White Birds // White Birds
Oh, Philadelphia, how I miss you and your blessed music scene. Honestly, the city and its suburbs never fail to impress me with the amazing music that is spawned there. And thanks to some recent heavy hitters, the City of Brotherly Love is receiving some long overdue attention to the wonders that are happening there. New to my ears is this band White Birds who recently reached out to me and subsequently wormed their way into my brain via these beautiful jams.
Pulling influence from some notable artists (ahem, The Beach Boys… ahem, Simon & Garfunkel…) they manage to create some righteous stomping ground in between and nimbly craft a world of warm and fuzzy folk pop. For me the main selling point were the harmonies. I mean, you can’t buy harmonies that lush and compact, man! It all lends itself to a sound that feels altogether comfortable and familiar and I can’t remember the last time that I felt so at home in my headphones.
The boys have an upcoming self-titled cassette that you can pre-order from Grizzly Records. So if you dig, make sure you get on that.
*As I was cooking up this post I realized that the most excellent No Modest Bear posted up another track from the EP. So check that out too while you’re at it!*
“Terra Incognita” by Atlas Sound
Parallax is the name of a new album from Deerhunter frontman Bradford Cox’s Atlas Sound project. The record is out November 8 on 4AD.
via Pitchfork
This first taste of Bradford’s new album is exploring sounds I’ve really come to enjoy recently. It’s minimal and mellow acoustic approach showed up on Halcyon Digest in “Sailing” as well as his (clearly Neil Young influenced) explorations on Bedroom Databank Vol. 3. I’ve praised his prolific output and talent before and can’t wait to hear what he’s been working on.
“Terra” by Julian Lynch
This track was very immediate for me. It breezily strolls through a rich blend of psychedelic 1970’s, Eastern, and Eno/Fripp-esque sounds. It sounds like what you would hear on a warm afternoon, dozing off in the backyard with the radio on. Halfway into your dream-state you begin inventing sounds as the reception dips into a lulling fuzz.
The first biography (American Made Music Series - University Press of Mississippi) of the blues revival’s most influential and authentic musician comes out August 1st but you can pre-order the book on Amazon. Read below to learn more:
When Mississippi John Hurt (1892-1966) was “rediscovered” by blues revivalists in 1963, his musicianship and recordings transformed popular notions of prewar country blues. At seventy-one he moved to Washington, D.C., from Avalon, Mississippi, and became a live-wire connection to a powerful, authentic past. His intricate and lively style made him the most sought after musician among the many talents the revival brought to light.
Mississippi John Hurt provides this legendary creator’s life story for the first time. Biographer Philip Ratcliffe traces Hurt’s roots to the moment his mother Mary Jane McCain and his father Isom Hurt were freed from slavery. Anecdotes from Hurt’s childhood and teenage years include the destiny-making moment when his mother purchased his first guitar for $1.50 when he was only nine years old. Stories from his neighbors and friends, from both of his wives, and from his extended family round out the community picture of Avalon. U.S. census records, Hurt’s first marriage record in 1916, images of his first autographed LP record, and excerpts from personal letters written in his own hand provide treasures for fans. Ratcliffe details Hurt’s musical influences and the origins of his style and repertoire. The author also relates numerous stories from the time of his success, drawing on published sources and many hours of interviews with people who knew Hurt well, including the late Jerry Ricks, Pat Sky, Stefan Grossman and Max Ochs, Dick Spottswood, and the late Mike Stewart. In addition, some of the last photographs taken of the legendary musician are featured for the first time in Mississippi John Hurt.
A grainy, documentary-style video for Fleet Foxes’ “Grown Ocean”, the closing track from their forthcoming album, Helplessness Blues.
(Source: gbabuts)
“Ball The Jack” by Elizabeth Cotten
A self-taught left-handed guitarist, Cotten developed her own original style. Her approach involved using a right-handed guitar, (not re-strung for left-handed playing) in standard tuning; Essentially, holding a right-handed guitar upside down. This position required her to play the bass lines with her fingers and the melody with her thumb.
via Wiki
“Phantom Other” by Department of Eagles
via ellachalmers
A criminally underrated album. This and Yellow House by Grizzly Bear are a perfect pair.
(Source: its-not-pain, via ensuiteshed)
