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Posts Tagged ‘Murder by Death’

By Joel Francis

Robert Fripp and Brian Eno – Evening Star (1975)
Brian Eno and Kevin Shields – The Weight of History (2018) The second album from King Crimson guitarist Robert Fripp and former Roxy Music effects wizard Brian Eno continues down the same experimental path established on their first album. Layers of audio are bounced between two tape decks, building up sheets of sound that are then manipulated and augmented with guitar solos and other effects. If this sounds too technical fear not: Evening Star is a supremely pastoral album, especially on the first side. As with Eno’s other ambient projects the point of this music is to almost disappear in the background and enhance the mood and atmosphere of a space. The first side of Evening Star succeeds on this level, projecting a layer of calm into my house each time it is played. The second side, the 28-minute track “An Index of Metals” is more textured, incorporating dense levels of guitar distortion. While distorted manipulations keep the piece from fading into aural wallpaper the result is still soothing.

More than 40 years after collaborating with Fripp, Eno partnered with another guitarist know for dense layers of distortion. The guitar player in My Bloody Valentine, Kevin Shields was the primary auteur behind the shoegaze masterpiece Loveless. The music Shields and Eno have crafted together seems like it builds on the foundation Eno established with Fripp. Like “An Index of Metals,” their work forces some attention to appreciate its wonder. Shields and Eno have only collaborated on two songs so far, but the 12-inch single containing these tracks make me want a more.

Murder by Death – The Other Shore (2018) The eighth album by the Bloomington, Ind. Goth-country rockers is a concept album that according to press materials is “a space-western about a ravaged Earth, its fleeing populace and a relationship in jeopardy.” Well that clears things up. Fortunately the music is so engaging that it masks any plot problems. Their brand of roots rock is bolstered by a dedicated cellist, which brings a sweeping Southern Gothic feel to the music. The music on The Other Shore is certainly more nuanced than the petal-to-the-metal live show I saw from them several years ago at Middle of the Map festival. That said, all the songs on The Other Shore feel like they would translate well to the stage. Murder by Death have built a loyal following over the past two decades. The Other Shore is accessible enough to please the existing fans and win them even more.

Roy Lee Johnson and the Villagers – Self-titled (1973) If the name Roy Lee Johnson rings any bells, it might from the song “Mr. Moonlight,” which he wrote and was covered by the Fab Four on the album Beatles for Sale. Johnson’s lone outing with the Villagers bears no resemblance to that song whatsoever. Opening number “Patch It Up” sounds like James Brown and the J.B.s. The next number, “I’ll be Your Doctor Man” continues in this very funky vein, with the distinct accompaniment of the Memphis Horns. Recorded at Muscle Shoals, Roy Lee Johnson and the Villagers drips with Southern soul and funk in every track. Unfortunately for Johnson, two events coincided to keep him from becoming a star. First, Stax was in shaky financial state when this album came out. Poor distribution killed any chance of this success. Fans couldn’t find the album in stores to buy it and send it up the charts. Secondly, the Villagers young bass player Michael James died suddenly, leading to the end of the Villagers. James’ playing plays a prominent role in the album’s success, adding to the melody line while simultaneously holding down the groove. The side two instrumental “Razorback Circus” is a prime example of what James brought to the material. Johnson didn’t release another album until the mid-‘80s. His most recent album is 1998’s “When a Guitar Plays the Blues.”

The Creation – Action Painting (compilation) If you know any of the Creation’s songs, it is probably “Making Time,” used in the brilliant film Rushmore. It’s the first track in this collection, meaning there are 22 other 1960s British garage rock classics to discover here. Fans of early Who, Small Faces and the Kinks will find a lot to love. As always, the Numero Group has done an excellent job of presenting the music with the best mastering possible and putting it in context as well. All the band’s singles are here as well as a handful of pre-Creation singles by Creation Mark Four and songs that only popped up on later compilations. The Creation like to pose as ruffians on songs like the tough “Biff, Bang, Pow” and the cocksure “Can I Join Your Band,” but their true colors are revealed on several goofy numbers. “The Girls Are Naked” sounds like the nutty younger cousin of the Who’s “Pictures of Lily.” Covers of “Cool Jerk” and “Bonie Maronie” conjure images of awkward dance steps in a school gymnasium. The Creation never seem to take themselves too seriously – they have a song about “Ostrich Man” – but their Mod sensibilities make this an essential addition to any 1960s Anglophile’s collection.

Jane’s Addiction – Nothing’s Shocking (1988) Most of the songs on the major label debut by the Los Angeles-born alternative party band still sound fresh today. I hadn’t listened to this album in a long while before this spin, but Eric Avery’s bassline on “Up the Beach” that opens the record still got the adrenaline going. Nothing’s Shocking was a staple in my college dorm room, but I think nostalgia isn’t the only force powering the album today. Dave Navarro’s guitars and Stephen Perkins drums kick like a blast of dynamite as singer Perry Farrell counts in the band on “Ocean Size.” “Mountain Side” still hits like an avalanche, but it’s not just the heavy songs that land. “Ted, Just Admit It…” is a longer, more experimental piece. “Standing in the Shower … Thinking” is a piece of faux funk that concludes the first side. “Summertime Rolls” is another atmospheric experimental piece carried by Ferrell’s voice. The horns on “Idiots Rule” and the radio staple singalong “Jane Says” are the only dated moments on the album. The brass on “Idiots Rule” sounds like shades of “Sledgehammer” and “Jane Says” suffers from overexposure. Jane’s Addiction have broken up and regrouped several times in the 32 years since Nothing’s Shocking came out, but none of those projects have come close to matching their original output.

Lucinda Williams – Good Souls Better Angels (2020) The 14th studio album from Southern singer/songwriter Lucinda Williams couldn’t arrive at a better time. At a time when COVID-19 shutdowns have people feeling frustrated, sad, angry and hopeful (sometimes experiencing each emotion within minutes of each other), Williams channels these states of mind through her lyrics and amplifier.

On “Big Black Train,” Williams confronts her bouts with depression and determination not to get onboard again. “Man Without a Soul” is a hot pellet of rage directed at the current occupant of 1600 Pennsylvania Avenue. The album ends with “Good Souls,” a hopeful prayer to “Keep me with all of those/who help me stay strong/and guide me along.”

Williams’ band expertly augments her emotions throughout the album, often working in a swampy blues or Rolling Stones rock form. After an hour of searing, electrified full-band arrangements, the vinyl version of Good Souls Better Angels includes five acoustic demo bonus tracks. They are the perfect palate cleanser. Having shared this emotional catharsis, we are renewed to defeat the next challenge.

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(Above: William Elliott Whitmore looks forward to “Digging My Grave” on the outdoor stage at the 2015 Middle of the Map festival.)

By Joel Francis
The Kansas City Star

(Note: With more than 100 bands performing on eight stages across four days, it is impossible to hear everything at the Middle of the Map festival. I spent most of the festival’s final day on an unseasonably cold day at the outdoor stage.)

Phox:

Despite cold hands and early sound issues, Phox delivered an enjoyable set that delighted the fans that filled about two-thirds of the parking lot around the outdoor stage.

The six-piece band from Wisconsin performs soulful, confessional indie rock that recalls fellow Wisconsinite and mentor Bon Iver. Their delicate melodies never got lost in the expansive outdoor environment, thanks to inventive arrangements.

“Evil” featured a New Orleans jazz trumpet solo, while “Never Love,” an unreleased song, opened with a recorder and African guitar line a la Vampire Weekend. Throughout it all, lead singer Monica Martin was the not-so-secret weapon. Her soulful voice and playful stage talk kept the songs weighty and the downtime light.

The band threw a curveball into the mix with a hushed, dainty cover of Blink-182’s “I Miss You.” More fans sang along with that number than any of the band’s original numbers.

murder by death

Murder by Death

William Elliott Whitmore:

Armed with a guitar, banjo and bass drum, William Elliott Whitmore did a great job prepping the crowd for Murder By Death’s Americana rock. His 45-minute set was filled traditional folk songs about train trestles, digging graves and devils.

Between songs, Whitmore bantered with the audience with a self-deprecating sense of humor. Whitmore said he wanted his time to feel like friends hanging out on the front porch. While he’s a bit early for that festival, he accomplished the feel.

Murder by Death:

Murder by Death play the kind of songs that make you more likely to get pulled over for speeding. Even the band’s down-tempo numbers are full-throttle. Case in point “Curse of Elkhart,” a torrid cautionary tale fueled by Sarah Balliet’s furiously strummed cello.

Several of the band’s Americana opuses unfold like novellas. Judging by apparel and lips, plenty of the crowd already knew the stories. Highlights of the hourlong set included the David Bowie tribute “I Shot an Arrow,” “Spring Break 1899” and “King of the Gutters, Prince of the Dogs.”

Keep reading:

Middle of the Map 2015 – day three

Middle of the Map 2013

Review: Vampire Weekend

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