[Dead Oceans; 2013]
When Phosphorescent first broke onto the indie-folk scene in 2003, comparisons to Bob Dylan were a given with Matthew Houck’s knack for writing imagery-laced lyrics over jangly guitars, hints of Freewheelin’ Bob abound. 10-years later with his latest release Muchacho, Houck is still redefining one of Bob’s concoctions, but this time around his inspiration comes from a much different section of Dylan’s cookbook. No, it’s not country-fried Nashville Skyline nor is it the late night munchie snack of Blonde On Blonde. Instead, Muchacho takes on the essence of the seminal Infidels.
In late 1983, Infidels was heralded as Bob’s return from grace (a return from the “grace of God” in this case after two panned “religious albums”). Infidels is often considered his best album since 1975’s Blood On the Tracks. The album marked a definitive change in Bob’s approach. Rather than strumming away on his acoustic like he’d done for the better part of the past two decades, Bob stepped back and allowed the organs and synths to broaden space and time. With Mark Knopfler fiddling around on his guitar, the songs often feel spacious and airy. Of all of his albums, Infidels is his most 80s album to come out in the decade of post punk and new wave.
Ores & Minerals
[Fat Possum; 2013]
In Billy Collins poetic plea “Introduction to Poetry,” he asks his students to “drop a mouse into a poem / and watch him probe his way out.” Recently while reading this poem, I found myself making a connection between the lab rat metaphor and the London band Mazes. The obvious association is in the band’s name, but my connection went much deeper than the literal.
From the first time I heard Ores & Minerals, I knew I loved the band’s sophomore album. The problem was in the fact I didn’t know why I liked it so much. Like the students in Collins poem who “…begin beating (the poem) with a hose / to find out what it means,” I wanted a clear analysis of what was at the core of my enjoyment. Few of the songs feature choruses, and if they do, they aren’t instantly memorable. There aren’t any tracks on the album that beg my attention nor do the lyrics ever delve much beyond the contents of a fortune cookie. The songs seem to ramble on for long stretches of time, never really going any place. Yet, despite all this monotony, I couldn’t quit listening to the album. Like the mouse in the maze, I was lost in the music but had no real way of figuring out the answer as to why.
In this episode I take a look back at some of the highlights and low-lights from the South By Southwest Music Festival, 2013. You’ll hear new tracks from artists like Marnie Stern, Foxygen, Flaming Lips, TV Ghost, and Pissed Jeans as well as some classics from Afghan Whigs and Songs: Ohia.
Marnie Stern “Year of the Glad”
TV Ghost “Phantasm”
Foxygen “No Destruction”
Flaming Lips “Sun Blows Up Today”
Action Bronson “Gateway to Wizardry”
Pissed Jeans “Teenage Adult”
Afghan Whigs “Going to Town”
Songs: Ohia “Just Be Simple”
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