Sufjan Stevens – Come on Feel the Illinoise

Never have I been so sure I would enjoy an album as I was when I purchased this offering from Sufjan Stevens. I’d already heard and enjoyed one of his songs in Evlkeith’s festive fifty a couple of years ago and the whole concept of Sufjan is so camp acoustic, quirky folk and unusual instrumentation that I couldn’t possibly dislike it. Or could I…

It’s far from a terrible album, but I just can’t engage with it. It’s like all the worst self indulgent bits of Bright Eyes mixed with none of passion of Neutral Milk Hotel and without the melodies of Elliot Smith. It’s almost a parody of the camp-acoustic gene and with twenty-two tracks it’s a war of attrition to wade through.

The horns, flutes and banjos are all agreeable enough, the reedy, soft vocals are not offensive and the lyrics are quirky and witty. However there’s an inverse synergy to this collection that leaves you feeling empty and cold. It’s a huge disappointment all round, but I doubt Sufjan will lose any sleep. It’s a struggle to pick a favourite track, but 'Casimir Pulaski Day' is at least low key and mellow and the ‘Seer’s Tower’ is fairly stark and moderately haunting.

Maybe I’m missing something, but Sufjan is not joining the Into the Valley gang. Perhaps that’s a positive thing for him as he may become successful.   

 

Bright Eyes – Cassadaga 2007

The legendary Conor Oberst presents 2007’s Cassadaga album, and as sure as night follows day, it’s that textbook combination of poetic genius and camp acoustic accompaniment. Deeper and darker than ‘I’m Wide Awake…’ and infinitely more accessible than ‘Digital Ash,’ it strikes the perfect balance between the melodic and obtuse sides of Conor’s musical persona.

All the trademarks are there. The curious yet beautiful introspective lyrics, the alt-country twang of the occasional slide guitar and the off kilter harmonies provided by the studio cleaner, (although she’s improved massively from her input on ‘I’m Wide Awake’). Throw in some new quirks like the Susan’s House style vocal samples, some ethnic wailing and some lovely folky fiddling and you’ve got a monster of an album on your hands.

It takes a few listens, but every song is ultimately a winner. ‘No-one Would Riot for Less’ is straightforward and minimal, ‘Middleman’ is atmospheric old school folk, and ‘Brakeman’ is strangely anthemic and downcast at the same time. Best of all is the fiddle-fest of ‘Four Winds’ which combines a jolly bluegrass tune with lyrics so dark that even Beck would be grudgingly impressed.

It’s virtually impossible not to like this album if you like music this side of the Mars Volta. So if you like your folk music with a smattering of Country and Western and some polished, left of centre lyricism, then Bright Eyes is a perfect fit. All bow down to the King of camp acoustic!

 

 

Nedelle - From the Lion's Mouth LP

What is it?
Nedelle Torrisi produces an album of acoustic simplicity in a cut above the usual female singer-songwriter standard.

Why should you listen?
This is a thing of rare beauty. It's simple, straight to the point, no frills song-writing with a distinctive voice thrown into the bargain. The songs are short and punchy with down to earth lyrics and a relaxed atmosphere. There's a fragility and vulnerability on show in 'From the Lion's Mouth' that can hopefully be nurtured and extended in future releases. This definitely sounds like an artiste in the early stages of her development and the future promises much from this classically trained violinist.

What's it like?
It's like Phoebe from Friends with talent and a decent voice.

What's the best song?
"The Natural Light" is an acoustic gem, but I only wish it lasted longer.

Who does it sound like?
Lisa Hannigan, Feist, Laura Marling, Rachel Unthank

Gabrielle Aplin - Home

Pick of the Week 3 - Home by Gabrielle Aplin

This is an absolute cracker. On first listen it sounds like the standard Laura Marling style ballad, but listen again and you're hooked. The song readily embeds itself in your subconscious and you'll find yourself singing it at inappropriate times and not quite knowing where it came from or who sings it. Check out her website (http://gabrielleaplin.co.uk/) for some limited information on her and unusual covers of Teenage Dirtbag, Teen Spirit, Chop Suey and Killing the Name! She looks like the type to release a corker of a first album and become the first artist we've championed on Into the Valley who will actually have some success and probably win the Mercury Prize. Fingers crossed for her anyway, but don't hold your breath. You heard it here first though! 

Agnes Obel - Philharmonics LP 2010

Danish singer/songwriter Agnes Obel provided us with a minimal and atmospheric treat when unleashing Philharmonics into the great wide world of music. The songs are often insular and sound like the soundtrack to some Scandinavian fairytale, but maintaining rich and heart-felt lyrics.

The whole thing hangs together around the beautiful, delicate piano backing and the haunting, lonely voice of Agnes herself. These are songs for a cold winter's evening, slurping a glass of akvavit and munching on some frikadeller. (Look it up food fans.)

All the tracks are of a high quality, but the melancholy 'Avenue', the enchanted 'Philharmonics' and the stark elegance of 'Riverside' are worthy of a special mention.

Agnes has produced an album of rare beauty and hopefully can retain control of her career and musical direction in future releases. You should go out and buy the LP immediately if you don't own it already!



Bright Eyes - Lifted or the Story is in the Soil, Keep your Ear to the Ground LP 2002

The King of the 'Camp Acoustic' genre comes up trumps again with one of his pre 'I'm Wide Awake...' offerings. If you like all things lo-fi-indie-folk-acoustic-rock-with affected vocals-camp-fire-sessions then Conor Oberst is the man for you. He is the dark lord of acoustic campness, it's as simple as that. Sufjan Stevens has a poster of him on his bedroom wall.

Conor doesn't deviate that much from the 'Bright Eyes' approach on 'Lifted'. It's all acoustic folkiness with heart felt lyrics delivered in a vocal reminiscent of a toned down Jeff Magnum who can sing. There are some nice touches and slight deviations from the standard that can be summarised as follows:

1) On the other Bright Eyes albums I own, Conor always throws in couple of tracks where he's merrily warbling away, but in the background you can just about hear some woman, presumably the studio cleaner or dinner lady, who is singing along with him in an echoey kind of way. The difference on Lifted is that the cleaner/dinner lady has a sweet and vulnerable quality to her voice, which leads me to believe she may actually be a proper singer. Definitely not a dinner lady.

2) At one point Conor loses it entirely and starts braying like a donkey. It doesn't last long, but it's a harsh and earsplitting moment and you're glad when it abruptly gets the chop.

3) As always there's one or two 'proper' songs with some commercial appeal on the album. It's as if the record company say, "Give us a couple of decent songs, and we'll let you fill up the rest of the LP with your self indulgent folkiness and donkey bray voice." In this case. Check out 'Lover I don't have to Love' as a prime candidate.

4) There's always at least one song on a Bright Eyes album with something approaching absolute lyrical brilliance. In this case it's 'Don't know when but a day is gonna come' which is stark, profound and has some horns playing in the background for good measure.

In summary, if you like Bright Eyes, you'll like 'Lifted.' If you're not sure, I'd definitely start with 'I'm wide awake, it's morning' as the entry level Bright Eyes offering.