Pete Lawrie Winfield makes music as Until The Ribbon Breaks, stark music with a good deep vibe; Massive Attack or James Blake would be good touchstones. Until The Ribbon Breaks doesn't have much music out yet, but "Pressure," a new song, has urgency. "'Pressure' was written at a time of upheaval and transition for me," Winfield writes. "I was sleeping at my studio and had no idea what I was going to do next.
Kurt Vile is sometimes known as a shredder, which isn't exactly right. His guitar playing is accomplished, but it doesn't blow your hair back so much as wrap it gently in a worn, sun-bleached kerchief.
Deafheaven makes music that's both intensely personal and incredibly universal. Its excellent 2011 debut, Roads to Judah, was a blast-beaten, shoegaze-indebted metal record that felt perfectly of its moment. With the new Sunbather coming up so quickly, I wondered where primary members George Clarke (vocals) and Kerry McCoy (guitar) could take a band with such an immediate sound. Apparently, I needn't look further than the Internet.
He's 66 years old, has beaten his body beyond belief and Iggy Pop will still out-rock you. We kick this week's All Songs Considered off with a cut from his new record with The Stooges, Ready To Die. Hosts Bob Boilen and Robin Hilton chat about Iggy and the rest of this week's mix from different cities.
Originally published on Sun April 28, 2013 7:13 pm
My dreams are never like Chris Kittrell's "Sea Of Dreams," but I wish they were. Watching this animation will be as close as I get. Chris Kittrell is a founding member of the band Baby Alpaca, the director of the video for the band's song, "Sea of Dreams," and the source of the video's concept — or at least his unconscious mind was.
"I got the idea from a dream I had," Chris Kittrell writes. "The whole scene was very Dada-rock. Stage set out to sea. Time and objects drifting by. Guitar riffing in the air. I love how nonsense and intuition can lead to invention."
Originally published on Sun April 28, 2013 7:12 pm
Ever walked into a nearly pitch-black room after roasting on sun-beaten asphalt, only to sweat it out with a host of the moshing unwashed? No? But what if candles were involved — would that make it classier? Granted, there's an antelope skull mounted on the candelabra, and there's some skin-crawling metallic noise gurgling from the backs-turned band members onstage. Maybe that's just a Thursday night for Dragged Into Sunlight. But it was also last year's setup for the experimental U.K.
Music videos are like funny math, where 1+1=3. That is, images have a meaning on their own, music has a meaning when you listen to it alone, but put images and music together and something new is born. 1+1=3. Try it randomly: put on a piece of music and watch a cartoon or an old movie ... people did it famously with The Dark Side of the Moon and The Wizard of Oz.
Among hell-raising tour stories and loving odes to his wife Sharon, there's a nugget in I Am Ozzy, the entertaining autobiography of the original Black Sabbath vocalist, that sticks with me: Ozzy Osbourne loves The Beatles. The Prince of Darkness, mind you. I kept that in mind while listening to "Valley of the Dolls" from Mind Control, the third album by the U.K. doom-metal band Uncle Acid & The Deadbeats.
On this week's All Songs Considered, hosts Bob Boilen and Robin Hilton settle into the new NPR Music offices and discover that it comes with their very own butler. After bumbling around in the studio, they also manage to figure out all the new gear and share some great new music.
Originally published on Mon April 22, 2013 1:47 pm
The songs of Yellow Red Sparks, a folk-pop trio based in California, are twisted tales told through cinematic, often epic orchestrations. In the group's spectacular and creepy new video, for the song "A Play To End All Plays," a couple's failed relationship is acted out like an old circus sideshow before a finger-wagging audience. Frontman Joshua Hanson, who appears as the play's host, indicts the lovers with a surprisingly infectious melody and old-timey instrumentation.
Originally published on Thu April 25, 2013 6:24 pm
This past week we lost one of the greatest album cover art designers of all time. Britain's Storm Thorgerson, who died last Thursday, was just 69 years old. He'd spent more than 40 years designing and orchestrating some of the most iconic album covers of all time. Even if you don't know the name Storm Thorgerson, you know his work. That prism on the cover of Pink Floyd's Dark Side Of The Moon? That was his.
Originally published on Sat April 20, 2013 4:07 pm
It's a perfect illustration of the current age of music fandom that this year's Record Store Day comes at the end of the week when Twitter introduced its music service — an online streaming music tool that tethers discovery to acquaintances who probably know your taste about as well as the checkout girl at the grocery store does.
Originally published on Sat April 20, 2013 8:08 am
Albums that act like sketchbooks can be brilliant in their own messy ways, with tossed-off riffs or unfinished beats that offer a glimpse into the creative process. The uncategorizable Wreck and Reference has released two weirdly heavy and unnerving records thus far — Black Cassette and Youth (pronounced "No Youth") — by scribbling together doom metal, industrial, drone, noise and whatever else with drums, guitar and a Korg sampler.
Originally published on Fri April 19, 2013 7:10 am
It was probably the best performance piece I've seen in more than a decade. Specific Ocean, a piece by the dance troupe/rock band People Get Ready, which I saw at the New York Live Arts theater in the fall, was a model for the ways musicians can break from the standard, sometimes boring, format of playing on a stage. Some of the songs from Specific Ocean ended up on the group's 2012 self-titled album. Now there's a video, a documentation of that amazing New York performance, featuring the song "Middle Name."
It's incredibly calming to watch Glenn Jones play acoustic guitar. Whether he's appearing by the train tracks or in one of our Tiny Desk Concerts, there's nothing flashy about his style, only careful consideration as he gently hops over the frets like a lily-padding frog.
"Deep inside the heart of this crazy mess, I'm only calm when I get lost within your wilderness."
That's a key line in this song, "Joy," by Iron and Wine, the project of Sam Beam. Sam is a songwriter who has a way of making the personal very universal. It's also the line that piqued the interest of director Hayley Morris, who made a video for "Joy." Morris writes to us:
There's something to be said for unconventional artists who can still connect to an audience. The band Broadcast funneled oddball library-catalog music through dreamy space-pop. Shabazz Palaces is hip-hop's cubist Sun Ra. Altar of Plagues, which works outside the roots of black metal, knows a thing or two about unconventional sounds. But the Irish band has, until now, strictly been a longform outfit, stretching drones and abrasive tones across sides of vinyl.
Originally published on Thu April 11, 2013 11:14 am
I first met Thao Nguyen in 2008, in the earliest days of the Tiny Desk Concert series. I was a big fan of her witty, catchy songs. After she finished playing the Tiny Desk, Thao said something that has endeared me to her forever. Walking toward the elevators on her way out of NPR, she said, "That was intimate and awkward ... a lot like my last boyfriend!"
Originally published on Thu April 11, 2013 8:27 pm
Tom Angelripper has been a part of the brash German thrash-metal game for more than 30 years now. Sodom's damning 1989 anti-war screed, Agent Orange, is a bona fide classic, but the impeccably named bassist and vocalist still has plenty of targets to hit and thundering bass riffs to deploy. Therein comes crashing "Stigmatized" from Sodom's 14th studio album, Epitome of Torture.
The Postal Service was a band for a generation — the soundtrack to romance, tears and friendship. More than a million people bought its first album, 2003's Give Up, then waited anxiously for a follow-up that never arrived.