I love well assembled folk music, but too many bros and broettes fuck it up royally. So while Out Like Lambs, the duo of Rachel Ade and Michael Lucio Sternbach, might seem familiar, they’re undeniably refreshing. My experience in New Jersey is limited mainly to Hoboken and Jersey City, which are not necessarily the most picturesque places I’ve seen. But I have to imagine that Out Like Lambs’ home of Ocean Grove is a rather scenic, historically rich, and spiritual millieu in order to birth such gorgeous, fanciful torch ballads and dedications to nature and love. Man, I’m really sounding like a hippie these days…

The group’s wide instrumentation is deeply evocative of The Incredible String Band and their vast arsenal of instrumentation. As a matter of fact, 17 guest musicians helped provide horns, woodwinds, and strings. My favorite track, “Bygones,” brings forth traditional Anglo folk in the vein of Liege & Lief era Fairport Convention. The ornate “Downstream,” with its drastic but constrained mood shifts, should excite any Akron/Family fan looking for something a little less schizophrenic. Their eponymous four-track EP will be available soon, but in the meantime, go see about their nice website adorned with antique photography (which I’m a huge fan of).

For fans of:  Charalambides, The Incredible String Band, Akron/Family, Angels of Light

MP3 :::
Out Like Lambs – Bygones

Tea Tornado marks the reclusive Marmoset’s second effort since parting ways with Secretly Canadian, and first since the passing of member LonPaul Ellrich. Perhaps these tertiary factors have contributed to a different sounding Marmoset, one that has a newfound obsession with pastries (three songs are titled after items you’d find in a bakery). Or perhaps Tea Tornado is the result of a band simply trying new things. On the surface, Tea Tornado is absolutely still Marmoset – the deadpan, sarcastic, haunting vocals of Jorma Whittaker, their trademark utilization of sonic space, and the concise Syd Barrett meets Robert Pollard song structures (with a touch of Skip Spence’s creepiness).

With that said, there’s still something decidedly different about the cadence of Tea Tornado. The record is not as spooky or enigmatic as Record In Red, or spastic and sludgey like Today, It’s You. Rather, Tea Tornado comes off as an electric folk record, at least at first glance. The songs, tightly wound, play more minimal and straightforward, stay uptempo, and feature more clear instrumentation by way of more acoustic guitar, cleaner distortion, and a brighter mix.  Has Marmoset lightened up? Not exactly, but the smokiness has cleared a bit to reveal a more comfortable, onward looking Marmoset – yet one that still lurks in the shadows when necessary. Perhaps like the actual animal might.

Outside the slightly downtuned acoustic guitar and bummed lyrics on opener “Written Today,” the record opens with a sunshine folk timbre. Acid torch song “Empty Room” toys with ’60s pop and doo wop guitar. “Hallway” features upbeat Hammondesque organ and ruminations on childhood (”race you down the hallway”). Good vibes seem to abound on Tea Tornado. Yet, in these instances and others, Marmoset’s genre and mood hopping is extremely subtle. Every turn on Tea Tornado, as with all Marmoset releases, is covered with Jorma and company’s thick varnish. It’s always been difficult for me to ascertain exactly why I love Marmoset so much, and perhaps their distinction plays a large part.

However, when I said that “good vibes seem to abound on Tea Tornado,” seem is the operative word. Not all is rainbows and gumdrops with Marmoset, and if it was, our paradigm of reality would collapse upon itself. “Strawberry Shortcake” dabbles in serious low end and reverb – an almost hallucinogenic murder ballad with Morricone-style guitar to boot. When Whitakker asks you to “come with me/this is our last chance” on “Come With Me,” a song that began with “you can’t understand my evil/it hides in the depths of my grey matter” you can infer that this is not a Capulet-Montague love song. The fiercely downstrummed and stoned “He’s Been Napping” is downright demented and delightful. “You, Blueberry Muffin” acts as a snapshot of psychosis.

Yes, Marmoset is still keeping things sinister despite the injection of anti-depressants found on portions of Tea Tornado. And that may be the best part – there’s a juxtaposition in mood without a drastic change in sound. The group’s haunting facets do not hit you until later, as an afterthought or a latter reflection.

While Tea Tornado might not exist on the same plane as Record In Red (which would be difficult to do anyway, as Record In Red is a fucking classic), it’s Marmoset and it’s rad. Tea Tornado is a kaleidoscopic exercise, a great sounding record, and, perhaps most importantly, a deceivingly heavy body of songs. It’s a real creeper and worthy of your gray matter.

Marmoset’s Tea Tornado was just released by Joyful Noise and is available here.

For fans of:  Alexander Skip Spence, early Velvet Underground, Syd Barrett, Psychedelic Horseshit

Fagen-Becker Quality Rating

POSSIBLY RELATED :::
The Decibel Tolls presents… MARMOSET with INVADERS and THE HARLEQUINS

MP3 :::
Marmoset – You, Blueberry Muffin
Marmoset – Empty Room

With that autumnal chill now prominently in the air, I figured it would be appropriate to discuss my favorite fall-time electric folk collective. There’s nothing better than Fairport Convention on the ghetto blaster as the soundtrack to a crisp, dry, cool autumn evening. Evidently, the band agrees as well. Look at all those dried up dead leaves in the old band photo above. Smokey the Bear would have had a shit-fit if he was there.  I know I have a bad habit of going off-topic and chasing tangents, but it’s worth mentioning that Smokey the Bear is still totally awesome.

You know what’s not awesome, though? The notion that Bob Dylan is the end-all, be-all of folk songwriters. I tend to polarize people in my friends circle with that ol’ statement of mine “Bob Dylan… totally overrated.” Ballsy, I know. This is not to say that Blood on the Tracks and similar jam hives are not remarkable. However, some of Dylan’s accolades should have also been bestowed upon a certain premiere British electric folk collective that turn traditional folk songs and ’60s psych folk into godlike rumbles. The hippies may hang their fabric Bob Dylan posters in their living rooms in messianic ritual, claiming to be all up in on that folk tip, but they will all look at you confused when you drop the bomb of who the greatest folk artist of all time is. And that’s Fairport Convention.  Perhaps I’m losin’ it, or am totally missing something, but I just don’t think Dylan could have composed what Fairport Convention did in 1969 with the magical What We Did On Our Holidays – lyrically, musically, or otherwise.  A powerful statement for a powerful album.

What We Did On Our Holidays is one of the most diverse, sweeping, moody folk albums ever released. Granted, all the preceding banter is pure opinionated fodder. With all those bravado statements out of the way, it should be noted that Fairport Convention do, ahem, cover Dylan’s “I’ll Keep It With Mine.” Regardless, Fairport Convention uber alles.

The depth of each song – rich, orchestrated layers with literary lyrics and a sonic roller coaster feel throughout the 12 flawless movements – is something rarely heard in a normally minimalist, populist genre. Sandy Denny’s vocals on “She Moves Through the Fair” is stunningly seraphic, soaring high over atmospheric, loose arrangements. Totally celestial. It’s a traditional Irish folk song, but the weighty mood of Fairport Convention’s version feels like something entirely different than a public domain sing-a-long – it feels like an emotional KO. I mean, look at what’s happening at the three minute mark: “Last night she came to me / My dead love came in / So softly she came that her feet made no din / And she laid her hand on me and this she did say ‘Oh, it will not be long, love till our wedding day’” I mean, what do you say to that? Call me a nancyboy if you will, but that chokes me up. Sappy, I know. I also like flowers. So what?

Compare this with “Tale in Hard Time,” the previous song on the record. Forgive me for likening this jam to Blue Cheer, but ya know, for folk – this is heavy. Like BC heavy. Not only does the rhythm thump and guitars (albeit clean distortion guitars) slam seismic, but you gotta love that baroque flavor through the entire song courtesy of Simon Nicol’s autoharp that, I guess, he got from a time machine or somethin’.

Not much to say about “Nottamun Town,” other than it’s the perfect mystical chanty to play if you ever find yourself traveling by caravan across the Anglo country side with Donovan and Vashti Bunyan. Another classic that slays me on an almost daily basis.

Anyway, without further ado, get it crunk on these nuggets.

MP3 :::
Fairport Convention – She Moves Through the Fair
Fairport Convention – Nottamun Town
Fairport Convention – Tale in Hard Time

Perhaps it was just the acoustics of the Frank Gehry designed amphitheater, but Califone got better since last time we met. Tim Rutuli’s vocals were at their most melodic and pop-aware, meanwhile the band was increasing their sonic depth before your very eyes, unfurling louder, thicker, trippier soundscapes that were strange even for Califone. Walls of thick ambience, collapsing structures and disjointed melodies, violins, horns, jingly percussion – Califone did not fuck around. Seeing them reminded me of why I like Animal Collective, as in, there were two very disparate forces pulling away from each other at the same time. While one segment of the music moved more into the major key pop realms, the other spun off into a noisy, marshmallowy sea of sine wave shredding psych. Jesus fuck, they were really good. The hippie contingent was out in full force, too, which is always fun to see juxtaposed with all the douchey fasttrack business folk.

Sorry about the shaky video. I wasn’t allowed to approach the front of the stage (”we ask that you don’t record performances”), so I was at a distance, in addition to having a lethal amount of caffeine pumping through me. But the sound quality is great! “The Orchids,” as I recently discovered, is a Psychic TV song, though Califone’s cover is rather righteous, especially live.

Save the date, coach. Freak roots/experimental folk pioneers and Thrill Jockey payrollees Califone will bring it proper for a midday concert this Monday, Aug. 11, at the Jay Pritzker Pavilion in Chicago’s Millennium Park. The rockshow is part of the Audible Architecture Series. Admission is free and the show is scheduled to kick off at 12:15 p.m. There really are a surprising number of “New Weird America” rippers who work downtown (like me), and they will all be there geekin’ the fuck out whilst the Cloud Gate tourists remain righteously confused. It’ll be something to witness. My lunch break’s gonna rule.

And since Califone understands the toll recession is taking on folkheads these days, they’re playing another no-dough show at the Renegade Craft Fair on Sept. 14 along Division Street in the Ukranian Village (between Damen and Wood Avenues). Free love all around. You can also get your fix in Madison at the High Noon Saloon on Aug. 16, and the Walker Art Center in Minneapolis on the 18th. You probably have to pay for those, though. No word yet on any studio action. Roots & Crowns still owns, though, so I’ll just keep coastin’ to that jam hive in the meantime.

MP3 :::
Califone – A Chinese Actor

Feathers, rosaries, and teal colored water. Should be a good time, especially on LSD. Brightblack Morning Light’s latest, Motion to Rejoin, takes up where the self-titled record left off, and this time, was recorded with solar power. Brightgreen Morning Light. Matador just announced today that the album drops September 23, the same day as Mogwai’s new record, so the label will be receive approximately $26 of my money on that day. Of course, you can pre-order it now.

Brightblack hits the road and rips bongs this fall. There’s a high percentage of random places in California on this leg of their tour…
10/2 – The Tractor Tavern: Seattle, WA
10/3 – The Helm Gallery: Tacoma, WA
10/5 – Doug Fir Lounge: Portland, OR
10/8 – Sam Bonds Garage: Eugene, OR
10/10 – Humboldt Brews: Arcata, CA
10/11 – Delta of Venus: Davis, CA
10/14 – Cafe Du Nord: San Francisco, CA
10/15 – Cafe Du Nord: San Francisco, CA
10/16 – Starry Plough: Berkeley, CA
10/18 – Historic Brookdale Lodge: Brookdale, CA
10/20 – Casbah: San Diego, CA
10/21 – Detroit Bar: Costa Mesa, CA
11/05 – Hailey’s: Denton, TX
11/06 – Club Deville: Austin, TX
11/07 – Spanish Moon: Baton Rouge, LA
11/08 – One Eyed Jacks: New Orleans, LA
11/10 – Eyedrum: Atlanta, GA
11/11 – Caledonia Lounge: Athens, GA
11/12 – Grey Eagle Tavern: Asheville, NC
11/13 – Local 506: Chapel Hill, NC
11/14 – Talking Head: Baltimore, MD
11/16 – BAR Nightclub: New Haven, CT
11/17 – LPR: New York, NY
11/18 – South Paw: Brooklyn, NY
11/20 – Beachland Tavern: Cleveland, OH
11/21 – Magic Stick: Detroit, MI
11/22 – Hideout: Chicago, IL
11/24 – Waiting Room, Omaha, NE

MP3 :::
Brightblack Morning Light – Hologram Buffalo

Howell and Ferdinando, between cutting rollicking folk records, were both members of the BBC Radiophonic Workshop. As you know, I’m extremely fascinated by the Radiophonic Workshop. Howell himself played a key part in the composition for the Dr. Who and Through the Looking Glass scores. Time Has Told Me has a pretty in-depth bio.

Not only is the Fragile LP difficult to find, it’s also tricky to find information on Friends since they, uh, fuckin’ called their band Friends! Obviously, Lisa Kudrow’s gonna Google rank a little higher than Howell and Ferdinando, whether it’s fair or not. Anyway, enjoy these two jam hives that were ripped straight from the vinyl for full bass explosion, and definitely czech out “One Sweet Day” if you’ve been rocking that Fleet Foxes record as of late. Get shattered.

MP3 :::
Friends – A Tale of Your Life
Friends – One Sweet Day

One of the obvious standout tracks from the compilation, and his most standout collaboration in my opinion, is “Untitled Sketch” featuring Jessica Bailiff. This song originally appeared on his 2005 EP also titled Untitled Sketch, which I rocked religiously that summer. Jessica also contributed throat duty on the similarly titled but totally different “Untitled Three.” “Three” is slightly better than “Untitled Sketch,” but unfortunately didn’t make it on Pretty Swell Explode. Both are more than worthy for serious late night headphone listening. “Untitled Sketch” has some takeoff time, so be patient as it fades in. Let it envelope you, drop some science on ya’ dome.

Odd Nosdam feat. Jessica Bailiff – Untitled Sketch

This EP was, more or less, a teaser to his statement to the world, Burner, a much more focused follow up to his No More Wig for Ohio album and his work with Clouddead. Burner featured a dissonant, frantic instrumental piece called “Flying Saucer Attack.” This was no ode to sci-fi, this was a nod to Jessica’s work with David Pearce (who she later formed Clear Horizon with) and Rachel Brook (of Movietone), who were Flying Saucer Attack from 1992 to 2000 (or thereabouts).

Flying Saucer Attack is probably my favorite shoegazing group ever. And it makes me sad how under-appreciated FSA was then, and well, now too. Of course, there’s the paradox in the injustice one feels when a band isn’t recognized for their innovation yet annoyed when everyone’s bumpin’ their favorite tunes from said artist. Regardless, it’s time for their due props. Flying Saucer Attack wrote the loudest, fuzziest, most gorgeous, most embryonic sounding shimmering space rock ever laid to analog tape. Despite the fact that the production wonderfully sounds like shit, David Pearce’s crystalline voice is smooth and trenchant, paradoxically complimenting the swells and washes of Flying Saucer Attack’s intense rural psychedelia. “Make Me a Dream,” from their eponymous record, is dangerously loud, and as such, you should respect this arc of covenant jam hive by rotating your volume dial clockwise.

Flying Saucer Attack – Make Me a Dream

Flying Saucer Attack and Clear Horizon eventually split ways, and Jessica Bailiff took that time to pump out some excellent solo work for local heroes Kranky Records. Her last album, Feels Like Home, couples light touches of psych folk and slowcore for a heady, beautiful listening experience. “Evidence,” like, fuckin’ brings total damage around the 1:33 mark, so be prepared.

Jessica Bailiff – Evidence

Did ya follow all that? Very good. So there you go, the man who brought you Clouddead’s syrupy, disintegrating beats blew the dust off of some amazingly innovative, distinctive, but terribly underrated shoegaze. And on his journey to tonal divinity, Odd Nosdam brought along the amazing talents of Jessica Bailiff with him. And for that, among other reasons, I will forever love Odd Nosdam.