Anyone reckless enough to have typecast Angel Olsen according to 2013's Burn Your Fire For No Witness is in for a rethink with her third album, MY WOMAN. The crunchier, blown-out production of the former is gone, but that fire is now burning wilder. Her disarming, timeless voice is even more front-and-center. Yet, the strange, raw power and slowly unspooling incantations of her previous efforts remain.
Over two previous albums, she gave us reverb-shrouded poetic swoons, shadowy folk, grunge-pop band workouts and haunting, finger-picked epics. MY WOMAN is an exhilarating complement to her past work, and one for which Olsen recalibrated her writing/recording approach and methods to enter a new music-making phase.
As the record evolves, one gets the sense that the "MY WOMAN" of the title is Olsen herself, absolutely in command but also willing to bend with the influence of collaborators and circumstances. An intuitively smart, warmly communicative and fearlessly generous record, MY WOMAN speaks to everyone. That it might confound expectation is just another of its strengths.
There is something unforgettable about great love songs, and Briana Marela's Call It Love wraps its welcoming arms around the subject, invoking all its complexity. Before writing the songs that would become Call It Love, Briana Marela was guided first and foremost by her instincts as a producer & engineer. Marela's original vision for this album was to dig into the two poles of her songwriting styles: her ambient, ethereal side and her brighter, beat-driven pop leanings. She enlisted the production help of Juan Pieczanski & Ryan Heyner of the band Small Black upon hearing their most recent self-produced album.
On this album, Briana Marela has made her proverbial giant leap, deepening her songwriting and expanding her palette to explore the sounds of love in beautiful, striking new ways. "Give Me Your Love" explores what Marela calls "love's immature, silly & selfish side." "Quit", the deep, dramatic centerpiece of Call It Love, was originally penned about a breakup with a longtime partner and written with the idea that she could give the song away to another artist. Instead, "Quit" is powerful and revealing in Briana's own hands. And, if "Be In Love" is the sound of falling in love, "Farthest Shore" is the sound of looking inward, of reckoning with and without ourselves. It is an intricate, cavernous song, setting a deceptively pretty melody over ominous drones and skittering percussion. And here, again, the contradictory becomes complementary.
Foxygen is the Big Bang of two combusting minds. It's the splayed Galaxy of polar geniuses Sam France and Jonathan Rado. It's a handshake with a knife behind your back. A sleepless night in a five star hotel.
You listen to Hang properly. You take in each moment. Each new melody that threads forward from the fingertips of one of this generation's finest piano men in Jonathan Rado. And you fall in line behind Sam France's sprawling and reckless lyric. Witness his mastery. Feel them struggle against the walls of their own creations. Follow them there. To the perimeter. To the exit sign.
Notice that the two young guys aren't there anymore. They're outside looking for another joint to haunt. They're already out of sight.
In late 2013, Preoccupations —then known as Viet Cong-- released a small-run cassette EP only available on tour. Over the course of a year, Matt Flegel and Scott Munro worked in their basement studio with a mess of old and run down equipment to build a set of fresh material. Joined by bandmates Daniel Christiansen and Michael Wallace, the band completed work on an debut cassette. What emerged from the studio was a mixture of sharply-angled rhythm workouts and euphoric ‘60s garage pop-esque melodies, balanced with a penchant for drone-y, VU-styled downer moments, and became a hard-to-find classic.
When the four members of Preoccupations wrote and recorded their new record, they were in a state of near total instability. Years-long relationships ended; they left homes behind. Frontman Matt Flegel, guitarist Danny Christiansen, multi-instrumentalist Scott Munro and drummer Mike Wallace all moved to different cities and they resolved to change their band name, but hadn't settled on a new one.
And so where their previous album 'Viet Cong' was built in some ways on the abstract cycles of creation and destruction, 'Preoccupations' explores how that sometimes-suffocating, sometimes-revelatory trap affects our lives.
Opener "Anxiety" articulates that tension: clattering sounds drift into focus, "Monotony" moves at a narcoleptic pace by Preoccupations' standards, "Degraded" surprises, with something like a traditional structure and an almost pop-leaning melody to its chorus, and the 11-minute-long "Memory" is the album's keystone, with an intimate narrative and a truly timeless post-punk center.
All this adds up to Preoccupations: a singular, bracing collection that proves what's punishing can also be soothing, everything can change without disrupting your compass. Your best year can be your worst year at the same time. Whatever sends you flying can also help you land.
Recorded in a barn-turned-studio in rural Ontario, the seven songs that make up Viet Cong were born largely on the road, when Flegel and bandmates Mike Wallace, Scott Munro and Daniel Christiansen embarked on a 50-date tour that stretched virtually every limit imaginable. Close quarters hastened their exhaustion but also honed them as a group. You can designate records as seasonal, and you can feel Viet Cong's bleakness and declare it wintry. But the only way you get a frost is when there's something warmer to freeze up. So yes, Viet Cong is a winter album, but only until it is a spring record, then a summer scorcher, then an autumn burner, then it ices over again.
II builds on the break-beat, junk-shop charm the 32-year-old multi-instrumentalist and songwriter Ruban Nielson came to be renowned for following Unknown Mortal Orchestra's self-titled 2011 debut, and signals the solidification of the band's position as an endlessly intriguing, brave psychedelic band. UMO is unafraid to dig deeper than the rest to lock into their intoxicating, opiate groove and bring rock’n’roll’s exaggerated myths to life. Written during a punishing, debauched touring schedule during which Nielson feared for both his sanity and health, II illustrates the emotional turmoil of life on the road, painting surrealist, cartoonish portraits of loneliness, love and despair.
The threads of our past never unravel, they hover like invisible webs, occasionally glistening due to a sly angle of the sun. On Multi-Love, Unknown Mortal Orchestra frontman and multi-instrumentalist Ruban Nielson reflects on relationships: airy, humid longing, loss, the geometry of desire that occurs when three people align. Where Nielson addressed the pain of being alone on II, Multi-Love takes on the complications of being together.
Multi-Love adds dimensions to the band's already kaleidoscopic approach, with Nielson exploring a newfound appreciation for synthesizers. The new songs channel the spirit of psych innovators without ignoring the last 40 years of music, forming a flowing, cohesive whole that reflects restless creativity. Cosmic escapes and disco rhythms speak to developing new vocabulary, while Nielson's vocals reach powerful new heights. "It felt good to be rebelling against the typical view of what an artist is today, a curator," he says. "It's more about being someone who makes things happen in concrete ways. Building old synthesizers and bringing them back to life, creating sounds that aren't quite like anyone else's. I think that’s much more subversive."
While legions of artists show fidelity to the roots of psychedelia, Unknown Mortal Orchestra shares the rare quality that makes the genre's touchstones so vital: constant exploration.