What are you listening to and WHY might anyone be interested? (Vol. XIII)
Posted by: Richard Dane on 01 January 2017
2017 has arrived today, so time to start this thread afresh.
Last year's thread can be found here;
Dozey posted:Is it any good?
If I could have only one of Beth Orton's, this would be it.
Massive Attack - Protection.
Playing now, not their best known album, but one of my favourites.
Massive Attack v Mad Professor - No Protection.
Last one of the evening ............. the Professor works his magic, on this dub reworking of Massive Attack's "Protection".
Not so much a remix, as a wholly new album ..................... a late night session regular choice .............. nighty night.
I didn't know this had come out so surprised when I saw it on HRA. Apparently a change of direction project of Edgar Froese before he died and his collaborators continued to produce this. Only on second song but so far so good.
Now Playing......
The Peter Malick Group featuring Nora Jones - New York City
Peter Malick (vocals, guitar), Nora Jones (vocals, piano), Eric Gardner (drums), Nate Dube (drums), Danny McGough (mellmetron, Hammond organ, Wurlitzer), Mike Thompson (accordion, piano), Jeff Big Dad Turmes (bass), and Tom West (piano)
Something new to me, 7 tracks which runs a little over 30 minutes. From the opening track I already feel that the 30 minutes will be way to short for this album!
Gerard Souzay - Melodies Francaises (CD Box Set)
Only on the first disc, but liking it.
Great find - thanks...
Kadavar-Rough Times
Eigsti and me are not getting along that well.. Every time I play this disc I am left with the impression that the guy is just going through the motions without much emotion.
Now Playing.......
Rachel Grimes - The Clearing
Played this from Tidal recently and ordered a CD copy, arrived today so ripped to NAS and giving it another listen. Fantastic album......
Review from the New Yorker:
When the group Rachel’s formed in Louisville, Kentucky, in the early nineteen-nineties, they bore very little resemblance to their friends in the city’s thriving independent rock scene. Even at a time when musicians who had been weaned on punk and hardcore were rethinking structure and rhythm, patiently unspooling their songs until they became tiny epics of texture and grain, Rachel’s seemed of a different era altogether, playing a kind of old-timey chamber music. To the snooty teen-age aesthete (like me) or the high-school-orchestra dropout (same), this was classical music with rock bona fides, which made it O.K. and, in an unexpected way, cool. Of course, this misunderstood what the group, which initially revolved around the neoclassical leanings of the guitarist Jason Noble, the violist Christian Frederickson, and the pianist Rachel Grimes, had set out to do. Over the years, they grew into their expansive style, providing scores for dance and theatre productions, noodling around with field recordings, and collaborating with the experimental electronic duo Matmos. Their final release was “Technology is Killing Music,” in 2005: a terrific, haunting, cut-and-paste suite featuring some of their most ambient excursions.
In 2009, Grimes, who still lives and works in Kentucky, released “Book of Leaves,” her first album of solo piano compositions. Since the disbanding of Rachel’s—Jason Noble died of cancer in 2012—Grimes has collaborated with chamber ensembles around the world, while also playing in the Louisville band King’s Daughters and Sons. Later this month, she will release “The Clearing,” a bewitching album driven by collaborations with her old comrades in Rachel’s, the Canadian ambient electronic musician Loscil, and the drummer Kyle Crabtree, of the Shipping News. The saxophonist Jacob Duncan offers a fiery, brooding riposte to Grimes’ restrained playing on “The Herald,” one of the album’s most wondrous tracks. I always appreciate it when I can forget what it is I’m listening to, not because the music is easy to ignore but because I’m lost in something that sounds like so many things at once. There were moments of “The Clearing” when my memories drifted toward Philip Glass and Michael Nyman, spiritual jazz and soundtrack music, Radiohead’s “Amnesiac,” Ryuichi Sakamoto’s collaborations with Fennesz and Alva Noto. “The Clearing” is a study in contrast—majestic and radiant one moment, ominous and weary the next. There’s a feeling of presence and possibility throughout, as Grimes’s sonorous piano seems to dissolve into something sublime and vaporous, a reminder that there are always greater forces at play. -- Hua Hsu
Now playing.....
Sean Rowe - Magic
Sean Rowe (acoustic guitar, electric guitar, vocals), Andrian Cohen (piano), Nic Fera (drums) Clarke Foley (bowed bass), Cara May Gorman (vocals), Matthew Loiacono (drums), Troy Pohl (bass, electric bass, acoustic guitar, bass guitar) Danny Whelchel (drums), and Monica Wilson (cello)
A really enjoyable album by Sean, then again I enjoy all of his albums, the man is good!
Now Playing.......
Greg Brown - Over and Under
Something new from Greg Brown for me, really enjoy his music, great lyrics and voice.
Streaming from Tidal - hardwire to the ND5XS.....
Notes from Tidal: Taking a vacation from Red House, his regular label, Greg Brown recorded this collection for the even smaller Trailer Records, which is based in his home state of Iowa. Recorded in just two days, it has a live-in-the-studio feel, which for the most part, is probably just what it is. There are some off-the-cuff and even off-the-wall experiments here -- stuff that might not have made it onto a more official Brown release on Red House. Be that as it may, though, this is mostly terrific stuff. Brown's gravelly vocals are as good as ever, and so are his songs, which range from playful and silly to poignant and powerful. Among the best in the latter category: "857-5413," in which a more than slightly drunken man calls up his now-married ex-lover. Brown fans will find a lot on this album to get excited about, and aside from the cheap cardboard packaging, virtually nothing to complain about. ~ Jeff Burger
On CD:-
Van Morrison - Roll With The Punches
He Haim give this a listen when you are disappointed with Eigstli, this is a very good piano trio album...
Bob Dylan - John Wesley Harding
Songs of social justice, and the assembled band just seem so right never getting in Dylan's way but the drums driving it all along with a deft touch.
Continuing the enjoyable adventure...
David Bowie’s ‘Heroes’ 40th Anniversary. Bluetooth via the BBC iPlayer App: http://www.bbc.co.uk/programmes/b097t4hq
I wasn’t able to listen to this last night, so caught up with it on the iPlayer this morning. Its just superb. Iggy (on great form), Visconti and Eno all present. The only disappointment - it could have been longer!
Well worth a listen of you are interested in this Bowie era.
Staying in piano trio. More traditional this time, but very well executed...
Testing this one. Not so much into David, but the combination with some good old Floyd stuff can be great...
Now Playing.......
Greg Brown - One More Goodnight Kiss
Ended the day with Greg, starting the next day with Greg......
Holmes posted:
Best Girl Athlete - Best Girl Athlete
New album bought on Bandcamp. You might be interested in silky smooth vocals, pianos and strings and a scottish rapper on the odd track. Nice.
Top recommendation! Bought this last week on the advice of the above and I think it is great. I hope they have a bright future.
Now Playing.......
Mark Knopfler - The Ragpicker's Dream
I enjoy this album quite a bit........
Streaming from Tidal...... along with notes from tidal
With his second post-millennium album in just two years, Mark Knopfler has already equaled his meager (non-soundtrack) output for the '90s. And while he isn't reinventing himself, The Ragpicker's Dream is a pleasant, classy, often inspired effort whose unassuming charms are best appreciated after repeated listenings. The memorable riffage that fueled Dire Straits' most radio-friendly material has been discarded for a more pastoral approach, making this a perfect album for a rainy Sunday morning. Like his Notting Hillbillies side project, it isn't entirely unplugged, yet there is an emphasis on acoustic accompaniment to its predominantly ballad slant. Instead of leaving space for traditional soloing, Knopfler weaves his snake-like guitar between the words. This infuses a tense, edgy quality in even the most bucolic tracks, resulting in the crackling but still low-boil atmospherics of "Hill Farmer's Blues" and "Fare Thee Well Northumberland." "Marbletown" is an unaccompanied folk/blues that sounds as if Knopfler was born and raised in the Mississippi backwoods. He taps into the patented insistent lazy, shuffling groove on the spooky "You Don't Know You're Born." It's the most Straits-like track here featuring an extended, winding, yet subtle solo. "Coyote," a mid-tempo sizzler -- lyrically based on the Road Runner cartoons -- is propelled by a walking bass figure and Knopfler's homey, lived-in, talk-sung vocals. Again, the guitar pyrotechnics are interspersed throughout the verses with overdubbed sounds employed to provide ambiance and mood. The authentic honky tonk swing of "Daddy's Gone to Knoxville" could have come off a Wayne Hancock album, and the "King of the Road" melody from "Quality Shoe" is a tribute to Roger Miller. As an homage to the American roots music he's always admired and a desire to retreat further from the stadium rock of his Straits days, The Ragpicker's Dream is a restrained success, at least on its own terms. It may not please some of Knopfler's old "Money for Nothing" fans, but at this stage, he's obviously not trying to. ~ Hal Horowitz
A nice smooth trio...
On CD:-
Gregory Porter - Take Me To The Alley