Category: Rock (Page 52 of 241)

Martin Sexton: Sugarcoating


RIYL: Bruce Springsteen, The Jayhawks, Joe Henry

Martin Sexton has a small army of devoted fans who spend a lot of time wondering why Martin Sexton isn’t world-famous – which isn’t unusual when it comes to musicians who aren’t world famous, but Sexton’s fans have more of a point than most. He has a sharp songwriter’s eye, he’s a gifted instrumentalist, and he has one of the supplest, most versatile voices in rock ‘n’ roll – seriously, why isn’t this guy world-famous?

Whatever the reasons for Sexton’s continued obscurity, we can at least be glad he hasn’t let it stop him from building one of the more compelling discographies you’ve probably never heard – and his latest release, Sugarcoating, stands shoulder-to-shoulder with his finest work.

More straightforward than 2007’s Seeds, which found Sexton using a one-man band approach to serve up everything from Tuvan singing to a cover of “Will It Go ‘Round in Circles,” Sugarcoating finds Sexton hewing closer to the confessional singer/songwriter end of the spectrum, addressing topics like love, politics, and fatherhood. The arrangements are a little looser and more expansive, thanks to the involvement of a group of musicians that included guitarist Duke Levine, keyboard player Tom West, and Sexton’s sister Colleen, as well as Sexton’s decision to record without rehearsals and keep production to a bare minimum. It’s a warm blanket of an album, one that makes room to display Sexton’s prodigious vocal talent while also delivering some of his strongest material – perhaps most notably the title track, which hurls vicious barbs at the so-called “mainstream media” against a jaunty, country-flavored backdrop that sounds more like Buck Owens than Rage Against the Machine.

If you’re already a fan, Sugarcoating will give you 13 more reasons to love Sexton’s music. If you haven’t yet been inducted to the cult, it’s as good a place as any to start. What’s stopping you? (Kitchen Table 2010)

Martin Sexton MySpace page

The Disco Biscuits: Planet Anthem


RIYL: Sound Tribe Sector 9, Umphreys McGee, String Cheese Incident

Planet Anthem is The Disco Biscuits’ first studio album since 2002, which inherently highlights how this is a band more known for their live prowess. The overdue album finds the band exploring a wider array of sonic directions, but the track selection seems to indicate that the band has fallen victim to Ryan Adams Disease – being such prolific songwriters as to lose the ability to distinguish which of your own songs are the best ones.

It’s hard to believe that anthemic live winners like “Rivers” and “Mirrors” didn’t make the cut here. “Mirrors,” introduced in the spring of 2009, is one of the most infectious tunes the band has come up with in years, and would have seemed the best chance for crossover appeal. But then, mainstream appeal has never really been a concern of these counterculture jam rockers. They’ve made a living by earning a diehard core following that will travel great distances to see multiple shows, and who aren’t particularly concerned about albums or singles.

2010 finds the livetronica stalwarts dabbling in hip-hop, dance and even disco flavors, somewhat ironic since that is not where the band’s name is derived from. Opening track “Loose Change” is one of the more intriguing songs on the album, with a big bouncy groove and some socially conscious lyrics about how “money is the root of all evil.” “On Time” and “You and I” have a dance pop flavor that may catch some fans off guard, as this is not the trance-fusion that fans have come to know and love. But the funky beat is still there. “Konkrete” has a trippy, dreamy sort of vibe mixed with a dark heavy groove. “Uber Glue” also starts out trippy, but then moves into a techno direction that is probably going to have some fans scratching their heads.

Rain Song” is one of the more unique tracks, mixing an atmospheric PJ Harvey/Morcheeba sort of vibe from guest female vocalist Ryat with the band’s psychedelic exploration. “Fish Out of Water” could well have been the name of the album, for the way the band is experimenting outside of its comfort zone. The song is more of a straight-ahead, mid-tempo rocker about a girl who’s “gonna make a rebel out of me,” with guitarist Jon Gutwillig finally taking a short solo. “Sweatbox” moves back into techno territory, but builds into a party vibe where “the room is getting hotter” with Gutwillig doing a little wailing behind his vocals.

The last three songs on the album return to the melodic jam rock sound the band is known for, showing they haven’t gone totally off the deep end. “The City” has a big beat and melodic motif with bassist Marc Brownstein getting philosophical about “sitting on a mountain top.” “Big Wrecking Ball” is even catchier, with melodic riffs and vocals from Gutwillig on a tune that seems primed to open up for live exploration. “Vacation” closes it out with an epic track that opens with some ambient ascension before shifting into space rock.

The band gets credit for taking creative risks instead of playing it safe, but some fans are likely to feel a bit puzzled about the overall output. Some of these tunes may grow on stage though, so it’s always hard to grade a jamband album when you know an incomplete is the most appropriate grade until the songs become more seasoned. (Diamond Riggs 2010)

Disco Biscuits MySpace page

What do Beck and his friends do when they have 12 hours to kill?

Cover INXS albums, apparently.

Here is the formal explanation of Beck’s Record Club:

Record Club is an informal meeting of various musicians to record an album in a day. The album chosen to be reinterpreted is used as a framework. Nothing is rehearsed or arranged ahead of time. A track is put up here once a week. The songs are rough renditions, often first takes that document what happened over the course of a day as opposed to a polished rendering. There is no intention to ‘add to’ the original work or attempt to recreate the power of the original recording. Only to play music and document what happens.

Past coverees have included the Velvet Underground and Nico, Skip Pence and Leonard Cohen. This time around, it’s INXS’s Kick. Check out Beck with members of Liars, St. Vincent, and Os Mutantes covering “Guns in the Sky.” Check back here for more updates, which will be released in the same sequence as the album.

Record Club: INXS “Guns In The Sky” from Beck Hansen on Vimeo.

SXSW 2010 Quick Hits, Day 3: Sarah Borges & the Broken Singles

I hightailed it over to The Belmont on West 6th Street for a day party featuring the Watson Twins. But the party was running behind, so I was fortunate enough to hear another band that caught my ear from the moment I heard them across the street.

Sarah Borges was on stage rocking out a melodic and bluesy sound to a good crowd at the Belmont’s outdoor stage, an excellent intimate venue for such a party. Based in Boston, Borges looks a bit like comedian Sarah Silverman, but she’s got a dynamite voice. Borges does humor too though, noting that she was glad to know her bassist because he “looks like he’s holding.” Borges and the band veered from harder rocking tunes to bluesier Americana, and did both very well. She exuded a dynamic presence throughout the set that made it hard to take your eyes off her. The band closed their set with a great cover of Texan Doug Sahm’s “Walking the Streets Tonight,” with Borges projecting a charisma and talent making her one to watch going forward.

Sarah Borges, SXSW 2010
Photo by Steve Hopson

SXSW 2010 Quick Hits, Day 2: Grace Potter & the Nocturnals

I had one more to go over at Antone’s, where Vermont’s Grace Potter was scheduled to hit the stage at 12:20 AM. Things were running a little behind, but Potter and band hit the stage around 12:40 and threw down a triumphant set that went right up til 2:00. A variety of strong material from the band’s upcoming new album was a treat, featuring tunes like melodic rocker “Oasis” and a reggae-ish break-up song. New single “Tiny Light” was a bluesy yet uplifting rocker and featured a huge jam powered by new bassist Catherine Popper (formerly with Ryan Adams & the Cardinals). Popper’s dynamic skills provide an element that was missing from the Nocturnals before, taking the band’s sound to a higher level that enables them to throw down a big jam whenever the mood strikes. This is like the Cleveland Cavaliers acquiring extra muscle with Shaquille O’Neal, and whoever spearheaded Popper’s entry to the band should win an award for best musical trade of the year.

The gorgeous Potter dazzled on a wide variety of tunes, from blues to ballads to funk to full-on psychedelic jam rock. She also showed she’s not just a pretty frontwoman, jamming out on both keyboards and a Flying V guitar. A cover of Jefferson Airplane’s “White Rabbit” was a treat, especially following Krieger’s appearance with STP. “I Got the Medicine” closed the set with another great jam, and there’s no doubt that Potter’s music does indeed possess medicinal properties. The encore closed out with “Nothing but the Water,” an infectious high-energy tune that rocked the packed house one more time and featured another huge jam that blew everyone away. What a killer set.

grace potter
Photo by Adrien Broom

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