Here’s an interview with Laura Ballance, Superchunk bassist and CEO of Merge Records. Question for you. Is Merge the greatest label in rock history? I have to say that it is. In my view, it’s up with the greatest labels of all time like Atlantic and Motown. They’ve never put out a lot of albums and that’s because they make sure product is first rate. You can’t argue with the results.
Here’s a New York Review of Books essay on Miles Davis. I haven’t seen the Don Cheadle film, but the essay is pretty good, particularly as it focuses on his electric period. For me, that is far and away the greatest period of Miles’ career, a career that was unparalleled in American music history (outside of the 80s, which, well….). The period between In a Silent Way and his retirement is simply an incredible musical achievement, not only because it was great music but because with each album, he was moving music forward by leaps and bounds.
Bomba Estéreo’s new video has received a ton of buzz for its inclusive message and that’s awesome, but regardless, it’s worth noting what a great band this is.
Leonard Cohen turned 82 this week. To celebrate, he released the title track to his upcoming album. And yeah, it’s pretty awesome.
And now to the album reviews. Been lucky that most of the new albums I’ve listened to the last couple of weeks have been really good.
Andrew Norman and Boston Modern Orchestral Project, Play
This is an outstanding recording of a composer whose music hits you in the face. I’m not going to try and fool you all: although I enjoy orchestral music, I really suck at writing about it. So let me quote The New Yorker’s Alex Ross, from his own personal blog:
Will Robin has gone so far as to declare that Play “might be the best orchestral work that the 21st century has seen thus far” — an announcement that spurred a lively Twitter discussion of other candidates for that accolade, with emphasis on purely orchestral works more than half an hour long. I seconded Tim Rutherford-Johnson’s nomination of Adès’s Totentanz and Czernowin’s MAIM, but, having listened to Play at least a dozen times, I won’t dismiss Will’s suggestion out of hand.
A must purchase for me.
Dilly Dally, Sore
This is an excellent young rock band from Toronto with a vocalist named Katie Monks who has a great screamer voice. Will she be able to sing when she’s 40 with vocals like these? Don’t know. Doubt she cares. Good lyrics worth actually trying to understand are a bonus.
Mount Moriah, Miracle Temple
My favorite album from this year so far is Mount Moriah’s How to Dance and I’m really excited to see them in November. It wasn’t on the first listen, but it’s become my go-to album recently, slightly over the Margo Price album. Heather McEntire just has an astounding voice. So I picked up Mount Moriah’s 2014 album Miracle Temple. This is a good album, but not as good as How to Dance because it lacks that one great song like “Baby Blue” or “Calavander.” What you have is a very solid set of tunes and great singing. And who is going to complain about that.
James Vincent McMorrow, Post Tropical
At first I found this a little annoying. McMorrow sings not unlike quite a few indie singers these days with what feels to me like an affectation where prettiness is valued over expression, to the point where the voice almost disappears. He also sings in a very high falsetto that doesn’t quite work for me. But this 2014 release is more interesting than it first seems because despite this indie folk core, the album goes in places you don’t expect because he engages in his love of hip-hop and electronic music, both of which he integrates in unexpected ways in an album where he played every instrument. I don’t love this, but it is worth a listen.
Shye Ben Tzur, Jonny Greenwood, and the Rajasthan Express, Junun
In the spring of 2015, the Israeli composer Shye Ben Tzur, Jonny Greenwood from Radiohead, and the Rajasthan Express, a 15-member Indian band all hung out togehter in India and made music. Paul Thomas Anderson filmed it and released it as a documentary. I have not seen the film. But I can say that the soundtrack is outstanding. The Rajastahn Express is the real star here, dominating the proceedings with this really great somewhat droning music that comes out of the Qawwali tradition. I believe Tzur wrote the tracks. Greenwood doesn’t really do much that stands out, not that this matters. He’s just part of the band. This is just fine music.
As always, this is an open thread about music.