A banda paulistana Garotas Suecas está para lançar seu álbum de estréia, intitulado Escaldante Banda, no próximo 7 de setembro, via American Dust. Mas a banda liberou ontem, a audição completa do disco via NPR.
1. Tudo Bem 2. Banho de Bucha 3. Ela 4. Não Se Perca Por Ai 5. Você Não é Tudo Isso Meu Bem 6. Mercado Roque Santerio 7. Ninguém Mandou 8. Alma 9. Olhos da Cara 10. Sunday Night Blues
A Senses Fail, banda de post-hardcore de New Jersey, está para lançar seu novo e quarto álbum, The Fire, em 26 de outubro próximo e o primeiro single já foi liberado, “Saint Anthony”.
#1: "A Day in the Life" The ultimate Lennon-McCartney collaboration, "A Day in the Life" wasn't recognized as the band's masterwork until the Eighties, after Lennon's death. It pairs lyrics inspired by the newspapers and Lennon's own life with McCartney's idea to have classical musicians perform what producer George Martin called an "orchestral orgasm."
#2: "I Want to Hold Your Hand" "I Want to Hold Your Hand" was the first exposure most American had to the songwriting magic of Lennon and McCartney. It set off Beatlemania, and represented what producer George Martin calls "the apex of Phase One of the Beatles' development."
#3: "Strawberry Fields Forever" Lennon once said growing up "was scary because there was nobody to relate to." Strawberry Field, a Liverpool youth's home near where Lennon grew up, represented those haunting childhood visions. With this song, Lennon conquered them forever.
#4: "Yesterday" The most covered song in history began as something called "Scrambled Eggs." It also began in a dream of Paul McCartney's.
#5: "In My Life" "In My Life," featuring Lennon's most personal lyrics up until that time, is one of only a handful of Lennon-McCartney songs where the two strongly disagreed over who wrote what.
#6: "Something" Before it became the second-most-covered Beatles song behind "Yesterday," Lennon said this unexpected Harrison track was "the best track on [Abbey Road]" and McCartney called it "the best song [Harrison has] written."
#7: "Hey Jude" McCartney's lyrics for "Hey Jude" were inspired by John and Cynthia Lennon's five-year-old son, Julian — but Lennon first thought McCartney was singing to him about his relationship with Yoko Ono.
#8: "Let It Be" McCartney channeled Aretha Franklin's soul in "Let It Be," recorded during the peak of the Beatles' troubled times. A month after its 1970 release, McCartney announced the band had broken up.
#9: "Come Together" Originally intended by Lennon as a campaign song for LSD guru Timothy Leary when he ran for California governor in 1970, this became the last song all four Beatles cut in the studio together.
#10: "While My Guitar Gently Weeps" The lyrics for George Harrison's first truly great Beatles song began with him choosing the phrase "gently weeps" from a random book. It wasn't until Harrison pulled Eric Clapton in to play guitar that the arrangement was finished.
O Interpol está para lançar seu quarto álbum, Interpol, via Matador Rercords, em 7 de setembro vindouro. Eles já haviam liberado o vídeo de “Lights”, agora é a vez do vídeo de “Barricade”, mais uma mostra do quanto é bom o novo auto-intitulado disco do agora trio novaiorquino.
Video: Interpol - “Barricade” Directed by Moh Azima.
Sufjan Stevens, depois de anos sem gravar, soltou semana passada o execelente EP All Delighted People e já anuncia um novo álbum, The Age of Adz virá à luz do dia, em 12 de outubro próximo pelo seu selo, Asthmatic Kitty. A primeira canção liberada é “I Walked”, cheia de sons eletrônicos e linda.
Sufjan Stevens The Age of Adz Released: October 12, 2010
The Age of Adz (pronounced odds) is Sufjan Stevens’ first full-length collection of original songs since 2005’s civic pop opus Illinois. This new album is probably his most unusual, first, for its lack of conceptual underpinnings, and second, for its preoccupation with Sufjan himself. The album relinquishes the songwriter’s former story-telling techniques for more primal proclamations unhindered by concepts: there are few narrative conceits or character sketches; there are no historical panoramas, no civic gestures, no literary maneuvers, no expository illustrations drenched in cultural theory, no scene, setting, conflict, resolution, or denouement. Sufjan has stripped away the fabric of narrative artifice for a more primitive approach, emphasizing instinct over craft. The result is an album that is perhaps more vibrant, more primary, and more explicit than anything else he’s done before. The themes developed here are neither historical nor polemical, but rather personal and primal (if even a little juvenile): love, sex, death, disease, illness, anxiety, and suicide make appearances in a tapestry of electronic pop songs that convey a sense of urgency, immediacy, and anxiety as never before seen in this songwriter.
Of course, the theme of unmitigated love (and affection) runs deepest, often with shameless candor. Whether singing about a sleepover, old age, illness, or the Apocalypse, Sufjan can’t help but render everything through the lens of love and affection, the desire for contact, closeness, and connection. Perhaps this reveals what we’ve known all along in spite of the conceptual pageants and epic displays: that Sufjan is fundamentally a sensualist. And a morbid one, at that. Death looms large, either as an oracle at the apex of a volcano or as a shadowy omen in the window at night. What are we to make of these emotional and romantic climaxes back-dropped by fuming volcanoes, alien space craft, and demonic deities dressed like Boba Fett?
The cosmic themes are only more augmented by the obvious sonic shift on this album, which is deliberately electronic, synthesized (and occasionally danceable!). Acoustic guitars and banjos have been replaced here by drum machines and analog synthesizers. Loops, samples, and digital effects gurgle and hum underneath every verse, chorus, and bridge. For those familiar with Sufjan’s earlier work (namely, the electronic album Enjoy Your Rabbit), this foray into the digital pop world shouldn’t be so startling. The difference here is that the electronic sound collage is transposed on a collection of songs, while the sounds themselves are given equal footing to the voice, washed as it is in a pedal board of effects. The album is also heavily arranged with brass, strings, woodwinds, and a lush choir of backing voices. These “live” elements create vivacious juxtapositions against the montage of synthesized sounds, evoking their own kind of literal “sonic theory”— that is, the conflict and resolution between Real and Unreal, or Ordinary vs. Extraordinary.
These themes are best illustrated in the album’s namesake. The Age of Adz refers to the Apocalyptic art of Royal Robertson (1930 –1997), a black Louisiana-based sign-maker (and self-proclaimed prophet) who suffered from schizophrenia, and whose work depicts the artist’s vivid dreams and visions of space aliens, futuristic automobiles, eccentric monsters, and signs of the Last Judgment, all cloaked in a confusing psychobabble of biblical prophecy, numerology, Nordic mythology and comic book jargon. Portions of the album use Robertson’s work as a springboard into a cosmic consciousness in which basic instincts are transposed on a tableau of extraordinary scenes of divine wrath, environmental catastrophe, and personal loss. In Robertson’s imagination, guns, lasers, gargoyles, and warring battleships upend the sins of mankind with the pageantry of a Hollywood B-movie. (A selection of Robertson’s work adds extraordinary color to the album art as well).
But Robertson was also a man of mundane circumstances (his primary media were poster board, magic marker, and glitter). Living alone in a trailer in near poverty, even his most fantastical work contains heart-wrenching references to hunger, fatigue, anxiety, food stamps, loneliness and the desire for intimacy, scripted with unabashedly affectionate grievances. In the same way, Sufjan sets his imagination on the splendor of high places (divine revelation, oracles, love, the cosmos, the Apocalypse) rending his heart in the mire of loneliness, self-doubt, or panic, while his body urges for the ordinary touch of a lover, a brother, or a friend.
1. Futile Devices 2. Too Much 3. Age of Adz 4. I Walked 5. Now That I'm Older 6. Get Real Get Right 7. Bad Communication 8. Vesuvius 9. All for Myself 10. I Want To Be Well 11. Impossible Soul
WAVVES, a banda de Nathan Williams, de San Diego, California, está lançando seu novo e terceiro álbum, King of the Beach, em 3 de agosto próximo, via Fat Possum Records. O primeiro single do disco é “Post Acid”, que ganha agora seu igualmente nervoso vídeo.
O Blonde Redhead está para lançar seu novo álbum, Penny Sparkle, no próximo dia 14 de setembro, via 4AD, e está liberando gratuitamente, mais uma bela canção, depois da excelente “Here Sometimes”, a banda novaiorquina oferece agora, “Not Getting There”, outra belíssima canção.
O Cold Cave está liberando gratuitamente a cover que fez para “Tomorrow”, canção de 1982 da banda Hunky Dory, para comemorar a estreia do novo site da banda.
Broken Records, banda de indie folk de Edinburgh, Scotland, UK, formada por Jamie Sutherland, Rory Sutherland, Ian Turnbull, Dave Smith, Andrew Keeney e Craig Ross, anunciou seu segundo álbum, Let Me Come Home, para quando outubro chegar, via 4AD. A primeira canção liberada é a excelente “A Leaving Song”.
Trumans Water, banda de indie rock formada em San Diego, California, em 1991 pelos irmãos Kirk Branstetter (vocal, guitar) e Kevin Branstetter (vocal, guitar). Atualmente a banda conta também com Mike Coumatos (bass) e John Schier (drums).
Eles estão de volta com um novo álbum, O Zeta Zunis é o 13º álbum da banda, o primeiro desde 2003 e sua estréia no selo Asthmatic Kitty Records. Os primeiros singles liberados gratuitamente são, “We Fish” e “5-7-10 Split”.
Ah, America -- she loves a comeback, she does. Even the hint of its possibility tantalizes. Plays so well in Peoria (and elsewhere). Is it part of the USA’s national character to welcome back its own to any notable prominence, to celebrate a reclamation earned through reassertion, revivifying accomplishment -- or retrospective reassessment?
Summer of ‘76: Washington and the Continental Army, asses kicked, barely escape from NYC after near-obliteration by Brits in the Battle of Brooklyn; come Christmas, George and ragtag Co. cross icy Delaware, rout surprised Hessian mercenary troops in Trenton. Huzzah. Judy Garland at Carnegie Hall ... “Elvis -- The ‘68 Comeback Special” ... Philip K. Dick, RIP ... Tiger Woods? Captain Beefheart?
Trumans Water never really went away. Scarce in their native land, yes -- that, indeed, the veteran American “spazz-rock”/”squiggle-core” group has been in recent years. (Increasingly more obscure as well, relatively unknown to untold pods of younger blog-rockin’ folk -- sharp-eared discerners, who might well luv TW were they to know TW -- if still deemed “legendary” by those who, a) remember Trumans’ halcyon days in America’s early/mid-‘90s “guitar-rock” underground; b) recall the life-altering praise from abroad, with the late great all-time tip-top good-taste-making radio DJ John Peel championing them over international airwaves, and the Melody Maker making this pithy 1993 assessment: “Sonic freaks with a lust for life, Trumans Water make Pavement sound like U2.” Hear, hear? Not bad -- but your call.)
For over a dozen years, the Water’s arguably been more of a foreign affair, with releases on European labels, touring almost exclusively “over there” yet consistently recording stateside. Doing it all even with key co-founding brothers living miles apart: lanky guitarist-vocalist Kirk Branstetter in Portland, Oregon, where the band relocated in 1995 (they formed in San Diego in 1991); and savvy vox/gtr/bass/etc. guy Kevin Branstetter, who married French and lives south of Paris w/ wife and offspring (and is known to offer pro road/liaison services for indie/outie music types touring l’Europe).
But enough with the history (for now). Because the rock o’ Trumans Water lives in the present. Their new albumO Zeta Zunis sounds remarkably fresh if also in keeping with a fistful of enduring collective aesthetic TW identities: the ever-active, wildly clawing, rough-toned brace of guitars; the sour-sweet sing-shout screech-croon ‘n’ power-yowl; the explosive rhythms, herking here and jerking there, none too predictable anywhere. And some fun sound-play. Thoughtfully goofin’ verbiage. All good. Quite.
O Zeta Zunis may be Trumans Water’s studio album-proper #13 -- or not, if ya count such various full-length Trumans cassette releases as Couch of the Spastics on Chocolate Monk or Cough Forth Such Dilemmas on Union Pole. Whatev. It certainly is their first new album since 2003 and, so importantly, it is coming out in these United States (and elsewhere) on Asthmatic Kitty Records. (The label will offer quality downloads; the band will put out a limited number of vinyl copies on their Justice My Eye/Elevated Loin imprint.) AKR will be their first truly stable domestic label home of the new millennium. (What’s more, Asthmatic Kitty is planning to catch up any interested parties in coming months by digitally re-releasing elusive albums of the Trumans Water discography.)
As well, the 14 tracks spread over OZZ’s “Zeta” side and “Zunis” side mark a coming back of Trumans’ post-Galloway period, this time rounded out by versatile bassist/veteran cohort Mike Coumatos (also known as 50% of fine ongoing Portland party-rock duo the Bugs) and drumming dynamo John Schier (of the Last of the Juanitas, aMiniature, Uncle Joe’s Big Ol’ Driver, Eric Kivlen Band, Donald Wilson Quartet).
Brief back-story: the Water took shape in ‘91, when the Fender-bending brothers Branstetter hooked up with singer-guitarist-catalyst Glen Galloway; soon San Diego had a rollicking avant-rock angle to its music scene inTW, the kind of band that, say, could righteously open for/tour with the Boredoms (Trumans did). But after their self-made albums Of Thick Tum, Spasm Smash, the Godspeed tetralogy and numerous singles had sent their sounds worldwide, Glen exited to marry, concentrate on his Holy Spirit-stoked Soul-Junk group -- and stay in SD as Trumans continued touring, eventually moving to Oregon. What amazed many was how quick a study then-bassist Kevin B. proved to be when Glen G. instructed him on lead vocal and co-guitar-ing duties. Empowered, the younger Branstetter picked up the torch, carrying it still. Later, Galloway returned as a guesting full member to augment Trumans’ last three albums -- each a fine collection.
O Zeta Zunis is a cohesive foursome ripping confidently, a few slowed-up passages helping to accentuate the melodic riff-drive of “Last Time” or the balls-out whizz-bang of “Greased Water,” the twitchy-catchy frolic of “5-7-10 Split” or the rubbery buzz-chug of “You Live Out Loud.” Nice. There’re loping jams and snappy sputter-blasts as well. Essence of Trumans. And, as detailed, O Zeta Zunis brings the Water back to the United States -- in some literal ways that’ve not been seen in over a dozen years. (Along with playing Europe, TW plan to do some actual North American touring to support this/other Asthmatic Kitty product.) Yeah, Trumans Water -- those friendly fellows are of the world but they’re America’s and they never left so won’t you please welcome them back?
1. Since Yesterday 2. Bev Toxin 3. Ammunition 4. Last Time 5. Ur-Cod 6. Greased Water 7. Blasphemous Cordialantlers Ride! 8. 2 Hands 4 Eyes 9. Thew Eak Hen 10. 5-7-10 Split 11. We Fish 12. Radio Played 13. You Live Out Loud 14. Horsesplinter Wraparound
Grass Widow é um power-trio pós-punk/surf/psicodélico de San Francisco, CA, formado pelas belas Raven Mahon (guitar, vox), Hannah Lew (bass, vox) e Lillian Maring (drums, vox). Elas estão lançando seu segundo álbum, Past Time, via Kill Rock Stars. O primeiro single é “Shadow” e o segundo é “Fried Egg”.
Grinderman, banda/projeto de Nick Cave, Warren Ellis, Martyn Casey e Jim Sclavunos, lançando seu segundo álbum, Grinderman 2 (capa acima), no próximo 13 de setembro, via Mute (Europa) e Anti- (USA). A primeira faixa liberada foi “Heathen Child”, e já soltaram na blogosfera, ao menos 4 versões diferentes.
Essa é a versão editada para rádio, mais curta, com 3m44s:
Philip Selway, baterista do Radiohead, está lançando seu primeiro álbum solo, Familial, em 30 de agosto próximo. Mas, eis que Phil liberou ontem, via NPR, Familial completo para audição. São belas e singelas canções.
Jenny Lewis and Johnathan Rice have been collaborating on and off for years, each contributing to the other's solo records and live shows, but with this record they had a different intention: using their two voices in close harmony and playing practically every instrument themselves. The result is an eleven song thirty-five minute blast of whip-smart rock and roll. During hours of downtime on her 'Acid Tongue' world tour, Jenny and Johnathan began writing a batch of songs different from anything they had previously created. During a 9 day demo session in LA in October 09, helmed by Rilo Kiley's Pierre De Reeder, Jenny and Johnny played as many instruments as possible, right down to the drums, bringing in Jason Boesel for additional embellishments. The four friends worked lightening fast, had a hell of a lot of fun, and were so happy with the results that Lewis and Rice decided to start a brand new band and finish the record. In late December the two songwriters packed up a station wagon and drove from Los Angeles to Omaha, Nebraska to work with their friend, Mike Mogis. Jenny and Johnny hunkered down in Mogis' world-class ARC studios for five weeks of tracking, vocals,and mixing during the worst Midwestern winter since the 1860's. The front door of their guesthouse actually froze shut, so they used an alternate route to get to the studio every day. Cut off from the outside world in a blizzard's haze, the record's personality began to emerge. Gone were the vintage, classic-rock textures of their previous two albums, and in came a tougher, rougher sound. There's an exuberance in love songs like 'Scissor Runner' that mask some of the record's darkness, while Lewis chronicles the economic demise of her beloved California in 'Big Wave.' Listeners will relish Rice's haunting vocal on 'Animal' and both songwriters raising a middle-finger kiss off in the acerbic 'My Pet Snakes.' This is not a Rilo Kiley record, a Jenny Lewis record, or a Johnathan Rice record. This is Jenny And Johnny. They're having fun now, and they want you to, too.
Tracklist:
1. Scissor Runner 2. My Pet Snake 3. Switchblade 4. Big Wave 5. While Men Are Dreaming 6. Animal 7. Just Like Zeus 8. New York Cartoon 9. Straight Edge Of The Blade 10. Slavedriver 11. Committed
of Montreal False Priest Released: September 24, 2010
Teaming up with Grammy-nominated producer Jon Brion (Kanye West, Fiona Apple), of Montreal’s mastermind Kevin Barnes traveled to famed Ocean Way Recording (Michael Jackson, Ray Charles, Frank Sinatra) to record False Priest, his self-professed masterpiece.
As discussed in features in Rolling Stone, SPIN, Under the Radar and Pitchfork, False Priest is speaker-rattling heavy on the low end and features appearances by Janelle Monáe and Solange Knowles (Beyoncé’s sister).
The album also marks the return of organic instruments -- with live drums, strings and pianos replacing the midi sounds and sequencers of previous albums.
The CD and 2xLP both feature a 20-page booklet of new paintings from David Barnes and Gemini Tactics.
Tracklist:
01 “I Feel Ya’ Strutter” 02 “Our Riotous Defects” 03 “Coquet Coquette” 04 “Godly Intersex” 05 “Enemy Gene” 06 “Hydra Fancies” 07 “Like a Tourist” 08 “Sex Karma” 09 “Girl Named Hello” 10 “Famine Affair” 11 “Casualty of You” 12 “Around the Way” 13 “You Do Mutilate?”
Sufjan Stevens está lançando All Delighted People EP, que mais se parece um álbum com seus 60 minutos de duração, apesar das 8 faixas, poucas para um álbum padrão de Sufjan Stevens. Seja como for, o que interessa é que o EP muito bom. Sufjan Stevens e seu selo, Asthmatic Kitty, disponibilizaram All Delighted People EP para audição. Confira aí:
All Delighted People EP includes two versions of "All Delighted People," which debuted on Sufjan’s 2009 tour, and references lyrics from Paul Simon’s "The Sound of Silence." Along with six other new songs, the collection is his first original song-oriented material since 2006, among them the first recording of live-show mainstay "The Owl and the Tanager," and the elegiac "Djohariah," featuring Sufjan’s first recorded epic guitar solo. Along with the guitars, piano, and banjo that characterize his previous recordings, choirs, strings and brass adorn the melodies. Raise Your Hands!
1. All Delighted People (Original Version) 2. Enchanting Ghost 3. Heirloom 4. From The Mouth Of Gabriel 5. The Owl And The Tanager 6. All Delighted People (Classic Rock Version) 7. Arnika - 5:14 8. Djohariah
A banda Antony and the Johnsons está para lançar um novo álbum, Swanlights sai dia 11 de outubro próximo mas, antes disso, em 30 deste agosto vingente, é a vez de Thank You For Your Love EP, que traz além da bela e dilacerante “Thank You For Your Love”, primeiro single do álbum, covers para “Pressing On” de Bob Dylan e “Imagine” de John Lennon, além de “You Are the Treasure” e “My Lord, My Love”. Dessas, só “Thank You For Your Love” faz parte do repertório de Swanlights, que conta 11 faixas ao todo, incluindo participação de Björk na faixa “Flétta”. Aguardamos, então, anciosamente o no novo disco de Antony Regarty e seus colaboradores.
ANTONY AND THE JOHNSONS Swanlights Released: October 04, 2010
Antony and the Johnsons will release their new album, "Swanlights", on October 12th in North America via Secretly Canadian. Abrams Image will simultaneously release a special edition of "Swanlights" which will include the CD inside a 144-page art book containing Antony's paintings, collages, photography and writing. The album only version of "Swanlights" on Secretly Canadian will also include the song "Flétta", a duet with Bjork. The album and book are a continuation of Antony's work exploring environmental issues and his connection to the natural world.
While "I Am a Bird Now" was arresting in its simplicity and vision and "The Crying Light" is a masterpiece of austerity, "Swanlights" may be Antony's most wide-ranging emotional work to date. It is a record that is at moments excruciating and tender, and at other times has a wicked gleam to its teeth. Musically it's the most maximal of his work to date. Whereas on "The Crying Light", Antony paired everything back to its most distilled and essential, on "Swanlights" the vines have become overgrown and the sound palette has become more exotic, strange percussive elements, John Cale-esque string drones, heavily distorted guitars and symphonic voicings thread the song cycle together.
"Everything is New" opens the album with subtle piano and an insistence that each moment takes its own breath and is reborn. Strings and bursts of percussion carry the melody as it soars through a cacophonous wilderness. "The title track finds us navigating a primordial and seemingly amorphous plane of expanding guitar tones and an almost Eastern influenced melody, exclaiming the elusive, magical and perhaps ominous, even dangerous majesty of "the Swanlights on the water, on that shining face". On "Thank You For Your Love", he repeats what at first seems to be a simple sentiment and infuses it with a gradually escalating sense of urgency, breaking completely from the 4/4, Otis Redding-esque structure of the song into much more intense. over.
The book is a collection of visual art, thought-provoking dreamscapes composed of paintings, drawings, photography, collage, song lyrics, and writings. Often fragmentary images, these pieces capture liminal states and elements of the unconscious. Some images are reclaimed and reconfigured in order to transcend their previous form. The intersecting mediums inform each other and create an interesting dialogue with Antony's music, his creative muse, and personal mythology.
"Swanlights" is the fourth Antony and the Johnsons album and the follow up to the critically acclaimed smash "The Crying Light" which topped year-end best of lists across the globe in 2009. Antony burst into the international spotlight with his second album, "I am a Bird Now", which won the UK's prestigious Mercury Music Prize.
SONG LIST:
01. “Everything Is New” 02. “The Great White Ocean” 03. “Ghost” 04. “I’m In Love” 05. “Violetta” 06. “Swanlights” 07. “The Spirit Was Gone” 08. “Thank You For Your Love” 09. “Flétta (Feat. Björk)” 10. “Salt Silver Oxygen” 11. “Christina’s Farm”
Dylan LeBlanc, cantor e compositor de Shreveport, Louisiana, USA, que transita entre os universos do rock, country e folk, com apenas 20 anos, está lançando seu álbum de estréia, Paupers Field, via Rough Trade e Beggars, no próximo dia 23 deste mês de agosto vingente. O primeiro single é “If Time Was For Wasting”, bela e singela canção.
On Dylan LeBlanc’s debut album, Pauper’s Field, a lost world is brought to life - both in the carefully sculpted songs and rich well of country soul from which those songs emerge.
Although the Golden era of Alabama’s fabled Muscle Shoals sound had passed by the time Dylan was born in 1990, his ancestral roots and family background connected him to one of the most significant sources in the rich tapestry of American music. His father’s position as a Muscle Shoals session player and songwriter meant that early in life Dylan was privy to the sights and sounds of an un-varnished, vanishing epoch and such legends as Spooner Oldham.
19 year old Dylan LeBlanc was born in the Parish of Caddo in northwest Louisiana. He was exposed to a wide variety of music whilst growing up in Shreveport-Bossier City, Louisiana and Muscle Shoals, Alabama. Inspired by Willis Alan Ramsey, Neil Young, Townes Van Zandt and Tennessee Williams, he joined the House of Fame as a writer at 18. Dylan’s approach to music is to write and sing about things that are real, that convey humanity, so all can relate. His inspiration comes from experience, and watching, listening, and absorbing everyday life around him.
Despite his age, Dylan’s worn yearning voice already has the mark of aged experience. Neither the feel nor sound of the album, nor the haunted ghost summoning songs he has written, can be faked. “If Time Was For Wasting” seems to be wrenched from the heart of ever-present currents in Deep South life - where the pull of the past is unavoidable. Ghosts and demons emerge from the mist in compositions featuring arche- typal characters such as “Emma Hartley” and “The Outlaw Billy John”.
Tracklisting:
1. LOW 2. If Time Was For Wasting 3. If The Creek Don't Rise 4. Tuesday Night Rain 5. Emma Hartley 6. Ain't Too Good At Losing 7. Changing Of The Seasons 8. 5th Avenue Bar 9. On With The Night 10. Coyote Creek 11. Death Of Outlaw Billy John 12. No Kind Of Forgiveness
