Blues Control released Valley Tangents nearly a year ago, during the summer of our end-of-times, 2012. Luckily for all, the end-of-times proved to be a new age of enlightenment more than anything, with Blues Control at the forefront, extending the meadows of their Valley Tangents with no signs of straying into slate, porous rock, ocean or mountain. Valley Tangents provide lush and lively excursions for all who graze on its grasses, and recent torrential downpours yield a fresh new organism on which to feast - the official music video for 'Tangents tune, "Open Air." Directed by Tara Sinn (who also directed "Love's A Rondo"), the video creates a pastoral-like terrain, communicating the song's ambient qualities, which slowly builds aurally and visually with footage that becomes progressively more experimental as it approaches its denouement."Open Air" also celebrates the official Valley Tangents tour of Europe! Make sure to catch them during this tour, which marks the first time they will set foot on the European continent for Valley Tangents.Tour Dates:6/7/13: Le Bourg- Lausanne, Switzerland6/8/13: Kraspek- Myzik Lyon, France6/9/13: Cave 12- Geneva, Switzerland6/10/13: Miscelanea- Barcelona, Spain6/12/13: La Limera- Valencia, Spain6/13/13: El Perro Club- Madrid, Spain6/14/13: Ibu Hots- Vitoria, Spain6/15/13: Festival West Side- Nantes, France6/16/13: Espace En Cours- Paris, France6/17/13: Slowboy- Dusseldorf, Germany6/19/13: Les Ateliers Claus- Brussels, Belgium6/20/13: Occii- Amsterdam, Netherlands6/22/13: Power Lunches- London, United Kingdom6/23/13: All Tomorrow's Parties Festival- Camber Sands, United Kingdom w/ Laraaji6/24/13: Echnum- Antwerp, Belgium6/25/13: Oberdeck- Hanover, Germany6/29/13: Drone Bar- Copenhagen, Denmark6/30/13: Fusion Festival- Larz, Germany7/2/13: The Circus- Helsinki, Finland7/3/13: Sing Sang- Studio Malmö, Sweden7/4/13: Festsaal Kreuzberg- Berlin, Germany7/5/13: Urban Spree- Berlin, Germany
2017 might be the end of the world as we know it, but as long as we keep getting fine performances out of our legendary steamroom, hey - we feel fine! All things being ultimately equal, we can die with Cory Hanson's encapsulations of the dilemma of hope and its yang of despair ringing quietly and classically in our ears. His debut solo album, The Unborn Capitalist From Limbo, shines brightly from a deeply political perspective, one that is just as personal as it is universal - but the knife cuts particularly close to the bone in the live visitation here.
Cory heads off on his first solo tour early next month, playing all his luminous solo tunes for fortunate west-coasters, but we got lucky too when he stopped by DCHQ recently for a "Steamroom Sesh" to perform ”Evening Glass" with lead violin and vocal support from Heather Lockie, who arranged the strings and performed on the record. It's a winning and intimate rendition - quite dry despite being performed in a our steamy confines the size of a closet! Not to toot our own horn or anything, but MAN do the acoustics sound excellent! And while you'll only find that particular sound quality in the steamroom, Cory will be performing with the same gentle philippic, soaring melodies AND full backing band.
Watch the refreshing Steamroom Session below and prepare yourselves for the "Unborn Capitalist Live" Experience 2017!
Bill MacKay is a musician and a musician's friend - a genial guitarist/composer/improviser based in Chicago who has energized the experimental folk, rock and avant scenes around town with his polyglot approach to the guitar, combining the folk of Appalachia, the blues and gospel with rock, jazz, western-country and an array of eastern modes. Mackay's interest in this tactic - essentially, a personal blending of roots elements - has evidence itself throughout his discography. On Esker, his third solo work and his Drag City debut, Bill takes it further with an album of all-original material performed entirely in consort with himself. Playing all the parts with guitars, glass slide, bass, piano and percussion, he deepens his hybrid-genre approach with both contrast and cohesion, creating warm, melodic narratives that draw on folk, psych and experimental rock modes.
The first single (which has a video below!) "Aster", meditates on early American strains with overlapping liquid slide guitars and gently looping piano rhythm. It envelops the listener in cinematic tranquility with an effortless, yet precise sound! Over the past decade-plus, he has recorded records both as a solo artist and with his band Darts & Arrows, while performing and collaborating with a number of other artists. The dynamic singularity with which Bill ties his interests together is the key to his music, an effortless combination of wide-ranging elements that evokes a warm and swathed view of the world around us. Would but the grace of his slide guitars accompany our final steps into the grave, it would be a life well-spent! Mark your calendars for May 5th!
Bonnie 'Prince' Billy's Best Troubador is an intimate portrait of artistic admiration for the late, great Merle Haggard. Best Troubador presents sixteen performances of songs plucked from Merle's extensive and varied catalog, each track reflecting a deeply personal appreciation and execution. As a long-time fan and follower of Haggard, Bonny's introspection and approach offer a singular and alluring take on storied songs written by a legendary performer. Recorded at home with friends old and new, Best Troubador is a record that can only have happened now, and it marks a place in time that will stand out in our future memories!
Listen to Best Troubador in its entirety on NPR's First Listen right now and purchase your copy of the double album on May 5th!
Chris Gantry's music was always stylistic fusion: his 1967 album debut Introspection sounded a little bit folk, a little bit pop and only a little bit country, with smooth melodies and verdant string charts. But the 60s were afoot, and by the time of Chris' second LP in 1970, Motor Mouth, his approach had radicalized into a wide-eyed, hard-edged delivery. The critics dug it, and Chris played on Johnny Cash's TV show, but the next Gantry record didn't appear for five more years. And herein lies a tale: of dropping out, of a vision-quest and an exorcism of sorts, and of sessions for a bunch of songs so far out from Nashville norms that it's only now they've seen release. This is the story of At the House of Cash.
Settled at Cash's studio in '73 with a band of heavy Nashville cats, Gantry extemporized his songs with sleek self-confidence, even while plunging through the hippie mirror of confusion. High on the waves of the times, Chris had pulled apart the tropes of traditional voice-and-guitar singer-songwriting, pushing them into fevered, eclectic, entirely personal territory. He took in the scope of the freedom generation with whom he'd been riding shotgun, and turned it back out again with unhindered lyrical expressions reflecting both disillusionment and a deep sense of transformation, with deft gestures and songwriting chops nailing down the tunes. Had At the House of Cash seen release in its day, it would have been a shot of earthy surrealism straight into the heart of Music Row.
But the album didn't find a backer, so Chris Gantry shrugged and moved on. He's kept on with singing and writing, doing books and plays too, appearing in Trash Humpers, and three new records over the last few years - but At the House of Cash stands tall with its outlaw brethren from the golden age of Nashville, and it is damn fine having it out in the open air with the rest of us at long last. Out on vinyl and CD on November 17th!