Americana....

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  • musicus

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    Apropo sykler, er inne i en Jasoon Molina/Songs Ohia/Magnolia Electric Co periode, fikk hjem EP´n med samme navn som låten, en trivelig sak!!


    mvh
     

    musicus

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    Går over til dette albumet, Jason leverer igjen!


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    musicus

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    Spiller meg gjennom den lille bunken med Magnolia Electric co cd´s som kom/kommer hjem her..

    ”Josphine”



    mvh
     

    musicus

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    ^ er på vei ennå det albumet der, er det i samme gata som det andre jeg viste her er dette også en kommende goodie! :)

    mvh
     

    musicus

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    ^ som det skal väre da, svisker er jo ett godt middel mot forstoppelse, og slik musikk er for meg forebyggende mot musikalsk forstoppelse kan man kanskje si, siden uttrykket kom på banen mener jeg, fölger opp med ny skive som ramlet inn idag :cool:

    51w040iSx0L.jpg


    mvh
     

    musicus

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    41pUf7MUepL.jpg


    BBC Review
    That’s Jason Molina, formerly the voice between sparse alt-country troupe Songs: Ohia and later, the more classic rock-themed Magnolia Electric Co. And that’s Will Johnson, lynchpin of Denton, Texas’ Centro-Matic and a current member of contemporary touring folk supergroup Monsters of Folk (also featuring Jim James, Conor Oberst and M. Ward).

    Both long-running contemporaries on the rootsier end of America’s independent rock underground, Molina & Johnson is not necessarily an album you would have anticipated taking place – after all, it’s not immediately clear what one grizzle-voiced folk hand can bring to another. But if the division of labour here threatens to sound like two men wrestling over the steering wheel, the result is certainly more complimentary than complicated; 14 songs that, while not game-changing by any means, at least display a clear shared vision.

    Fans of Molina’s sparser, less-filled-out work will probably warm immediately to this collaboration. Often pared down to guitar, piano and circling voices, it’s reminiscent of the likes of 2000’s Songs: Ohia album Ghost Tropic, albeit with a slightly lighter tone (not difficult – much of Songs’ work was black as pitch). Another antecedent is the dusty old-time Americana of Harry Smith’s Anthology of American Folk Music – All Gone, All Gone in particular sounds exhumed from some cobwebbed cellar, all wobbly voices, spindly guitar and Great Depression vibes.

    This low-key spirit sometimes weighs the record down. There are snatches of fascinating narrative on Johnson’s In the Avalon/Little Killer, but the storytelling feels slight, and while a bit of quiet is something less astute musicians neglect, you could drive a pick-up truck through some of these silences. But Molina’s voice, in particular, has a cold soul that’s always listenable, and if this team effort doesn’t quite thrill throughout, it’s the bare bones of a partnership that’s well-deserving of a second outing. --Louis Pattison


    mvh
     

    Kanutus

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    BBC Review
    That’s Jason Molina, formerly the voice between sparse alt-country troupe Songs: Ohia and later, the more classic rock-themed Magnolia Electric Co. And that’s Will Johnson, lynchpin of Denton, Texas’ Centro-Matic and a current member of contemporary touring folk supergroup Monsters of Folk (also featuring Jim James, Conor Oberst and M. Ward).

    Both long-running contemporaries on the rootsier end of America’s independent rock underground, Molina & Johnson is not necessarily an album you would have anticipated taking place – after all, it’s not immediately clear what one grizzle-voiced folk hand can bring to another. But if the division of labour here threatens to sound like two men wrestling over the steering wheel, the result is certainly more complimentary than complicated; 14 songs that, while not game-changing by any means, at least display a clear shared vision.

    Fans of Molina’s sparser, less-filled-out work will probably warm immediately to this collaboration. Often pared down to guitar, piano and circling voices, it’s reminiscent of the likes of 2000’s Songs: Ohia album Ghost Tropic, albeit with a slightly lighter tone (not difficult – much of Songs’ work was black as pitch). Another antecedent is the dusty old-time Americana of Harry Smith’s Anthology of American Folk Music – All Gone, All Gone in particular sounds exhumed from some cobwebbed cellar, all wobbly voices, spindly guitar and Great Depression vibes.

    This low-key spirit sometimes weighs the record down. There are snatches of fascinating narrative on Johnson’s In the Avalon/Little Killer, but the storytelling feels slight, and while a bit of quiet is something less astute musicians neglect, you could drive a pick-up truck through some of these silences. But Molina’s voice, in particular, has a cold soul that’s always listenable, and if this team effort doesn’t quite thrill throughout, it’s the bare bones of a partnership that’s well-deserving of a second outing. --Louis Pattison


    mvh

    Men hvilken plate er dette?
     

    musicus

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    ^ Molina and Johnson (2´ndre setningen i 2´ndre avsnittet) :)

    mvh
     
    Sist redigert:

    Sst

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    Så i en annen tråd i dag at noen anbefalte Robbie Robertson - Storyville.

    Da ble jeg inspirert til å dra frem det jeg synes er selve mesterverket innen velprodusert "studio-americana". Latin Playboys - Latin Playboys fra 1994.

    Latin Playboys var David Hidalgo og Louie Pérez fra Los Lobos, sammen med Mitchell Froom og Tchad Blake. De to sistnevnte hadde produsert og vært tekniker Los Lobos' Kiko fra 1992, men når de slo seg sammen til Latin Playboys, tok de lyden og ideene de hadde jobbet med på Kiko et stykke lenger.
    Plata minner meg om lyden av en slags hageselskap i latino-områdene i Sør-California, overhørt på litt avstand. Eller noe sånt.

     

    Panama Red

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    Colter Wall til Norge i august

    11. august – Øyafestivalen, Oslo (Hagen).
    12. august – Folken, Stavanger.
    15. august – Lille Ole Bull, Bergen (Bergen Live Sessions).
    18. august – Parkenfestivalen, Bodø.
    19. august – Pstereo, Trondheim.
     

    Panama Red

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    ^ Kan fort bli en bra august Colter Wall den 15. og John Moreland den 29.
     
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