Category Archives: Free Download

Butchers Blind: One More Time

Rootsy pop and Americana from the wilds of Long Island

Butchers Blind is a Long Island duo formed from the ashes of the little-known Double Stops. But if these three debut tracks are any indication, Pete Mancini (guitar, vocals, keyboards and lap steel) and Brian Reilly (bass) will soon be making a name for themselves. Their melodies are ingratiating in the way of fine pop records, and Mancini is a vocalist whose vulnerability holds you from the first word. Having borrowed their name from a fictional underground, unsigned band in Wilco’s “The Late Greats” (from 2004’s A Ghost is Born), it’s no surprise that Butchers Blind sounds a bit like Tweedy and company, but more the earlier alt.country darlings than the later shape-shifters.

Perhaps they aspire to the range that Wilco’s adopted, but for now, Mancini and Ross offer music that brings to mind another cult band, Big Star. Their productions have hints of the luxurious sheen John Fry captured at Ardent, with a warmth in their music grown from similar roots. The title track adds Steve Mounier on drums, creating a fuller rock band sound, while the B-sides drift more languidly on guitar, piano and bass. “Something Missing” is a lovely slice of melancholy heartache, and “My Worst Enemy” doesn’t give away whether it’s accounting with a wayward mate or a stern bit of self-loathing sung to the bathroom mirror. Either way, Mancini sells the emotion and the title hook will rattle around your brain for hours.

Mancini and Reilly have produced surprisingly complete tracks as an overdubbed two-piece, but it’s hard to imagine they could reproduce these sounds live without a drummer and a second guitarist or keyboard player. Still, these demos show what Butchers Blind would sound like as a band, and though these weren’t produced for commercial sale, one could imagine them appearing as-is on the band’s debut. All that’s needed is for somebody to sign them up. In the meantime, even though, as per Wilco, “you can’t hear it on the radio,” you can enjoy the group’s first three productions and say you knew them when. [©2009 hyperbolium dot com]

MP3 | One More Time
MP3 | My Worst Enemy
MP3 | Something Missing
Butchers Blind’s MySpace Page

Nathan Holscher: Hit the Ground

Ragged and moody singer-songwriter Americana

Nathan Holscher is proof that you needn’t be in Nashville or Austin to produce Americana. Holscher grew up and was schooled in the Midwest, and after bouncing around the Southwest ended up in Cincinnati, a city long ago known for the hillbilly records issued on the King label. Roy Rogers was born in Cincinnati, and Pure Prairie League formed in Columbus, but more recently the Queen City has turned out soul acts such as Bootsy Collins, the Isley Brothers and Afghan Whigs, and garage/indie rock from the Greenhornes and Heartless Bastards. So it’s without a lot of recent local roots music history that Nathan Holscher drops his third full-length album, populated with dark, downtrodden country and folk songs.

These songs are more anguished than those on two previous outings, 2004’s Pray for Rain and 2007’s Even the Hills. Holscher’s earlier work was agitated and even chipper, but his latest band, Ohio 5, builds more atmospheric arrangements from drums, piano, guitar, bass organ and pedal steel. His ragged vocals sound pained and heartbroken as he catalogs the emotional wreckage of a doomed engagement, with growing doubts strewn along the road trip of “Along the Way.” He tries to prolong broken relationships and on the ‘50s-styled ballad “Only One” hopes for a lover’s change of mind. Holscher sounds crushed as he chokes out an ex-con’s pining on “Seven Years,” and the title track’s frustrated jab at a drug addicted friend feels as fated to fail as the addict himself.

Obviously this isn’t your feel-good album of 2009, but the slow, moody productions provide the right backing for Holscher’s dissipated vocal style. He comes across as intimate and confessional, but he sings as someone exhaling his troubles at the end of a long and trying ordeal rather than as a storyteller trying to make an explicit point. He describes his work as letting “the song steer the ship,” and the results seep out as circumstance rather than drama. It’s precisely that casual reveal of character and storyline that makes this release arresting. [©2009 hyperbolium dot com]

MP3 | Along the Way
Nathan Holscher’s Home Page
Nathan Holscher’s MySpace Page

The Layaways: Maybe Next Year

Layaways_MaybeNextYearHomemade indie-pop Christmas productions

The Chicago indie-rock trio, The Layaways, have extended their three-song 2006 Christmas EP with seven new tracks. The productions retain the same homemade feel, exuding warmth and a dash of holiday melancholy. The album mixes vocal and instrumental tracks, layering folk-rock harmonies on acoustic guitars, and adding some heavier neo-psych sounds. “Auld Lang Syne” channels the mood of the Long Ryders, while the throbbing bass line and subliminal lead guitar of “Silent Night” suggests the end of a long night of egg nog. The backward guitar of “Away in a Manger” adds a contemplative Eastern tinge, and the album finishes with the short, meditative instrumental raga “Repeating the Sounds of Joy.” This is a sweet treat, deliciously musical without being over baked for mass media consumption. [©2009 hyperbolium dot com]

MP3 | O Christmas Tree
MP3 | Silent Night
The Layaways’ Home Page

Burning Hank: Oh Joseph

Burning Hank is a UK folk-pop four-piece whose sense of humor brings to mind ’60s provocateurs like the Fugs. Their first single and video, recorded and shot on a shoestring budget of zero contemplates how Joseph would handle his wife’s pregnancy were he advised and hectored by his guitar-strumming, soccer-playing friends. The single arrives just in time to start some arguments at your family Christmas party and can be had for free at Bandcamp.

Download “Oh Joseph” from Bandcamp
Burning Hank’s MySpace Page

Mark Lennon: Down the Mountain

MarkLennon_DownTheMountainCarolinian country-rocker transplanted to California

Mark Lennon is a North Carolina native whose southern roots can be heard in the bluegrass-inflected harmonies of this third release. His adopted Los Angeles has also made an impact on Lennon’s music in the airiness of his melodies and the sunshine of the guitar strumming. His music brings to mind the folk- and country-rock sounds of early ‘70s Golden State transplants like Brewer & Shipley, but also acts like the Amazing Rhythm Aces, Ozark Mountain Daredevils and Grateful Dead. You can also hear the flowing road rhythms of the Allman Brothers in the piano and guitar jam of “What I Could Be With You.” Lennon’s voice bears a strong resemblance to Ryan Adams’; he conjures a modern balance of instruments on the superb “Wildside” by adding horns to piano and acoustic guitar for a duet with Simone Stevens. Lennon has been in California for seven years, but he still considers himself a Southerner, offering up the lovelorn letter of homesickness, “Tennessee.” At twenty-eight minutes this is halfway between EP and album, but all eight songs are solid, so really all you’re missing are the four album tracks that don’t always measure up. [©2009 hyperbolium dot com]

MP3 | Down the Mountain
Mark Lennon’s Home Page

Pauline Kyllonen: Pauline Kyllonen

PaulineKyllonen_PaulineKyllonenCountry-rock and folk-Americana from B.C. singer-songwriter

Pauline Kyllonen is a country-rock singer from British Columbia whose 2008 debut EP opens with a gutsy rocker that favorably recalls ‘70s belters like Ellen Foley and Genya Raven. Yet it’s ballads that appear foremost on Kyllonen’s song list, as the original “Rainbow Café” drops the romping electric guitar of the opener for pedal steel and a moving lyric of small town stasis and a life that’s passed by. She sings sweetly, reaching into her high register for the folk-jazz “Like a River,” bring to mind early Joni Mitchell, and closes with a ballad whose heavy drums and low organ match the power of her singing. Kyllonen is served by solid arrangements that keep her strong voice and lyrics front and center. If Nashville were still interested in three chords and the truth, “Rainbow Café” would have already been snatched up by one of its current hitmakers. As it is, this four-song EP is a good introduction for listeners and a great calling card to the lucky label who eventually signs Kyllonen. [©2009 hyperbolium dot com]

MP3 | Rainbow Cafe
Pauline Kyllonen’s Home Page

Soulhat: Live at the Black Cat Lounge

Soulhat_LiveAtTheBlackCatLoungeFriendly and energetic 1991 live set from Austin favorites

In this live album’s liner notes, Rob Patterson remarks that a locale – a scene, or in this case a club – can have a large impact on the music created within it. The Black Cat Lounge, a “ramshackle, no frills dive music bar” that lived on Austin’s famed Sixth Street, made its impact both in a lack of pretension and in the owner’s demand that artists fill an entire evening, often up to four hours, with music. The result, as heard in these 1991 live tracks, is a friendly and open vibe to the songs, sets and performances. It’s not languor, but comfort and confidence. Artists didn’t rush on, play a concise forty-five minutes and rush off. They edged into their songs with instrumental introductions that set a lyric’s mood, and they made room for vocal and musical jams that gave dancers time to spin around the floor.

Fans of Soulhat will particularly relish hearing these early live performances, recorded only a year into the band’s history, a year during which they’d been gigging regularly at the Black Cat. Their mix of rock, blues, country, funk, soul and jazz was well formed by this point, and with hours of time to fill, they allowed themselves to “get lost in the music,” stretching a few of these songs past the seven- and eight-minute marks. But with an intimate club audience that needed to be entertained (as opposed to an arena audience that could feel more abstract from the stage), the jams never lose their way; you can hear the musicians conversing with their instruments, but they keep touch with the audience. The close-in dynamic of a club makes these live tracks a good listen at home.

Eleven of these recordings were previously issued on a limited-edition cassette, but it quickly became hard to find. Recorded on a two-track and mixed to what sounds like mono, the sound is crisp and balances the band and their enthusiastic audience. The group proves itself comfortable with country- and funk-inflected rock, funk- and jazz-inflected soul, folk-inflected pop, and more. That’s a lot of inflection, which may have been the root of the group’s inability to sustain a presence on radio or the charts (their biggest single, “Bonecrusher,” peaked at #25). With the Black Cat having burned down in 2002, these live tracks now stand as a striking artifact of the club’s atmosphere and its impact on the artists who played and developed there. [©2009 hyperbolium dot com]

MP3 | Alone
Soulhat’s Home Page
Soulhat’s MySpace Page

Black Diamond Heavies: Alive as Fuck

BlackDiamondHeavies_AliveAsFuckHeavy, sweaty growling two-man punk-blues

As on their first two albums, Black Diamond Heavies crank out a lot more sound, and a lot more musical mass than one could imagine from a two-man blues band. It’s all the more impressive on this set for having been recorded live. John Wesley Myers plays the Fender Rhodes and provides bass via pedals (ala Ray Manzarek), and Van Campbell provides the drums. Their jamming actually does evoke the instrumental jams of the Doors, but heavier and grittier. The tone of Myers’ Fender may also remind you of Ray Charles, but it’s a guttural keyboard sound that Charles never laid down on tape. Myers plays both melody and rhythm on his keyboard, freeing Campbell’s drums to add a lyrical voice on top of their primary mission as the group’s timekeeper. Myers’ vocal growl still sounds like Tom Waits, but with distortion added to his piano, there’s a heavier punk-rock quotient, and the warble in the ‘50s-styled ballad “Bidin’ My Time” suggests a down-and-out Louie Armstrong. The roadwork that followed their studio releases solidified the interplay between Myers and Campbell, leaving little room for another instrumentalist and no sense that there’s a guitar missing. Recorded on a July night in a Covington, Kentucky Masonic lodge, the humidity clings to their performance, thickening it from the primal density of their studio work. [©2009 hyperbolium dot com]

MP3 | Hambone
Black Diamond Heavies’ Home Page
Black Diamond Heavies’ MySpace Page

Mandy Marie and the Cool Hand Lukes: $600 Boots

MandyMarie_600BootsCountry and rockabilly twang ala Wanda, Merle and Rosie

The Missouri-born Mandy Marie Luke is a country music triple threat: singer, songwriter and ace electric guitarist. Her vocal sass will remind you of Wanda Jackson’s rockabilly sides and her picking will remind you of the Buckaroos’ Don Rich, Merle Haggard’s Roy Nichols and current Telecaster-ace, Bill Kirchen. The combination of singing and picking matches up with another Jackson acolyte, Rosie Flores, and the retro honky-tonk rock and swing brings to mind Dee Lannon. Luke’s debut features ten originals and covers of Jimmie Rodgers’ “Mule Skinner Blues,” Kirsty MacCaoll’s “There’s a Guy Works Down the Chip Shop Swears He’s Elvis” (Americanized and shortened to “Thrift Shop”), and the Merle Haggard album track “Harold’s Super Service.”

The originals stick to rockabilly and throwback country sounds. Luke sings with a lot of verve, whether telling the story of a 14-year-old runaway’s renewal, detailing the precarious road run of a drug dealer, or suffering the down-and-out dilemma of Jesus or the bottle. She celebrates truckers and tattoos, and wallows on both sides of cheating mates and broken hearts. Luke picks a storm of twang from her Telecaster, and her Indianapolis-based honky-tonk band rocks each tune as if the dance floor just opened for business. Mo Foster’s upright slap bass complements the drumming of Lewis Scott Jones, and guest player Thom Woodard adds some great old-school steel. If you pine for the hardcore honky-tonk and rockabilly sounds of the ‘50s, be sure to check this out. [©2009 hyperbolium dot com]

MP3 | Leave Me Baby, Leave Me Be
Mandy Marie and the Cool Hand Lukes’ MySpace Page

The Singing Saw at Christmastime at Your House!

If you’re looking for a unique holiday experience, consider having Julian Koster visit your home, along with his dog Rudolph and his Singing Saw friend Badger, for an evening of holiday carols.

The current plan has him caroling on these dates in these areas:

12/5 – Atlanta / Rome, GA
12/6 – Nashville, TN (early) / Louisville, KY
12/7 – Indianapolis, IN (early) / Champaign, IL
12/8 – Chicago, IL
12/9 – Kalamazoo, MI (early) / Detroit, MI (and area)
12/10 – Toledo, OH (early) / Cleveland, OH
12/11 – Buffalo, NY (early) / Geneseo, NY
12/12 – Ithaca, NY (early) / Monterrey, MA / Easthampton & Northampton, MA (late-night)
12/13 – Boston, MA (and area)
12/14 – Providence, RI (and area)
12/15 – Riverside, CT / Purchase, NY / Marlboro, NY
12/16 – New York City, NY
12/17 – New York City, NY (and area)
12/18 – Manalapan, NJ (early) / Philadelphia, PA
12/19 – Baltimore, MD (early) / Washington, DC
12/20 – Eagle Rock, VA (early) / Lynchburg, VA
12/21 – Chapel Hill, NC / Raleigh, NC
12/22 – Athens, GA

Invitations are still being accepted for Nashville, Louisville, Indianapolis, Champaign, Cleveland, Providence, Baltimore, D.C., and Chapel Hill/Durham. For more information, send an e-mail to musictapescaroling@gmail.com. Please note in your e-mail if you’re willing to entertain outside guests, and whether you can offer the carolers a place to sleep. This could be the most unusual house concert you ever have a chance to host!

If you’re rather attend than host, you can find the address of one of the homes in your area that will be hosting the carolers: e-mail musictapescaroling@gmail.com for the address and time of a performance near you.

Free song download!

Julian Koster is gifting fans with his version of a holiday classic.

MP3 | White Christmas

Click here for a review of Julian Koster’s album, The Singing Saw at Christmastime.