Now Residing Abroad. The Furious Seasons

Every once in a while an album surfaces that is like a time machine. I am not referring to all the new psych albums, as the sounds they produce could not have been made in 1967. No, I'm talking about singer-songwriter style albums that could have been made in the 1970s on the U.S.' West Coast but are from 2018.

Now Residing Abroad by The Furious Seasons is such an album. Acoustic guitars, soft singing, a slightly gloomy mood following the lyrics on longing, loss, yearning and things not here but there, out of reach. Absolute beauty caught on tape or digits. The Furious Seasons sounds like it was born 40 years too late, yet in time to replace the slowly lost heroes of the past.

And then I started to read up on the trio. David Steinhart is on the musical beat since 1984 and formed this trio in 2006 with his brother Jeff on bass and Paul Nelson on guitar and harmonies. Now Residing Abroad is the band's 6th release. I can't tell anything about the past, as I haven't heard any of the band's music. Fact is that I'm tremendously and pleasantly surprised by what I'm hearing. Thoughts of Tim Hardin, Jim Croce, John B. Sebastian, Bread, Harry Chapin, the acoustic Neil Young and Marty Balin and many others come to mind who scored hits in the late sixties to mid 70s and played these slow moving singer-songwriter songs with an ever so slightly jazz-tinged flavour to their music.

The Furious Seasons lay down a beautiful mood on Now Residing Abroad. A mood for a time long gone and of innocence lost. In 2018 the whole world is watching in amazement at the speed with which the national and international order is shaking on its very foundations. The Furious Seasons appear to be a beacon of stability in uncertain times. A buoy to anchor a ship on in a too rough sea. "The chaos subsides as the seasons change" Steinhart sings with his soft voice in 'Status Quo'. It seems like he knows what he is singing about.

Under the soft singing that often comes closest to the voice of Bread's David Gates, there are two acoustic guitars at work. David Steinhart and Paul Nelson intertwine their instruments in delicate ways. The upright bass lays the soft foundation under it all. Every once in a while one guitar escapes for a firm solo. All that is relative of course, the music being as brittle as it presents itself. It compliments the singing in the most beautiful of ways.

Did I like this music in the 1970s? The answer is a definitely maybe. Somewhere on the fringes of my musical awareness there was 'Guitar Man' or 'W.O.L.D.', Rod Stewart's 'Maggie May' or 'Reason To Believe'. That was about it for me around 1974. Now I'm confronted with music that sounds just like it and I am nearly swept away. Now Residing Abroad certainly strikes a chord in me and not for the last time I'm sure.

Wo.


Here's the link to our Spotify Playlist to find out what we are writing about:

https://open.spotify.com/user/glazu53/playlist/6R9FgPd2btrMuMaIrYeCh6?si=KI6LzLaAS5K-wsez5oSO2g

Arthur Buck. Arthur Buck

What happens when a two artists team up? One that is an appreciated songwriter who never really stepped out of the shades of mid-level artists and one who used to belong to one of the most popular indie-rock bands, wrote huge hits and had a taste of stardom?

It leads to an album with a title that could fool anyone. Who is Arthur Buck? This must be a new artist's first album? In a sense it is. This is the first album of a new duo: Joseph Arthur and Peter Buck.

The album starts and I hear a familiar mandolin and a familiar voice. All the songs on the album are the result of a more or less chance meeting on the Baja Mexican coast, where Buck part time lives and Arthur left behind a guitar. When he came to pick it up, he sort of moved in for a few days and the two started playing new work to each other and one thing led to another: Arthur Buck.

Joseph Arthur was the first artist that I ever saw working with loop pedals to create a song on the spot. On 'Later with Jools Holland' on the BBC, he played two or three songs this way. Nowadays over a decade later it is almost a common thing. Not then. On this album there's a(n ersatz) band at work. The basis however is Arthur's voice and rhythm guitar. Peter Buck is playing anything that has strings and produces all these delicious sounds and solos and notes. He manages to stay away from his former band with ease even, so there is no pointing to R.E.M. the whole time. I am not familiar with all Arthur's records, but what I'm hearing sounds differently also, except for the voice of course. He sings somewhat deeper than I remember though. In short, this album sounds different from what I would expect. Points scored.

Joseph Arthur had the greater role on the record. Except for piano and vibes, Arthur plays all else and produced 'Arthur Buck'. The duo shares the songwriting duties, making it a duo effort. For the rest Peter Buck could be Joseph Arthur's lead guitarist. He has the biggest name of the two of course, drawing more attention than Arthur ever would have got if he had released this under his own name. This the Peter Buck he's teaming up with.

Slowly I'm arriving at the question what this review ought to be all about: is the music on Arthur Buck any good? At this point in time I simply haven't made up my mind totally. The album is certainly decent. There's not a single song dragging the album down, but I also have a hard time identifying a song pushing the album skywards. There's not a song that really makes me prick up my ears. At the same time I do not have the impression that listening more will change this conclusion. This may have to do with the way Joseph Arthur decided to sing on 'Arthur Buck'. Like a second generation grunge singer. The guy from Staind for example, "I'm on the outside". That is a choice, but gives the album a distinct gloomy atmosphere. A mood that works really well in 'Before Your Love Is Gone'.

The positive side is that I am hearing a lot of nice guitar playing on the album as a whole. Peter Buck has certainly been at work in several of the songs. Finding the right notes and moods propping up the songs and the album as a whole.

Concluding I can suffice to write that 'Arthur Buck' is a decent album. No more but certainly no less.

Wo.

You can listen to and buy 'Arthur Buck' here:

https://arthurbuckmusic.bandcamp.com/


Here's the link to our Spotify Playlist to find out what we are writing about:

https://open.spotify.com/user/glazu53/playlist/6R9FgPd2btrMuMaIrYeCh6?si=KI6LzLaAS5K-wsez5oSO2g

Ancient Noise. Patrick Sweany

How many of these tin cans do they keep in store all over the U.S.? Cans filled with these rough sounding country and blues rock guys with strong guitar work, warm organs, a smattering of soul to show their soft side, while displaying loads of spunk in abundance? I was allowed to open one of these cans and out stepped Patrick Sweany (and Parker Millsap who I may write on later). Fun? Oh, yeah.

Earlier this year I wrote about Grayson Capps and James Scott Bullard, my favourite so far this year. Patrick Sweany is tight on his heels, snapping at them with his rough sounding voice. Just listen how Ancient Noise starts. Two Sweany's, a slightly distorted guitar and a slide, before the band kicks in, including someone playing bottles, if I hear correctly. Just listening to the intro my best guess is that I will not go wrong with Ancient Noise. Did I?

In 'Up And Down' Sweany kicks out a Tom Waits stomp while screaming like the devil is hot on his tail, sounding like a mix of Waits and Wilson Pickett. The stop starts elements in the music give the song a lively feel. The stop starting alternated between guitar and horns make it more fun, as there are distinct musical lines to follow. The rhythm section underscores it all. In the meantime my throat starts bleeding just from listening to Sweany's screaming, wailing and howling.

The country ballad taking the mood down, doesn't come a second too late. I was ready for a meltdown and was treated to a winding down instead. 'Country Loving' is the right song at the right place on the album. The soft rocking, hard played 'No Way No How' kicks Ancient Noise in another direction again. The short burst notes and chords on the organ give the song a distinctive feel and groove.

I will not go so far and claim each song is super outstanding. Sweany's songs sound too familiar for that and fall into well-known categories. Where Ancient Noise does stand out, is Patrick Sweany covering different genres, successfully, like in the slow ballad 'Steady'. Around his voice turmoil is found in ever so gentle touches of sound. 'Get Along' is a soul track that could have been sung by the Supremes in its day. Just imagine another arrangement, I was writing and in comes a gospel ladies choir answering Sweany's supplication.

For me Patrick Sweany may be a new name, he is not. Releasing records since 1999, Ancient Noise is his 8th full-length album and 12th release overall. He worked with producer Matt Ross-Spang in Sam Phillips Recording in Memphis. With Ted Pecchio on bass and Ken Coomer (ex-Wilco) on drums, Ross-Spang brought in soul veteran Charles Hodges for all the keyboard parts. This felt so good that Hodges can be heard on most tracks. Apparently his presence drew Sweany out of his comfort zone and into all the diverse tracks we are hearing on Ancient Noise. If so, well done Mr. Hodges.

The diversity is in part what makes this album such a success. Patrick Sweany shows a few sides to his music and gets away with them all with ease. If I compare this to e.g. Dan Auerbach's last solo album and his production for Robert Finley, there's only one winner. With something like a full lap in front of the pack. No, Ancient Noise is not brilliant, but great fun.

Wo.

You can listen to and buy Ancient Noise here:

https://patricksweany.bandcamp.com/album/ancient-noise-2


Here's the link to our Spotify Playlist to find out what we are writing about:

https://open.spotify.com/user/glazu53/playlist/6R9FgPd2btrMuMaIrYeCh6?si=KI6LzLaAS5K-wsez5oSO2g

Twin Fantasy. Car Seat Headrest

Car Seat Headrest leverde in de lente van 2016 met Teens Of Denial de beste gitaarplaat van het betreffende jaar en misschien wel de beste gitaarplaat van de afgelopen tien jaar af.
 
Voor de release van Teens Of Denial  bracht de band rond, of feitelijk het alter ego van, muzikant en songwriter Will Toledo uit Williamsburg, Virginia al stapels platen uit via de bandcamp pagina van de band.
 
Deze heb ik na het sensationele Teens Of Denial vrijwel allemaal beluisterd, maar ik vond ze allemaal een stuk minder dan de plaat waarop in 2016 alles samen kwam.
 
Dat ook de eerdere platen van Car Seat Headrest zeer de moeite waard zijn, is te horen op het deze week verschenen Twin Fantasy. Twin Fantasy is niet de echte opvolger van Teens Of Denial, maar een remake van de gelijknamige plaat die in 2011 via de bandcamp pagina van Car Seat Headrest werd uitgebracht.
 
Will Toledo was pas 19 toen hij de eerste versie van Twin Fantasy maakte en worstelde flink met zichzelf. Het resulteerde in 2011 in een aantal zeer persoonlijke songs vol persoonlijk leed en vol onzekerheid.
 
Dat Will Toledo ook in 2011 al briljante rocksongs schreef is te horen op de oorspronkelijke versie van Twin Fantasy, maar is nog veel beter te horen op de nu verschenen remake. De 2018 versie van Twin Fantasy heeft al het geniale dat Teens Of Denial heeft, maar is ook een fragmentarische en lang niet altijd even toegankelijke plaat.
 
In de toegankelijkste songs op de plaat is Twin Fantasy net zo onweerstaanbaar als Teens Of Denial en maakt Car Seat Headrest muziek waarvan The Strokes alleen maar konden dromen. En ook dit keer klinkt de muziek van de band als een omgevallen platenkast, waar ook dit keer platen van Pavement, Pixies, Talking Heads, Guided By Voices, R.E.M., Radiohead, Television, Nirvana, Pearl Jam, Sonic Youth, Franz Ferdinand, Eels, The Strokes en The Cars bovenop liggen.

De remake van de plaat uit 2011 kan ook flink ontsporen. Twin Fantasy klinkt dan een stuk rauwer en stekeliger dan Teens Of Denial en houdt zich bovendien niet aan de conventies van de lekker in het gehoor liggende rocksong door songs lang uit te smeren, in het meest extreme geval tot ruim 16 minuten, of door zang te vervangen door spoken word of in zichzelf gekeerd geprevel.
 
Twin Fantasy kan het oor pijnigen met uit de bocht vliegende gitaarmuren, maar komt net zo makkelijk met een behoorlijk ingetogen folksong op de proppen. Je hoort in alles dat Will Toledo op Twin Fantasy nog niet zo ver was als hij twee jaar geleden op Teens Of Denial was, maar vergeleken met de oorspronkelijke versie zijn de songs flink opgepoetst en is Twin Fantasy goed genoeg om de concurrentie met de andere gitaarplaten van het moment makkelijk aan te kunnen.
 
De eerder deze week verschenen nieuwe plaat van Car Seat Headrest strijkt, zeker bij eerste beluistering, wat meer tegen de haren in dan Teens Of Denial, maar na een paar keer horen was ik weer verkocht. Twin Fantasy bevat voor mij inmiddels een aantal songs die ik niet meer wil missen en bevat hiernaast nog flink wat songs die ik tot de laatste noot wil ontrafelen.
 
Inmiddels is het hierdoor 70 minuten genieten van heerlijk gitaarwerk dat alle kanten op schiet, flarden van briljante songs, echo's uit het verleden, onweerstaanbare refreinen en inkijkjes in het brein van een muzikant die bulkt van het talent maar die zich ook kwetsbaar durft op te stellen.
 
Will Toledo kan vrijwel alle platen die hij voor Teens Of Denial maakte naar een niveau tillen dat flink boven het maaiveld uitsteekt, maar hopelijk vindt hij ook de tijd om de echte opvolger van Teens Of Denial te maken. Dat is de plaat waar ik uiteindelijk het meest naar uit kijk, maar dat wil niet zeggen dat ik niet heb genoten van Twin Fantasy. Integendeel. De remake van de plaat uit 2011 is vooralsnog met afstand de beste gitaarplaat van 2018 en ik weet bijna zeker dat hij de komende weken alleen maar beter wordt. Wat een talent!

Erwin Zijleman

Je kunt Twin Fantasy hier beluisteren en kopen:

https://carseatheadrest.bandcamp.com/album/twin-fantasy


Here's the link to our Spotify Playlist to find out what we are writing about:

https://open.spotify.com/user/glazu53/playlist/6R9FgPd2btrMuMaIrYeCh6?si=KI6LzLaAS5K-wsez5oSO2g
 

Toss Up. Kevin Krauter

In a way the music on Kevin Krauter's album Toss Up reminds of mid 80s synth bands immediately. The melodies, the beats, all comes from electronic devices to some extend as (bass)guitars can be discerned. The music is somehow upbeat where the singing is downbeat. So again I find myself thinking of that few great songs of China Crises and the later singles of Orchestral Manoeuvres in the Dark, when its music became slightly less radical in beats and more melodic.

If I allow myself to come into the mood of Toss Up, which isn't too hard and certainly no punishment, I find myself enjoying the slack pace of the album. Toss Up is far from demanding to its listener. Warm synth sounds can wash over you like skin temperature water, the most soothing water of all. Whoever listens to 'Restless', what's in a title, will know exactly what I mean. The instrumental sounds just keep rolling. Yes, I could also call it a latter James Last, but am inclined to keep it positive.

There are days that I am not inclined to get into the mood Toss Up presents me with. Days I need songs with a spark or bite. It is on that days I make short shrift with the album and lay it aside for that other days. There are enough of those days in the year.

Kevin Krauter is from Indiana in the U.S. He released two mini albums in 2015 ('Magnolia') and 2016 ('Changes'). He also plays bass in a band called Hoops. So Toss Up is his first full length album. Together with co-producer Ben Lumsdaine he created the sound. Most instruments were played by Krauter himself with assistance from Lumsdaine here and there.

There are some influences coming to mind listening to Kevin Krauter beyond the 80s synth bands. The soul years of The Doobie Brothers and Michael McDonald solo and even the disco Bee Gees from just before 'Saturday Night Fever'.

The final element that I appreciate in Toss Up, but also comes as a bit if a surprise, is a mystical side to the music of Kevin Krauter. In part the music has a transcendent quality. It can take me out of the here and now for a short while, floating on a warm synth sound and a soft beat. This dreamy side to the music is what I also find on the album 'Tape Recorder' of label mates Lionlimb. In that sense it makes sense the two acts are on the same label.

Toss Up is everything but a barnstorming album and it is not intended to climb the highest heavens. It is an album aiming to have you have a good time while listening to it, headphones on and leaving this world to its troubles for a while. In that Kevin Krauter totally succeeds.

Wo.

You can listen to and buy Toss Up here:

https://kevinkrauter.bandcamp.com/


Here's the link to our Spotify Playlist to find out what we are writing about:

https://open.spotify.com/user/glazu53/playlist/6R9FgPd2btrMuMaIrYeCh6?si=KI6LzLaAS5K-wsez5oSO2g