Folk Stories - A Country-Folk Topic

[Homunculus1510]

Capisco il fatto che AFX non lo sopporti, ci sta.
Però appena mi sarò sistemato un attimo io questo lo voglio ascoltare, finora non ha sbagliato niente tranne la lunghezza di Pure Comedy, che era davvero l'unico difetto.

[AFX]

tornano i Saintseneca

SAINTSENECA annunciano il nuovo album
PILLAR OF NA
In uscita il 31 agosto su ANTI- RECORDS

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Saintseneca has just announced a new album titled Pillar of Na, with its glistening lead single, "Frostbiter." NPR, who premiered the song on the All Songs Considered blog, is saying "For Saintseneca, fatalistic gloom blends seamlessly with a kind of playful sprightliness: Zac Little's songs often simmer in a sad swirl of death and esoterica, but his deadpan ruminations are buoyed by the sounds of exotic instruments, candy-colored pop hooks and many points in between."

Saintseneca's Zac Little says "I think of this song as a big tree trunk in the woods where people carve their messages - initials, jokes, 'I love you' hearts... It is a work of accumulation. A little space absorbing traces of its environment over time. Every mark corresponds to a different story. Some of them are mine. Some belong to others, yet feel all too familiar."

Pillar of Na is available for pre-order now and due out 8/31 via ANTI- Records.


LISTEN TO "FROSTBITER"


ABOUT SAINTSENECA:

Saintseneca's Zac Little has been thinking a lot about memory. Not necessarily his memories, though they creep in often, too. Rather, he mulls over the idea of memory itself: its resilience, its haziness, how it slips away as we try to hang on, the way it resurfaces despite our best efforts to forget.

Memory is the common thread running throughout the Columbus folk-punk band's fourth album, Pillar of Na, arriving in August 31st via ANTI- Records. Following 2015's critically lauded Such Things, the new album's name is rooted in remembrance, referencing the Genesis story of Lot's wife who looks back at a burning Sodom after God instructs her not to. She looks back, and God turns her into a pillar of salt. "Na," meanwhile, is the chemical symbol for sodium. "Nah" is a passive refusal and the universal song word. It means nothing and stands for nothing. It is "as it is."

Like Lot's wife, Little cannot help but revisit where-and how-he grew up. Raised in church in southeastern Appalachian Ohio, he took up preaching when he was still a teenager, sometimes in small country settings and other times to congregations of thousands. But these days he's more interested in listening. And questioning.

Musically, Pillar of Na is Saintseneca's most ambitious album to date, with Little aiming to incorporate genre elements he'd rarely heard in folk. "I wanted to use the idiom of folk-rock, or whatever you want to call it, and to try to do something that had never been done before," Little explains. "To reach way back, echoing ancient folk melodies, tie that into punk rock, and then push it into the future. I told Mike Mogis I wanted Violent Femmes meets the new Blade Runner soundtrack. I'm looking for the intersection between Kendrick Lamar and The Fairport Convention."

[AFX]

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nonostante le orribili copertine, voglio comprarmi Eureka e Insignificance di Jim O'Rourke


il suo periodo con i Sonic Youth, Wilco e Loose Fur è troppo figo. Questi due dischi come pure il più recente, pure.

Jim O’Rourke returns with his first physical solo album since 2015’s 'Simple Songs', following a relatively steady supply of download-only releases via his Steamroom Bandcamp (over 20 of them since 2015) and collaborations with John Duncan, Keiji Haino, Oren Ambarchi, Peter Brötzmann, Merzbow, Fennesz and others in the interim.

Anyone familiar with his exceptional Steamroom output will have an inkling of what to expect here; this is Jim O’Rourke at his most meditative, absorbing and quietly subversive, making use of little more than synthesizer, pedal steel, piano and shortwave radio for one extended 45 minute piece (punctuated by a few moments of silence) designed to mess with contemporary notions of “Ambient” music.

The album took O’Rourke two years to construct after being approached by the fledgling Newhere label to submit an Ambient album. As he explained recently in an interview with ele-king: "I didn’t set out to make an ambient record but it’s sort of about making an ambient record more than it’s an ambient record (laughing) you know? Pretty much everything I do is about what it is as opposed to being it. Just making any record in terms of “make a record in this genre” is anathema to me, but I decided to do it because it was such a revolting idea! (Laughs) Not that I dislike ambient music – I don’t mean that. That’s just not the way I think when I make things, so it was such a bizarre proposal that I decided to do it.”


The result is a layered and complex piece that takes multiple listens to fully get to grips with, revealing layers of detail deployed within a structure that seems to evaporate into its surroundings. In that respect, Sleep Like It's Winter subverts its brief with an incredible sleight of hand; a piece of music designed to actively, deeply engage but which camouflages itself into the background. It operates within the grid, however faint and hard to define.

"For me, in making this record, the most important thing was, “Where is a line where you decide to give up on formal structures completely?” and, “Where is a line where formal structures can still be perceived but they’re not being shouted at you? For me, in that way of thinking of music, which I’ve been moving towards my entire life slowly but surely (laughs)…"

[The Sheltering Sky]

Sì, molto in linea con i lavori a nome Steamroom. La notizia sta, più che altro, nel firmarsi col proprio nome. Primo ascolto valido, però ecco, spesso in questi casi rimane l’unico.

[AFX]

c'è il disco dei Death Cab for Cutie in giro
Ben Gibbard is our friend, or not?

[AFX]

https://alexandertucker.bandcamp.com/al ... -look-away
Aug. 23 - Perugia, IT - T-Trane Record Store
Aug. 24 - Avellino, IT - Godot Art Bistrot
Aug. 25 - Recanati, IT - Dong Festival

https://www.thewire.co.uk/in-writing/in ... -interview

Alexander Tucker

[AFX]

c'è il disco dei Death Cab for Cutie in giro
Ben Gibbard is our friend, or not?

poppetto american lo-fi da studio, innocuo
senza utilizzo

[AFX]

http://doyourealize.it/fleet-foxes-crack/ fleet foxes
il voto se lo meritano

pare che Pecknold abbia postato su Instagram dei demo. Forse ci sono anche loro nel 2019

[AFX]

Relegare Bob Dylan in questo topic pare brutto, ma finora non ne ha uno tutto suo

inoltre scrivo per parlare di questo (con Daniel Lanois in produzione) che è probabilmente, secondo la critica, il suo migliore in studio dal 1980 in su, e che è folk solo di radice, avendo un suono rock ruvido da club americano.
Ascoltatevill'

[AFX]

sto ascoltando questo. Come progetto è interessante. Ma è sempre difficile amalgare più voci in un disco solo.

Uscita 2019

Mercury Rev annunciano oggi il loro nuovo album Bobbie Gentry's The Delta Sweete Revisited, in uscita l'08 febbraio su Bella union. L'album è una rivisitazione del capolavoro dimenticato di Bobby Gentry e vede la collaborazione di numerose cantanti, tra le quali Norah Jones, Hope Sandoval, Beth Orton, Lucinda Williams, Rachel Goswell, Vashti Bunyan, Marissa Nadler, Susanne Sundfør, Phoebe Bridgers, Margo Price, Kaela Sinclair, Carice Van Houten e Laetitia Sadier.

Bobbie Gentry's The Delta Sweete Revisited è il tributo devoto e affettuoso ad un album che aveva anticipato di ben tre decadi il loro album definitivo del 1998 Deserter's Songs, una spedizione nell'America trascendentale. Dal loro rifugio per registrare, nelle Catskill Montains di New York, i membri fondatori Jonathan Donahue e Grasshopper con Jesse Chandler (precedentemente nella band texana Midlake) onorano il trionfo creativo di Gentry con ingegno ed eleganza. E non sono soli. Le storie di Gentry sono portate a nuova vita da un cast di cantanti tra le quali Hope Sandoval dei Mazzy Star; Laetitia Sadier, un tempo negli Stereolab; Marissa Nadler; Margo Price, la nuova star del country dal cuore punk rock; Susanne Sundfør dalla Norvegia in "Tobacco Road"; Beth Orton in "Courtyard"; Phoebe Bridgers che come un angelo porta calma e conforto in "Jessye' Lisabeth".

Nell'LP del 1968 Gentry apre con un richiamo esultante, "Okolona River Bottom Band", come se stesse conducendo un ballo in un granaio con i Rolling Stones e gli Hot Five di Louis Armstrong. Norah Jones introduce se stessa con sensualità, come Sarah Vaughan a capo di un coro. In "Sermon", Margo Price canta come una sopravvissuta all'esplosione di colore e groove innescata dai Mercury Rev: un pezzo forte nella storia del band, con The Light In You del 2015 e See You on the Other Side del 1995.

Gentry è ancora presente nonostante i cambiamenti. Il suo altalenare dall'orgoglio al dolore nella confusione malinconica di "Penduli Pendulum" ("When goodbye serves as/My one amusement") è ancora più esplicito nella versione di Vashti Bunyan che con la sua intimità si pone in contrasto alla brillantezza giovanile di Kaela Sinclair, ora parte del progetto elettronico M83. E in "Courtyard", il finale disperato di archi e arpeggi di chitarra diventa, grazie ai Mercury Rev un krautrock dove la cantante inglese Beth Orton vaga, come Gentry, attraverso le rovine di una perdita profonda e memorie lontane.

"Ode To Billie Joe" non c'è nella versione del '68 di Delta Sweete. Ma i Mercury Rev tornano a quel tavolo imbandito per la cena, con Lucinda Williams, creando un legame ispirato, richiamando i fantasmi e i problemi del Sud, ancora presenti. Gentry, che si ritirò dalle scene negli anni '70, pare che viva ad un paio d'ore di macchina dal ponte che la rese famosa, mentre gli spiriti che libera con The Delta Sweete sono ancora irrequieti e coinvolgenti come 50 anni fa.

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About Bobby Gentry

It slipped out of a Mississippi of hot biscuits, genteel table manners and working-class sense, suddenly overturned by a grave sinning and suicide. Carried on an evening breeze of strings and a supple, foreboding voice like sensually charged breath, "Ode to Bilie Joe"—Bobbie Gentry's 1967 debut as a singer-songwriter and a Number One single for three weeks in the late Summer of Love—was the most psychedelic record of that year not from San Francisco or London, as if Bob Dylan, Neil Young and Brian Wilson had conspired to make a country-rock Pet Sounds. Except Gentry, just 23 when she wrote the song, got there first, in miniature.

Gentry's hit was a revolutionary act, a quietly thorough feminism in vision, deed and success amid the strict, paternal order of the country-music industry. And it was her license to thrill again. In October 1967, while "Billie Joe" was still in the Top Five, Gentry began recording The Delta Sweete, a connected set of a dozen songs that extended the narrative dynamics of that single with personal reflection and set her folk-siren charisma in a richer frame of dream-state orchestration, swamp-rock guitars and big-city-R&B horns.

In her eight original songs for the album, Gentry drew from her childhood and church life on her grandparents' farm in Chickasaw County, Mississippi: the girl-ish craving for a beautiful dress in "Reunion"; the rise-and-shine of "Mornin' Glory"; the stern Sunday lessons in "Sermon," based on a traditional hymn also known as "Run On." The covers were boldly chosen: Mose Allison's chain-gang blues "Parchman Farm"; "Tobacco Road"'s litany of trial; the Cajun pride in Doug Kershaw's "Louisiana Man". Gentry also turned them to new purpose and even gender. "Gonna get myself a man, one gonna treat me right," she sang in Jimmy Reed's "Big Boss Man" with heated assurance.

But The Delta Sweete—released in March, 1968, only three months after Dylan's John Wesley Harding and right as the Byrds came to Nashville to cut Sweetheart of the Rodeo—was too soon in its precedence. Gentry's LP, the first country-rock opera, was ignored on arrival, not even cracking Billboard's Top 100. It was as if Billie Joe had risen out of the Tallahatchie River and thrown that record off the bridge instead.


—David Fricke