Tuesday, May 21, 2013

Now Hear This: Editors’ Picks (Spring ’13)

May 03, 2013

The Dead Tongues
Desert
(FireAnt Music)

With Desert — Ryan Gustafson’s follow-up to 2009′s Donkey, released under his given name — the Durham singer applies his own nuance to classic songwriting touchstones. These 10 tracks waver between moments of nothing-left-to-lose freedom and love-lost misery; this is “fuck it” music in both incarnations of the phrase. The bulk are straightforward folk- and country-inflected rockers, recorded and played loosely but with obvious love. Opener “Call Out to Me” could be Blonde on Blonde-Dylan as done by Beachwood Sparks, piano and guitar lines chasing a compelling descending chord pattern to capture the narrator’s laid-back demise “on a bed of smoke.” On both “No Intentions” and the title track, he cranks up the tension with cathartic bridges using Al Kooper-like organ for fuel. There’s a tendency to tag “Ryan Adams” on any Triangle rocker accenting his sad songs with country and folk elements, but Desert never undercuts its dark themes with self-pity. And so far, Gustafson’s proved he’s a damn fine songwriter, too. — JS

Tuesday, February 26, 2013

The Dead Tongues: "Desert"

Tuesday, February 26, 2013

Album Review: The Dead Tongues - Desert

Four and a half years since his last acclaimed solo record (Donkey LP), Ryan Gustafson, as The Dead Tongues, returns to his strength with the spectacular Desert.

The wait was worth it. Desert is stewed to perfection. It’d be easy to group this record in with all the other dark Americana coming out of the south recently, but it sets itself apart with brighter harmonies reminiscent of 70s folk rock accented with hints of Gustufson’s experiences in Max Indian, The Light Pines, Mandolin Orange, and his experimental project The Daughter Is Ambiguous.

Gustafson is clearly the star, but the organ steals some spotlight on Desert. The instrument is allowed a ton of range from low-key, soulful accenting (“Exit Song”) to soaring lead voice (“The Desert”).

The album reaches its peak with “Depression,” the front runner for best song of 2013. It sucks the listener in with an irresistible guitar hook and a knock-out first line: “I get in depression like you get into cars driving you home. Like she got into cuttin’, like I got into drinkin’ on my own.” The organ takes over and really belts it out, before setting up the gradual fade out over Desert’s final two tracks.

This complex mix of tones pushes the album beyond simple melancholy and into nuanced emotions that are harder to pin down.

Desert is about momentum and the fear of lacking it. Gustafson is afraid of getting stuck in one place, of time passing him by, of leaving the world unmarked.

“Look in the mirror. Boy, I have grown. Once just a pebble, now a sinking stone,” he sings on “The Desert.” Gustafson looks ahead as much as he looks back, but it all kind of looks the same when he’s in the middle. “Life is a desert that I’m meant to roam.”

To deal with his restlessness, Gustafson examines what’s worth stopping or, more severely, dying for (often love) and what’s not (“corporate government”). It’s all brought to life with compelling weariness by Gustafson, who wavers between vulnerability and nonchalance.

“If you want to know about something — well, something true — I don’t care about nothing, but I care about you,” he opens “Milestone.”

Gustafson isn’t a character here. He doesn’t have an agenda and there’s no bullshit.

“I’ve got no intention of pleasin’ or romancin’,” the weathered troubadour sings on “No Intentions,” “All I can say is what I feel.” That, more than anything else, is what makes Desert essential.

Desert is out now. The Dead Tongues will play Kings Barcade in Raleigh with Schooner on March 8. Tickets are $6.

http://trianglemusic.blogspot.com/2013/02/album-review-dead-tongues-desert.html

Monday, February 25, 2013

"Desert" and The Dead Tongues

Monday, February 11, 2013

Album Review: "Desert" by The Dead Tongues

The Dead Tongues released Desert on February 9
at The Cat's Cradle

Ryan Gustafson is a songwriter that I'd only heard of for years, but until Hopscotch 2012 I had never actively listened Gustafson. Big mistake. While I'm glad I made sure my first experience with the talented songwriter was a live show, I wish I'd hopped on the train earlier. After releasing Donkey in 2009, Gustafson hopped around from notable projects like Max Indian, The Light Pines, and Mandolin Orange all the while working on instrumental tracks of his own under the moniker The Daughter Is Ambiguous. However, 2013 marks the return of Gustafson's solo work, and this new Dead Tongues release is something truly special. It's clear that Gustafson's break in songwriting allowed him to develop a sense of purpose within his songs, everything feels as raw and personal as it did on Donkey, but it feels far more dynamic than Gustafson's previous release.

Each track has a defining voice, driving the album down a road that contains many exciting peaks and curves, but ultimately arrives at the same comforting sense of sincerity that drew the listener in to begin with. Ranging from alt-country anthems to expansive six minute tracks like "Milestone" that careen effortlessly through a wide-open musical pallet, Desert is a unique album that can truly connect with listeners through powerful lyrics and gorgeous instrumentation.

Gustafson's lyricism is something that can't be emphasized enough, while each song remains entirely enjoyable musically, the textures and feelings that are brought out through Gustafson's raw approach to songwriting is what makes The Dead Tongues the powerhouse they are. Tracks like "Depression" boast a bouncy yet rustic approach both melodically and musically, but from the opening lines it's clear that this song contains much more than a catchy hook. "I get in depression/Like you get into cars driving you home/Like she got into cutting/And I got into drinking on my own". One of the joys of this album is that each song contains these lyrical gems, these moments where you feel like a veil has been lifted between you and the musicians and you can truly connect with their music. Tracks like "The Desert" and "No Intentions" feel like sincere statements that can evoke the memories of a particular place or time, sonically they contain memorable melodies and lyrically they draw upon feelings of self reflection and aimlessness that many can immediately connect with.

Desert is an album that's wonderfully diverse to be as cohesive as it is. Gustafson's songwriting can be likened to Ryan Adams, but it feels like Gustafson is a bit more comfortable with roaming into untravelled territory than the former Carolina songwriting sensation. Take "The Harbor" for example, it's a track that feels like it could have been belted out by Dylan or Cash, it's a rustic narrative that's driven by unabashed honesty and reflection. The Dead Tongues are a band that's filled with nothing but talent and potential and Desert marks the return of an amazingly talented songwriter to bask in the spotlight he deserves. After seeing Gustafson in the contributing role so frequently with acts like The Human Eyes and The Light Pines, it's nice to see his ideas at the forefront once again, as it produces incredible results. Desert is a fantastic album that roams into the vast unknown, it's filled with nomadic reprises and a sense of comfort in the uncertainty that comes with that. The Dead Tongues have embraced that uncertainty through approaching their music with rich dynamics, producing an album that contains old-country ballads, powerful pop gems, and everything from strings to organs to fill in the details. I can't wait for the round of shows that comes with this release, having missed the Donkey-days, this will be a wonderful introduction to a full-band Ryan Gustafson project. The Dead Tongues are speaking clearly and Desert is a powerful statement from Gustafson on his staying power within the Triangle music scene.

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Thursday, February 14, 2013

Dead Tongues: "Desert," Cats Cradle, Carrboro, North Carolina

Feb. 9, 2013

Release Party: "Desert"

The Dead Tongues

Ryan Gustafson

Pix: Lew Herman

Music Review:

The Dead Tongues

By Elizabeth Byrum | The Daily Tar Heel

Updated: 02/08/13 1:12am

Diversions

The Dead Tongues
Desert
4.5 stars

Rock

Way back in 2009, Ryan Gustafson released the glorious and highly-praised country rock Donkey LP that had listeners (at least this one) begging for a follow-up. But for a while, as Gustafson dabbled with the Drughorse Collective and numerous other local bands, the release of his next record was left up in the air.
However, after nearly four years, the wait is over. This time, Gustafson hasn’t completely returned by himself, but instead as a reincarnation he calls The Dead Tongues. Even as an expanded group, things are still part grit, part guitar picking and completely infectious, but there is a more polished and mature presence. Gustafson and company may be a little more weathered after a few years, but on Desert they’re certainly no worse for wear.
Desert finds us at the optimistic beginning of a journey that doesn’t necessarily have a destination in mind. On “Call To Me,” Gustafson’s signature subtle twang and the accompanying harmonies are robust, and like the morning sun, the country rock-laden guitar shines brighter with each strum. The aptly named song “No Intentions” follows, offering the same musical rewards that reflect the energetic kickstart to the album.
Then, like a parched and tired traveler, the album’s title track sways and staggers onto the scene, but gracefully, with stronger-than-ever guitar and percussion. While its lyrics induce a cloud of bittersweet nostalgia, the instrumentation builds to a triumphant crescendo, and the result couldn’t finer. And as the album continues along its course, it’s just one of the tracks that firmly moves into memory and into the soul, refusing to let go.
Continue along the journey, and stumble into the throwback bass of “Depression,” where casually nonchalant lyrics like, “Well I get into depression like you get into cars driving you home,” speak of those times when there’s no need to care. As Desert continues on, the mood slows a little more, weaving in some funkier and darker instrumentation on “Sleep Talking” and “Silver Dove.” It’s the perfect component that results in a most well-rounded trip.
If “too polished” was to be a problem, perhaps Desert is flawed in that sense. Yet there is a certain crispness that remains throughout the album that is hard to make stale. The Dead Tongues are anything but expired and although the journey might be winding, the desert is calling. Grab onto the things country rock dreams are made of and make sure to jump on this ride.

Published February 5, 2013 in Diversions

http://www.dailytarheel.com/blog/dive/2013/02/music-review-the-dead-tongues

Wednesday, February 6, 2013

"Desert" The Dead Tongues on FireAnt

"Desert"

The Dead Tongues

FireAnt

Release date: February 9, 2013

From the Bull City, laconic, lanky, Ryan Gustafson packs a self-assured, sweet punch on his new recording "The Desert". With backup band the Dead Tongues he artfully constructs songs with honesty, integrity and gusto featuring his unique guitar playing, solid vocals, cheeky lyrics and nifty arranging. Tunes resolve nicely - melody, chorus, breaks - all accompanied by aural surprises, from catchy guitar riffs on "No Intentions" to doo-wop-ish choruses in "Call Out to Me". Hooks abound - whether on a backup chorus on "Milestone", to a tasty guitar lick on “No Intentions”.

Ryan's guitar work - from Carolina jangle to lacerating to hypnotic, fits just right.
The intros - folkish or postmodern - lead the listener onward to the next sweet spot, like his lyrics, or a nice guitar run. Dead Tongues musicians mesh together nicely with special kudos for keyboards, whether piano or something sounding older, like a wheezy organ or a melodeon on codeine. There’s nice fiddle playing too, on "The Harbor". And the backup singers contribute nicely, especially on "Call Out to Me", "No Intentions" and "Milestone". I liked it so much I chose to help release the damn thing.

The album's rhythms vary, mostly in mid tempo range but with enough variety to avoid monotony. Each song carries a unique identity. The lyrics carry sonic hooks and hidden messages, with each song sounding like a thousand pictures. Check out the Dylan-ish organ in "The Desert" or the post -“Norwegian Wood" sound of “The Harbor". In short, this album has vision. If this is the new Chapel Hill sound, sign me up.
Lew Herman

www.fireantmusic.com

Wednesday, November 7, 2012

Ty Segall: "Twins" review

Ty Segall

“Twins”

Drag City

Release date: Oct. 9, 2012

Lew Herman

Here’s a rare full lengther that both starts and ends well. And the middle is damn nice, too. Starting with the snappy “Thank God for Sinners” it slams purposefully throughout, ending with a conclusive “There’s No Tomorrow”. Along the way this garage squallfest is varied and cohesive with tracks listenable, catchy and hooky. This prolific San Fran based stomper has already released several recordings this year but this one sounds less garage and more studio. On last years "Goodbye Bread" he roared about his exploding head. This time he wails that he doesn’t want to be a “Ghost”.

On “Twins” Ty dishes up basement guitar skronk, dishing riffs that can sound vocally like John Lennon (“There is No Tomorrow”) while his guitar echoes a rough sounding George Harrison - Beatles with backbone, you might say. Along he way he references the Who (“Who Are You”), Blue Cheer, Led Zep and even Jefferson Airplane though probably aiming for a cross between Black Sabbath and Hawkwind. The “Love Fuzz” guitar riff could be a slo-mo takeoff of Eric Clapton’s “Sunshine of Your Love”.

This is guitar dominated heavy rock, so for those predicting its demise – look again. Cock rock still lives. Derivative? Yes, but with verve and style. Ty brings hooks and surprising rhythmic twists and turns along the way, so even if revivalist, it goes down well.

This is dense, chunky, primal, music with stomp, style and urgency. “Twins” is more sludgy and mid-tempo than earlier work but it’s solid, restless music for the young, loud and snotty.

http://clclt.com/charlotte/review-ty-segalls-twins/Content?oid=2909741

Wednesday, October 3, 2012

CD review: Mexican Institute of Sound's Politico

Nacional

Release date: Aug. 14, 2012

by Lew Herman

If you think our political system's rotten, try listening to the Mexican Institute of Sound's powerful take from our neighbor to the south. MIS, neither a group nor an institute, is actually Camilo Lara, the main honcho at EMI Mexico. As a record collector, he amassed thousands of recordings from which he created holiday mixes for his pals, eventually leading to his current position.

Call him an accidental rock star, if you will, but his latest recording Politico ("Politics") should further embellish his stature. Released during the recent controversial Mexican presidential elections, it pulses like a ticking bomb. His "rah rah rah" chorus on "Mexico" is a deeply sarcastic response to unrest, poverty, instability and the rise of the drug lords.
The tunes are all strikingly different, pulsating with rhythms ranging from old school mambos to the latest electronic cumbia beats. As an example, try listening to "Ritmo Internacional" without skittering across the dance floor. Lara's quirky humor showcases an amazing assemblage of scratchy old samples blended with new electro-pop sensibilities.

He can't sing — he sort of croaks — but all he has to do is make his point and let his music take over. Blessed with originality, varied rhythms and astonishing production, there's always something special going on. Title track "Politico," "Revolucion!" and "Mexico" all feature wobbly mariachi horns with sly political commentary. Hint: He uses the word "podrido" an awful lot, which translated means "rotten."

These days, the best Latin recording artists from Mexico to Argentina are moving in heady new directions fusing traditional, folk/folklorico with electronica. Mexico's sound masters, especially MIS, have borrowed from a rich palette of corrida, norteño, ranchera and mariachi, transforming them into an entirely new, explosive sound.

http://clclt.com/charlotte/cd-review-mexican-institute-of-sounds-politico/Content?oid=2869756

Tuesday, August 14, 2012

Ray Wylie Hubbard at the Double Door Inn, Charlotte, North Carolina

Live review: Ray Wylie Hubbard, Double Door Inn, 8/9/2012

Posted by Lew Herman on Fri, Aug 10, 2012 at 4:13 PM

Ray Wylie Hubbard
Double Door
Aug. 9, 2012

Looking like an older and wiser John Lennon, Texas songster and Oklahoma-raised Ray Wylie Hubbard eased into a long set Thursday night with charm, sly humor and a dose of articulate, potent tunes on topics ranging from 19th century poetry (“Drunken Poets Dream”) to sing-along’s about reptile raising (“Snake Farm"). It was a geezer crowd, which made sense - Hubbard is well over 60 himself (“I don’t want to peak too soon”) - but there was a scattering of all ages among the dense, sellout crowd.

Best known by some for his anthem “Up Against the Wall, Redneck Mother,” he performed as a top-caliber showman, guitarist and talker, introducing all songs and sucking the crowd into every tune he offered. Introducing his “band” consisting solely of drummer Kyle Schneider, he moved quickly into classic form with “Snake Farm.”

He oozes charm and charisma and has written some incredibly good songs. Taking his time, some of his jaw-dropping tunes were mini raveups lasting five or 10 minutes, with his nasally voice, crackling lyrics and snaky slide guitar anchored by his rock-steady drummer and maracas player.
Hubbard's cover of James McMurtry’s “Choctaw Bingo” was spot-on, while some songs surprisingly resembled "Bob Dylan’s 115th Dream” or the talking blues of Rambling Jack Elliott. He played “Down Home Country Blues” reminiscent of fellow Oklahoman Woody Guthrie, with folksy yet outspoken political and cultural outbursts. Hubbard even quoted Guthrie’s famous statement of purpose: “To comfort the afflicted and afflict the comfortable.” He’s not entirely P.C., but that’s part of his charm.

Hubbard is one of the original cosmic cowboy Texas singer/songwriters in the Jerry Jeff Walker tradition (Walker made Hubbard's "Redneck Mother" famous) In the 1970s, Hubbard was too confrontational, outrageous and ornery for the record companies and public. Often shunned, Hubbard has survived and prospered from singers who have covered his songs, “including even Cracker,” he recalls. Today, he may be even more valid than ever. If I was in charge, he’d be declared a national treasure.

Tags: Ray Wylie Hubbard, Charlotte, Double Door Inn, music, Lew Herman, Live reviews

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Probably the most overrated Texas singer-songwriter ever...do yourself a favor and seek out guys like Brian Burns, Chris Wall, Jerrod Medulla, Ronnie Spears, etc., who are actually talented.

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Tuesday, May 21, 2013

Now Hear This: Editors’ Picks (Spring ’13)

Tuesday, February 26, 2013

Tuesday, February 26, 2013

Album Review: The Dead Tongues - Desert

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