Ryley Walker : Primrose Green

The striking thing about Ryley Walker’s new album is how close it comes to capturing his live performance, this isn’t simply committing songs to record; ‘Primrose Green’ depicts him.  Ryley Walker routes songs through the triumphs of traditional folk music whilst bringing his own kind of wildness to the table, giving way to something that stands out in finger-picking guitar today and stands with other present greats like Daniel Bachman and Cian Nugent.   Since the age of 21 Walker has been recording material after some hard grafting on his Guild D-35, he's put out records on Plustapes, Tompkins Square and Agenda.  Dead Oceans got behind ‘Primrose Hill’ and as charming as the title sounds it obscures a dark pull within these 10 new songs.  Recorded at Minbal Studios where Walker is based, Chicago, it is hard not to sense real penchant for pastoral sounds and a sense of breaking free from that too.  The album preceding ‘Primrose Hill’ called  ‘All Kinds of You’, stayed true to rustic folk and while this new LP leads neatly on from there it departs mainly with some Jazz elements brought to the fore by some musicians invited to perform;  Fred Lonberg-Holm (Cello), Frank Rosaly (Drums), Jason Adasiewicz (Vibraphone) and Anton Hatwich (Double Bass).   

Opener ‘Primrose Hill’ fittingly introduces his rambling approach and sharpened artist vision.  ‘On The Banks Of The Old Kishwaukee’ carries the familiarity of an age old ditty in how succinctly sage it is.  “On the banks of the Old Kishwaukee, I saw you there getting, getting baptized by your Daddy when all the love was there, have you heard the way they love you, have you heard their song, have you heard the way they hold you, when you’re right you’re wrong,” Walker delivers in his distinct vocal address.  It’s pretty clear Walker’s lyrics are sparked from personal experience, in this case seeing people being baptized in Rock River, Northern Illinois where he grew up.  Throughout ‘Primrose Hill’ one can’t help but feel Walker has this reckless itch to scratch and he gets there on my favourite song ‘Sweet Satisfaction’.  Changing things up Walker plays an electric guitar and it just gnaws its way through the softer sounds from acoustic instruments.  The freely roving tones chewing through the track add something exhilarating to the album especially as the song builds to its charged climax.  ‘Primrose Hill’ explores beauty and desperation driven by surviving in districts of American detritus, I said at the start this album captures Ryley Walker as he his – he’s clearly studied folk guitar exhaustively and after accomplishing playing it, seems like he wants to wrestle with it too.  Folk is what speaks to Walker but there’s an unrest, something unsettled and more savage at play and this is why he is an interesting figure, and this is why I can’t wait for you to hear ‘Primrose Hill’.

Elisa Ambrogio : The Immoralist

Elisa Ambrogio’s debut solo release is a boundary free record remaining in-step with the spontaneous compositional approach you might know from her work as guitar muscle of Magik Markers, whilst incorporating childhood favourites The Poni-Tales, Dixie Cups and Tiffany into 10 new songs with the assistance of Jason Robert Quever.  Sure, it’s poppier than you’ve ever heard Ambrogio before, what also comes to the fore is a penchant for folk amongst some of the places the dowsing rod navigated to...  

Right from when the album gets going with ‘Superstitious’ it suggests themes from Andre Gide's book 'The Immoralist'; desire, nature, beauty, death.  “I don’t believe in ghosts, I don’t believe in thirteen, I don’t throw the tarot, I don’t follow a strategy, but I get superstitious when it comes to you and me” muses Ambrogio in this dreamy ode.  Reverberated vocals, drum machines, strings and guitar builds a lush tone underpinning the whole album.  ‘The Immoralist’ really hits its stride on ‘Stopped Clocks’; a whirling haze of wired guitar, spooked keys and amphetamine beats spiral away until the song plaintively stops dead in its tracks.  'Arkansas’ rounds things off with a sombre refrain hollowed by piano and cello arrangements.  “Sold down the river, He had his pride, A grace in trying, to fight the tide”, it just feels like this track is marking someone who swung and missed but remembering the fact that at least they tried and that made it/them count.  It's this weighty poignancy and immense positivity which are focal to the draw of Ambrogio's new songs. 

I’ll avoid the broken mirrors, cracks in the pavement and walking under ladders if it sweetens the odds of getting more releases like 'The Immoralist' any time soon, great record, out on Drag City.

Sun Kil Moon : Benji

'Benji' is Mark Kozelek's 6th self-produced album under his Sun Kil Moon project.  The name is taken from memories of going to the cinema with family, fittingly summing up the nature of this album.   Kozelek's vivid story telling gathers details of life events forging a confessional and raw collection of songs hitting right in the folk pleasure centres.  The album is constructed of characters and stories drawing on death, physical ailments and love voiced in a frank and direct diarist manner.  Vocals aching with disquiet alongside light eddying strings set an ebonied tone, just as opener 'Clarissa' ends you're gripped.  'Benji' varies in mood just as much as subject matter; songs about Kozelek’s upbringing shifts to lyrics based on murderers, sandwiched in with his reaction to seeing 'The Song Remains The Same' to memories of his first girlfriend.  Through Kozelek's candid approach to using mostly himself as subject matter, 'Benji' manages to reach one on a more personal level than most records do.  This release has just had a second pressing issued, and if it weren't for someone telling me about it this may have totally passed me by.  Maybe if I hadn't cottoned on earlier perhaps some others hadn't either - hence this quick post.  You can search 'Benji' right now and find countless other glowing reviews of this album so I'm not going to waste anymore of your time, or try and say it any  better than other worthy blogs and publications  - take that time and spend it listening to this album.

Rebecca Gates + The Consortium 'The Float'

Here we have Chicago based artist Rebecca Gates + the Consortium’s new album for 12XU entitled ‘The Float’. Some may already be familiar with Gates from fronting Sub Pop indie band The Spinanaes during the 90’s. Gates came into her own in 2001 releasing ‘Ruby Series’ and toured opening for Stereolab alongside a live band comprised of Mikael Joergensen (Wilco), Noel Kupersmith (Brokeback) and Jerry Busher (Fugazi). Although the shows went well she ended up out of pocket, so began exploring other outlets for her creativity. Gates spent the best part of ten years involved in exhibitions merging elements of sound into visual art, her new setting afforded a platform to explore her ideas in new ways but music was never far from anything she did. So it’s no surprise that she’s returned to the studio for a new album, the new songs are unmistakably Gates with a tender folk approach paired with the finesse of 90’s indie.

‘The Float’ has been gradually pieced together since 2004 featuring members of The Jicks, Tortoise and Portland Cello project to name a few. The album incorporates drums, guitars, xylophones, cellos and violins to create eleven evocative tracks tinged with upset. Track “&&&” sounds out Gates’ smokey voice apace with a piano, beats that tread in and out of step and freely wandering guitars plucking out loose melodies and rhythms. This best shows how Gates assembles small components to create one cohesive piece like a musical jigsaw. The highlight for me on ‘The Float’ is “Slowed Lowed Lowered”, with blinking eventide keys anchored by a drifting abrasive guitar alongside Gates ethereal whispers. “The Float” is quite simply a beautiful album and worth your time, another great release on the 12XU imprint.

You can find copies here

Ty Segall & White Fence 'Hair'

Psycho rock troubadour Ty Segall combines forces with fellow West Coast artist White Fence for a very special release on Drag City. Since releasing solo material in 2008 Ty Segall already has a prolific output that has gone from strength to strength following rock music down it's many avenues and alley ways. White Fence is fronted by Tim Presley who is making waves with his ethereal psychedelic folk on a sold out record for Woodsist at present. The duo bring you 'Hair', a meeting of freakish folk making folk freaky with gallivanting guitars, somersaulting keys and jarring rhythms running with the pulse of rock today whilst channeling sounds of the 60s.

Roused by "Time" the album opens with a mantric "1,2,3,4", giving off stoner vibes with hypno-harmonies, strung out strings and layers of fuzz drifting in and out of focus. One thing that stood out on this record is how rhythms curiously chop and change, pushing and pulling you all over the place and while you may feel out of control listening, Segall and Presley are very much in control when playing. This is best shown on "Scissor People", playing out frenetic beats alongside unaffected vocals and joyfully feral guitars flexing every rock and psych muscle at breakneck pace before abruptly buckling. Clocking in at around the 30 minute mark these eight tracks hit all the rock, pop, folk and psych pleasure centres whilst leaving you wanting more. This is a fantastic collaboration between two people fully testing the limits and taking rock 'n' roll further into the unknown.

Copies of 'Hair' at Drag City Norman Records

The Zoltars 'Should I Try Once More?'

Following on from the first self titled single just over a year ago Sundae Records brings us debut album from Austin's The Zoltars entitled 'Should I Try Once More?' Switching up from his initial garage pop approach Jared Leibowich further explores layers of murky fuzz and echo utilizing elements of folk clouded with psychedelia. Up until Leibowich's final year at Chicago University in 2008 his main medium was film and had never played in a band or written a song before. Playing music kind of fell into his lap when he was resigned to his dorm room whilst resting up from illness. Mixing the two together 'Should I Try Once More?' is a concept album whereby each song is a scene telling the story of someone falling in love once more, a music video will accompany each track on the album which will be released periodically throughout April.

'Should I Try Once More?' moves at a super consistent pace allowing subtle shifts in rhythm and guitar patterns to denote different moods in the story. Sure, it's narrative heavy and the lyrics clearly guide you through however, it's more like they're an advert to draw you in and pull you to the core where the music sits and gives the story depth. "Perfect Girl" was the first song to get stuck in my head, it weighs out shoegazing, daydreaming and straight up downer pop that swirls and roams, "We'll walk through the city when it's late at night, we'll be in the right place we'll be out of sight, she'll make sure that we'll always be close, even if I ever get comatose" laments Leibowich. The other stand out track is "I Took Your Girl Away", a totally cocky number full of attitude mixing folk, psych and pop, Leibowich boasts, "When we're naked in the night and you keep hoping she's alright, I hope we'll get in quite a fight because she won't leave without a fight". 'Should I Try Once More?' definitely deserves repeated listens as more of the story unravels with every spin, the departure from garage pop and developing new ideas and approaches has served The Zoltars well, great debut.

The Zoltars Website Bandcamp Facebook

Find copies at Sundae Records

'Bring Beer' Compilation

Record store day is upon us and I have my own mixed feelings about the event. I love seeing shops packed to the rafters and everyone hanging out to support their favourite music retailers but, endless queuing, items being put on ebay and people walking away empty handed because the person before them bought everything as though the plane was going down is a real bummer. The thing that doesn't sit right is record stores are a place where I've always felt at home and the frenzy that has become RSD leaves people excluded in a place where everyone should be able to get a look in and have a good time. There are some great titles I'm looking forward to like Lee Hazlewood and Gene Clark, but where to get them from? Will the stores that I like to visit have these releases? Some places get left in the dust in the stampede to try and get stock for RSD and this is exactly what this new compilation on 12XU addresses.

12XU Records have found their own way of celebrating Record Store Day by giving back to the unsung heroes of music retail. 'Bring Beer' is a new compilation on the label that will see all profits being donated to Austin's Trailer Space. Trailer Space functions as a practice studio for bands including some featured on this album, as well as hosting free all ages instores and provides a preferred general hangout spot all year round. 'Bring Beer' is splattered with rock in all it's shapes and sizes along with folk and psychedelic jams from artists like; Chris Brokaw, Carolee, The Golden Boys and Flesh Lights. I've never been to Texas but hope to one day visit and go to this store as I know whatever the time of year it will feel like Record Store Day.

Bands featured on the release:

Cruddy
Diehard garage punk from Austin based three piece.
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Nazi Gold
Strutting rock stomp form Texan trio.
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Rhett and Dean
Classic rolling rock by Austin based Duo.
Website Facebook

Carolee
Tidal and wayward psychedelia melting hearts, minds and faces.
12XU

James Arthur Manhunt
Siren spattered noise from our new fuzz overlords.
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Naw Dude
Breakneck and guttural turbo punk from Austin Quartet.
Website Facebook

Marriage
Deranged, kraut infested rawk by Austin five piece.
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Followed by Static
Tremorous, stinging folk and pop inspired rock hammered out by Velvet, Rut based six piece.
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The Golden Boys
Sprightly, re-imagined version of "Sidewalk" by Austin's party makers and music shakers -- taken from new album 'Dirty Fingernails'.
Facebook

Chris Brokaw
Chilling and lush motley folk.
Website

Philip Sambol
Tender, bluesy serenade from Strange Boys band member.

Flesh Lights
Pulse racing commotion from spunky Austin trio of garage punks.
Facebook

GGreen
Reckless and raucous racket makers from Utah four piece.
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Naw Dude
Breakneck and guttural turbo punk from Austin Quartet.
Website Facebook

Air Traffic Controllers
Primal and fierce wanderings of ballistic rock by Austin outfit.
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Record store day is April 21st, if you can't make it to Trailer Space well worth checking in with the label to see if you can get your hands on a copy...12XU

Michael Yonkers with The Blind Shake 'Period'

Michael Yonkers has been making music under the radar for 50 years in his home town of Minneapolis. Starting out strong his first album ‘Microminiature Love’ was recorded and initially set to be released on Sire 1968, for reasons that still remain unclear the piece was shelved. Yonkers recorded seven songs reflecting the psychedelic garage sounds of the time with traces of music that made impression in his formative years like Trashmen and Link Wray. Discouraged by Sire's reaction to 'Microminiature Love' the group disbanded that same year and Yonkers retreated to his family home where he began recording in the basement. Experimenting with synths, tape loops and his now famous home-made theramin Yonkers song-writing experienced a shift playing out Pentangle inspired loner-folk songs that would become second album 'Grimwood', a complete polar opposite to his debut. In retrospect rejection from Sire benefited Yonkers as he could enjoy flexibility in writing music that perhaps working for a bigwig label may not have afforded him. As a result going through his catalogue offers one surprise after the next with Yonkers tirelessly exploring different avenues of rock, blues and folk.

A few years after this album was recorded Yonkers suffered an accident while working in a warehouse that would leave him rendered in debilitating pain for the rest of his life. In 1971 a wall of computer equipment fell on him breaking his back. While in hospital further complications arose when Yonkers had an allergic reaction to the dye that was injected into his spine for use in an xray. To this day he continues to receive treatment to help with mobility and alleviate discomfort including dance-therapy, yet reading articles on Yonkers one common factor threads through pieces written on him; he is not defeated by the accident, he would rather talk about the next song he's going to write.

De Stijl reissued 'Microminiature Love' with 6 bonus tracks and 'Grimwood' a few years back catapulting Michael Yonkers virtually unheard of catalogue into the underground limelight. Drag City followed suit unearthing previously unreleased album 'Lovely Gold' originally recorded in 1977 on a "tube tape", a home-made device Yonkers built out of discarded machine parts. In the midst of these albums surfacing Michael Yonkers began playing with local band The Blind Shake and a simple jamming session turned into 2007 album 'Carbohydrates Hydrocarbons'. S-S Records have put out follow up album for Michael Yonkers with The Blind Shake adding to the now historic and well loved Yonkers musical cannon. 'Period' is a psychedelic blues record tinged with the 60s garage rock from his roots, filled with pounders sounding comparatively meaner and more dense -- recommended for anyone who likes Psandwich. With so many worthy labels supporting him, now, is the perfect time to get stuck into Michael Yonkers' records.

More reading, links to hear songs and mail order can be found here --
De Stijl Drag City
S-S Records



Michael Yonkers "Puppeting" from 'Microminiature Love'

Jim Sullivan 'U.F.O'

Sometimes someone puts an album on while you're in a record store that stops you in your tracks, and Jim Sullivan's 'U.F.O' was this title for me last Saturday, unearthed by Light In The Attic (Jim Ford, Michael Chapman, Michael Hurley).

The mysterious way Jim Sullivan disappeared sets the tone for the record. In March 1975 his VW Bug was discovered ditched in Santa Rosa, New Mexico and the hotel he was staying in was found fully intact. Some think he walked into the desert and never came back, some think he got into trouble with a local family linked to the mafia and others theorize he was kidnapped by aliens. No one knows really what happened, the only fact that remains is Jim Sullivan was never seen again.

Recorded in 1969 'U.F.O' is American Pop woven with folk and a singer fraying at the edges. Complete with a Wurlitzer, string arrangements and wind instruments this album is both lush and bright weighed down with undercurrents of dejection in Sullivan's lyrics and singing, just listen to "Rosey" to see what I'm talking about! Turning the tables "Roll Back The Time" features a simple acoustic guitar and soft beats revealing a stripped down number that is just as moving. Closer "Sandman" is an exquisite weathered folk song that deals out feelings of love and loss in equal measure. 'U.F.O' is a mind-blowing piece of lost American folk/pop and well worth your time.

Jim Sullivan - Sandman by Gilded Gutter

Find copies at Light In the Attic

Michael Chapman 'Fully Qualified Survivor'

Something a little different but I've been really enjoying the newly reissued Michael Chapman record 'Fully Qualified Survivor', originally released in 1970 and recently put out on Light In The Attic. 2011 has seen Michael Chapman supporting Thurston Moore on tour and to round the year off this month's Wire magazine boasts an insightful interview covering his 40 year career, featuring some great stories and thoughts on his favourite records. A corner stone of today's English Folk music 'Fully Qualified Survivor' attests that, this man is a wizard with a guitar.

Find copies at Light in the Attic

Yussuf Jerusalem 'Blast From the Past' and INTERVIEW!

Just when I thought it wasn't possible to love a band any more, Florida's Dying puts out second album from France's Yussuf Jerusalem, 'Blast From The Past'. Imbuing Pop, Black Metal and Folk Benjamin Daures creates an apocalyptic piece attuning bright melodies with a dark underbelly. The juxtaposition of Black Metal with Folk has a jolting effect like being picked up by the scruff of the neck, thrown across a room and loving where you end up. These nine tracks full of solace, gallantry and loss make something altogether hexing. Easily one of my favourite albums of the year.

It's a real treat to have interviewed the man himself on his latest offering...

When did you have that ‘I can do that’ moment and start playing/writing music?

For me, it all started when I bought my first 4track. I had been playing in bands since my teenage years, but I was never really good with other people. I was always frustrated trying to write songs in bands, too shy to sing, etc. To me, recording is like drawing.

I saw you play in New York in 2009 with Thomas Function I think it was, the show was amazing – do you like touring? Are you doing any touring for this new record?

I like to play and I like to travel, so yeah, I like going on tour. It takes a lot of time and energy though, and we can't always afford or want to be living like that. The band played a bunch the last few years, and even though the new record just came out, I think it's a good time to rest from this kind of life. So, no plans of touring our asses off this winter. Right now, I just want to spend my time recording and watch my stories on the computer.

The first time I played ‘Heart Full of Sorrow’ “Gilles de Rais” made me jump out my skin, it was great! “Evil Rise” on the new record is in the same vain, can you explain mixing metal with pop and folk on your records?

I record all sort of stuff. At first, I didn't plan to put Gilles de Rais on that album, but it ended working in some weird ways. It was fun to start playing that kinda stuff live too, covering songs from Burzum or Absurd, it was refreshing to us, at least.

On ‘You Broke My Heart In Two’ off "Blast From the Past" there’s a part that sounds a little bit like Buzzcocks ‘Ever Fallen In Love’ was this intentional?

Not intentional. Never thought about it myself, but my friend Riton Lamort pointed it out when I sent him the recordings, what can I say...

The music on your records alone tells such a strong story, what is your approach to lyrics?

Different story for every song. Sometime the music comes up first sometime it's the lyrics. I try not to think too much about it and it usually comes out when the time is right....

Who makes the art-work for your records?

I unshamefully use my own photoshop wizzardry.

How did you come to work with Florida's Dying?

Well, Rich has been my friend for a while now, he was amongst the first to hear the yussuf stuff...

I read somewhere you like music from Croatia and Serbia, can you tell us a bit more about bands for that part of the world?

Shit, I don't remember saying that. There's a serbian bar near my house, we drink rakija and listen to a guy play the accordeon all night long. I'd spend more time there, but it's really not healthy.

Do you prefer playing or recording?

I prefer recording, but I never got beer tickets from that.

What kind of equipment do you like to use when recording your songs?

Usually, anything that's working at the moment. Half way into 'Blast From the Past', I had to start everything over because my 8 track broke down. I've been using both analog and digital equipment, it doesn't matter as long as I get to make it work right!

I haven’t experienced seeing music in France, what are things like over there? Where do shows tend to happen?

It's nothing special from the rest of the planet, lots of bars I guess... As far as playing or watching a show, the smaller venues are the best for me.

One of my favourite songs is 'We Ain't Coming Back', can you tell us a little bit about that track?

I recorded that one early 2008 I think? I was coming back home from touring with Turpentine Brothers in Europe, filling in on bass. Last day of the tour I drank too much and ended up at the hospital for alcohol poisoning, worst hungover ever (took me 3 weeks to recover)! I recorded lots of the first album after that tour.

Do you have any other projects going on at the moment we can check out? Do you make anything else outside of music?

I'm fixing up a house in the woods in Franche-Comté, there's a steel plate on the stairs that says "1786". It's a beautiful place with lots of soul and big stone walls, I'll send you pictures when it's done.

"I'm full of dust and guitars" - Syd Barrett, if you were cracked open what would be inside?

Right now, I'm certainly full of frozen lasagnas from Monoprix.


Yussuf Jerusalem - Through Winters Darkest Day by Clem Ollivier

Yussuf Jerusalem Facebook
'Blast From the Past' available at Florida's Dying

Kurt Vile 'Smoke Ring For My Halo'

Philadelphia's psycho folk troubadour Kurt Vile has released his fourth full length album, the second for Matador Records. Since 'Constant Hitmaker' (Gulcher) Vile has been turning heads with his transcendent guitar style amalgamating folk, psychedelia and indie producing something entirely unique and unmatched. Those who enjoyed 'Childish Prodigy' will find bursts of heavy psyched out rock on this new album, however, Vile reins it in considerably and offers up some surprises that surpass everything he's done before.

Opener "Baby's Arms" breezes in setting the tone for the record with ethereal, dreamy notes tumbling over each other anchored with aloof musings and metronomic rhythms. An ode to a loved one dealing with finding comfort Vile hums, "I get sick of just about everyone and I hide in my baby's arms". It's these confessions and takings on his everyday life that continue to be a theme on the album. "Jesus Fever" kicks things up a gear with chiming, aerobic guitars at the forefront of the song with piano parts and foot tapping rhythms. "I pack my suitcase with myself but I'm already gone" sung with his commanding yet unassuming vocal style, it's this lone wolf viewpoint that aptly sums up 'Smoke Ring For My Halo'. Introducing sinewy guitars on "Puppet Man" and "In My Time" the record takes twists and turns down rockier, moodier roads. Seamlessly weaving in lyrics from past records, such as "Runner Ups" echoing "Red Apples" ('God Is Saying This To You'), "Hey girl come on over that'd be just fine" is an unexpected delight. Vile summons some sort of voodooism with closing track "(shell blues)" with a soft, disconsolate piano played alongside a single chiming bell that lingers long after the album is finished. This release is nothing short of sheer brilliance, Kurt Vile's gift for song writing makes today's music scene a more exciting place to lose yourself in.

Abner Jay "Last Ole Minstrel Man"

A blog post made a few months ago already has already allowed me to fawn over Abner Jay, so I'll hold back from the introductions and gushing again here.

Mississippi Records certainly runs the gamut for archiving Abner Jay's work, so much so that this release came as a (welcome) surprise. This 10" culminates the folk and blues troubadour's final studio recordings made in Atlanta, 1994. Always immaculate and thoughtful with packaging Mississippi treats us to photos, inserts and boasts in depth liner notes from Jack Teague.

What immediately struck me as unique and significant about these 6 songs is the vocal parts. Abner Jay's earlier recordings are sung with spunk and 'Last Ole Minstrel Man' is a departure from his younger, cockier days. Ever as heartfelt but now weary his ardently forlorn voice makes his final studio recordings sullen and poignant. At the end of 'Love Wheel' Abner Jay is recorded chuckling to himself at the end, reminding us he's still having fun. It's little moments like this in the EP that make listening even more rewarding. Using his Guitar and harmonica to accompany the songs, and you may know 'Cocaine Blues' and 'Too Poor to Live, Too Poor to Die' from previous releases but these versions may not be familiar, and are well worth your time.

http://www.mediafire.com/?tuvytxvlyatweep

Henry 'Ragtime Texas' Thomas 'Ragtim Texas 1927-1929'

Now for something completely different.

Henry 'Ragtime Texas' Thomas remains an enigmatic figure in pre World War II African-American folk music. Reported to be last seen in Texas in the 1950s, he was a country blues pioneer predating Delta Blues Godfather Charlie Patton.

One of nine children Henry is said to have been born in 1874 in Big Sandy, Texas. He came from a family of former slaves and sharecroppers raising cotton. Not keen on following farming for work he left home at a young age and began life as a street musician.

In 1927 through to 1929 Henry Thomas made 23 pieces for the Vocalion label. Most agree this makes him the oldest African-American performer to record blues. His one man band amalgamates gospel, blues and ragtime tunes with the use of quills, pan pipes and a guitar that sounds as though it's being strum like a banjo. Henry Thomas's songs have been interpreted by everyone from his piers Garfield Akers and Joe Callicott to contemporary acts like Bob Dylan, Taj Mahal and Canned Heat.

Utterly unmissable, magical traditional country blues that you can lose afternoons to. One of his songs can be heard here.

Grouper/Roy Montgomery Split

It's tough to resist the temptation to gush about Portland's Liz Harris. She's one of the most captivating female performers around right now. For those who've read/heard accolade after accolade on blogs, printed matter and in the human speaking world I'll leave the gushing there.

It will probably come as no surprise that this LP is long out of print. But! The CD has been reissued by IOG. To make it worth your while they've included bonus track 'Pressed Bloom' by Roy Montgomery which isn't included in the original LP.

Montgomery's side is an instrumental live interpretation of 'Fantasia On a Theme' by Sandy Bull clocking in at 18 minutes. Grouper's side is all new material of her signature ambient hexing and ethereal left field pop.


Read full review of Split - Grouper / Roy Montgomery on Boomkat.com ©

Metal Mountains 'Structures In the Sun'

The imminent release of Metal Mountains debut record 'Golden Trees' couldn't be a better way to start the new year. Boasting three fine folk musicians Helen Rush (Tower Recordings), Samara Lubelski (Tower Recordings, Thurston Moore, Hall of Fame, Metabolisms, Social Registry) and Pat Gubler (Tower Recordings, P.G Six) the trio have aptly found a home at Amish Records. After playing shows in New York for the past year or so, sharing stages with the likes of Yo La Tengo and Kurt Vile the Brooklyn based band have committed their ethereal psychedelic folk songs to wax ready to melt faces and hearts everywhere.

Track 'Structures in the Sun' is available to listen to here.

Sibyle Baier 'Colour Green'

First album from Germany's unsung folk gem Sibylle Baier has now been reissued thanks to the efforts of a few people close to the singer/actress.

A road trip with a friend in the 70s traveling through the Alps inspired Baier to write her first song 'Remember the Day'. Songs compiled from recordings she made at home between 1970-1973 on a reel to reel device became album 'Colour Green'. Since completing the recording Sibylle Baier has appeared in Wim Wenders' 1973 film Alice in the Cities, and her music featured in Umarmungen und andere Sachen in 1975. However, raising a family became her priority so she gave up music and acting, moved to America concentrating on motherhood. It was her son Robby who got a copy into the hands of J Mascis in 2004, who then sent it on to Orange Twin records. Until it's released in 2006 only her circle of friends and family had heard 'Colour Green'.

Ethereal, from start to finish the album is warm, melancholy and resonates. She tends to be compared to Vashti Bunyan and yeah, they're both folk musicians who achieved success a little after the fact. Jumping forward a bit, Chan Marshall fans may enjoy this record. Baier has a unique voice in her own right though and simply comparing her to someone else isn't doing her justice. The songs are eloquent and sung in a captivating, lamenting tone. The most charming thing about the record is its humbleness and the unassuming nature of the artist.

Today, the official website for Baier set up by her son, seems like she shy's away from the accolades the album has earned her. But, the site also teases that a second album is on the way.

Abner Jay

Can't stop won't stop Mississippi Records has reissued a second Abner Jay LP.

Solo musician Abner Jay played outsider blues songs through the 1920s until the 1990s. Self described as; "the last great Southern black minstrel show" he first got a taste for music when his grandfather, Louis W Jay who was born a slave, passed down a six string banjo to him. Jay was taught an enormous repertoire of songs which he would continue to play throughout his career. He toured ingeniously with a portable home that folded out into a stage.

His unusual and unique heartfelt blues/folk songs about politics, relationships, war, religion struck a chord with music lovers, collectors and critics alike.

Jay's records were originally released on his own label 'Brandie' (named after his wife). Following his death in 1993 original LP's on 'Brandie' would go for upwards of $100 a pop. Today, first pressings are even more rare than ever before.

To make his work freely available again, Subliminal Sounds were the first to reissue material on 'One Man Band' at a modest price. Then, last year Mississippi began contributing to archiving Jay's work as well at a cost that won't equal the sum of third world debt.

Oh and did I mention this is the second reissue on Mississippi? 'True Story of Abner Jay' is just as good as the recent 'The Original Folk Style of Abner Jay'. Always a sharp shooter; bleak, soulful hymns are delivered with the deepest sincerity and brilliant comical anecdotes. First track 'Depression' is accompanied with what sounds like a full band, fuller than the version on the previous LP 'I'm So Depressed'.

Abner Jay in his own words: 'World's Champion Cotton Picker and Pea Picker, World's Fastest Tobacco Crapper, World's Greatest Jaw Bone Player, World's Fastest Mule Skinner... THE WORLD'S WORSE BUSINESS MAN'.


Read full review of Folk Song Stylist - Abner Jay on Boomkat.com ©