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 First up for discussion is the sixth proper release from Jason Spaceman, who records under the banner Spiritualized. Having started writing for Songs In A & E in early 2006, Mr. Spaceman was forced to put the record on hold. He became very ill, suffering from double pneumonia and legionnaires' disease, which severely impeded his creativity and motivation to finish the record. Between writing the tunes for the record and it's preparation for release, the illness really kicked in, forcing Mr. Spaceman into intensive care. Being asked to create a soundtrack with Sun City Girls for Harmony Korine's (KIDS, Gummo) new film, Mr. Lonely, refueled his interest in completing Songs... The first Spiritualized record in five years reflects the ethos of the singer's Spaceman 3 roots, a strong marriage of minimalist rock arrangements with enormous orchestral works. Making a 1929 Gibson the carpet for Mr. Spaceman's soft, textural, vulnerable voice works very well as previous significant studio effects and massive feedback are forgone in honor of a more organic feel. Six harmonized tracks on Songs... were written as tribute to Harmony Kornie, who deserves a medal for reinvigorating this record. "It was very hard to reattach myself to this record. It took a long time, to try and rediscover what my original thought processes were... It would have been equally hard to just let the songs go, because they're invested with a huge amount of emotion." This is one amazing effort--a comeback, so to say--and it is more of a 'record' than any previous works in the Spiritualized discography.  I have quite the affinity for a growing genre known as 'alt country.' In the vein of Whiskeytown, Uncle Tupelo / Wilco / Son Volt, Neil Young, and the Old 97's comes a genre referred to by Jay Bennet as "music that applies a steel-toed boot to the rhinestone-encrusted ass of commercialized country crap" (gumbopages.com/music/insurgent.html). Call it what you will, the genre takes the roots of country and adds gritty elements of modern rock, indie, or punk. Numerous articles and arguments have been written on the legitimacy of the genre, and that is not for me to discuss right now. However, what I would like to discuss is the latest effort from Denton, TX, stalwarts Centro-Matic. Originally an outlet for frontman Will Johnson's creative vocals, the band has now evolved into a twang-rock machine that has cut nine LP's, four EP's, and various side projects--including South San Gabriel. The latter is a toned-down version of Mr. Johnson's flagship troupe which often opens for the mainstay. Dual Hawks, features both bands on individual full-length discs, packaged together, to give the listener an attempt to dissect the differences of each respective band. We, as listeners, enjoy bands such as this, who are known for consistently putting out stunning and original material. Rarely does the act come along that can combine quality with quantity, but these bands have broken the mold. Centro-Matic to wind it up and get it going. South San Gabriel to bring it down and hold someone close. You will not listen to Dual Hawks just once. Other Notables:
Greetings! As always, thanks for joining us this week on KBUT.org's music page. I am delighted to bring you new music each and every week, so please read on...  Following a 'solo' EP release by the twins in 2005, the duo is back with their latest effort Fire Songs, set for release on June 24 on Vanguard Records. Growing in popularity within indie / folk / country / Americana music scenes, the exact musical style of The Watson Twins is difficult to categorize. Pulling influences from many of Vanguard's 50+ years of releasing top-notch music--from artists Doc Watson, Levon Helm, Mindy Smith, Joan Baez, and John Fahey--made the transition to their new label home. "Our influences as singers and songwriters are the historic sounds of Vanguard Records... a label steeped in folk, country, jazz, and blues. It seemed like the perfect fit, and we are honored to be working with them on our debut full-length Fire Songs." The opener--and lead single--"How Am I To Be" reminds listeners of the jangly sounds of Jenny Lewis and Rilo Kiley. Too-often covered Cure smash hit "Just Like Heaven" escapes a conventional cover curse by slowing the hymn to 1/2 time along with the lush textural addition of a deep harmonica (the Watsons vocals may be even more soothing than Robert Smith's). Bookending Fire Songs with "Waves," is quite appropriate as that is exactly what they are making in music scenes throughout the country. Drawing comparisons to the likes of Neko and Emmy Lou, this identical talented singer/songwriter duo is ready to break through (vanguardrecords.com).  Next up is sassy 60's-throwback vocalist Duffy. Born in rural coastal Wales, Duffy began singing at an early age, but had very little outside influence due to her geographical isolation. Dropping out of college on the advice of a lecturer ("Go on the dole, love, and be a singer!"), she began performing at a local jazz/blues club in North Wales. Upon relocating to London and being introduced to music manager of label Rough Trade Jeanette Lee and ex-Suede guitarist Bernard Butler, Duffy delved more deeply into the soul-resurgence sound made popular by contemporary British artists such as Amy Winehouse. The duo co-wrote several songs for Rockferry, which is an exploration into the Motown- / Stax- influenced pop sound. Lastly, this week we received a copy of Classic Piano Blues from Smithsonian Folkways Recordings, an archiver of classic American, folk, and world music. Storyville nightclubs, Beale Street juke joints, gambling houses, speakeasies, and barrelhouse bars in East Texas were the places original African American bluesmen called home. The piano blues migrated from the oppressed deep South to the urban centers of the North. Classic Piano Blues revisits standards from legend such as Memphis Slim, Jack Dupree, Lead Belly, Henry Townsend, Roosevelt Sykes, and more. Other Notables
It's the week of May 12, and we are still under a wintry assault from mother nature. All may not be fair, but this week's new releases give good reason to turn in and check out some music on KBUT. I'm off to Moab for a few days, and if you get the chance, I suggest you do something similar!  First up this week is the re-release of acoustic trio The Devil Makes Three's original 2002 self-titled release, now digitally remastered and repackaged by Milan Records. Guitarist Pete Bernhard, stand-up bassist Lucio Turino, and guitarist Cooper McBean create a menacing, punky, ghoulish take on classic American ragtime and blues which should appeal to an expansive audience, from ramblers to Deadheads to bluegrass barflies. Even without a drummer, DMT institute a music deeply planted in rhythm, accentuated by Lucia's stand-up bass work. Mr. Bernhard and Mr. McBean began their musical career in rural Vermont, and they eventually settled at the University of Santa Cruz in California. It was here the duo invited Ms. Turino, a fellow student, into the band. "Lucia had always wanted to play bass," says Mr. Bernhard as he confesses that she progressed from having a desire to learn a new instrument to quickly outshine all expectations. Tracks such as "Shades" appropriately pay homage to barstool-hugging daytime drunks, while the spirit continues with a solid tribute to Jack Daniel's "Old Number Seven." "The Bullet" is a Dylan-esque homage to Mississippi John Hurt's "Stagger Lee." Major homage is later paid to Mr. Hurt on one of four bonus tracks--demo and live recordings from 2002--on a rendition of American blues standard "Nobody's Dirty Business." The word is out, this band is hot, and you may be one of the lucky ones to catch them on tour this summer as Devil Makes Three plays two Colorado shows, June 26 in Denver and the following day in Steamboat Springs as part of the free concert series this summer on Howelsen Hill.  The next standout record comes from American singer, songwriter, and household icon Neil Diamond. Produced by Rick Rubin, Home Before Dark proves that Mr. Diamond is still one of the best and most devoted songwriters kicking, having completed these twelve tracks over the course of 14 months, often sleeping on a cot in the recording studio. Nearly the entire record is dark, and this may be the opportunity to claim the throne once sat upon by Johnny Cash as our classic songwriter, a true been-there-done-that soul. The imagery provided on the physical album of Home Before Dark can be compared to that seen in Mr. Cash's American Recordings, also produced by Mr. Rick Rubin. Opening with "If I Don't See You Again," one can easily see the face of a depressed lyricist, reconciling his experiences with a lost love, justifying this lost by listing their long list of accomplishments together, looking back on the good old days. "I've made it once on my own when hardly anyone can," moves undeniably quickly into reverse-psychology by asking, "Who you gonna run to baby...Who you gonna hide behind when the nights get suddenly cold?" Wanting so badly for another chance, he moves along to record "One More Bite Of The Apple." The title of this song begs the question: Is he asking for another chance to play a show at the pinnacle of shows in New York City (no) or is he asking for another shot at love (yes)? Throughout the remainder of the record, Mr. Diamond illustrates his desire to be a part of "The Power Of Two." Closing with "Home Before Dark," we finally see the commitment needed from a man of the road. This could be a rebirth for Neil Diamond, his music now accessible to new listeners, while he retains the fans of lore. This could be the beginning of something very, very good.  The last release I would like to blurb on this week comes from Bay Area collective Subtle. The sextet is led by master lyricist Doseone--aka Adam Drucker--formerly of experimental hip hop groups such as cLOUDDEAD and Themselves, and is joined by drum machine wizard Jel--aka Jeffrey Logan--also of Themselves. Soon after playing together, the duo added synths, woodwinds, guitars, and a cello to deepen their electro-heavy sound. Call this electro-pop, experimental, avant-garde hip-hop, or whatever you will, the sounds of ExitingARM are heavy, fresh, and exciting in a world of algorithmically created pop and hip hop music. The name may be Subtle; their lyrics, production, and live shows are anything but. Other Notables
This week, beginning May 5, we are graced with feature releases from some of today's most progressive collectives.  The first record of choice this week comes from San Francisco-based folk collective Vetiver. The band--composed of mastermind Andy Cabic on guitars/banjo, Brent Dunn (bass), Sanders Trippe (guitars/vox), Otto Hauser (percussion/keys), and Kevin Barker (guitar/banjo/vox)--set out to create a covers record of their favorite forgotten tunes from the 1967-1973 era. Thing Of The Past proves to be much more than another run-of-the-mill covers record, panning for gems deep in the long-forgotten folk and rock armory, dusting and polishing them, creating a new life, sound, and voice for these tunes. From well-known artists such as the heartbreaking Townes Van Zandt, Loudon Wainwritht III, British metal rockers Hawkwind, and New Orleans pianist Biff Rose to lesser known artists such as folk purist Derroll Adams. "I think this is the best record I've yet to make, in no small part because of the songs are so good, but also because I didn't write them..." This sets a parameter for the recordings--much like an actual subject and frame for a painting--but allows Mr. Cabic and the rest of Vetiver the freedom to choose how to paint that piece. The band is graced with the presence of two of Mr. Cabic's heroes, Holy Modal Rounder contributor Michael Hurley and mysterious folk chanteuse Vashti Bunyan. The result is a stellar collection of original takes on classic pieces of work, balancing freedom and restraint in conveying the messages of music from years past in a new light, for a new generation of listeners (fat-cat.co.uk).  Next, we have a new release from the dynamic duo of M.C. Schmidt and Drew Daniel, together known as Matmos. The album was finished in Baltimore, where Daniel is now a professor of English at Johns Hopkins University, but was recorded all over the world with guests such as Marshall Allen of the Sun Ra Arkestra on a breath controlled oscillator and electro-acoustic genius Keith Fullerton Whitman. On Supreme Balloon, released on indie giant Matador Records, we see Matmos abandoning their non-traditional methods of creating music using computers fused with household and found objects. Instead the duo use only synthesizers, heavily spotlighting vintage equipment by the likes of Moog, Arp, Korg, Roland, and Waldorf. Opening with toe-tapping electrified jams and turning into a ridiculous 24 minute epic title track. Warning: the music of Matmos is not for every day listening, and those unfamiliar with the musical territory this duo explores must listen with a very open mind. This band is always unpredictable, but they never cease to amaze.  Finally, of major noteworthiness, Sergio Mendes drops another round of traditional, yet infectious, Brazilian rhythms and smooth melodies. Encanto (Enchanted) may be the most ambitious project yet for Mr. Mendes, as he recruits artists from around the globe--including Belgium's Zap Mama; Columbia's Latin superstar Juanes; the poppy Dreams Come True from Japan; and American sensations such as Fergie, Herb Alpert, Natalie Cole, and Will.I.Am--to fuse native aspects and languages of their music. This formula successfully shows the true diversity of Brazilian music through the eyes of one of its best producers. Encanto is, in a way, a dream come true for Mr. Mendes. "I've always dreamed of making an album with guest artists from different cultures, singing in their native languages, as a way to illustrate the power and magic of Brazilian music," muses the superproducer. Released on Concord Records and packaged wonderfully brightly, this one to add to your lazy afternoon or cocktail party collection (spectremusic.com). Other Notables
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