I did end up reviewing that Goldmund album, All Will Prosper, using some of the same language that I first posted here but, you know, longer.
All Will Prosper
Composer Keith Kenniff recorded this lovely collection of traditional songs over several years, arranging the melodies simply for piano and guitar, and recording them in an exceptionally clear, unadorned way that nonetheless suggests memory, loss and nostalgia. Many of these mostly Civil War-era songs are very familiar. We are, after all, talking about standards like "Dixie" and "Shenandoah", and ubiquitous spirituals like "Amazing Grace." Yet all have a glow of otherworldliness, of spectral weightless-ness, as if they were the memory of these songs, packed away in dusty attics and captured in faded daguerreotypes, and not the song themselves.
Also, this ran a long time ago in the Blurt fall print issue, but it's online now, my review of Loney, Dear's Hall Music
Emil Svanangen has often blown his wistful little pop songs out to grand proportions, whether surrounding them with a jubilant indie chorus, as on Loney, Noir, lacing them with pounding drums on Dear John or, this time out, enlisting classical instruments. Here, on a record inspired by his year-long collaboration with Swedish chamber music orchestras, Svanangen's wavery voice flickers in and out of thickets of brass, plays tag with flights of xylophone and emerges, bruised and pining, from fog-bound forests of synthesizer. A broader palette of instruments, however, seems only to accentuate the personal nature of Svanangen's work.
And finally, my friend Michael alerted me to a new documentary about one of my very favorite rock and roll people, Michael Yonkers, who, you may remember, I interviewed for Dusted a few years ago. Here's the clip that Michael sent me:
Have a nice rest of your weekend then. We're going to go to the Y later to work out and try to catch a little of one of those football games, I think Saints/Niners. Sucks not having TV this time of year.