In Case You Missed It: The Music of Joe Henry

Here is the latest installment of an occasional series here at Tone Marrow, for now titled, “In Case You Missed…[It/Them/Her/Him],” in which I try to highlight an artist, band, record, or some other thing which I fear may not have gotten as much attention as it should have. Today, I highlight a musician, Joe Henry, who  has not gained the attention he deserves.

How, oh, how, did I make it this long without hearing about the great Joe Henry? Josh Hurst of The Hurst Review introduced me to Joe Henry this year, though I like to think I would have discovered him on my own eventually. Perhaps its the name; “Joe Henry” that kept him from my attention for so long–it certainly is not the most memorable or note-worthy name. Yet, with talent this big, it shouldn’t matter if his name were simply “John” or “Bob,” Joe Henry’s music really ought to be heard. Mr. Henry began his career as a country music singer/songwriter in the late eighties and early nineties. But it was in the late nineties, when Henry began to experiment with other styles and genres that his musical genius began to really shine forth and he has broken new ground on each of his albums of the last decade.

Not only does Henry spend time writing, performing, and producing his own records, he has also become quite the producer for others in recent years, working with Elvis Costello and Allen Toussaint, Susan Tedeschi, Bettye LaVette (helping resurrect her career in the process), Loudon Wainwright III, Rodney Crowell, and others. He has clearly demonstrated his penchant for bringing the best out of those he works with–revealing that his  talents for producing are equal to those of his songwriting and performing–making him a dangerous triple threat. So, I highly recommend looking into the works of Joe Henry. Though I have heard five of his records, let me describe the three with which I am the most familiar (these just so happen to be his three most recent records).

Scar (2001)

Scar opens with what might be my favorite song by Henry, a slow, creeping elegy called “Richard Pryor Addresses a Tearful Nation,” which stretches over the six minute mark and features a spine-tingling alto saxophone played by legendary free jazz innovator, Ornette Coleman. The way Henry delivers the lyrics in his mournful, smokey voice adds another layer to the funereal tone of the song. Were the rest of this record merely white noise, it would still be worth the price just for this number. Fortunately, the rest of the album is far from white noise. The songs spill into each other highlighting the textural and thematic connections these songs share. The whole album comes to a close with the title track, a moving, haunting song that serves as an appropriate bookend and balance with the opener. “Scar” is certainly the only track that rivals the opener in music and words, though there really isn’t a bad song in the bunch. It’s a record that explores heartache and the human experience as few other records have and it continues to dazzle with each listen. It slowly opens up upon each spin, inviting the listener in a little further, revealing its beauty over time, not completely unlike a “mean flower.” Rating: 4.0/5.0

Tiny Voices (2003)

There is a clear sense of movement and progression from Scar to 2003’s Tiny Voices. Henry wisely carries over the jazz elements from Scar but gives them much more prominence on this record. Nearly every track makes use of a small, jazzy horn section in the background. Also, the tendency for songs to spill into each other on Scar is used brilliantly on Tiny Voices. The entire record feels like one piece, one unified body as each song flows gracefully into the next. The horns add a thick atmosphere to the record as they move and breathe behind Henry’s guitars and piano. At times, the horns dabble into the traditions of jazz fusion and free jazz adding a sense of foreboding chaos–but always at exactly the right moments, when the emotional peaks of the words and music are at their highest. AllMusic’s Thom Jurek describes this record as “the sound of Hemingway contemplating the Cuban Revolution with William Gaddis, the sound of Buddy DeFranco and Jimmy Giuffre trying to talk to Miles Davis about electric guitars in an abandoned yet fully furnished Tiki bar in Raymond Chandler’s Los Angeles.” Though I understand the sentence, it still bewilders me–yet, on one level that description with its literary, musical, and cultural references captures perfectly the essence of a record with the grand musical scope, thematic depth, and haunting beauty of Tiny Voices. There are probably only a few records with as much depth and texture as Tiny Voices–and those elements are not wasted here as Henry crafts a record that is so beautifully complex, it can be returned to countless times only to be found as fresh as it was on the first listen. Rating: 5.0/5.0

Civilians (2007)

On 2007’s Civilians, Henry leaves behind the haunting horns of Tiny Voices in favor of a stripped down sound that keeps the focus on voice, piano, and guitar. Henry’s songwriting is stellar on this record–though the songs seem deceptively simple they never become tiring or stale, but attain almost a timeless, fresh quality about them. It was brilliant for Henry to juxtapose the complex landscapes and atmosphere of Tiny Voices with the open air and bare bones of Civilians as they sit side-by-side in Henry’s oeuvre. While Tiny Voices brings the listener back with its seemingly endless depths, Civilians brings the listener back because of its accessibility and simple, gorgeous melodies. The two records create a one-two punch that stand nearly insurmountable. Though, Civilians may sound naked compared to Tiny Voices on the first listen, it really has just as much, if not more, lyrical weight. One benefit of the simpler songs is the added focus that is placed on the words. Nearly every song on Civilians makes mention of God and explores the ways that humans relate to one another and to their Creator. Another artist whose lyrics often focus on God and Christianity (to the point of obsession) is Nick Cave. Cave seems to be haunted by God and Christ. He often questions the very existence and personality of an absolute personal being like God as well as the tenets of Christianity, yet, Mr. Cave cannot seem to stop writing songs about these subjects. Joe Henry certainly does not fall in that category–he is not trying to prove or disprove God in these songs, but merely trying to explore the reality of a life that involves both God and mankind. The record is almost a meditation on these subjects, and it provides an unforgettable listen. Rating: 5.0/5.0

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Do yourself a favor and look into the works of Joe Henry, specifically the three records mentioned above and keep an eye out for future work from this brilliant musician.

I’m Thankful for Good Songs

I have much to thank God for on this Thanksgiving Day. After faith, family, and friends, one of the things I’m thankful for is good music. Here are a few songs from the past year which I’ve been really thankful for recently. All but one of these songs was originally released this year, and all of these videos are of live performances from this year.

Yeasayer — “Sunrise”

Yeasayer’s 2007 debut All Hour Cymbals is quite a good record, which I did not hear until 2008, and it has a killer opener in “Sunrise.” Here is a fun, live performance of the song on the British music show “Later…with Jools Holland” from earlier in 2008. Watch as the lead singer channels Ian Curtis’ seizure-like dance moves and get a feel for their distinct sound which they describe as “Middle Eastern-psych-snap-gospel.”

She & Him — “Change Is Hard”

A pleasant surprise this year was the debut of She & Him (aka Zooey Deschanel and M. Ward). Their record, titled Volume One, is a wonderful set of songs heaviley influenced by 1960s pop and country music. M.Ward has found in Zooey Deschanel someone with the same taste for these old-fashioned styles. It’s a great record, and here is a great song from it performed on “The Late, Late Show with Craig Ferguson.”

Fleet Foxes — “Blue Ridge Mountains”

Lots of well-earned buzz surrounding these guys. Here is one of my favorite songs from their self-titled 2008 record performed on “The Late Show with David Letterman” in their network television debut.

Stephen Malkmus & The Jicks — “Hopscotch Willie”

Great album. Great song. I’m not sure what this video is from, but it is Stephen Malkmus minus the Jicks performing a much shortened acoustic version of “Hopscotch Willie” while walking around Paris at night. This is good, but I highly recommend the version on 2008’s Real Emotional Trash with the Jicks that features a lengthy jam session in the middle of the song.

Stephen Malkmus & The Jicks — “Wicked Wanda”

Another track from Real Emotional Trash. Malkmus is still inexplicably walking around Paris. This song actually works so well as a solo acoustic number that I couldn’t resist posting it as well.

Enjoy! And Happy Thanksgiving!

Fleet Foxes: Fleet Foxes [Better Late Than Never]

This is another installment of Tone Marrow’s occasional series of missed reviews titled “Better Late Than Never.”

It is very possible that 2008 will be remembered by some as “the year of Fleet Foxes.” There has been lots of buzz and praise heaped on this five-piece from Seattle in ‘08, to say the least. In January some of their songs appeared on Myspace, then they released their Sun Giant EP in the spring, and dropped their first full-length record, which is self-titled, in June. If you have an internet connection, two ears, and you do any amount of perusing on pop music sites and blogs then you have likely already heard the splendid harmonies and old-fashioned elements of Fleet Foxes.

Fleet Foxes walk a fine line as they have made a record that features fresh originality and classic nostalgia so well. The harmonies are a straight throw-back to the The Beach Boys, the melodies and tunes are clearly dependent on the great folk rock and pop of the 60s and 70s, and yet Fleet Foxes take these elements and create a record that sounds so new and crisp. In that way, Fleet Foxes is almost an enigma, with one foot in the past and one in the present, there are elements here that will likely appeal to almost any person who has enjoyed pop music in the last forty years. Not only does the music point back to simpler times, the lyrics are very pastoral, focusing on animals, fruit, plants, forests, mountains, and other components of the natural world. There are only a handful of lyrics that would give any indication that these songs were created in the context of a technological society. This only adds to Fleet Foxes’ appeal and charm as it causes them to seem timeless and representative of peaceful, simpler times. It is the very neglect of technology that helps make this record so warm and unique among its indie peers.

Fleet Foxes begins on an old-fashioned country-folk number, “Sun It Rises,” which opens with an acapella choir that sounds like it was recorded in a small, Southern church back in the days when the shape note was king. This harmony, like those that frequently follow it, are tight and attractive. When the whole band isn’t singing, Robin Pecknold, who wrote all the songs here, manages the vocal responsibilities very well. As many have pointed out his voice sounds strangely similar to My Morning Jacket’s front man, Jim James (that is before the Prince imitations on 2008’s Evil Urges). Both vocalists use slight echoes to create great sound. However, the harmonies and the sparse folk arrangements of Fleet Foxes insure that no one will ever mistake one of their tunes for a MMJ song.

“White Winter Hymnal” has gained lots of praise in recent months, and for good reason–it is a fun, happy tune (contrasted with its lyrics describing “little heads falling in the snow”) which features a mellow surf guitar line causing their 60s pop music influences to shine brightly. The rest of the songs vary in tempo and depth of instrumentation, but they are all clearly cut from the same cloth. Even at its densest, Fleet Foxes remains a sparing affair–it often sounds as if it were recorded in a large open, empty venue, though it is doubtful that Fleet Foxes have played any empty venues in 2008. “Heard Them Stirring” is a somewhat haunting cut composed entirely of wordless harmonies showcasing all of their elements working perfectly together. It also adds the “baroque” to their self-described sound: “baroque harmonic pop jams.” “Blue Ridge Mountains” is classic song carried along by a brilliant piano and features a surprising, passing reference to “a connecting flight.” Though the acoustic guitar composes the bones of these songs, the pianos, occasional organs, drums, electric guitars, and vocal harmonies provide plenty of meat to cover those bones while still keeping this a relatively sparse recording. The songs on Fleet Foxes are all gems–there really isn’t a bad one in the bunch, and they will all have you singing along sooner than you’d expect.

Considering all that has occured this year outside the music world: the lengthy presidential race filled with bitter ads and lies (the end of which everyone eagerly awaited), a hurricane in Texas, gas prices rising, plunges in the stock market, lay offs, unemployment, and bailouts–all occuring within the last few months–it really isn’t surprising that people have been so attracted to an album of simple melodies, peaceful harmonies, and pastoral images and settings since this is the exact opposite of what is going on all around us. It is great to have bands like TV on the Radio making records like 2008’s Dear Science, that capture the anger, fear, and paranoia of living in 2008’s America because we need records like that to help us chronicle this time and to aid us in coping with it–and yet, it is equally important to have records that provide us with a break from that world and give us a few moments to simply listen, sing along, and think of simpler times. Fleet Foxes is a front-runner in that latter category and that, along with its many winning qualities, make it one of the most essential albums of 2008.

Fleet Foxes
Fleet Foxes
Sub Pop, 2008
Rating: 4.5/5.0

The Beatles’ White Album Turns Forty

We at Tone Marrow Reviews don’t get too sentimental about many things, but something we hope to do more in the future is celebrate our musical heritage and other musical landmarks. We begin that with this post celebrating the fortieth anniversary of The Beatles’ White Album.

On November 22, 1968 The Beatles self-titled double album (which came to be known as The White Album) was released and the effects of that recording are still being felt today. It represents The Beatles at the height of their creative powers. It is probably impossible to truly consider the effect this album has had on pop music because it has moved so many listeners and musicians. Though Charles Manson used it for grisly evil, fans and critics have made sure that its reputation would not be tarnished, or defined, or remembered by those events and largely they have succeeded. The White Album is a sprawling, ambitious affair, the likes of which are often seen in the arts as geniuses attempt to create things with such grand scope that they can barely stand up under their own weight. The White Album doesn’t falter because of its great length, in fact, it succeeds because of it. This is The Beatles’ most diverse recording, exploring a number of musical genres and subjects. Each Beatle contributes writing and takes a turn at lead vocals, though this is still largely the John and Paul show with George permitted his usual two songs per disc. Obviously, The White Album is far above the need of a review, so I don’t intend to write one here. Rather, I want to simply write a tribute to this earth-shattering recording–highlighting some of my favorite moments on it and recalling my own introduction to it.

The Beatles brought all of their influences to the foreground on this record and at the same time they were setting their trajectories for the future. It is clear that The Beatles were no longer of one mind musically as they were each exploring diverse territories. (This makes Abbey Road all the more amazing as it feels like the most cohesive, united work the band ever turned in, and they were largely not speaking during its creation–each member going to the studio alone to record their individual parts.) So while it was clear that there was turmoil stirring under these songs and they were each likely beginning to see the approaching end of The Beatles, they still had the same vision for The White Album. It was to be a towering structure that was built upon all that came before it in The Beatles career (and pop music in general) and it paved the way for all that would come after it for The Beatles–yet, it didn’t pave one road, but four.

The whole thing starts with the Beach Boys-esque “Back in the U.S.S.R.”–is it a tribute or a jab? This is a question that is asked frequently over the course of this 90-minute recording. There is so much humor, wit, and sarcasm here, particularly from Lennon’s pen. As one example, he mocks the fans who tried to figure out the songs on Magical Mystery Tour in the number “Glass Onion.” Eric Clapton appears uncredited on Harrison’s splendid “While My Guitar Gently Weeps.” Lennon makes use of thin meatphors for sex and drugs particularly on the classic “Happiness is a Warm Gun.” Ringo turns in his shining moment of song-writing with “Don’t Pass Me By” and things get primal musically and lyrically on McCartney’s “Why don’t we do it in the road?” Disc 1 comes to a touching close on Lennon’s “Julia,” named after his mother who died while he was young. This may be Lennon at his most most touching and emotionally bare as the song opens with one of the best delivered lines of the record, “Half of what I say is meaningless.” And there are so many other great moments on Disc 1 in “The Continuing Story of Bungalow Bill,” “Blackbird,” “Martha, My Dear,” “I’m So Tired,” and McCartney’s country ballad “Rocky Raccoon.”

Disc 2 starts off with “Birthday,” a track that the classic rock radio station in my hometown has almost made me utterly detest as it was played nearly every morning while they discuss birthdays of famous people. I’ll be honest, I skip over it sometimes–but that is partly because I’m eager to get to the next track. “Yer Blues” is a glorious Lennon blues number showing him at his most raggedly morbid. I became a huge blues fan during college and I believe I can trace that back to this one song. I even had an email address at one point that was “yer_blues@…” Paul McCartney turns in the most wonderfully hard-rocking number of his career in the famous “Helter Skelter.” Yet, it is a song like “Long, Long, Long” which is one of the most powerful songs on either disc that reveals that Harrison’s craft was developing well in the background and he should have been given more writing opportunities on Beatles records. It was on their next release, 1969’s Abbey Road, that Harrison’s two songs, “Something” and “Here Comes the Sun,” were arguably its best. There is so much more to The White Album than could be covered in one essay. They are so many themes explored, not the least of which is the American Civil Rights Movement in McCartney’s endearing “Blackbird.” And there are lots of sounds explored as The Beatles bring in elements of the blues, hard rock, country, classical, experimental, country, and more; so it comes as no surprise that this record has become a touchstone for so many people.

I still remember the first time I heard The White Album. I was a senior in high school and was just starting to really develop my musical tastes. I had spent my early teenage years on punk rock, emo, pop-punk, etc.–but my senior year of high school I began going back in time to Led Zeppelin, Bob Dylan, The Beatles, and others. However, no band captured me like The Beatles and as a result I still in many ways consider them my favorite band. I had been listening to Revolver and Sgt. Pepper’s when my friend bought The White Album and I went to his house and we listened to it–and it blew me away. I just couldn’t believe how huge it was. It was so expansive, so grand in its scope–it felt like a journey of some kind, an exodus, an odyssey. There is so much more that could be said about The White Album, which is why it remains so important forty years later, it cannot be adequately summarized in one blog post. Great art inspires art, The White Album has been inspiring great art for forty years and it will continue to inspire people to listen, discuss, record, create, and write for years to come.

One question that fans have asked each other over the years is which disc is superior. To the ears of this listener, the peaks of Disc 1 are probably the highest of the recording, yet, it could be argued that Disc 2 is more consistent. If I had to choose only one to listen to the rest of my life, it would probably be Disc 1 though I would forever miss the songs of Disc 2. Fortunately, I’ll never have to make that choice, and fortunately The Beatles made the choice to keep this a double LP, though they could have easily cut some of it down. Beatles producer George Martin argued with the band that they should cut some of the fat and boil it down to just one disc. A stellar disc that would have made, no doubt. However, I think The Beatles were right to keep it big and grand. Its great size allows it to be a fitting summary of The Beatles’ career. If it were only one disc, it will be brilliant and amazing, but it would not be an epic–a larger than life recording, which is what it is today, forty years after its release. While The White Album is certainly not the Beatles most consistent album and it may not even be their best album (my vote for that honor goes to Abbey Road, though Sgt. Pepper’s and Revolver are certainly in the running), it is arguably their most important album and one of the landmark recordings of the twentieth century.

Stephen Malkmus and the Jicks: Real Emotional Trash

Earlier this year, Stephen Malkmus & The Jicks released the latest record of Malkmus’s post-Pavement recording career. Real Emotional Trash is the fourth album by Malkmus and company and this time around they include former Sleater-Kinney drummer, Janet Weiss, who does a great job anchoring these songs. Malkmus is known for his penchant of writing songs with messy guitars and catchy melodies and the songs on Real Emotional Trash fit into that category easily. Most of the songs are over five minutes long and the title track reaches just over the ten minute mark. This leaves room for quite a number of instrumental interludes of guitar noodling and mini-jam sessions, which creates a compelling ebb and flow on the record. Malkmus’ fragile vocals are as endearing as ever as his voice alternates between steady strength and sounding as if it is teetering on the edge of falling off key.

Real Emotional Trash does not seek to explore lots of genres and sounds as some of Malkmus’ earlier work has, but rather, it feels like a love letter to classic guitar rock. The lengthy title track goes through several movements and tempo changes, but each part is clearly built around the guitars, as are all the songs here. While the music still has a distinct rough-and-tumble feel to it, it sounds much sturdier than the (delightfully) sloppy sounds of mid-90s Pavement. Malkmus, now married and a father of two, continues to show more maturity as his career goes on, but that is not to say he is taking himself too seriously–he certainly hasn’t lost his sense of humor which is evidenced in the lyrics to several songs here. And just because this is a guitar album, doesn’t mean that the synths and keys don’t have an important role to play. The breezy, rocking piano on “We Can’t Help You” lends a dose of lightness to the record. Synthesizers rise and fall in the background on the catchy “Cold Son” bringing to mind the nerd-rock of the late 90s.

The album opens with “Dragonfly Pie” which features fuzzy, distorted guitars that would fit perfectly in a song by The White Stripes. Things push right into “Hopscotch Willie,” an oddly funny song about a man claiming to be framed for murder. This song is a real winner aided by a fun, bouncy melody and the thougtfully crafted words from Malkmus’ pen. While there are lots of guitar solos and jams on the record, they are delicately managed. In fact, they are so carefully balanced that the album never feels tired, boring, or overblown, which could have easily happened. While Malkmus’ voice and guitar seem welded together forming a fierce duo, this record really sounds like it was made by a band and not a solo artist–which is a good thing. It sounds as if the group is working closely together and having a blast in the process. So in many ways, Real Emotional Trash is a balancing act on several fronts and it succeeds in all of them.

Crooked Rain, Crooked Rain is arguably the crowning achievement of Pavement’s work, but it is not a record that reveals its granduer immediately. It provides a mysterious listening experience as small facets are picked up with each spin. While Real Emotional Trash is not on par with Crooked Rain, it provides the same mysterious experience, albeit ,at a lesser level. It fits well in the world of 21st century music, but there are certainly elements of 90s indie rock slipping around these songs. Its a record that fans of Pavement and Malkmus will certainly enjoy and it will likely attract new fans and propel them back in time to the perenniel works of Pavement. Real Emotional Trash has heart, a sense of humor, and some great fuzzy guitar jam sessions resulting in a record that provides a thoroughly pleasing listen that grows more satisfying with each playing.

Stephen Malkmus & The Jicks
Real Emotional Trash
Matador, 2008
Rating: 4.0/5.0

That Song from “Synecdoche, New York”

Earlier this week I watched what is perhaps the most bizarre movie I’ve ever seen, Synecdoche, New York. It was written and directed by Charlie Kaufman (writer of such gems as Being John Malkovich and Eternal Sunshine of the Spotless Mind) and starring the brilliant Phillip Seymour Hoffman and a slew of other wonderful actresses. Upon leaving the theatre, I had a headache and felt that it was one of the worst films I’d ever seen. However, as days have gone by I can’t stop thinking about it–it may be one of the most daring, brilliant, and complex movies I’ve ever seen. I’m still processing the film, but there is one thing I’m settled on: the song that plays over the closing credits is simply beautiful.

If I have all my facts straight, then the song is called “Little Person” and was written by Charlie Kaufman and Jon Brion and sung by Deanna Storey, who sounds somewhat like Karen Carpenter. The song sets the perfect tone for the many people, like me, who will remain seated bewildered and mulling over what they’ve just seen.

So, without further comment here is “Little Person” (the homemade visuals accompanying this are nearly as strange as the movie itself).

(UPDATE: The first video was removed. Here is a new one. Very random video though.)

And here is the trailer for Synecdoche, New York, which features “Little Person” as well.

Bon Iver: For Emma, Forever Ago [Better Late Than Never]

(This post marks the first of an occasional series here at Tone Marrow, the “Better Late Than Never” Review. Reviews will fall in this category when the records have been out for a while.)

Occasionally, in pop music, there arise certain genres, artists, and albums that are directly connected to the geography in which they were conceived. Its hard to listen to early hip-hop or early punk without thinking of the streets of New York City, or to listen to the the sun-drenched tunes of the Beach Boys without picturing Southern California, or to listen to Nirvana’s Nevermind without thinking of the Seattle, WA birthplace of grunge. Bon Iver’s For Emma, Forever Ago is a record that will probably always be associated with the geography on which it was created. Here is a record that is so drenched in cold loneliness that it could only have been written and recorded during a four-month stay in a remote hunting cabin in Wisconsin–and that is exactly what Justin Vernon, the man under the monkier, did. The fires of Vernon’s creativity had been stoked by the break-up of a band, the end of a relationship, and a personal illness–and that creative fire burned hot all winter for Vernon during the end of 2006 and beginning of 2007 when most of this record was recorded. Some months later he took the songs to North Carolina where drums, a few horns, hand claps, backing vocals, and other sounds were added to bolster the presence of these songs. It was self-released in 2007 and then experienced wide release by Jagjaguwar in early 2008. And that is how an album that was recorded almost two years ago came to make such a splash in 2008.

For Emma, Forever Ago opens with one of the best songs of 2008, “Flume.” Vernon sings in his soulful falsetto (that bears more than a little resemblance to the splendid crooning of those gents in TV on the Radio) which can make some listeners a little nervous, but it works very well on this record. As he sings “I am my mother’s only one/It’s enough”, ringing guitar strings appear, intensify, and then die down. Its these ringing strings throughout “Flume” that add such character to the song, providing natural peaks and valleys throughout it. According to Vernon, his method of writing lyrics was to record himself singing a wordless melody while playing the song, listen to it repeatedly, and then find words that match the melodic syllables. While the lyrics mentioned above make some sense the words of “Flume” spiral further and further into a beguiling absurdity: “I am my mother on the wall, with us all/I move in water, shore to shore/Nothing’s more.”

“Lump Sum” is a simple folk song with a thumping quasi-dance beat anchoring it. There are frequently odd elements floating and roaming around the open spaces in the background of these songs. While most of the record is essentially in the folk-singer/songwriter model of voice and guitar, there always seems to be something unusual creeping around the guitar. Near the end of “The Wolves (Act 1 & 2),” there is a moment when a choir of Vernons are singing in splendid falsetto harmony (a compelling device used throughout the record) when a racket of percussion emerges adding a felt potency to the song–they sound like a clutter of shoe boxes, cabinet doors, drums, and cymbals being hit in no rhythm, but before they can become bothersome they fade out. At the end of “Blindsided”, there are a few seconds when the electric guitar strings are just touched and muffled, not being permitted to ring and it brings the listener to the edge of their seat.  Its moments like these throughout the record that give the album a feeling of such careful control, caution, and intimacy. There are some pretty straight forward cuts here as well particularly in the gripping “Skinny Love” and the stirring closer “Re: Stacks.”

For Emma, Forever Ago is an album full of small climaxes, in fact, almost every song has one. As a result the record tosses and turns. It was crafted with great emotion and easily elicits emotion from it’s listener. Its certainly a sad, lonely, and intimate record–not like any in recent memory. The booklet accompanying For Emma, Forever Ago features a photo, presumably taken in Wisconsin, of a body of water with huge chunks of ice floating in it, brown grass, with evergreen trees residing in the background. This is exactly the geography that naturally comes to the mind while listening to this record–and it will always be tied to that land in some way. While it certainly isn’t a perfect record, it is quite original and shows great promise for the future work of Justin Vernon. It feels like a classic break-up album and it just oozes with creativity. It does not matter if For Emma, Forever Ago is considered a 2007 release or a 2008 release, it is one of the most moving records of either year.

Bon Iver
For Emma, Forever Ago
Jagjaguwar [US], 2008
Rating: 4.0/5.0

In Case You Missed Them: Three Must-Hear Records of 2007

Here is the first installment of an occasional series here at Tone Marrow, for now titled, “In Case You Missed…[It/Them/Her/Him],” in which I try to highlight an artist, band, record, or some other thing which I fear may not have gotten as much attention as it should have. Today I highlight a few great records from 2007, which may not have garnered the attention they deserve.

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As 2008 is edging ever closer to its end, music critics, websites, and magazines are compiling “Best of 2008″ lists–and we all know true music nerds love nothing more than a good list. However, for those of us who aren’t professional music critics or working full-time in some other music-related business, it is difficult to hear every great record during a given calendar year. So, here are three 2007 releases that I did not discover until ‘08 and which have been getting lots of play in my CD player lately.

Dinosaur Jr. –Beyond

One of the 2007 records that best scratched that Rock’n'Roll itch was Dinosaur Jr.’s Beyond–and there were some great contenders in this category including The White Stripes’ Icky Thump, Spoon’s Ga Ga Ga Ga Ga, and Arctic Monkeys’ Favourite Worst Nightmare. Dinosaur Jr.’s blend of Rock’n'Roll is self-described as “country music turned up loud.” And loud they played it–a few friends who saw them on tour supporting this album reported that it was hands down the loudest show they’d ever heard. This really shouldn’t come as a surprise, Dinosaur Jr. certainly has the experience, they’ve been doing this since the early 1980s. This marks the first Dino Jr. album in ten years, but what makes Beyond especially significant is the return of drummer Murph and bassist/co-songwriter Lou Barlow who hasn’t played on a Dinosaur Jr. record since 1988. Critics and fans alike agree that the music hasn’t quite carried the same punch since Barlow’s departure–and Beyond certainly represents a return to form for the band. J Mascis’ songwriting, unique, lackadaisical, mumbling vocal delivery, and phenomenal mastery over his ax reveal him to be nearing the peak of his powers while many musicians his age are slowly fading away. Lou Barlow’s two songs represent things coming full circle on Beyond. The drums are ferociously pounded, the bass thuds and thumps, and the guitars alternate between jagged chords and extended, intricate solos. The whole album flat-out rocks and rumbles, and songs like “Almost Ready”, “Crumble”, and “We’re Not Alone” are probably among some of the best rock songs of 2007. Rating 4.5/5.0

Blonde Redhead –23

Blonde Redhead is a band that has been slowly and quietly perfecting their craft since the early 90s. Initially, the band was compared to Sonic Youth because of its male and female vocals and noisy guitars. Over the years, Blonde Redhead has morphed, adapting and changing their sound, dropping the bass guitar from the lineup, featuring songs in English, Japanese, and Italian to represent the ethnic heritage of the band members. 23 is a stunning album combining elements of electronica, rock, dance, and pop to form a dream-like journey through a mixed terrain of rock guitars, lovely harmonies, futuristic hums, and solid beats. The opener, “23,” initially sounds like the latest Moby song playing over the closing credits to the latest spy movie–but the song unfolds to erase that association, thanks to Kazu Makino’s angelic vocals. More than once on 23, Blonde Redhead evoke comparisons to Radiohead, especially on “SW” and particularly “Publisher” which could almost be a lost track from Hail to the Thief. Yet, while Blonde Redhead bring these associations to mind, it never seems that they are trying to emulate anyone else–they are really doing their own thing. Just when you think you have this record figured out, it takes an unexpected turn. When you assume that the dance beat percussion must fit 23 into a fixed genre, then pianos and crackling guitars appear altering the mood. The shared female and male vocal responsibilities keep things and fresh and makes 23 feel conversational. On 23, Blonde Redhead have woven a rich tapestry of sounds together, blending genres and bending expectations, and as a result this is a record that reveals its intricate beauty slowly. Rating: 4.0/5.0

Battles –Mirrored

Battles is a group composed of members of Lynx, Helmet, Don Cabalerro, and others. After a few EPs, their first full-length, Mirrored, was released in 2007 and is one of the most interesting and bizarre listens in recent years. Imagine Animal Collective where ALL the vocals are altered and undiscernable and where the music is composed of traditional rock elements and that may paint in broad strokes of what to expect from Battles. While this is the first time that Battles has included singing with their music, it is not a huge leap as most of the album is instrumental and the singing is either wordless or altered beyond understanding. The music on Mirrored is rich in textures and heavy on rhythms. John Stanier, formerly of Helmet, begins with a rapid percussion on “Race:In”–almost a foreshadowing of the percussion that The Dodos mastered in 2008–however, things get thunderous fairly quickly and gather steam on “Atlas.” Tempos fly, crawl, and change without warning, guitars thunder and whimper, and the it sounds like the members of Battles are having far too much fun making this music. There is an energy and electricity that is difficult to ignore here and weirdness is pushed to the extreme–on more than one occasion you will check to see if the CD is skipping or if its supposed to sound like that. However, the weirdness is not for weirdness’ sake, there always seems to be a method behind the madness as melodies emerge for a gulp of air before plunging back below the layers of sound. It is more accessible than it sounds, I assure you. Ultimately, no amount of explanation can adequately prepare you for what awaits on Mirrored. If you are tired of the same old stuff and want to get into the art-rock of the 21st century–you really ought to check this out. Rating: 4.0/5.0

Ray LaMontagne: Gossip In The Grain

What you may already know: Ray LaMontagne could sing the ingredients on a box of Cherrios and it would still sound incredible. What you may not already know: the man with the golden voice can successfully pull off more than the soulful folk showcased on his first two albums Trouble and Till the Sun Turns Black. He proves that on his new album Gossip in the Grain in which we find LaMontagne navigating through the disparate waters of back-woods-country, spaghetti Westerns, and of course his trademark blend of soulful vocals, groovy rhythms, and folk guitars. LaMontagne heads into the studio with his touring band and Ethan Johns helming the production–making this the third time for this producer and musician to collaborate in the studio together.

Things begin on somewhat familiar territory with the swinging, upbeat “You are the Best Thing.” The horns, the strings, and the female voices providing support in the background make this sound like Van Morrison circa 1972, but LaMontagne is able to make the song feel fresh. The melody of this song sounds light and fun, feelings that were somewhat scarce on LaMontagne’s last album. “Let It Be Me” is another nice, if not typical Ray LaMontagne song featuring a slow-and-steady beat, a slippery guitar, some piano and strings, and a great vocal performance by Ray. It almost sounds like a John Mayer song, but the flittering Ukulele on the next track, “Sarah,” quickly pushes that association out of the mind.

“I Still Care For You” is where things really start to change. This song shows somewhat of a new direction for LaMontagne, with its haunting slide guitar and shimmery background vocals, its the most ethereal song ever cut by an artist who typically is grounded firmly in the soils of the folk-rock tradition. It certainly sounds like a fitting progression of the darker sound of Till the Sun Turns Black. However, for sheer beauty, it is hard to beat a song composed only of LaMontagne’s voice and his guitar. This was first evidenced on Trouble with the powerful, naked swell of “Burn”, which is arguably one of the most moving songs in LaMontagne’s catalog. Much of his entire second album, Till the Sun Turns Black, also plays on this strength. While that record made use of more instruments than his first, it had a stripped feeling about it. So it is no surprise that “Winter Birds,” featuring only a guitar and vocals, is one of the most emotive songs on Gossip. LaMontagne has the ability to express a complex array of emotions in his voice in a way that few artists can. While stripping a song down to its bare essentials he gives the impression that his heart and soul are bared as well.

There has already been a bit of internet buzz regarding the song “Meg White”–a somewhat bewildering tribute/love song to the drummer of The White Stripes. Some have criticized it for it slightly inane and silly lyrics. It is difficult to know how to interpret the song–is this a genuine love poke by the notoriously shy singer, or is the song meant to provide further exploration of genre and add another layer of light-heartedness to the record? Most likely, it is the latter. First of all, LaMontagne has proved himself to be an artist serious about his craft as well as a very good lyricist. Also, its doubtful that someone who is known to speak only when necessary between songs at his shows would reveal something this personal in such an open manner. What is most interesting about this song is not the silly lyrics “Meg White, I saw you on the big screen/Oh, Jack was keen but you stole the scene…Oh, Jack is great, don’t get me wrong/But this is your song”–but rather, the hat-tip to the soundtracks of spaghetti Westerns of the 1960s. There is the surf guitar lingering in the background, the maracas, as well as an Andrew Bird-like whistle at the beginning, and appropriately, a simple, thumping drum beat which serves as a reference to Ms. White’s own percussion style. It is a fun song and the record would be something less without it.

What’s surprising about the movement through country-western styles is how easy LaMontagne makes it sound. LaMontagne, who has spent much of his life in New England and now resides in Maine, even adds a little twang to his voice on the country song “Hey Me, Hey Mama” which sounds like it ought to be played on the front porch of some house in Alabama until the antiquated horns burst in adding a whole new flavor to the song. This is the one that may throw some listeners as it is uncharted territory for LaMontagne, but not for long–because it works. This may be due to producer Ethan Johns’ familarity and expertise in such genres as well as LaMontagne’s ability to sing literally anything. “Henry Nearly Killed Me (It’s A Shame)” furthers this genre exploration by delving into country-blues with a foot-stomping beat and a gloriously bluesy harmonica. LaMontagne’s rugged, soulful voice sounds brilliant on this song. Its enough to cause one to hope that his next album will explore the blues tradition more. This is followed by the sleepy slide guitar on “A Falling Through”–a very peaceful and pleasing song. The whole thing comes to a close with “Gossip in the Grain,” an pastoral, subtle song that makes use of clarinet and strings to a very memorable effect.

At the end of the day, its difficult to define Gossip in the Grain because LaMontagne covers more territory musically than on any of his previous albums. This result may be off-putting to some fans initially, but it shouldn’t be. LaMontagne shows that he is willing to take risks and explore new areas, pushing himself—this is what identifies him as a great artist. The second half of Gossip in the Grain could accurately be described as a country-western, it explores a decent portion of territory within that genre (to great success) though it doesn’t fit perfectly in this genre–in fact, this record doesn’t fit perfectly in any genre and that is one thing that makes it so fresh and endearing. Gossip starts off in very familiar territory for LaMontagne but he quickly moves into a new direction stretching himself and possibly his fans in the process—yet, the payoff is big. This may not be LaMontagne’s best record yet, but it is certainly a worthwhile transitional album in what is shaping up to be a very exciting and promising career.

Ray LaMontagne
Gossip In the Grain
RCA [US], 2008
Rating: 3.5/5.0