Julie Meckler’s voice is soft and pleasant, and it floats over her acoustic guitar with the familiar, idyllic buoyancy of a rowboat. Left in the wake of her playing are strains of precious and patient melodies, alternating throughout her debut long-player “Queenshead,” most affectedly on the a capella tune “The Cigarettes Song.” The spontaneous results of a throwaway moment—”we were smoking cigarettes in the snow in Chicago”—have a raw majesty missing from the rest of the album, which by way of contrast seems too carefully composed. The listener faces a dilemma: this could be any other release by any other up-and-coming singer/songwriter stuck in the cafe tropes that garner paying gigs. Fortunately, Meckler has an ear for detail that bats those banal qualities away. Field recordings of ambient noise—the traffic in Chicago, the sound of whirling wind—these attributes create a density and purpose that continually ground the carefree melodies, something especially impressive given the inclusion of a bonafide reggae tune in “Bitch.” Read the rest of this entry »
Hearing the Wailin’ Jennys stripped of artifice, unadorned by elements dropped in to make the trio sound more like a country rock band than anything else, is probably the best way to encounter these folk-singin’ Canadians. Spawned from a one-off gig at some music shop, the trio started touring and recording soon after. With its 2004 debut, “40 Nights,” ranking as the group’s most acoustic-focused affair, closing standard “The Parting Glass” best serves to explain the band’s talents. Initially a Scotch farewell song, something from about the same time Robert Burns was kicking around, the tune finds the original trio—Cara Luft’s since split-workin’ it out a capella. Read the rest of this entry »
After dabbling with electronic music in collaboration with Karsh Kale on “Breathing Under Water,” and then pursuing flamenco-fusion on her own “Traveller,” sitarist Anoushka Shankar returns to her classical roots with “Traces of You” while still keeping other genres within arm’s reach. The opening track “The Sun Won’t Set,” for instance, is a beautiful ballad recorded in collaboration with her half-sister Norah Jones, and is much closer to Jones’ alt-folk style than to Indian music.
Though much of the disc is dedicated to Indian ragas, some of the tunes venture into completely different directions. “Metamorphosis” brings together traditional and modern sounds, including electronics and electric bass, while the soft, piano-centric ballad “Fathers” has elements of modern jazz. Read the rest of this entry »
By Mark Roelof Eleveld
Irish singer-songwriter and rocker Paul Brady has been doing it well for almost half a century. “Chicago is a very educated crowd, they know their music,” says Brady about his November 1 show at Chicago’s Old Town School of Folk Music with local stalwart John Condron opening. Brady says that the blues played a large part of his set when he was younger. “I have about eighty percent of my solo set down when I get there, and depending on the audience, perhaps some of the Irish tunes, or maybe some old blues; there is always this ‘bleeding noise’ from my past songs saying, ‘hey, what about us?’”
Brady’s catalog is substantial. With more than fourteen albums, including his most recent double-CD compilation “Dancer In The Fire–A Paul Brady Anthology,” Brady’s style is hard to pigeonhole. From Northern Ireland, he is one of the island’s most enduring contemporary musicians. Fellow Irishman Bono of U2 offered that Brady is, “The iron fist in the velvet glove of Irish music,” and no less than Bob Dylan revealed, “Some guys got it down, Leonard Cohen, Paul Brady, Lou Reed, secret heroes.” Read the rest of this entry »
Clockwise from left: Andy Cohen, Tim Midyett, Brian Orchard, and Chris Manfrin.
By Kenneth Preski
“The only reason Bottomless Pit exists is because Michael died.”
From the impetus for creativity in the face of insularity, to the soft underbelly of Steve Albini’s legacy, a conversation with Tim Midyett eight years since his hiatus from interviews offers a remarkable entry point for insight into contemporary American artistic expression; though it is clear that the discussion about his post-Silkworm work with Bottomless Pit can only begin one way, and that’s by confronting the death of former bandmate Michael Dahlquist. A few months shy of his fortieth birthday, Silkworm drummer Dahlquist was one of three musicians killed while idling at an intersection in Skokie. Their vehicle was struck by a Ford Mustang traveling 90mph down West Dempster around noon on a Thursday, the wheel helmed by a suicidal twenty-three-year-old woman. Her only injury was a broken ankle. She was charged with three counts of first-degree murder, later reduced to reckless homicide by reason of insanity. She spent four years in prison for the crime.
“It wasn’t that I didn’t have anything to say about that, but I had a lot to say about it, and I wanted it to be real specific, and exactly the way I wanted to say it. All that stuff came out in our records.” Read the rest of this entry »
Arguably one of the lead voices of the current fado revivalist movement in Portugal, Mariza maintains the tradition of the genre while turning the spotlight on a whole new generation of composers that help keep her country’s most traditional musical style ripe for rediscovery by young generations who may have otherwise relegated it to the past.
Mariza has a dramatic singing style reminiscent of the late “Queen of Fado” Amalia Rodrigues. She brushes off those comparisons, as in the release of her 2007 live album “Concerto Em Lisboa,” where she states that, “there will be no next Amalia Rodrigues like there is no next Tom (Antonio Carlos) Jobim.” After all, new talents will always emerge but they will never be able to replace those who have passed. Read the rest of this entry »
Tijuana-born Julieta Venegas is a multi-faceted singer-songwriter who is equally comfortable belting out acoustic-based, folksy tunes alongside more pop-oriented songs, as evidenced by her 2012 release “Los Momentos,” which she is promoting with an extended tour of the United States. ”Los Momentos“ showcases a more mature side of Venegas, who took a short break from performing following the birth of her daughter Simona three years ago. Her songs have a greater depth, and she has come to embrace traditional instruments with greater frequency. The title track has a touch of jazz, and the black-and-white promo video for the tune has a retro fifties feel that showcases her accompanied by a grand piano. Read the rest of this entry »
When the slightest degrees separate the coffeehouse hack from the gifted songstress, it’s no easy task being a woman armed with an acoustic guitar. Often too subtle for fame, and therefore too obscure to be relevant, singer-songwriters walk a tense tightrope between credibility and, well, dullsville. They are unheralded, they are unappreciated, they are the unloved stepchildren of the music world. For the fortunate few who manage to conjure their craft at precisely the right moment and for precisely the right audience, the gamble can pay off dividends. In this circumstance, the mode of expression has an effect few other ensembles can manage. There’s something mystically personal about the experience for the listener, as though the tunes were carefully handcrafted to the refined specifications of each individual. Take for instance Joni Mitchell’s “Blue,” which will be covered in its entirety by Chicagoan Eiren Caffall as part of The Whistler’s “Playing Favorites” series. Read the rest of this entry »
“La Voce Toa” is among the best songs of Canzoniere Grecanico Salentino’s, and it happens to be the sole English-language tune on their 2012 album “Pizzica Indiavolata.” The vocal belongs to Piers Faccini, an English singer-songwriter who is currently touring the United States in support of “Between Dogs and Wolves,” his second release via San Francisco-based indie label Six Degrees.
Faccini’s style is a mix of folk, blues and acoustic rock with a heavy African influence and a dab of jam-band feel. But don’t expect him to get lost in endless guitar riffs during his performances. In fact, when playing Stateside he travels lightly, accompanied only by his own guitar and a percussionist, which allows fans to focus on his voice. His heartfelt delivery has a laid-back feel, and his reflexive lyrics set him apart from today’s shoegazing singer-songwriters. Read the rest of this entry »
When contemporary critics call art “outsider,” it is meant to refer to an artist who has learned outside of the reach of institutionalized instruction. Outsider artists tend to be self-taught, those who learn by doing, often marginalized for their lack of refinement. With luck, the rawness of the outsider artist becomes a tremendous asset, able to sharpen the focus of the expression by privileging the power of the message over the style of its messenger. To the listener, the insight is registered as a singular voice, a signature style. The challenge for artists of this ilk is to avoid becoming so outsider as to feel alien. Willis Earl Beal, for instance, was born in Chicago, but it doesn’t feel like he’s from anywhere at all. He’s signed to Britain’s XL Recordings, the same label that put out the latest Radiohead album. They released the final Gil Scott-Heron LP as well, a much better point of comparison for Beal’s work, whose sophomore effort “Nobody knows.” [sic] is a marked departure from the bedroom recordings and loose-leaf drawings that defined his initial approach. Read the rest of this entry »