So there I am, making a playlist circling around a country-but-not-quite-country vibe I was feeling, and I’m poking around in various recommendation engines for “if you like then you might like” kind of stuff and there’s Katie Pruitt. I might like Katie Pruitt, the komputormachina said, so I put her album on my playlist all casually, like, “oh, here’s another album”. What a buffoon, what an absolute simpleton I was. 185 tracks on this playlist from amazing artists, The Staves and Lera Lynn and Waxahatchee and Joy Williams and Sarah Shook (coming soon, oh lawdy) but here comes Katie Pruitt and…were there other songs on this playlist?
So, story time. I got some new speakers for my home audio setup, they’re very spiffy and they sound great and I was looking for interesting music to listen to on them. Whilst stumbling haphazardly around various audio review sites looking at what songs they used as test tracks, I saw a mention of a 2013 Blu-ray Audio release of Beck’s 2002 album, Sea Change, mixed for full surround sound and in a lossless format.
Yes. I did just do a Lights post, like, 10 minutes ago in CGPLS time. I know. I KNOW. Look, alright? I didn’t know this other album was out there. I didn’t know. It is so good and also so wildly different that it deserves…no, no it demands recognition. I was musically smitten with Lights before. Strongly Musically Smitten, official classification. I’m in Stage Ten Incurable Musical Love with her now.
Her eyes kind of look right into you, don’t they?
It is only recently that I’ve become aware of Fleurie, though the Fear & Fable EP I’m currently wearing a figurative hole through was released in 2013. Once again our ever-generous overlord The Great and Powerful Spotify has gifted me with bounteous musical joy and once again the beneficiary of such is you, dear, silent, likely imaginary, reader. The good news is that she has new music on the horizon, so, soon there will be more than this.
Look everyone, I’m not trying to solicit your thanks or praise necessarily, but I think I’m kinda getting you in on the ground floor of a confirmed music situation here. An honest to God happening. Roo & The Howl’s very first full length album has only been out for about a month at this point and that’s a good jump on the game. Also, NoiseTrade. You guys, you’ve got that algorithm dialed in.
It’s been a while since we last spoke of Elizabeth and her accompanying Cat (apult). Nearly five years, in fact. I’ll give you a second to catch up on your history. Much has happened, Taller Children was fresh at that time, but we’ve now seen not one but two additional studio albums, The Other Side of Zero in 2010 and earlier this year, Like It Never Happened. It’s this most recent outing that I’m here to wax poetic about and/or sing the praises thereof.
I’ve been meaning to do this post for a long time, it’s a rather glaring oversight. I would go so far as to say I owe you an apology, when you get down to it. If you like the kind of music I like and have somehow failed to stumble upon A Fine Frenzy and I, I of all people, have neglected to bring her to you, well. Let us assume that my apologies are of the humblest and sincerest of natures.
Laura Marling is someone I’ve listened to before but was not entirely taken with. Her first effort, “Alas I Cannot Swim”, was a little rough in ways that I didn’t entirely care for. There was quality there, but it just didn’t seem to have settled into itself. Having missed her intermediate efforts, I recently acquired “Once I Was An Eagle” as I was randomly reminded that I meant to check her out again.
Catherine Feeny is an artist of remarkable quality. Heartfelt and intimate, Catherine delivers unique songs steeped in country and folk but filled with instrumentation and rhythm from, well, everywhere. Acoustics, electrics, piano, brass, strings, chimes, ukulele, hand claps, whistling, electronics, harmonica, accordion, you name it. That’s not to say she’s gimmicky, nor that she piles on more when less will do, but you never know what she’s bringing into the fray.
GASP (Shock!) /awe. Yes, friends. “And other music. Like, also.”
The year, lovers, is 1996 and I am positively enamored with Bringing Down the Horse by The Wallflowers. One Headlight, 6th Avenue Heartache, Three Marlenas, The Difference, Josephine… What an album. Then they played a song for the worst Godzilla movie ever made, and we’re talking about a series of movies that relied on men in rubber monster suits trampling scale models of cities, for the most part.
In the many seasons of my musical whimsy, the coming of the singer-songwriter is the most recent, and Anna Nalick was there at the beginning. Following on toe-dippings like Alanis, Sarah McLachlan, Jewel and the occasional Fiona Apple, Anna represented one of my first full-album plunges into the cool waters. I had rather forgotten her as she was over-shadowed by huge comers like Feist and Rachael, and she slipped into the obscurity of my musical memory.
No, not that Kate Walsh. This is the other Kate Walsh, the British one that does the guitar stuff.
Now that we’ve got that cleared up, Kate somehow flew beneath my radar for a quite a while. It was only recently that I saw the distinctive blip of an incoming cute girl playing love songs. By the time I had assembled my defenses, she had already dropped a musical Atkin guitar (I’d really like to play one of their OMs).
What am I supposed to do here? This deck is stacked. I’m wired to be in musical love with Jaymay. And why not? Jamie Seerman has all the tools. The voice, the guitar, the uncanny insight into my musical desire, it’s all there. This is a no-words-required recommendation. Listen to these two songs on me and then you’ll just go buy Autumn Fallin’. You won’t be able to stop yourself. It’s ok, you’re not alone.
So, Meiko is basically the poster girl for Cute Girls Playing Love Songs. She’s so cute it’s ludicrous. Thank god she plays good music so I could justify looking at pictures of her on the internet until I found the one I wanted to post. That’s not creepy at all, I assure you.
Meiko is pretty great musically as well, in case you were curious. Her debut self-titled album has just the right mix of irreverence and introspection, with a healthy, hearty helping of highly entertaining.
With her utterly disarming vocals and gorgeous arrangements, Meredith Godreau captured my heart with frightening ease. I’ve long been a fence-sitter with regard to “little girl voice”, but Meredith’s label-debut Moenie and Kitchi is the sort of thing that makes you a believer.
Oats We Sow
Voice Like a Bell
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