8/3/08: The Dutchess And The Duke

THE DUTCHESS AND THE DUKE
She’s The Dutchess, He’s The Duke
Hardly Art Records
Release date: July 8, 2008
Rating: 4.75 out of 5

Sounds like: Nearly flawless blend of early Rolling Stones, acoustic The Beatles, a young Bob Dylan or Leonard Cohen, and pitch-perfect male/female vocal harmonization



Longtime Seattle musicians Kimberley Morrison and Jesse Lortz score an unexpectedly major hit with their latest musical incarnation The Dutchess And The Duke. Channeling the finest aspects of mid-‘60s folk-rock, Morrison and Lortz come damn close to attaining perfection with their debut She’s The Dutchess, He’s The Duke. Opener “Reservoir Park” could be one of the strongest singles of 2008, with Mick Jagger’s youthful grit, jangly acoustic guitars, and flawless vocal harmonies grabbing hold of your ear within five seconds and refusing to let go. It's the kind of track that could define an entire genre. “Out Of Time” mixes the sunny simplicity of the early ‘60s with lyrics about pistols and “lying naked on the bathroom floor,” “Strangers” speeds along like any number of joyful early The Beatles’ singles, and “The Prisoner” luxuriates in psychedelic guitar lines and gypsy moans. Street-smart teenage innocence a la Eric Burdon and The Animals turns up on “Back To Me,” and the almost-literary “love you but got to leave you” ballad “Mary” could stand up next to any of Dylan or Cohen’s early work. The only weak link of She’s The Dutchess, He’s The Duke comes on the awkwardly tender “You Can Tell The Truth, Now” but when the slow-moving intro of “I Am Just A Ghost” gives way to the eerie vocal layers and rumbling guitars which conjure up otherworldly images, any misgivings about The Dutchess And The Duke vanish. This unassuming duo has kicked off the restrictive shackles of imitation, channeling the best aspects of early R & B and pop into a gripping, refreshingly honest link between all that is good in 2008 and all that was earth-shattering in 1963. Album closer “Armageddon Song” belies its apocalyptic name, wallowing instead in playfully optimistic bliss; technically adept key changes, enthusiastic hand claps, and soul-affirming sing-a-longs verify the genuinely American treasure The Dutchess And The Duke have created. If you've got any affinity for the powerful rock, folk, and pop that changed the musical world, buy this now.

Myspace: www.myspace.com/thedutchessandtheduke
Label: www.hardlyart.com/dutchess_duke.html
"Reservoir Park" mp3

8/3/08: Seth Kauffman

SETH KAUFFMAN
Research
Park The Van Records
Release Date: July 15, 2008
Rating: 3.75 out of 5

Sounds like: A looser, less-obsessive Beck; a little indie rock, a little slouching jazz, a lot of spectacular instrumentation. "Lo-fi North Carolina funk."



North Carolina soul rocker and multi-instrumentalist Seth Kauffman delivers a sparkling batch of eclectic jazz-inflected warmth. Kauffman recorded the many pieces of Research himself, resulting in dense layers of far-flung percussion, beautiful guitar riffs, fuzzy keyboards and sprawling college-rock lyrics. Violins, calypso drumming, and soul choruses bump shoulders on opener “Absolute Sway”; vinyl hisses, hip-hop beats, and a beautiful falsetto worthy of My Morning Jacket make “Not Much Left To Give” glimmer; and “Summertime Bossa Nova” loops acid-jazz percussion, space-noir guitars, and a moody, minor-key atmosphere over sensual keys. Research only gains steam as it moves briskly along, with other stops including the ‘50s garage-rock/trash-blues team-up “Ron Ben-Isreal Blues,” the all-too-brief early-‘70s reggae shamble “Wafting Sands,” and the hootin’ and hollerin’ fun of “Ain’t No Tellin’.” “I Bleed Easy” symbolizes Seth Kauffman’s everything-and-the-kitchen-sink mantra, combining countrified alternative rock with beautifully distorted slide guitar and plaintive beg-for-mercy lyrics. All of these influences blend together so effortlessly it’s hard to pick one defining genre for Kauffman; he may not be as popular as Beck, but Seth's got a comparable set of extensive and all-encompassing chops. His first-rate drumming alone could steer any modern jazz quartet.

Official site: www.sethkauffman.com
Myspace: www.myspace.com/sethkauffman
Label: www.parkthevan.com/sethkauffman
"Absolute Sway" video

8/3/08: The Weeks

THE WEEKS
Comeback Cadillac
Esperanza Plantantion Records
Release Date: July 8, 2008
Rating: 3.25 out of 5

Sounds like: Kings Of Leon, post-punk a la Mars Volta, a touch of ‘90s grunge, a lot of indie rock posturing



Jackson, MS, quintet The Weeks earn a heaping pile of obvious comparisons on their debut album Comeback Cadillac; repeat listens, however, reveal a deeper layer of rock understanding. The strutting indie-punk of “Teary-Eyed Woman” sounds shallow at first, but fiery guitars and melancholy vocal shouts add an injection of Southern authenticity. “Altar Girl” and “Buttons” provide the most obvious parallels between The Weeks’ lead singer Cyle Barnes and Kings Of Leon’s Caleb Followill, with Barnes perfectly cribbing Followill’s detached moan and howling hipster sneer. But the stark goth/grunge influences on “Hold It, Kid (Your Heart Just Skipped A Beat)” divulge a lineage that stretches back to Pearl Jam and Dispatch, while “Mississippi Rain” proves that not everyone can pull off Red Hot Chili Peppers-style funk rock. Bright spots like “Dog Days” make up for the few missteps, with piano flourishes and Barnes’ endearingly natural vocals standing out. Other highlights include the Modest Mouse by-way-of Social Distortion “Wishin’ My Week Away,” but the forced tenderness of “Sailor Song” and the exact Kings Of Leon replica “Ballad Of Tonto Higgins” close Comeback Cadillac on a bit of a weak note. Not the best debut ever, but The Weeks demonstrate that with a bit of influence-tweaking and a little more originality, promising material could follow.

Myspace: www.myspace.com/theweeks
Label: www.myspace.com/esperanzaplantation

7/28/08: Qwel & Kip Killagain

QWEL & KIP KILLIGAN
The New Wine
Galapagos4 Records
Release Date: June 10, 2008
Rating: 4 out of 5

Sounds like: Golden Era hip-hop with a barbed, progressive bite; socially aware rhymes, skeleton-sparse snare-and-bass beats, and live instrument flourishes



Underground Chicago rhyme technician Qwel joins forces with well-known jungle producer Kip Killagain for a rock-solid slice of real-deal hip hop. Touted as the third in his four seasons/four horsemen series, The New Wine represents Qwel’s vision of springtime in a corrupt world full of social, political, and cultural atrocities. Opener “Adam & Eve” features an eerie guitar sample and a meager finger-snapping beat that matches up nicely with Qwel’s urgent, free-flowing verses, which deftly cover extensive ground. “Big Eyes” creeps at a slower pace, with deep trance-hop drums and a minor-key bass line, while “Agape Rain’s” piano/violin combination casts a more hopeful eye on the world, with Qwel evoking carnal law, karmic justice, and the ancient ideal of agape (unconditional or divine) love. After that opening trio, The New Wine bogs down a bit inside Qwel’s complex rhyme schemes, but unpredictable and well-executed instrumental samples courtesy of Killagain keep things from dragging too much. The title track burns luxuriously with a jazzy retro horn-and-sitar melody, and other highlights include the self-explanatory satire “Reality TV” and the looser Asian-influenced “Frost Seedling.” But each and every track on The New Wine shares a common thread: the fierce onslaught of Qwel’s rapid-fire indictments of the world spinning madly around him. The line between prose, poetry, and rap disappears in the face of Qwel’s awe-inspiring ability, and although the idea of one artist commandeering an entire 41-minute hip-hop album seems insane in this guest-spot dominated world, one listen to The New Wine will convince you that Qwel has plenty of fire left to burn.

Myspace: www.myspace.com/qwelg4
Label: www.galapagos4.com/artists/qwelinterview.html

7/27/08: The Apples

THE APPLES
Buzzin’ About
Freestyle Records
Release Date: June 2, 2008
Rating: 3.75 out of 5

Sounds like: Fast-paced hip-hop beats mixed with exuberantly jazzy horns, topped off with nimble turntable scratches and funky flourishes



The latest hip-hop/jazz/funk fusion comes from the unlikely Holy Land of Israel, where nonet The Apples have gained considerable steam on the strength of their eclectic and infectious blends. Eschewing traditional instrumentation like guitars and keyboards in favor of three DJS, four horn players, and a rock-solid drum-and-bass core, Buzzin’ About serves as an excellent introduction to The Apples’ immense talent. From the quirky acid-jazz feel of “Debil’s Dream” to the old world-influenced “Kol HaYom BaHalal,” The Apples cover large swaths of musical ground with ease. Classical sounds crash into the modern world on “Yablaki,” which features a feverishly fast off-key violin sample that pairs up nicely with its eerie ambiance, and the stuttered scratch-jazz of “Killing” updates bebop’s improvisational style for the 21st century. The shortest track on the album, “Run Shai Ran,” outshines the rest of Buzzin’ About in its brief minute-and-a-half, riding a loose New Orleans groove into an ecstatic horn-heavy sunset. A bit of scattered monotony sets in after Buzzin’ About’s 52 minutes, but this diverse and enjoyable debut proves that The Apples have the hooks and chops necessary for widespread success.

Myspace: www.myspace.com/theapplesmusic
Label: www.freestylerecords.co.uk/index.php?page=filter&artist=The%20Apples

7/22/08: Young Widows

YOUNG WIDOWS
Old Wounds
Temporary Residence Limited Records
Release Date: September 9, 2008
Rating: 3.25 out of 5

Sounds like: Noise-punk riffs laid over a solid hardcore backbeat; jagged Fugazi meets squelching The Jesus Lizard by way of gutbusting The Melvins



This Kentucky power trio brings a whole kitchen sink full of noise on the rambling, at times hard-hitting Old Wounds. After losing the lead singer of previous hardcore/metal incarnation Breather Resist, guitarist Evan Patterson took over vocal duties and led Young Widows into more experimental territory. Although Old Wounds opens slowly on the dirge-ish “Took A Turn” and the lumbering mess “Mr. No Harm,” the band finds its metal-influenced groove on the last four tracks of the album. “Delay Your Progress” blends psychotic clattering and throbbing, tough-as-nails bass into an early ‘80s punk redux, and “Let Him Be” features stomping chants and staggering drums ideal for sweaty, drunken live venues. The fuzzy cacophony of “Feelers” points in a solid direction, and album closer “Swamped And Agitated” merrily drowns under washes of psychedelic guitar blasts and ramshackle walls of sound that highlight the band at its pinnacle of energy. Piecing together Old Wounds from dozens of hours of live recordings may not yield the most cohesive results, but it does draw attention to Young Widows’ explosive and unpredictable abilities.

Myspace: www.myspace.com/youngwidows
Label: www.temporaryresidence.com/bands/young-widows.php

7/22/08: Horse Feathers

HORSE FEATHERS
House With No Home
Kill Rock Stars Records
Release Date: September 9, 2008
Rating: 3.5 out of 5

Sounds like: Ultra-hushed Northwestern folk with mournful backing strings; early Iron & Wine without so many of the Southern Gothic undertones



Idaho native Justin Ringle joins sister Heather Broderick and multi-instrumentalist Peter Broderick for a reflective journey through the tranquil folk landscapes of the American Northwest. Containing little more than sparse acoustic guitars and sorrowful cellos courtesy of Heather, House With No Home trots quietly along on intricate tracks like “Rude To Rile” and the lower-class ode “Working Poor.” Sunny orchestral arrangements make “Albina” stand out from the otherwise melancholy Horse Feathers pack, and Ringle’s tender vocals hit their stride on the playful “Helen.” Plodding, scratchy guitars give “Heathen’s Kiss” a darker feel, while the next-to-last track “This Is What” finds Horse Feathers picking up the pace (finally). While House With No Home doesn’t pull off anything that Sam Beam and Iron & Wine couldn't master five years ago, Horse Feathers still represents another solid notch in the ever-deepening Americana/quiet-folk catalog.

Myspace: www.myspace.com/horsefeathersmusic
Label: www.killrockstars.com/artists/viewartist.php?aname=feathers