Three Wolf Moon
W
Self-Released

It helps to think of Three Wolf Moon as something like an old Native legend and not, as you might be immediately tempted to do, an homage to Three Dog Night or the ironic, cult-folk t-shirt design (which I’m afraid it is). That way, when you drink in its hazy, star-filled, electric splendor, you can stare at the sky for hours with nothing but an affinity for wandering spirits in your mind. Indeed, W is a three-song brain-tickler, a delicate odyssey of garage-psych obsessed with alphabetical stress, and its trio of  doubled-yous (“Water/Wine,” “Wetbrain,” “The Worst”) are indelible gifts of indie-freak you won’t soon forget. You know, there’s no reason this Canadian band, which features members of Black Wizard, If We Are Machines, and The Best Revenge, can’t run with the likes of Black Mountain and Weird Owl to whatever cosmic finish line awaits ‘em. And I’ll be on the sidelines doing my part by handing out the Kool-Aid when they pass by…and wearing that t-shirt, no doubt.

Listen to W (and download it for free) right here!

Jesse Sykes & The Sweet Hereafter
Marble Son
Station Grey Records

At first listen, especially to one of her earlier albums, like Reckless Burning, Oh, My Girl, or Like, Love, Lust and the Open Hallways of the Soul, you wouldn’t think that Jesse Sykes would become a desirable figure in the world of heavy music (although she does look like a raven-haired mistress of the night), but thanks to her collaboration with Boris and SunnO))) on “The Sinking Belle” from Altar, the alt-country/indie singer/songwriter has made a name for herself amongst weirdos and beardos alike. In fact, she’s toured with bands like Earth and Black Mountain, and played at Roadburn, so whether it seems like a natural fit or not, the dark side has embraced Sykes, and now on her latest release, Marble Son, she’s embraced it right back. Truth be told, Sykes’ music (which she’s always made with longtime musical partner Phil Wandscher) has always contained darker elements, but never has that been more evident than on Marble Son, which sheds the alt-country vibe of albums past for a more psychedelic feel of melancholic finger-picking, mystical strumming, and distorted magic. In fact, all of that can be found on the eight-and-a-half-minute opener, “Hushed By Devotion,” which sets the tone for the rest of the album by acting as a giant rabbit hole into which you fall, and once the title track and “Come to Mary” sink their elegant claws into you, you’re adrift on the foggy river of Sykes’ wonderland of sorrow and beauty, and there’s no turning back. And that’s saying nothing of the addictive potion that is her voice, a kind of whiskey-owned siren call of hypnotic splendor that will toss you into thralldom on such songs as “Be it Me, Or Be it None” and “Wooden Roses.” Masterful stuff, really, as electric and powerful as it is lovely and languid, bound to nothing but its bold, broad appeal.

Listen to “Come to Mary” from Marble Son!

J Mascis
Several Shades of Why
Sub Pop

You know, if I’m not careful, this blog is gonna go soft in a hurry, what with all the acoustic/indie stuff I’ve been reviewing lately, and I’d be especially concerned if Several Shades of Why had been released by anyone other than J Mascis, but it’s because this is a J Mascis release that it’s suitable consumption for such a hairy hole as this. From his look to his sound, the man has been iconic (and laconic) for nearly 30 years, and now that he’s abandoned the comfort of one of his myriad bands (Dinosaur Jr., Witch, Sweet Apple, etc.) and chosen to try his hand at a delicately beautiful sound, we should pay attention. Several Shades of Why is, for all intents and purposes, J’s first solo studio record (Martin + Me was live covers, then there were those records with his Friends and The Fog), although he was helped out by such notable musicians as Kurt Vile, Sophie Trudeau (A Silver Mount Zion), Kurt Fedora, Kevin Drew (Broken Social Scene), Ben Bridwell (Band of Horses), Pall Jenkins (Black Heart Procession), and others. That roll call is probably too nerdy and hip for most, but trust me when I tell you that the songs are all J, his strained, alternative voice callously caressing the deep n’ dark melodies to create a collusion of dopey vagueness and intimate intricacies with every breath and chord. Simply put, it’s signature J done quieter than normal, where the nondescript titles (“Not Enough,” “Is it Done,” “Can I,” etc.) reveal very little and the easy ambiguity hides nothing at all.

Listen to “Where Are You” from Several Shades of Why!