Drawing from British folk, avant-rock, and jazz traditions alike, Wintres Woma-- Old English for "the sound of winter"-- is James Elkington's debut solo record, but you've likely heard his masterful guitar playing and arranging, even if you didn't realize it. Elkington (an Englishman living in Chicago) is an inveterate collaborator who brings his lyrical compositional and improvisational sensibilities to any group. He has toured, recorded, and/or collaborated with Jeff Tweedy, Richard Thompson, Steve Gunn, Michael Chapman, Joan Shelley, Nathan Salsburg and Brokeback, to name just a few of his many enthusiastic admirers. His assured album, recorded at Wilco's Loft, is baroquely detailed and beautifully constructed, featuring both his baritone vocals and some of Chicago's finest, including Tomeka Reid.
RIYL Steve Gunn, Michael Chapman, Kevin Ayers, Bert Jansch, Ryley Walker, Jim O'Rourke, Scott Walker, Talk Talk.
"Jim is a great guitarist and a tremendous, empathetic listener." -- Richard Thompson
Entrancing guitarist and singer Jake Xerxes Fussell follows his celebrated self-titled debut (produced by William Tyler) with a moving new album of Natural Questions in the form of transmogrified folk/blues koans. This time these radiant ancient tunes tone several shades darker while amplifying their absurdist humor, illuminating our national, and psychic, predicaments. Featuring art by iconic painter Roger Brown and contributions from three notable Nathans - Nathan Bowles (Steve Gunn), Nathan Salsburg (Alan Lomax Archive), and Nathan Golub (Mountain Goats) - as well as Joan Shelley and Casey Toll (Mt. Moriah).
RIYL: Michael Hurley, Bob Dylan, John Prine, Dave Van Ronk, Jim Dickinson, Raccoon Records, Joan Shelley, Nathan Bowles, Nathan Salsburg, William Tyler, Daniel Bachman, Wilco.
"The professor you always wished you had, the human jukebox, the guitar player and singer who makes any band that he's in better. He's a southern scholar and gentleman in the tradition of Jim Dickinson, George Mitchell, & Les Blank. He's a Dave Van Ronk for SEC country." - William Tyler
"A singular combination of pedigree, experience, education, and talent." - The Oxford American
"Beautifully loose arrangements of playful, resilient songs." - Uncut
"Music that takes us to a deep place in the American spirit." - Art Rosenbaum
The new album by the ever-evolving project of Jaime Fennelly is his most ambitious and spellbinding set of roiling, meditative recordings to date, and the first to supplement his foundational arsenal of Indian pedal harmonium, analog synthesizers, and incantatory voices with a full ensemble, including Janet Beveridge Bean (Eleventh Dream Day, Freakwater), Jim Becker (Califone, Iron and Wine), Haley Fohr (Circuit des Yeux, Jackie Lynn), and Jon Mueller (Death Blues, Volcano Choir). Undying Color braids folk and formal, praise and play, within its heady swells and troughs, invoking American vernacular musical traditions and pulsating avant-garde electronics alike. With prayerful patience and ceremonial gravity, it conjures and celebrates the cyclical rhythms of nature: tidal surges, human breathing, cicadas in the wilderness gloaming.
Deluxe LP edition features 140g virgin vinyl, heavy-duty matte board jacket, full-color printed inner sleeve, and download code for the entire album. CD edition features heavy-duty matte gatefold jacket and LP replica artwork.
After five decades of recording and touring, veteran British songwriter and guitar sage Michael Chapman has finally made what he calls his "American record," and the aptly titled 50 now stands as his late career masterwork, a moving legacy statement by a legend. Backed by a collaborative group of friends and acolytes - Steve Gunn (who also produced), Nathan Bowles (Pelt, Black Twig Pickers), James Elkington (Jeff Tweedy, Richard Thompson), Jason Meagher (No-Neck Blues Band), Jimy SeiTang (Rhyton), and fellow UK songwriting luminary Bridget St John - Chapman tears into both bold renderings of new songs and radical reinterpretations of material from his revered catalog, the crack band adeptly scaling the same rarefied sonic heights of classic Harvest albums like Fully Qualified Survivor, guided by a true survivor's instinct, wit, and wisdom. The result is a sublime chiaroscuro self-portrait, more shadow than light, as an invigorated Chapman wrestles with weighty themes of travel, memory, mortality, and redemption, his world-weary whispers assuming the incandescent power of prophecy.
The deluxe LP package includes tip-on jacket, printed inner sleeve, lyrics, and download card with two bonus tracks; the CD features a gatefold jacket, lyrics, and two non-LP bonus tracks.
Legendary Texan artist Terry Allen occupies a unique position straddling the frontiers of country music and visual art; he has worked with everyone from Guy Clark to David Byrne to Lucinda Williams, and his artwork resides in museums worldwide. Widely acclaimed as a masterpiece, his deeply moving (and hilarious) satirical second album, a complex memory palace to his West Texas hometown Lubbock, is often cited as the urtext of alt-country. Produced in collaboration with the artist and meticulously remastered from the original analog tapes, this is the definitive edition: the first to correct the tape speed inconsistencies evident on all prior versions; the first U.S. vinyl reissue; the first CD to restore the full track listing; and the first to contextualize the record within Allen's 50-year career. Deluxe 2Ã—LP package includes tip-on gatefold jacket with lyrics, printed inner sleeves, download code, and 28pp. book with related artwork and photos, an oral history by Allen, and essays by David Byrne, Lloyd Maines, and PoB. 2Ã—CD edition features replica jacket, sleeves, and tipped-in 52pp. book.
5 stars; '50 Essential Albums of the 1970s.' Eccentric and uncompromising, savage and beautiful, literate and guttural. - Rolling Stone
Raunchy, pithy, and deeply redolent. - Pitchfork
Riveting. - NPR
The music of L.A.-based guitarist, singer, and songwriter Kayla Cohen is mutable and multivalent, richly allusive of the hermetic worlds of private-press canyon-cult mystics and East Coast noiseniks alike. Her adept fingerstyle guitar work - nimble but unshowy, always at the service of framing her plaintively unspooling modal progressions and gorgeous, moonlit voice - centers these melancholy pastorales in a hazy, heat-mirage space equally suggestive of familiarity and distance, community and anomie. Itasca's enchanting, acid folk-inflected PoB debut is also the first to feature a full band.
On his exquisite third solo album, Nathan Bowles (Steve Gunn, Pelt, Black Twig Pickers) again augments his mesmeric clawhammer banjo pieces with piano, percussion, and vocals. Instead of the programmatic place-based narratives of its predecessor Nansemond (PoB-16), Whole & Cloven offers a stoic meditation on absence, loss, and fragmentation, populating those experiential gaps - the weighty interstices and places in-between - with stillness and wonder. Straddling Appalachian string band music and avant-garde composition but beholden to neither idiom, Nathan proves himself heir to deconstructivist tradition-bearers like Henry Flynt and Jack Rose.
Legendary Texan artist Terry Allen occupies a unique position straddling the frontiers of country music and visual art; he has worked with everyone from Guy Clark to David Byrne to Lucinda Williams, and his artwork resides in museums worldwide. Widely celebrated as a masterpiece - arguably the greatest concept album of all time - his spare, haunting 1975 debut LP Juarez is a violent, fractured tale of the chthonic American Southwest and borderlands. Produced in collaboration with the artist and remastered from the original analog tapes, this is the definitive edition of the art-country classic: the first reissue on vinyl; the first to feature the originally intended artwork (including the lithographs that accompanied the first edition); and the first to contextualize the album within Allen's fifty-year art practice.
Deluxe vinyl package includes expanded tip-on gatefold jacket, printed inner sleeve, download code, and 24pp. book with artwork, lyrics, and essays by Dave Hickey, Dave Alvin, and PoB. CD edition features replica jacket, sleeve, and 48pp. book.
A master lyricist. - New York TimesEccentric and uncompromising, savage and beautiful, literate and guttural. - Rolling StoneThe single greatest concept album of all time. - PopMatters Like Willie Nelson's Red Headed Stranger as reimagined by Tarantino. - AllMusic
Recorded live to tape, with no overdubs, on the North Shore of Nova Scotia, Nap Eyes' quietly contemplative sophomore record refines and elaborates their debut, offering an airier, more spacious second chapter, a bracing blast of bright oceanic sunshine after the moonlit alleys of Whine of the Mystic (PoB-20). But the briny, cold Atlantic roils beneath these exquisite, literate guitar pop songs, posing riddles about friendship, faith, mortality, and self-doubt.
For fans of The Only Ones/England's Glory, The Modern Lovers, The Clean, The Verlaines, The Go-Betweens, Bedhead, and all things Lou Reed. With lyrics, color inner sleeve, and download code.
On their most refined and ruefully elegant album, Gun Outfit perfect their incandescent sonic signature: a dusky, canyon-cult blues fueled by melodic dual-guitar weaving and seductive male/female incantations at zero hour. It's the nocturnal sound of desert-damaged L.A. burnout, a soured American surrealism in rock and roll creole: white line fever, paint fume flashbacks, a stranger wading out alone into the black surf. Featuring Henry Barnes (Man Is the Bastard/Amps for Christ) on homemade sitars; engineered and co-produced by Facundo Bermudez (Ty Segall, No Age, King Tuff.)
"Wonderfully evocative, channeling a line of road-worn blues that exudes Zen-like calm and collectedness. Sublimely textured guitars spin off one another into an ether of faded memory, next to skeletal patches of warm, crawling psychedelia. One of the most overlooked guitar bands going." â€“ Jenn Pelly, Pitchfork
"Dylan Sharp is starting to remind me more and more of Lee Hazlewood as both a singer and writer, and Carrie Keith's voice has bent into something between Stevie Nicks and Courtney Love, rasping with beautiful, weatherbeaten soul." - Doug Mosurock, Dusted
"Beautifully miserable."â€“ Impose Magazine
Nashville's finest purveyors of febrile root-work psychedelia return with a dizzyingly accomplished second album that highlights an expanded band (including members of the Paperhead and Fly Golden Eagle); bigger, bolder arrangements featuring more and louder guitars, squally strings, and Steve Gunn; and road-ripened songwriting that veers between the frenetic and tender, recalling Jim Ford, the Pretty Things, the Grateful Dead, Dennis Linde, and the Byrds at their most eight-miles-fried.
Reminds me of Eggs Over Easy & the Link Wray albums - a version of country-rock that isn’t too glossy, that still has gravel stuck in the boot toes.- William Tyler
What the Byrds might have sounded like had Gram Parsons joined the band a year or two earlier. Exemplary!- John Mulvey, Uncut
It has that wonderful bar-band sound. Really fresh!- Ann Powers, NPR
Brisk country-rock tunes that might make a young Gram Parsons kneel down and pray.- PopMatters
The second album of astonishing duets by guitarists James Elkington (who has toured and/or recorded with Jeff Tweedy, Richard Thompson, and Steve Gunn, among others) and Nathan Salsburg (an accomplished soloist deemed by NPR "one of those names we'll all associate with American folk guitar") is a sublime suite of nimble, filigreed compositions by two singular stylists. Belying its title - "ambsace" is the lowest throw of dice; snake eyes - the record thrives on a gentle empathy and generosity of spirit, sitting sneakily protean original compositions alongside gorgeous arrangements of songs by Duke Ellington and The Smiths at the same big hand-hewn table.
"Their playing and guitar tones are so complementary, so perfectly wed that I wouldn't hesitate to put the duo up there with some of the very best acoustic guitar partnerships: Stefan Grossman and John Renbourn come immediately to mind, as does the work of Richard Crandell and Bill Bartels." - Work & Worry
Nova Scotia's Nap Eyes is the greatest band you've never heard, and Whine of the Mystic is their first full-length album, a brilliant small-batch brew of crooked, literate guitar pop refracted through the gray Halifax rain. Recorded live to tape with no overdubs, it's equal parts shambling and sophisticated, with one eye on the dirt and one trained on the starry firmament, inhabiting a skewed world where odes to NASA and the Earth's magnetic field coexist easily with songs about insomnia and drinking too much.
Nap Eyes' keen sonic signature cruises briskly and beautifully along the dog-eared axes of jangle-jaded Oceanic pop music (The Clean, The Verlaines, The Go-Betweens), and through the backpages of Peter Perrett (The Only Ones, England's Glory), via all things Lou Reed and Modern Lovers, without ever sounding very much like anything else happening today.
The first-ever reissue of the private-press country-rock rarity by Colorado auto body painter, Marine, and garage band lifer Kenny Knight—he played in the original `60s Black Flag—Crossroads recalls a homebrew American Beauty-era Grateful Dead in its world-weary, low-key mood and indelible songwriting. Faded, anxious, melancholy, and beautifully woozy, this out-of-time document belies its 1980 release date. Produced in collaboration with Numero Group, it features liner notes by writer and collector Michael Klausman and Kenny himself.
In excess virtue lies danger, or at least limits to pragmatic action—it’s a lesson hard learned by anyone disillusioned by the erosion of youthful mythologies. Strict fealty to a fixed ideal of identity doesn’t do us any favors as adults. Loyalty, the third and finest album yet by The Weather Station (and the first for Paradise of Bachelors) wrestles with these knotty notions of faithfulness/faithlessness—to our idealism, our constructs of character, our memories, and to our family, friends, and lovers—representing a bold step forward into new sonic and psychological inscapes. It’s a natural progression for Toronto artist Tamara Lindeman’s acclaimed songwriting practice. Recorded at La Frette Studios just outside Paris in the winter of 2014, in close collaboration with Afie Jurvanen (Bahamas) and Robbie Lackritz (Feist), the record crystallizes her lapidary songcraft into eleven emotionally charged vignettes and intimate portraits, redolent of fellow Canadians Joni Mitchell, Leonard Cohen, and David Wiffen, but utterly her own.