In Rotation

  • Test Album

    "The Winter of Mixed Drinks"
    Frightened Rabbit

  • Test Album

    "The Suburbs"
    Arcade Fire

  • Test Album

    "Soundtrack To The End"
    Communist Daughter

  • Test Album

    "Crazy For You"
    Best Coast

  • Test Album

    "Treats"
    Sleigh Bells

Watch This

  • Test Video

    "Silver Soul"
    Beach House

  • Test Video

    "Little Secrets"
    Passion Pit

  • Test Video

    "Unhinged"
    Eels

  • Test Video

    "Black Smoke"
    Tindersticks

‘One-woman orchestra’ Emily Wells gives away new song

The description “classical instrumentation, folk rawness and hip-hop production” coupled with “haunting” vocals sounds at first like the sort of breathless praise the Lana Del Rey hype machine has come up with, but in this case, we’re talking about Emily Wells, a singer who seems rather more real.

Wells, a Texas native, has drawn notice for the one-woman orchestra feel of her live shows, where she samples and loops herself. The singer, songwriter and violinest also reaped positive notices for her first album, 2008’s “The Symphonies: Dreams Memories & Parties,” which prompted Spin magazine to describe her as “a feral, streetwise Nina Simone.”

We’re not so sure about the feral part, but there’s definitely a visceral feel to “Passenger,” the free song from “Mama,” Wells’ forthcoming sophomore album. It’s a lush song with layers of sweet, woozy strings carefully arranged over a deep, hypnotic rhythm as Wells sings in an alluring, just-woke-up voice.

“Mama” is due April 10 on Partisan, and Wells is at the top of the list of artists we want to see at SXSW in March.

LISTEN
Passenger mp3

‘New Multitudes’ Guthrie project gives away ‘Old L.A.’

With just a month to go before the release of “New Multitudes,” the new collaboration by Jay Farrar, Will Johnson of Centro-matic, Anders Parker and Yim Yames on archival Woody Guthrie songs, the foursome is letting slip an idea of how the record sounds with a free song.

Guthrie’s daughter, Nora, has said the group gravitated toward songs her dad had written during a stint in Los Angeles in the 1930s, which is borne out on “Old L.A.” The song, featuring Parker on lead vocals, has a wide-open feel, with knots of electric guitar swirling around a strummed acoustic on the verses, which blossom into a soaring chorus full of understated harmony vocals.

It’s a lovely introduction to this latest take on the Guthrie legacy (one of the earliest, of course, coming from Wilco and Billy Bragg), from four musicians who seemed perfectly suited to the task. The group also promises daily interviews about the album via this Facebook page.

LISTEN
Old L.A. by NewMultitudes

Damien Jurado gives away stunning ‘Museum of Flight’

First, we can’t believe it’s going on two years already since Damien Jurado released the very good “Saint Bartlett.” Second, we’re just floored by how great his new song is.

“Museum of Flight” is the free song from his forthcoming album “Maraqopa.” Jurado sings at the top of his vocal range, reaching now and then into falsetto for an effect at once fragile and riveting. The spare acoustic guitar arrangement that carries the first verse blossoms into a spine-tingling blend of tremolo guitar licks, scratchy lo-fi organ and an effects-treated piano fill. Just beautiful.

“Maraqopa” is available digitally today via Secretly Canadian, which is offering various physical configurations with all kinds of bonus stuff. Check out the options here.

Photo by Sarah Jurado

LISTEN
Damien Jurado “Museum of Flight” by DOJAGSC

Sea of Bees streams lovely ‘Broke’ from forthcoming LP

“Songs for the Ravens,” Sea of Bees’ 2010 debut, was an understated, overlooked gem of a record, showcasing singer Jules Baenziger’s voice, which we described at the time as being “capable of singing with swooping authority and with supple subtlety, in tones that are clear in the middle and a little fuzzy around the edges.”

It’s as true now as it was then, judging by the first single from Sea of Bees’ second album. At its core, “Broke” is a compact indie-rock tune, anchored by acoustic guitar and adorned with punchy, overdriven guitar, swooping electronic effects and riveting double-tracked vocals.

As she did on the first album, Baenziger played most of the instruments herself, though we’ll have to wait entirely too long to hear the rest: “Orangefarben” isn’t due until May 1 on Team Love.

kayln rock talks about inspiration, themes and capitalization

The truth is, kayln rock is such a cheerful, intelligent conversationalist that you can’t help but learn three facts, and more, from the fact that she recently had her wisdom teeth out (“Your teeth make this funny sound when they’re being removed,” she notes) to her pitch-perfect idea to book herself on a tour of performances at candy stores.

She has the material: The Hudson, N.Y., singer and songwriter recently released “Passenger,” a debut full of engaging, sweetly wistful songs that draw on the straightforward simplicity of folk, topped with a sly, tuneful pop sensibility. You’d never know it from “Passenger,” but serious songwriting is a relatively recent pursuit for rock, who has nonetheless been writing for a while: after a youthful dalliance, she veered back into music while earning a degree in the dramatic writing program at SUNY Purchase.

“With my music, I get more self-gratification, faster gratification out of writing a song and doing it all myself, than writing a piece and waiting for people to act it out and for people to understand it the way I understand it,” she says. Here are three more facts about kayln rock:

1. Capitalizing her name makes her uncomfortable. “Capitalized letters, for me, I see them as being somewhat confrontational, in a sense,” rock says. “I want everything to be lowercase because I don’t want to bring extra attention to my name.” Also, she says, she loves fonts, and the shapes of letters, citing Bookman Antique as a particular favorite.

2. She’s inspired by interactions. Not her own, necessarily, and not even romantic interactions, but rock finds something dramatically satisfying about parsing the ways that people act toward each other. “I really like describing things in terms of relationships with people, like the inner monologue people have,” she says. “A lot of the ideas I would have about stories, whether they’re plays or a bigger film, is just two people having an interaction with each other and the subtext.” That’s not to say she doesn’t draw on her own interactions: The oldest rule of writing is, “write what you know,” and rock does that, to a degree. ”I write from an experience and then I make that decision in my mind to go completely fictional and have it be inspired by something or to go out there and make it about the thoughts in your own head,” she says. “A lot of times I put it all out there. I would never reveal the name of the person, because it’s about everyone having their own experiences.”

3. “Passenger” is a pretty apt title. She didn’t realize it until after the album was essentially finished, but there’s an air of dislocation to many of the songs. “A lot of them are about traveling and looking for someone and thinking you found them and being confused and feeling let down that you didn’t, and letting life take you where you need to be, and feeling like you’re in control and then feeling like you’re out of control,” she says, laughing. “All these little self-revelations that go in and out.”

Text by Eric R. Danton, photo by Reid Elem

LISTEN
Valentine mp3
Alex the Great mp3

Y La Bamba readies new album with free song, ‘Squawk’

“Lupon,” the 2010 debut from Portland, Ore., band Y La Bamba, was an excellent albums that didn’t get nearly enough attention, and the song “Juniper” is still in frequent rotation at Listen, Dammit, World Headquarters. Maybe Y La Bamba will earn a little more notice for the follow-up, due in February.

“Court the Storm” builds on the chamber-folk sound of its predecessor, and singer Luzelena Mendoza has “embraced her heritage and personal experiences,” according to the press notes, singing four songs in Spanish on the album, produced by Steve Berlin of Los Lobos. “Squawk,” the free song, is not one of them, but that’s not to say it’s not compelling. It is, thanks to a speedy guitar part weaving its way through lush vocal harmonies and dry, resonant thumps on a bass drum.

The album, due Feb. 28, is the first pay-what-you-want digital release on Tender Loving Empire. Don’t be stingy, people: Y La Bamba’s music is worth a bundle.

Photo by Ingrid Renan

LISTEN
Squawk mp3

Dare Dukes balances smarts with empathy on folky new LP

It’s a strange and heady combination, but Dare Dukes operates in the middle ground between the suburban uniformity of his native San Jose, and what the critic Greil Marcus once called the “old, weird America,” a place populated by marginal characters on apparently vital missions.

“These missions, these people, they are what my music is about,” Dukes says in press notes for his new album with the Blackstock Collection, “Thugs and China Dolls.”

It’s the latest entry in a career that has also included fronting the late-’80s Minneapolis band the Penelopes, and a stint in New York writing novels. Now he lives in Savannah, where Dukes recorded “Thugs and China Dolls” with alt-folk singer Jim White producing, and contributions from collaborators with Sufjan Stevens, the National and Of Montreal.

The result is a baroque-folk album built around acoustic instruments: banjo, mandolin, strings, horns, accordion and rich, beautiful vocal harmonies. Dukes sings in a distinctive voice at once tuneful and adenoidal, and his lyrics are smart and vivid.

With twin horn lines, a stop-start rhythm and male-female vocal interplay on the chorus, free song “Meet You At the Bus” feels like a gentler answer to the Replacements “Kiss Me On the Bus,” but don’t mistake gentle for naive: Dukes is as savvy as he is empathic.

Photo by Chia Chong

LISTEN
Meet You At the Bus mp3

Norfolk and Western confirms hiatus while band members pursue art, and other music projects

Portland chamber-folk band Norfolk and Western hasn’t called it quits, exactly, but maybe don’t wait around for new music fr0m the group.

“Norfolk and Western has been dormant for a couple of years now,” singer Adam Selzer writes in a newsletter sent out early Friday morning. “I honestly don’t know if we’ll record or play anymore shows in the future but I guess I’m not ready to say never.”

Seems the various members of the band are busy with other projects: Selzer is now part of the Alialujah Choir, which releases its self-titled debut Feb. 14. Drummer/singer/multi-instrumentalist Rachel Blumberg is focusing on visual art, and recording music under the name Arch Cape, and bassist Dave Depper has been playing in other bands, including the Fruit Bats, and, for some reason, doing a complete re-creation of Paul McCartney’s album “Ram.”

Anyway, though Norfolk and Western has no plans to release any new music, there’s plenty of old music to enjoy. The band’s 2009 release, “Dinero Severo,” is available here on LP and CD. “The Unsung Colony,” “A Gilded Age” and “Dusk in Cold Parlours” are available here on CD, and you can grab the first two here on vinyl.

Dirty Fences crank up raw rock sound on free mp3, ‘Sid’

Listening to Dirty Fences, you just know someone in the band is the proud owner of a grease- or motor-oil stained denim jacket.

With a loose, rollicking rock ‘n’ roll vibe, the Boston band (that Celtics jacket isn’t just for show) is a welcome antidote to all those fussy Berklee kids intent on reinventing power-pop or pushing jam bands in horrifying new directions or whatever.

There’s none of that precious premeditation here, just raw, gritty riffs and vocals buried in reverb on “Sid,” from a forthcoming self-titled EP.

Dirty Fences have landed a handful of dates opening for Cults, who, good as they are, probably ought to be worried about getting blown off the stage. “Dirty Fences” is due digitally and on vinyl April 10.

LISTEN
Sid mp3

Conduits hone atmospheric sound on free mp3 from debut

Instead of trying our damnedest to come up with a compelling description of Conduits singer Jenna Morrison, we’re going with the one in the press notes for the band’s new album. She has, say these press notes, “that rare combination of attainability and remoteness.” Perfect.

Morrison came to the Omaha band after JJ Idt and Nate Mickish, guitarists in other local acts, had gotten together with the intention of creating riveting soundscapes. Rounded out by bassist Mike Overfield, keyboardist Patrick Newbery and drummer Roger Lewis, Conduits began opening for visiting bands like the Hold Steady, and did a short tour with Omaha faves Bright Eyes.

They also began work on their self-titled debut, due March 20 on Team Love. The band is giving away the first song, “Top of the Hill,” and atmospheric and rugged track that sends shuddering, overdriven guitars and swathes of keyboards swirling around Morrison’s serene vocals.

LISTEN
Top of the Hill mp3

Search

Socialize!

Join Listen Dammit on Facebook Follow Listen Dammit on Twitter Check out Listen Dammit's Photos on Flickr

Disclaimer from Listen Dammit

The mp3 files linked here are for promotional purposes only. If you like what you hear, support the artists: buy their music and attend their shows. If you hold copyright to any of the files here and would like them removed, please email us and we’ll gladly comply.