Listen: Sondre Lerche - "The Plague" (Scott Walker cover)

If you're anything like me, you're probably eagerly awaiting news of another record from Norwegian wunderkind turned wunder mann Sondre Lerche. I mean, he's released a new record almost every two years since his debut so we're about due. While he's been off charting the globe working on a new more experimental album, we've finally got a little something to tide us over - "The Plague".

Sondre Lerche's contribution to a Scott Walker tribute album entitled Songs from Montague Terrace is a darker Lerche than you're probably used to and yet surprisingly not even the slightest bit of a misstep. Lerche has a method actor like ability to take up any role for a cover while still imbuing a bit of himself in it. That's what we get here in "The Plague" which is more than your paint by the numbers cover - there's a bit of new with the old like clattering drums which give Lerche's vocals a sort of spoken word feel and a sea of reverb effected vocals that aid in the mysterious aura.

So while it may still be a while yet until new original Sondre Lerche material reveals itself, I'll be happy to take this sort of thing - a fresh new look and interesting bit of experimentation from a pop songsmith.

    

Songs from Montague Terrace is out on All Souls Music on September 16th.

Laura Veirs - Warp & Weft (2013)

For longevity as a singer/songwriter so much emphasis seems to be placed on reinvention - elevating previously existing songwriting forms to new heights, tonal shifts and the like but fortunately for Portland's Laura Veirs and her latest offering - ninth studio record Warp & Weft, all that's required to offer up a truly special record is a little bit of imagination (which luckily Veirs has in spades) and help from a few of her talented musicians friends (like guest vocals/harmonies from Neko Case on "Sun Song").

Warp & Weft is an intimately felt record filled with intriguing songwriting concepts from orphans to origami cranes are all given their due without it seeming at all unrelated or unrelateable. Each of Laura Veirs' albums features a truly roaring indie rock jam from "Black Gold Blues" to "July Flame" and Warp & Weft's takes the form as another feat of homage akin to July Flame's "Carol Kaye" in "That Alice" - a musical tribute to Alice Coltrane. Perhaps more so than other releases, Veirs indulges not only in the more fast-paced, forward-moving rock element but in pure ambiance-setting tracks ("Ghosts of Louisville", "Ikaria"), the result is a more balanced pairing of indie rock and twangy introspective folk. 

Veirs' latest is an album of endearing worth, full of truly enjoying musical moments and a strong batch of songs that really flows with an album feel. Warp & Weft may be less obviously tonally cohesive than say Year of Meteors, Saltbreakers, or July Flame but it's far from a disjointed or aimless effort. It's an album where you favorite track depends on the day as almost all of them (the two instrumental/vocalise tracks aside) are full of thoughtful, compelling lyricism, dynamic, masterful arrangements and even by album number nine are anything but predictable. 

Pitstop: Canon Blue

If there's one thing I've learned from paying close attention to Efterklang from about the time I discovered them back in 2010, it's that the trio contains some of the most top shelf taste both in terms of collaborators and in general music likes. Their touring members have consisted of absolutely amazing musicians in their own right: Budgie, Heather Woods Broderick, Peter Broderick, and now you can add Nashville singer/songwriter Daniel James aka Canon Blue to that list. 

Touring with Efterklang in support of  their excellent Magic Chairs afforded Canon Blue's sophomore album Rumspringa with an absolutely amazing production team that not only included Efterklang but Sigur Ros' go to string section Amiina. The result - an orchestral pop album of stately beauty that certainly doesn't skimp on the pop element. So intrinsically intertwined, Rumspringa combines the majestic grandeur of a fully flushed out string section with undeniable danceability or just good old fashioned ear-catching infectiousness.



Even stripped of Rumspringa's legion of masterful musicians, Daniel James has an abundant wealth of musical ideas and skilled effective delivery. Just take the Chris Taylor (of Grizzly Bear) assisted debut Colonies which contrasts stark textures and introspective lyricism with the telltale signs of poppiness that would flourish into Rumspringa. The leap from arty to accessibility is not unlike Efterklang's occurring at a slightly quicker pace. It's enough to make me positively giddy to see what he'll do on the next Canon Blue album. Hopefully it's not too long before then.



Now and for a limited time you can snag a free download of Rumspringa with some extra goodies (b-sides, sketches, remixes, etc.) from Noisetrade. Do it.

Listen: Gracie - "Jackson II"

Any day Brooklyn syth popper Gracie releases a new tune is a good day. The latest tune comes as part of a collaborative transmedia project surrounding Kai Flanders upcoming novella The Red Bicycle which also includes a graphic novel by Kat Glasheen and soundtrack. Considering I'm almost always listening to music when reading, it's really only fitting that The Red Bicycle comes with music and the new Gracie tune selected to go with the novella's previewed first chapter couldn't be more perfect.

Regarding a red bicycle inspired by a crashing plane, Gracie's "Jackson II" makes appropriate use of bicycle bells, playing children, and zooming jet sounds alongside his consistent grade A beat production. Featuring obscured vocals that actually work really well not to overwhelmi the accompanying text, "Jackson II" is marvelously catchy gem. And while that's not really all that out of the ordinary for Gracie, the fact that the same level of songsmithery translates well into this new project with notable outside direction is a commendable feat that should be acknowledged. Consider me properly amped for the rest of the multimedia project as well as the soundtrack which will be out Small Smile Records on August 28th.




You can read Chapter 1 of Kai Flanders' The Red Bicycle over at Impose. Which I strongly recommend and make sure you stream the new Gracie track while you do so.

Listen: The Lost Cavalry - "Stars Are Ripe"

After quite a bit of time away presumably working on their upcoming debut album, London chamber pop sextet The Lost Cavalry are back with new single "Stars Are Ripe". Released originally as part of a limited edition split 7" with Keston Cobblers' Club, now us foreigners can get a taste without having to pay those shipping fees.

"Stars Are Ripe" continues where 2011's Snow City Radio EP seemed to leave off making use of similar rhythms and melodies. Where "Stars Are Ripe" really establishes itself occurs around the halfway point during a climactic swell that shifts from the calmly flowering folk The Lost Cavalry usually purvey into a bristling rock scorcher - it's short lived but it's enough to make you sit up and you pay attention. Other than that, "Stars Are Ripe" is your standard The Lost Cavalry track, not that there's anything wrong with that.

But "Stars Are Ripe" isn't just an example of The Lost Cavalry being one-trick ponies, there's all sorts of new tricks being subtly employed like the inclusion of female vocals for harmonies and the aforementioned rock moment. Even without these things, The Lost Cavalry are still capable of delivering a solid folk pop tune and it clearly shows.



The Lost Cavalry's debut album Three Cheers For The Undertaker is out September 16th on Folkroom Records.  

Pitstop: Art Decade

                                                            (photo by Hadley Brooks)

  

Back when I interviewed Young Man's Colin Caulfield about his latest album Beyond Was All Around Me, he mentioned the assistance of Boston based composer/arranger Ben Talmi. While I had kind of naturally assumed that was merely all there was to Talmi - a go-to arranger for artist's looking to have the string arrangements on their album really sparkle, I discovered however that Talmi had a project of his own: an orchestral pop rock band by the name of Art Decade.

It's no secret with my love of bands like Friend Roulette and Young Dreams that the way to my heart is with artful utilized strings and that's exactly what Art Decade does so well. Instead of your standard chamber pop bands that seem to rely on certain instruments as mere ornamental fodder, the strings of Art Decade are very much a part of its DNA, at least in terms of their recorded output. 

You see, Art Decade is composed of your standard rock foursome of instruments: Guitar, bass, drums,  a multi-instrumentalist every-man and sometimes that's exactly what you get like in the case of "Weapon" or "Steam Punk Sticker War". It's an interesting juxtaposition to say the least. That Art Decade can go from roaring dance-rock to delicate orchestral pop in the course of a single album. The transitions are less jarring than you'd expect due to Talmi and company blending the rock and orchestral elements so effortlessly, able to strip them back or color them in without it seemingly like anything is really missing. 

What sets Art Decade apart from all the other orchestral pop bands I have heretofore pledged my allegiance to is just how much they lean into a notable rock influence at times. It not all pristine artfully detailed musical moments; there's moments of high intensity grooves and true rock grit. Basically there's a little something for everyone as Art Decade hits every gradation of symphonic rock. 

So if Art Decade's orchestral rock pop sounds like your forte you can stream/buy/download their debut album Western Sunrise here.

Listen: Anna Calvi - "Eliza"

One of the best bits of new news to drop recently happened to be that UK guitarist Anna Calvi's follow up to her 2011 self-titled debut was not only done being recorded but also set to come out later this year. Considering the strength of her debut, the news of a sophomore record was every bit as thrilling as it should well be.

On "Eliza", the first single from Anna Calvi's forthcoming One Last Breath, the sultry sensuality of the debut is burned off in favor of a far more energetic tale. "Eliza" also features Calvi's band in a far more dynamic role, shelving a bit of Calvi's incendiary guitar chops and cultivated sense of dramatic performance for what's arguably the most pop-leaning tune. That's not to say the Anna Calvi of their debut is gone or the guitar is featured any less prominently but where her debut made use of experimental guitar tones and sense of every song functioning together, "Eliza" seems very much like it could be a standalone track and relies far more of it's catchy melodies and the magnetism of Calvi's booming vocals than any extra-musical sources. It's refreshing but also not too shocking of a change.



Anna Calvi's sophomore effort One Last Breath will be out October 8th on Domino Records.