From The Desk Of Basia Bulat: “Bring It On Home To Me”

BasiaBulatLogoThe reaction to Tall Tall Shadow (Secret City), Basia Bulat’s third full-length, has been exceedingly positive, a happy circumstance for a performer who made her thus-far moderate fame on the folk singer/songwriter circuit and is now looking to switch things up. Bulat’s first two albums, adept enough affairs, traded mostly in the light arrangements and soft dynamics of contemporary folk music. If her talents extend beyond many of her peers (notably her staggering facility on a wide range of stringed instruments from the dulcimer to the charango), her aesthetic palette as presented on her first two albums was largely traditional. Tall Tall Shadow, by contrast, opens with the stomping, gradual crescendo of the title track, an immediate announcement of increasing speed and volume that sustains for the rest of the record. It’s a sonic gamble for Bulat, who for the first time finds herself pushing her aesthetics into more energetic territory. Still, the song structures and modes are of a piece with her previous releases, making Tall Tall Shadow a furtherance rather than a divergence from her previous work. Bulat will be guest editing magnetmagazine.com all week. Read our new feature on her.

SamCooke

Bulat: Gentle readers, it’s been a real pleasure getting to be a “guest editor” this week. I leave you now with one of my favourite songs, sung by one of my all-time favourite singers, Sam Cooke. I remember hearing “Bring It On Home To Me” from Live At The Harlem Square Club for the first time and thinking, “Well, that’s it everyone: This is the top of the top.” And I still feel that way. It’s just the best.

Video after the jump.

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In The News: Stephen Malkmus, Glen Hansard, Tindersticks, Big Star, Verlaines And More

StephenMalkmus

Wig Out At The Jagbags is the new album from Stephen Malkmus & The Jicks, due out via Matador on January 14 … Glen Hansard’s upcoming EP, Drive All Night, is set for a December 3 release on Anti- and features a collaboration with Eddie Vedder, Jake Clemons and Joe Henry … The 21st birthday of Tindersticks will be celebrated with the release of the band’s 10th studio album, Across Six Leap Years. Out November 12 from Lucky Dog, the record features 10 new versions of songs from throughout the band’s history … Vagrant will issue Bombay Bicycle Club’s fourth album in five years on February 4 … On November 26, a 14-song collection of songs documenting Big Star’s brief career, Playlist: The Very Best Of Big Star, will be released by Columbia/Legacy … Colin Blunstone of the Zombies has announced the January 21 release of his 10th studio album, On The Air Tonight, via Zip. This spring, he’ll tour the U.S. both with the Zombies and his solo group for several dates … Flying Nun will reissue the Verlaines’ first two albums, 1985’s Hallelujah—All The Way Home and 1987’s Juvenilia, on December 3 … A 13-disc boxed set containing remastered and expanded versions of Yes’ entire studio catalog, Yes: The Studio Albums 1969-1987, will be available from Rhino on December 24 … In December 1983, Lone Justice recorded 12 tracks at Suite 16 Studios, nine of which went unissued. Now you can hear all 12 in their entirety on This Is Lone Justice: The Vaught Tapes, 1983, due out January 14 from Omnivore  … November 19 will see the release of George Thorogood & The Destroyers: Live At Montreux 2013 on DVD, Blu-ray and CD. It chronicles George Thorogood & The Destroyers’ very first performance at the Montreux Jazz Festival this year … Various artists from Cherry Red’s U.K. psych imprint Grapefruit are featured on the label’s three-disc anthology, Love, Poetry And Revolution, which was released in October.

—Emily Costantino

From The Desk Of Basia Bulat: Miró’s “Blues”

BasiaBulatLogoThe reaction to Tall Tall Shadow (Secret City), Basia Bulat’s third full-length, has been exceedingly positive, a happy circumstance for a performer who made her thus-far moderate fame on the folk singer/songwriter circuit and is now looking to switch things up. Bulat’s first two albums, adept enough affairs, traded mostly in the light arrangements and soft dynamics of contemporary folk music. If her talents extend beyond many of her peers (notably her staggering facility on a wide range of stringed instruments from the dulcimer to the charango), her aesthetic palette as presented on her first two albums was largely traditional. Tall Tall Shadow, by contrast, opens with the stomping, gradual crescendo of the title track, an immediate announcement of increasing speed and volume that sustains for the rest of the record. It’s a sonic gamble for Bulat, who for the first time finds herself pushing her aesthetics into more energetic territory. Still, the song structures and modes are of a piece with her previous releases, making Tall Tall Shadow a furtherance rather than a divergence from her previous work. Bulat will be guest editing magnetmagazine.com all week. Read our new feature on her.

Miro

Bulat: I had a chance to see Miró’s Blue II at the Centre Pompidou in Paris recently and was really struck by how vast and how deep the painting was. It pulled me right in. I was going to the Pompidou specifically to see Miró’s paintings, but on more than a few occasions I’ve been in a smaller museum or gallery somewhere on tour and was really drawn to an image somewhere across the room only to find that it’s by Miró. I wonder what that means (besides that I like his work).

Video after the jump.

Continue reading “From The Desk Of Basia Bulat: Miró’s “Blues””