johnson cover) [Spotify/iTunes]

Brooklyn Rider

Brooklyn Rider

The first time I listened to The Brooklyn Rider Almanac, I had no idea what was going on.

OK, that’s not entirely accurate. I knew who Brooklyn Rider was, and knew I liked the quartet’s last few releases, especially Seven Steps. And I knew the title of the album was “The Brooklyn Rider Almanac,” but that’s it. When I loaded the album on my iPod and went for a long run, I was stepping into a world free of context.

This doesn’t happen often. I usually end up reading about albums before I listen to them. If unfettered listening is like walking through fresh snow that just finished falling in your yard, the fact that I love reading about music almost as much as I love listening to it means that there’s usually a crowd of opinionated people eager to make snow angels before I do. It’s rare that I can dive in first.

It’s especially rewarding to be the trailblazer when instrumental music is involved. Lyrics and voices allow context to flood in — which language is being used, the emotions the singer conveys, the stories that are being told. But with a string quartet, you really do get to invent things as you listen, things like the composer’s nationality, their inspiration and goals for the piece. Even the form is up for grabs, if you didn’t check to see how many mp3s there were and which ones were grouped together.

I loved my freewheeling stroll through The Brooklyn Rider Almanac. Given the diversity in both style — everything from long, sentimental notes to choppy math-mindedness — and technique — clapping and even some vocals — it really felt like anything could happen. And it was all filtered through the quartet’s signature approach to production, which is both big and crisp, with enough reverb to make passages more momentous but enough energy to make the whole exercise feel immediate and personal. The album had already earned two thumbs up by the time I made it back to my house and learned how ironic that stroll had been.

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