5 new releases we love: Vagabon breaks through, Mark Lanegan looks forward, and more
Music Features A-Sides
Vagabon Photo: Tonje Thilesen
Jónsi & Alex Somers, Lost & Found
[Krunk, October 11]
Jónsi & Alex Somers’ Riceboy Sleeps is almost too beautiful. To call it an “ambient” record feels wrong—there’s no way its lush, mountainous acoustics could operate as background noise. Lost & Found, on the other hand, works a touch better in that regard. A surprise LP—and, per its liner notes, a “sibling album” to Riceboy Sleeps—the six-track collection weaves in subdued synth work and tape hiss with the acoustic soundscapes and choral swells of its predecessor, resulting in a piece that soothes the senses instead of overwhelming them. “Boy,” for example, has all the hallmarks of Riceboy, but its crackling spine and modulated choir complicate its beauty—it’s more of a blanket to crawl under than an open sky to soar through. There’s still plenty to swoon over: Closer “Wind In Our Ears” is a radiant sunrise in the vein of Riceboy’s “Happiness.” It’s leavened somewhat by firmer textures—tumbling stones, perhaps, or distant fireworks—but it still sings with longing, hope, and defiance. [Randall Colburn]
Vagabon, Vagabon
[Nonesuch, October 18]
Indie soul rocker Laetitia Tamko, a.k.a. Vagabon, is going through an evolution on her self-titled sophomore album. Gone are the scrappy, guitar-driven harmonies that defined Infinite Worlds, making way for a more experimental, synth-bolstered soundscape that still feels heartfelt—and way more personal. Vagabon is a collection born of anxiety, a product of an artist who hit a creative wall upon her return from a successful tour. But she eventually overcame industry pressures and found her footing as a producer, subverting genre with a combination of neo-soul poetry, gauzy vocals, and digital undertones. Swimming against the album’s calming current is the vibrant dance track “Water Me Down,” bound together with a buoyant, thumping beat and a clean melody. Vagabon has processed the complexities and frustrations of her relationships until something inherently hopeful materialized. [Shannon Miller]
23 Comments
The Muffs’ “No Holiday” is out today, and is a fitting swan song for the late Kim Shattuck. The final, stripped-down track feels especially emotional, given that it’s the last new material we’ll ever hear from her.
Ooh, thanks for reminding me I’ll have to check it out (:,()
Late? dammit. You have to be kidding.
Unfortunately true. Died earlier this month from ALS.
https://news.avclub.com/r-i-p-kim-shattuck-of-the-muffs-1838721239
Foals released Part II of Everything Not Saved Will Be Lost, the first part of which came out earlier this year and was amazing. Part II, so far, seems to be just as amazing.
These songs were just as pretentious as I assumed they would be. Thanks for not disappointing!
Big Thief has a Feist-y vibe. Which reminds me I haven’t listened to Feist in years.
Check out the new Beabadoobee EP “Space Cadet” that dropped Tuesday
It’s extremely good! Keeping my fingers crossed she tours with Snail Mail or Soccer Mommy someday soon.
That is definitely not what I expected from Mark Lanegan. I liked his Gutter Twins project with Greg Dulli, but I’ve never been wild about Screaming Trees. I like this though.My wife and I had a discussion last night about which is the better band: the Smiths or the Cure. Yes, I know it’s an eternal debate. I maintain the Cure is better. Wife is a Smiths lady. Don’t get me wrong here, I love the Smiths. Pretty much everything they put out is gold. But there’s just not enough material when compared to the Cure. Sure, Bob and Co. hit some real low points over the years, but they’ve been around for four decades and have released way more classic records than the Smiths. Besides, nothing the Smiths ever put out can compare to Disintegration. Okay, The Queen is Dead comes close, but it’s not quite at that level.What say you, AV Club? Choose your allegiance. No filthy neutrals.
The Smiths have a right wing fascist mouth piece that is the poster boy for the modern 4chaner who is bitter that his literary career was a giant flaming heap of a fiasco.The Cure: practically invented guitar tones and defined entire genres. Also, no sympathetic fascists in the entire history of the Cure’s revolving membership.
Mark Lanegan isn’t wild about Screaming Trees, either, so you’re in good company LOL. I *love* “Sweet Oblivion” and think “Dust” is OK, but his solo career has easily surpassed the Trees. “Bubblegum”, “Blues Funeral”, “Black Pudding”, now this album….all stellar work IMO that I never get tired of.
I’ve gotta ask: what’s the draw of Big Thief. I’ve tried listening to their previously released album, and it all just blended together. Eh, I’ll give the EP a try, but I’m cautiously optimistic at best.
I was never sold on U.F.O.F. either, but I love love love their first album, Masterpiece, and I really like their second one, Capacity.
I’ll always love Alex Somers because he produced Julianna Barwick’s Nepenthe, an immaculately gorgeous ambient album (and my favorite ambient album ever)
Oh wow, it’s so great to see this new work from Mark Lanegan! He does one of my favorite murder ballad covers, Little Sadie:
your favorite thing since Jon Hopkins
I cannot click with Jon Hopkins, but this sounds good anyways, though if it’s the only real Aphex Twin-sounding track on the album, I’ll be a little disappointed.
One of the finest human beings I know and wonderful singer, Mercy Bell, has her pop country album out on itunes and other stores today.
If you like Vagabon, you better not be ignoring Moor Mother, Screaming Females, or Sammus!
Um, no Battles on this list?
The lack of media hype around this truly vital band is criminal.
Planet England which is a collaboration between Robyn Hitchcock and Andy Partridge just came out. Pretty good, only 4 tunes. Wish Andy was a little more dominant in it but enjoyed it.
Meanwhile me…