Now Philippe Bronchtein is back with a new EP, Oregon Air. Joined by The War and Treaty’s Max Brown on bass and Sam Wilson on guitar, as well as Josh McCewn on drums, the record is what Bronchtein calls a collection of “road-worn songs penned in the back of vans, airport gates, hotel rooms, and unfamiliar kitchen tables.” The result is as wistful as that sounds, Bronchtein following a long line of artists who have considered what is, what was, and what might’ve been.

The title track is rich with a grand sense of heart-warming nostalgia, McCewn’s percussion lending a sense of hope and positivity to a song about old friends, passing time and thoughts of belonging. Juxtaposing his childhood New Jersey with his adopted Portland, Oregon, Bronchtein allows memories to bleed into current images to weave a tapestry that explores just what we mean by home. As usual, Bronchtein’s songwriting is very strong, maintaining his unique voice while drawing from decades of folk and country traditions. “The moon bounced off the water,” he sings in a line that’s indicative of his easy lyricism, “like a ball against the ground.”

In the middle of winter, we were experiencing some uncharacteristically heavy rainfall. The river was well above its banks and moving very quickly. I drew inspiration from the swollen river to write a meditation about gracefully moving on.

These themes are knit tight into Oregon Air, as reflective and stirringly hopeful a release as Bronchtein has ever made. The EP is out now and you can get it from the Philippe Bronchtein webstore.

The post Philippe Bronchtein – Oregon Air appeared first on Various Small Flames.

Atticus Lish’s Preparation for the Next Life is, on the face of things, a relatively simple story. Girl meets boy under less than perfect circumstances and they struggle to make something of it. A classic love tale. But that’s where simplicity, or even any semblance of understanding, ends. This is a novel about post-9/11 New York, a tale of immense confusion, mistrust and paranoia, about poverty in a city smothered by it, about millions of people trying to make a life out of nothing.

Zou Lei is an illegal immigrant from China, a Muslim of the Uighur tribe, Skinner a PTSD-suffering Iraq vet who scraped through three tours of a war that’s followed him home in more ways than one. Queens is bursting at the seams with people looking for something better, or else ways to distract themselves from the present, a roiling, screaming sea of humanity. Lei and Skinner end up together, bonding through a common sadness and a shared appreciation of discipline and exercise. Their unsentimental yet gentle relationship serves as a recognisable, familiar way-in to a recognisable but wholly unfamiliar place. All of this is written in some of the best prose I’ve read in a long while. Beautiful and terrifying and sad, it captures New York as a gritty, humming place that’s crumbling in time with America’s perception of greatness.

Just like the characters, the reader is in alien territory. The overwhelming majority of us cannot fully understand the positions in which these protagonists find themselves. The fringes of society swamped by an overwhelming Lack Of. A lack of money and respect, of kinship and trust, as well as lack of material stuff (Zou Lei has a bed to sleep in but is essentially homeless, Skinner renting a basement with decidedly finite savings). But both are still subject to the American bombardment of dreams and nightmares that constitute the consumerist culture. They see shop-fronts and billboards, they see mistrust in the media and the faces of passers-by. The paradox of feeling isolated and lonely in a crowd of people seems designed specifically to torture them.

But the confusion is deeper than that, one that might impinge on Lei and Skinner more than most but hangs over us all. Not only are there no answers here, there are barely any questions. If 9/11 provided the West with a new narrative, a renewed sense of moral importance and superiority , then events like those at Abu Ghraib snatched away the veil. Technology has made it impossible to ignore that the ‘Bad Guys’ are mostly innocent, scared people like us, that our dirty secrets in exotic wars will not be buried. Everyone lives in this grey area but Skinner personifies it, pining for the purpose and friendship of war while being eaten alive by the truth of it.

“He took a drink from a flask of Bacardi Scorched Cherry and watched an execution on his laptop”

Here’s a collection of songs which we feel are somehow relevant to the themes and feel of the novel.

Tracklisting:

1. I’m New Here – Gil Scott Heron
2. Wish it Was True – White Buffalo
3. Drinking at the Dam – Smog
4. There I was in the pouring rain again, but this time I was at the drive-thru at Mac Donalds’ – Talons’
5. Beacon Hill – Damien Jurado
6. Heartbreaker – Noah Gundersen
7. Cold Apartment Floors – Vagabon
8. Travel Map – Hip Hatchet
9. Death By Dust – Miles Benjamin Anthony Robinson
10. Linens – Water Liars
11. The Modern Leper – Frightened Rabbit
12. No Future (Pt. I) – Titus Andronicus
13. Shitty City – Moonface
14. The Whip – Jesse Marchant
15. Third of Life – A Weather
16. Bloodkin Push (Forget the Ones) – Will Johnson
17. Wall Around Your Heart – Huck Notari
18. The Trapeze Swinger (Iron & Wine Cover) – Gregory Alan Isakov
19. I Could Only Stand By – The Weather Station
20. Fake Empire – The National

Preparation for the Next Life by Atticus Lish is out now on Tyrant Books (US) and Oneworld (UK + Aus). Quiet, Constant Friends is available digitally and on cassette via the Wake The Deaf Bandcamp page.

The post Lit Links: Atticus Lish – Preparation for the Next Life appeared first on Various Small Flames.

The post Wake The Deaf’s Favourite Songs of 2015 appeared first on Various Small Flames.

Evening Hymns – Quiet Energies
(REVIEW | INTERVIEW)

“The album takes the suffocating, nebulous shadow of grieving and distils it into something small and hard and strangely tactile, a mysterious object that will always be there in your pocket, radiating its secret and peculiar brand of comfort. This isn’t about forgetting death, or even really ‘moving on’, instead its about coming to a deeper understanding of one’s life, about how a person can be so shaped by another, and how such an impact can and should be a source of immense pride and joy, no matter how hard some days can be. In other words, Quiet Energies is about understanding how it is in fact life, not death, which shapes us and our view of the world.”

Kathryn Joseph – Bones You Have Thrown Me and Blood I’ve Spilled
(REVIEW)

“This is a simple album about things so complicated that it’s almost impossible to put them into words. It’s about those thoughts and feelings that we all experience but never admit, the things that we, be it through etiquette and embarrassment and fear, dare not confess to others or even ourselves. Bones You Have Thrown Me and Blood I’ve Spilled is an album about people: lonely and loved, corporeal and divine, mortal and terrified yet enduring with a resilient hope that never quite goes out.”

Young Jesus – Grow / Decompose
(REVIEW | INTERVIEW)

“As the title describes so neatly, Grow / Decompose speaks of the familiar paths that human lives follow. Despite all the strangeness, the characters here are going through the age-old problems – depression, anxiety, identity crises, existential terror – the problems of being You and You alone, Molina’s “curse of a human’s life”. For all of the complexity of our existence, we are still locked in the atavistic pattern of life and death, everyone more or less condemned to the same mistakes and fears and joys that we as human beings have been experiencing for generations.”

Danielle Fricke – Moon
(REVIEW)

“Moon is a lesson in stillness, a moment stretched out, questions asked but not answered, a monologue that might never leave the room. The wonder of the album is that the human emotions of love and longing never evaporate, continuing to push through the frost where they are warmed by earthshine, opening up the possibility that the very feelings which caused the pain could be the things which end it. So while the narrator is trapped, they never submit to the vacuous silence of space. Hopes are still hoped and dreams are still dreamed and wishes are cast from cold, cupped hands, skywards.”

Yowler – The Offer
(REVIEW)

“Burns with quiet intensity, its strange lyrics feeling oddly personal, giving the album the intimacy of hearing about someone else’s dreams. Guitars sidle and prowl like shadows and the whole thing seems on the verge of something vaguely dangerous. All eight tracks are a study in the art of minimalism, of the exchange between poetry and negative space. It’s certainly a lot more than just quiet and pretty folk music”

Advance Base – Nephew in the Wild
(REVIEW)

“I don’t know Owen Ashworth, and maybe I’m completely wrong, but he seems like a kind and empathetic generally nice human being, in the same way the best writers seem like people you could be friends with. Even if none of that is true, I guess it doesn’t matter – what is indisputable is the fact that he’s a damn good writer who tells stories that speak to and help us all. While it’s easy to cast him as the lonely boy in front of a keyboard, the truth, at least in my eyes, is that he’s often hardly there at all, a transparent gateway into the lives of people you’ve never met, feeling things you thought you had to suffer through alone.”

Siskiyou – Nervous
(REVIEW)

“Nervous is an album of dizzying scope and ambition, quite literally the tumult of sound and emotion inside one man’s head. It is by turns dark and creepy, shimmering and vibrant. Siskiyou have never sounded so eerie, so threatening, or so expansive. And I have to admit, I don’t think they have ever sounded so good.”

Samantha Crain – Under Branch & Thorn & Tree
(REVIEW | INTERVIEW)

“These are songs played like inner thoughts or secret diary entries of persons not usually able to or justified in expressing their true sentiments, people who are not as tough as they let on, but tougher than they think in the middle of the night. A selection of underdogs living the lives they have been given, not pining for more or complaining at a cosmic injustice. Quiet, noble people in the trenches of everyday life, those with the broadest shoulders and smallest voices and a hard, buried sense of pride who treat hardship like a member of the family.”

Lejsovka & Freund – Fatal Strategies
(REVIEW)

“Fatal Strategies inspires a multitude of strange, lateral thoughts – a soundtrack that doesn’t need a film. The musical translation of the postmodern ruminations of an over-active, twenty-first century brain. Music unearthed by a post-society people, who’ll turn it up loud and sit in their ruined cities, reclaimed by branches and vines, and wonder and wonder about us.”

Frog – Kind of Blah
(REVIEW | INTERVIEW)

“Kind of Blah is a product of this place, an album imbued with the spirits of a sparkling past… Judy Garland is America. Lusty teenagers are America. Jesus Christ is America. So is Dr Pibb and dusty valleys and shut-down bowling alleys and all the communal memories shared by millions just like you. Kind of Blah is America, the U S of A in eleven songs – quirky, joyous, breathless, exhausting, addictive, heartbreaking and downright weird, accelerating towards a distant horizon while keeping its eyes firmly on a halcyon past that sure seems like it should have been more fun.”

Oh, Rose – SEVEN
(REVIEW | REVIEW OF ‘SEVEN’, THE VIDEO)

“Olivia Rose’s voice carries the tracks beyond the genre norms into peculiar territories. Raw and versatile, her vocals range from whelps and wails to quiet, haunted whispers. On their début full length SEVEN, a record on which, if anything, Rose pushes things even further. Lean and wiry guitars lead proceedings while a lo-fi buzz envelopes everything, Rose’s words cutting through like shards of glass. The vocals have the quality of an exorcism, like the unnatural utterings of a twelve year old as some jaded man of faith flicks holy water at her forehead.”

Valley Maker – When I Was a Child
(REVIEW | INTERVIEW)

“When I Was a Child is an album about belief and love in a variety of guises, about the big and unknowable questions, from love and growth and family to God and everlasting life. It’s an album about all of us, basically.”

Eskimeaux – O.K.
(REVIEW)

“O.K. is about reality, the moment we live in and the people we share it with. It’s about the things we want and the things we wish for and the things we can’t control. It’s about doing the best you can and hoping it’s enough, about accepting and learning and growing so that whatever hand you’re dealt, you carve out some semblance of meaning and happiness to make everything worthwhile”

Aero Flynn – S/T
(REVIEW)

“This is not an album in which the emotional arc is self-contained and easily mappable… The redemption is the very fact that Scott is creating words and sounds, that he is letting others know where he is and how he is and why he is. The album is the flare of hope hanging in the night sky, burning bright and incandescent.”

Hip Hatchet – Hold You Like a Harness
(REVIEW)

“[Speaks] of that vulnerable core at the heart of every man, and the desperate, ridiculous attempts to suffocate it with cigarette smoke or drown it in whiskey or cover it over with scars. Hold You Like a Harness is an album about tough guys who know deep down that they aren’t so tough. Yeah they fight and drink and make merry, but they’re also sentimental and lovesick and terrified of everything.”

Mike Pace & the Child Actors – Best Boy
(REVIEW)

“Best Boy is for the children of the 80s and 90s, reminiscing about the age where entertainment exploded, where VHS tapes and cable TV transformed us into constant consumers. Of course, as consumers we were sold promises, told we merely needed x, y and z to be happy and successful and pretty and popular. It’s kind of ironic that a time built on visions of the future is now seen as a utopia locked in the past. Pace gets at this feeling by writing feel-good songs tinged with longing, nothing too sad or serious, nor a Father John Misty-style ironic assault. Instead, Best Boy is a wistful celebration of what we had and presents some convincing reasons for why we feel the way we do.”

Fanpage – LYA
(REVIEW)

“Fanpage’s music occupies a space between life and imitation, too mechanical to be described as organic yet too intuitive and mysterious for machines. It wanders a strange distance ahead of the human race, amongst a chaos born of our need for order. Love and delirium and bright white fear roil beneath the feedback, humanity kicking and twisting within a noise filled with myth and magic and dread. Terrifying and beautiful and glorious, LYA is an album for the information age, where data has exploded to incomprehensible volumes and become its own wilderness.”

Titus Andronicus – The Most Lamentable Tragedy
(REVIEW)

“Life (and especially mental illness) isn’t a neat Freytagian pyramid, so why should a representation of it conform to expectations? […] You are left with the impression that the band have said “fuck it, we’re doing it our way”, rejecting a clear genre in favour of whatever felt right at any given time. This kind of zealous self-belief in their own work is interesting, as it’s at odds with Our Hero’s struggles to accept himself as Himself, and sees Titus Andronicus cutting swathes through the field of wannabes, imposters and pretenders and stepping up to the plate as the twenty-first century’s bona fide punk rock band.”

Elvis Depressedly – New Alhambra
(REVIEW)

“This is not a born-again Love-The-World-Because-Life-Is-Great sort of album. Elvis Depressedly will not mend broken bones or cast out demons or have you walking across hot coals. Instead they say that afflictions are not all there is, that you are not defined solely by your circumstances. They say that peace and hope are never out of reach and offer an achievable version of optimism, one which does not require manic enthusiasm or God-like goodwill but instead a pinch of determination and a firm belief in love.”

Nathaniel Rateliff & The Night Sweats – S/T
(REVIEW)

“Nathaniel Rateliff & The Night Sweats could be your favourite anti-heroes of the sixties, the forgotten friend of Otis Redding and Sam & Dave, or maybe from even further back, a band of villains rolling into nameless pre-war towns to cause shitstorms in cowboy brawl-bars and put smiles faces for one night only. That there is a serious side is less a surprise than a foregone conclusion, because no man has conjured this kind of bone-level fervour out of a pleasant existence. No, here are people staring down the barrel, people stranded in a sea of beer, locked inside some breakneck motion in which a grin and a grimace are practically indistinguishable. Whether this is a defiant two fingers or last hurrah seems unclear even to Rateliff, himself too caught up in a compulsion to dance and scream and shout. Whatever you take from this record, one thing is clear: They can’t put you in the ground if you’re still moving.”

What were your favourite albums of the year? Let us know through one of the usual channels – we’re on Twitter, Facebook, Tumblr and Instagram.

The post Wake The Deaf’s Favourite Albums of 2015 appeared first on Various Small Flames.

The May Roundup mix below contains a track from every artist we featured during the month (apart from Sharon van Etten and Noah Gundersen, sorry!), so plug your headphones in and enjoy some new music. Click the artists’ names in the tracklisting below to be taken to the post in question.

Tracklisting:

1. No More Sad Songs – Elvis Depressedly
2. Catchyalater – Frog
3. The Day Draws Near – The Washboard Abs
4. Every House is On Fire – Island Eyes
5. Forever – Boosegumps
6. Open Casket Hidden Meaning – Molly Drag
7. The Arp – Aidan Knight
8. Atheist Money – Adam Stafford
9. Lynx – The Tarantula Waltz
10. Milo – Young Jesus
11. Slow Dark Water – Furnsss
12. Aubrey – Debris Slide
13. Foreign Hands – Aisha Badru
14. I Need Never Get Old – Nathaniel Rateliff & The Night Sweats
15. Outside the Pale – Samantha Crain
16. Home – The Modern Folk
17. Staggers and Rise – Small Houses
18. Yannina – Jake Houlsby
19. To the Black Horizon – Mark Timmins
20. Heart – Bobby’s Oar
21. Bling – Bells Atlas
22. And You Meant the Sea – Ruth & Trudy
23. Party – Lake Michigan
24. Growing Leaves – Gay Angel
25. On and On – Zee Town and the Dog Boys
26. Travel Map – Hip Hatchet
27. Zoa – Batte Ave.
28. The Bird – Kathryn Joseph
29. …Until They’re Called – Old Earth

May 2015 Roundup from Wake The Deaf on 8tracks Radio.

The post May Roundup – A Mixtape appeared first on Various Small Flames.

Hip Hatchet

“Speak[s] of that vulnerable core at the heart of every man, and the desperate, ridiculous attempts to suffocate it with cigarette smoke or drown it in whiskey or cover it over with scars”- Philippe Bronchtein weaves timeless folk tales about the vanity and pride of tough guys who have been on the road too long.

Frog

“The U S of A in eleven songs – quirky, joyous, breathless, exhausting, addictive, heartbreaking and downright weird, accelerating towards a distant horizon while keeping its eyes firmly on a halcyon past that sure seems like it should have been more fun.” – some words about Kind of Blah, the excellent, endlessly quotable album from Frog out now on Audio Antihero.

The Modern Folk

“Folk songs don’t require banjos and fiddles, it’s something a little deeper than that” – some bona fide folk music from The Modern Folk.

Kathryn Joseph

“A simple album about things so complicated that it’s almost impossible to put them into words” – we used Marilynne Robinson to describe what makes Kathryn Joseph’s Bones You Have Thrown Me and Blood I’ve Spilled so special.

Island Eyes

“Confronts the uncertainty of every life, admitting his fear about pretty much every possible scenario while finding solace in the fact that this uncertainty binds us all” – The self-titled album from Derek Janzen’s Island Eyes is an epic metaphor for your everyday quests.

Adam Stafford

“Could quite easily make solid, radio-friendly, painted-by-numbers pop music that would be lapped up by the undiscerning masses, but instead endeavours to make innovative, progressive music” – Adam Stafford’s new single ‘Atheist Money’ bodes well for his forthcoming album on Song, By Toad.

Bobby’s Oar

“If you placed Nana Grizol, The Front Bottoms and The Hotelier in a blender and seasoned them with acoustic guitars, throaty emo vocals and the odd mathy flourish…” – The Weeds in Your Garden by Bobby’s Oar is a passionate, defiant slice of pop-punk-folk.

Debris Slide

“Lo-fi rock music that sits at a crossroads between shimmery shoegaze, oddball experimentalism and early nineties noise pop” – some noisy, deranged pop songs from Nottingham’s Debris Slide.

Women in Music Journalism

‘“What’s the big deal? You’re a groupie.” She replied, “I’m a woman who writes about rock and roll.” His answer: “Same difference.” Groupies have proved an enduring stereotype of women’s participation in rock: worshipful, gorgeous, and despised.‘ – Anwen Crawford explains why the world needs female rock critics in The New Yorker.

Spotify: a Good Thing?

“As both an independent musician and a music fan, I’m here to give you a new headline: I believe Spotify is saving the industry” – David McMillin of Fort Francis writes for PopMatters on how Spotify might not be as bad as some would have you believe. We don’t know what to think anymore…

The State of the Music Industry (or, Goodbye Thrash Hits)

“It still pains us to see other, larger organisations dumping content online with little thought to the medium they’re working in or the audience they’re speaking to” – Thrash Hits went on an indefinite hiatus with this closing piece on the state of music industry and journalism in 2015.

Henry Demos / Lewtrakimou / Nice Legs

“I could be wrong here but I have a theory that people want to make loud music everywhere in the world” – START-TRACK spoke to Henry Demos & Lewtrakimou about Nice Legs, solo work and the South Korean music scene.

Fields / Molina

Another week, another great Jason Molina tribute article over at Common Folk Music, this time courtesy of Jeffrey Fields of The Morning River Band. Be sure not to miss the cover of ‘Whip-Poor-Will’ while you’re there.

Casiotone For The Painfully Alone

“I was pretty much always nervous in those days. The memories of my awkward, fidgety & depressed early 20’s have come rushing back to me, leaving me feeling awkward, fidgety & depressed all over again” – Owen Ashworth, now of Advance Base, came across an old CD of a radio session he did as Casiotone For the Painfully Alone back in 2001. Check it out on Bandcamp.

HI54LOFI’s Mix Tape Radio

Jeremy over at HI54LOFI posted episode 55 of his Mix Tape Radio series and it’s brilliant as usual.

Swell Tone’s MEGA SUMMER BABES

The cool people over at Swell Tone have put together a great summer playlist which should see you set for the coming months.

And Finally… the 8tracks Playlist of the Week

It’s this one by Annievain. I stumbled across it and it’s really dreamy and cool.

we’re changing from annievain on 8tracks Radio.

The post Week in Review: #3 (25-29th May) appeared first on Various Small Flames.

If you’re not familiar with the work of Hip Hatchet then there are a few things you should know. First of all, Bronchtein is a storyteller. Like the greats of the genre, his songs paint pictures of one man’s wanderings, tales of a life lived all too keenly, at turns defiant and wearied but always moving forward. The second thing you ought to know is that Bronchtein manages to do this without once sounding trite or contrived. You get the sense that these are the words of an honest man, that every strength and weakness detailed on these songs is known all too well. This is folk music as it is meant to sound, whiskey-soaked bravado meets heartsick sincerity, a brutally forthright account of one individual.

The first song is the title track, serving as the perfect introduction to the album with lines such as, “I guess I’ll just pretend that I’m much harder of a man than I actually am” and “man, I can’t commit for shit, but damn can I act and pretend”. The song also provides the first taste of Bronchtein’s excellent vocal delivery which pirouettes between dust ‘n gravel growls and heart-pouringly intimate confessions. Next up is ‘Coward’s Luck’, an older Hip Hatchet song which has been given a makeover with lush instrumentation (including pedal steel and organ) and a bolder, more confident sound. ‘Small Bird Song’ follows, a dusty travelling song packed with romantic longing, with lines like, “With your skin as soft as sawdust and a smile’s crooked charm / Baby, drinking helped to pass the time but this is moving on”. With its use of migratory birds as an allegory for wandering, the song brings to mind Jim Harrison’s novel The Road Home, particularly the sections concerning the nomadic grandson, whose romantic urges are matched only by his passion for the natural world:

“Would she be physically involved again in my personal phenology, my wanderings that were directed by bird migrations, available sunlight, the births and deaths of wild-flowers and movements and hibernation of mammals?”

The jaunty bar-room country chorus of ‘Travel Map’ hides the story of a man who is struggling. It’s not difficult to imagine dazed red eyes and trembling hands as Bronchtein sings, “The coffee in this place must be fucking laced / I feel like I might puke and I can’t concentrate”. But the song also shows another side to his struggle, the difference between the person he appears to be versus the person he is. Bronchtein describes this false exterior, the leathery layers of what he thinks constitutes a ‘real man’, as “the man I’d hid beneath”, so when he says, “I was keeping it together like a real man must”, it’s apparent that he’s barely managing, if at all. It’s a hint that perhaps all that wandering is taking its toll, and not just in a negative sense, as if he’s caught a glimpse of himself along the way and it turns out not to be the guy breaking hearts and blazing through bars.

The next track is ‘David’s Wolves’, an excellent slice of Field Report-style Americana about good-for-nothin’ buddies raising glasses and raising hell, complete with slide guitar and the full spectrum of delivery, from husky murmurs to great throaty snarls. Then ‘Ladies Night’ displays a gooey tender side, but it doesn’t last long as his girl is soon twirling with some other guy, a boy with whiskers on his chin who “can’t dance for shit”. That doesn’t stop Bronchtein getting all pretty on us for a while though:

“Meet me down by ladies night
That beacon in the sky
Where pretty girls get twirled around
Until they recognize
That love’s about being turned and dipped
And moving your feet in time”

‘Tacoma Bound’ is another travelling song, about heading up north from Oregon and into Washington. It’s also a love song, because he isn’t going to Tacoma for no good reason: “The highway’s only lonesome if you’ve got no where to go \ I’m headed north Tacoma bound to see an angel that I know”. Next we have ‘Words of Wisdom’, a piano ballad, followed by ‘Cars Look Like Crying’ which mopes along in a haze of shame and regret. ‘Father Redemption’ sounds cheery and merry but again hides a darker story:

“Well I went to work in town
And loved the best I could
And mother fortune smiled on me
But nothing that I did
Could fill the void I hid
And fed with depravity”

The tracks ends with the narrator holding himself down in the cold Sandy River, so not exactly a happy-ever-after. The final track begins reticent but soon gathers pace in bursts of passion, telling the story of a funeral, apparently of a father, and our man’s struggle to remain “a man” despite it all: “As a man of god’s voice bounced off the walls / I made a man of me tryin’ to hide it all”. It’s perhaps the most direct look at the soul beneath the armour and the pretense, that bright thing that starts to force at the seams and gets harder to hide and hurts like hell.

For me the album brought to mind Bukowski’s poem ‘Bluebird’. Both speak of that vulnerable core at the heart of every man, and the desperate, ridiculous attempts to suffocate it with cigarette smoke or drown it in whiskey or cover it over with scars. Hold You Like a Harness is an album about tough guys who know deep down that they aren’t so tough. Yeah they fight and drink and make merry, but they’re also sentimental and lovesick and terrified of everything. As Bukowski puts it:

“Then I put him back,
but he’s singing a little in there
I haven’t quite let him die
and we sleep together like that
with our secret pact
and it’s nice enough to make a man weep
but I don’t weep,
do you?”

You can buy Hold You Like a Harness on CD or as a digital download via the Hip Hatchet Bandcamp page right now. I’d suggest you get right to it.

The post Hip Hatchet – Hold You Like a Harness appeared first on Various Small Flames.

If you have some spare cash burning a hole in your pocket then you can grab yourself some handwritten lyric sheets, guest spots at concerts or even a private house show (for the entirely reasonable amount of $500). You can back the project here.

If you are unfamiliar with Hip Hatchet then I suggest you head on over to Bandcamp and give Joy and Better Days a few listens. The new record is due out in April.

The post New Hip Hatchet Album appeared first on Various Small Flames.

Nathan Reich – Motion Sadness

One of the joys of Bandcamp is finding artists and albums that would have otherwise passed you by via the music feed page. Nathan Reich, a songwriter and guitarist from Nashville, is one such find. Motion Sadness was recorded in one take and is, in Reich’s words, “filled with imperfections” as a result. This gives the release an organic feel, a real sense of the human behind the tales told, bringing to mind folks like Hip Hatchet and Psalmships.

You can buy the album on Reich’s Bandcamp page.

Brian Laidlaw and the Family Trade – Jeremiad b/w Glad For Every Burden

A couple of weeks back we featured a lovely record by Ben Weaver which was released by a new label run by the folks at Hymie’s Records in Minneapolis. Those good folks have also put out this 7″ by Brian Laidlaw and the Family Trade. A-side ‘Jeremiad’ is a pretty, reflective folk song with some nice strings and a rousing, romantic chorus. The record’s B-side, ‘Glad For Every Burden’ is a lot more countrified, with lyrics that hark back to a classic era of country and folk music. He sings in the chorus: “Oh honey I’m glad I’m glad for every sorrow that I’ve had, I’m glad for every burden / Without this old heart to weight me down, I’d fly away for certain.” You can get the single now via Hymie’s Records and if you haven’t got the Ben Weaver one yet then why not grab that too?

P.S. You can hear some of Laidlaw’s previous releases over at his Soundcloud page. I’d highly recommend it.

Sally Fowler – These Lines Laid Down

These Lines Laid Down is the fourth release from Virginia’s Sally Fowler. She has a fairly traditional sound, employing acoustic instruments and lyrics about sorrows and devils and crossroads, and her voice is strong and mournful and really rather great. If you like First Aid Kit or Laura Marling then it will be right up your street.

Sally started off covering songs via Youtube before progressing into her own material. You can find them on her Youtube channel.

You can buy the album on a pay-what-you-can basis via Bandcamp.

Siskiyou – ‘Deserter’

‘Deserter’ is the first single from Nervous, a brand new album from Canadian folk (?) band Siskiyou. The new album promises to be an advancement of the sparse and ghostly atmosphere of the band’s previous work, a foray into chamber pop territories recently inhabited by artists such as PJ Harvey, Nick Cave and Tindersticks. The mood and texture of the album is a product of health problems faced by lead singer Colin Huebert, who battled an inner ear condition which left him hyper-sensitive to certain volumes and frequencies. Also look out for the impressive roster of guest musicians, including Colin Stetson and Owen Pallett.

Nervous is being released on Constellation Records on the 20th of January. Pre-order it now to get a 12″ x 12″ art print of the beautiful Indian ink artwork by Michael Drebert.

Sarah Louise – Field Guide

Sarah Louise is the recording project of Sarah Henson, a young lady from North Carolina who makes music that feels as old as the Black Mountains which inspire her. “More than anything, these songs are a reflection of my home in the Black Mountains of North Carolina,” she says, “smooth-stone creek bottoms, delicate lunar-born mushrooms beneath rhododendron boughs, extreme changes in elevation.” Her new album Field Guide is coming out in the New Year on Scissor Tail Editions and it feels like a lost disc from Harry Smith’s Anthology of American Folk Music. Some of the tracks are inspired by old Appalachian hymns, while others have an almost far-Eastern meditative feel. It’s really, really good.

You can get Field Guide right now on a pay-what-you-want basis over at the Sarah Louise Bandcamp page.

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(for a hi-res image of the poster go here)

If you are unfamiliar with Hip Hatchet, then listen to last year’s Joy and Better Days and then book yourself some tickets for one (or several) of the dates above.

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