11-08-2018 10:15 ~ FAVTRAX:MiX ~ 33 FAVOURiTE tracks 2017-2013

little hurricane

11-08-2018 10:15 ~ FAVTRAX:MiX ~ 33 FAVOURiTE tracks 2017-2013  >>little hurricane, Emma Ruth Rundle, The Kills, Low Cut Connie, Kitty Daisy & Lewis, Luther Dickinson, Nick Cave & the Bad Seeds, Queens Of The Stone Age, Grand General, Anna Calvi<<

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2017-2013

A gritty and down-home 21st century blues-rock duo out of San Diego, California.  little hurricane formed in 2010 when guitarist and vocalist Anthony "Tone" Catalano answered a musician's call from drummer and vocalist Celeste "CC" Spina on craigslist. Catalano, originally from Santa Cruz, California, and Spina, originally from Chicago, Illinois, shared a common interest in both the blues and vintage musical equipment, and their ragged, passionate sound evolved almost instantly.
Little Hurricane
Take It Slow 3:27
Same Sun Same Moon 3:22
For Life 3:45
from Same Sun Same Moon 2017
...Little Hurricane continue this progression on Same Sun Same Moon, stepping even further away from the repetitive lyrical traps they fell into on their first record – all while exploring new musical territory. Little Hurricane apply their blues and classic rock influences to music that is brave enough to explore sounds commonly heard in rock, pop and alternative music. Same Sun Same Moon is an interesting record with no simple label or category – and that’s a big reason for why it’s enjoyable to listen to.

Dark and evocative post-folk from L.A.-based singer/songwriter and member of Red Sparowes, Marriages, and Nocturnes.  The singer and guitarist for California post-rock/psych-metal outfit Marriages, a member of Isis-connected post-rockers Red Sparowes, and frontwoman for atmospheric psych-folk/slowcore collective Nocturnes, Los Angeles-based multi-instrumentalist and singer/songwriter Emma Ruth Rundle issued a collection of ambient, experimental guitar compositions through bandcamp before releasing a proper solo album.
Emma Ruth Rundle
Marked for Death (Emma Ruth Rundle) 3:39
Medusa (Emma Ruth Rundle) 5:19
Furious Angel (Emma Ruth Rundle) 4:15
from Marked for Death 2016
The follow-up to 2014's dreamy post-folk gem Some Heavy Ocean, Marked for Death finds Emma Ruth Rundle both dancing with and exorcizing a slew of personal demons via a brooding blast of icy alt-rock and doomy sludge metal. A far heavier, both figuratively and literally, affair than her weighty debut, Marked for Death can hardly be described as a mood stabilizer, but Rundle is able to contrast that lyrical vulnerability with huge, empowering blasts of sonic might. Those moments are more often than not preceded by stark declarations of existential grief, most of which seem predicated by a recent breakup or loss of a loved one. Her fluid voice -- a beguiling amalgam of Chelsea Wolfe, Tori Amos, and PJ Harvey -- can go from broken to soaring to feral in a single measure, and when paired with her atmospheric guitar pyrotechnics, the effect renders much of the first-person fretting moot...

An Anglo-American duo that plays fiery garage rock with blues grit, new wave cool, and loads of feedback.  The bluesy punk duo the Kills consist of vocalist/guitarist VV, aka Alison Mosshart, formerly of the Florida punk band Discount, and drummer/guitarist/vocalist Hotel, aka Jamie Hince. After Discount ended in 2000, VV began exchanging tapes with the London-based Hotel through the mail, but both of them felt hindered by this method, so VV crossed the Atlantic so the duo could write faster. In spring of 2001, they issued a self-released demo that showcased their gritty, sexy sound and earned favorable reviews from such quarters as TapeOp Magazine.
The Kills
Doing It to Death IThe Kills) 4:07
Heart of a Dog (The Kills) 3:46
Hard Habit to Break (The Kills) 3:52
Bitter Fruit (The Kills) 4:14
from Ash & Ice 2016
The Kills experienced -- or should that be survived? -- an eventful five years between 2011's Blood Pressures and Ash & Ice. Alison Mosshart moved to Nashville and worked with the Dead Weather as well as on her career as a visual artist, while Jamie Hince split with wife Kate Moss and suffered an injury to his left hand that required him to learn how to play guitar again. The process of recovering from a broken hand and a broken heart is apparent on the duo's fifth album, the title of which suggests the remnants of a night out -- or a nuclear winter -- and also reflects the trip Hince took on the Trans-Siberian Express in the wake of these events. The results capture the isolation and exhaustion that follow a breakup with remarkable honesty. Instead of melodrama, Mosshart and Hince explore weariness and loss via the sounds that seemed so vibrant on their previous albums...

Rock & Roll true believers from Philadelphia, Low Cut Connie specialize in good-natured sleaze and pounding, piano-driven boogie 
Low Cut Connie
Who the Hell is Tina? (Adam Weiner) 0:59
Shake It Little Tina (Adam Weiner) 3:22
Diane (Don't Point That Thing At Me) (Dan Finnemore) 2:24
from Hi Honey 2015
Hi Honey marks the point where Low Cut Connie make the leap to the big leagues -- which doesn't necessarily mean the group has grown up, however. Adam Weiner and Dan Finnemore retain a taste for the lowbrow, something that separates them from legions of overly tasteful retro-rockers and something that's evident not just within their lascivious lyrics but in the rock & roll of their rhythms. By trading heavily on those swinging, soulful rhythms -- a move underscored by the lead single, "Shake It Little Tina," a Tina Turner tribute worthy of its subject -- Hi Honey differentiates itself from the driving, old-time rock & roll of 2012's Call Me Sylvia but also the heavy blues riffs of the Black Keys, the only other 2010s band with a similar affection for the sounds and styles heard deep in crates of old vinyl. As Hi Honey makes plain, Low Cut Connie are at their heart a party band: they want to get you out of your seat and dancing. Weiner's pumping piano, alternating between barrelhouse pounding and a full-tilt Jerry Lee Lewis boogie, sets the pace -- rocking 88s do indeed give the music a bigger beat than just guitar and drums -- but the nifty thing about Hi Honey is how it's cleverly produced to replicate the kinetic sensation of hearing a stack of 45s being spun through an old jukebox...

The Durham siblings crafted their anacrhonistic country blues and rockabilly sound as teens in the early 21st Century. 
Kitty, Daisy & Lewis
Whenever You See Me (Kitty, Daisy & Lewis) 4:00
Feeling of Wonder (Kitty, Daisy & Lewis) 3:05
Good Looking Woman (Kitty, Daisy & Lewis) 3:10
from The Third 2015
The third full-length album from Kitty, Daisy & Lewis, 2015's fittingly titled The Third, showcases more of the group's rootsy yet stylistically wide-ranging mix of rockabilly, ska, vintage-style R&B, and quirky old-school pop. The album follows the group's acclaimed 2011 effort, Smoking in Heaven, and features production from the Clash's Mick Jones. Early on in Kitty, Daisy & Lewis' career, the British siblings (whose parents are noted producer/guitarist Graeme Durham and former Raincoats drummer Ingrid Weiss) exhibited a penchant for covering classic rockabilly and country songs, a talent that got them pegged as a traditionalist or even revivalist roots band. The fact that they also looked the part in vintage '50s clothes, and eked out their charming lo-fi sound with a mix of acoustic and electric instruments and tube amps, only added to the misconception. Seven years on from their full-length debut, Kitty, Daisy & Lewis appear less as a neo-retro rockabilly or country act (although they certainly touch upon those styles) and more like an astute, genre-bending post-punk band from the '70s or early '80s. Think how Talking Heads combined their love of soul and disco into their own fractured new wave sound and you'll get a good idea of where Kitty, Daisy & Lewis are coming from. Which isn't to say that they aren't still a little bit rootsy -- or that they sound anything like Talking Heads, for that matter...

A son of Memphis royalty, a talented guitarist with an eclectic range of influences, and one of the North Mississippi All-Stars. 
Luther Dickinson
Vandalize (Luther Dickinson) 2:53
Blood 'n' Guts (Luther Dickinson) 3:19
Mojo, Mojo (Luther Dickinson) 5:18
from Rock 'n' Roll Blues 2014
In 2012, Luther Dickinson released four albums; among them was the instrumental acoustic record Hambone's Meditations -- his first proper solo album apart from the North Mississippi All-Stars. It was nominated for a Grammy. Rock 'N Roll Blues is, in a way, an extension of that record. It's a collection of ten songs that Dickinson claims didn't fit on his other records. Altogether they create a loose, autobiographical song cycle about a life spent making music. It's played by a tight, all-acoustic band in a relaxed backporch manner. Dickinson's voice and guitar are supported by Amy LaVere's upright bass, Sharde Thomas' drums and fife, and second drummer Lightnin' Malcolm. Everybody sings backup...

Eclectic and powerful post-punk band that's steadily evolved under the leadership of one of rock's most celebrated songwriters.  Formed after the breakup of the Birthday Party in 1983, Nick Cave & the Bad Seeds became one of the most original and celebrated bands of the post-punk and alternative rock eras in the '80s and onward. Playing music that meshed with the dark, multi-layered narratives of Cave's lyrics, the Bad Seeds created sounds that were physically and emotionally powerful, but with a sense of dynamics and drama that set them apart from their peers. While plenty of musicians would move in and out of the Bad Seeds' lineup over the years, throughout their history they were always a musical force as powerful as their leader.
Nick Cave & the Bad Seeds
From Her to Eternity (Nick Cave) 5:35
Tupelo (Nick Cave) 7:18
The Carny (Nick Cave) 8:00
The Mercy Seat (Nick Cave) 7:18
from Lovely Creatures: The Best of Nick Cave and The Bad Seeds (1984-2014) 2017
Nick Cave is a singular figure in contemporary rock music; he first emerged as punk rock was making its presence known in Australia, but though he's never surrendered his status as a provocateur and a musical outlaw, he quickly abandoned the simplicity of punk for something grander and more literate, though no less punishing in its outlook. Cave also had an approach to collaboration that made his backing band, the Bad Seeds, an integral part of his creative vision, even as their membership changed and their sound evolved over the space of three decades of fury and eloquence. In Kirk Lake's liner notes to Lovely Creatures: The Best of Nick Cave and the Bad Seeds, 1984-2014, he celebrates the band as much as their charismatic leader and songwriter, and the 45 songs collected on this three-disc set make the case that while Cave may be the frontman -- and a profoundly charismatic one with a powerful voice that can communicate from a whisper to a scream -- his musicians bring a color, shape, and texture to his songs that focus and amplify his gifts as a singer and lyricist...

Highly acclaimed hard rockers from the California desert who update old-school riff rock without overloading irony or slavish imitation. 
Queens Of The Stone Age
Keep Your Eyes Peeled (Queens of the Stone Age / Joshua Homme) 5:04
I Sat By the Ocean (Queens of the Stone Age / Joshua Homme) 3:55
The Vampyre of Time and Memory (Queens of the Stone Age / Joshua Homme) 3:34
...Like Clockwork (Joshua Homme / James Lavelle / Charlie May) 5:24
from …Like Clockwork 2013
All the surface evidence on ...Like Clockwork suggests Josh Homme is steering Queens of the Stone Age back to familiar territory. Once again, he's enlisted drummer Dave Grohl as his anchor and he's made amends with his erstwhile bassist Nick Oliveri, suggesting Homme is returning to either Rated R or Songs for the Deaf, the two turn-of-the-millennium masterpieces that thrust QOTSA out of their stoner rock cult, but ...Like Clockwork isn't so simple as a return to roots. Homme flirts with his history as a way to make sense of his present, reconnecting with his strengths as a way to reorient himself, consolidating his indulgences and fancies into a record that obliterates middle-age malaise without taking a moment to pander to the past...  This is forceful, purposeful, fueled by dense interwoven riffs and colored with hints of piano and analog synthesizers that quite consciously evoke '70s future dystopia. QOTSA always specialized in this eerie sexiness, but the precision on ...Like Clockwork -- quite different than the merciless propulsion of Era Vulgaris, the 2007 album that closed out their time at Interscope -- feels conceptually tight, Homme smartly sculpting guitar fuzz, elastic solos, haunted harmonies, and deceptively slinky rhythms into a cool, relentless collection of heavy rock. The force impresses but also the restraint: there are missed beats and open space, muscular music that seduces and pummels, even manages to soothe while it assaults. It's complex, harder, and catchier than anything QOTSA have done in a decade, and more song-oriented, too, but that's a sign of maturity: Homme has marshaled all of his strengths on ...Like Clockwork and has found a way forward, a way to deepen his music without compromising his identity.

This heavy Norwegian fusion quintet became Grand General after premiering as the Kenneth Kapstad Group at the Trondheim Jazzfest. 
Grand General
Antics (Trond Frønes) 12:20
Red Eye (Trond Frønes / Ola Kvernberg) 11:02
from Grand General 2013
This Norwegian fusion quintet features the same instrumental lineup as Mahavishnu Orchestra, so comparisons to John McLaughlin's legendary '70s band are probably inevitable. But on the basis of Grand General's eponymous 2013 Rune Grammofon debut, such comparisons would merely scratch the surface. The bandmembers have the chops to match any fusioneers past or present, but they're also fond of the relentless rock pummel, undergirding their pyrotechnics with a powerful rhythm section possessing deep reserves of energy. Motorpsycho fans will recognize the Norwegian psych/prog/metal institution's current drummer, Kenneth Kapstad, and Kapstad is indeed a driving rhythmic force here, but bassist Trond Frønes is at least an equal partner. Frønes adopts a thick, overdriven bass tone at times strikingly similar to that of Motorpsycho vocalist/bassist Bent Sæther (check out 2010's Heavy Metal Fruit). Kapstad and Frønes also play together in the metal band Goat the Head, so they are definitely on the same wavelength...

British singer/songwriter with influences ranging from Nick Cave's post-punk to Django Reinhardt's flamenco.  Hailed as "the best thing since Patti Smith" by Brian Eno, as well as being included in the BBC's Sound of 2011 list, the hype surrounding London-born Anna Calvi came to a crescendo in late 2010. Gaining critical acclaim among music journalists, Calvi drew comparisons with passionate and brooding musicians like Nick Cave and Polly Jean Harvey. The dense and rich musical influences that inhabit Calvi's world are broad and distinctive strokes of sultry flamenco, smoke-filled blues, and seductive goth pop/rock. Adding to this tapestry of influences, Calvi claims to have been inspired by the films of David Lynch, Gus Van Sant, and Wong Kar Wai; the cinematic element to her music contributes a mysterious and unyielding undercurrent to her work.
Anna Calvi
Suddenly (Anna Calvi) 3:34
Piece by Piece (Anna Calvi) 3:16
Carry Me Over (Anna Calvi) 5:27
from One Breath 2013
On her 2011 Mercury-nominated debut, bewitching, guitar-slinging Brit Anna Calvi delivered enough atmosphere to terraform her own planet...  One Breath, her intoxicating sophomore outing, picks right up where her eponymous first impression left off, offering up a pair of fevered, reverb-drenched, bordello-rock gems... Having eschewed much of the cavernous chamber pop of her debut for more challenging yet no less rewarding fare, Calvi's less adventurous fans may find themselves at a loss as to how to process it all, but there's something both immaculate and broken about One Breath that ultimately transcends its more difficult moments.