#37d03d

[half-a-tiger]

MINA TINDLE - “Jessa”, from the album ‘Sister’, out now on 37d03d

Excerpt from Space for the Liberty Muse by Jessica Dessner, commissioned by Sounds from a Safe Harbour 2017

Dancer Jessica Dessner (with Stephanie Dufresne, Veronica Tundis and Robyn Byrne)

Filmed by Conal Thomson 

[fuckyeahfeist]

Feist - Baby Be Simple | One to One

Directed by Christophe "Chryde" Abric Recorded by Phil Weinrobe & Igor Moreno Filmed by Nicolas Rochette at 37d03d Festival 2018, Berlin Based on a idea from...

Directed by Christophe "Chryde" Abric Recorded by Phil Weinrobe & Igor Moreno Filmed by Nicolas Rochette at 37d03d Festival 2018, Berlin

Based on a idea from Damien Rice, developed by Damien Rice & Chryde 

[dustedmagazine]

Bonny Light Horseman — Rolling Golden Holy (37d03d)

Photo by D. James Goodwin

The first self-titled Bonny Light Horseman album stole in unexpectedly in the dead season (at least for musical releases) of January 2020. Anaïs Mitchell was already famous for a folk career and Hadestown, but she would become much more so. Eric Johnson was medium-well known for his work in the Fruit Bats. And Josh Kaufman was the one I had to look up, but he too, had a track record as a producer and collaborator with bands including the National, Josh Ritter and others. But even so, fair to say, that no one was expecting the haunted, spidery grace of Bonny Light Horseman’s first album, with its spare, melancholic title track, its swelling, billowing choruses in “Blackwaterside,” its strident harmonies, its careful extrapolations from folk picked tradition. In my review for Dusted, I wrote, “Haunting denatured harmonies fill the spaces between rickety porch folk tunes, and it’s not hard to hear the influence of Justin Vernon in the swell and spectral auras.” The album was nominated for two Grammys. 

 Two and a half years — and a global pandemic — later, the trio is back, making the case that Bonny Light Horseman is a band, not a one-off meeting of sensibilities. Written and recorded in upstate New York in the spring of 2021, Rolling Golden Holy is more comfortable and assured than its predecessor, but not as eerily evocative. If the self-titled was a twilight vista full of mist and longing, the follow-up ambles through sunny backroads. It has a bit more Johnson, a bit less Mitchell in its mix, though the two artists find intriguing common ground on multiple occasions. 

“Exile” slouches deep in the pocket, the plunk of banjo underlining Johnson’s blues falsetto runs. Mitchell joins for harmonies, sliding her brash, expressive alto under Johnson’s lead. The song is—how to put this?—exceptionally well behaved. It stays within the lines, every note clear, every instrumental flourish legible. “California” veers further into twang, a bent blues line intersecting with jangling acoustic and more staccato banjo. It’s another one where Johnson sings lead, and it sounds, mainly, like the Fruit Bats, which is not a bad thing, but not the alchemy that fans of the self-titled will look for. “Summer Dream,” the other of three focus tracks, is more contemplative than either and centered on Mitchell’s quizzical delivery. It is also very clean, fuller and more expansive. You can get lost in its soft, velvety folds.  

There are, again, some bright, sprightly takes on folk, “Fair Annie” for one, which rattles and rambles in a pleasing, bucolic way, and “Sweetbread,” with its nimble banjo line and dreamy drifts of saxophone. But these cuts, by and large, take the sting out of country folk, the chill that death’s proximity stirs into the most affecting traditional songs. It’s interesting, in a way, that Bonny Light Horseman’s music got lighter and bouncier as the world got darker, and maybe there’s a story there, but if you came for the shadowy frisson of the first album, it’s not here. 

[thenewobjective]

ACL 2021 ~ The Top 20 Albums of the Year

ACL 2021 ~ The Top 20 Albums of the Year

If 2020 was the most surreal year in recent memory, 2021 was the runner-up.  A rollercoaster of emotion was supplanted by a mountain of malaise.  And yet, many artists broke through with the finest albums of their careers.  Some of these were direct responses to the world as it was, while others were simply written in unprecedented conditions.  Some composers offered comfort, others reflection,…

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[thenewobjective]

ACL 2021 ~ Top Ten Modern Composition

ACL 2021 ~ Top Ten Modern Composition

This year, we reviewed more modern composition albums than those in any other genre ~ not because more were submitted, but because their overall quality was so high.  We read this trend early in our Spring Music Preview, and it continued throughout the year.  The backstories were intriguing as well, from Australian wildfires to the passing of a friend.  Could it be that the break from touring and…

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[thevinyldigest]

2018 | Big Red Machine - Big Red Machine Jagjaguwar, 37d03d #bigredmachine #aarondessner #justinvernon #jagjaguwar #37d03d @bigredmachineadjv @aarondessner @ivernonjustin @jagjaguwar @37d03d Just a couple of days ago, found this gem in FB Group. Never heard of them. But. As a huge fan of The National & Bon Iver I‘m nearly speechless that I didn‘t know, this collaboration between Aaron Dessner and Justin Vernon, exist. Nevertheless. Got it. Bandcamp: „In 2008, Aaron sent Justin an instrumental sketch of a song called “Big Red Machine” for Dark Was The Night. This was before they had met in person. Justin wrote a song to it, interpreting the Big Red Machine title as a heart. 10 years of friendship later, there are 10 more songs. Big Red Machine. Each song includes a large number of collaborators via the PEOPLE platform and the record was produced by Justin and Aaron with longtime collaborator Brad Cook and engineered by Jonathan Low primarily at Aaron’s studio Long Pond in Upper Hudson Valley, NY.“ https://www.instagram.com/p/CSRCCD9MEJI/?utm_medium=tumblr

[hannahboyle]

An Act of Healing – A Conversation with Channy Leaneagh of Poliça

“I wanted to crawl in the reeds and the grasses and the flowers and the plants.”

[musicden]