May 27 2008
May 26 2008
Shade Side, Sunny Side is the 7th LP from Lincoln, Nebraska’s For Against and first effort since 2002’s Coalesced. More importantly, it sees the return of guitarist Harry Dingman, who hasn’t played with the band on record since 1988’s pivotal December. Dingman’s return brings with it a muscular guitar sound that was sorely missed on the mellow Coalesced. This is best displayed on opening track “Glamour,” a song that will take older listeners back to a time when the dimensions of indie rock seemed endless.
Although the return of Dingman is cause for celebration, Jeffrey Runnings is still the driving force behind this trio that is in its 24th year of existence. It is fascinating to track how Runnings’ songwriting has evolved. Early releases by For Against were known for their intense, angular songs that were emotionally complex. On Shade, that sound is still present, but Runnings has also established himself as a songwriter that is capable of writing an effective ballad. The lyrics of standout track “Why Are You So Angry?” may be simplistic, but it is hard not to relate to the song’s final plead of “You used to be such fun.”
Many of the album’s songs slide into the six to seven minute range. At times, this tested my patience, but on tracks like the aforementioned “Glamour,” the duration is absolutely necessary. It is quite remarkable that For Against are able to make an album so consistent at this point. They, along with artists such as Wire, are proving that you can make worthwhile music no matter what point you are at in your career. On the piano-led ballad “Game Over,” Runnings declares “Game over, I’m done.” Something tells me that we haven’t heard the last from this underrated Nebraska act that still deserves much more attention than they’ve received.
May 21 2008
Photo by Allison Smith
Since my last post, The New Year has released the title and tracklisting for their forthcoming record. The album will be self titled and will contain the following:
1. Folios
2. The Company I Can Get
3. X Off Days
4. The Door Opens
5. MMV
6. Seven Days and Seven Nights
7. Wages of Sleep
8. Body and Soul
9. My Neighborhood
10. The Idea of You
Here’s a statement from Touch & Go:
New Album this September from The New Year
Exciting news and times! The New Year has emerged from the studio with 10 songs that will comprise their upcoming self-titled album, to be released September 9, 2008.
The Brothers Kadane, along w/ the rest of the group, have been making music for the last 17 years - in the 1990s with Bedhead and for the last decade with The New Year. They take their time making records, and this is only their third, and the first since 2004’s The End is Near.
Lyrically, these ten songs address the interlocked themes of lost time, frustrated desire, and the need for others. Although musically these may be the band’s most varied songs — for a band that made innovative use of three guitars, almost half the songs here are built around the piano — it is the careful sequence of these songs that brings the story the lyrics tell together. The New Year will be touring the US and Europe as a full band this fall, and the Kadane Brothers are on tour this summer with Bottomless Pit.
May 19 2008
By the time the September 9th release date for the (still untitled) new album from The New Year rolls around, it will have been nearly four and a half years since the Kadane brothers graced us with 2004’s most depressing coming of age album, The End Is Near. I’m not complaining because I am confident that the wait will be worth it. These guys have never made a bad record and I’m not expecting them to start now. No information has been released about the album other than the fact that it is done. The Kadane’s are so tight-lipped about this record that they have even resorted to teasing us.
To ease the pain, the Kadane’s are going on tour (dates below) by themselves to tide you over. One would expect that some new songs will be played. Maybe they’ll be extra nice and throw in a few Bedhead tracks for good measure. Sadly, they are avoiding the east coast, but a full tour is expected later this year. The band promises that more details about the new record will be released shortly. Until then, check out this newly completed video for the title track from The End Is Near:
06/26/08 - Emo’s, Austin, TX
06/27/08 - Lola’s, Fort Worth, TX
06/28/08 - Granada Theatre, Dallas, TX
07/11/08 - Knitting Factory, New York, NY
07/12/08 - Middle East, Cambridge, MA
07/13/08 - le Divan Orange, Montreal, Canada
07/14/08 - Sneaky Dees, Toronto, Canada
07/17/08 - Schuba’s, Chicago, IL
07/18/08 - High Noon Saloon, Madison, WI
07/19/08 - 7th Street Entry, Minneapolis, MN
May 19 2008
If you want to be technical, Hello, Old Cloud is songwriter Lincoln Barr’s third full length under the Red Jacket Mine name. Barr’s first two albums were recorded via four-track and self released. When I reviewed The Daylight Moon (Barr’s 2nd effort) in 2004, a promising foundation was hinted at. That promise continued to build when Barr moved from Missouri to Seattle and acquired a full band for 2006’s Starboard Meets The Sound EP. The improved production values of that release take an even bigger step forward on Hello, Old Cloud. This is the true birth of Red Jacket Mine.
Hello, Old Cloud reveals how much Barr has grown as a songwriter in the last five years. His band, which consists of Ryan Chapman, Patrick Porter, and Andy Salzman (who has been playing with Barr since The Daylight Moon) deserve a share of the credit. They have helped bring out Barr’s broad influences, all of which are on display. Prior to writing this review, I learned that Ken Stringfellow of The Posies and Big Star would be co-producing their next record. This seems like a perfect fit when taking into consideration that I can hear the spirit and energy of both those artists on Hello, Old Cloud.
I’ve always appreciated Barr’s vocals and they are in strong form throughout the record. Bandmate Patrick Porter steps up on backing vocals, providing some excellent harmonies, especially on “Jesus’ House” and “22 Rose Petal Place.” An early version of the latter song appeared on Starboard Meets The Sound, but it sounds even better here. I also appreciate “Don’t (Settle Your Debts On The Phone),” a stripped-down track that recalls Barr’s early work. The confidence and general consistency of Hello, Old Cloud overshadows its missteps, of which there are surprisingly few. Although I believe that this is a very solid record, I am confident that Red Jacket Mine are just getting started.
