I’ve been writing about music for more than a decade now, and I’ve seen a lot of artists come and go (honestly, I wouldn’t be at all surprised if it turned out that 80% of the artists I’ve reviewed over the years are now defunct). But there are some artists who continually stick around, who might go unheard from for a year or two, but then always get back onto my radar for whatever reason.

Ryan and Rebecca Coseboom are two such artists. I became aware of the Cosebooms via their first project, Anymore, which I discovered via a sampler that was offered on an old 4AD e-mail list that I once subscribed to. Then came Halou, their more electronica-minded outfit, which survived and transcended such terms as “trip-hop” and “downtempo” thanks to impeccable programming, plenty of 4AD-esque atmospherics, and Rebecca’s lovely vocals.

But Halou came to an end in 2008 while the group was touring with Bob Mould and the Cosebooms subsequently began Stripmall Architecture. It was originally an outlet for more experimental music than might’ve been associated with the Halou moniker, with live shows incorporating everything from “typical” electronics and guitars to typewriters and toy organs. But with the release of We Were Flying Kites, the Cosebooms have returned a little closer to the fold, so to speak—in many ways, We Were Flying Kites picks up right where Halou left off.

Continue reading…

As has been said many times, our’s is a cynical time—one in which something that has even the slightest whiff of sentiment is instantly eviscerated with as much snark and vitriol as possible. But Richard Hawley doesn’t really seem to care.

On Truelove’s Gutter, his sixth solo album, he has the guts to lyrics like “Never say goodbye/You’re the apple of my eye” and “I just want to make you smile/And maybe stay with you awhile”. He sings of domestic pleasures, watching the sun rise over washing lines, lamenting the old hometown, running into cinemas to avoid the rain, and finding solace in watching his lover sew.

That’s right: sew.

Continue reading…

Longtime readers of Opus will know that when it comes to female vocalists, I prefer mine to be otherworldly and ethereal (e.g., Lisa Gerrard, Elizabeth Fraser, Rachel Goswell, Mimi Parker). Now, the ladies in Kissing Cousins can evoke an otherworldly air with their songs—particularly when they slip into an old time-y spiritual mood—but most of the time, they’re raw, rough around the edges… and quite exhilarating.

Kissing Cousins don’t pull any punches: right from the get go, with its stomping rhythms and writhing, tortured fuzz guitar, “Close To The Fire” grabs you by the throat and doesn’t let go. Meanwhile, Heather B. Heywood’s echoing vocals manage to be both sexy and eerie, like P.J. Harvey if she were a roller derby girl—or The Shirelles if they were into switchblades and drag racing.

Continue reading…

For some reason, I found myself reflecting on my “history” with Starflyer 59 when I discovered—a few weeks after the fact—that the band had released Dial M. I picked up their self-titled debut—aka Silver—shortly after it came out in 1994. Which means that I’ve been listening to their music for nearly fifteen years now.

That sort of longevity can lend itself to a sense of obligation, meaning you’ll pick up the artist’s album no matter what. And while such dedication is not a bad thing, it does mean that you have to prepare yourself for inevitable bouts of being underwhelmed (The Cure’s 4:13 Dream immediately comes to mind for me).

Such is not the case with Starflyer 59. There’s a workman-like quality to their music, to be sure. It’s not the sort of music that you listen to for wild innovation and experimentation, but rather to hear the tried and true (the innovation they do inevitably bring is just icing on the cake). For me, Starflyer 59’s music has become akin to an old, comfortable blanket or a sturdy oak desk: dependable and comfortable.

What’s interesting, though, is that Starflyer 59 has achieved that level of consistency despite constant personnel changes and shifts in musical direction throughout the years. Jason Martin has been the band’s single consistent player; at least a dozen others have joined him in the studio and onstage to date. And as for musical direction, Starflyer 59’s releases have dabbled in shoegazer, lounge, surf rock, ‘70s stadium rock, ‘50s pop, and electronica, ultimately settling into a brand of lushly produced indie-rock that incorporates elements from all of those aforementioned genres.

Continue reading…