Song Of The Day: Suzanne Vallie – High With You

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From the opening notes of her debut album Love Lives Where Rules Die, Big Sur’s Suzanne Vallie draws the listener in with an easygoing, warm, and welcoming sound. Her music – mellow, countryish, at times somewhat spacey – definitely has a strong California vibe, hearkening back to the ’60s and ’70s heyday of the Laurel Canyon scene.

While the album is full of highlights such as “Sundowner” and “Love Letter”, one track that stands out in particular is “High With You.” With its rambling, stream of consciousness lyrics and a sound that falls somewhere between Big Thief and Rickie Lee Jones, it seems like it would be a lot of fun to hear performed live. Hopefully it won’t be too long before that’s able to happen.

Suzanne Vallie’s Love Lives Where Rules Die is out now on Night Bloom Records.

Song Of The Day: ShitKid – waste of time

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Much like practically everyone else, Åsa Söderqvist’s plans for 2020 have certainly turned out differently than expected. When things took a sharp turn for the worse earlier this year, Söderqvist’s band ShitKid were already in the midst of a series of U.S. tourdates leading up to an expected appearance at SXSW which, of course, never did happen. Since then, the band have made it safely back home to Stockholm, released a soundtrack album (for the documentary Always Amber), and seen the departure of longtime bassist Lina Molarin Ericsson. And now, with plenty of time on her hands, Söderqvist has recorded yet another album, the upcoming 20/20 ShitKid. So all things considered, ShitKid has kept herself pretty busy.

After delving into heavier, grunge-influenced sounds on January’s Duo Limbo/”Mellan himmel å helvete” (wow, January already seems like a lifetime ago), 20/20 ShitKid sees Shitkid returning to the synth-based sounds of earlier recordings. “Waste of time” is the first single off the album, which is out August 21 via PNKSLM Recordings. Check it out below.

Song of the Day: Torres – Gracious Day

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“Gracious Day” is a simple, stripped down and beautiful song from Silver Tongues, the latest record from Torres. How good is it? It’s good enough for me to rise from the ashes to present you with a music post.

Here’s a version of the song recorded last year. Check it out. It’s on Spotify and Google Music and RDIO and Pandora and Orbit and Myspace.

Live In Berlin, a recording of Torres’ final show this year “before the world slowed down” is out today via Merge Records.

Album review: Japandroids – Massey Fucking Hall (2020, Arts & Crafts)

Posted on by Paul in Albums | Leave a comment


Back in the day when music fans could still attend live concerts beyond the ones put on by country singers you’ve never heard of with made up sounding names, Vancouver duo Japandroids became famous for their particular brand of loud, sweaty rock shows – shows which are now quite unimaginable in our current situation. So it comes as a welcome reminder of the power of their live shows that the band have recently released a live album documenting their appearance at Toronto’s legendary Massey Hall … or rather, it would have if the album were truly able to replicate the feel of a Japandroids show on record.

Massey Fucking Hall documents Japandroids’ appearance on the Massey Hall stage back in October of 2017 (the bulk of which is also featured in a Live at Massey Hall video that’s up on YouTube if you’d rather watch it than just listen to it). To their credit, it sounds good and the band is in fine form, but for a band whose live shows have the feel of a massive communal celebration for the fans, it’s impossible for a recording to even come close to that. On the plus side, this also means that there’s zero chance of being jostled about by the more bro-ish contingent of their fanbase, although the chances of that happening in a seated venue like Massey were already pretty slim.

While songs like “No Known Drink or Drug” and “Young Hearts Spark Fire” stand out as energetic highlights, the whole thing ultimately feels a bit sterile, though maybe it’s the venue itself that diminishes the vibe somewhat. After all, it would be difficult to come close to that feeling in a seated venue like Massey Hall. The band even acknowledges this on the album when Brian King makes a comment near the end about the people standing up front making it seem more like “a normal Japandroids show.”

Maybe I’m being too hard on the band because I’m missing live music and this is really only kind of like that. Or maybe I just don’t like live albums. No that can’t be true – after all, without live albums, we’d never have the magic of Johnny Cash at Folsom Prison, Rust Never Sleeps, Cheap Trick at Budokan and of course, that compilation of Paul Stanley’s stage banter (it counts as a live album in my books). Maybe if Japandroids followed Stanley’s lead and let out a few extremely high pitched exclamations of “How you doin’ Toronto!!?” or made punny references to their song titles before playing each song, I’d cut them a bit more slack, but alas, they have not done any of that.

Frankly, there isn’t a live album that can truly capture the feeling of being there, but I suppose the ones that do it right can remind us of the power of seeing a band in person. While Massey Fucking Hall may fall a bit short in that regard, it’s still a solid document of the band that will likely appeal to the die-hard fans. For the rest of us? Well, there’s always the hope that live shows might be a thing again by next year …

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