Since its release stateside in mid-August, Valerie June's Pushin’ Against A Stone, has earned some of the year’s most ecstatic reviews. Produced by Kevin Augunas and Dan Auerbach, the album showcases June's astonishing songwriting and singular sound, a blend of rural roots and country that bridges Alan Lomax's acoustic field recordings with biting, electric indie-blues.
KSUT will feature 'Pushin Against a Stone' Friday, September 27 at noon.
At 19, Archy Marshall has parlayed his musical upbringing and constantly evolving songwriting into early success under the name King Krule. He quickly caught the attention of the DJs here at KCRW with his raw baritone vocals, which work well alongside the jazz and R&B influences in his work.
King Krule recently came by Morning Becomes Eclectic for his U.S. live radio debut to play songs from his full-length debut album, 6 Feet Beneath the Moon — including "Baby Blue."
Originally published on Thu September 26, 2013 11:26 am
"What has Wooden Wand been up to lately?" It was a simple question that turned into an epic email thread with a friend a year ago; the kind where you find yourself a sudden apologist for a sprawling, decade-long discography. There was the noise jam-band phase, the bedroom acoustic recordings mistaken for "freak folk," the major-label "flop" that had more to do with the crumbling remains of the label than the artist...
Originally published on Thu September 26, 2013 10:01 am
It's a story we've heard before: The British singer enamored of American music makes it his own. In the case of our guest today, Jamie N Commons, he didn't have to do it from afar.
Commons was born in Bristol, England, but moved to Chicago when he was 7. That's where he soaked up all the blues and R&B he could; he'll tell us today about an Allman Brothers concert at an early age that made a major impression. He returned to the U.K. at 19 and now, at 24, has just released his second EP, Rumble and Sway.
Originally published on Tue October 15, 2013 9:38 am
Geoff Barrow of the revered English band Portishead recently maligned the fast-rising Los Angeles sister act HAIM with a snippy tweet: Hiam [sic] sound like Shania Twain ... When did that become a good thing? To which this critic replies: Who said it isn't?
The first thing you notice about Lucy Schwartz's Timekeeper is the singer's voice — both her physical voice, which is at once ringing and adroit, and her writer's voice, which is precise yet elusive. When Schwartz sings "Ghost in My House," the production renders her tone in an echoing manner that signifies spookiness. It also suggests a metaphor — memory as a ghost, the haunting of someone who's no longer in her life. In general, Lucy Schwartz is in love with the sound of her own voice, and for once that phrase is not meant as a criticism; I think she has good reason to be.
The Scottish synth-pop trio Chvrches recently made its second visit to Minneapolis in three months. While in town, its members stopped by The Current's studios in St. Paul to perform songs from The Bones of What You Believe — including this intimate version of the rousing anthem "Recover."