Posts Tagged ‘Los Angeles’

Kevin Morby

It wasn’t a huge surprise when Kevin Morby made the move to Dead Oceans. He was due for a wider stage. His last album, Still Life was a leap forward from his debut both in musical depth and lyrical intensity and he doubles down on those qualities for Singing Saw. The album explores an even darker vein from Still Life, delving through explorations of life’s brief tenure. The biggest change, musically, comes from a new reliance on piano as a centerpiece. Before, Morby’s ballads were charged by his guitar and lonesome troubadour delivery, but the influence of Sam Cohen’s production brings the instrument into the forefront while also filling out Morby’s world with a gorgeous array of strings and brass, keys and percussion.

The album has a gravitas that places it on a shelf above Morby’s past work, solo or with The Babies. Its restless and strangely world weary for a person so young, but maybe that’s just an old soul peeking out through Morby’s songs. It feels like a soundtrack to a movie with little dialog and long pensive shots that carry menace in their bones; eyes in the rearview, deserted gas stations and looming mountains that never seem to get closer. The lyrical arcs evolve like the light coming over that stretched horizon. “Cut Me Down” is calm and even, but lyrically it seems like such a foreboding entry point, steeped in sadness and resolution, all qualities that continues on through “I Have Been To The Mountain” and “Singing Saw,” right up until “Drunk On A Star” sighs and lets some of the edge falter. By the closing strains of “Water,” somehow the dawn’s crept in and everything feels like it will be all right, even if deep down those feelings of bleak doubt remain. A gorgeous statement by Morby and a true 2016 highlight.



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Drinking Flowers – “Black Monday”

Creeping into the sheets of Britpop’s glam hangover and smudged with post-punk’s rhythmic charms, Drinking Flowers are finding a hazy medium between driving pop and smokey psychedelics. Their album on Manifesto is packed with a plethora of pop gems but standout single “Black Monday” ranks among the best. The band have an appropriately gauzy and disorienting video for the track, leaning on the song’s droning buzz and rumble of bass, the clip is a pretty apt summation of the track’s headspun approach. This one’s been a playlist staple for a while now and I’m remiss for only noticing now that this video’s been out for a couple of weeks, but worth a spin for sure.


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CFM

Its a little hard to divorce Charles Mootheart’s work from that of his longtime collaborator and often bandmate Ty Segall. There are a lot of the same influences, styles and obsessions at work in both men’s work and such close collaboration naturally brings up a few comparisons. CFM’s sound seems to be springing from a well of garage, psych and thick billows of 70’s glam stomped classic rock fodder. So yeah, check boxes all around as far as crossover appeal, but if the guitar strap fits, fuck it. The sound’s thick cut and meaty and it’s sometimes hard to believe that this was laid down on 1/4 inch tape, it feels like a much bigger studio record and it’s impressive what Mootheart’s done left to his own devices.

Though he’s been a member of Epsilons, Fuzz, The Moonhearts and Ty’s band for some years, there hasn’t really been a front and center avenue for Mootheart’s work until this solo LP. He’s definitely playing in the same leagues as Chad Ubovich, Kyle Thomas and the rest of the crew of pop miscreants that orbit the L.A. hub of creation that’s now making up the bulk of weirdo garage-psych these days. Its not a broken mold that’s at play here but Mootheart knows what to do with the form he’s working in and the record’s got some pretty shiny moments amongst its crust of amplifier fuzz.




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