Following the release of last year's In Our Heads, one of the band's best albums in years, Hot Chip have returned with the one-off single "Dark & Stormy." The U.K. dance pop group continues their strong run on the late night tune, and to be honest, it's hard to do wrong when you have one of music's best singers, the angelic-voiced, frequently swagged out Alexis Taylor. "Dark & Stormy" will be available to download on July 22nd.
I bet you never thought Phoenix would come to Buffalo right? Well, the French pop act still isn't, but they are playing this Grove Music Festival in Niagara-on-the-Lake on August 3rd, so lets take what we can get at this point. Until this morning and the nice tip from fellow blogger Nick Torsell, I had no knowledge of this festival, but for its inaugural run, I have to say co-promoters Goldenvoice and Arts& Crafts did themselves pretty good. Outside of headliner Phoenix, the one day music festival will feature performances from Hot Chip, Pretty Lights, Girl Talk, Wavves, Young Empires, and more many more. Now while we do not usually do these kinds of announcements for non Buffalo shows, its proximity to the city and the fact that you can buy tickets at Terrapin Station and Record Theatre made this a bit more news worthy. While the full lineup and tickets information can be found on the festival's website, you can currently buy early bird tickets and VIP tickets for $74.50 and $140.00, respectively, or just wait until Friday to grab some in person for $79.50.
I'm pretty glad that the world ends today. It was fun. 2012 was the best year yet. And I'm especially glad that this is the last list you will ever read on the internet. Bye forever.
BEST ALBUM
Interpol – Turn On The Bright Lights
10th Anniversary Edition
So I'll stop just short of saying that
2012 seemed like a lousy year for new records. There was a veritable
treasure trove of “stand-out tracks” to be sure, but no full
albums that I sincerely plan on listening to again, beginning-to-end,
a year from now, much less feel like writing a whole fucking
paragraph about. (Maybe Hot Chip.) Bright Lights, on the other hand,
is a record I would gladly listen to again and again and even write a
paragraph about a decade later – so I'm glad they reissued it and
gave me an excuse to openly've had that shit on repeat. It was
from beginning-to-end an excellent record; at once indifferent and
sentimental, cool and urgent, sounding like the love-child of Joy Division and Gang of Four. And its 2002 release took the
incipient, New Indie Scene implications of contemporaries The Strokes
and White Stripes to an eloquent and stylistic Next Level. The band
is still trying to deal with the fact that they'll never match or top
this album, but they're very aware of its impact. The re-release
edition features a ton of b-sides and rarities previously only
available in poorly-labeled Limewire format, presumably offered as a
metaphorical handjob to fans, as a thank-you for all the literal
handjobs their fans (I'm educated guessing) gave them.
Honorable Mention
Hot Chip – In Our Heads
Hot Chip is a pretty good band. Most of
their previous work has exhibited repeat-playability, staying-power
and name-recognition. With In Our Heads, they really didn't have to
try too hard to move a couple records and keep their rent paid a bit
longer. But they DID because they are TRUE gentlemen. It wasn't a
White Album, but then again it wasn't a White Album year (there's
only been a few of those ever). However, Hot Chip did all the things
that a band at their level should be doing – ameliorate their
sound, increase production slightly, and consistently deliver on
songwriting – and they did that stuff well. Anyway, I clearly don't
have anything specific to say about this record other than that I'm
listening to it repeatedly, and that, incidentally, I could have replaced
the words 'Hot Chip' with 'Grizzly Bear.' Next Category!
BEST SONG
The Growlers - “One Million Lovers”
The Growler Dudes have a propensity for putting out some neat tapes. Their recordings have
a mellow, albeit profoundly haunted, surf-vibe aesthetic firmly
pinned. Like going to the beach at night in sunglasses and a Freddy
Krueger sweater. Attempted studio sessions with Dan Auerbach resulted
in dissolution and endless postponement of their next release, but
this song was a much welcomed peace offering in Q3 2012. And, to be fair, I doubt Auerbach would have thought to throw that much panned, slapback delay on that snare track towards the end. Hashtag: Got your back, Growlers, wherever you might be doing drugs tonight.
Honorable Mention
Ariel Pink - “Baby”
From the idiosyncratic bedroom pop of
his early tapes, to the reverb-drown, mood-scores of the Paw Tracks
series, to the surprisingly polished hipster anthems of Before Today,
the musical evolution of Ariel Pink has taken some strange turns.
2012's Mature Themes was more of the Different Same. Even having at
one point committed to a study of his 24+ hour catalog (don't ask), I didn't recognize the artist behind the standout track
“Baby” when I first heard it. I could've mistaken it for Captain
Beefheart performing “So Glad” with Otis Redding's band, with a
healthy dose of Beck's rendition of “Only Have Eyes For You”
thrown in for good measure. Or vice vice vice versa.
BEST SHOW
Santigold - Town Ballroom 5/26/12
I was blown away by Santogold's 2008
debut, but struggled to get into a lot of the stuff she released
after changing the “o” to an “i”. So I wasn't planning on
attending this show until fellow buffaBLOGGER Cliff Parks Jr. offered
to get me in for free (“thanks dude!”). Musically, the group
seamlessly melded punk, dance, and, I guess, world music into an
indelibly catatonic and catchy whole. Imagine if Timbaland gave a
bunch of Devo remixes to MIA and the result was released by Mad
Decent. But the salient things about the Town Ballroom performance
were the Stop Making Sense-esque choreography and the backing
band that looked like concierges from an exotic, imperialised
vacation resort. You couldn't avert your eyes – let alone ears –
even when your sick dance moves required it.
Honorable Mention
Thee Oh Sees/Ty Segall - Town Ballroom 9/25/12
Another show I miraculously got into
for free – funny how free shit tastes so much better – thanks for
all the help this year, Promoters. Anyway, I couldn't describe Thee
Oh Sees better than buffaBLOGGER Mike Torsell, so I'm just going to
direct-quote him:
"At
one point, a friend ran up to me to tell me this music was 'terrifying.' ...Despite, in a certain sense, their pop
sensibilities, there is a definite sinister undertone to this music.
The heavy guitars become droning over time, leaving you tensely
waiting on a final climax to each song. In some cases this occurs and
the result is cathartic and in other cases it just continues until
petering out, leaving a sense of tension to carry over to the next
song. This remaining tension never really clears out, even when the
build up leads to something. This trance like quality to the music
made the show quite memorable."
So yeah, so there's that. I had a nice
time except that one of my friends got in a fight there, and I got
punched real hard by a lady because she thought I was hitting on her
girlfriend (it's called “There's a moshpit behind me, Shithead.”),
and my double-fist pints turned into a soaked and torn faux-leather
jacket, and my glasses got 100% destroyed, and I lost my car keys,
and I don't remember a single second of Ty Segall's set. But I woke
up in my own bed the next day, great show!!
Major Lazer hardly ever fails to release a mind-blowing remix. Their remix of Gyptian's "Hold Yuh" is still one of my most frequently played tracks since I heard it after it's release in 2010. After hearing their remix of London electro-pop band Hot Chip's "Look At Where We Are," I can add another Major Lazer remix to my go-to list.
While the original hums sadness and tear drops, Major Lazer took that vibe, hyped it up, and tears right through it. Although the vocals are maintained and some of the sound samples, the additional lasers, drums and the faster BPM gives this version a little more drive. The build-up of sweet guitar riffs followed by the manic peak at 02:10 is invigorating. And for all of those participating in the War on Genres and have an opposition with trap, put your bias aside and give this one a chance.
The Pitchfork Music Festival came and went this past weekend in Chicago, and quite frankly, we are pretty tired. Despite being in Union Park, a smaller park than Grant Park, site of Lollapalooza, all that walking from stage to stage under the hot Chicago summer sun takes alot out of you. We were able to cross a few artists off our bucket lists this past weekend, while we left quite surprised by others including King Krule's very underrated set and Lady Gaga joining Kendrick Lamar onstage (Did that actually happen?). With three different writers in attendance (Mac, James, Tom) with different likes in music, we figured we would each give a few of our favorite sets from this past weekend.
Mac
Japandroids (Blue Stage, 6:15 pm, Friday, July 13th) The first half of 2012 seems to belong to Japandroids. Their sophmore release, Celebration Rock, has been getting endless praise, and judging by the size of the audience awaiting the Vancouver duo's set at the Blue Stage, the hype has not died one bit. Like every act at the Blue Stage, sound issues seemed to slightly delay the set, but once ready, singer/guitarist Bryan King charmingly greeted the crowd and assured everyone in attendance that they will play as many songs as time allowed. Really any tune could have kicked off their set, as the band isn't known much for slower songs, but they chose the blistering "Adrenaline Nightshift" off Celebration Rock. As a light but steady rain pleasantly cooled off the packed crowd, the duo raced through most of Celebration Rock, including stand out the exhilerating "Fire's Highway" and "Younger Us." Japandroids exhibited an infectious energy on stage that even the most stoic concert goer (yours truly) couldn't help but get lost in. They ended with the one-two punch of the song of the year contender "House that Heaven Built" and Post-Nothing's "Young Hearts Spark Fire," setting the bar quite high for the rest of the weekend.
Dirty Projectors (Red Stage, 7:20pm, Friday, July 13th) Dirty Projectors fascinate me. The harmonies, the odd notes, everything about them had me overly excited to catch their set Friday evening. Their latest album, Swing Lo Magellan, has been on constant rotation on my iPod for the past couple weeks, so I was anxious to hear the new songs in a live setting. Somehow, the band managed to sound even better in person. The vocals of front man Dave Longstreth, and the trio of female singers including Haley Dell, Olga Bell, and most notable Amber Coffman, translated perfectly to the festival setting. The rhythm section, featuring frequent Vault musician Nat Baldwin was also stellar, and at times could easily have turned the art rockers into a jam band. While the set consisted mostly of tunes off Swing Lo, the crowd was most receptive to tracks off 2009's Bitte Orca, including "Useful Chamber", "No Intention", and the Coffman standout "Stillness is the Move." The set ended on a tender note with "Impregnable Question", my favorite track off the new album, and the sun slowly set behind the Red Stage.
Real Estate (Green Stage, 4:15pm, Sunday, July 15th)
The first two days of the festival saw occasional, yet HEAVY rain fall, causing us to frequently look to the sky, trying to find some hope that the sun would be coming to our rescue. The third day though, we got exactly what we asked for as temps of 90+ degrees proceeded to absolutely roast the concert goers, causing many to collapse from heat exhaustion. That rain sure didn't seem all of that bad now! As we managed to keep hydrated, Real Estate played what would be the most weather appropriate set of the festival. The New Jersey beach rockers laid back vibe perfectly matched the sweltering heat. Focusing mostly on tunes from their 2011 release Days, the band opened with their slowest tune of the set, the Stone Roses esque "Green Aisles". From there on, the set remained up beat, as other slower tunes like "Fake Blues" were given a shot of adrenaline, at least in Real Estate terms that is. Between the teasing of the thirsty crowd as they chanted "Budweiser Sprite, do you feel alright?"on the shimmering "Suburban Beverage" to the closing of the set with the epic "All the Same", the Jersey boys kept our mind off the heat, at least for an hour or so. For further Real Estate coverage, make sure to check out our interview with bass player Alex Bleeker later this week.
James
Hot Chip (Red Stage, 7:25pm, Saturday, July 14th) Hot Chip played the bet set of the weekend at the 2012 Pitchfork Music Festival. Arguably elder statesmen of group of artists, they performed a flawless set of banging dance tunes. Placating the crowd with recognizable favorites and delighting brains with new soon-to-be hits from their new album. Face of the group Alexis Taylor appeared to be feeling fabulous, and he certainly looked pretty fly as well donned in Timbs, baggy pants, and his usual bling. The group’s unity was the most integral part of their performance, which to some extent has been a concern for fans between the last two albums. Any such fears were dispelled during the sunset that evening. They turned the soggy grounds of Saturday at Pitchfork into a rocking dance party that was impossible to not enjoy.
Grimes (Blue Stage, 8:40pm, Saturday, July 14th) Living up to all the hype was Claire Boucher, aka Grimes. She took a night-off from tour with the Full Flex Express Tour featuring Skrillex and Diplo to play her unique fantasy-pop for the masses of Pitchfork followers as night fell over p4k on Saturday. She exceeded everyone’s expectations. Claire was one of the most true-to-herself performers I have ever seen. She invited co-producer and friend Blood Diamonds to perform with her and also Molly Soda and Claire Van Eijk, Chicago girls of Tumblr fame to be her back-up dancers. It was a simple onstage party with soft white light focused on the foursome nearly the entire time, no bells-and-whistles to speak of. The kinky honesty of Claire came through as clearly as your reflection on a unicorns’s shinny horn. She made cool guttural noises between songs and during songs that I would imagine her to do regularly in a more comfortable setting. It didn’t matter whether the audience liked the music she was playing or not, because she was just being herself.
Vampire Weekend (Green Stage, 8:30pm, Sunday, July 15th) In keeping with the trend for this weekend it was the most seasoned artists that found the most success when performing. Even though Ezra Koenig admitted they hadn’t played in a while, let alone in a festival setting, they didn’t appear to have missed a beat. Most of their music is fairly upbeat and this act was a gem that Pitchfork selected to close out their festival. Playing against no other acts, the final band Vampire Weekend sent shockwaves of positive vibrations to everyone in attendance. The feeling of positivity was mutual and was surprisingly reciprocated by the diverse crowd. It was the perfect final chapter to an adventurous weekend of music.
Tom
Purity Ring (Blue Stage, 8:20pm, Friday, July 13th) Purity Ring put on an marvelous performance, or as lead singer Megan James described it, the biggest audience they’ve ever played for. The Edmonton duo ran through just about every song on their debut album, Shrines due out July 24 (which by the way is streaming over at NPR now), and James was her usual vibrant self, dancing under strange cloud-like lamps, and hitting a bass drum which also flashed on every thud. The visual stage presence that this group exhibits only capitalizes on their already effervescent and enchanting melodies. The group also played a sold out after-show that night at Shubas which we attended, and they only proved what we already knew, this group is special.
Cloud Nothings (Red Stage, 1:45pm, Saturday, July 14th) As much as it sucked that Cloud Nothings had to end their set early due to heavy rain interfering with sound equipment, it was exciting to see how they persevered to extend their set long as they could. It seemed that the louder they played and the louder Dylan Baldi screamed, “I thought I would be more than this” the heavier the rain crashed down on our heads, soaking the audience in a matter of minutes. Many people sought refuge under trees, but there was no escaping the downpour. As the sound cut out half way through “Plans”, the group refused to relent and thrashed on their instruments via amps. It was compelling. The highlight of the set was actually talking to Dylan afterward. He confirmed his plans to collaborate with Danny Brown: “Yeah, we met up...we want to work together.”
Ty Segall (Red Stage, 3:20pm, Sunday, July 15th) Ty Segall played at 3:20 on Sunday, easily the best day as far as weather went, and he brought every part dreamy and crowd-surfing melody, playing swiftly, trying to pack as many songs into the half-hour set as possible. The crowd thrashed, Segall stage-dove, and every one was happy and supplied with plenty of water on the sweltering day.
To see videos from our favorite sets and all sets for that matter, check out Pitchfork's post fest video coverage here.
Photos by Tom Dennis, Leigh Ann Hines, and Rebecca Smeyne.
"In our heads there's always been a dream of all we've longed to belong to"
That's an awful lot of introspection for a dance album that literally opens with the sound of a party in the background. Hot Chip's fifth full length album, In Our Heads, is the band's most consistently upbeat album to date, which is ironic considering it's also the most emotionally mature in it's subject matter. They've come a long way from the sarcastic minimalism of their debut Coming on Strong, crafting an album that lets you embrace your inner emo while still showing off what you consider "dancing".
One aspect that really helps the album shine is the presence of longer tracks. Two songs clock in at over the 7 minute mark, with only one track coming in at under 4 minutes (3:59). This is an album that warrants repeat listens, revealing it's treasures in the places you don't notice at first, like the funk freakout at the 3:43 mark in "Don't Deny Your Heart" or the gorgeous delayed vocals at the 5:28 mark in "Let Me Be Him". The album does boast several notable singles, as every Hot Chip album does, but this is the first full length from them I haven't felt compelled to skip through.
"Motion Sickness" opens with the aforementioned party in the background, surrounded by rhythmic synths before big tom fills and a fat tuba bassline open the track up. It's a gradual, grand intro, with Hot Chip's trademark layers of arpeggios giving some rhythm to a song that otherwise has the feel of a ballad. "How Do You Do It" follows, wearing it's bubblegum pop on it's sleeve, insuring you won't notice gems like "a church is not for praying, it's for celebrating the light that bleeds through the pain." It's easy to forget until moments like this that Hot Chip are nerdy Brits with existential problems.
"Look At Where We Are" is the album's shortest song, and one of it's few slower tracks. Hot Chip are capable of terrific quiet moments, such as the title track from Made in the Dark, and this is no different. "Night and Day", the first single, is ironically the most out of place track on the album, but Peter Serafinowicz's brilliantly bonkers video is making me come around to it. It's the 7 minute "Flutes" that follows that truly redefines what this band is capable of. A little patience goes a long way, and the slow burn on this track feels like something beyond Hot Chip's maturity. The band has excelled at drifting out of it's comfort zone on previous albums, sometimes with varying success, but sometimes riskiness pays off bigger than predictability, and "Flutes" is evidence of that.
"Now There is Nothing" is another slow tempo number (actually it switches tempo several times), and it's the most "band-like" the band has ever sounded. I could be mistaken, but I think I heard an actual bass guitar in there and it excited me. "Let Me Be Him" is the longest track on the album, and can take it's seat among the finest in the band's catalog. It's the best Joe Goddard and Alexis Taylor have sounded together on vocals since "Boy From School". It's the album's opus, complete with piano interludes and a beautiful wall of sound outro with chirping birds and reverberated guitar that would sound at home on a Chris Isaacs album. Through it's bounciness there's still a profound sense of melancholy (how upbeat can a song called "Let Me Be Him" be anyway?), which is disarming considering all the fun we've been having.
"Always Been Your Love" closes out the album in an epilogue sort of way. On first listen, I thought "Let Me Be Him" would have made the perfect album closer, but "Always Been Your Love" brings the album back full circle to it's upbeat, playful spirit. Hot Chip have made several good albums and a barn full of great singles, but this is their first honest to goodness masterpiece. Don't sleep on it.
Friday marks the first day of meteorological summer (the solstice is June 20). School is out (or almost out). Memorial Day festivities have been had. It’s been in the 70s and 80s all week. The living is particularly easy. If you’ve ever spent a summer in Buffalo you know full well that this city doesn’t mess around when it comes to great weather. If there’s a sunny day, we’re taking full advantage by either cooking out or going for a bike ride. And that’s the attitude I’ve taken with this list of June releases to be psyched about. Each one of these albums has the potential to be that perfect summer day, equipped with headphones and ice cream cone. So lather on that SPF 45 and turn these beats up loud.
10. The Welcome Wagon - Precious Remedies Against Satan’s Devices
Imagine you’re walking through Brooklyn and you stumble upon a quaint little church tucked away in Williamsburg, the doors are open, and there’s a faint acoustic lull of folk hymnals being sung. Now imagine you’re brave enough to leave all the sunday school baggage you’ve acquired over the years at the door, and you walk in to see the thirty-something-year-old Reverend Vito Aiuto playing guitar, his wife Monique harmonizing, Sufjan Stevens on banjo, and a small chamber singing and hand-clapping along to these lovely songs. Now imagine they go from playing a Puritan hymn like “I Know That My Redeemer Lives” to a cover of “High” by The Cure. Still with me? No? That’s because The Welcome Wagon take the boring old church songs of your youth (along with some others) and make them surprisingly fun to listen to. I know it’s hard to believe, but even if you have no faith in the God they sing about, it’s hard to doubt their ability to render a catchy folk tune. Still skeptical? Read more about the record here. It’s called Precious Remedies Against Satan’s Devices and it’s due out June 12 via Sufjan’s label, Asthmatic Kitty.
9. Peaking Lights - Lucifer
In keeping with the theme of husband and wife duos and Biblical imagery, Peaking Lights are next on the list with their new album, Lucifer, which is to be released on june 18 via Weird World. While you wont find this couple singing child-like folk tunes, you will experience them rocking a style of lo-fi dub-pop that pleasantly bleeds out through narcoleptic speakers. A good example is their first single off the record called “Lo Hi”, which features spattered drum processions blanketed with the soft cooing vocals and unitelligable baby talk. Trippy.
8. Neil Young and Crazy Horse - Americana
Together for the first time since 1996’s Broken Arrow, Neil Young and Crazy Horse will release a concoction of old and new folk songs, fittingly entitled Americana, on June 5. The record will feature covers of traditional folk tunes like, “Oh Susannah” and “This Land Is Your Land”. In what sounds like a seemingly unnecessary explanation for the album, Neil Young likes to set the record strait saying, "What ties these songs together is the fact that while they may represent an America that may no longer exist, the emotions and scenarios behind these songs still resonate with what’s going on in the country today with equal, if not greater impact nearly 200 years later.”
7. Liars - WIXIW
Liars will release their sixth LP WIXIW (apparently pronounced “wish you”) on June 5 via Mute. Coming off their strom-cloud shrouded 2010 release Sisterworld, the New York art-rockers you’ve come to know and love haven’t changed much sonically. Have a listen to the first single "No 1. Against The Rush" below.
6. Dntel - Aimlessness
Dntel is the nonsensical self-given sobriquet of electronic artist Jimmy Taberello, better known as the other half of The Postal Service, although he has released more titles under the former moniker (7 LPs, 2 EPs). On his newest project Aimlessness, Taberello has gotten some help from fellow electro-maniacs Baths and Nite Jewel. The first cut from the record, “Still”, features spoken word vocals fused with pulsating vocal samples, which all meld together with a foot-stomping metronome and soft cymbal crashes. Aimlessness is out June 5 via Pampa.
5. Pop Etc. - Pop Etc
Formerly known as The Morning Benders, POP ETC know how to write a great indie pop record. Having toured with the likes of Broken Bells and Grizzly Bear, the Berkeley trio had found a way to combine their influences to produce a sort of hazed-out, retro Cali-pop album. Their new self-titled endeavor may look to go in another direction with the lead single, “Live It Up”, sounding more R&B influenced with a thick hip hop beat layout and auto-tuned lead vocals galore. It seems that The Morning Benders have dropped their all-too obvious name for a more ambiguous alias, but all pseudonyms aside, these beats sound pretty dope and are due out June 12. Check out the video for “Live It Up” below.
4. Hot Chip - In Our Heads
Electro-pop darlings, Hot Chip, were due for an album. Although it’s only been 2 short years since the acclaimed One Life Stand, 2012 has been waiting for that awesomely dance-tastic album to hit, and Hot Chip’s latest In Our Heads has potential to be that summer doozy we've been waiting for. With groovy tracks like “Night and Day” blowing bubbles of whismsical bass and keys there’s a high chance that this album could be a party time success. The record is out June 12.
3. DIIV - Oshin
I recently saw the video for the new DIIV track, “How Long Have You Known?” and I thought it was pretty brilliant. It’s basically some dude throwing all these different elements of civilization (a light bulb, a compass, a piece of a clock, a crucifix, lava lamp) into a blender, mixing it, and stuffing it into a capsule at the end to take as a metaphoric dose of sorts. Yes, the symbolism is a bit heavy-handed. Yes, it’s sort of like a “Will It Blend?” video. Yes, it’s an awesome song. Formally known as Dive, the side project of Beach Fossils' Zachary Cole Smith will release Oshin on June 26 via Captured Tracks.
2. Japandroids - Celebration Rock
Vancouver rockers Japandroids are back with their second studio album after releasing the teen-pop favorite Post-Nothingin 2009. The group follows the same guidelines that made Post-Nothing so popular, with tracks like “Fire’s Highway” and “The House That Heaven Built” wrought in glorious summer-guilded, road-tripping, keg-tipping fashion with just a tinge of maturity in the songwriting department, which only makes this record that much better than its predecessor. The album is officially out June 5 via Polyvinyl.
1. Tallest Man On Earth - There’s No Leaving Now
Swedish folkie Kristian Matsson’s style of songwriting has left a lasting impression on me. As a Dylan devotee, it’s tempting to make comparisons, especially with The Tallest Man On Earth’s signature grunt and astute fingerpicking, but there is something still so much more innovative and interpretive about Matsson’s ability to lead even the staunchest of urbanites to the Scandinavian field and stream, that it would be an act in futility to place him prematurely beside the folk legend who has not stopped making music since 1962. Instead we need to evaluate tracks like “Troubles Will Be Gone” and “A Lion’s Heart” from 2010’s The Wild Hunt and realize that they both transcend and instill everything about folk music in the way that they take particular images and span them across an ethereal landscape. The music is sonically organic as the ideas are alive and kicking and The Tallest Man on Earth does this by sifting his ideas through a barbaric yawp-colored filter. But there’s no doubt that there would be no Tallest Man without Bob Dylan, and there would be no Dylan without Woody Guthrie, and so on and so forth; so goes the family tree of musical influence. “1904” off his latest There’s No Leaving Now is entirely prepossessing and entrancing. The record comes out June 12 via Dead Oceans. And even though you can't hear all of the music just yet, you can still check out a complete track listing accompanied with lyrics to every song here.
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