#andy cabic

[spilladabalia]

The Raymond Brake - Philistine

[kkdisco]

Vashti Bunyan - Lookaftering (Gatefold)

[id for bottom image]

THANK YOU

Max Richter for patience and wisdom and shining music

Yulia, Lucie and Noah for Max’s hours and hours

FatCat’s Dave Howell, Alex Knight, Dave Cawley and Marcus Thorne for their faith

and Gary Held of DiCristina for his

Dave Thomas for all the time and hand-painted writing

Paul Lambden for being solid ground while I was all at sea

Glen Johnson who invited me back

Simon Raymonde who started the new

Devendra Banhart for sooooooo much

Robert Kirby for trumpet, French horn and remembering

Marcelo Oliviera who told me I could play guitar for myself

Adem for playing and carrying the harmonium and everything so far

Joanna Newsom who had little time and yet gave us so many notes

Otto Hauser and Kevin Barker and Andy Cabic for coming by to play

Adam Pierce for the hammer dulcimer

Dave Gray, David Paterson, Philip Bagernal and Anna Tjan for engineering

Mandy Parnell for welcome and mastering

Elise McKay who listened to the words

Jenny Wright for imploring the air to make Jenny Richardson better.. it did

Corrina Seddon for good friendship

My children - Leif who gave me his beloved old Martin guitar, Whyn for letting me have her luminous paintings here, and Benjamin for always going his sweet way

Rowan, Rachel and Patrick

sister Sue Heath, Inda Bunyan and missed brother John

Al Campbell.. thankyou always

[dustedmagazine]

Listed: Jeffrey Silverstein

Jeffrey Silverstein is a songwriter living in Portland, Oregon. He has been making music for over a decade. Prior to relocating to Portland, Silverstein released music with Brooklyn-based duo Nassau and Baltimore’s Secret Mountains. You Become the Mountain is his second solo album, inspired by the Pacific Northwest, meditation, long-distance running and Silverstein’s work as a special education teacher. Reviewing it for Dusted, Jennifer Kelly observed that “You Become the Mountain explores the conjunction of the natural world and whatever’s beyond it, in slow blossoming instrumentals that carry you out of the moment into a calm meditative space.”

Staple Singers – Freedom Highway

I’d initially caught wind of the Staple Singers via The Last Waltz and praise from Dylan and Levon Helm, but diving into their catalogue of soul, folk, gospel and R&B has been one of the most rewarding listening and record-collecting experiences. I started with a re-press of their 1959 debut Uncloudy Day and have spent so many slow weekend mornings listening to Pops’ signature tremolo guitar and the pure vocal arrangements of Mavis, Pervis, and Cleotha. A defining album of the Civil Rights Movement, Freedom Highway is one of the most powerful live recordings and performances I’ve ever heard. Recorded at Chicago’s New Nazareth Church in 1965, hearing the congregation react to this music is soul-stirring.

George Harrison – All Things Must Pass

I could yammer for days about how big of an impact this record plus George’s playing have had on me. The packaging for the 3-LP set is gorgeous. It’s a record that grounds you and sets you back on the path. Hard to argue with contributions from Billy Preston and Eric Clapton. More recently I’ve come to appreciate the pedal-steel work from Pete Drake. Been listening to a lot of Pete Drake, Red Rhodes and Buddy Emmons recently. “Wah-Wah,” which might have the greatest riff of all time, being written on the day he left the Beatles, is also one of my favorite pieces of George trivia. Really nice demo version of “All Things Must Pass” here.

Jerry Garcia – Garcia

My interest in the Dead has grown quickly over the past 4-5 years. I think the best way to get into ’em is to find our own way in. Jerry’s first solo release Garcia from 1972 served as a really nice entry point for me. I just cannot get enough of “Bird Song” and these versions of “Deal” and “Sugaree.” This album also sent me down a path of listening to more of the Jerry Garcia Band and his work with Merl Saunders. Definitely a record that keeps on giving.

Vetiver – Tight Knit

It’s no secret I’m a big fan of all things Andy Cabic/Vetiver. This record holds up over a decade later. No skips, phenomenal songwriting and band. “Rolling Sea” is one of the best album openers and “Another Reason To Go” is the deepest groove. Watching them live around the time this record came out made me realize how important having the right players behind you can be. If I had to narrow down my record collection to only three, I’m 100% this record would make the cut.

Akron/Family – self-titled

Discovering the music of Akron/Family rewired my brain. I miss seeing them live more than anything but am glad to have their albums to soften the blow. This record captures so much of what I appreciate about music and I have the same “holy shit” moment every time I return to it a few times a year. It’s the record I point to over and over when people ask me what my influences are. Listen to this album immediately, please.

Ted Lucas – self-titled

This is a record I want everyone to hear at least once in their lifetime. It stopped me dead in my tracks the first time I heard it. Grateful to the folks over at Yoga Records for making it more widely available. You MUST also hear the Blind Boys of Alabama doing “I’ll Find A Way (to carry it all).”

Hailu Mergia – Wede Harer Guzo

This is my go-to Sunday morning album. Originally released in 1978, I still have never heard music that comes close to sounding like this. Spellbinding and tremendously grounding.

Norma Tanega – “Walkin’ My Cat Named Dog”

Steve Gunn turned me on to this record. Norma Tanega was an American folk and pop singer-songwriter, painter, and experimental musician. An unmarried queer woman born of immigrants, Tanega’s hit single “Walking a Cat Named Dog” landed her on the billboard top 100 chart and a slot on American Bandstand. Tanega’s music would go on to be covered by the likes of Art Blakey, Barry McGuire and contemporary artists including Yo La Tengo and Thee Oh Sees. After releasing her second and final solo LP, Tanega moved back to California where she worked as a public school teacher and focused on painting and making experimental music using earthenware instruments. Stunning arrangements, guitar playing, and lyrics.

Peals – Walking Field

Beautiful record from William Cashion (Future Islands) + Bruce Willen (Double Dagger) This record pushed me towards more instrumental/ambient music. I love records that can establish mood quickly and this one does just that.

Bobby Charles – self-titled

Tracked at Bearsville Studios and co-produced by Rick Danko, this album is a collection of laid-back Americana with enough of Charles’ Cajun influence to keep things interesting. Sometimes referenced as a “lost” record of The Band, Garth, Levon, and Richard all made contributions. Sung in his signature drawl, Charles has an uncanny way of making the simplest joys in life the most interesting on songs like “Let Yourself Go,” “Grow Too Old,” and “Tennessee Blues.” A reissue is now available via Light in the Attic.

[joanofarc]

shallow // the raymond brake

[copyoffice]

日本のタワーレコードでCDの山を前にしていたAndy Cabicは、ふと予感めいたものを感じた。フォークロックのバンドVetiverのフロントマンであり、2000年代半ばにはデヴェンドラ・バンハートと共にツアーを回ったこともある彼は、山下達郎やシュガーベイブ、はっぴいえんど等を取り上げたコーナーの前で足を止めた。 数時間にわたってそれらの作品を試聴した彼は、新鮮でありながらどこか懐かしいその音楽の虜となった。当時アメリカで流行していたソフトロックやAOR、ウェストコースト・ポップ、ブギー等を連想させるも、その音楽には紛れもないオリジナリティがあった。 「AORやウエストコースト・ポップ、そういうのは耳が腐るほど聴き飽きていて、もはや自動的に脳が拒否反応を示すんだ」Cabicはそう話す。「でも全く違った環境で耳にすると、目から鱗のような体験をすることもある。異国文化というフィルターを通したその音楽に、僕は懐かしさと新鮮さを同時に覚えたんだ」 その時にCabicが出会った音楽の大半は、70年代後半から80年代前半にかけて日本で流行した、シティ・ポップと呼ばれるものだった。ポップ、ディスコ、ファンク、R&B、ブギー、ジャズ／フュージョン、ラテン、そしてカリブ海やポリネシアの音楽まで呑み込んだその煌びやかなスタイルは、ハイテク企業が牽引するバブル経済と、そこから生まれた富裕層の暮らしと分かち難く結びついていた。 あれから40年が経ち、ストリーミングという新たなテクノロジーが音楽業界の主流となった現在、シティ・ポップは現代のポップ・ミュージックと共鳴している。 リイシューに特化したレーベルLight in the Atticによるコンピレーション『Pacific Breeze: Japanese City Pop, AOR & Boogie 1976–1986』は、ハイテクブームのサウンドトラックだったその音楽を知る上で格好の一枚となっている。

日本のシティ・ポップは、なぜ世界中のリスナーを虜にしているのか？ | Rolling Stone Japan(ローリングストーン ジャパン）

[houseatthefootofthemountain]

The end of the year (as I knew it) Part 2

Further additions to the House shelves during 2019- each one made the year more tolerable.

Vaudou Game- Kidayo (Hot Casa Records)

The tightest afro/franco funk, the sharpest flares and the hippest horns get perfect on their second record. A guaranteed toe tapping listen – catch live for a revelation.

Big Supermarket-1800 (Tough Love Records)

The mysterious and elusive wry observationists from Victoria/Aus. present a caustic and compelling reality check. Lo-fi, high concept surprises and songcraft that flows effortlessly. If they renounce obscurity, they could join the rolling tide of breaking agitation from down under. Sink or swim in it.

JR Bohannon-Dusk (Figureight 2019)

Joining William Tyler on the new frontier of American primitive guitar, JR Bohannon brings more electricity and tension to his soundscapes. At times more cabin than canyon, the record delivers with warmth and personality that takes it beyond the ambient.

Moulay Ahmed el Hassini-Atlas Electric (Hivemind 2018)

This is modern music- subtle rhythms and spiralling melodies lovingly tuned and constructed within a pop context. A truly cosmic and richly funked retrospective from the serial releases of the Moroccan guitar master.

Low & Spring Heel Jack – Bombscare EP (Tugboat/Treader 2019)

Masters of their craft trade secrets to shape something way out there. The  sound of vocal calm and immersive electronics unsettles and restores on a record that is safe to shelter in. 

Vetiver – Up on High (Loose Records 2019)

Songs of solace, intent and reflection with perfect understated arrangements and gossamer soft vocals. An uplifting reminder of hope from Andy Cabic….roll on babe.

Here’s to 2020- looking forward to the response.

[abductionradiation]

He’s Your Good Neighbor Who Brings You the Best Records

There’s no perfect recipe or singular path for getting your foot in the music industry. Sometimes all you need is a passion and thirst for it. Some of us will start our own music blog in the hopes of meeting our favorite band. Some of us were forced to play an instrument and either hated it or grew up loving it. Sometimes it’s the pure joy of jamming with friends and playing in more local bands than you count. 

And sometimes, your music journey starts in middle school because your childhood instrument was the tuba. That’s just a part of the beginning for Ryan Wilson, who is currently the general manager of Light in the Attic (LITA) and the co-founder of Mr. Good Boy Record Cart. Hailing from San Diego, Wilson made the move to Los Angeles where he studied English at UCLA. Whilst studying at UCLA, he played tuba for the marching band (ended up not being his thing), played in various bands, and joined the concerts staff in Campus Events Commission (CEC). 

Getting involved in campus organizations is perhaps one of the best ways to get a taste of the music industry because it really is a learning by doing experience, whether if it's joining the events commission or joining the student-run radio station. Wilson got a real taste of the music industry with CEC, booking bands for concerts and learning some of the ins and outs of the industry. He recalls looking through Pollstar Magazine to figure out who to book - Kool Keith was a top contender.

After graduating, Wilson was still playing in bands but was still inclined to learn more about the music industry. After his first job at Entertainment Marketing Group, a friend from CEC brought him over to Rhino Entertainment in 2004, where he worked on legendary compilations and box sets, as well as working on Frank Sinatra and Grateful Dead’s estate. After his decade-long tenure at Rhino, Wilson went to Concord to produce reissues and started up the Jazz Dispensary (it’s like a weed dispensary, but for GOOD deep jazz, funk, and soul music). 

Fast forward to present day, Wilson’s passion for music naturally led him to Light in the Attic Records, a staple in reissue culture and quality packaging. LITA’s catalogue is a serious treasure trove for music lovers. On top of releasing records, LITA is a distributor of 150-200 labels at any given time. Matt Sullivan, head of the record label, always has his ear to the ground and is constantly rediscovering forgotten gems like Jim Sullivan’s U.F.O. (which has a super intriguing backstory). 

LITA still maintains that purity in loving music for the music, not the artist clout or the rather obscene obsession with social media stats. There really aren’t too many labels, if any others at all, where you can buy both D’Angelo’s hit neo-soul/R&B album Voodoo and Sachiko Kanenobu’s Misora (think Japan’s version of Joni Mitchell). This year, they released two compilations: Pacific Breeze and Kankyō Ongaku. On the fruition of Pacific Breeze, Wilson explained that it started with Zach Cowie (DJ, music supervisor), Mark “Frosty” McNeill (Dublab), and Andy Cabic (Vetiver). The compilation took four years to be released (a true labor of love), with LITA’s Reissue Producer Yosuke Kitazawa clearing tracks and communicating with the Japanese rights holders. 

There’s a stark disconnect between the Japanese music industry and the industry in the United States. A lot of Japanese music have never been released outside of Japan: there’s a mindset that there’s no demand for it. But with the emergence of vaporwave in the early 2010s and YouTube’s insanely good algorithm, a lot of music (especially Japanese City Pop) is being rediscovered. Think of all the nights you’ve stayed up until 2 or 3 am getting through the YouTube sidebar, with over 25 tabs open.

A lot of people got their first taste of city pop because of vaporwave. It was certainly a cultural phenomenon, but what drew people to it? Was it the 90s PC computers or classical Greek and Roman sculptures? The slowed down and heavily-sampled music?  Wilson believes it’s the nostalgia, aesthetically and visually in vaporwave and sonically in city pop. It’s very similar to the reasons why Steely Dan, previously lame, is now cool and popular. Funnily, Wilson recalls looking at the back of Countdown to Ecstasy and thinking “these guys are dorks!”

But that’s the beauty of listening and discovering to music today. The world is smaller because of the internet - people are sharing and finding music faster than ever before, digging through volumes of music spanning across so many eras, genres, and everything in between. Just last month, Haruomi Hosono sold out his LA show at the Mayan and both shows at NYC’s Gramercy Theatre. As Wilson perfectly puts it, “People want what they’re passionate about and they’ll come out for it.”

Furthering the modern thrill of digging and looking for new music, Wilson co-created Mr. Good Boy Record Cart, a traveling vinyl cart, with Carson Lere. Initially, Lere was brainstorming ideas to improve a band’s merch table and improve selling records to fans. With Wilson as the record digger and Lere as the artist maker, the traveling vinyl cart was born. Mr. Good Boy Record Cart is all about “being a good neighbor” - it’s a partner for people who want to buy records, places that host the cart, and people who want to buy. It’s your one-stop shop for well-curated collections of records. 

As of now, there are currently three traveling carts: one at the Ace Hotel Palm Springs, one in Austin, TX at Best Made Company, and finally one at the rooftop at the Ace Hotel Downtown Los Angeles. These carts are kind of like traveling party units, with rotating curators and its dual function as a PA that can be utilized for live performances. There are so many possibilities for people to interact with music, physically and sonically.

Whether if it’s in the form of managing one of the most prolific, and coolest, record labels or bringing Mr. Good Boy Record Carts around the block, Wilson loves music and the ways people interact with it. There’s really nothing like introducing someone to their next favorite band or record.

Be sure to attend the Rare Groove Pop-Up at the Ace Hotel Downtown Los Angeles on Saturday, June 29 for a taste of this unique experience.

Wilson’s Favorite Record Digging Spots

Last Bookstore (Downtown)

Mono Record (Glendale)

Atomic Records (Burbank)

Amoeba (Hollywood)

PCC Swap Meet (Pasadena)

Wilson’s Favorite Records from Light in the Attic (in no particular order)

V/A - Pacific Breeze

Lee Moses - Time and Place

Gaussian Curve - Clouds

Pharoah Sanders & Idris Muhammad - Africa

Clifford Jordan Quartet - Glass Bead Games

[bannedinjc]

Anyone who knows me knows the beach is my happy place. And the #1 band I listen to when I go to the beach and want to relax is Vetiver, without a doubt. (With honorable mentions to Neil Young, The Tyde, Ben Chasny and Gillian Welch.) Andy Cabic has been making lush, impeccably crafted, gorgeous music under the name Vetiver since 2004, and he just gets better and better with time. Summer officially ends in less than a week, but tonight’s show helped savor the feeling for a few hours longer. (at Union Pool) https://www.instagram.com/p/CiolGnYs8ZQ/?igshid=NGJjMDIxMWI=

[alterna2mag]

Devendra Banhart en Razzmatazz

13.02.2020 | Razzmatazz | Organiza: Cruïlla

Fotógrafo, dibujante, poeta… Las canciones de Devendra Banhart son como fotografías, sus videos parecen dibujos, sus letras son poesía pura. El cantante venezolano ha roto las fronteras del folk para crear su propio universo musical, un lugar de sangre caliente y mil colores.

“Estoy en un momento de la vida en el que todos mis amigos son padres, pero yo no soy padre y puede que nunca lo sea. Por eso he puesto todo lo que le diría a un niño dentro de un álbum”. El resultado es Ma, un canto a la maternidad desde diferentes ángulos, el nuevo LP que Devendra Banhart ha construido con delicadeza artesana.

El próximo 13 de febrero, Devendra plantará su bandera en la Sala Razzmatazz de Barcelona. Así pues, tendremos que adelantar un día los embrujos de San Valentín y adelantaremos también el inicio del Cruïlla de Primavera. Porque, por mucho frío que haga ahí fuera, la música de Devendra Banhart abre las flores y calienta los cuerpos.

Después de romper las listas con hits como Carmensita, el álbum Maincluye tres canciones en español, una canción a la muerte de su padre y temas como Kantori Ongaku, folk psicodélico puro con temática japonesa. Siempre acompañadas de la voz íntima de Devendra Banhart.

“El título de Ma vino tras darme cuenta de que la palabra ‘Ma‘ es lo primero que decimos y probablemente será también nuestro último suspiro. Además, significa ‘madre’ en incontables idiomas”, explica.

Si llegas pronto a Razzmatazz, con la misma entrada de Devendra Banhart verás el directo de Vetiver, un clásico de la escena freak folk de San Francisco.

Andy Cabic, alias Vetiver, ha girado con bandas como Fleet Foxes o Wilco. Tiene una estrecha relación con Banhart, y los dos artistas han colaborado en canciones como Down At El Rio.

Si todavía no conoces a Vetiver, escucha You May Be Blue y hoy añadirás un nuevo artista a tu playlist.

Anticipada: 28€ + gastos de gestión

ENTRADAS

[bolachasgratis]

Bolachas Now Playing, a new music Spotify playlist updated every Tuesday.

After two more layered, denser, and less critically popular records where we saw Andy Cabic holler at soft rock and psychedelia, “Up on High” is the sound of Vetiver returning to their acoustic beginnings. Welcome to your new favourite Saturday morning breakfast prep folk rock record. Plus: new tracks by Terry Allen, Simon Joyner, Tindersticks, Lambchop, Itasca, Mount Eerie & Julie Doiron, Michael Kiwanuka, Dylan LeBlanc, Theo Lawrence, Charles Rumback & Ryley Walker, Squirrel Flower, The Deer, Cate Le Bon & Bradford Cox, The Growlers, Pinegrove, Iguana Death Cult, Imperial Wax, Pop. 1280, DJ Nigga Fox, Peel Dream Magazine, and Warmduscher.

Bolachas Now Playing, 38/2019 (#208): 

Terry Allen & The Panhandle Mystery Band - Death of the Last Stripper Vetiver - The Living End Vetiver - All We Could Want Simon Joyner - Sean Foley's Blues Tindersticks - Pinky in the Daylight Lambchop - So Modern and So Tight Itasca - Voice of the Beloved Mount Eerie & Julie Doiron - Belief Pt. 2 Michael Kiwanuka - Piano Joint (This Kind Of Love) Dylan LeBlanc - Unanswered Questions Theo Lawrence - Prairie Fire Charles Rumback & Ryley Walker - Menebhi Squirrel Flower - Red Shoulder The Deer - Nothing Hurt Cate le Bon & Bradford Cox - Canto! The Growlers - Tune Out Pinegrove - Phase Iguana Death Cult - Tuesday's Lament Imperial Wax - Bromidic Thrills Pop. 1280 - Under Duress DJ Nigga Fox - Faz A Minha Peel Dream Magazine - Up and Up Warmduscher - Tiny Letters

[riotactmedia]

Brooklyn Vegan shares Vetiver’s new single “Swaying”

“Andy Cabic’s long-running indie folk band Vetiver are releasing their seventh album and first in four years, Up On High, on November 1 via Mama Bird Recording Co. “Swaying” is “a tender, jangly track that Andy says is an homage to R.E.M. and The Feelies, and if you like those bands’ classic ’80s records, you’ll probably like this too, though it’s much more than just imitation.” Listen HERE

[dustedmagazine]

Vetiver — Up on High (Mama Bird)

Photo by Alissa Anderson

Vetiver doesn’t make one-listen albums. All seven of Andy Cabic’s graceful folk pop records, from the string-embellished S-T of 15 years ago, right down to this effortless entry, Vetiver’s music needs time to breathe. It won’t smack you in the face, or stun you with cleverness. The edges have been sanded down smooth and the parts fit together without glue or artifice. There’s a restfulness in Cabic’s shadowy, murmur-y voice, and even the tangle of multiple acoustic guitars feels less like friction and more like a gentle patter of rain.

Cabic recorded Up on High in a casual way, surrounded by long-time collaborators like Thom Monahan, who for a decade and a half has conjured the magical glow and echo around Cabic’s sounds that the two of them call “vetiverb.” Gabe Noel, an LA session pro who has worked with everyone from Kendrick Lamar to Van Dyke Parks, provided the bass, as he had on 2015’s Complete Strangers, and Josh Adams, who has played with Beck, Devendra Banhart and Inara George, among others, played most of the drums. A few friends from the Fruit Bats came by, Eric D. Johnson to lay in some organ on the lovely “To Who Knows Where,” and Tim Ramsey to play an aching, melancholic pedal steel on the same track. John Carroll Kirby, a keyboard player who works with Solange, added lucid electric piano to dub-rhythmed “Hold Tight.” A few others contributed additional guitar and vocal parts. Sessions occurred in a friend’s house, way out in the desert, and there’s a calm in these songs that speaks to warm, well-lighted rooms situated amidst acres of emptiness. You won’t find much in the way of pop culture references, either in the words or in the instrumental parts. The album reflects a simple, clean aesthetic, unmarred by the drifts of garbage, the mountains of disposable artifacts that clutter contemporary urban life.  

This is a very consistent album, with modest variations in tone, rhythm and temperament, but nothing that jars or shocks or, really, even stands out very much. But if you had to pick a highlight, it might very well be, “To Who Knows Where” which takes shape out of a slouching, hammock-lounging blues guitar line, then is kicked into gear by the slow thump of drums. This is Cabic’s best sort of vocal delivery, cool and uninflected, calm but full of feeling, his plain spoken verses taking fluttery flights at the end of phrases. Eric D. Johnson slides in some very nice bits of organ playing into the mix, in the break sounding a bit like the Hammond solo in “Whiter Shade of Pale.” Tim Ramsey adds to the wistful tone with some expressive pedal steel.  

The other high point comes in the title track, which starts spare and soulful and edges towards psychedelia in the pining, aching chorus. There’s a bit of extra guitar from the Fruit Bats contingent, Ramsey again on pedal steel, Johnson on additional acoustic and even some string embellishments from violinist Jan Purat. But despite all the manpower, the song feels very pure and simple, especially in the upward lilt of the title phrase, where Cabic seems to carve through the high atmosphere. The melody is full of graceful curves and dalliances, but it has an end in mind and pursues it with purpose.

The rest of the album is rather good, in a calm, undisruptive way – the lone exception being “Hold Tight,” which, somewhat surprisingly, leans into reggae. Up on High will sound like nothing much the first time you listen, but stay with it, because the songs are soft and unassuming, but excellent, and they’ll catch you in the end.

Jennifer Kelly

[malonebryson]

Film Portraits of Andy Cabic of Vetiver

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instagram: @brysonmalone

www.brysonmalonephoto.com

[joanofarc]

“laying down” by the raymond brake

horrified by the sight of my funeral bride standing there choice is murder when you couldn’t care

[insideoutsock]

My 365 favourite albums

323. Vetiver - Vetiver (Dicristina, 2004)

Listen if you like: New Folk Movement, Devendra Banhart, Fleet Foxes

In 2004, you had something called the New Folk Movement. Leader of the gang was Devendra Banhart, who was a Vetiver-member on this album. That’s maybe why this album actually sounds like a Devendra Banhart album, and maybe also why it’s my favourite Vetiver-album. On later albums, singer Andy Cabic started to make folk similar to Fleet Foxes. 

[maisondufrene]

(Radio L'envie)