MV & EE
Space Homestead
Available now on Woodsist

Matt Valentine and Erika Elder, otherwise known as MV & EE, have crafted the perfect album for floating down a gentle river on a lazy summer day when all that matters is the moment of now. Space Homestead, the group’s second album on Woodsist, flows like such a stream - moving at its own easy pace, turning and tumbling wherever the day takes it, paying little mind to the commotion of modern life surrounding it.

The band conjures up these pastoral images through the lackadaisical sounds of Valentine’s softly strummed acoustic work and Elder’s reverb-injected lap steel guitar. On “Workingman’s Smile,” this foundation is joined by a careening bassline, simple drum beats, and a pair of electric guitars that hover about with no real destination. The lack of instrumental direction is honed in, however, by the interspersed and easygoing vocals of Valentine and Elder. With the track “Too Far to See,” MV & EE produce a cosmic atmosphere of synthy raindrops and reeling distorted guitar that flies around like a moth looking for a place to land. 

The final song on the album, “Porchlight,” fuses crunchy, fast-tempo guitar and jazzy drum beats with a layer of meandering, wah-wah riffs and dreamy vocals; it sounds as if two entirely different songs are being played at the same time. This discordance breaks away at the song’s midpoint into simple harmonica squeals and acoustic rhythms with Valentine’s sensitive voice gliding over it.

Space Homestead, while void of any clear musical ambition, finds strength in its weakness. The free flowing and relaxed nature of the album allows for it to be played as a soundtrack to the aimless adventures of summer. So find a raft, bring a few friends, and let Space Homestead take you down stream.

Utne Reader is pleased to host the world premiere of the music video for “If Wishes Were Gold” by Sankofa, a modern string band that features Allison Russell (Po' Girl, Birds of Chicago) and Dom Flemons of the Carolina Chocolate Drops. Russell wrote "Wishes," and provides a sultry lead vocal on the track while adding acoustic guitar to compliment an understated harmonica by John Sebastian of The Lovin’ Spoonful, and the resplendent brushes of percussionist Sule Greg Wilson. The result is a warm glow engulfing a cool summer eve in the city:

Russell recalls the genesis of the song: "'If Wishes Were Gold’ is about as straight forward a song as I've ever written. There's no ambiguity to the particular kind of blues I am feeling there. I was ready to give myself to someone I loved and that person just wasn't ready the way I was READY. To some extent, it also stems from the vagabond existence I was living at that time. There's kind of a double yearning going on, not just for someone to love, but for a place that felt like home, ever elusive. The song was written during a sojourn in Chicago and came to life under the deft musical guidance of John Sebastian. We arranged and recorded it together at Nevessa Studio in Woodstock, N.Y.”
 
 

Describing the unique still photo quality of the video, Allison explains: "Rob Stegman, the videographer, decided he wanted to use still shots of me in a metropolitan setting for the video, and we saw it as an opportunity to pay tribute to the beauty and grit of The Windy City. Natalie Ginele is a fantastic Chicago based photographer and had always wanted to do a shoot by the train tracks off of Grand Ave. on the edge of West Town. We also did some shots in the vibrant Wicker Park, Bucktown, and Humboldt Park neighborhoods, which are favourite haunts of mine. I hope some of the atmosphere of Chicago comes through in the video. I can't think of too many better places in the world to be blue."

Since the release of The Uptown Strut earlier this year, the album continues to generate acclaimed reviews with SSG Music remarking, “Sankofa offers a spontaneous, raunchy barnyard romp that bridges the gap between hillbilly country, gospel, and soul” while Press Plus 1 noted, “...the instrumentation complements the songs perfectly. The result is an album that is every bit as fun and mirthful as immersed in heritage and history.”

The digital single for "If Wishes Were Gold" will be released July 10 on Cleveland-based Kingswood Records.
 

 White Arrows - Dry Land Is Not A Myth (Votiv) 

Imagine trekking down a humid jungle path at dusk when, through an opening in the trees, you spot the glowing orb of a UFO passing slowly above. You follow the dim hum of the craft and hear the unlikely sound of celebration grow louder with each step. The density of the forest gives way to a moss-carpeted clearing and reveals the source of the sound - a group of young musicians playing psychotropical pop songs to a crowd of head-bobbing aliens.

This story has most likely never occurred, but if it did, the band  playing would most definitely be White Arrows. The Los Angeles quintet, formed a few years ago out of  demos created by singer Mickey Church, have just released their debut album called Dry Land Is Not A Myth . Taken to  such influences as Carl Sagan and 90’s kids movies, White Arrows conjure up colorful and nostalgic imagery fitting for a telescopic star party. 

The new single and album opener, “Roll Forever,” is an amalgamation of musical styles, from upbeat electronic pop to relaxed, introspective space rock. Twitching guitars and reverb-heavy backup vocals pair with an uptempo beat, creating a sense of aural slow motion. On the standout track “Get Gone,” drummer Henry Church indulges in the type of bouncing percussion reminiscent of Animal Collective’s Panda Bear. Backed by warbling synthesizers and interjecting guitar riffs, Mickey Church reflects on  young adulthood singing, “Mama said I ain’t got no home, yeah, get gone.” While much of White Arrows lyrics seem to focus on the difficult  questions of young 20-somethings, the music always offers an infectious counterbalance of positivity.

Dry Land Is Not A Myth exudes a kind of youthful optimism for life that perfectly reflects the wonder of warm summer nights. And why shouldn’t it? White Arrows seem to be gathering momentum heading into their first full tour of the U.S. So go ahead, bob your heads. Humans and aliens alike. 

 
Various Artists
Aimer et Perdre: To Love and To Lose - Songs, 1917-1934
Available now on Tompkins Square (Feb. 14, 2012)

Love is the easiest universal human experience to convey in song, rivaled only by the similarly universal human experience of losing love. That’s not to say it’s “easy” to write a good song about love, but rather that the opportunity for unique and nuanced perspectives are plentiful; a notion that is celebrated on the fantastic 36-song compilation  Aimer et Perdre: To Love & To Lose – Songs, 1917-1934 appropriately released on Valentines Day 2012 on Tompkins Square.

For those who appreciate the preservation of vintage recorded music, this collection is essential. Featuring pre-war Cajun, eastern European, and rural American music carefully selected and remastered by album executive producer Christopher King from his own rare collection of 78s, Aimer et Perdre is a treasure trove of recordings once bound by shellac, now set free by the digital age.

While it would have made sense to clump the “To Love” songs together on one disc and the “To Lose” songs on the other, King was smart to mix them up. The ebb and flow of happy courting tunes, lively wedding dances and mournful laments, match the cycle of love that we as humans seem hardwired to repeat throughout our lives.

Sonically, it’s apparent that these songs were lifted from old shellac, but the hiss and crackles are remarkably overshadowed by the depth of sound King was able to coax from these recordings through remastering. Many of the songs feature multi-piece traditional groups, yet most of the instruments are easy to distinguish from one another. On tunes like “La Valse De La Prison (The Prison Waltz)” by Black Creole musicians Douglas Bellard and Kirby Riley, we’re able to easily discern the dark, rolling rumble of Riley’s accordion behind Bellard’s lively fiddling. And on rollicking Ukrainian dance tunes like “Chernovitzer Bulgar (Dance from Chernovitz),” each transcendent note from Izikel Kramtweiss’s clarinet hardly sounds like it was recorded almost 83 years ago. The point is there are wonderful moments in every one of these songs, and new ones you’ll discover on repeat listens.

In addition to a collection of outstanding music, Aimer et Perdre is also a beautiful physical package, featuring extensive liner notes by King, brief descriptions and lyrics for every song, and three original illustrations by the inimitable Robert Crumb. Thanks to art direction by Susan Archie, it’s a collection you’ll find just as satisfying to look at as listen to.

My Reincarnation
Directed by Jennifer Fox
Premieres June 21, 2012 on PBS 

While the conflict between a father’s expectations and his son’s desires is a story as old as the hills, Jennifer Fox has managed to capture a unique twist on that experience with her documentary film My Reincarnation, which kicks off the 25th season of POV on PBS.

Like most ambitious children, Italian-born Yeshi Silvano Namkhai has plans for his life. He likes playing music and taking photographs. He has a knack for computers. He wants to be a father.

But Yeshi’s father, exiled Tibetan Buddhist Master Namkhai Norbu Rinpoche, believes that Yeshi is the reincarnation of his great-uncle, Khyentse Rinpoche Chökyi Wangchug— a revered Tibetan Buddhist Master who died in a Chinese prison.

For Namkhai Norbu, the path is clear: maintain the ancient spiritual and cultural traditions of Tibet through service to the Tibetan Buddhist community. But Italian-born Yeshi views the responsibility as an unwanted burden even though he acknowledges having the special dreams associated with being reincarnated. “I’m not afraid of dying, but I’m afraid of living,” Yeshi says as he struggles to reconcile his desire to be a “normal” Westerner with his father's hope that he will embrace his destiny.

Fox’s film is compelling because it isn’t just a snapshot. Filmed over 20 years, we’re introduced to Yeshi as a defiant 18-year-old intent on pursuing the life he wants, and we follow him through adulthood as he evolves into the man he’s become. In that same time frame, we also see the seeds for Yeshi’s strained relationship with his father, and how both men work to better know and understand each other. Despite its unique circumstances, My Reincarnation is remarkably accessible for anyone who has tried to balance their own desires with the expectations of a parent.

Dent May
Do Things
Available now on Paw Tracks (June 12)

“Every day of every year, I wonder what I’m doing here,” sings Dent May on “Home Groan.” The song is an anthem for small-town kids, or anyone that forgoes tastemaker cities to stay put. The sentiment is also representative of themes woven through the album, Do Things, as May muses on existence—from friendship to finding life’s meaning—with plenty of synth and slightly twisted Beach-Boys-style harmony.

Lyrically, May is willing to challenge convention. Throughout the album, he urges listeners to believe in themselves and their ability to transcend difficulties. “There was a time when I never thought that I’d feel good again,” sings May in a vaguely doo-wop style on the album’s title track. The moral of this story? “Do things your own way.” Similarly, “Find It” empowers listeners, telling them to stand by their dreams and discover life’s meaning for themselves. “Rent Money” and “Parents” reflect on frustrations with the adult world and focus on staying true to oneself in spite of disappointments and obstacles.

There’s not a traditional love song on the album, though there’s plenty of love. May mentions the importance of friends in at least 4 tracks. And while “Best Friend” seems to address a lover, the focus is on their long and reliable friendship. “Wedding Day” and “Don’t Wait Too Long” speak to the challenges of finding romantic love, and in “Tell Her,” he sings about the frightening prospect of expressing love once it has been found. In each of these cases, May has an answer: “don’t worry,” “do what feels right,” “say what you feel.” The takeaway is consistent: trust life’s process and live from the heart.

Musically, the album is joyful and a bit experimental. May is not afraid to sound like a warped video tape of a Beach Boys concert, but most of the time he pulls it off. The liberal use of synthesizer, drum machines, funky bass lines, and close harmonies make for a lovingly campy sound. Comparisons to the solo work of Animal Collective’s Panda Bear would be fair. Of course, that makes Dent May a logical pick for Paw Tracks (Animal Collective’s label). Still, Do Things won’t fail to surprise and—for Panda Bear fans—delight.

Do Things is a refreshing combination of experimental play, honesty, and optimism. The world is a strange, overwhelming place—perhaps most confusing at young adulthood. Rather than offering tools for navigation, Dent May urges listeners to throw out the map, get lost, and experience the surroundings. “Don’t know what’s in store for me,” he sings, “but I think it’s gonna be fun.”

Langhorne Slim & The Law
The Way We Move
Available now on Ramseur Records (June 5, 2012)

Langhorne Slim sings like he’s in trouble with the law; pleading, explaining, laying everything on the line to be sure his actions are understood to be honest and intentions known to be noble.

On The Way We Move, Langhorne Slim & The Law weave their way through folk, Americana and rock, with Slim singing his heart out the entire way. His scratchy, honest, not-quite-falsetto voice may not be classically trained, but more importantly it’s emotive.

The title track opens things up with David Moore plunking out a joyous piano bounce between the chorus and verses while the Law chimes in, vocally echoing Slim’s declarations.

“I was born with a thorn in my soul/guess it could be worse. I might not’ve gotten much/but I know what it’s worth” Slim sings on “Bad Luck” over the top of a snapping one-two snare beat and banjo. He’s had his share of trouble and hard times, but even though bad luck’s rooted itself in him, Slim knows he’ll survive.

Moore shines again on “Fire,” putting down a funky key part to set the stage for a tale about childhood crushes and the inevitable crushing of adult life. Hardly a pity party, The Law settles into its best groove of the album on the track, as Moore jams away on his keys like a Stax session man in the pocket.

A good half of the album finds the boys in balladeering mode. Banjos and guitars gently pick their way along as Langhorne wrenches every drop of feeling he can out of his vocal delivery. Nowhere is that more apparent than “Song For Sid,” an ode to the writer’s beloved, late grandfather.

“Move” tends to lean either toward patient ballads or up tempo foot tappers and rarely land anywhere in between. But whichever pole they happen to be leaning on, Langhorne sings it just might be his last song.

Paul McCartney 
Ram 
Available now on Hear Music  (May 22nd) 

Released as part of the Paul McCartney Archive Collection, the reissue of Ram looks to reignite the pop music memories of listeners who first heard the album upon its original release and turn younger fans on to the post-Beatles, pre-Wings magic of Paul McCartney. The 12-track album has been remastered at Abbey Road Studios to wonderful effect, sounding crisp and clear as if it were recorded today. In addition to the remastered album, an 8-song bonus disc offers a sampling of tracks that were recorded during the sessions, but didn’t appear on Ram. While several versions of this reissue have been made, like the Deluxe Edition that comes with 5 discs, a 112-page booklet, t-shirts and more, the remastered album alone is enough reason  to invest in these now historic recordings.

Amidst the brutal breakup of the Beatles, and Paul’s lawsuit against his former bandmates, McCartney retreated to a Scottish farm with Linda and their kids where he conceived of Ram. Despite his modest ambitions for the album, McCartney’s songwriting prowess of the early 70s was not easily tamed and is only amplified with the remastered version. “Ram On,” cleaned and polished, captures the vulnerability in Paul and Linda’s voices as they harmonize softly on a bed of ukulele and Wurlitzer piano. Other tracks, like the linear “Uncle Albert/Admiral Halsey” and the playful, yet intense, “Monkberry Moon Delight” are punchier than before—creating an overall better listening experience. The real gift to fans, however, is the bonus CD. 

McCartney’s first single as a solo artist, “Another Day,” and its B-side, “Oh Woman, Oh Why,” begin the bonus disc, but from there the selections have either been underexposed or never officially released. One standout track is the folky “Hey Diddle,” which could have happily called The Beatles (White Album) home - alongside “I Will” and “Mother Nature’s Son.” Another, called “Rode All Night,” is a nearly 9-minute rocker of fast chugging guitar and drums with McCartney’s often unintelligible vocal shouts above it. As an added incentive, the Special Edition of the reissue also contains a DVD with several music videos from Ram and the short documentary about the making of the album, called Ramming.

 
Liars
WIXIW
Available now on Mute Records (June 5, 2012)

The Liars sixth full-length album is all about advancing boundaries. Since the band’s first experimental rock release in 2001, it has been resolute in defying genre designations, preferring instead to experiment with sound and rhythm. WIXIW is no exception. Even its title shares in the desire to challenge expectation. The configuration of letters seems as much about shapes as it does about meaning. The palindrome is to be pronounced, “wish you.” Read this way, the title carries hope and promise beside other possibilities: longing, anxiety, confusion.

The album is full of similarly muddled emotions. Much of WIXIW consists of otherworldly ambient-electronic tracks, ranging in sentiment from welcoming to sinister. The album opener, “The Exact Color of Doubt” invites listeners into an expansive soundscape decorated with rhythmic hand clapping. But the next track, “Octagon,” leads them into a dark, bass-filled underworld embellished with the chatter of bats and mice. The quick change in tone invites comparisons to Aphex Twin and Amon Tobin, who displayed a similar dexterity in their ability to both soothe and frighten.

After the first two tracks, almost all of WIXIW is a blend of beauty and distortion. The upbeat rhythm driving “No.1 Against The Rush” is tinged with warped guitar. The playful melodies and rhythms of “Ring On Every Finger” and “Flood to Flood” are countered by ominous, droning vocals. “Ill Valley Prodigies” balances an air of suspicion with endearing vulnerability. The title track is catchy despite its anxious beat and schizophrenic melody. Those who make it to “Annual Moon Words,” will discover a meditative psych-rock backwater, apparently designed to usher them safely from the voyage that has been this album.

Music is powerful, and going into dark, scary places with a stranger requires a degree of trust. It’s your own ghosts you’ll encounter, and you don’t even know where you’re going. Sometimes a listener can justify picking a few favorite tracks and skipping through the uncomfortable parts, but WIXIW does not clearly distinguish between the bright and dark. For many, this will make it hard to get inside the music. Still, radiance interlaced throughout will offer almost any listener rewards. With WIXIW, Liars review experimental rock as they forge new territory. They explore a junk yard, a good dream, a crime scene. They’re making something from it all, and they’re asking you to come along.