In our latest episode we review the latest release from alt-country/pop superstar Ryan Adams, taking some detours through the late 80’s and artist/press relations along the way. PLUS! U2 just dropped a new record in your iTunes. Happy? Sad? What does it all mean?!! We try and get to the bottom of it in Episode 80 of ChunkyGlasses: The Podcast!
Love him or hate him, Ty Segall has proven to be one of the most prolific and consistent artists working in music today, and on his latest effort, Manipulator, he airs out the garage a little to produce his most polished work to date. Does it work? Is it the “album of the year” as many have claimed? Kevin, Adam, and Quinn get to the bottom of these questions PLUS consider the art of the ridiculous band name on Episode 79 of ChunkyGlasses: The Podcast!
Saturday. The Howard Theatre in Washington, DC. Two young musicians whose resumes – work with bands like Mountain Man, Megafaun, The Rosebuds, Feist and more – each run a mile long take the stage armed with only a microphone and a laptop rig. What spills out over the next hour is some of the most inventive, exhilarating, forward thinking and humanizing music of 2014. Maybe of the past decade.
Consider this: Sylvan Esso’s debut album was recorded in a living room. By two people. It combines elements of electronic music, folk, soul, indie pop and more, all coalescing into a simultaneously sparse, yet lush, groove that speaks as much to the listeners heart as it does to their ass.
For all of the acclaim – and rightfully so – that Simpson’s album Metamodern Sounds In Country Music has received this year, so much attention has been paid to drug references and science fiction metaphysics, it’s easy to forget that at the heart of Simpsons songs, both Metamodern and 2013’s High Top Mountain, lies the same themes that have informed country music since its inception. Loss. Regret, bad love and even worse hangovers; it’s all there mixed in with the brighter sides of life.
Last week, Simpson and his stellar band turned the Birchmere into a dusty, boozy honky-tonk with a heart. Whether a knowing wink to the current climate around Country music, or simply something he just felt like knocking out, a near faithful cover of the Willie Nelson classic “Sad Songs and Waltzes” early on in the set made it clear that Simpson thinks, and thinks A LOT, about not just what his music means, but the tradition from whence it sprang.