Tag Archives: Clair Morgan

2016 in Review: Top 10 Albums

Last 2016 in Review post — I promise. That said, I lied about the “Top 10” part. I’ve included the rest of my top 25 at the bottom, as well as some albums that I couldn’t resist mentioning, because they’re also amazing.

Without further ado…

1. Lucy Dacus — No Burden

Lucy Dacus

Earlier in December, in a New Yorker piece about her favorite songs of 2016, Amanda Petrusich wrote something that helped me name the reason I so badly wanted to place Lucy Dacus’ No Burden at the top of this list:

Whole musical worlds were invented this year, and, perhaps most notable, listeners seemed better equipped than ever to accept and navigate them. I sensed both a collective ache for progressive work and a willingness to metabolize it.

Between the in-town excitement that accompanied the February release of No Burden, the wave of national acclaim that rushed in, the consistently excellent shows she played all over town, and the poised atmosphere she commanded at each of those performances, Dacus really did establish her own new world here in Richmond. It never ceases to amaze me how truly talented musicians can create something out of nothing but their own experiences and insights. It feels like an exception to the rule in physics that energy can neither be created nor destroyed.

The second part of the Petrusich quote above also resonated — the idea that audiences are looking for something progressive. Something that will move us forward. I sense that in Dacus’ music in large part because meaningful change hinges on truth, and her writing displays an honesty that’s both outwardly and inwardly directed. It’s why she was such a joy to interview, and it’s why her lyrics have so much substance. Would this country still be in the mess it’s in if people took a hard, unflinching look at their own motivations? Probably, but the mess might not be quite so bad.

In these last days of December, I find it impossible to imagine what this year would have been like — what my world would presently be like — without No Burden in it. For that reason, it’s #1 in my book.

Lucy Dacus — “Strange Torpedo” [Spotify/iTunes]

2. David Bowie — Blackstar

David Bowie

In a word, transcendent. Blackstar turned out to be RVA Magazine‘s #1 album, and I was given the opportunity to write about it. I tried to put in context why it loomed so large over 2016, and talking about it ended up being strangely therapeutic. Here’s the first bit:

2016 will be remembered as at least these three things: The Year We Hated and Wanted to End Early, The Year Donald Trump Was Elected and Brexit Happened, and The Year All the Famous People Died. David Bowie’s death in January, just days after he released his dark and jazzy masterpiece, Blackstar, cast a pall over months ahead in which we lost one towering cultural figure after another. Like Prince, Bowie dying felt especially cruel, because of the life-affirming, self-empowering spirit he brought to his art. Bowie was evidence that you can take control of your identity and invent yourself in the image of your choosing, and he carried that artistic approach with him from life into death. His last artistic act was nothing short of transcendent.

David Bowie — “Girl Loves Me” [Spotify/iTunes]

3. Frank Ocean — Blonde

frank-ocean

It was an honor to blurb this one as well for RVA Magazinetake a look here. I couldn’t help throwing a little shade at the start:

While plenty of artists in the realms of pop and R&B were out there cultivating a public persona drenched in faux sensitivity, Frank Ocean was quietly at work, making some of the most powerfully vulnerable music I can remember hearing.

Frank Ocean — “Self Control” [Spotify/iTunes]

4. Radiohead — A Moon Shaped Pool

radiohead

Another one I wrote about for RVA Magazine’s year-end bonanza. Such a beautiful album, such heavy subject matter. A Moon Shaped Pool acts as a reminder that lists and rankings pale in comparison to the lived experiences that make music and lyrics possible.

Radiohead — “Burn The Witch” [Spotify/iTunes]

5. Car Seat Headrest — Teens of Denial

car-seat-headrest

To say that Teens of Denial grew on me would be misleading — you usually hear people say that when they were unsure about an album initially but learned to love it. But Teens of Denial did grow in my estimation in the sense that, every time I listened, Will Toledo’s genius would seem more profound. I was one of the people for whom Car Seat Headrest’s newest album acted as an introduction, despite the fact that Toledo’s already released more albums than many artists release in a career and a half. That said, I recently snagged a used copy of 2015’s Teens of Style at Plan 9, and I hear that same undeniable (sorry) gift for fusing melody and energy. I may be late to the party, but it’s great to be here regardless.

Car Seat Headrest — “Drunk Drivers/Killer Whales” [Spotify/iTunes]

6. Hamilton Leithauser + Rostam — I Had a Dream You Were Mine

rostam

This one probably has the highest ratio of number of times I listened to it to number of words I wrote about it. I did write a quickie review of it for the Winter RVA Magazine, and here’s how I closed it:

Hamilton Leithauser’s smoky vocals ascend seemingly without limit; when paired with Rostam Batmanglij’s knack for producing in styles both old and new, that voice — “the same voice I’ve always had” — soars with an inspiring freedom.

Hamilton Leithauser + Rostam — “Sick As A Dog” [Spotify/iTunes]

7. Drive-By Truckers — American Band

drive-by-truckers

Patterson Hood and Mike Cooley are in a really interesting position right now. They have roots in a red state but personal politics that lean blue, and because they’ve been consistently making some of the best and sludgiest Southern rock around for decades, they have the ears of fans from all over the political spectrum. In my mind, that’s why this album was and is so important — it represents a bridge spanning the huge chasm that separates America’s populated coasts from its rural center. It’s honest, just as the band is honest at their shows about where they stand when it comes to social justice. (“Black Lives Matter” was prominently displayed in their stage setup when they came to The National in November.) At a time when social media algorithms are making it harder and harder to encounter opinions that conflict with your own, the Truckers make me hopeful. Fingers crossed people are actually listening.

Drive-By Truckers — “Surrender Under Protest” [Spotify/iTunes]

8. Bon Iver — 22, A Million

bon-iver

I thought Bon Iver’s self-titled album would be a tough act to follow — maybe impossible — given that it was the realization of such a big, colorful, well-rounded vision. But 22, A Million is proof that Justin Vernon’s vision is a renewable resource. An unexpected joy this album has brought is seeing who it resonates with — identifying other people who like their musical beauty laced with a healthy dose of obfuscation. It’s like we looked at a Rorschach and all came up with the same answer.

Bon Iver — “22 (OVER S∞∞N) [Bob Moose Extended Cab Version]” [Spotify/iTunes]

9. Paul Simon — Stranger to Stranger

paul-simon

In terms of style, Stranger to Stranger is cut from cloth similar to that of Graceland, Paul Simon’s 30-year-old masterpiece. That said, his new album doesn’t feel retrograde, in part because Simon’s witty, acerbic writing seems sharper than ever. (Who else could turn concert wristband drama into a genuinely enjoyable, insightful song?) A piece of advice: If you missed Simon on this year’s tour — I did :/ — check out his recent Austin City Limits performance. It’s excellent and has probably earned squatter’s rights on my DVR by now.

Paul Simon — “Wristband” [Spotify/iTunes]

10. Angel Olsen — MY WOMAN

angel-olsen

I thought about splitting this year’s lists into weirder categories like “Albums I Was Going To Like No Matter What” (Hiss Golden Messenger, Sturgill Simpson) and “Albums I Know I’m Going to Like Later But Haven’t Spent Enough Time With” (Beyoncé, Solange). MY WOMAN made me want to create a category called “Albums By Artists Who Had A Whole Other Gear We Didn’t Know About.” I thought Angel Olsen had truly found her form with her last album, Burn Your Fire for No Witness, but Olsen’s direct, intense writing is just as effective in a setting that calls to mind early rock and roll. This may be my dad’s Memphis roots talking, but I hear a ton of Roy Orbison in MY WOMAN, and “Shut Up Kiss Me” is quite simply one of the strongest songs of the year.

Angel Olsen — “Shut Up Kiss Me” [Spotify/iTunes]

Here’s the rest of the Top 25 I submitted for RVA Magazine

11. Hiss Golden Messenger — Heart Like a Levee
12. Wilco — Schmilco
13. Lambchop — FLOTUS
14. Clair Morgan — New Lions & the Not-Good Night
15. Sturgill Simpson — A Sailor’s Guide to Earth
16. Steve Gunn — Eyes on the Lines
17. Allen Toussaint — American Tunes
18. Dori Freeman — Dori Freeman
19. A Tribe Called Quest — We Got It from Here… Thank You 4 Your Service
20. The Lumineers — Cleopatra
21. Julian Lage — ARCLIGHT
22. Solange — A Seat at the Table
23. Avers — Omega/Whatever
24. Durand Jones & the Indications — Durand Jones & the Indications
25. The Head and the Heart — Signs of Light

…and here are 15 more albums I loved dearly but am too tired to rank…

Thao & the Get Down Stay Down — A Man Alive
Chance the Rapper — Coloring Book
Cian Nugent — Night Fiction
Daniel Bachman — Daniel Bachman
Kyle Craft — Dolls of Highland
Nels Cline — Lovers
The Avalanches — Wildflowers
Colin Stetson — SORROW
Anna Meredith — Varmints
Carl Broemel — 4th of July
Blood Orange — Freetown Sound
Animal Collective — Painting With
Negative Gemini — Body Work
James Supercave — Better Strange
Andy Shauf — The Party

OK, I swear I’m stopping now. If you’re still reading, you’re a peach. See you in 2017.

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2016 in Review: RVA Albums

Lots of great RVA releases this year. Here are a few I particularly enjoyed, with one notable absence that will make sense when I post tomorrow’s list:

Avers — Omega/Whatever

Avers

RVA Magazine let me blurb this one for their best local releases list — check it out here. I wrapped up by saying:

They can crack off a breezy summer jam like “Santa Anna,” power through a charged rocker like “Everything Hz,” or sink into moodier tunes like “Don’t Care” with ease. That’s one reason Omega/Whatever is such a gift — we get the clearest glimpse yet of the plurality of Avers’ abilities.

Avers — “Everything Hz” [Spotify/iTunes]

Clair Morgan — New Lions & the Not-Good Night

clair-morgan

I wrote a longish review of New Lions & the Not-Good Night around the time it was released. I’ve been doing fewer of those lately — writing time is in short supply these days — but I felt compelled to dive deeper into this one, and I think this bit from the review explains why:

There are a lot of good albums out there, but music that can make you feel pure joy is rare. There has to be something about it that worms way down, through the topsoil of everyday stuff — Is this recycling week? Do I need to go to the grocery store on the way home? — to the core of what makes us who we are. The permanent stuff. The stuff that was forged years ago via childhood experiences we may have only snapshot memories of. New Lions & the Not-Good Night… gets to that place.

Clair Morgan — “How To Set Your Bed On Fire” [Spotify/iTunes]

Angelica Garcia — Medicine for Birds

angelica-garcia

I got to see Angelica Garcia perform a happy hour show at The Camel earlier in December. She was drinking tea and commented at one point about the possibility of losing her voice, which makes what I heard — a voice as versatile and expressive as any you’ll find — all the more impressive. In the span of just a few words, she’d jump between talk-singing, pure tones, pop ornamentation, bluesy bent notes, and a rapid waver that feels connected to the vibrato you might find in folk, only more natural and urgent, somehow. Medicine for Birds compiles all these sounds nicely, and while it’s tempting to frame the album as indicative of a wildly promising future, the polish of the production and the quality of the writing and singing make this a destination in itself.

Angelica Garcia — “Orange Flower” [Spotify/iTunes]

Noah-O + DJ Mentos — The Rain

noah-o

I only recently started listening to The Rain, but the partnership it features — Noah-O’s storytelling and DJ Mentos’ classic, jazz-inflected production — is clearly a winning one. They recently put up a vinyl pre-order — I look forward to snagging a copy and getting to know this one in person.

Noah-O + DJ Mentos — “Byrd Park” [Spotify/Bandcamp]

White Laces — No Floor

white-laces

This may turn out to be my favorite White Laces album. I wrote about it a couple of times, once on here and again in RVA Magazine. The latter review struck a heavier tone, since I’d learned by that point that White Laces were disbanding:

Landis Wine’s gliding voice pairs beautifully with synthetic elements that call to mind the ’80s, merging the past and present to create something truly timeless. I know it should feel final, but I’d rather think of it as everlasting.

White Laces — “Cheese” [Spotify/iTunes]

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2016 in Review: Stuff I Wrote

river-city-magazine

So I’m going to attempt to end this jerk of a year with five wrap-up posts in five days. Fingers crossed this works. I tend to overwrite these things until they become albatross-y, so I’ll try to keep things snappy, starting with a quick list of links to music writing I did in 2016. Add in weekly contributions to the Off Your Radar newsletter and an August appearance on Sound Gaze and I can definitively say that this is the most blabbing about music I’ve done in a year.

Many thanks — seriously, too many to mention here — to the people I interviewed and the people who made what I wrote sound better and look prettier. Y’all know who you are, and I hope you also know how awesome and appreciated you are. Lots of fun stuff in the works for 2017. Until then…

Featured Off Your Radar weeks:

For Boomer Magazine:

For Richmond Navigator online

For River City Magazine

For RVA Magazine

For West End’s Best

 

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Friday News and Notes

The SoundView Project

How is it September? September is supposed to be, like, in the future. Not the present.

As tempting as it is to lament the end of summer, one early-September event has me looking forward to the month ahead, and there are a few other links I wanted to share:

  • Today kicks off the SoundView Project, a public art/music event in which Troy Gatrell of Clair Morgan and Way, Shape or Form will write, record, and mix five songs over the course of a month in full view of Broad Street passersby. (Yes, I was excited to pluralize “passerby,” just as I would have been to type “attorneys general,” which I guess I just did.) They’re having a kickoff party tonight during First Fridays to celebrate. Definitely going to stop by at some point to check things out — what a great idea, and it’s being done to raise awareness of the importance of music education.
  • Do you like shiitake mushrooms but lament the lack of songs about them? Your prayers have been answered. (Thank you for the heads up, Travis!)
  • A friend gave me a copy of The Band’s Anthology, which I hadn’t even heard of, for my birthday. A Canadian pressing at that. I have Moondog Matinee, but I clearly don’t listen to it enough, because their cover of “The Great Pretender” snuck up on me. It’s awesome.
  • I reconnected yesterday with Big L’s “Ebonics,” which is exceptional. Steady Sounds posted a pic a while back showing they had a copy of The Big Picture in, and I really should have bolted over there.
  • Speaking of exceptional… Beyoncé’s VMAs medley. Lordy. For whatever this commentary is worth, I just want to throw out there that I think what she did that night and what she’s doing with this album are incredibly important. I didn’t connect with the idea of a visual album before now — I’ve enjoyed her self-titled album greatly without spending much time with the videos — but Lemonade feels different. She’s staking her claim to broader emotional and cultural territory while putting her image front-and-center, as if to say “You know that two-dimensional pop star you’ve been taking for granted? That smiling face you’ve seen a thousand times? You’re going to see what it looks like when I’m pissed, because everything is not OK right now.” Or, put more succinctly, “Who the fuck do you think I is?” I have a huge amount of respect for that.
  • Just two quick show recommendations for Saturday — Stranger Things-inspired 80’s party at the Broadberry, and a great Camel show that will include My Darling Fury and Vexine.

Hope y’all have a great long weekend. Stay dry, East Coasters.

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Friday News and Notes

Commonwealth of Notions

Very special edition of Friday News and Notes: It’s time for Commonwealth of Notions Presents! WRIR and venerated DJ/writer/bassist/Off Your Radar contributor Shannon Cleary are teaming up for a sixth iteration of the always-entertaining and brilliantly booked local music showcase/station fundraiser. 13 bands. Two nights. Two venues. Tonight at Gallery5, tomorrow at Strange Matter. It’s the perfect way to simultaneously support and explore Richmond’s music scene.

In that same spirit, here’s an almost-exhaustive bulleted Bandcamp sampler of what’s about to go down:

Friday @ Gallery5 (suggested donation $5)

Saturday @ Strange Matter (suggested donation $7)

Apologies to K.A. PEDERS, who has music on MySpace but my laptop won’t play it for some reason, and I’m not sure I could embed it regardless. All the more reason to head to Strange Matter on Saturday night!

Click here for more info on both nights.

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Friday News and Notes

Friday Cheers

Lots of fun stuff to check in about:

  • CD Monday update: New Lions & the Not-Good Night is a gift that keeps giving and giving. Even more in love with it than I was before. The band is heading out on tour today — get a taste of what those shows will be like here, and join the band in figuring out what their tour hashtag will be (current frontrunner is #thisisandisnotTOURture2016).
  • One Week One Band did Punch Brothers this week! I  read a fair amount of it, but I’m planning to go back through and make sure I saw everything. Might be my favorite OWOB week since I started following along. Really thorough.
  • Y’all see the Lincoln commercial where Sharon Jones covers “Midnight Rider”? It’s fantastic. You even get a little Matthew McConaughey at the end.
  • It was so rewarding following along on social media as Sleepwalkers played Red Rocks two nights this week. This may be the most excited I’ve been for shows that I wasn’t even going to. The pictures are breathtaking — hit up their Twitter account to check a few out. Prepare for goosebumps.
  • I dunno about you, but I’m fixin’ to hop on that there Bonnaroo live stream a fair amount this weekend. I wrote a thing a while back about about how much I love festival live streams. As a substitute for being able to co-locate and do all of the things at all of the times, they’re pretty snazzy.
  • Another song from the new Avers album hit the interweb! It’s called “Santa Anna” and I’m enjoying it very much. Listen over at USA Today’s FTW site. Speaking of FTW, they came out with a list of the 16 best songs of the first half of 2016 and Clair Morgan’s “Rogue Island” is ranked #5, between Chance the Rapper and ANOHNI. How cool is that?!?
  • No gig tonight, but I feel compelled to share with the world that, at last Friday’s gig, I got to say — all in seriousness — the following sentence into a microphone: “This one’s for the dude in the bouncy castle who requested Skynyrd.”
  • Tonight’s might be the season’s most anticipated Friday Cheers show — Kurt Vile and Richmond’s fast-rising phenom, Lucy Dacus — and I will most assuredly be there. Might even bring my copy of No Burden in hopes that Dacus will sign it. I did just that with my copy of Phil Cook’s Southland Mission album and, while I definitely felt like a nerd doing so, it was well worth it. Also bears mentioning that the National has a crazy run of shows coming up: Death Cab for Cutie tonight, M83 on Sunday, Fitz & the Tantrums on Tuesday, Violent Femmes on Wednesday… not too shabby. And the Broadberry has Lucius on Wednesday. Lots of good stuff to see.

See y’all at Cheers!

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CD Monday

Clair Morgan

A belated happy birthday to Clair Morgan! I am…

  • Thrilled to have had a chance to meet and interview Clair, who is extremely nice and talented
  • Still smitten with New Lions & the Not-Good Night, which is utterly delightful and brilliant
  • Extremely psyched for Toddler YHT to get to know the album (between requested performances of “Old McDonald,” which is getting darker and darker, given that Old McDonald apparently had snakes, tigers, and alligators)

Clair Morgan — “Bryn Mawr” [Spotify/iTunes]

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Clair Morgan

Clair Morgan

I took this picture on Record Store Day at Sugar & Twine in Carytown. Seeing these posters around town has made me so happy, because this album that’s bringing me a great deal of joy is poised to do the same for so many other people.

There are a lot of good albums out there, but music that can make you feel pure joy is rare. There has to be something about it that worms way down, through the topsoil of everyday stuff — Is this recycling week? Do I need to go to the grocery store on the way home? — to the core of what makes us who we are. The permanent stuff. The stuff that was forged years ago via childhood experiences we may have only snapshot memories of.

New Lions & the Not-Good Night (streaming now over at Pure Volume) gets to that place. It’s filled with the wonderment that’s harder to feel the older you get, starting with the album’s narrative concept and cover art, both of which were based on Clair Morgan’s two sons. There are lions and fawns and falcons and masks — things that make me want to close my eyes and imagine an animated world where all of this is unfolding. And, as is the case with the animation I find most affecting, there’s a strong undercurrent of darkness to all of it. Tim Skirven’s stunning cover art isn’t all primary colors — the visual universe he created is somewhat ominous, and a quick glance at the track list lets you know that beds are going to catch fire at some point.

And there are lyrics on this album that just knock me over. I can’t help but nod my head when I hear “Don’t understand how we could be depleted” in “Rogue Island,” given the more than somewhat significant energy disparity between my almost-two-year-old daughter and her more than somewhat occasionally sleepy parents. Speaking of foggy consciousness, “The Sea” pulls you into this great middle ground between waking and sleep, but shakes you awake with a line I can’t stop thinking about: “If your perception is wrong, then let it be.” When I interviewed the band for River City Magazine, I loved hearing Morgan talk about this aspect of the album — the idea that how you experience things as a child is vastly different from your experiences as a parent:

“When you think about an adventure you took as a child,” Morgan said, “when you’re looking through that lens, that really happened. But now you’re looking through a completely different lens, whether you’re an adult or a father, and you look back at that scenario from a completely different perspective. What did you not soak in that actually happened that you were not able to absorb?”

But here’s what’s so remarkable: Even without the cover art and the lyrical arc — if I’d heard “Rogue Island” for the first time on the radio without any context — I think I’d still get to that place of wonderment because Morgan puts so much of that feeling into the music he makes. His last album, No Notes, pointed in this same direction, with these beautiful and complicated guitar patterns that few guitarists could execute once, much less in rapid repetition while singing. It’s positively hypnotizing live — I watch, quickly become overwhelmed, and after moving past the thought of “How the hell is he doing that?” I get to a really peaceful, amazed place. Like a kid who’s purely soaking in information because processing it might mean missing something.

Clair Morgan shows are such rich experiences, and it’s not just because of the guitar work. Morgan has surrounded himself with the perfect set of collaborators — the combination of diverse instrumentation and tight precision means that they can go so much further than most bands in exploring ideas and filling them with color and shape. With New Lions, Morgan’s has truly become a shared vision, and the people who have joined him on this journey seamlessly access and add to the adventurous sensibility that made his music exceptional in the first place. The vibes’ countermelody in ‘The Sea.” The great climbing bass lines and backing vocals in “New Company.” The interplay of the guitars in “Amelia Graveheart.” Together, Clair Morgan the band operates as a machine that can convert dreams to reality, whether they’re voicing tricky harmonies, shifting time signatures or engaging in vivid storytelling. When they start playing, it really feels like anything is possible.

Take a look below at Good Day RVA’s excellent “How To Set Your Bed On Fire” video to get a sense of how the group works as a whole. It’s really inspiring, I think, in the same way that New Lions & the Not-Good Night is. To get an even better sense, head to the Broadberry on Friday for the New Lions release party. The lineup is stacked —  Manatree, Spooky Cool, Way, Shape, or Form — and you can get your hands on your own copy of the album, which promises to be a 2016 bright spot, both here in Richmond and elsewhere.

Clair Morgan — “How To Set Your Bed On Fire” [Soundcloud/iTunes]

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Friday News and Notes

Broad City

Happy Friday! A few news and notes items before you hit the club:

  • Congrats to Clair Morgan on the USA Today/FTW song premiere! Very exciting to see this record off to a great start, because it’s damn good and lots and lots of people need to hear it. Can’t wait to spin my vinyl copy. Be sure to check them out tonight at Hardywood!
  • THIS IS NOT A DRILL… BATTLES IS REISSUING MIRRORED. This has been on my holy grail list for a while — one of the albums I’m most jealous that my sister and brother-in-law have and I don’t. I seriously check the “B” section of every record store I go into, just in case. Very excited about this development.
  • I found a used copy of Godspeed You! Black Emperor’s Yanqui U.X.O. this week. Such an interesting album. I actually hadn’t heard it, but recognized the cover and gave it a listen in the store. Really tense and beautiful, but one of the most compelling things about it is when it was released. Post 9/11 but pre-Iraq invasion. What an eerie time to look back on.
  • Gorgeous new song from Moses Sumney. Feels like he’s pushing into more realized territory with each song he releases. (Here’s a thing I wrote after seeing him open for Sufjan.)
  • I have a gig Saturday night at Capital Ale House opening for the SteppinStone reunion, but another great Saturday shindig will be happening over at the Broadberry with Southern Belles. Either way, you can’t lose.

Three of the last four teams in the tournament will lose between now and Monday… hope yours wins!

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Friday News and Notes

Nap

What a batshit crazy week. I need a nap. Some good/fun/tuneful stuff did happen, however:

  • There’s a new Kendrick album! What?!? I haven’t listened, but that’s going to be my reward after I get through today’s workday and tonight’s gig.
  • I went on a Bandcamp binge on Tuesday. It started when Steady Sounds posted about Les Filles de Illighadad, a Sahelsounds album (great label — check out Music from Saharan Cellphones if you haven’t yet) of Tuareg music recorded in rural Niger. Listening to this — the first side especially — was probably the most peaceful thing about this entire week.
  • The binge continued when Spencer Tweedy posted something about chris cohen (always styled that way, it seems, like e e cummings) releasing a new album. I went to check out his last one and am now bonkers for its first track, “Monad.” The bass is really interesting, I think. Makes it a totally different song.
  • I’d really like to find time to write about the Patty Griffin/Sara Watkins/Anaïs Mitchell and Son Little shows — both were excellent — but in case I never do: Both were excellent.
  • Clair Morgan sent out a note saying his Monday Meetup at Don’t Look Back is switching from weekly to monthly. I haven’t made it to a single one of these, which I feel like a jerk about, but I am going to rededicate myself, because I think it’s a really great idea, and he’s a really great person in a really great band. Also… tacos.
  • Every week, Rough Trade pushes back the vinyl release of Natalie Prass’ Side by Side EP, which makes me feel like this. Maybe next Friday will be the week. Fingers crossed.
  • Were I not playing a gig tonight, you know damn well where I’d be — at the Broadberry, helping Lucy Dacus celebrate the release of her triumphant debut album. I’m jealous of all you lucky people who get to go, but I hope y’all have a fun night.

And I hope all y’all have a great weekend!

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