A few New ones
My grubby paws are all over a couple of anticipated new releases. Here's the quick first take:
Bonnie 'Prince' Billy: Then the Letting Go
RELEASE DATE: 9/12
Hard to believe that Will Oldham released three records since his last proper studio release, 2003's totally underrated Master & Everyone. The live collection Summer in the Southeast was loud and ragged, and showed signs of an Oldham we hadn't heard on record since the Palace days of Viva Last Blues. Prior to that he got his collab on with Matt Sweeney on last year's Superwolf, and put on his cowboy boots to rework some of his oldies for countryfied Greatest Palace Music.
So what's this new one sound like? Well, basically you can expect the same formula as Master, with the occasional string quartet popping in and out of the mix. This disc is full of duets, slight blues inflections, and on the whole, softened edges. Not as quite as tastefully reserved as Master, but compelling none-the-less.
The Black Keys: Magic Potion
RELEASE: 9/12
Why mess with a good thing? If you liked their first three records, this is more of the same (no complaints here). If the Keys are your idea of average, middle-of-the-road garage rock, don't come looking for any revelations here. Same guitar tones, same heavy pentatonic blues riffing, though a slightly different, less-overdriven sound for Dan Auerbach's gnarled vocals. Great songwriting as usual -- Auerbach proves again that he can make the most boring blues cliches sound fresh.
J Dilla: The Shining
RELEASE: 8/22
It's not just named after the Kubrick flick, it basically is the Kubrick flick. Various audio samples from the film are littered throughout the 12 tracks ("Here's Johnny!" and the like make numerous appearances). Stylistically The Shining shares many of the same production traits that made this year's previous Dilla release, Donuts, such a quality listen. The beats stay mostly straightforward, while he let's his undeniable knack for layering speak for the whole. Highlights include "So Far to Go," featuring D'Angelo and Common contributions, and the Guilty Simpson/Madlib collab, "Baby." Early verdict: the tracks are almost as hot as those on Donuts, and it's great to have quality MCs in the mix, but the film samples can be overwhelming and nearly ruin several tracks, IMO.
Bonnie 'Prince' Billy: Then the Letting Go
RELEASE DATE: 9/12
Hard to believe that Will Oldham released three records since his last proper studio release, 2003's totally underrated Master & Everyone. The live collection Summer in the Southeast was loud and ragged, and showed signs of an Oldham we hadn't heard on record since the Palace days of Viva Last Blues. Prior to that he got his collab on with Matt Sweeney on last year's Superwolf, and put on his cowboy boots to rework some of his oldies for countryfied Greatest Palace Music.
So what's this new one sound like? Well, basically you can expect the same formula as Master, with the occasional string quartet popping in and out of the mix. This disc is full of duets, slight blues inflections, and on the whole, softened edges. Not as quite as tastefully reserved as Master, but compelling none-the-less.
The Black Keys: Magic Potion
RELEASE: 9/12
Why mess with a good thing? If you liked their first three records, this is more of the same (no complaints here). If the Keys are your idea of average, middle-of-the-road garage rock, don't come looking for any revelations here. Same guitar tones, same heavy pentatonic blues riffing, though a slightly different, less-overdriven sound for Dan Auerbach's gnarled vocals. Great songwriting as usual -- Auerbach proves again that he can make the most boring blues cliches sound fresh.
J Dilla: The ShiningRELEASE: 8/22
It's not just named after the Kubrick flick, it basically is the Kubrick flick. Various audio samples from the film are littered throughout the 12 tracks ("Here's Johnny!" and the like make numerous appearances). Stylistically The Shining shares many of the same production traits that made this year's previous Dilla release, Donuts, such a quality listen. The beats stay mostly straightforward, while he let's his undeniable knack for layering speak for the whole. Highlights include "So Far to Go," featuring D'Angelo and Common contributions, and the Guilty Simpson/Madlib collab, "Baby." Early verdict: the tracks are almost as hot as those on Donuts, and it's great to have quality MCs in the mix, but the film samples can be overwhelming and nearly ruin several tracks, IMO.
posted by Mike H. at 11:41 AM
