Released around the same time in 2006 as the acclaimed documentary The Devil and Daniel Johnston, this 21-track compilation features many of the troubled singer/songwriter's finest compositions. A well-regarded outsider artist who has struggled with mental illness, Johnston is responsible for an impressive number of lo-fi classics that channel pop culture through his own quirky sensibility, many of which are presented here, including "Casper the Friendly Ghost," "Speeding Motorcycle," and "Sorry Entertainer." Johnston's high-pitched voice is matched to melodies and lyrics that are remarkably lovely and affecting, making this a rewarding collection. (Note: Many of the songs featured on Welcome to My World are also available on the second disc of The Late Great Daniel Johnson: Discovered Covered, with the first disc consisting of renditions by high-profile alternative rock acts such as the Flaming Lips, Tom Waits, and Beck.)

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Smog's Bill Callahan goes back to the root on A River Ain't Too Much to Love, his first full-length offering in two years. While it's true that his name is nearly synonymous with lo-fi, in recent years Callahan has experimented with different — albeit simple — production techniques such as on Dongs of Sevotion and Rain on Lens. Supper, issued in 2003, was more direct, both sonically and personally, and that tack is followed here, though the framework is even sparser. On this, his 12th album, Callahan journeyed south from Chicago to Willie Nelson's Pedernales recording studio in Spicewood, TX. Accompanied by the Dirty Three's Jim White once more holding down the drum chair, and Connie Lovatt on bass and backing vocals, Callahan evokes the ethos and poetry of spooky American folk and country music without ever actually playing them in his own tomes, using mainly waltzes to frame them. Americana this ain't. Callahan has the ability to write first-person narrative songs that cannily juxtapose an evocative physcal landscape that metaphorically refernces deep emotional states; he uses it to great effect here. The skeletal "Say Valley Maker" equates the loss of and longing for love with a river's ability to both fertilize and strip bare the floor of a valley. Callahan's acoustic guitar plays a pair of repetitive figures, graced by an unidentified shimmering sound just above the threshold of silence, graced by White's restrained, rudimentary beat. "Rock Bottom Riser" is a song of resurrection, and again, it's a waltz. In the first verse, a nylon-stringed guitar hypnotically plays the changes in plectrum style, as White uses brushes to shift time while underscoring it, making the tune seem to float. The singer speaks with gratitude to the memory of an absent lover. As Joanna Newsom's piano underscores and fills the melody, Callahan's character finds a transformed sense of self in rising from his loss. It's slippery, lilting pace and restrained vocal create a tension that frames the tune's poignancy. The true nod to roots tradition here is also the album's centerpiece. His version of "In the Pines" is reverent without feeling staid, hampered by its place in history. A delicate, reedy, meandering tempo adorned in a simple guitar line and drums unpacks the melody, and Callahan's delivery is the seed of memory as it comes up from the ether, urging the singer to tell the whole story while keeping his composure. Travis Weller's edgy fiddle exposes the crack in the tale, however, and the grain of Callahan's voice walks the line between reverie and regret. A River Ain't Too Much to Love is a subdued, plaintive collection of songs that accompany silence; they encourage reflection without guile and unveil themselves without a hint of studied artifice.

€ 40.00

barnes blvd. :
buy EP here :
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一样的粗糙卧室大法，不一样的冲浪流行乐。THE BOOTLEGS录制于2020年青岛初春。
词 / 曲：赵弘
吉他 / 唱：赵弘
贝斯：宗振
鼓：大川
封面绘制：赵弘

Melbourne-based artist Market releases their debut self-titled EP, a lo-fi collection of bedroom pop songs featuring collaborations with Tanaya Harper and Lauren Abineri. Market is the project of Lee Hannah, an artist with a rich and full history releasing dulcet ambient pop as The Townhouses, acting as a session musician for Wafia, playing as one half of house-tinged duo Take Your Time and releasing a short film in 2018 set in the Australian Mallee. The project showcases a love for summer-tinged cassette pop production, and is sure to appeal to fans of Men I Trust or Washed Out.
Self-produced and mixed mostly in the Adelaide Hills over a few days last summer, the EP is made up of autotuned guitars, cheap drum machines and uncomplicated bedroom pop songwriting.
Market’s self-titled debut EP will be out digitally and on limited cassette on June 27th via Healthy Tapes.

one long song
recorded nowhere
between May 2019 and May 2020
released Aug. 7th, 2020
as a 2xLP by
P.W. Elverum & Sun
box 1561
Anacortes, Wash.
U.S.A. 98221
get one: