Charlie Claude's open submission music&art reviews

[bethoumyvision123]

A Book to Read.

A Book to Read.Hello, I am writing a book starting now. I would like to finish the first chapter in this setting and post it here on Tumblr. It is going to be about remembering, forgetting, and possibly even switching from 2nd to 3rd person. Is it about me? I hope not. I hope it is more about what you came here for, a book to read.

CHAPTER ONE: There is a mountain at my house.The boy lives deep in a hollow in the town with electrical problems. His family moved around a bit from the east coast in order to find more cultural richness, for therein the east was not enough business for his father’s contracting company. The youngest of three, his two older sisters and mother were impartial and malleable to whatever terrain and adventure. With some agitation, they agreed to the move. However, the children of this family were essentially grown at this point, at least the major aspects of development were. “Before I forget,” the father would say, and then state something about work that needs to be done. Eventually they all got enough work done, schooling done, and friendships made to be independent of each other, all except for the boy. He struggled with his independence. Despite making it through college, he kept having to move back in with his parents. All he ever wanted was the wisdom to be accepted by people older than him. He did not like being young. Growing up was the worst in his perspective because he felt he lacked the freedom to express himself for some reason. He was usually quiet. His older sisters often projected their distrust with their father onto him, and he ardently listened. Many years go by, many assumed lovers, and too many words spoke. The boy ended up institutionalized over and over again, typically after an obsession with a lover gone wrong. He wanted to have a family, but he doesn’t anymore. Now, he just wants to survive. Not for his own sake, but for others’. In his sleep, has visions, Visions that he’s afraid to talk about. And in that fear to talk about them, the ability to talk itself becomes dismantled. There were four four layers of hell to his dreams, but the fourth is where the real party is at, or so he is told. Someone told him, of whom he’s not even sure is a girl sometimes, something important. “Did you get my messages?” He asked, “I got some of them.” He thinks she said as she giggled. She then tells him, “There is a mountain at my house.” The boy then makes the choice to wake up from the dream, and go towards the house with the mountain. Still dreaming, upon becoming conscious of the destination, something blocks him from arriving. It was some sort of silhouette of his sister, hanging from a rope spinning dozens of hula hoops. The boy then wakes up very much disappointed at the physically bound realm. He walks down from his garage apartment for his mother who insists she make him breakfast. Eggs with Jalapeños. Instead of looking forward to his mission from God, he looks backwards into the abyss of youth. “What went wrong?” He asks.

[bethoumyvision123]

Dreams of Maniac Computers Subtitle: Our Evolving Relationship with Violence in the Digital Age by Otis College of Art and Design By Lyndsie Earle

I recently had the privilege of receiving an BFA senior thesis by the wife of my favorite musician. It provides wonderful and apt information about its title and the perspective I assume it comes from. The language is dense, and the artwork is fittingly modern. This is a 30 page essay written to stage her artworks, which I believe are two paintings and two collages. The boundaries are a bit blurred IMO, but they make for gripping visuals that display the glory and downfalls of human error, IMO.

My favorite of them being this one. In my opinion it resembles both a mushroom cloud and an alien spaceship, although my latter interpretation is not discussed. 

Notice how the painting itself isn’t robotic perfection. The asymmetry is part of the human feel, which is part of the solution to the topics discussed. The color choice is vibrant, using both infrared and ultraviolet properties. The full spectrum. Red is the atmosphere, and although it has the least energy of all the colors, it has the greatest wave length. It reaches the farthest through space. It encompasses the greatest spectrum.

 Overall, she does a great job comparing technological problems through genocides committed by Rwanda regime and China. She also acknowledges the opposition to the idea well, by stating how a Harvard professor claims that there is less war than ever because of technology. I don’t agree with that, I just think it’s changing forms and becoming sublimated. 

Great job! Looking forward to more.

EDIT: She says this painting is unfinished.

[bethoumyvision123]

SLDBOY’s Dinosaur Nuggets

https://soundcloud.com/user-573953029/dino-nuggets-bravo-mix-3/s-rzGqiaoGhel?ref=clipboard&p=i&c=1&si=10F8FB48C17D4B70A9944768AB15A295&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing

SLDBOY is a good vibes rapper from Atlanta. I say good vibes because everything about the melody, instrumental, and lyrics evoke a positive vibe. Additionally, there are hints of melancholy that is a staple of cloud rap.  I say that term lightly in knowing that the production on this track is more sophisticated than anything Yung Lean did, but that’s the vibe in my opinion. 

There are also very interesting and unique aspects of it. Such as the introduction melody that is reminiscent of classical melodies like Canon. The tropical electronic bamboo key sounds add an immense about of depth that is hard to come by. The high-hat layers are placed with a sophisticated about of tension and release. The pitched down vocal takes the place of the key melody in the last verse. Textually, the song is constantly evolving, but in a subtle way that isn't too abrasive. It’s a gradual lift throughout each section.

The lyrics on the surface come across as superficial, talking about different types of dinosaurs and fast foods.  I think the playful and lighter parts go with the overall vibe of the songs, in that it’s about depression through commodification. It’s also about being endearing throughout it. There’s also a sharp metaphor of “being higher than nosebleeds” with good imagery during the refrain.

Overall, this music hits the targets of strong arrangement and production, as well as meaningful lyrics. These two aspects make this song appealing to both the general population, as the deeper listeners. I am looking forward to the next release, well done!

[bethoumyvision123]

We’ll Never Know Tomorrow by Lancaster album review

https://ommanipadmehung.bandcamp.com/album/well-never-know-tomorrow

In this Grey Twilight

A melancholy opener about endurance through personal turmoil, a theme of this album. Tight Elliot Smith like backup vocals. The word “Twilight” is done justice.

Your Touch Left Me Speechless

 A nice upbeat change and difference of vocal intonation. Highlight’s the old school RnB vocal stylings and tastefully placed dissonant chords. Almost Randy Neuman esque. “You have become another one night stand” is the climax of the song. Backup vox take on a caricature towards the end.

  I have Been Drunk Every Day for the Past Six Months

Some of the melodies in this are almost symphonic. Reminds me of Mr. Sandman in the backup flourishes. Uses the phrase “At World’s End,” which I am familiar with as a strange Irish movie. Very fitting. Spanish solo takes it out.

Be Still My Soul

A swinging proclamation of being a rolling stone.

  No Need to Worry While the Moon Beams Baby

A characteristic ballad. One of the more original songs on this album. “May I Be a Lamp Unto Your Feet”  emphasizes an interesting personification of scripture. Cool room sound on the guitar.

We’ll Never Know Tomorrow

A traditional hymn-like song. This change on this album from his past two is my favorite. It also is like a lullaby.  The chorus shifts back to that original RnB vibe. A stretched out and shifting song. This picking pattern is repeated later on the album.

  Draw me Into Your Footsteps.

 It has like a mid-evil sounding vibe. I could see a jester singing this song as his reconciling finale. Multi-part harmonies break in explosively.

  Only Coming and Going

Another upbeat dance number number. Tasty rhythmic lick.  Even with the sad lyrics, the themes of endurance prevails. A strong bridge is here, as well as a song suit of this album in relation to the previous’. The main verse melody sounds like a children’s song in a swell way.

Pretty Kelli

Emphasizes his ability to throw in psychedelic fluttering melodies with his signature folk. Perhaps it’s his eastern religion influence. It works nicely.  Some really nice tension building chord changes. A tropical feel.

  I am Too Good at Making Woman Believe

Here is that signature picking pattern and hitting a stride with some more unique melodies and changes. This is the only track that I thought the backups were not as creative as the others, but they were a lot to live up to. Some of the guitar chords have a 90s vibe to it. It’s no surprised that he is inspired by SoundGarden. A grand finale bridge recalls the hymn-like melody that turns psychedelic (almost mocking-like?). Lan is a heartbreaking icon and this song idealizes that.

  Lanky’s Whiskey

A very traditional Irish-sounding song at first. Very well done. Then turns like an aching traditional english ballad. Backup vocals are odd in the verses but I dig them. Basically Lan’s version of a party anthem.

  Empty hands

This song has that cool analog room feel. Lanny is good at mixing his stuff loudly. This brings back that 90s vibe again on that refrain. Very menacing and experimental, but likewise smooth. Cool rhythmic licks are a staple of this album.  

Jessie Grey

Some very tight vocal riffs. Again, I think he learned this from his eastern world influence. The caricature backups come back. Low notes are country and they are hit. This is probably the most country song on the album. Some surprising chord changes halfway through. Like James Taylor.  Definitely a 70s dylan sounding song too.

  Not a reason to be going home

This album ends in a wind-down for sure.  A proclaiming song of “I can’t remember my name” and “holy adhesion.”  Sounds lost at sea. The country and yodeling chorus is imminent and clear, eloquent even. “I have forsaken the fruits of youth.” Tell me about it man. Anyone and everyone should relate to that line. 

[bethoumyvision123]

Review of Dave Longstreth’s School of Song course

I recently completed a month-long songwriting course with the Dirty Projectors’ Dave Longstreth. Overall, it was a highly analytical perspective of tapping into the abstract and the unconscious during four distinct stages of starting, patterning, managing, and completing a song. I am sure I am a bit bias from being such a fan of Dave’s music, but this series really let me shed those bias’ and look at him in an untethered light. I write this critique because I am an asshole in search for truth. Hot takes trigger warning. The man has a lot of great theories and techniques no doubt, but he is not as in-tune with the unconscious as he thinks he is. 

Week 1: The moment of inspiration

The first lecture was preceded by a 20 minute songwriting exercise, which according to Dave is relatively how long the moment of inspiration lasts. It’s like eating a meal he says. It’s about grabbing as much excess of inspiration as you can in the moment, for you cannot access that moment later. Try to prevent the “garage door” from closing on your creativity by developing multiple parts in an instant and not being too judging to them, but rather trusting in the parts you come up with and allow for tweaks later in the process. Do not waste time looking for a “memorable chorus.” I asked him a questions about his praised Beach Boys’ Pet Sounds album and he says that he loves Brian’s new piano album, and enjoys when music switches genres. Most classmates’ songs were stripped down and folk-y this week.

Week 2: Patterns

As said in this video: https://www.youtube.com/watch?v=UpaiW-Vezok “The first thing I ask myself these days is ‘does it make a satifying pattern?’ ....does it shimmer and ripple in new and exciting ways?‘” 

I have to say that this I found to be the strongest lecture. I think that developing rhythmic patterns is one of Dave’s strongest abilities and this lecture solidifies this. He takes apart a few of his newer songs according to their wave-like melody shape that literally reverses the melody at points and mutates the waves together, and deconstructs the beats into their competitions for space in the low end of a low and high kick, or super intricate high hat patterns, often adding a 2nd high hat in the 4th bar and overall getting more chaotic  to make up for lost time in a grid feel during the 4th bar. I asked a question about quantization and got this response: 

 “as far as quantization, for me, it depends on the song.  sometimes not quantized at all; sometimes 100% grid mode.

my sonic ideal is dilla: as long as the distance between 1 and 1 is pretty locked, anything can happen in between.  if it’s at all consistent, our ear finds the pocket.  slightly early backbeat can be amazing.  or a late backbeat.  pushed or early kick happening in the middle of the measure is gonna feel aggressive and intense.  late or lazy kicks in the middle of the measure, whole different feel.  dilating the time in a specific kick/snare interplay in the middle of the measure and then buying the time back by, for example, rushing the fourth beat is going to feel a certain way too!  anything is possible, any feel can be beautiful and perfect and deepen the emotion of the song — it just depends on the song! but generally i think it’s good to be a little wary of the grid.  songs that feel inappropriately quantized often hit me as lethargic, or not confident/trusting, or just boring.  as a listener, i'll take looser over tighter pretty much ten times out of ten. imagine you wanted to write someone a thank you note.  you looked up ‘thank you note template’ online, signed your name at the bottom of the first or second google hit, and pressed send.  sometimes quantization feels that way.   it’s the default.  it’s an abstraction/reduction of what rhythm is, with no actual specific musical relationships playing out, and no feelings or history. the grid is the law.  but you want to be true & honest to the song.  i find the inverse of the dylan quote from absolutely sweet marie — ‘to live outside the law, you must be honest’ — is often pretty true in music:  ‘to be honest, you must live outside the law’. … that said, i think break-thru is pretty grid mode”

He also used a student’s song to demonstrate alternation between trochee and dactyl poetic meter in vocal phrasing. 

Week #3: The Mayor Mode

This stage of the songwriting process comes after 1 & 2, being in that it is very different from the non-judgemental early parts of the song. This is the point when you want to start making judgemental decisions in the song. If the part you wish to add or take away is a large part of the song, consider scrapping the whole idea. The main structure should already be outlined. He advocates the use of Feynman's diagram of story writing, which I just looked up and is not a real thing, or maybe I am misremembering it, but it is essentially this: The song should be a story. There should be a beginning development, an inciting incident, a rising action, a climax, a falling action, and a resolution. The climax should be the bridge. He lists four great prompts for this. It usually is in contrst to the rest of the song. He advocates for going to the sub-dominant or sub-tonic, which is basically either the 7th or the 4th. Idk I don’t know much about theory but I agree about that! He also makes a metaphor with Jurassic Park about the beginning of the songwriting process is where you get your Dinosaur DNA, and the rest is where you get your frog DNA. Dinosaur DNA is essentially originality, and Frog DNA are common tropes and nuances that are specific to certain genres. 

Week #4: The song is over, if you want it

Classmates’ songs were covering the map at this point in pop, dance, experimental, psychedelia, and folk. Dave is a musician’s musician, so it’s only natural that the stuff is mind-blowing. In the final lecture, he advocates that the song being done now is better than later, which is the mentality from the first lecture. He advocates to not spend more than a day mixing, and that sometimes mastering is indeed not needed. 

Overall, Dave prioritizes speed above the unconscious I find. But that’s a good thing in his case. It causes him to have a balance between the unconscious and the conscious/theoretical aspects of music. It certainly works for him. He mentions his self-titled being an example of something that he put too much effort into, which is an extremely insightful comment that makes sense. He says at the top of songwriting hierarchy, he first thought it was  lyrics, then he thought it was to be true to the writer, and now he finds it is to be modern. To be able to make people see things in new and unique ways. An aside: Bob Dylan’s songwriting book coming out in the fall is called the Philosophy of Modern Songwriting.  

Dave is certainly not my favorite philosopher, but he is indeed as Pitchfork famously said, an artistic genius. I am extremely grateful for the experiences I learned and feedback I received in this class and would sign up again in a heartbeat. 

[bethoumyvision123]

Ariel

Ariel Pink Zoom call

i spent $160 on a zoom call with the one and only Ariel Pink. I did not wish to record it, and so I am jotting down what I remember from the 30 minute call.

First, I told him about the Dave Longstreth School of Song class that I just took, and how it was great (despite him quoting a certain questionable philosopher in the last lecture). he seemed very interested in it. he asked a few questions about it. It was an online live stream, month-long, songwriting class.

then, we switched gears and started talking about what Dave refers to as “the moment of inspiration“ in songwriting. Two nights ago, he sent me this video in regards to it: https://m.youtube.com/watch?v=miE0_MbzV9s&t=1s

I asked him about if he always starts with the vocals. I got kinda a yes and no answer. He says that starting out with the vocals lets him develop all the parts in his head better. Sometimes he goes immediately to the instrument, and sometimes not. Sometimes he never does and the songs don’t get recorded. But he Says that noodling on the guitar before you have the guitar part in your head can be damaging.

then we began to discuss the time it takes before he goes to an instrument. he says it widely varies and is entirely dependent on how much he has put together in his head. sometimes never. i asked how long the engineering and mixing process usually takes He says he is constantly mixing during the engineering process. his goal is to always have a finished recording by the end of the session. Whether it be a 4 hour session or whatever. If he needs to come back to it, he will. He says he usually tries to have an engineer.

I then asked him if he ever had a song that he woke up with the parts to. He said Death Patrol was straight out of a dream, and there are others.

we talk about Nashville for a bit, how R Stevie Moore lives here, how animal collective just did their recent album here, and how Jordan Peterson is moving here. I told him that I went to the animal collective show and that I mentioned his name to the band and that they sounded like they were still in support of him. then we talked about cancel culture a bit, how it doesn’t make sense to him. If he had of known what he was doing was illegal, he wouldn’t have done it. I still think the illegal part is debatable. I told him my father was there to and my sister almost got cancelled because of it. Ariel says he is and always has been a liberal. 

for the last five minutes, I chose to talk about the iconic beatboxing. He claims it is exactly like Michael Jackson’s technique, and that he learned it when he was young just pacing around the house as he was doing now. He emphasized circular breathing as how he is able to do it for ten minutes straight. and he cups the mic and it sounds like real drums. his technique mainly consists of the kick being in the back of the mouth, snare in the middle, and high hat in the front. the high hat is not an inhale. I don’t think any of them are. Jaw clenched, and reduced breathing artifacts.

I am sure there were other gems we talked about that will resurface with time, but this is my report. Long live Ariel! May you return to your rightful place soon. And congratulations on fatherhood!

[bethoumyvision123]

Dick Aven Spin So Long Album Review

 If you do not know me or have heard about me, I am one of this man’s biggest fans for the last few years. So much so that I have spent dozens of hours in music lessons with him, and tried to absorb as much as I could. Which is kind of impossible. If you know Dick, I am certainly stating the obvious. He is obviously a world class soloist, master of incomprehensible polyrhythms, and he has the kind of consistensy where you can extrapolate that from literally any one of his songs. There usually is one technical and smooth lead instrument or voicing being supported by an almostly roboticly tight rhythm and chord structure. Now I use the word robotic lightly and complimentary. The choices of rhythms he uses certainly dont sound like anything from a drum machine, but they are always extremely polished, clear, and tight. 

There’s nothing sloppy about a single thing this man has ever done, which is why at first impression of most of his songs, it is immediately obvious that he is world class in terms of technicality of production. Now in terms of human feel, he makes it abundantly clear in his solo’s that he is not dictated by anything but the unpredicability of the moment.. And so he has done it again! But I will try not to be too bias in this review, but descibe in an unfiltered stream like I did on my last review of It All Started in the Garden (which unfortanely I lost in a data mine).  Most of his instruments sit perfectly in the mix, in that nothing is hidden. 

At first listen, this album did seem like a natural progression of Dick’s expirimentation. But overall, it is a more uplifting album than the last lyrically and instrumentally. Though most of his albums deal with musical reflections of lyrical topics of romance, absurdist humor, mocking absurdity, family, and surrealism. This album is definitely going back to his biggest lyrical root, which is romance. Realistically, it does sound like a masterful career musician that is playing as sensually as he can despite the fact that could possibly become a grandfather any year now. This is a tasteful thing to mature adults. Maturity is another staple of this album. 

ENOUGH OF THE INTRODUCTION!

Track 1: Stirred Up

This track lightly arises into singing and saxing in unity, which is a reoccuring sound on this album that is newer to Dick as far as I am aware. The rhythm in this song reflects this exploration. Hearing a snare for the first time in awhile is fresh! The main riff in this song is very traditional country and blues, which reminds me of Freekcountry and White Stoned Cowboy, my introductions to Dick I assume in 2013/14. Lyrically sets the tone of longing and comitment. 

Track 2: Weightless

That classic synth sax bass and a spinning wheel of sax arpeggiation that reflects the country riff in the last song opens this up. A nice guitar swimming in delay brings to mind any given Shoegaze band, such as My Bloody Valentine in terms of tone alone. Another hypnotizing groove that goes by so quickly due to the fact it is so easy to get lost in! Not a fast groove but it feels like it. Lots of cool keyboard easter eggs on this one too. I believe lyrically this song is describing the soul, and as Dick has told me, he does not know what form it will take in the afterlife. This unpredicability is in his music and it is grappling, yet the production is so consistent. A “p soup high hat” as well. 

Track 3: Fly Into the Fire

Unbelievable sax harmonies and synchopations in this song. Another spaced out rhythm that reminds me of a boat rocking in a still sea. The chorus on this song is extremely infectious, with the falsetto that I wish he would use more, it has lovely beach boys vibes in that melody. About the lyrics, they do honestly make me nervous from the point of view from judeo-christian roots, because I percieve it as embracing hell itself. But nonetheless, it’s real.  It’s definitely a metaphor for a continuation of a relationship despite the inevibale conflict they all bring. I talked to him about it and he does not agree with my overly literal interpretation, saying it is more of a Bonnie and Clyde like story of passion, and not hell itself.  

Track 4: It’s Something

“Possibly, almost definitely, and nearly certainly, I love you more.” Now this is certainly a contentious line, but take from it what you will. More lovely falsetto! Probably one of the more memorable sax solos in the outro decends into madness. 

Track 5: Spin So Long

Egyptian licks. “Cancelled like that, new school diplomat.” Now I honestly think he is talking about himself in this line at the beginning. How he is a criminally unknown musician and pioneer of new things. But he is not outwardly resentful of it. He still has his confidence. More unbeliavable sax harmony solos here, but harmonizing in synch with the flute! Love the vocal harmonies too. Shifting verses on one of the more moodier tracks on this album yet. Again the shoegaze guitar adds so much depth and contrast to the other clean sounds. It’s complimentary. 

Track 6: Under her stars

One of the singles from the album, with a nice high hat. It works with the sonics well. You are thrust into this song with cosmic synth strings, reminicent of cool modern electronic acts like Beach House. In fact, if you think about it, I think there are many paralles with these acts in terms on stretched verses and choruses. Signature Uke rhymths are nice.

Track 7: Bad Dogs and Weed

From mysterious to absurdist. This song starts out so bright and sunshiney, but then slowly shifts to minor. Which repeats later in the song. The one example of a song I can think of that does that is Kaw Liga by Hank Williams. Obviously production wise it’s a far cry, but the structural comparisons are there, and I think it was first popularized in that old country. Nice vocal harmonies. The chorus is definitely one of the more memorable molodies on the album. I think its bookending contexts play a role in emphasizing it. 

Track 8: Unglued

Another single on the album, the lovely myserious Pink Floyd type psychadelic piano playing that contorts in its progressions in a soul crushing way. Love the “Ooohhh” hormonies on this song. The violins actually sound realistic here! Well done. Very abstract lyrics here that Im still chewing on (he says it is about being under the spell of an melancholic woman, a tribute to Lana Del ray and his mother) but I assume it  has more to do with comitment through tension, which Dick is especially good at from the outside. “No matter what” is whispered. 

Track 9: Aging in Place

This one is super cool. Reminds me of Procol Harum. I love it when keys are upfront on his tracks. Super heart warming and honest lyrics about the inevitable struggle of growing old. But the thing is, as my friends who have met Dick and his wife have observed, they have unbelivably youthful spirits. This track reminds me of his old song Youll Find a Way in vibes and also brings to mind the fact that Elliot Smith himself once complimented this man’s music. Maybe no direct influence, but somewhere down the line I definitely hear the connection.

Track 10: Deacon Bones

An instrumental track towards the end of the album , which reflects the structure of his last album. A very resolving song, but also some really memorable melodies. Piercing sax doubling here really shines. The last note reminds you that its not over. He still has something to unveil. 

Track 11: Spinning Outro

I love that you can hear Dick’s breath and lips blowing through the bass flute on this track. Egyptian. It ties together the sensual theme. This, like the the last song, has breazy melodies that you would ideally like to hear on a mountaintop in a giant platau-like feild as the sun goes down. It’s a long walk back to the car, or where the album started. A smooth, but glowing trail that shifts through all the terrain of an elaborate hiking spot that you may never find again. We all send you the best wishes on the way home. Hold on to hope and you will make it out. This album is a constant reminder that the main source of direction is affection, and the main source of inspiration is indigenous. In this growingly chaotic world, we need the order. This album is the equivalent to fine wine, and whatever your reason is for drinking it or even your opinion of it, that doesnt change the fact it is of historic value.

[bethoumyvision123]

Lancaster The Prison Itself is the Crime Album Review

This album I stumbled across while running into an extremely well spoken pink haired fellow at a show recently. Emily Clement and Amanda Fama at bobby’s idle hour tavern. Here is a review of his psych-folk album:

Would You Call a Dog a Prisoner?

The opening track captures the country-folk and world influences that characterize the album. It talks about the unjust nature of death-row. The harmonies are heavenly, and we hear weird alien electronics sparkled over parts. This is a cool garageband trick I think. The whole album was supposedly recorded with a Toys R US mic, so it is very lo-fi, yet most of the instruments used are extremely high quality.

Everyone is Younger Once

This begins and is fluttered with chants that I want to understand what they say. The country folk voice turns to straight amish. The song talks about there being hope despite naysayers. This song sounds straight out of Harry Smith’s Folk Anthology. As is many of the tracks on this album.

The Earth Rang Like a bell for a Million Years

This has a Doc Watson Wayfaring Stranger vibe. Sings about Appalachians, dinosaur extinctions, and my personal favorite/creepiest line, seeing his twins that are grateful for him in the apocalypse. Some of the lines in this track are a little too much TbH... like the earth being sexually molested was not a line I liked.

Do What you need to do babe

This sounds straight off bringing It All back Home, except with a deeper country voice. More Cowbell!!! Kinda droney but cool.

Within the Well of the World

The voice is perfect here. So country with visceral Americana lyrics. Then in a surreal fashion, he talks about the unjust nature of how armies treat children in third world countries. It has jewish symbolism  about something I never heard of called a Leviathan. I believe he is talking about the unjust nature of Israel and Palestine. 

I’m Not Crazy, but Maybe I Am

Talks about crackheads, baby mama’s, and uncle sam needing to admit their flaws. The electronics come back with a wailing harmonica line reminicent of Obviously Five believers, Charlie Parker style. 

I Am a Lone Rider

This is partially to the tune of With God on our Side, which I am sure goes back even farther than that. It’s another sorrowful ballad of separation. You begin to hear the the obviously profound influence that Leonard Cohen has on him here, vocally. 

At the Ashram

The first of many left turns on this album. Singing about smoking pot and learning Hinduism. Of course there’s a sitar. The world rhythm from the first track returns here. I am not sure if this is a nice comparison, but I think at this point that Lancaster was influenced by brian Jonestown Massacre

The Prison itself Is The Crime

This recalls the 20s and 30s folk recordings  with a clawhammer sounding picking pattern. It is a very childlike melody, with interesting sounds of percussion such as what I think is a wrench clanking. It likens a prison to a tough love. Really tight chorus of voices here. Sings about pitchforks and torches too. 

I Am Free from the Chain Gang Now

Cant have a folk mega-album without a yodeling track. Lancaster is no one trick pony. He knows he has a malleable voice that can do a lot of different folk stylings. 

Judgement Day

A perfect midpoint of the album. Personal fav track on the album, a very unexpected synth-pop track that shakes the bone. The shift from baritone choruses and tenor verses showcases the characters that this fellow seems to be tortured with. Makes for genius music with a perfect balance of control in chaos. An extremely lo-fi guitar and 808 drum morph this track.  There’s even some funny falsetto voices to top off the vocal range in the verses. Sonic touches of alien electronics are cool. A bluesy vocalling come’s in at the end singing about “gray matter.” 

Way Over in the Promise Land

This traditional song is a needed reorientation into reality. With Carter Family strums, the amish style vocalizing returns. 

Leaf-blower blower blues (whatever Polly Wants She Gets)

This returns to the early folk clawhammer stylings. I am starting to miss the strange-ness that we experienced two times on the album, though the quality voice is perfect for country blues. 

The Old Revolution

This Leonard Cohen cover is not a rip off. He uses his natural voice for it, and it sparkles with harmonies and chimes. It has what sounds like either a harpsichord or a plucking of piano strings on it, and they make it sound huge. Thematically, this is is a self proclaimed protest album, and this adds to it. He talks about everyone betraying the revolution in such a nonchalant manner. 

Who built This House on Top of me?

A softer tune. A much needed metaphorical ballad that helps with the lows on the album. 

I’ve Got A Thousand bucks in Vinyl Ill Never Use

Another fast paced country-blues number that would probably make money busking in the Gulch if that was allowed. Cool phonetic vocal rolls litter the track babababurn.

Life On Parole

No vocal masking here. It sounds like his normal talking voice. It’s a ballad that lyrically resets the album’s themes in the context that more people probably relate to, or know someone that does. Nice falsettos fluttering the track. His harmonizing is really always on point despite often being inconsistently littered around the tracks, and the phrasing is often unmatching,  it still adds charm, especially because the pitch is on point. 

This Is How the blues Got To Mexico

The voice is partially amish, and partially country-folk here, but the instrumental that would be a beautiful performance at the local Plaza Mariachi. The electric trumpets are kind of a joke, but it adds to the accurate vibe. The song is not a joke. It’s a serious critique of the Mexican government. With a cool spanish lyric that bookends the choruses. Obviously there’s a lot of love for hispanic culture here, which I should have anticipated knowing that this guy went to Lipscomb (they have a lot of missions trips there). 

Iron Lady

This kind of has a hint of Irish sound and intensity to it. A visceral picture of someone on death-row and how twisted it is, and the twisted sympathy involved. “A rich man never died upon the chair.” Strangely, it’s a woman doing the killing here? Maybe I heard wrong. A very intense song  indeed. 

The Great Danville Elevator

This is a topical song that sings about the land in an amish fashion. With percussive bird sounds that depict a bright and sunshiny day. Cant have a folk album that doesn’t sing about transporting stuff by train. It has a lot of cool topical imagery, but I dont really know what the song is about. More animals flutter throughout the track. 

I Need A break From Going Nowhere

This is an anthem that has yelling and general loudness. The refrain is a nice crescendo. 

Sitatapatra Prayer

This tops off the eclectic nature of the album by what I believe is more Hindu stylings, except it’s all in Hindu. The second a-cappella track, which makes me with the first one had more voices like this one. Very rhythmic and almost throat singing. 

To be an Accomplice You Must be a Juror

Finially some reverb on the vocals that take us out in a live venue setting. Gladly the weird electronics return with that garageband 808 if I am correct. A nice combo of his tenor and falsetto vocals. It sings about impending fears. A beautiful freak-folk album complete.  

https://ommanipadmehung.bandcamp.com/album/the-prison-itself-is-the-crime-2

[bethoumyvision123]

Album Review of Erica Case’s record Top bitch

I am reviewing this album because I am a huge fan of any kind of local music that isn’t predictable. This album is bringing the weird California freak scene vibes that the Nashville underground has been leaning towards for awhile. This phenomenon was started by the forsaken Freakin’ Weekend festivals, which was a garage-rock/punk/and some electronica festival that was making Nashville a  by bringing down artists such as Jack Name and Ty Segall. Certain Nashville artists still play with these acts, like Dylan Watson playing for Jack Name. This scene grew strongly, but unfortunately dissipated after almost a decade in like 2017 when one of the male higher ups turned out to have sexually assaulted someone. It’s all there on Nashvillesdead.com if that is still a website. It made me really gag and shameful to have watched these acts. However, I was very glad when I learned that instead of this scene having any lasting local acts, many female electronica and electronica influenced rock music artists have risen to take over the East Nashville Underground since then. I am of course talking about Eve Maret. As far as I have learned, she is really the only one doing anything as interesting and diverse as great local musicians like Daniel Pujol did (please make a comeback if you’re reading this pujol)! That is, until now! Erica Case has released a new album called Top bitch and it is better than any of this crap I have listened to in Nashville for as long as I can remember. Of course I haven’t yet mentioned her rootsy country influence, which I will.

Of course some of my favorite locals that are now famous highly remind me of this album. Taylor Swift newest albums have a similar indie flair, and there is an undeniable Halyey Williams (and that is a lazy comparison) vibe whether conscious or not. I have grown un with my sisters an I very interested in this kind of music, and so Erica Case was right up my alley. Here is a track by track review.

Top bitch: This is the sole bluesy track on the album I would say. It comes off very tongue and cheek, which conjures that LA freak scene like Geneva Jacuzzi and Charles (yes these are Ariel Pink’s ex girlfriends, but I don’t want to mention that asshole genius). This is why I wasn’t surprised when I saw Weirdo Music Forever, an LA freak scene Instagram, like Erica’s IG video of a a live electric version of her later song, For A While. Favorite lyric from the title track I am reading is “I hope you’re ready to pick your teeth up off the ground.”

When I Call: This song you can really hear that Joey Ramone influence she talks about by her numerous covers on Soundcloud, with the emphasis on melody. Which brings me to another California freak band, The Cramps. She has covered them on SC, but I wouldn’t really associate them as much as joey Ramone. As in, I am not hearing any Psycho billy, although some tracks on this record have that punk rockabilly thing going. This track really sets the tone for the moody lyrics of this record, “So don't tell me you love me, If you're only gonna go away.”

Waste of Time: This is a power pop song. Reminds me of my old favorite local band Pujol in the nostalgic vibe. 60s sunshine pop, but an undeniably current sad girl.  This is when you get the idea that this artist is very eclectic in her command of genres. You have no idea what genre will come next. Will it be blues, pop-punk, or power-pop? Fav lyric is “poisoning my brain.”

And the winner is power pop! A good stride to stick on. The chord changes in this, my favorite being the chord change into the chorus, are very 80s new wave in the melody in my opinion. The highly sustained lead guitar riff throughout is no exception. I need to listen to the Cure more..

And here is when the always much anticipated track 5 happens, and on this record this means when it completely switches to a singular genre for the rest of the 5 tracks on the album. I remember the last five songs better than any others. That is for course a country type, definitely resembling the likes of Margo Price. Although Erica’s lyrics are much more playful, and child-like. This positivity os shown by it’s dominant chords and counter-acted by sad and depressing flashing images like, “lie to me, say it’s alright.”

This track is when you begin to realize that Erica really likes vocal harmonies, and rightfully so. It is fully old-school country, but you can still hear the melody flourishes that remind you of current sad girl music like Miley Cyrus working with the Flaming Lips, which is probably a weird comparison that belongs easier in theses track reviews, but nonetheless stands. Of course the slide guitar on all these country tracks is impeccable. I also heard on IG that the violin played in this song is by the great Gorgo bordello influenced local gypsy band Fable Cry. They have played a lot of shows with my sister’s circus. Amazing and technical band, and these performances are no exception to that. Very Appalachian too in the fiddle approach.

This song has an anthemic and traditional folk structure. Lovely lyrics of self-love and being able to fix a car which I am jealous of. This one has the Americana attitude to the max, and I am sure that local country legends would love this sass-country variant. Musically, this for me conjures country sass like Jeanie C Riley’s hit Harper Valley PTA which use to play like at the Viva Nashvegas Radio Show in Franklin.

For a While: What can I say about this one! Possibly my favorite on the record. Heart-wrenching melancholy with an explosive chorus. She really knows how to pack a lot of emotions in relatively simple lyrics.

I heard on IG that this is supposed to be a sister song with the previous one, in terms of who they are written about. The dominant jazz chords come to their max on this one, which adds to the eclectic vibe. The toy xylophone conjures early Velvet Underground. I am certainly glad that this relationship milked not one but two great songs! I haven’t been this sad for a girl since early Taylor Swift. Yes, track 8 and 9 are very fun ones to wail (she wants her fans to send a tik toc of people singing her songs, which I will have to do eventually).

Ah yes, the album closer. I actually first heard this song several years ago as a free CD sitting at Grimey’s. It was made with a handmade CD package with glue, and so there is a cool sentimental craft thing going on. I had forgotten about that till now. This song tells the story of who I think is her grandpa. It has many details and local references. I am sure the people I know that are associated with the Grand Ole Opry would love to hear stuff like this!

The narrative of this album involves a few tough relationships and a lot of southern pride, but the boundary-less kind. These different narratives daydream into one another on one of the most exciting and high-definition (quality wise) albums from the Nashville area that I have heard in a while. Great job, Erica!

10/10!

[bethoumyvision123]

Rachel Clement Circus  Josh Halper Album Review

     Greetings new readers, this is the old man heart column.

 I had to delete my old music blog because I was dealing far too much with satanic forces. In the true fashion of Daniel Johnston I suppose, though I think  deep down he was a believer. Interesting how Nordista Freeze told me his sister teaches advanced music theory at Lipscomb. 

ANYWAY

@rachel_clement27

     Rachel Clement is a star performer that has been a family friend for quite sometime. She began as a figure skater, though now has moved to many of the modern circus arts. These are such as spinning on silks from the ceiling, the contortion arts, and hooping. Shows her flexibility of performances occasionally at Plaza Mariachi on the weekends solo or as a duo. With an extremely elegant sophistication, and that’s something difficult to keep in a literal circus act. I suppose that is from her figure skating background. and On her Instagram, there are a variety of photos by a variety of photographers ranging from bright neons to oldy-tyme filters. Her visual aesthetic ranges between these boundaries consistently. This cross between new and old is at the heart of her performances too. This is purely my speculative opinion, though the contortion is more of an old school circus act, whereas the silks are more modern. It’s a performance that’s both old and new at the same time. An important note of her vintage aesthetic, which is a staple of her circus crew Beyond Wings, is the unending smiles. You’re helpless unless you join in on the spectacular cheer. One last important note, is this is not a freak show. It’s a sensual yet sophisticated burst of energy. She is certainly something to orbit around if you want to have some of that energy. 

Go to see Beyond Wings every weekend, evenings Friday and Saturday, and afternoons Sunday! Remember to tip because I hear they don’t pay well!!!!!

@sweetbabyjoshua 

A brief track by track review of his new album Alrightnik, who I think is probably the best young guitarist that I know of in Nash (sorry Danato)..... This is an album that was designed to be listened to track by track almost as one giant song.

Dayton, OH

This opens the album in a smooth and breezy day of your ideal temperature. It is an ascension to stand over the depths of the album. With touches of what I guess is a cello or bassy violin. My first impression of this old Americana cover was “Man, this guy respects his elders.” 

Should be Glad

Another brief tune that further sets the landscape of what the full band instrumentals sound like. I haven’t yet listened to his old band Western Medication, though I imagine this is along the lines of what they sounded like given the scene I was familiar with only by Pujol’s so-called southern gothic rock, and that I see take the gothic turn full force on the next track. Though I don’t think any of the stuff mentioned is really gothic.

Whale in a Field

The man knows how to lament. Rhythmic and soft falsetto chugging along. It’s almost that he regrets taking you so low here, so he added an upbeat ending to counteract the intrusive thoughts of forgetfulness and loneliness in the lyric.  

Desperation Waltz

The hammer-on ascension, as well as all the licks in this track tickle the soul in an almost tango way. Reminds me of the movie Waking Life with Glover-gill and the tosco tango orchestra, though I wouldn’t recommend that movie to anyone, despite it saying that everyone goes to heaven at the end. 

Prelude in E Major

Here is the perkiness to raise from the depths once again. Toe tappin’ fun to introduce the next track.

Who Knows

This is a special song title to me, and one of the scariest thoughts. Although, it states a lack of privacy in living an open book lifestyle and saying you’re fine despite malaise, which is the age we live in now. Always being watched, though a hint of also being watched over, or being competent enough to not be if you wanted. This track solidifies the thought that this man could be a broadway performer in Nash if broadway had any brains (I really do respect Danato though). 

Prelude in b Minor

At this point of the album, one really realizes that Josh is one of the most subtly technical musicians in Nashville. A skill that could have only hailed from a lifetime of practice and schooling.

Reflection

This was one of the singles on the album, and again we return to the smoothy and breezy day. The upright bass on this track is intense. It shifts into an electrical sunset part-way through. Harmonics raise the album to its penultimate peak to set the stage for the force of gravity that ends the album.

Thanks Cam isn’t a track. I thought it was a statement of easily one of the greatest engineers our age in the land. Cameron Davidson. Though it is actually a reference to Cam the bassist. Amazing playing y’all!

Honest Feeling

I said this was gravity, though I am mostly referring to the lyrics that lament the new Nashville and the lack of lasting communities in my opinion. Perfect cheerful piano too. “It will never be” seems a little dramatic, though I couldn’t agree more with the statement. I would guess things are changeable though, though will itself is never going to be the way is how i interpret this. 

MORE REVIEWS SOON!! RECOMMENDATIONS APPRECIATED! THANK YOU!

SPECIAL THANKS: THE COWbOY ARMS HOTEL AND RECORDING SPA, and the readers.