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.
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!
The Low Anthem have a real knack for choking me up before the first song on their albums is even halfway over. First it was “The Ballad of the Broken Bones” on 2007′s What the Crow Brings, then it was (arguably the most gorgeous of all of The Low Anthem’s songs) “Charlie Darwin” from 2008-09′s Oh My God, Charlie Darwin, and now it’s “Ghost Woman Blues” (originally written by George Carter) from their latest album, Smart Flesh. Simply put, the indie Rhode Island band instills a breathless yearning into their music that rivals any other kind of emotional response you will get from any other kind of music. And it’s not just the haunting piano ballads, either. The power of their softness carries itself throughout each of their albums, but never has it been more prominent than it is on Smart Flesh, where even the country-folk of “Apothecary Love” and brassy flare of “Boeing 737″ evoke the same visceral response as the soul-touching songs “Love and Altar” and “Matter of Time.” That probably has something to do with the band recording this album over a three month span in an abandoned pasta sauce factory, the affects of that particular environment no doubt enhancing their preferred lonesome-but-beautiful, weepy mustache, Sunday morning, old-timey aesthetic and love for influences like Tom Waits (“Smart Flesh”), Bob Dylan (“Hey, All You Hippies!”), and Leonard Cohen (“Burn”). Genuinely amazing and poignant stuff from The Low Anthem that will leave you reeling once again.
Check out TWO videos for “Ghost Woman Blues” and “Boeing 737″ from Smart Flesh!
Jesse Sykes & The Sweet Hereafter
J Mascis
The Low Anthem