Boreas. The Oh Hellos

With Boreas The Oh Hellos add a third member to a series of music named after the classical Greek names for the four winds. After Notos and Eurus it's the turn of Boreas, the north wind.

The Oh Hellos return to these pages being present ever since its second album 'Through The Deep Dark Valley'. Maggie and Tyler Heath from San Marcos in Texas are the core of the band that records with musicians when and where needed and tour with a large group accompanying them on stage.

With Boreas the band adds a serious mini album to its oeuvre. There is not a lot of joy to be found, as if a blanket lies over the album, muting the joys that life can bring. The result is an album that on the one hand fits into the hey-ho modern folk of, already almost a decade ago, but on the other is harder to listen to. I notice the album has to work, like I have, to get the attention it, as it turns out, deserves. If you do not, you will never reach the final song and masterpiece of Boreas.

The album opens with 'A Kindling, Of Sorts'. A violin/violins indicate a classic U.K. folk influence before the sound turns into an epic one. In fact the studio must have sort of exploded at the end of the instrumental song. All seems to go off together.

The downsize to 'Cold', is immediate and noticeable. The banjo is the lead instrument of choice. There's more going on. In fact in the studio a lot of noise may have been present to create the background but mixed away on record. Maggie and Tyler Heath sing together beautifully, their voices a great contrast giving the song depth and colour.

Listening to Boreas more often leads to the album growing on me as there is a lot going on. There are many sounds to discover of many instruments and so much dynamics. 'Lapis Lazuli' totally explodes and implodes. This results in a fiery storm and great delicacy in one song, which is quite a feat to pull off as good as The Oh Hellos manage to do here.

'Rose', sung by Maggie Heath, is again a very delicate song, with traditional instruments, yet used in a way that make it slightly psychedelic. I can't get my head around what happens exactly, but there is a form of manipulation to the tape is my guess, the same kind applied to the singing in the ultra short 'Smoke Rising To Lifted hands'. The title is almost longer than the song. Another moment that I prick up my ears and not just enjoy the song but also wonder about what is happening here. My brain put to work.

The single 'Boreas' has already been discussed in a post on recent singles. Yet, again I like to point to the album 'I'm Coming Home' by the late Norwegian singer, Thomas Hansen. The background singing in 'Boreas' and 'Glowing' fits nice with St. Thomas' work, as Hansen called himself on record. Both songs are a statement to The Oh Hellos' talent in songwriting.

All in all Boreas is a fine addition to the bands slowly expanding oeuvre. One seems to be certain: the next title of a The Oh Hellos album must be 'Zypheros'. Time will tell though. In the meantime do enjoy Boreas. You can get it for a very nice price on Bandcamp.

Wo.

You can listen to and order Boreas here:

https://music.theohhellos.com/


or listen to our Spotify Playlist to find out what we are writing about:

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

14 Singles, part 2

As we wrote yesterday, again we focus on a bunch of singles released recently. Here's the second instalment. Enjoy and don't forget to listen to our Spotify list, as there's a wide range in music again.

Boreas. The Oh Hellos
With the first single of its new album The Oh Hellos return to WoNoBlog. Boreas is a song that inclines towards classical folk. Maggie Heath sings the lead vocal in a high register, towards shrill, but commanding because of it. The small beginning is great contrast from what happens later on in the song. A whole choir sings with her. The amateurish sound (meant totally positive) of the choir singing reminds me of that beautiful song of St. Thomas called 'I'm Coming Home #2 of his 'I'm Coming Home' album (2001). A traditional instrument sets in in the second verse. Later the band flashes out completely. I do not hear a single hey ho or ho hey, but the folk of circa 2013 is back in this part of the song, that ends totally abruptly, as if The Oh Hellos could not come up with a better ending. That really is my only complaint where Boreas is concerned. The album with the same name is just around the corner on the day of writing.

Swiss Mountain Myth. The Asteroid No. 4
The Asteroid No. 4 featured in the single section before. The band returns with its latest single, Swiss Mountain Myth. We are in The Black Angels territory here, folks. Psychedelia, Mo Tucker style drumming, double tracked, trippy vocals, it all emulates Pink Floyd in 1967, except for the fact that I do not like that era Pink Floyd but do like Swiss Mountain Myth. This song has a melody, a vocal that I can sing along to and these long held synth notes and fuzzed guitars that lay over the firm foundation of bass and drums. All in need of a dose psychedelia can stop searching. This is it.

My Lambretta. Gallows Birds
There several ways to rock out. Gallows Birds, cool name, choses not to go all out in My Lambretta. The band allows for subtlety and room to breath in the song. By playing close and tight between drums, bass and guitar in the verses, allows to be more playful in the chorus, creating some great dynamics within the song. Over it all lays a fun vocal melody, the kind that does not need a lot of hearing before singing along to "she's my Lambretta". (What is a Lambretta? The internet tells me a scooter and moped brand.) Gallows Birds is a trio Travis Woods (guitars), Ritchie Holes (vocals) and Glenn Wellman (drums) and about to release an album in October called 'Quaranteenage Kicks'. I doubt whether the trio still qualifies as teenagers. Its music is fresh though and they do not for a second hide their influences, as you can find out in six weeks time.

Summer Of 99. ViVii
The new single of ViVii from Sweden is a point of rest and reflection in this singles post. Dreampop with an electronic edge is my first impression and I'm sticking by it after listening more. The beginning of the song is an acoustic guitar with faint percussion. The soft voice of Emil Jonsson leads the way, later to be replaced by his musical and life partner Caroline. Slowly but surely the song becomes broader. Electronic sounds are added, just like the percussion becoming more prominent. Towards the end the song surprises one more time. Thinking it is over, by way of a final oh,oh,oh sung by Caroline Jonsson, it returns for more than a minute. Dreamy, trippy and nice.

Rock N' Roll Manifesto 7" Series, Volume 1
The title suggest the beginning of a series and if so, count me in, please. The story starts with a gentleman called Greg Lonesome, who curates the series. He reached the 500th milestone mark of his radio show for Real Punk Radio with the name Rock N' Roll Manifesto. There you have the name of the series. The label is called Stamp Out Disco, a great name, although I'll confess to not objecting to hear a great disco track of old and having danced to it during night long parties.

A serious attempt is made though and the stamping is quite successful I can add. On this vinyl EP, 500 copies, three colours, there are four songs unique to this disc. Four bands four songs. Tiger Touch, 'Problems', Fret Rattles 'Thanks For Nothing', JJ & the Real Jerks, 'Split Decision' and Missile Studs 'Spazz Out'. As far as I know four totally obscure bands. Old? New? I haven't got a clue. What I do know is that I'm hearing four punkrock songs, for that is what they are, that are charged up and full of melody. There's so much energy in each of the songs. My favourite? I'm tending towards 'Split Decision'. A great singer this JJ, the sax solo is totally surprising, and a superb melody. This takes nothing away from the other three bands and songs. Mr. Lonesome has curated this single superbly as the four songs go together really well.

I got the news through Boston's Rum Bar Records, where else I might add. Please keep me posted for part 2, because this is sooo goood.

Longing For Nothingness. Susanna
This is the third single (my second after 'Burial') coming from Susanna's upcoming album 'Baudelaire & Piano'. And album she recorded in isolation with just her voice and her piano. The result is a totally bare album where there is no hiding behind anything. I can assure you that there is no need to hide at all. Susanna's clear voice leads the way and her piano accompanies her singing. Not a note extra is played. Longing For Nothingness's only embellishment is a modest flute. At one moment I have the impression that she is whistling and not playing a flute at all.

Both 'Burial' and the new single sound impressive. I still have to find out how this bare work of musical art works as a whole album. As individual songs I have no doubt at all. Both songs are extremely beautiful.

In Spite Of Ourselves. Geoff Palmer & Lucy Ellis
In Spite Of Ourselves is a nice country, pop, rock song. The kind of hybrid song that can only come out of the U.S., really. The kind of song that I start out thinking 'you've got to be kidding me'. The kind of song that I find myself a sucker for despite of my first inclination. Lucy Ellis' "oh oh" that starts the song is the right warning alright.

What sets the song apart for me in the first place, is the firm drumming kicking the song in the butt hard. Exactly what this genre needs to please my ears. The result is that the singing is firmer as well. Geoff Palmer sings a little softer it seems, Lucy Ellis is simply just charming. The duet works fully, totally. From there I'm noticing the details in the song, like the nice piano part going on just a little in the background. The bass runs happening here and there. "In spite of ourselves", Geoff Palmer ends the song. In spite of myself I find my heart embracing the song.

Wo.


Listen to our Spotify Playlist to find out what we are writing about:

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

14 Singles, part 1

Again we focus on recently released singles. This week 14 in all, spread out over two days. So sit back, click on the Spotify link below, read along and enjoy.

Pluizen. De Breek
We beginnen in het Nederlands. De nieuwe single van De Breek is er een van een prachtige, breekbare schoonheid. Het thema van dwarrelende, vallende pluizen is prachtig vervat in de muziek. De gitaren en de trompet dwarrelen langs de zangpartijen als de pluizen door de zomerlucht op zijn hoogtepunt. Het eindresultaat is een ruime vijf minuten muziek als in een droom. Het begin van het nummer is opgebouwd uit een, enigzins stemmige stem en piano. Als de tweede stem er bij komt, neemt het nummer een andere wending. Pluizen wordt breekbaarder en steeds mooier. De Breek gaat met Pluizen de verdieping aan en voegt een prachtig nummer toe aan zijn nu vijf nummers tellend oeuvre. De drie heren zijn samen duidelijk iets op het spoor. Ik hoop op meer in de komende maanden.

Hate Somebody. Cut Off Your Hands
Looking at Spotify Cut Off Your Hands had not released a song since 2011. It returns in 2020 with the single Hate Somebody. An anti-thesis to the musically much more fashionable "love somebody". The music has the rigidity of 80s songs, yet the melodic percussive sounds gives Hate Somebody a fun factor as does the harmony vocal all over the song. This brings the song somewhat in line with Field Music and a little bit, early, Kaiser Chiefs. These factors make Hate Somebody a great track to listen. It won't be in my top 10 of all time, but is certainly welcome.

Take It Or Leave It / So Hot You're Hurting My Feelings. Squirrel Flower
Only very recently Squirrel Flower debuted on this blog with her debut album I Was Born Swimming' and already her single released in May can be found here as well. Take It Or Leave It is a different song from those found on her album. Not only is the acoustic guitar the lead instrument, the spaciousness of the studio that was added and is a huge part of the album sound and the extra instruments are missing. This is Elli O'Connor Williams all by herself. B-side So Hot You're Hurting My Feelings sounds more like an outtake, as this is band effort with that spacious sound in place. The latter song is a cover of Caroline Polachek's song. It clearly is a much more poppy song (and cheery) than her own work. This is Squirrel Flower's take on the song but also a bit different from her own oeuvre. What really sets it apart, is that it is allowed to explode. The combination really works though. Together the two songs make a great single.

Shine On. Big Baby
Big Baby? What kind of a band name is that?, I mused. Not one that I would have chosen to be honest. The band releases songs since 2017 I found, but I am not familiar with them. I may have some listening sessions cut out for me as the new single Shine On is a fine song. It has a lightness that is quite welcome after the heavy-handed singles that have passed through this single series over the past weeks. Big Baby manages to present a serious song in a light way. Listening to the intro I notice that work went into crafting it. Just like the little details in the verses and the harmonies in the chorus. The band always looked out for the extra's that can make a song stand out. "Hold on, My love, Shine On" the harmonies in the chorus are excellent. The "gig in the sky" background vocal is as surprising as it is good. If the band has more songs like this, heap them on me, please.

Warwick. The Bats
The Bats featured on this blog before with its previous album, 'The Deep Set'. Now 38 years into its career the band, still in the same line up, returns with the first single to its upcoming album, 'Foothills'. The voice of the singer, Robert Scott, obviously has lost its youthful bounce. That is not the case for the music. That has that bounce that makes a song fun to listen to. Obviously this music has the 1980s all over it, but, again, I notice how light the guitars sound. This has nothing to do with doom not gloom. Everything about this song appears to be celebrating life itself. From the bright sounding hi-hat and cymbal to the guitars and the harmony vocals, 'Warwick' is a translation of 'I'm Waiting For My Man' to the second decade of the 21st century and successful at that too. A nice announcement for 'Foothills' that I hope to review later in the year.

Come To. Daniel Trakell
Another name that is totally new to me. Daniel Trakell has released a mini album in 2017 and a string of singles since then, especially this year, suggesting a new album to be on the way. His highish voice has a dreamlike quality to it. His music does everything to underscore this. Come To has a richness in its arrangement. A combination of country, pop and quality is on display. With the final word, I point to the lushness of the song and the host of instruments used. A warm organ, a pedal steel guitar and an intermezzo of horns reminding me of The Decemberists. For Daniel Trakell a song is not finished until all the details fit. It all starts with the principal melody. This is not outstanding in the sense of unique or exciting, no, it is warm and inviting. The kind of song millions of people may want to listen to and feel better because of.

Right Now Not Tomorrow. Gregory Page featuring Jason Mraz
Gregory Page is an artist I love to see play live. His records are often just too "authentic" for me. Live his endearing presence in combination with this charming presentation entertains me for as long as he prefers to play. Now a single has been announced with that modern epithet "featuring", meaning in this case, a classic duet. Page and Mraz sing a country song together, not unlike David Sickman of The Hackensaw Boys tends to write. It's plain and simple: I like this song. It's sympathetic, flows beautifully and makes me feel better instantly. "Let the good time roll. Right now, not tomorrow". A message everyone in the world could do with were it not for Covid-19. My inner me is having a good time none the same. I'm rolling with it, baby!


Wo.

Listen to our Spotify Playlist to find out what we are writing about:

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

 

Zeros. Declan McKenna

The moment this album starts playing it is clear to me that this can't go wrong. Declan McKenna finds the right combination between fun and seriousness, between pop and rock in the best Britpop tradition. The brazenness of 'You Better Believe!!!' is not prevalent because of the no less than three exclamation marks at the end but because of the music itself. In the best Supergrass tradition McKenna shares the first song of his new album Zeros with the world.

Now I had never heard of Declan McKenna before, so let's take a look first. McKenna is 21 years old, releasing records since 2014. Zeros is his second LP. My comparison to Supergrass wasn't such a  strange one after all, seeing how young he is and Gaz Coombes was in 1995. Zeros was recorded in Nashville, escaping the daily life and pressures in London, his hometown. Another distinctive feature to his music is that he is seen as a protest singer, following topics he sang about ranging form the World Cup in Brazil, to British foreign policy.

From what I read so far I can glean that Declan McKenna is seen as a major talent in music. So what are my ears telling me during the introductory spins of Zeros?

That answer will be somewhat mixed as not all songs are that strong. From that moment on I can do two things, discard the whole album or focus on its strengths and I decided to choose the latter option.

The reason to do so is not hard to explain. McKenna always goes for a melodic option, always finds a pop way to express himself, without going for the easiest option. The fact that I can hear influences ranging from Supergrass to Ray Davies, Ron Sexsmith, David Bowie and many others, shows how this young man is able to incorporate big names into his own work and make it very much his own. A tell-tale sign of his talents. This richness comes forward for example in the great song 'Be An Astronaut'. This song holds so much it's almost astonishing.

Another factor is that I never know for certain how a song will go or end. There are some surprises here and they can taking a song in a totally different direction, making the record feel so much more vibrant and alive. This begins with the totally confident opening of the album. The extremely busy drum roll kicks off a song that is there to conquer, not to amuse only. Loosely based on 'Late In The Day' and another song I can't get my finger behind, it shows Declan McKenna's pop feel as well.

And that pop feel saves most songs on Zeros. Even the songs I do not much care for at start, always have elements that change them and make them interesting. Whether the vocal melody, an added instrument or something else, there's simply happening such a lot on Zeros. You need both ears to keep up.

It may be that this young singer-songwriter is at the top of his game, there's no telling today, but chances are he will develop himself further over the coming years. This is his second album and in my ear it is as exciting as Jake Bugg's second album. There ought to be a lot of nice things coming our way later on in the 20s. Declan McKenna deserves to become a household name with the fame coming with it. Zeros is not a perfect album (in sound 100%) but one showing a lot of promise.

Wo.


Listen to our Spotify Playlist to find out what we are writing about:

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Sleepy Little Sailor (Deluxe Edition). Oh Susanna

19 Years after the original release I am listening to Sleepy Little Sailor, the second album of Toronto based singer Oh Susanna, born as Suzanne Ungerleiter.

For me Sleepy Little Sailor is a new album, so I can listen to it with totally fresh, though 19 years older, ears. Trying to remember what I listened to in 2001, I am fairly sure that I would not have been that impressed by Oh Susanna's music. Has this changed?

That answer is as short as it is clear: yes. The first notes on the album, the title song, told me to start paying attention. What I started to hear, was singer-songwriter, Americana with a touch of country songs, where each moniker gets the over hand over the others per song, leading to a varied, though serious album.

The re-release is a deluxe edition. Six songs are added in an acoustic version, perhaps the demos. That may be, I focus on the original songs and start with the final song, 'Ride On'. The kind of song that I love to end an album. Impressive, perhaps even epic. To really qualify 'Ride On' is too bare, too essential. Yet it does. It is the song that ends Sleepy Little Sailor in a grand, impressive way. 10 Minutes and a little long and not a second does not belong on this album.

Going back to the beginning, the album opens ever so hesitantly, even more bare, with a strong focus on Oh Susanna's voice. By turning the volume up a little, the result is a voice that sucks me into 'Sleepy Little Sailor' and thus the rest of the album. Brushed drums, that never go beyond that hesitating accompaniment, its the singing and electric guitar that become more confident by the minute. A few bowed string instruments do the rest. I'm in alright.

I'm not afraid to call Sleepy Little Sailor a modest album. A firmly hit snare drum in the second song 'River Blue doesn't take anything away from my impression. 'River Blue' is a great song, with such a fine chorus. The kind that make roots oriented songs great. A fiery guitar solo does the rest here. Despite the fact that I may know 499 other songs like this one, 'River Blue' is the kind that deserves that milestone 500th song spot. And then a piano solo comes in. Yes, I'm sort of in musical heaven for a few minutes.

With the two songs the two ends of the album have presented themselves. The more surprising is her choice to present a cover of  a famous song as third offering. 'I've Got Dreams To Remember', a big hit in The Netherlands a half year after Otis Redding's demise. It's good to hear Oh Susanna sing her version of this beautiful song. Perhaps my no.2 favourite Otis Redding song.

What sets Oh Susanna apart from the 1.000 other singer-songwriters who release albums in her segment of music? A good question, I just don't know really. What I do know is that I personally may not like 900 of those thousand. That may have to do that they play music that is too much country for me, it has to do with the voice, with the quality of the songs.

Oh Susanna falls into the 100 with ease. I like the slight edge in her voice, the compositions are simply alright and the musicians behind play parts that speak to me. And no, not only the guitars. It is the mix between all musicians. Hence, in my opinion Sleepy Little Sailor is an album to check out. Please do.

Wo.

You can buy and order Sleepy Little Sailor here:

https://musthavepr.bandcamp.com/album/sleepy-little-sailor-2020-deluxe


or listen to our Spotify Playlist to find out what we are writing about:

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