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The Handsome Family – Honey Moon

The Handsome Family – Honey Moon

Coming straight from the mid- to late-90s alt country scene, The Handsome Family have a reputation for solid laid-back country styles woven with sparse, effective harmonies and gritty, tearing lyrics. Brett’s nasal delivery has enough boom to carry the weight of the lyrics and scratches enough to transfuse the pain directly to the listener, and Ronnie’s harmonies lift the lyrics into stark, empty, starless space. The feeling is truly a grounded, earthly feeling… while stretched hopelessly upward to the heavens.

In a slight change of pace, however, the new album “Honey Moon” treads into a slightly more pop-influenced sound. That is to say, a more regressive-country-pop sound, rather than the realm of modern-country-pop. The songs are lighter on Honey Moon – they are more uplifting and heartworn than on previous albums, but still generally drifting and grounded overall. Of course, the album has been advertised as a celebration of the couple’s 20th wedding anniversary, which certainly accounts for the gentle shift in the content of the lyrics. On the other hand, it might also forecast a shift in what’s to come in future releases. The very idea that the Handsome Family could be moving toward a more commercially-viable theme is not something I necessarily look down upon – “goth-country” is becoming sparse as a genre (I prefer “regressive-country”), and bands are still able to stick to roots Americana by writing love songs instead of murder ballads. I stand by murder ballads at the basis of country music, but there is certainly room for more sweet than bitter in bittersweet. In short, the album contains more of the Everly Brothers’ “Songs Our Daddy Taught Us” than the darker “American” series by Johnny Cash.

Songs like “Little Sparrows,” “A Thousand Diamond RIngs” and “Wild Wood” have a positively upbeat and country-rock feel, which is complimented by the drifting “The Winding Corn Maze” and light-waltz “Darling, My Darling.” My favorite track from the album, “When …

New York City?!?!

I was in New York City last weekend – definitely for a little bit longer than I wanted to be, but that’s ok. I got a chance to see some great music and check out some parts of NYC I hadn’t really been to before. Also, I was introduced to the joys of the Chinatown Bus, something I will try to avoid using for the rest of my life.

And the Moneynotes

The first thing I had a chance to see was at Piano’s Bar & Grille. They have an open mic night (sort of) on Friday nights, and a friend’s band was playing. I had no idea what to expect, but I was very surprised and pleased with what we saw. The band: And the Moneynotes (myspace, daytrotter session) – A pseudo jugband/country-rock/good-time band with heaps of talent and an obvious joy of what they’re doing. They mixed genres throughout their set – bluegrass, R&B, country-rock – it all fit, and was delivered without much effort. Their energy was directed into the crowd, and was generally well-received by everyone I was in elbow-contact with (it was PACKED). Tons of fun, and very impressive musically. They are enormous (at least in comparison to the stage at Piano’s), and carry a sound that is tight and well rehearsed, but slightly unhinged, giving them a sort of “sing-and-dance-around-the-fire-with-your-jug-o-wine” type attitude. Regardless of their low-brow genre, their music is serious, and they play directly to their audience. For country and blues enthusiasts, they are a must-see.

And the Moneynotes – Too Much
And the Moneynotes – A Pirate’s Confession Part III

(both from the most current release “New Cornucopia!” Buy it from iTunes here.)

EDIT – I was immediately reminded of this song from the documentary “Heartworn Highways” when I saw them. It would be great to hear them cover this.
Rodney Crowell – Bluebird Wine

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The Tallest Man On Earth

I had the pleasure of finally being able to see Bon Iver at the Wilbur Theater in Boston last Sunday. It was a great show, albeit in a weird space. I always enjoy general admission over sitting, but sometimes bands (or managers) like the relaxed atmosphere and extra space provided by larger venues. It’s always been my opinion that people pay to hear the music, and do not pay for comfort. When I bought my ticket I was somehow under the impression there would be no general admission/standing room space. I was wrong. So, I sat in the first balcony and watched the show from 100 yards away.

The absolutely best thing that could happen to me, happened. The opener was fantastic, and worth the price of the ticket by himself. And he was – by himself. The Tallest Man On Earth was an amazing act with equally amazing songwriting. His fingerpicking was soft and mellow at times, but he was able to vary the mood thoroughly throughout the show. His dynamic range on his guitars is very impressive, especially among the current pool of pop and folk musicians that play at one of two volumes – soft (aka “I’m so deep and thoughtful”) and loud (aka “I’m angry. Listen to what I have to say”). His songwriting might be considered melodramatic at times, but the listener is not bored to tears by unrealistic protest songs or flowery poetry – this is folk music, and I am not embarrassed to say it.

Ok, Kristian Matsson is his real name. He is Swedish, and he music comes straight out of his mouth (often, we are used to musicians’ songs coming straight from their ass). At times the songs seem to be playing him – very “shoot from the hip” style. He played each song without much hesitation, or at least with time to ponder which guitar to play. The music sounds very comfortable …

Concert Review: Jay Reatard & Cola Freaks

Jay Reatard (blog) has been around for a few years now, and he is still making waves in the Rock n Roll world. Most recently he was signed to Matador Records to do a string of 7″ singles, ending with a full album of Collected Matador Singles. He is best known for his consistent stream of quality output in 7″ form, and for his debut record in 2006, Blood Visions (In The Red Records).

I’ve been hearing about him for a while, ever since my wife was able to see him live in Philly, at a free show outside a newly opening clothing store. There was free beer, a sidewalk, and Jay Reatard. Those of you that know me and Amanda might say, “I don’t think those two would like Jay Reatard at all.” Well, you’re half right – although I have to point out that Amanda did not get to see him in a very controlled environment, and I got to see him in a decently small club. Our two experiences are hugely different, and perhaps explains why I like him more than she does.

To me, Jay (Mr. Reatard?) seems to be very focused on sound, and sound quality. I can’t say this about a lot of musicians in his particular genre, so this is definitely a compliment. The band is tighter than any punk band I’ve seen in that past few years – the guitar riffs are tighter than Mother Theresa, and louder than an attacking Rhino. I also noticed something that made the drummer stand out among punk drummers – he used his ride cymbal like a ping ride (usually), not just like a larger crash cymbal. It’s not that his drumming was subdued, he just managed to use the instrument to a greater potential than most mental and punk drummers I’ve seen recently. Jay Reatard is definitely pushing the sound of modern punk, and I hope he continues he semi-prolific output as long as he can.

Do yourself a favor and pick …