June 13, 2009
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Tortoise - Beacons of Ancestorship

So Tortoise is coming out with a new album on 23 June.  I have kind of mixed feelings about Tortoise ever since I saw them on their tour with Daniel Lanois - they opened and played as his band.  It was almost as if Lanois had never heard Tortoise before, but they did a good audition, and it was politically feasible, so went with it; then, hearing them every night, he was forced to understand that their kind of music was very dry and cerebral, where his is emotional and immediate (live at least).

Almost as if.  At any rate, watching him interact with them on stage reinforced the sense I had developed, watching them, that their music was about as meaningful to me as a pile of calculators programmed to beep the tune to “Secret Agent Man”.  I loved It’s All Around You - at least I did one time on the road from Angel Fire to Taos, NM, when I determined it was my favorite instrumental album since Kind of Blue (!) - and TNT is a classic, so I was rather at sixes and sevens over the ordeal.

Perhaps they’re just best enjoyed in moments of solitary attention.  I remember that the Tortoise crowd’s stance was of awkward, arms-folded, second order reverie, such as would be expected of people who have primarily experienced something alone and unhindered by drink.

This new Tortoise track strikes me as rather an attempt to claw towards immediacy, so we’ll see what comes of the new album.

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Tags: daniel lanois listening music second order tortoise intra-band relationships
April 23, 2009

Emmylou Harris - Wrecking Ball

I saw Daniel Lanois play a show once.  He does this thing where it looks like he’s trying to frantically pull a burning cactus needle out of his guitar.  I can’t say it makes a particular sound - maybe an indistinct crunch - but it’s an effective performance move.  His classic American songs seemed to be an afterthought to rocking out on a gold-top Gibson Les Paul.

On record, Lanois’s music esthetic is very different, a kind of electric americana, loose new-age western classicism.  I’m thinking specifically of Willie Nelson’s Teatro, Bob Dylan’s Time Out of Mind, Lanois’ own Belladonna and Shine, and this Emmylous Harris record, though the U2 and Peter Gabriel things still have a kind of new-ageyness about them.  I guess people describe it as “atmospheric”, but it strikes me very differently than Calexico, for example, which is electric americana, loose, western classicist and atmospheric music, but not new-age.

Emmylou Harris has a voice that can stop a human heart.  It’s what my dog feels as he’s walking by, and I lay a hand on his ear or hip.

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Tags: emmylou harris daniel lanois calexico new-age dog