In the Groove: This Week’s Music Reviews
O’Death: Out of Hands We Go
When I first heard that O’Death was releasing new material, it took everything I had not to jump up and down screaming, running through the streets with my head towards the heavens like a crazed idiot. Out of Hands We Go is their third studio album and, in my opinion, it’s their best offering yet. From the opening track, Herd, it is immediately understood that O’Death is about to take the listener on an amazing musical journey. The production on the record is sparser, but somehow feels larger than its predecessor. The epic sounds wash over the listener’s eardrum for forty-three astonishing minutes. Approach O’Death with the understanding that what you will hear will shock you. You will not be the same after you listen to one of their records. They are unlike anything else that you are likely to come across. Elements of country, folk, hysteria, and Middle Eastern punctuate Out of Hands We Go and it seems that the band has finally come into their own. As I sit here, whiskey at my side, headphones gripping my head, the beauty of this album is shocking. Tracks like, All is Light, Wait for Fire, We Had a Vision, Heal in the Howling, and Isavelle are some of the most striking pieces of music O’Death has released to date. Isavelle is one of the best songs of 2014 and should be your first stop on the record. Trust me when I say that you will not be able to control the impulse to repeat the song more than once. Dear readers, if you do nothing else today, listen to Out of Hands We Go with eyes closed and minds open; you will not regret this decision. You can purchase the album at the link below.
Joe Fletcher: You’ve Got the Wrong Man
I am not a fan of starting any written work with a definition, but our next musician fits the descriptor more than any other artist to pick up a guitar or sing into a mic. Therefore, against my better judgment, Miriam-Webster defines Troubadour as “one of a class of lyric poets.” I could not have penned it better to describe the outstanding work of Joe Fletcher. Many musicians can tell a story, but few can do it with as much poetry. Songs of real life litter You’ve Got the Wrong Man like a deserted city street. The perfect example of Fletcher’s songwriting prowess is contained in the opening lines of the album first track Florence, Alabama. He writes, “You were the prettiest bartender in the last bar in the South, and I thought you were an angel, till you opened your mouth.” The storytelling on You’ve Got the Wrong Man leads the entire piece with Fletcher’s guitar acting as a secondary character. The scant arrangements work to the benefit of the record; presenting a grittier, less polished experience. Listening to the album, it’s easy to picture Fletcher occupying a dilapidated bar, worn boots tapping in the dust, singing only to himself; empty whiskey glasses and discarded chairs his only audience. Do yourself a favor and pick up You’ve Got the Wrong Man, you will not be disappointed.
Shakey Graves: And the War Came
Austin’s own Shakey Graves (Alejandro Rose-Garcia) may not be known by a multitude of listeners, but his music doesn’t need the accolades of countless admirers; it stands on its own. The power behind Rose-Garcia’s songs is undeniable and mindboggling that a man, guitar, and a suitcase kick drum could sound as large as it does, but Shakey manages the task with apparent ease. In addition, his genre-shifting style keeps the attention of the finickiest of music snobs. Shakey proves that he can play anything from electric blues numbers (The Perfect Parts), acoustic foot tappers (Only Son), to freak-folk type sounds (Family and Genus), without regard for expectations. It seems that he approached And the War Came with creating something that wasn’t for any specific audience, rather, more about satisfying the need to exercise his musical demons. But some of the best music to appear on the album features Paper Bird’s Esmé Patterson. Their vocals conform together in perfect unison, making a big sound even bigger from their combined power. One can only imagine the beautiful songs created if they continue this partnership. If you haven’t crossed paths with Shakey Graves in the past, now is the time to discover what you’re missing. Nowadays, music can disappoint the moment we touch the radio dial, but sometimes there are glimmers of hope hidden in the static. Shakey Graves is one of those artists. Pick up the record, hit play, and then prepare to yourself for something amazing.
