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Thursday, Jan 29, 2009

Willie Nelson is teaming up with one of my favorite bands, Asleep at the Wheel, for an album of western swing tunes, Willie and the Wheel, due out next Tuesday on Bismeaux Records. Western swing typically gets tagged as a form of country music, but it really stands on its own, more like a “hillbilly jazz” or “country swing jazz”. Asleep at the Wheel has been at the forefront of keeping this genre—essentially pioneered by the late, great Bob Wills—alive and vital since the 1970s. Anyone with even a passing familiarity with Willie Nelson’s deep, eclectic catalogue will find this pairing to be nearly ideal. I’ve always said that Willie Nelson is as fine a jazz singer as he is a country singer, in the way he plays and improvises melody and frequently sings off the beat, bringing unexpected rhythms and textures into his tunes. Here’s the first song off Willie and the Wheel, “Hesitation Blues” and a video with Nelson and Ray Benson discussing the project.


Willie Nelson and Asleep at the Wheel
Hesitation Blues [MP3]
     


Buy at Amazon MP3 Store


TOUR DATES
Feb 11 - TV: Good Morning America
Feb 11 - Count Basie Theatre, Red Bank NJ
Feb 12 - FM Kirby Center, Wilkes Barre PA
Feb 13 - American Music Theatre, Lancaster PA
Feb 14 - Stanley Performing Arts Center, Utica NY
Feb 15 - Palace Theatre, Albany NY
Feb 16 - TV: Late Night w/David Letterman
Feb 17 - Civic Center, Roanoake VA
Feb 18 - Bob Martin Agricultural, Williamston NC
Feb 19 - Holmes Center, Boone NC
Feb 20 - Durham Performing Arts Center, Durham NC
Feb 21 - Greensboro Coliseum, Greensboro NC


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Friday, Jan 16, 2009
After a split 7" with Fucked Up and a featured spot on Chemistry of Common Life as well as a performance lined up for SXSW 2009, it's about time people started to notice Katie Stelmanis.

My first prediction of 2009: Katie Stelmanis is going to blow up. She’s been ignored for too long and after her performance at SXSW this year, it’s going to be “Stelmania” (I stole that phrase from her MySpace).


Join Us

Join Us


Katie Stelmanis was already starting to pick up steam in 2008. Almost a year since her nearly unnoticed debut album, Join Us dropped on Blocks Recording Club (a record co-op based in Toronto), Stelmanis was featured on Fucked Up’s Chemistry of Common Life, and split a Matador released 7” with them in late 2008. In 2009, people are bound to pick up on the ethereal and eerie leanings of this powerful vocalist and songwriter. 


The album shares some similarities with the darker side of Kate Bush, but for the most part it’s hard to find an apt comparison to Stelmanis’s slightly operatic, dark, synth-based debut. Rufus Wainwright shares a couple of her characteristics on his more gothic sounding numbers and one could compare certain songs to that spooky Christmas song “Carol of Bells”(I mean this in the best way possible), but there’s nothing completely comparable. The album is well-paced and there is patience and artistry in each composition and they usually swell to commanding and satisfying multi-voiced choruses.


Album opener, “In My Favour”, and the three following tracks are throbbing slow-builds while “You’ll Fall” and “I’m Sick” are classically tinged balladry. In addition to the originals, a highlight is her penchant for atypical cover songs. The album ends with an amazing interpretation of Aretha Franklin’s “Natural Woman” and on her MySpace page is an equally excellent cover of Roy Orbison’s “Crying”. 
Add this to her already impressive oeuvre and you’ve got a success-prone arsenal set to explode in the coming year.


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Monday, Jan 12, 2009
The Silly Kissers are making dense and accessible synth-pop that will be stuck in your head forever.
Love Tsunami

Love Tsunami


Montreal’s the Silly Kissers are making the type of perfect ‘80s synth-pop that can only be made in the late 2000s. All songs are written and produced by the song writing duo of David Carriere and Sean Nicholas Savage and they perform the songs with vocalist Jane Penny and three others. The songs are almost always focused on love; whether it’s love lost, strong love, sad love, all love facets are covered here from male and female perspectives, and at times in a single song (that’s right: lovers’ duets). It seems that only with the passing of 25 years can the synth-pop genre be fully utilized in a stripped-down and self aware format. 


Admittedly, this band is not really breaking new ground, but are creating keyboard-based pop music focused on the most salient and enjoyable aspects of the genre: interesting instrumentation and infectious hooks. The lyrical content often takes a back-seat to the hooks, and borders on the cliché cheesiness you’d expect from genre pioneers like the Human League, but the evident obviousness allows guilt-free appreciation. This is not to say that they’re insincere; the content that they touch upon is standard for any genre, but the abandon with which they tackle their theme is a tip of the hat to their predecessors.  And there certainly isn’t any tongue in cheek in their delivery.


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Tuesday, Jul 22, 2008
Sincerely, Jane - Janelle Monae

One of the most offensively sexist critical crutches is the diminishing addendum of “protege”  applied primarily to female artists subtly hinted to be be ventriloquist dummies for more talented Father-Miyagi male musicians. (see also M.I.A. as Diplo’s protege)  Though Janelle Monae has built a resume as producer, vocalist, writer and arranger, her work with Andrew 3000 and Big Boi apparently makes her their understudies.


I wish the sound quality of this clip could convey “Sincerely, Jane’s” orchestral bombast. Unlike other uses of classical music in songs steeped in the hip hop tradition (where piano loops or violin shards suffice), the song is actually structured in grand movements with Monae displaying an acrobatic range in what amounts to a scalding litany of misery, blistering accusation and disdain for humankind.  In short, it’s fantastic.  Think Shirley Bassey having Marianne Faithful put a cigarette out in her eye.  I also love the crazy clash in her onstage image:  equal parts Grace Jones aggression and small-framed Anita Baker swaying. 


I’m cautiously optimistic about her debut.  Monae reminds me of Macy Gray and Imani Coppola (whose new project Little Jackie is my othersummer obsession) in that she borrows from several genres and the chemistry is either pop perfection or simply dull dilution.  Macy Gray in particular embodies the pitfalls of having a voice with no vision, resulting in songs that generically clip the tips of various fads and frenzies.  I think Janelle has more talent, style and depth, but for every successful genre alchemist there are dozens of Cree Summer’s, Rosey’s, and Nikka Costa’s.


Tagged as: janelle monae
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