Something of a plea, ‘Don’t Let Us Get Rich’ sees Max García Conover address his wife. Asking that their sincerity and humbleness might remain intact amid an age of calculating cruelty and greed. “Anyone can see the horizon is wanting / the national bird has a nest full of beaks,” as he sings. “Screaming to be set free from their longing / mistaking each other for something to eat.” This image of birds pushed outside of their natural cycles recurs across the song, and for all the song’s earnest hush, it ends up quietly frantic. Seeing through the façade of consumerist culture and finding a sick emptiness within.

don’t let us get rich and go crazy
don’t let us get rich at all

The foreboding tone of Dylan’s ‘One Too Many Mornings’ feels like a continuation of this. Its dogs losing their barks, its nights falling too soon, its vision blackening as though there’s a cloud over the very days ahead. And though Julie Arsenault and Max García Conover’s dual vocals might sound like tender affinity at first, there’s another reading which raises its head too. Twin voices singing about the same thing but separately. Isolated within their own response to the situation, unable to help or be helped.

It’s a restless hungry feeling
And it don’t mean no one no good
When ev’rything that I’m sayin’
You can say it just as good
You’re right from your side
And I’m right from mine
We’re both just one too many mornings
An’ a thousand miles behind

Don’t Let Us Get Rich is out now via Son Canciones and you can get it from Bandcamp.

The post Julie Arsenault & Max García Conover – Don’t Let Us Get Rich appeared first on Various Small Flames.

We’ve covered the music of Mark Timmins several time here at WTD, most recently ‘Vulnerable‘, a song from a new project based around old maps which we called

“as sincere as it is self-aware, trying to live a better, simpler life of candour while bemoaning the current habits of pride and shame”.

Mark was kind/brave enough to take on our Mystery Mini Mix challenge, so scroll on down to hear the songs our prompts kicked up.

Song from who you consider the most overrated band of all-time

Bob Dylan – Girl from the North Country

Perhaps this is an odd choice for this category, as Bob Dylan is not a band, and technically speaking he is not overrated, in that the praise and accolades lavished upon him are indeed justified. He is a brilliant songwriter who has had a lasting influence on countless musicians. But the quality of his music has often been obscured for me by the excessive amount of bullshit spoken about him. I’ve had too many infuriating conversations with misty-eyed romantics who say they want to talk about music, but actually just want to spit out meaningless, hyperbolic, sound-bite style cliches about “Dylan, man, Dylan.” But behind all the poorly expressed adoration of the blind devotees, the music is still there, speaking inexorably, and with such captivating poignance, about all the things that make the human experience seem worthwhile. This song is one of my favourites.

https://www.youtube.com/watch?v=CeMa7cQyJPc
Song that sounds like the bottom of the ocean

Emma Ruth Rundle – Oslo, Part 1

I’m a huge fan of Emma Ruth Rundle’s solo work. It’s dark and brooding, heavy and earthy in a comforting way, like curling up and covering yourself from head to foot with a thick woollen blanket. I’m not totally sure why I thought of this song when thinking of the bottom of the ocean. Maybe it’s something about the hypnotic, repetitive guitar riffs that constantly fold back in on themselves that speak to me of deep ocean currents. Or maybe it’s the fact that the song is absolutely drenched in reverb and delay, like all of Rundle’s solo work, that gives it that watery feeling. It could also be the power of association that draws a connection for me between the sea and Rundle’s music (her debut solo LP was titled “Some heavy ocean” after all). Whatever the case this is a beautiful song, and the perfect soundtrack for any deep sea expeditions you may be taking in the near future.

Song that brings out your inner cowboy

Corb Lund – Hair in My Eyes Like a Highland Steer

I really enjoy a lot of country music, often a lot of the more melancholic style, where the songwriting focuses on the minutiae of everyday life in a way that tends to reveal bigger mysteries than the content might at first suggest. But when it comes to leg-slapping, yee-haw screaming cowboy fantasies it’s got to be Corb Lund every time. I’ve seen him live once, and it was one of the best shows I’ve ever been to. His band, The Hurtin’ Albertans, are incredibly tight and the music came across with blistering energy. When they played this song I danced with such ferocity that my cowboy thigh-slapping move resulted in bruises the next day.

Song without words

Carlo Domeniconi – Koyunbaba Op.19

Before I really got into singing and writing my own music I studied and played classical guitar pretty intensely for a number of years. This is a piece that I always wanted to learn but just never got around to. This is a very beautiful interpretation of it.

Song from your hometown

#1 Dads – Camberwell

I come from a very small town in rural Australia … it’s not known for producing a whole lot of music. I know a couple of people from my town doing some interesting musical things, but as far as I know none of it has resulted in a finished product made openly available to the world yet. So for this category I’m going to cheat a little bit and provide a song from my home country (hometown, home country … close enough right?) that really reminds me of home. My Dad discovered this song and recommended it to me, and from the very first listen I was totally captivated. The song has this lovely, languid resignation to it, like being driven around half-hungover in the back seat of an old car on a brutally hot Australian summer day. The triumphant saxophone solo at the end is so unexpected and joyous, it leaves a big smile on my face every time I listen to it.

Song you’d play upon reaching the summit of Everest

John Cage – 4’33”

Music is a wonderful companion, capable of enriching the experience of being alive in infinite ways. But I also believe there are times when there is nothing more appropriate to do than simply be and experience the moment in which we find ourselves in its unadulterated entirety. If I should ever find myself on the summit of Mount Everest, I want to know what it sounds like to be on the summit of Mount Everest. Thus, for this category I have chosen John Cage’s 4’33”. The piece calls for respect for silence and the rich world of sound that constantly exists around us if we take the time to stop and listen to it. From what I’ve seen though of the dangerous overcrowding of inexperienced expeditions on Everest, I would be very surprised if anybody managed to get a full four minutes and thirty three seconds to truly enjoy the sounds of the mountain, sky and wind.

And for those of you who are too lazy to click individual links, here’s a Playmoss mix that requires a single tap:

Check out the Mark Timmins Bandcamp and Soundcloud pages to explore his music, and be sure to give him a follow on Facebook to keep up-to-date with future releases/thigh bruises (maybe).

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The EP was written in one city and recorded in another, born during a time when Knishkowy was packing up and settling down and dealing with all the emotional stuff that comes with moving home. This feeling certainly comes across on ‘Red Coat’, a song all about the mixed feelings of moving on, a buzz of excitement and far-off regret bathed in a nostalgic sepia-toned light. Channeling Blood on the Tracks-era Dylan as well as Jason Molina and Small Sur, the track exists within that small and fleeting pocket in time and space that opens just before you take off from a familiar location, everyday objects taking on new importance as the seconds tick away and your surroundings can be seen outside of the context of your own unimportant worries and wishes:

Wore your red coat on the balcony
A little light for this time of year
If I keep answering all these questions about why I’m leaving,
I’ll probably be the last one here

L train’s not running late again
It’s every other weekend now right?
Probably rather walk it anyway
I told you I love this city at night

And I was thinking over it again
Not satisfied with what I find
These months alone are better spent
In the present, not on your mind

The EP will be released digitally the first week of August, so expect a full review later in the summer.

The post Song Première: Adeline Hotel – Red Coat appeared first on Various Small Flames.

We have followed Max Holmquist’s career with some admiration, first as South of Lincoln and then Great American Desert (which we wrote about here). Holmquist is now in a band called Oquoa and they have made their album available for free. Their sound is somewhere between Water Liars and Hip Hatchet, a restrained folky rock which has darkness and grief lurking just beneath the surface. Check out ‘Cigarettes’ below.

You can download the album for free here.

A Singer of Songs – From Hello to Goodbye

Barcelona-based folkster A Singer of Songs is back with From Hello to Goodbye, another album chock full of lovely lo-fi tunes recorded in his home studio. Some tracks are delicate (‘Sand in my Shoes’), some are a little more rambunctious (such as opener ‘Another Way of Saying Hello’), and all seem to have the curious sensation of being between times, as small moments of the past are opening up in the present. Maybe it’s the use of violins, trumpets and pianos or the slightly European street music vibe on tracks like ‘I’ll Follow You’. Maybe it’s just the cartographic artwork.

A Singer of Songs is attached to the Son Canciones label, and you can buy the album now from the A Singer of Songs’ Bandcamp page.

Steve Palmer – Unblinking Sun

Steve Palmer is a “Fahey nut and guitar obsessive” who has taken lessons from American Primitivism legend Peter Lang. It is perhaps unsurprising then that Palmer makes guitar driven instrumental music that combines the finger-picking of traditional US folk with more modern sounds of drone and krautrock. The result is a collection of long, complex acoustic songs peppered with ambient and psychedelic flourishes that lend a whole jazzy improvisation feel to things.

Unblinking Sun is being released by Dying for Bad Music.

Ezkiel – A New Mask

Ezkiel is Louis Monroe from New Orleans. A New Mask is his debut release and presents four dark and cinematic folk songs which explore the themes of change and rebirth. The EP was developed almost by accident, as part of a music production class that Monroe was taking at university. Monroe himself was required to production on a singer-songwriter record, but the recording artist pulled out last minute. This forced Monroe himself to record something and A New Mask was the end result. The tracks were recorded at home and have that intimate bedroom pop vibe which I really like. Grab it now via the Ezkiel Bandcamp page.

Charlie Rayne – Wider Waters

Last but not least is Wider Waters, a brilliant album by Beirut-based Charlie Rayne. Rayne makes glorious Dylan-style folk songs which twist and turn with a remarkable lyrical flow. The focus is very much on Rayne’s passionate deliver and the stories held within, the bare bones guitars providing the perfect counterbalance. If Sweden were to stake a claim on Bob Dylan reincarnate with Kristian Mattson, then I think we have to say that Beirut now have themselves a real rival. Get it via Bandcamp.

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The bio on his website wastes no time in referencing Dylan and Cash and, while this could be just a little premature, you can certainly hear why. The songwriting is very strong (it came as no surprise to discover he writes poetry in his spare time), each track spinning stories of love and loss and fear and isolation and all those other things that really good art tries to deal with. On ‘A Song For the Lost’ he sings:

What a troubled mind I have taken from these hours.
What a troubled life I have created from this mind.

Those two lines sum things up pretty nicely I think. It’s one of those albums which releases it secrets slowly on multiple listens, an album of exceptional substance for someone so young. And it’s not just the songwriter bit he’s got nailed. Lush’s vocals are actually pretty remarkable for someone in his (very) early twenties, warm and deep and full of the very emotions and experiences he sings about.

There are a couple of rockier moments (see ‘Started A War’), but for the most part it’s a brooding and meditative affair, often just vocals and either acoustic of electric guitar. There is also violin and cello, as well as harmonica in places, which give some tracks an Americana (Australi-cana?) vibe.

You can buy the album right now over at Lush’s Bandcamp page. I highly suggest you check it out if this sort of music is your thing, I don’t think you’ll be disappointed.

The post Oscar Lush – The World Is Round So I’ll Go Round appeared first on Various Small Flames.

I listen to (and write about) quite a lot of what I would describe as folk music and I got to thinking that maybe I could put together a second volume of ‘Lost And Found’ which covered artists that could fit into the category of folk and roots music. Here’s where I enter a disclaimer: I am not an expert in this area, more an interested amateur. This collection of songs does not reflect a definitive collection of any one genre or historical period of music. Instead I have chosen a collection of old songs that I feel have huge influences on the folk music that followed, from Dylan and Cohen to the host of new artists we have covered here at Wake The Deaf.

It features country and bluegrass, gospel and Appalachian mountain music. There’s something here for everyone, from Roscoe Holcomb’s easygoing rambling song ‘Roll On Buddy’ to ‘Down In The Willow Garden’, a murder ballad by Texas Hadden and her brother Hobart Smith. ‘Shine On Me’ is an impassioned and foot-stomping chorus by Ernest Phipps and His Holiness Singers, while ‘I Wish My Baby Was Born’ by Dillard Chandler is as sorrowful an a cappella recording as you’re ever likely to hear. ‘I Am A Poor Pilgrim Of Sorrow’ by The Old Regular Baptists is perhaps my favourite track of all. It’s an incredibly intense congregational hymnody from deep within Appalachian coal mining country. The song has an insistent, almost ominous, drive and continues to build in burning fervour. Mumford and Sons this ain’t.

I urge you to give this mix a listen. I’ve really enjoyed putting it together and constantly found myself amazed at the quality of the songs, some of which were written well over a hundred years ago (although some were recorded much later). If you’re a fan of modern folk music, of the legends of the sixties revival, of the Coen’s “O Brother, Where Art Thou?”, or even works of Southern Gothic literature by authors such as Faulkner and O’Connor, I’m willing to bet you’ll like this mixtape.

TRACKLIST:

1. Roll On Buddy – Roscoe Holcomb
2. Oh Death Where Is Thy Sting – Rev. J.M. Gates
3. I’ll Be Washed – The Carolina Tar Heels
4. East Virgina – Buell Kazee
5. I Wish I Was A Mole In The Ground – Bascom Lamar Lunsford
6. Big Rock Candy Mountain – Harry McClintock
7.  In The Shadow Of Clinch Mountain – The Carter Family
8. Big Eyed Rabbit – Matokie Slaughter
9. Drunkard’s Special – Coley Jones
10. Shine On Me – Ernest Phipps & His Holiness Singers
11. Down In The Willow Garden – Texas Gladden & Hobart Smith
12. I Wish My Baby Was Born – Dillard Chandler
13. Jonah In The Wilderness – Henry Thomas
14. Amazing Grace – Horton Barker
15. I Am A Poor Pilgrim Of Sorrow – Old Regular Baptists

The links embedded in the artist names do not link to webpages or Facebook accounts like in our regular mixes, instead I have linked to a picture of the artist in question, just to give you a better idea of who you are listening to as you play the mix.

If this collection of songs piques your interest, then Smithsonian Folkways is a great resource, a nonprofit record label that strives to ensure the conservation of musical history and cultural diversity. Several of the songs featured above can be found on compilations put out by the label, so I would encourage you to purchase if you like what you hear.

The post Lost and Found: Volume Two appeared first on Various Small Flames.

Rocks & Gravel sees a continuation of Klar’s brand of folk music, although he’s stepped it up a bit in terms of volume and dynamism. ‘Devil’s Bread’ is more blues-rock than folk, the gravelly vocals growling with a barely-restrained force. The title track is another bluesy rock affair, a bar room brawl compared to some of Klar’s more reserved moments, “Somebody tell my woman!” he yells during the chorus.

Speaking of reserved moments, the next track, ‘Can’t Help Thinkin It Was Easy’ is reminiscent of the self-titled EP, a quintessential folk song, with shades of Dylan, van Zandt et al. It’s a matter of personal preference but I prefer Klar in this mode. The lyrics are the ramblings of of a wandering man:

“Now I’m watching the road running under the wheels
And I’ll daydream the next hundred miles

Rolling down with the night
the hills and these eastern pines”

‘Ride On’ is another lovely folk song, with a strong The Tallest Man On Earth vibe, and closer ‘Ham & Eggs’ is as bluesy as they come, a foot-tapping shuffle backed by Klar’s signature whiskey-soaked vocals.

The EP is available for $10 and comes in handmade, one of a kind packaging. You can also download it for however much you feel like paying. Get it via the Jake Klar Bandcamp. If you’re a fan of Klar’s previous work, or of folk/blues/rock then I’d highly suggest giving it a shot.

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Hi Brian, how is life on Long Island? How does it feel to finally release the new album after the long hard process of getting it into existence?

Long Island is excellent.  It’s a pretty small town I live in.  I commute via the railroad to Manhattan for work.  It’s nice to feel the energy of Brooklyn and NYC, but also have a break from it every night, and a bit of room to stretch out.  Releasing this new album is quite an amazing feeling.  As a musician, I think every time you can finish something it feels like a triumph on one level or another.  This is the first time we’ve ever worked with a PR company, so the process of waiting and not just releasing everything immediately via Bandcamp was challenging for me.  I think my impulse is just to share stuff and see what people think, but not that we’re finally here I’m super excited.  Brian V. and I are really proud of the album.  The songs come from a really honest place, and even though some of the songs are melancholy, there was a lot of joy that went into making it.

Your explanation of the new album on the Bandcamp page gives an honest picture of your life at the time of writing – the band’s situation, your family life with a wife and kids, the economic struggle and so on – and you say this heavily influences what you write. Do you find it difficult letting the people close to you see/hear the new songs?

There are a few songs – “Stars Collided in Our Hearts” in particular, that do feel really vulnerable and emotional to perform.  “Head Underwater” is another.  I think in the past I’ve written a lot of songs that portray more of a romanticized view of love and other things. I was always trying to create a dream world that was somewhat removed from my reality – an escape.  This time I was determined to let go of that a bit, and speak more directly from the heart.  I think one of the things I’ve learned as more of a general life-lesson is that it helps to be open about things.  I think a lot of people are really secretive about their problems, especially when it comes to money.  It’s fine to be private, but handling things that way can also create this weird cycle of shame and depression.  I found myself saying things in these songs that I wouldn’t say to friends and family.  It’s funny – a lot of those people will hear the record and probably won’t listen closely enough to the lyrics to really catch what I’m talking about.  It’s bizarre and ironic that I get to speak more intimately with strangers around the world through music than I do with family, but I guess it’s also pretty wonderful and amazing that I get the chance to do that.

As a follow-on from the previous question, do you see your music as a way of speaking to your loved ones? For example in ‘Hard Times, Go!’ you sing‘I haven’t been as brave in how I’ve loved you // as I know I should have been // I thought if I kept quiet // you might think I was strong’. Do you want your wife to listen to your music and treat it personally? Or do you use your situation and emotions to mould songs that are about (and for) other people? In other words, are you writing songs concerning your life and self? Or are you writing fiction from experience?

Ha – I’ve definitely learned that speaking through lyrics is not the most effective way to communicate with my wife!  That being said, this is definitely the most autobiographical set of songs that I’ve written.  I think I resisted writing that way for a long time, and maybe I was finally just at the point where I had nothing to lose.  When I was younger I started out playing more folky, singer-songwriter type music.  I played around a lot of coffee houses where the thing is to do a more straightforward, confessional style of songwriting.  I always resented the limitation and the implication that things should only be perceived that way.  It seemed like an oversimplification.  Of course, fiction comes from some sort of emotional reality, and there’s always a connection –   but if everything is confessional than you’re eliminating the entire scope of the writer’s imagination.  I always wanted my songs to be more than stream of conscious journal entries.  I took pride in the craft of transcending that.

What are the main influences on your music and writing outside of personal experience? In the aforementioned description you say that Robyn’s Body Talk had a large effect on Hard Times, Go! But are there any others? Do books and literature play a role in song writing for you?

I take from lots of different places I guess.  I think as a writer, my work was fundamentally shaped by Bob Dylan, Van Morrison, and Jack Kerouac more than anyone else.  I still think about Bob Dylan all the time – and just the sheer power of him as an artist.  Of course there are lots of others – Tom Waits is big.  I draw on literature a bunch too – I love the Beat Generation writers, and Bukowski and Henry Miller, but also more contemporary folks like Junot Diaz, Lorrie Moore, Denis Johnson.  I feel like film is pretty closely connected to music also, and even television.  The song “Chasing a Phantom” is a direct reference to one of the episodes from the last season of Mad Men.

The album was funded via Kickstarter, and through one of the updates on there you said that you felt it allows artists to receive funding for the work they want to produce, rather than the old model of producing what others want to hear in order to receive funding. Do you think this freedom could allow bands to thrive in areas where that were previously impossible? Does the amount raised significantly influence an artist’s ability to produce their work?

I think it’s part of a larger conversation, about the whole digital revolution, but Kickstarter has absolutely been an amazing tool for us, and bands are absolutely thriving in areas that were previously impossible.  I was always an indie rock kid at heart – I grew up idolizing people like Ian Mackaye from Fugazi, so for me that fact that’s it’s become so much easier to make records than it was back then is a really incredible thing that I’ll never take for granted.  You can make a record for almost nothing.  I don’t think the amount of money raised from Kickstarter relates directly to an artist’s ability to produce work – unless their work relies on more expensive tools than ours does – higher fidelity, mastering, etc.  It does take a bit of creativity and stubbornness to be self sufficient, but it always has.   We treat Kickstarter more like an extended pre-order for the record, with merch and stuff.  Our goal was set to make the process of making the Vinyl and the T Shirts and stuff something we knew we could break even at – instead of the old DIY way of basically funding things on a credit card and hoping you did well enough to recoup your expenses.  We aren’t able to do that.  On a larger scale – signing to a label was sort of the same thing.  Most bands never recouped expenses and got dropped.  My favorite thing about Kickstarter is that if you don’t meet your goal, no one gets charged and you aren’t required to complete or fulfill the project.  It seems responsible.  If there is not an audience demand to support a product, that product doesn’t come into existence.  You make music to connect with people.  You make records if people want them – not just because it seems like a cool thing to do. 

With all the said – with music and with our culture in general there is also a relationship between money and access.  There’s the challenge of reaching people through all the noise.  I try not to worry about that much.  I just try to do good work and share it, making use of the tools I have.  If there a content war going on with our culture – it’s probably a war that no one is going to win.

You wrote an essay on the evolution of the music industry and our relationship with the music we listen to, and conclude that the increased availability of music (and for free) has lessened our willingness to engage with each single album, as if in the gluttony of filesharing we no longer savour each bite and instead gulp down whatever we can (as highlighted by my first post on Beat Radio). Compare this to the positive effect of the internet where unknown bands can reach wide audiences through social media (and the aforementioned effect of Kickstarter allowing artists to create whatever they envision) and there is an interesting standoff between the good and evil of the information age. In your own experience (admittedly without the pleasure of a crystal ball to view alternate realities), has the internet been beneficial or detrimental to your musical career?

I used to get hung up on the question but I came to realize that there wasn’t really any point to look back.  Beat Radio came of age creatively at a strange time where people were still operating with the expectations of the old music industry, but the bottom had dropped out.  We were able to get the attention of lots of people – labels and stuff, but nothing ever really came of it, for lots of reasons.  Without the internet and the support of mp3 blogs and stuff, we never would have found an audience at all.  Without access to inexpensive gear where I could make records in my basement, we never would have gotten past the first album. So mostly I’m grateful that I’m able to make art and connect with an audience.  I feel really lucky to have been able to continue to develop as an artist. We’ve been fortunate to finally start bringing in revenue over the last couple years through licensing and download sales and stuff – but whenever I put pressure on music to have it be something that could take the place of my day job, it always seems to take the joy out of it.

Finally, what music are you enjoying at the moment? Could you list four or five artists that you are currently listening to? Any genre or vintage welcome.

Yeah, of course! I wrote a post about my favorite songs of 2012 here – I really loved the records last year from Will Stratton, Damian Jurado, and Father John Misty.  I also listen to a ton of Pavement over the last few years, and Neutral Milk Hotel.  I heard the new Yo La Tengo today also and that is really great.  I co-wrote a song recently with Drew Danburry and have been listening to a ton of his stuff.  The demos for the new album he’s working on are incredible.  There’s so much. It never ends.

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Tracklisting:

1. On A Good Day (Joanna Newsom Cover) – Jordan Klassen & Brian Chan
2. Storm Windows (John Prine Cover) – Jeffrey Foucault
3. I’m Going Home (Hank Williams Cover) – Teen Suicide
4. You Are the Everything (R.E.M. Cover) – Redbird
5. You and I Are a Gang of Losers (The Dears Cover) – Admiral Fallow
6. Won’t Back Down (Tom Petty Cover) – Benjamin Francis Leftwich
7. I Dreamed I Saw St. Augustine (Bob Dylan Cover) – Dirty Projectors
8. Storms (Fleetwood Mac Cover) – Matt Sweeney & Bonnie Prince Billy
9. It’s Not Happening (Be Good Tanyas Cover) – Lowpines
10. Two Headed Boy (Neutral Milk Hotel) – My Latest Novel
11. Cruel Summer (Bananarama Cover) – Superchunk
12. Southern Girls (Cheap Trick Cover) – Cold Warps
13. Tambourine Man (Bob Dylan Cover) – Cloud Cult
14. Black Cat (Donkeys Cover) – Advance Base
15. Save Yourself (Sharon Van Etten Cover) – Brendan Losch
16. Learning (Perfume Genius Cover) – The Bearcat
17. Wicked Game (Chris Isaak Cover) – Widowspeak
18. John Wayne Gacy Jr. (Sufjan Stevens Cover) – Bryan John Appleby
19. Reason To Believe (Tim Hardin Cover) – Evening Hymns
20. You Are My Sunshine (Oliver Hood Cover) – Peter Broderick

As ever, please please please support the musicians we feature if you enjoy what you hear. The artist names in the tracklisting will take you to a page for each so please explore their music catalogues.

The Covers Mix: Volume #5 from Wake The Deaf on 8tracks Radio.

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