cary brothers returns. not a band, that’s his bloody name.
I remember seeing Cary Brothers live the first time, I was utterly confused by the name as this was obviously a one man act. Admittedly he did have a band backing him, but an artist like that will always be a one man show. His vocal is wide open and constant, melodic and touching, and he can do this in real life. His is not an engineered vocal, which is so very refreshing these days. Cary is, by his own very breathing, a profoundly large middle finger up to the industry’s whoring out of auto tune and melodyne. But I digress, the first time I saw Cary Brothers was at Hotel Cafe tour including Imogen Heap (the reason why I was at the show). She was on part of her “Speak for Yourself” Tour and was riding high on a pretty amazing response to her independently produced and released record. But Cary Brothers was a standout, his single at the time was “Ride” and he was unheard of as of yet. Hearing his vocal first push through the El Rey Theatre was really a singular moment and he was a show stealer by all means. That was my first show at the El Rey Theatre and by far one of my favorites.
Now for his record: every song has a stripped down feeling to it, the product is subtle and the emphasis is directly on his wonderful voice. Simon-and-Garfunkle-esque, where almost everything else in the mix is mere accompaniment to the brilliantly arranged vocals. Cary Brothers is a truly important and creative voice of the imperative now. The record is called “Under Control” and “Ghost Town”, the first track, is a touching way to understand Cary if you’ve never heard him. Check “Ride” though and stay away from the Tiesto remix. The kick drum is hollow and off putting.
Ok, now as you know I am wildly fanatical for those lovely boys from Wales: Underworld. Their output for the last few years has been prolific (a little bit of Catholic guilt from the 100 days off I wager), Shakespearean even, but in September of 2010, the 2nd to be more accurate, they will have a new record out. As said by me in the past, Underworld recently discovered their capacity to write truly wonderful music is dramatically increased when they play with others, as “Downpipe” (2009) was their first collab ever in the history of the group. Now this record, though littered with efforts solely by our favorite Welsh madmen, there are collabs with, High Contrast (two actually), another 2 tracks with D. Ramirez and Mark Knight, still another with Dubfire and Richie Hawtin, and Paul Van Fucking Dyk. This is the record that will defy and define new genres. I am getting the day off, maybe 2 to properly survey this opus. This eagerly awaited record is called “Barking”, I imagine barking in the mad sense. However, the British tend to be pliable and creative with the language they created. What I must also mention is the last two records they have released, 100 Days Off and Oblivion With Bells, have had black and white album covers. Barking is awash with color, in a way that Van Gogh would be rather happy with the finished product:
This is another part of Underworld I love, there insistence upon art throughout, in the presentation of their music and in the music itself. Dadaist, romantic and joyful in its randomness, the cover I mean, but I think that also fits their music.
Anyway, though scant on recommendations, I think that should do, save for one last bit: Last week, Doctor Who (with the marvelous new 11th Doctor), had a track from Athlete’s “Tourist” which came out in 2005, called “Chances”. I was reminded just how much of a treasure this band is, with a sound landlocked in the Beatle’s Sgt. Pepper’s era. A vocal that has elements of Johnny Cash in his near spoken word cadence and keyboards that generate tactile texture and shine to an already genius band. They utilize electronic music production techniques to beautiful ends but Joel Pott’s vocals remain untouched and raw in their thin throaty drawl. The songs are heavy hitters, not a forgettable record amongst them. But also, the records themselves become continuous. It’s hard to not listen to the whole album after hearing one of it’s parts. I heartily recommend listening to “Wires” and “Chances” from the first record and then “Flying Over Bus Stops” to encapsulate the band in a 15 minute or so time capsule. Really though, listen from start to finish, but if you must, those three tracks really speak to the heart, the head and hit the chest with some really well used db. These are story time melodies that evolve into tiny worlds of their own, and then the music becomes part of your world, a personal soundtrack, what your life sounds like. There’s magic in Mr. Pott’s pen and the band’s sense of melody. Put your headphones on, just hit play.
Have no worries for the playlist, the Messrs from Deptford will manage the rest.
posted from the [seventeenpointzero].
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