ILX Gonna Shine in My Backdoor Someday (new post-Fahey folk for ppl posting in Takoma/Tompkins Square threads Pt II)

apparently the bonus disc of the new one is a 40-minute version of "sullen mind" haha.

I just spent the last hour listening to the first track of the Krisin Thora Haraldsdottir record on repeat. Not on purpose mind you, I just hadn't noticed I had the Loop Track feature on. I kept thinking the album was much more ambient-y than I expected.

from the well-named Riot Act Media

Get to know Moon Bros, out 7/8 on Western Vinyl

Hear "Pitch" at FLOOD
https://soundcloud.com/western_vinyl/moon-bros-pitch

"Rustic, loose, and forward moving, Moon Bros. is a wagon ride to nowhere in particular—a trip outside just for the sake of the fresh air... the song is as patient as it is thoughtful, and channels the likes of Bill Fay and early, porch-pickin’ Tom Waits." - FLOOD

Fans of Ryley Walker (they used to be roommates in Chicago!) and William Tyler will find something to love on this album, and Tortoise enthusiasts will be intrigued by his rise from the Chicago post-rock underground.

With approachable alt-county lyricism recalling Fred Neil, Townes Van Zandt, Jackson C. Frank, and Bill Callahan carried away on meandering ragas, this one feels simultaneously poetic, organic, and mathematical. Moon Bros. (aka Matt Schneider) is joined by Dan Bitney (of Tortoise), Matt Lux (Iron & Wine), and Sam Wagster (Cairo Gang). Producer and engineer Brian Sulpizio (Health & Beauty) records and mixes.

It’s difficult to follow the fragmented life and musicianship of Matt Schneider. His twofold path has always embraced both an abiding love for Chet Atkins and Nashville session virtuosity, and a begrudging though fruitful flirtation with Chicago’s post-rock underground and middleground. In his native McHenry County as a young teenager, he was a guitar phenom, an engine of local pride who played old-timey anthems and oldies for an audience of delighted townies in a button-up shirt and short dweeby haircut. His clipping book is filled with front page praise lavished on his performances at Dobbyn’s House along the Fox River. That he made it through high school is due in part to the fact that he provided the soundtrack for many of his teacher’s drunken evenings and they let him slide through like a star athlete. In a simultaneous, parallel universe he was roped into playing with bands like Adhesive and Filament (two different bands who shared members and lovers) who had more in common with Seam and Tortoise than Chester or Les. The summer of 1998, immediately after graduating high school, Schneider went on a several week trip to Nashville, where he found more of a ghost town than a warm welcome for a burgeoning session player; Chicago’s fecund melting pot of jazz and rock was far more inviting. He moved to Wicker Park with his Adhesive band mates and participation in a succession of acts followed: The Exciting Trio, then Toe (where he and Griffin Rodriguez replaced, respectively, Jeff Parker and Doug McCombs of Tortoise), and then ex-Codeine Doug Scharin’s large fusion ensemble HiM. After touring Europe with HiM, Schneider retreated to his mother’s empty house in Marengo, Illinois and woodshedded for six months, grinding out fundamentals. He recalls “I wanted to learn the instrument.”

Maintaining his idiosyncratic trajectory as a musician, Schneider never quite returns to the road. Rather he burrows in Chicago, creating ever more complicated methods and tunings for his acoustic guitar while otherwise focusing on his children and his carpentry. He becomes, in a classic sense, the hidden secret of Chicago musicianship. Encountering his playing, stalwart performers are consistently stunned. Without ensconcing his work in dubious spirituality he channels something somehow simultaneously poetic and mathematical, like Kepler’s “music” of the spheres. Each composition is instantaneous, improvised and launched as if fully formed, making sense only in relation to its own spontaneously formed rules of interaction… Songs aren’t so much finite concepts but endless ragas that he taps in and out of; consequently these pieces can’t be entered mid-stream. Instead the listener must participate in the universe as its created in order to live in it. His reputation is such that top collaborators need not be sought, but are intrinsically curious to participate. On these recordings, he is joined by Dan Bitney (of Tortoise), Matt Lux (Iron & Wine), and Sam Wagster (Cairo Gang). Producer and engineer Brian Sulpizio (Health & Beauty) records and mixes. It is the sixth recording by the ever-shifting entity called Moon Bros. (named for turn of the century Moon Bros. Carriage Company) but the first three have all been lost, likely forever, possibly irretrievable from a broken CD-R in the bottom of a box of tools and flotsam hardware. Dancehall Sound and Frijolillo at least made the jump to internet download-ability; onlyThese Stars has ever seen wide, intentional release. Will you hear more about Matt Schneider? Yes, but whether in the context of the great and unknown, or the at-last recognized, remains to be seen.

http://westernvinyl.com/artists/moon-bros

just popping in b/c i needed a place to note that "albion moonlight" bears more than a little resemblance to "the sailor's grave on the prairie" off six and twelve string guitar. this record is great though.

forgot to tell y'all that i went to see heron oblivion on friday and they were sizzling LOUD. i ran into someone else who went to the show the next night, and she agreed that if meg played louder/doomier it would have been 100% perfect instead of just 95%

hometown muppet ryley walker played with bill mackay and it was lovely (glad the whole night wasn't like this though because i get reeeeeestless standing there quietly) and chris forsyth played with an entirely different solar motel band than the one i have seen before. it sounded good but their stage presence was a bit weird. drummer was quite different from previous in style too. interesting. good show.

yeah saw that there is yet another solar motel lineup...hope he can keep finding killer drummers! ah well, heron oblivion/forsyth is still my dream double bill.

Liking the new Wiliam Tyler a lot. Highway Anxiety is so bullseyed on my sweet spot I'm beginning to suspect occult forces.

just popping in b/c i needed a place to note that "albion moonlight" bears more than a little resemblance to "the sailor's grave on the prairie" off six and twelve string guitar. this record is great though.

― call all destroyer, Tuesday, June 7, 2016 11:05 AM (10 hours ago) Bookmark Flag Post Permalink

lol this post was related to a song on the william tyler which must have been completely unclear

New Facebook page was invited to "like" this is quite promising

House & Land is a collaboration of Sarah Louise (VDSQ, Scissor Tail Editions) and Sally Anne Morgan of the Black Twig Pickers (Thrill Jockey).

not sure where else to post about this, new 75 dollar bill is legit. some more instrumentation which works out well

yeah, holy shit, it is good. sort of get an alternate universe "marquee moon" vibe from the last song. definitely like the expanded lineup sound.

i haven't heard the new one, first one was great reminded me of some cross between desert blues and like 90s fat possum rl burnside/t-model ford primitivism

I can't find mention of it on here, but the Western Skies Motel record on Lost Tribe is rather lovely. The dude is Danish, and this does have an Erik Enocksson thing about it, but these are mostly like American backporch derivés with a nice line in sombre autumnal melancholy.

https://westernskiesmotel.bandcamp.com/album/settlers

Thanks for that. Made it to the third track before deciding I had to buy it. Something special about this one. Then again, I'm a sucker for that microgenre known as "Scandinavians-playing-spacy-and-stoned-Americana," and this is exactly the sort of thing I can't get enough of.

Only 5 copies of the LP left, in case anyone's interested.

Nice Chinaski, that looks cool. Will try to take a listen today!

Additionally, the upcoming Marisa Anderson record just got put up via NPR's "First Listen". Excited to check it out.

http://www.npr.org/2016/06/16/480605326/first-listen-marisa-anderson-into-the-light

Man "Chimes" is right up my alley, just a lovely piece. Enjoying it all right now, as Marisa is of course ace.

The Western Skies Motel album from last year ("Prism") is well worth checking out too

Six Organs of Admittance, from 2016 Primavera Sound festival in Barcelona: good ballad, not what I expected, but I haven't checked in w Chasny in quite a while: https://www.youtube.com/watch?v=iiwuH7XJrz0
Other Primavers performers on this page too.

Also from Primavera: less of a medley than three complete (I think) continuous songs from Cate Le Bon:
https://www.youtube.com/watch?v=dBHBsHvkddE
more live CLB here as well

New Nathan Bowles tune just got posted. Sounding very cool, a nice move for sure. Psyched for the upcoming record:

http://www.npr.org/sections/allsongs/2016/06/24/483225309/vikings-choice-nathan-bowles-gadarene-fugue?utm_source=twitter.com&utm_medium=social&utm_campaign=nprmusic&utm_term=music&utm_content=20160624

love it

Yeah, it is a good one. This is gonna be a cool record.

oh boy this should be a corker

http://www.dyversemusic.com/2012/12/good-and-dead-and-full-of-juice.html?m=1

fahey crazy stories are always entertaining

Yeah, read that yesterday. Nothing new, but still a bit of a tough read.

Well damn, why can't these guys play Scott Seward's store basement, or that place down the street, like Sunburn unplugged & Dredd Foole, for instance? Maybe they have, maybe they will---anyway, put on shades and tough-love read this fine Drag City screech of love (see, it's catching):

KEEP YOUR HEAD BUT LOSE YOUR MIND WITH RANGDA LIVE!

Meticulous in their sweet 'n' sensual severity, the other-wordly group called Rangda are one week away from colliding in Europe for more touring off the back of their new album, The Heretic's Bargain! Why collide, you ask? We answer, because this band is comprised of three unique personalities who drop their acclaimed individual pursuits as Six Organs of Admittance, Sir Richard Bishop, and Chris Corsano to join together and coalesce as one unholy music-unit. They're poised to steal your soul and propagate your mind with fiery riffs and torched percussion in Scandinavia, Iberia, and the UK - speaking of, their three day residency at London's Cafe Oto looks like the most captivatingly hot ticket of the summer: each night will open with a solo performance by a Rangdude, each member taking a respective turn, before they blister on with a complete Rangda set. Everyone's gonna be up in arms about it - not in a Leather Apron kind of way, but dark and formidable, nonetheless - when Rangda hits East London! Succumb to the madness, overcome the suspense: dare to play with Rangda this summer!

7/8/16 at Skankaloss Festival in Gagnef, Sweden
7/11-13/16 at Cafe OTO in London, United Kingdom (3 Day Residency)
7/14/16 at Summerhall in Edinburgh, United Kingdom
7/15/16 at The Sage Gateshead, in Newcastle-Upon-Tyne, United Kingdom
7/17/16 at Brudenell Social Club in Leeds, United Kingdom
7/19/16 at Galeria Zé dos Bois in Lisbon, Portugal
7/20/16 at Salao Brazil in Coimbra, Portugal
7/21/16 at Agora Aqui Festival in Guimaraes, Portugal
7/22/16 at SINSAL Audio in Vigo, Spain

Think this is the thread where I was carrying on about John Renbourn's The Attic Tapes last year. Another thing he almost finished at the end of his life is this, which I haven't listened to yet:

Artist: John Renbourn & Wizz Jones
Title: Joint Control
Catalogue No: TUGCD1095
Barcode: 605633009521
Label: Riverboat Records
Release date: 9 September 2016

Wizz is among a host of performers appearing at a special John Renbourn Tribute concert on Thursday 22 September at Cecil Sharp House, London.

Riverboat Records is delighted and proud to be releasing Joint Control whose 13 songs wonderfully embody the fruits of that friendship, capturing the two great artists and consummate guitarists performing together live and in the studio. The album is all the more poignant because it represents the final recordings by John Renbourn, the final tracks made just days before his death on 26 March 2015 from a heart attack at his home in Hawick in the Scottish borders.

At the time of John’s death, Joint Control was almost entirely finished. The pair had been working together since the start of the year in a small studio, about an hour from John’s Hawick home. Alongside the sheer artistry of their playing you can’t but escape the warmth of the camaraderie permeating these performances. Most of the songs are drawn from a repertoire honed through their touring together since 2012; the only original composition, Wizz’s instrumental ‘Balham Moon’, was recorded at the insistence of John, who also gave it a title.

Of course, many of the songs date back to that extraordinary period of the 1960s when Wizz and John first met, reflecting the ideas and techniques that were shared by all the young British pickers and the influences which neither Wizz nor John would have hesitated to acknowledge - Big Bill Broonzy, Sonny Terry & Brownie McGhee, Josh White and Davy Graham.

The version of ‘Glory Of Love’ here is one of two performances taken from a brace of Edinburgh shows in 2014; it was learnt via a version performed by Big Bill Broonzy rather than the million-selling hit by The Five Keys. Broonzy’s ‘Hey Hey’ also fittingly opens Joint Control. The other song taped at these shows, ‘Great Dream from Heaven’, is from the repertoire of Bahaman gospel singer Joseph Spence. John was a great admirer of Spence’s work but the song was also a staple of Davy Graham’s set. “It was through Davy that we knew it,” recalled Wizz to Peter Paphides whose fine notes grace this collection. “We didn’t know much more about it than that, but then John researched it and went back to the roots of it a bit more.”

Joint Control is fundamentally steeped in the history of British folk music in the 1960s with many songs by Wizz and John’s contemporaries such as Al Jones and Archie Fisher. Another on the scene was Jackson C. Frank who first arrived in London in 1965; his most famous song, ‘Blues Run The Game’, was one Wizz had never got round to recording. It was only in more recent years that he started to play it, albeit it from Bert Jansch’s version.

Bert Jansch himself is appropriately represented on this album by no less than three performances each one bearing the hallmarks of his unique technique and great songwriting. The unreleased instrumental ‘Joint Control’ is an early example of the reflective, intricate filigree work that would dramatically bear fruit on 1966’s Bert & John album. It was actually recorded for Jansch’s It Don’t Bother Me the previous year but inexplicably left off the final selection. Masterfully interpreted here by John with Wizz, it makes it’s presence here all the more special and significant.

The anthemic ‘Strolling Down The Highway’ first appeared on Jansch’s debut which in the hands of Wizz and John - as eloquently described by Peter Paphides: “now sounds like a careworn validation of the bohemian aspirations parlayed by Bert and all the contemporaries for whom the guitar represented an escape route from the expectations of their forebears.” The other Jansch song, ‘Fresh As A Sweet Sunday Morning’, from his LA Turnaround album, always provided one of the most moving moments in Wizz and John’s shows together; Wizz would usually look skywards at the song’s close. In the wake of John’s death, this recorded version becomes even more heartfelt and moving.

As much as Joint Control is steeped in the celebrated history that its two participants shared, these genuinely historic recordings also sound utterly fresh and contemporary. John and Wizz had only rarely appeared on record together in the past. John produced (and played a little) on Wizz’s 1972 album Right Now, as well as on 2011’s Lucky The Man so we can be particularly thankful that these recordings were made. As Peter Paphides concludes: “Joint Control is a fitting testament to two musicians who never forgot the spirit of joy and exploration which made them pick up their instruments in the first place; two fires of more than fifty years standing. We’re very fortunate that they managed to capture it in time.”

should be tracks from this and The Attic Tapes here:
https://soundcloud.com/world-music-network/

Re "Glory of Love," John Martyn used to do a good extended version of it also.

RYLEY WALKER SHARES NEW SINGLE, “THE ROUNDABOUT”
https://soundcloud.com/deadoceans/ryley-walker-the-roundabout/s-y5iB2

http://youtu.be/uUfY6c68OdE

NEW TOUR DATES ANNOUNCED; GOLDEN SINGS THAT HAVE BEEN SUNG IS OUT AUGUST 19TH ON DEAD OCEANS

Ryley Walker is happy to share his latest single “The Roundabout,” taken from his upcoming album Golden Sings that Have Been Sung (out August 19 on Dead Oceans). A few weeks ago, we shared the first track, “The Halfwit in Me,” to great praise. Stream both tracks here, above and below.

Produced by Wilco multi-instrumentalist LeRoy Bach, Golden Sings That Have Been Sung was made for the dewy magic hour when night and day have yet to meet and, as long as the song is playing, you feel you might briefly leave the corporeal world with them. This is the music you might imagine the woodland animals making once the humans have left for the night. This is Ryley Walker’s coming of age.

Ryley will play two record release shows in support of Golden Sings That Have Been Sung at Rough Trade East in London on August 19th and at Empty Bottle in Chicago on August 25th with full U.S. and European tours to follow. A full list of dates is below with more to be announced soon.

LISTEN TO RYLEY WALKER’S “THE HALFWIT IN ME”:
https://soundcloud.com/deadoceans/ryley-walker-the-halfwit-in-me/

http://youtu.be/brva1zK6Q1E

RYLEY WALKER TOUR DATES:

JULY
8th CA Winnipeg Folk Festival
9th CA Winnipeg Folk Festival
17th BR Jim Beam History Event, Sao Paulo
22nd ES San Sebastian, Heineken Jazzaldia
29th UK Cornwall, Port Eliot festival

AUGUST
2nd UK Hebden Bridge, The Trades Club
3rd UK Nottingham, Glee Club
4th UK Norwich, Norwich Arts Centre
5th UK Hastings, St Mary's in the Castle
6th UK London, Caught by the River Thames
8th UK Cardiff, The Globe #
9th UK Leamingdon Spa, Zephyr Lounge #
10th UK York, The Crescent #
12th UK Guildford, St. Mary's #
16th SE Malmofest, Malmo
18th PT Praia do Tabuao, Parades de Coura
19th UK London, Rough Trade East instore
20th UK Brecon Beacons, Green Man festival
25th US Chicago, IL, Empty Bottle

SEPTEMBER
10th MX Mexico City, Foro Indie Rocks
14th US Bloomington, IN, The Bishop +
15th US Nashville, TN, The East End +
16th US Bristol, VA, Bristol Rhythm & Roots Reunion
17th US Bristol, VA, Bristol Rhythm & Roots Reunion
18th US Bristol, VA, Bristol Rhythm & Roots Reunion
21st US Sonoma, CA, Gundlach Bundschu Winery &
24th CA Pop Montreal Festival @
25th CA Toronto, ON, The Drake @
26th US Pittsburgh, PA, Club Cafe @
27th US Columbus, OH, Wexner Center @ Ohio State @
29th US Madison, WI, The Frequency @
30th US Minneapolis, MN, 7th Street Entry @

OCTOBER
1st US Davenport, IA, Daytrotter @
2nd US Omaha, NE, Reverb Lounge @
4th US Salt Lake CIty, UT, Kilby Court
5th US Boise, ID, Neurolox
7th CA Vancouver, BC, The Fox Cabaret
8th US Seattle, WA, Barboza
9th US Portland, OR, Mississippi Studios
11th US Felton, CA, Don Quiotxe Music Hall
12th US San Francisco, CA, The Chapel
14th US San Diego, CA, Soda Bar
15th US Joshua Tree, CA, Desert Daze Festival
16th US Joshua Tree, CA, Desert Daze Festival
16th US Phoenix, AZ, Valley Bar
17th US Santa Fe, NM, Meow Wolf
19th US Denton, TX, Dan’s Silverleaf
20th US Austin, TX, The Mohawk
22nd US Tallahasee, FL, The Wolf Den
24th US Athens, GA, Calendonia Lounge
25th US Asheville, NC, The Mothlight
26th US Washington, DC, DC9
27th US Philadelphia, PA, Boot & Saddle
28th US Hudson, NY, The Half Moon
29th US Northampton, MA, Iron Horse Music Hall
30th US Providence, RI, ColumbusTheatre

NOVEMBER
1st US Boston, MA, Cafe 939
2nd US New Haven, CT, BAR
3rd US Brooklyn, NY, The Market Hotel
7th NL Amsterdam, Paradiso Noord
8th NL Groningen, Vera
9th FR Paris, Espace B
10th BE Brussels, AB Club
11th BE Bruge, Cactus
12th NL Utrecht, Le Guess Who? festival
13th UK Brighton, The Haunt
14th UK Manchester, Ruby Lounge
15th UK Glasgow, Broadcast
17th UK London, Islington Assembly Hall
20th ES Barcelona, Sidecar
21st ES Valencia, Loco Club
22nd ES Cadiz, Aulario de la Bomba
23rd ES Madrid, Siroco
26th FR Lyon, Le Sonic
29th CH Lausanne, Le Bourg
30th DE Schorndorf, Manufaktur

DECEMBER
1st DE Erlangen, E-Werk
2nd DE Berlin, Kantine am Berghain
4th NO Oslo, John Dee
5th SE Stockholm, Bryggarsalen
6th DK Copenhagen, Pumpehuset
7th DE Hamburg, Nochtspeicher


^ with Blonde Redhead (Ryley and band)
* with Destroyer (Ryley solo)
# Ryley solo show
+ Promise Land Sound
@ Circuit des Yeux
& with Iron & Wine

GOLDEN SINGS THAT HAVE BEEN SUNG TRACKLIST:
1. The Halfwit In Me
2. A Choir Apart
3. Funny Thing She Said
4. Sullen Mind
5. I Will Ask You Twice
6. The Roundabout
7. The Great And Undecided
8. Age Old Tale

Ryley Walker online:
http://ryleywalker.com/
https://www.facebook.com/Ryley-Walker-1405815259669307/?fref=ts
https://twitter.com/ryleywalker
http://deadoceans.com/artist.php?name=walkerryley
http://www.windishagency.com/artists/ryley_walker
http://pitchperfectpr.com/ryley-walker/

Listening to that John Renbourn & Wizz Jones set, Joint Control, which I posted info about recently. Somehow not yet into the opening and closing instrumentals---though appreciating the latter's it-ain't-over-yet diligent picking-as-digging as an end---but the one in the middle, Jones's "Balham Moon," is pretty cool, and the singing x playing of the others also bring several cycling shades of blues-as-a-feeling vs. purism, even in the Renaissance Faire come-on, "Fresh As A Sweet Sunday Morning," JR's notes got thee pangs. Mostly, though, it's closer to the relatively expected sort of UK and American rare birds, "Buckets of Rain" aside. Distinct approaches, but very cohesive (think Renbourn plays most of the solos).

i gotta check that one out ...

Renbourn's Attic Tapes, the one I was pasting and talking about last year on here, is real good too; I'm certainly no expert on this stuff, but both sets seem pretty accessibly excellent, for the most part.

lol

https://twitter.com/max_read/status/753235434063421440
https://twitter.com/max_read/status/753235663672205312

heheh
Kosmische country

neo dad-rock. welp

Krauntry Rock

Wim Wenders Rock

the dad energy is undeniable

sure -- most of these guys have opened for wilco after all (i say that as a Dad Who Likes Wilco)

lol
anyone who can deny dadness is lying to themselves :) <3

haha!
did we mention that three lobed and vhf are reissuing a bunch of jack rose LPs in a couple months? no extra stuff or anything, but will be good to get 'em on wax.
http://threelobed.bandcamp.com/

i'm a dad!
the "dadrock" insult is bittersweet because whatever music the ppl saying it like will eventually turn into dadrock

if you gaze long into the abyss
ry cooder also gazes into you

lol i was listenin to 'modern country' and definitely picked up some ry cooder vibes

"stop lookin at my cooder"

that woulda been a good one for the terrible (aka awesome) 70s album titles threadm ry missed the boat

loll

dude blew it by never calling an album Ham On Ry (With A Side Of Cooder)
guess it's not too late ... you can do it, Ry!!!!!

Promoting Made In Medina, made w Steve Hillege and Galactic, Rachid Taha advised, "Just call me Rai Cooder."

Imagine if he collaborated with Mayo Thompson?