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Ryley Walker
The Lilywhitesessions [LRS20]
This is an exclusive and limited 'Love Record Stores 2020' release and will be available to order from Saturday 20th June, strictly one per customer. Love Record Store edition of The Lillywhite Sessions; Ryley Walker and the similarly indebted trio of drummer Ryan Jewell and bassist Andrew Scott Young cover Dave Matthews’ infamously abandoned 2001 art-rock masterpiece of the same name, a record where he and his band indulged a new adult pathos and a budding musical wanderlust. With a delicate rhythmic latticework and vocals that ask you to lean in, Busted Stuff recalls Jim O’ Rourke’s golden Drag City days. Emerging from a wall of distortion, Diggin’ a Ditch becomes a power trio wallop à la Dinosaur Jr, shaking off existential malaise like twenty- something pals writing rock songs in the garage. Walker’s Grace is Gone, the most faithful take here, is a testament to his unflagging love for the music that helped make him a musician. This end-to-end interpretation of youthful fascination is a collective reminder that we are all just kids from somewhere, reckoning with our upbringing the best we can. Walker has stepped through the door long ago opened by the Dave Matthews Band to find a world teeming with musical possibilities. On The Lillywhite Sessions, he has, in turn, created his own.
Dead Oceans
LP
Phosphorescent
Pride [LRS20]
This is an exclusive and limited 'Love Record Stores 2020' release and will be available to order from Saturday 20th June, strictly one per customer.
On his latest album under the Phosphorescent guise, Mathew Houck continues his work with reflective folk music given a somewhat ethereal bent. If not as gone as some of the performers in the field in recent years who seem to balance between stability and the lack thereof, Houck beats the heck out of so many who seem to only want to become the new Dan Fogelberg (sometimes with Tim Weisberg and sometimes without). Pride's eight songs are an almost fully solo effort, aside from some backing harmonies on a couple of tracks; as a one-man band, Houck shows he can re-create the as-if-it-was-a-live-jam feeling well; if by necessity songs like "A Picture of Our Torn Up Praise" can sometimes sound almost too perfect, their edges are sometimes just frayed enough. Tambourines stretch out towards the end of one song, while intercutting wordless harmonies, and soft yelps flesh out the arrangements further (a combination used to excellent effect to close out the title track and album as a whole). His fondness for his own harmony overdubs partially explains why he's received mentions from the Animal Collective fan base in its various incarnations, but Houck has his own spin on a deeper and more reflective approach that sometimes suggests early Spiritualized circa "Feel So Sad." His arrangements at their lushest are beautifully ragged, a mélange of psych/Americana that don't suggest one era or group of performers as much as a careful mishmash of them all, as is readily heard on the downbeat epic of "Wolves," the album's clear standout, and the rich blend of acoustic and electric elements on "My Dove, My Lamb," one of the more interesting uses of Christian imagery in a seemingly non-Christian vein currently out there.
Dead Oceans
LP
Khruangbin
Mordechai
The highly anticipated third album from the excellent psychedelic, funk-blues-surf-dub-rock trio. This time they've got something to say, moving away from the pure instrumental sound of previous albums, with vocals on every track. Beautiful stuff! Khruangbin has always been multilingual, weaving far-flung musical languages like East Asian surf-rock, Persian funk, and Jamaican dub into mellifluous harmony. But on its third album, it’s finally speaking out loud. Mordechai features vocals prominently on nearly every song, a first for the mostly instrumental band. It’s a shift that rewards the risk, reorienting Khruangbin’s transportive sound toward a new sense of emotional directness, without losing the spirit of nomadic wandering that’s always defined it.
Dead Oceans
CD | LP
New Colour
Destroyer
Have We Met
In his 25 years performing under the Destroyer moniker, effusive art-rocker Dan Bejar has made some stone cold classics. Albums like Destroyer's Rubies (2006), Kaputt (2011) and Ken (2017) have garnered huge love from critics and fans alike (Kaputt most recently being named one of the Top 25 Albums of the Decade by Pitchfork). His latest album features elements from all three of those albums with gauzy saxophones and synthesizers floating under Bejar's razor-sharp wit. But the roots of his new album bloomed out very un-Destroyer influences like period-specific Björk, Air, and Massive Attack!
Thirteen albums in, Have We Met manages to meet somewhere between trademarks and new territory – atmospheric approximations of feeling and place, wry gut-punches of one liners, and the deluge of energy meets a thematic catharsis of modern dread, delivered with an effortless, entrancing directness. But, no need to expound any further. He’s got it all spelled out for you in the music.
Dead Oceans
CD | LP
Marlon Williams
Live at Auckland Town Hall
Live at Auckland Town Hall marks Marlon Williams’ first official live album and the follow-up to his critically acclaimed 2018 sophomore LP, Make Way for Love. Williams spent the bulk of 2018 touring across the world in support of Make Way for Love, sharing the stage with his second family, The Yarra Brothers. Last year also saw Williams’ silver screen debut with a small role and performance in Bradley Cooper’s Oscar-nominated A Star is Born. Finally, after the whirlwind, Williams returned home to New Zealand, performing two sold-out nights at the Auckland Town Hall as a fitting cap to the world tour.
Across the past several years on the road, the Marlon Williams live show has taken on an almost mystical status — not just for Williams’ extraordinary voice, but also for the hypnotic command he has over an audience, his seamless blending of genres, and the effortless, instinctive relationship he shares with his band.
Live at Auckland Town Hall captures an artist both early enough in his career to be humbled by the occasion, and developed enough to present a stunning catalogue of music and quality of performance. Live at Auckland Town Hall feels sure to enter the canon of great live albums in the years to come, a dazzling snapshot of Marlon Williams’ musical singularity.
Dead Oceans
CD | LP
Marlon Williams
Make Way For Love
Known for his effortlessly distinctive voice, Make Way For Love marks Marlon's exponential growth as a songwriter. Throughout 11 original songs, he explores new musical terrain and reveals himself in an unprecedented way in the wake of a fractured relationship. While Make Way For Love draws on Marlon's own story, it captures the vagaries of relationships we've all been through: the bliss, ache, uncertainty, and bitterness. Like the best breakup records, Make Way For Love doesn't shy away from heartbreak, but rather stares it in the face, and mines beauty from it. Delicate and bold, tender and searing, it's a mightily personal new step. Make Way For Love was recorded with producer Noah Georgeson and his backing band, The Yarra Benders, in North California's Panoramic Studios after several weeks of pre-production in his native Lyttelton, New Zealand with regular collaborator Ben Edwards. The finished result is an expansive record that moves Marlon several paces from "country" - the genre that's been affixed to him more than any in recent years - with forays into cinematic strings, reverb, rollicking guitar, and at least one quiet piano ballad.
Dead Oceans
CD | LP
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