Anyone who doesn’t appreciate a pun as stupid-brilliant as “Medieval Knieval” needs more joy in their life. And the beauty of surf-rock music is that titling a song “Medieval Knieval” doesn’t require any daredevil-knight lyrics to live up to the billing. After all, I don’t know what “Walk, Don’t Run” had to do with strolling safely.
Bullfighting seems an odd metaphor for love, but Alexandria Hall makes it stick in her mesmerizing dream-electropop song “Matador.” Take the opening lines: “It’s not the red. I can’t see it. All I see is you.” Right off the bat, the bullfighting comparison works better than expect – plus you learn some zoology (did you know bulls are colorblind to red? The cape hue is purely for the spectators).
In my years as a music publicist, I learned how difficult it was to get one of your artists interviewed on NPR (one of the few press hits that actually might sell some records). At a bare minimum it typically requires new music. Pitching a seven-year old song would get you laughed out of the producer’s inbox.
But listeners to Weekend Edition this summer heard a new segment about a song that came out in 2012. Vermont band Swale joined host Scott Simon to discuss “If You Get Lost.” The “news peg,” such as it was: They’d submitted it to the annual NPR Music Tiny Desk contest. Though they didn’t win, they got one hell of a consolation prize.
Two years before releasing “Don’t Let the Darkness In,” Anders Parker worked with Jim James, Jay Farrar, and Will Johnson to record an album of unheard Woody Guthrie lyrics (still enough left over after two Mermaid Avenues, apparently). One wonders if diving deep into Woody’s work affected the veteran artist’s own songwriting.
The titular echo of The Velvet Underground’s “Candy Says” here is surely no accident. At times, Black Rabbit sound like they could be playing one of Andy Warhol’s happenings with some sort of trippy light show projected on them. They may have rocked a little too hard for a Factory crowd though; the CBGB stage a few years later might have been the better fit. Sure enough, frontcouple Marc and Darlene Scarano used to play CBGB, sweating on the same stage as The Ramones and Dead Boys once did, albeit several decades later.
“Day of the Dead” is as much a short story as a song. And like many good short story writers, Hana Zara offers enough evocative details to sketch a few narrative outlines while leaving much of the specifics to the imagination.
Greil Marcus first coined the term “the old weird America” to describe the strange sounds on Harry Smith’s Anthology of American Folk Music collection. He connected those ’20s and ’30s folk and blues recordings to Bob Dylan and The Band’s “basement tapes,” which drew these dawn-of-recording-technology sounds and songs into the pastoral country-rock 1960s.
Adam Rabin – The Other Room
You’re going to want to sing along to “The Other Room” after a listen or two – but I wouldn’t. The sketches of plot offered sound like a sci-fi family dystopia, a Black Mirror episode for children.
The Cheyenne Brando – Samsonite
So thoroughly does Endtime Hymns evoke certain bands that one begins looking for echoes everywhere. Is the title “My Jean Sebring” a nod to David Bowie’s “Jean Genie”? Does “Poisonhead” reference ABC’s “Poison Arrow”? Was “Privacy of Lucy” inspired by The Cure’s “Pictures of You”? Each connection a greater stretch than the last, and likely none intentional. Christian Hahn does explicitly cite the heyday of post-punk and new-wave in his bio though, and, sonically, the comparisons are everywhere. His next song might as well be titled “Bizarre Love Triangle Will Tear Us Apart.”
Abby Sherman – Dreamcatcher
Abby Sherman released one of 2018’s best folk songs with “Wanting to Run,” and she’s returned with a catchy new single. Mandolin features prominently, joining her vocals to front a tight roots band on a song about looking back and accepting one’s own history.
Amelia Devoid ft. Bleach Day – Afraid to Touch Her
Clouds dominate the single cover, and it’s hard to think of a more fitting image. This dreamy reverie seems the perfect soundtrack to staring into the sky and getting lost in your own thoughts. The electronic musician’s last album tackled some heavy themes (for one: genocide), but the new single seems light as a breeze.