Jessica Lea Mayfield - With Blasphemy, So Heartfelt

Jessica Lea Mayfield is a singer-songwriter from Kent, Ohio. Since the age of 8, she has been performing with her family bluegrass band, One Way Rider, and began writing songs when she was 11 years old. Mayfield recorded her first album, White Lies, in her brother's bedroom, printing only 100 copies. One of those copies just happened to fall into the hands of Dan Auerbach of The Black Keys.

After meeting, Mayfield and Auerbach began recording her debut album, With Blasphemy, So Heartfelt, which took two years to produce and was released in 2008. Blasphemy features Mayfield on acoustic guitar and vocals, Auerbach on various instruments, and Mayfield's brother, David, on upright bass. Also, Dr. Dog's Scott McMicken and Frank McElroy on vocal harmonies and background. Blasphemy debuted with great success. The online magazine, Blurt, named it The Best Album of 2008 and gave Jessica the title of Best New Artist of 2008.

She has also appeared on The Black Keys' 2007 album, Attack and Release. Mayfield has toured with The Avett Brothers, The Black Keys, Cake, Ray LaMontagne and performed at the 2009 Bonnaroo Music Festival. Starting this September, Mayfield will be sharing the stage with Justin Townes Earle.

Jessica Lea Mayfield is synonymous with melancholy. Her songs are dark and dismal, and her distinctive vocals are downcast and tend to go flat with each sustained note. Her unique vocal quality is very indicative of Blasphemy's mood. Mayfield's maturity on the album goes well beyond her twenty years. Her lyrics and songs are jaded and sorrowful -- appropriate for the theme of conflicted and compromised love.

In Blasphemy Auerbach surrounds Mayfield's country-folk-rock vocals with slightly psychedelic instrumentation and growling electric guitar riffs that create a heavy atmosphere and dark feel. The music in "I Can't Lie to You, Love" brings to life the turmoil of the track. The electric guitar mimics the moans and cries of a heartbroken woman who can't lie to her lover about something she had done: "But, I can't lie to you, love/And, I can't lift my head up/And, I can't sleep knowing you want nothing to do with me." The ominous bass in the background in "Bible Days" sounds like an angry god, and the weeping instrumentation in the chorus enhances the despair. "Kiss Me Again" and "We've Never Lied" have an apathetic quality to them with the lazily strummed guitar and indifferent lyrics. For example, "Kiss Me Again" ends casually with, "You can kiss me again if you want, I don't mind/You can kiss me again if you want, oh that'd be fine." These two lines are characteristic of Blasphemy's passivity and contradictions. Throughout the album, Mayfield coolly strums the acoustic guitar appearing as if she doesn't have a care in the world, but the reality is, she does care about him and their troubled relationship. Also, Mayfield's unaffected and flat vocals at first listen sound emotionless, but the closer you listen the more you can hear a soul stirring underneath.

With Blasphemy, So Heartfelt is a gorgeous piece of tortured heartbreak. The album's pace, vocals, and lyrics are all intertwined into one beautifully drab tapestry.

"The One That I Love Best" - Jessica Lea Mayfield

We've Never Lied – Jessica Lea Mayfield

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Kiss Me Again – Jessica Lea Mayfield

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For Today – Jessica Lea Mayfield

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Timber Timbre - Timber Timbre

Timber Timbre is the nom de plume for Taylor Kirk, a Canadian singer-songwriter, who is the sole core member. Kirk released two albums independently before releasing his self-titled album, Timber Timbre , on Out of This Spark in January 2009. After the original release, Kirk signed to Arts & Crafts, who re-released the album on June 30, 2009. Since Timber Timbre was released it has created a lot of buzz and was mentioned as a possible nominee for the 2009 Polaris Music Prize.

On the album, Kirk creates a creepy atmosphere with his swampy, shadowy rockabilly blues. The entire album is made up of chilling songs that are influenced by the early bluesmen such as "Lay Down in the Tall Grass", which brings to mind "I Put a Spell on You", by Screamin' Jay Hawkins. In the track, "Until the Night is Over", you can clearly hear that Kirk has been influenced by the Animals and their song "House of the Rising Sun". Kirk sings, "There is a house in New Orleans/Where you woke from a coma and they bit your cheek/And they cleaned you out when you went to sleep".

Timber Timbre is a very lyrical album and without the musical support given to these words the album would have completely fell apart. Kirk was able to supernaturally enhance the songs with restrained guitars and embellishments of the organ, piano and strings. All of the tracks are centered around Kirk's spectral and limited vocals. The song, "Demon Host", is a frightening song about damnation, and believing but not conforming to the doctrines or the threats of the church. "Oh Lord, I must have heard you knock me out of bed/As the flames licked my head and my lungs filled up black in their tiny little shack/It was real and I repent/All those messages you sent clear as day, but in the night/Oh, I couldn't get it right." The horrifying message is made even creepier by the minimal use of the guitar and the ghostly "oh-oh-oh-oh"s throughout the track. The mysterious organ throughout "Lay Down in the Tall Grass" provides the backdrop for a bizarre and tumultuous love affair: "I dreamt you found me out in a field/You tripped over my site/And you dug me out of this shallow grave/With your Swiss Army knife/And only you could revive me, so badly decomposed". The pulsating sound of "Magic Arrow" reverberates the dread in the terrifying lyrics about what I am assuming is the Apocalypse: "And I was fine till I saw the pale horse ride/and open up its gape across the ocean floor/You were fine till you saw the white rider take/And take some more". The lyrics fit the Biblical prophecy of the Apocalypse when the four horsemen will be summoned, the last being the pale horse, which will bring death and Hell. The track "Until the Night is Over" is as mentioned before, a stranger version of "House of the Rising Sun", and touches on all of the dark forces (drinking, gambling, and whoring) that ruin a person who isn't concern with the morality. Lastly, "We'll Find Out" has the strongest melody on Timber Timbre. It is the easiest to listen to since it is the least ominous with the lighter strings' arrangement and angelic choir toward the end.

Timber Timbre does sound like it was recorded in a dark and dank basement of an abandoned house after a seance. Despite the sinister vibe of the album, Timber Timbre is forgettable. It's not the worst album I've heard, but the record still left me feeling unsatisfied. The repetitiveness in each song bored me, and the songs didn't build. Instead of starting creepy and building to a horrifying climax, the tracks start creepy and end creepy. Also, I felt emotionally detached. I never sensed any feeling other than dread. Where was the anger, the sadness, the loneliness, the nostalgia? Timber Timbre has great skill in the art of "Southern Gothic", but has not mastered it like the late Vic Chesnutt.

We'll Find Out – Timber Timbre

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Lay Down in the Tall Grass – Timber Timbre

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Magic Arrow – Timber Timbre

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Justin Townes Earle - Harlem River Blues

Yes, I have already blogged about Justin Townes Earle's forthcoming album, Harlem River Blues (September 14, Bloodshot Records), but I did not include any tracks.

Well, it sounds like there may be more Rock n' Roll -- old school, soulful Memphis rock -- also touches of gospel, blues, and, of course, the country flavor. Well, what is Memphis rock without them?

Also, JTE will be on tour promoting the album from Thursday, July 29 until the end of October (dates listed at the bottom). Throughout most of the tour he will be sharing the stage with Jessica Lea Mayfield.

Here are a few songs from Harlem River Blues in case you haven't heard them yet.







Tour Dates:
July 29 Rochester, NY Party in the Park*
July 30 Northampton, MA The Iron Horse
August 1 Newport, RI Newport Folk Festival
August 8 New York, NY "Gone to Governors" Live Music Series
August 15 Bristol, TN Mountain Stage
August 21 Toledo, OH Frankie's
August 22 Wellston, MI Hoxeyville Music Festival
August 23 Kalamazoo, MI Kalamazoo Public Library
August 28 Lakewood, NJ Strand Theatre
September 4 Seattle, WA Bumbershoot Festival
September 6 Vancouver, BC Biltmore
September 7 Bellingham, WA The Wild Buffalo
September 9 Portland, OR Musicfest Northwest at Berbattis
September 11 Atlanta, GA Smith's Olde Bar
September 12 Birmingham, AL WorkPlay
September 14 Nashville, TN Grimey's in-store
September 15 St. Louis, MO Old Rock House†
September 16 Indianapolis, IN Radio Radio†
September 17 Louisville, KY Headliners†
September 18 Chicago, IL Lincoln Hall†
September 23 Cincinnati, OH Midpoint Music Festival†
September 24 Columbus, OH The Rumba Café†
September 25 Berryville, VA Watermelon Park Festival
September 29 San Diego, CA Casbah†
September 30 Los Angeles, CA Autry Museum†
October 1 Santa Cruz, CA Rio Theatre†
October 2 San Francisco, CA Hardly Strictly Bluegrass
October 4 Humboldt, CA The Depot at Humboldt State†‡
October 6 Salt Lake City, UT The State Room†
October 7 Denver, CO The Bluebird†
October 9 Minneapolis, MN First Avenue†
October 11 Milwaukee, WI Turner Hall†
October 12 Bloomington, IL Six Strings†
October 14 Detroit, MI Magic Stick†
October 15 Toronto, ON Horseshoe Tavern†
October 16 Buffalo, NY The Mohawk†
October 21 Portsmouth, NH The Music Hall†
October 22 Philadelphia, PA The First Unitarian Church†
October 23 Washington, DC 9:30 Club†
December 1 Baton Rouge, LA Manship Theatre
* supporting Court Yard Hounds
† with support from Jessica Lea Mayfield
‡ co-headline with The Felice Brothers

Hardest Working Person in America

I wouldn't normally do this since it isn't music related, but I thought it warranted a post.

Mitchum deodorant is sponsoring a contest to find the "Hardest Working Person in America", and one of those contestants is a Jackson County resident, Jason Perlak, who has made it to the Top 10. Jason and his wife opened the Wilderness Christian Camp, which is located right outside of Ripley in Gay, West Virginia. This camp is a faith-based program for "troubled" kids who need spiritual support to change their lives. It offers high-ropes, low-ropes, canoeing, backpacking, and rustic-camping just to name a few, and through these numerous activities leadership, teamwork, and decision-making skills will be developed. So, please take the time to vote.

Laura Marling - I Speak Because I Can

Laura Marling is a folk singer-songwriter from England. She has gained prominence within the London folk scene through touring with various well-known indie artists in the UK. She was also part of the original line-up for Noah and the Whale, but left the group before their debut album was released in 2008. Marling has also appeared on a few songs from The Rakes and Mystery Jets. On March 22, 2010, her second album, I Speak Because I Can, was released. The singles, "Goodbye England (Covered in Snow)" was released on iTunes in December 2009 and "Devil's Spoke" on March 15, 2010. I Speak entered the UK Albums Chart at #4 on March 28, 2010 and was nominated on July 20 for 2010's Mercury Music Prize. Marling recorded her first album, Alas, I Cannot Swim, when she was 17 years old and was praised for her mature lyrics and music which garnered a nomination for 2008's Mercury Music Prize .

In I Speak Because I Can, Marling's maturity has continued to grow. This album is more polished and sophisticated and shows an amalgam of different sounds. The first track, "Devil's Spoke", is a weirdly passionate love song heightened by the frenzied banjo. The gypsy-like song, "Rambling Man" is about weakness, pride and desire. "Made by Maid" plays like an English lullaby and an Eastern European influence can be heard in "Alpha Shallows" giving it a cold and bleak feel. A sarcasm coupled with an angry guitar reflects the rage in "Hope in the Air", and the conversational tone of Marling's voice in "What He Wrote" gives the song a sad quietness. Also included in this variety of folk music, Marling becomes a storyteller in "What He Wrote" which tells of a tragic correspondence of lovers during wartime, and "I Speak Because I Can" which is about Penelope waiting for Odysseus' return.

I Speak Because I Can is a mysterious and poetic album that is grounded in folk traditions. It is a record dictated by dark, melancholic music and hopeless and sorrowful lyrics. Despite Laura Marling's prodigious amount of musical talent and maturity, she is still a 20-year-old woman who still hasn't quite reached her prime.

Laura Marling Devil's Spoke Normal by user2199337

Rambling Man/ Laura Marling by onfaia!

Laura Marling - Alpha Shallows by a pagan place

Mumford & Sons - Sigh No More

How much do I love Mumford & Sons' debut full-length album, Sigh No More?! Answer: Since yesterday, I think I've listened to it at least twenty times.

There really isn't much to criticize. If I wanted to get really picky, I would say that the lyrics aren't subtle or poetic and repetitive. Also, I resent the fact that all the members are from London. However, the loud, banjo-picking, foot-stomping music is great for late night pub revelries.

Formed by Marcus Mumford in 2007, they have gained a popular following through underground folk clubs and support of other British folk artists such as Laura Marling and Noah and the Whale. They have accumulated a lot praise in the music industry for their catchy and approachable tunes. Sigh No More was released in the UK in October 2009 and February 2010 in the US, but hasn't quite reached the same popularity. "Little Lion Man" was dubbed the "The Hottest Record in the World" by BBC Radio 1's DJ Zane Lowe in July 2009.

Sigh No More is an hour chock full of balls-to-the-wall folk rock. The growling and loud vocals of lead singer Marcus Mumford are the emotional driving force, but the horsepower comes from the rollicking banjo and booming sound of the bass. Even the ballads crescendo into powerful and dramatic climaxes at the end. Sigh No More is an optimistic yet pensive album that deals with the universal themes of remorse, religion, and relationships.

Their style is something similar to the Avett Brothers and Kings of Leon, as well as, some hints of Dave Matthews. Sigh No More, is a collection of explosive, ecstatic, and unabashedly emotional songs you'll want to listen to a second or even a third time. It is an exciting and amazing debut album for a group of ambitious and impressive twentysomethings who are still honing their craft.

Standout Tracks: "Winter Winds", "The Cave", "Little Lion Man", "White Blank Page", and "Dustbowl Dance"

Mumford & Sons - Winter Winds by Guilherme Lombardi

The Cave - Mumford and Sons by musicmanners

07 Mumford And Sons - Little Lion Man by nicky lightbulb

Mumford And Sons / White Blank Page by katzekatzekatzekater

Sun Kil Moon - Admiral Fell Promises

The album I have been waiting two years for, Sun Kil Moon's Admiral Fell Promises was released on July 13. This is the fourth full-length album for Sun Kil Moon, a.k.a. Mark Kozelek, formerly of the Red House Painters. Well known for his melancholy tunes, forlorn lyrics, and doleful vocals, Kozelek hasn't changed much for Admiral Fell Promises.

Lyrically, Kozelek does what is familiar by writing songs about people and places - particularly, places in or near San Franscisco. His lyrics on Admiral Fell Promises and previous albums have given us insight into Kozelek's internal thoughts and ruminations, as well as, the shared visual perspectives and experiences of the places he has musically documented. Although, on Admiral Fell Promises, the lyrics have taken a backseat to the ambiance. Not only has Kozelek been a lyrical mastermind, but his ability to create a mood is head and shoulders above the rest, even if that mood is resigned and somber.

Admiral Fell Promises departs from the rest of Sun Kil Moon's discography with its completely stripped-down instrumentation. On this album, it is just Kozelek and a nylon-stringed guitar, whereas the previous albums have been full of unwinding, pensive electric guitar epics. However, there are epics on Admiral Fell Promises , but they're the better songs. Kozelek extends these songs with intricate and gorgeous guitar flourishes. Despite the stark and austere orchestration his musical embellishments give the expansive songs a hypnotizing effect. When listening to these songs it is easy to hear the classical guitar music that influenced Kozelek while working on this album.

Sun Kil Moon is one of those artists that you either like or you don't, and the same could be said for Admiral Fell Promises, but I just happen to be one who loves Sun Kil Moon and the album. Nevertheless, this record isn't Mark Kozelek's best but it is the best guitar work he has recorded. Admiral Fell Promises is a top-notch atmospheric record that leaves the listener entranced by its soft ethereal and wistful songs.

Stream Admiral Fell Promises

Danger Mouse and Sparklehorse - Dark Night of the Soul

Dark Night of the Soul is the long fabled and mythic collaboration of Danger Mouse (a.k.a Brian Burton) and Sparklehorse (a.k.a. Mark Linkous). Today, after being pulled due to a legal dispute between Danger Mouse and EMI, the record is finally getting its legimate release. Sadly, this release also comes a few months after the suicide of Mark Linkous. It was originally released as 100-page book of photography by filmmaker David Lynch with a blank CD-R which was to encourage those who bought the fifty-dollar package to download the songs. Not only is Dark Night noted for the Danger Mouse/Sparklehorse collaboration, but also for the many artists who are featured on it such as Vic Chesnutt, James Mercer, Wayne Coyne, and Iggy Pop just to name a few.

Dark Night of the Soul is phrase used to describe a phase in a person's life when there is a feeling of loneliness, desolation, and a lack of relationship with God. This is a fitting theme for Mark Linkous who has survived an overdose in the early 1990s and has had a lifelong battle with depression.

Dark Night has an unusual blend of psychedelic folk and punk rock. Its surrealism plays out like a gloomy and grotesque fairy tale. The opening track, "Revenge", is a beautifully paranoid song calmly sang by Wayne Coyne of the Flaming Lips and moves into a country-twinged, "Just War", featuring Gruff Rhys. By the fourth track, "Little Girl", the album moves into an unnecessary punk-like set of songs until the let's-get-fucked-up tune, "Everytime I'm With You". Then, the record takes another turn into psychedelic-folk-like tunes with "Daddy's Gone" and the haunting and macabre tale in "Grim Augury" which features Linkous's suicidal companion Vic Chesnutt.

Dark Night of the Soul has its high and low-points, but mostly high. I believe the album could have done without David Lynch's musical contribution, but Lynch is one of the reasons why this album has gained such a buzz. He and Dark Night have visibly and uniquely connected the art of music with the art of art, and has made the weird and absurd beautiful.

Danger Mouse and Sparklehorse - Revenge (feat. Wayne Coyne) by stinkywizzlecheeks

Danger Mouse and Sparklehorse - Little Girl (ft. Julian Casablancas) by La Rue Bohème

Danger mouse and sparklehorse-everytime im with you (ft. jason lytle) by Rock the house

Blitzen Trapper - Destroyer of the Void

Blitzen Trapper is an experimental folk rock band from Portland, Oregon. In the summer of 2007, they were signed to Sub-Pop Records. Their song "Wild Mountain Nation" was #98 on Rolling Stone's list of 100 Best Songs of 2007, and the album, Wild Mountain Nation, was released in 2007 to much critical acclaim. In 2008, Blitzen Trapper released Furr, which was a high point and the album ranked #13 on Rolling Stone 's Best Albums of 2008 and the title track, "Furr", was #4 on the magazine's Best Singles of 2008. Their fifth full-length album, Destroyer of the Void, was released June 8, 2010 and garners the same acclaim.

Destroyer of the Void showcases the mixture of 60s folk, 70s country-rock, and 80s synthesizer-progressive sounds that has become Blitzen Trapper. The opening track, "Destroyer of the Void", promises an album heavily influenced by progressive rock, but falls into more comfortable and easy folk-rooted tunes. "Destroyer of the Void" may be a little too psychedelic for my taste but it does show the instrumental textures the band has come to develop. One of the best tracks, "Below the Hurricane", is a funky folk tune with a progressive twist. "The Man Who Speaks True" is a haunting, dark, murder tale that has a Dylanesque feel and could be the continuation to Furr's, "Black River Killer". A rootsy, Tom Pettyish influence can be heard in "Love and Hate" and Evening Star". Another strong track, "The Tree", is a beautiful and subdued duet with Alela Diane. Eric Earley's vocals in the closing track is definitely evocative of Dylan but with the harmonies of the Beatles.

I must confess I didn't like Destroyer of the Void at first, but as I listened to the album it grew on me. The opening track was a little off-putting because of its heavy progressive instrumentation, but as the album went on Blitzen Trapper's folky and country vibe began to shine through. Also, the progressive touches of the more folk-based songs makes for a more interesting and intriguing album.

The Mynabirds - What We Lose in the Fire We Gain in the Flood

Wow, The Mynabirds! That's the only word I can use to describe Laura Burhenn's newest endeavor. Burhenn who used to be in the all so polite indie duo, Georgie James, now takes an assertive lead on The Mynabirds' debut album, What We Lose in the Fire We Gain in the Flood (April 27, 2010). Produced by Richard Swift, this album is reflective of the effortless chemistry that both he and Burhenn had while working together. Their collaboration produced what I think could be one of the best albums of 2010.

Named for the obscure 1960s Canadian band, The Myna Birds, which has included Neil Young and Rick James, encompasses the sound that Burhenn wanted to accomplish. What We Lose is reminiscent of the 1960s girl groups but is not overdone because of its hint of gospel, country, and blue-eyed soul. Burhenn's commanding vocals are sensitive and secure, appropriate for an album about cutting ties and moving forward. The ample instrumentation doesn't compete but complements Burhenn's lush voice creating a powerful and soulful sound. Burhenn has said she wanted to "make a record that felt like Neil Young doing Motown", and she has done just that. What We Lose in the Fire We Gain in the Flood has a timeless sound that is not outdated but timely.

Deer Tick - The Black Dirt Sessions

Deer Tick is an roots/Americana/indie/rock band from Providence, Rhode Island. They formed in December 2004 and have released three albums on Partisan Records.

In the spring 2010, the band released its third album, The Black Dirt Sessions, which doesn't show much growth or inspiration. John McCauley's voice is tough and raw, and sometimes strained and manufactured. It seems as if he is trying too hard to be different and quirky, but only is left forgotten in the end. The songs lack any kind of surprise or excitement for those who do listen to the genre and it definitely couldn't compel anyone to become a fan. The lyrics lack any kind of coherence or connection with the audience and are often times unremarkable. McCauley is only writing what he thinks is tried and true in a typical alt-country, American song which becomes tired and trite. All-in-all, The Black Dirt Sessions and Deer Tick are a take-it-or-leave-it package deal and one that has no lasting affect on the listener.

Deer Tick - 20 Miles by IndieRockReviews

Deer Tick -The Sad Sun by moondingo

Laura Gibson - Beasts Of Seasons

Laura Gibson is a Portland-based singer-songwriter who released her third full length album on February 23, 2009.

Beasts Of Seasons is an interesting album written from a room in a house overlooking one of Portland's oldest cemeteries. Produced by Tucker Martine, he used a two-inch tape machine instead of a computer to record the songs. While recording the album a parade interrupted the session which can be heard intermittently throughout the record adding contrast to the somber songs.

Gibson is acquainted with many well known and respected Portland artists like Colin Meloy, Menomena and Laura Veirs. Although many have contributed to the album, Beasts Of Seasons still feels and sounds like her own.

What makes this album so interesting is that it is separated into two themes: "Communion Songs" and "Funeral Songs". Gibson has said, “In looking back over these songs, I found two themes arising: First, reaching towards something outside of ourselves, be it a lover or god or family (Communion Songs) and second, grappling with the idea of ultimate aloneness and acceptance (Funeral Songs).” Beasts Of Seasons is an album dealing solely with the idea of mortality. Each song singles out a particular emotion to death - fear ("Where Have All Your Good Words Gone"), denial ("Sweet Deception"), and acceptance ("Funeral Song").

Gibson's captivating and languid voice is the center of each song on the album. Her lyrical preoccupation adds to the poignancy. She uses anatomical imagery instead of the pastoral found in most folk songs. This is an album about changes in which the words and images are suppose to be felt within the body and soul evoking thoughts of mortality. Beasts Of Seasons induces a contemplative, meditative, dream-like state making for a very lovely and lugubrious album.

Spirited – Laura Gibson

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Funeral Song – Laura Gibson

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Sweet Deception – Laura Gibson

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