The Dead South - In Hell I'll Be In Good Company

 #The Dead South #folk #bluegrass #roots music #contemporary folk #acoustic #music video

With banjo, mandolin, cello and guitar, The Dead South certainly look the part of bluegrass traditionalists. But, as outsiders to the bluegrass world by circumstances of geography, they’re from the Canadian prairies, and by influences, equal parts finger-picking and punk, there are few comparisons to be made for the four-piece acoustic band. With a global following sparked by YouTube, early success in German rock clubs and now, sold out shows at iconic venues in many continents, this is no country for old-time string purists. A brotherhood first and foremost, formed in university and forged on the road, The Dead South are quite comfortable in their role as a total anomaly most everywhere they go. Their progressive, tightly-constructed approach to acoustic music that favours intricate solos and harmonies has brought two JUNO Awards for Traditional Album of the Year, the most recent for the Muscle Shoals-made Sugar & Joy (2019). The Dead South followed up in 2020 with Served Live, a double live album that celebrated and supported the live music industry in a time of crisis. With their newly-released double EPs Easy Listening for Jerks, Parts I & II, The Dead South find their own balance between their punk origins and the bluegrass world of their sound. A strong statement about identity, influence and inspiration, the new EPs show a band stepping out into new musical territory while also staying true to themselves.  From: https://www.axs.com/artists/1105506/the-dead-south-tickets

 A rock band without a drummer, a bluegrass band without a fiddler . To the gentlemen of The Dead South, a self-styled 4-piece string band from Regina, Saskatchewan, it’s about how, not what, you play. The Dead South’s combination of cello, mandolin, guitar and banjo has all the hallmarks of a group tuned to bygone times, but with their signature sleight of hand, The Dead South find distinctly ­modern bathos in this old time rigging.
The band has announced their third album, Sugar & Joy, coming October 11, 2019 via Six Shooter Records. In “Diamond Ring,” poor William, whoever he is, done got robbed by a would-be groom trying to impress his betrothed . Money doesn’t buy love, but it does buy the ring. In The Dead South’s world, characters do what they must, even when twisted logic leads them astray. From the opening galloping strum to the lower register cello and deep backing vocals, the song’s moody mania captures The Dead South’s stock-in-trade, stories of desperation and bad decisions told in fast-paced, brightly-laced bursts.  From: https://store.sixshooterrecords.com/collections/the-dead-south

Royal Thunder - Parsonz Curse

 #Royal Thunder #heavy metal #hard rock #progressive metal #stoner rock #heavy psych #stoner metal #heavy blues rock

Royal Thunder are a four-piece rock band based out of Atlanta, Georgia that seamlessly blend the elements of heavy classic rock, 90’s grunge, and forward-thinking progressive rock. Propelled by the powerfully emotional voice of frontwoman Mlny Parsonz, the guitar heroics of Josh Weaver, and the dynamic drums of Evan Diprima, Royal Thunder have been described by NPR as “a revved-up Southern hard-rock that howls like Led Zeppelin astride a psychedelic unicorn” and as “magnificently compelling rock music” by Decibel Magazine. Formed in 2004 by Weaver, his brother, and his best friend, the band went through several lineup changes over the years before settling on their current lineup, which also incorporated second guitarist Will Fiore as of 2015.
In 2007, Royal Thunder self-released their debut EP and started touring with Jesse Stuber on drums. By 2010, Relapse Records took notice and signed the band, beginning with an official re-release of their self-titled EP then later releasing their 2012 full-length debut, CVI. Stuber left the band after CVI was complete, replaced by drummer Lee Smith. The band toured with Lee Smith and Josh Coleman (who also joined during the making of CVI on second guitar) for a few US tours. CVI was widely praised by critics, including Rolling Stone’s David Fricke, who said that Weaver’s playing has “the meaty, base elements of early-Seventies British blues” and Metal Hammer Magazine, who stated, “through the powerhouse vocals of Mlny Parsonz and a refusal to keep their sound boxed, Royal Thunder look set to be the underground’s next big breakout stars”.  From: http://www.masqueradeatlanta.com/attraction/royal-thunder/

Upon a cursory listen and armed with a metalhead's perspective, this fresh-faced quartet comes across like a dialed-down version of Jucifer, with none of their brutality but a far greater emphasis on clear, bewitching feminine vocals. Repeated listens, however, yield far more satisfying fruit. As with so many of the newer female-fronted doomy, rocking, bluesy bands that keep popping up, Royal Thunder's biggest asset is their vocalist. Mlny Parsonz is a nontraditional blues-rock banshee of a woman, equal parts riot grrl and gospel diva. There's a rough-hewn, unpolished charm to her delivery and phrasing, and while her arsenal of sugary whispers, angelic coos, and fiery wail serve her well, it's really her willingness to let go, dig deep, and belt it the hell on out that is her greatest strength. She's fortunate to be backed by a solid instrumental section, most notably Josh Weaver's vintage riff-wrangling, Zeppelin-esque turns, and big, retro vibes. Drummer Lee Smith and bassist Josh Coleman mesh well to provide a rock-solid base for the band's two big musical personalities without fading into the background; Smith especially goes above and beyond, infusing what could be simple rock'n'roll songs with a nice dose of understated technicality.  From: https://pitchfork.com/reviews/albums/16781-cvi/

Roxy Music - Love Is the Drug

 #Roxy Music #Bryan Ferry #Brian Eno #art rock #glam rock #pop rock #progressive rock #1970s

Evolving from the late-'60s art-rock movement, Roxy Music had a fascination with fashion, glamour, cinema, pop art, and the avant-garde, which separated the band from their contemporaries. Dressed in bizarre, stylish costumes, the group played a defiantly experimental variation of art rock which vacillated between avant-rock and sleek pop hooks. During the early '70s, the group was driven by the creative tension between Bryan Ferry and Brian Eno, who each pulled the band in separate directions: Ferry had a fondness for American soul and Beatlesque art-pop, while Eno was intrigued by deconstructing rock with amateurish experimentalism inspired by the Velvet Underground. This incarnation of Roxy Music may have only recorded two albums, but it inspired a legion of imitators -- not only the glam-rockers of the early '70s, but art-rockers and new wave pop groups of the late '70s. Following Eno's departure, Roxy Music continued with its arty inclinations for a few albums before gradually working in elements of disco and soul. Within a few years, the group had developed a sophisticated, seductive soul-pop that relied on Ferry's stylish crooning. By the early '80s, the group had developed into a vehicle for Ferry, so it was no surprise that he disbanded the group at the height of its commercial success in the early '80s to pursue a solo career.  From: https://www.iheart.com/artist/roxy-music-27678/

Love is the Drug: The leadoff track and single from Siren, the band’s fifth album, this song made it into the bottom reaches of the U.S. top 40, but its legend and influence were much greater. This undeniable semi-novelty hit had a jittery bass beat, a canny piece of dance manqué; the taut instrumentation and the slightly mechanical tale the narrator is telling would be a marked influence on the Talking Heads albums that would appear just two years later. There’s an alluring beginning — footsteps, a car door opening, an engine starting up — together an irresistible entrée into a rhumba’d head-snapping beat that marries art rock to disco. The track and the rest of the accompanying album are Roxy at its height. The songs here start out with a bang, a whoosh, or a sweeping fanfare. The sound is mature, wild when it has to be, but restrained in a way Roxy had never been before. The Germanic conceits that marked Country Life are replaced by pastoral passages in songs like “End of the Line.” Instead, Ferry’s most powerful suite of songs contains lush inquiries into the nature of decadence, epicureanism, hedonism, and their discontents. And “Both Ends Burning” defines the mature use of synthesizers during this time.  From: https://www.vulture.com/2019/03/roxy-music-guide-bryan-ferry-brian-eno.html

The Courettes - Misfits & Freaks

 #The Courettes #garage rock #garage punk #wall of sound #garage psych #surf music #lo-fi #1960s retro

Raw and raucous garage rockers the Courettes are an international phenomenon in more ways than one -- not only have they attracted a loyal following in Europe, the United Kingdom, and the Netherlands, their guitarist and singer is from Brazil while the drummer hails from Denmark. United by the universal language of rock & roll, the Courettes play no-frills garage punk with plenty of energy and a melodic sense that makes room for old-school punk, '60s pop, girl group sounds, surf music, and revved-up psychedelia. The Courettes sounded elemental and energetic on their 2015 debut Here Are the Courettes and were tighter and a bit more musically ambitious but still capable of shaking the house on 2018's We Are the Courettes, while 2021's Back in Mono boasted more tough rock & roll captured in the group's own vintage recording facility.
Based in Denmark, the dynamic duo behind the Courettes is lead singer and guitarist Flavia Couri, originally from Brazil, and drummer Martin Couri, a native Dane and Flavia's husband. The two met in Brazil in 2013, when his band played on a bill with hers during a tour of South America. They quickly hit it off musically, and in 2015 Flavia relocated to Denmark, where she and Martin formed the group. The duo went into the studio to lay down some songs, and while they had initially planned to add more musicians to the lineup, they were so happy with the way they sounded with just guitar and drums that they made their duo permanent. They struck a deal with the German label Sounds of Subterrania and quickly cut their debut album, 2015's Here Are the Courettes, a 20-minute blast of rock & roll initially released on 10" vinyl.  From: https://www.allmusic.com/artist/the-courettes-mn0003738730/biography

The Youngbloods - Darkness, Darkness

 #The Youngbloods #Jesse Colin Young #folk rock #psychedelic rock #roots rock #blues rock #West coast psychedelia #1960s

Before the ’60s wrapped up, it saw brilliant and epic releases left and right. Thus, it’s no wonder why a plethora of LPs which were just as stellar as the more popular ones, were overlooked and largely ignored. Unfortunately for The Youngbloods, their third studio effort “Elephant Mountain” is one of the underrated records of 1969. Then again, the band never actually broke into mainstream. And so even though “Elephant Mountain” only peaked at #118 on the US Billboard 200, it was their highest charting album. What started as a quartet became a trio on this LP. They started working on it following the departure of co-founder Jerry Corbitt. With the need for new material, Jesse Colin Young rose up to the challenge and penned 7 out of the 13 songs on “Elephant Mountain.” The Youngbloods were still a tight unit and this LP helped showcase their musicianship especially with the variety of tunes – from acoustic ballads to country to hard rock and even bluesy numbers. It offers an enjoyable listening experience from start to finish. Sure, it’s not without fillers but even those are fun to listen to as well. At a time when most rock acts gravitated towards dark, political, and ominous themes, “Elephant Mountain” was a breath of fresh air. The opener “Darkness, Darkness” is the clear highlight of the LP but that’s not to say the rest of the tracks aren’t just as good. Other standouts include “On Sir Francis Drake”, “Trillium”, “Sham”, and “Ride the Wind.” “Elephant Mountain” is both consistent and solid. It may have a few weak moments but overall, it’s The Youngbloods’ greatest record.  From: https://societyofrock.com/album-review-elephant-mountain-by-the-youngbloods/

Elephant Mountain, the magnetic third album by the Youngbloods, is commonly looked upon as the pinnacle of the legendary Bay Area combo's abundant eight-year career. From its spine chilling opening track--the strains of a somber Appalachian fiddle permeating "Darkness, Darkness"--the listener is inexorably sucked into psychedelic quicksand by the haunting vocals of Jesse Colin Young, whose plaintive cry to "hide the constant yearning for things that cannot be" proves mournfully irresistible. In addition to Young's songwriting masterpiece, the 1969 album also spotlights a sharp, country-rocking vocal duet ("Smug") by Young and recently-departed singer Jerry Corbitt, as well as the jazzy interplay between electric keyboard whiz Banana and the locked-in groove of drummer Joe Bauer during magical instrumental "On Sir Francis Drake." More songwriting gems loom like sacred totems on this landmark longplayer, including Young's signature ballads "Sunlight," "Quicksand" and "Ride the Wind." It's the Youngbloods at the top of their game, indelibly writing their names in the ledger of consummate San Francisco rock 'n' roll.  From: https://sundazed.com/p/1189-Youngbloods-Elephant-Mountain-CD.aspx

Alison Krauss & Union Station - So Long, So Wrong

 #Alison Krauss & Union Station  #bluegrass #country #contemporary bluegrass #progressive bluegrass #contemporary folk #newgrass

“If only all those country (or pop or rock) fans who say they don’t like bluegrass would just give it a listen, they’d love it.”
“If only the mass media would give bluegrass some positive exposure…”
Those of us who care about bluegrass are probably as familiar with these sentiments about our music as we are with “Orange Blossom Special” and “Foggy Mountain Breakdown.” They come up with amazing regularity whether it’s a discussion with people who make their living in bluegrass or conversation with fans at a festival. Until now mass exposure has frequently meant linkage with comedy (The Beverly Hillbillies, The Andy Griffith Show, Hee Haw!), historical inaccuracy (Bonnie & Clyde—they died before the birth of bluegrass), or what many thoughtful people view as negative regional stereotyping (Deliverance). Even Ricky Skaggs’ stunning success several years ago in making Top-40 country hits of bluegrass songs involved numerous concessions to popular taste—electric lead instruments, drums, etc.
It has thus been with excitement verging on disbelief that in recent months fans have come across stories on Alison Krauss and Union Station in publications like USA Today, Newsweek, Rolling Stone, Musician, Billboard and Time Magazine. It might be supposed that her recent receipt of the Grammy award for the Best Bluegrass Recording of the year was the cause of this flurry of press coverage. But that would be missing the point. Most of these articles came out far in advance of the award. It’s not that the national press is just recognizing bluegrass as a valid and noteworthy American music style. These highly-paid professional writers are really listening to Alison. They are tuning in to what bluegrass fans like about her and are helping the general public do the same.
“Subordinated to the group sound as Krauss’s fiddling is, it continues to amaze—airborne one minute, austere the next,” writes Newsweek’s Bill Christophersen. “ ‘Will You Be Leaving’ features a space shuttle of a solo that, just as you’re reaching for the Dramamine, sprouts parachutes and eases into a double-stop.” “I’ve Got That Old Feeling,” writes USA Today’s David Zimmerman, “is as ‘cutting edge’ as anything around. Krauss’s incredibly nimble, clear voice—recalling a young Dolly Parton—and soulful fiddle convey a passion and vitality that will surprise anybody who expects bluegrass to drone. This is one of few albums bound to please anyone.”
Uncharacteristic warmth like this toward bluegrass by the mass media might lead one to suspect that it was won by gimmicks or by abandoning what fans would think of as “real bluegrass.” No danger. Check out the long lines of diehard bluegrassers trying to get into Alison’s show at Alexandria, Virginia’s, showcase club, the Birchmere, or the wildly excited audience responses at the nation’s major festivals from upstate New York’s Winterhawk, to Colorado’s Telluride to California’s Strawberry Music Festival. Yet her group can also knock out country fans on Hee Haw! or on the Grand Ole Opry, where the group has been invited back half a dozen times in recent months. It can win over New York City sophisticates at the prestigious Bottom Line. It can even sell out a thousand seat auditorium at Maryland’s Goucher College on a double bill with a New Age music group.
Alison’s appeal is all the more remarkable because it is based not on glamour, a fancy stage show, sexy outfits, cuteness or any of the other show business tricks you might think a young female band leader might need to employ to gain attention. Onstage there is a sense of earnest focus on the music coupled with evident delight by the musicians in one another’s musical contributions. Alison’s voice has a wonderful clarity and precision which appeals to a broad range of listeners. Her instrumental work is not only technically excellent; it is also beautifully creative and exciting even to someone who has listened to decades of the great bluegrass fiddlers.
Alison is by no means a solo performer with a few faceless backup musicians. She loves playing with people who challenge her musically. And she loves her present band. When asked to name the people in bluegrass music who most inspire her, she first names the members of her band. These are Alison Brown (banjo), Tim Stafford (guitar), Adam Steffey (mandolin) and Barry Bales (bass). By the standards of earlier generations, it would seem an unlikely mix of backgrounds.  From: https://www.bluegrassunlimited.com/article/alison-kruass-and-union-station/

Gjallarhorn - Suvetar

 #Gjallarhorn #world music #European folk #Finnish folk #Swedish folk #traditional #medieval #music video

This adventurous Ostrobothnian quartet formed in 1994 have created an alluring and successful style that has launched for them a thriving international career. Combining the Swedish folk music tradition of Finland with medieval ballads, ancient poems and rich, acoustic soundscapes, Gjallarhorn conjure an atmospherically charged sound fronted by Jenny Wilhelms' vocals and didgeridoo, integrating perfectly with the Norwegian hardanger fiddle, violin, mandola and percussion.
Gjallarhorn are Jenny Wilhelms on vocals, violin and hardanger fiddle; Adrian Jones on viola, mandola, vocals and kalimba; Tommy Mansikka-Aho on aho, didgeridoo, mungiga, udu and djembe; and Peter Berndalen on percussion and kaliba. Wilhelms is an outstanding vocalist, with a soft soprano that is layered throughout their album “Sjofn" to create a sense of abandon that is oddly tender and never harsh. She sings in the traditional Scandinavian style, with occasional flourishes from Indian vocal traditions. Wherever it comes from, it's phenomenal. Think Vartina without the shrill factor; after all, Wilhelms doesn't need to use her voice as percussion because she is supported by an awesome collections of percussive sounds and the drone of the didgeridoo.
Gjallarhorn takes us deep into Scandinavia, to parts with warm, subtle Swedish and Finnish accents and the epic ballads we associate with those northern parts. African and Oriental percussion instruments, and the Australian didgeridoo provide the obsessive drones. Violins, a jew's harp, a mandolin, a magnificent voice, cries resounding ad infinitum in the idea open spaces of Scandinavia; a multitude of noises, echoes, buzzing and tapping sounds, are all used to serve tradition, with ancient epics, medieval ballads, and rites. This music has a strongly modern orientation.
From: https://www.progarchives.com/artist.asp?id=1240