PJ Harvey, Let England Shake

By J Howell

If there’s one thing that can be said about Polly Harvey, it’s that she is full of surprises.

While a detailed discussion of the breadth of Harvey’s compelling body of work is beyond the scope of this review, it’s fair to say that while her music has always been inhabited by an often harrowing multitude of characters, the protagonists are generally embattled on an intensely intimate level. Just as often those same characters could arguably be described as victims.
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Best Of 2010: J Howell

2010 shaped up to be a pretty damned good year for music. In no particular order, my favorite (non-local, at least) records this year were:
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Why Aren’t You Listening To Los Lobos?

By J Howell

Click for larger image
Photo © 2010 David Haggard

Folly Theater, Kansas City MO
October 8, 2010

I wasn’t quite sure exactly what to expect when Los Lobos made a stop in Kansas City, at the beautiful and ancient Folly Theater, other than a vague confidence that whatever was in store would be good.
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The Black Heart Procession, Blood Bunny/Black Rabbit

By J Howell

Throughout the eight tracks on Blood Bunny/Black Rabbit, the new mini-album from San Diego’s always-intriguing The Black Heart Procession, there’s plenty of what fans love about the band: their noir feel is present in spades. Overall, though, while Blood Bunny/Black Rabbit is an enjoyable record, as a whole it feels a little like what it is, I suppose: a short work between larger, more cohesive artistic statements.

BHP mainstays Pall Jenkins and Tobias Nathaniel have always produced impressive work, and over six albums the band has carved its own dark, beautiful, and often sexy niche in modern music. While this record is quite good, it doesn’t expand much on that remarkable body of work.
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Pixies Doolittle Anniversary Tour

By J Howell

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Uptown Theater, Kansas City MO
September 17, 2010

As I see it, there are two kinds of people in the world: those who love the Pixies, and assholes. All kidding aside, is there another band as universally loved as Pixies?
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Los Lobos, Tin Can Trust

By J Howell

It speaks volumes about a band when, after 30 years and 19 albums, they remain vital. Los Lobos is just that, as Tin Can Trust demonstrates. For listeners who’ve slept on this institution of American music, or only know the cover of “La Bamba” from the 1987 movie of the same title, you’re missing out on one of the most consistently great bands, well, ever.

Don’t think you like Latin music? The cumbia “Yo Canto,” with its Marc Ribot-esque guitars, is brilliant. The norteno-flavored “Mujer Ingrata” bounces with such a joyous spirit that’s impossible to dislike. While the band does good by its Mexican-American roots, Los Lobos have always been masterful at incorporating all manner of American roots music into their work; Tin Can Trust is no exception.
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The Cure, Disintegration Deluxe Edition

By J Howell

Oh, to revisit the heady days of 1989. . . as a young person, two things (at different times, and both seemed to recur often) were the focus of my adolescent adulation. These were head and shoulders above everything else (and made a killing from my obsessive need for more and more merchandise): Star Wars and The Cure.

Before I give myself an opportunity to digress on the efficacy of the Lucas Merchandising Machine, let’s talk about The Cure. Rhino has just released a curated-by-Robert-himself reissue of Disintegration in three discs: the first, a remaster of the record; the second, a collection of rarities; and the third, an expanded version of Entreat, a live record from the “Prayer” tour following Disintegration that was originally released in 1990.
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Peggy Sue, Fossils And Other Phantoms

By J Howell

Watch the video for “Watchman” and download the song here.

Peggy Sue singer Katy Young recently said of Fossils And Other Phantoms that the main themes of the album are “absences and presences, and the emotional and physical beings that remain after various endings.” This is a break-up record, but fortunately, it’s a damn fine one.

Peggy Sue—composed of Young, co-singer/guitarist Rosa Slade, and drummer Olly Joyce—mine some raw emotional territory on Fossils, and it’s a rather melancholy record. In places, it’s reminiscent of, say, Beth Orton, but with a somewhat more aggressive point of view. While the subject matter may not exactly be fun, and thus some songs may not quite enjoyable as such, the presentation is admirably insightful and interesting.
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Johnny Dowd, Wake Up The Snakes

By J Howell

It’s more than a little puzzling to me why Johnny Dowd isn’t better known or revered as a master of American music. Dowd’s latest release, Wake Up The Snakes, is everything that rock and roll could and should be, or at the very least, one badass variant thereof.

In this day and age, even if Dowd isn’t exactly a household name (and I have to admit, prior to near-synchronous name-dropping in song by Howe Gelb and seeing the brilliant film Searching For The Wrong-Eyed Jesus a couple years back, Dowd was a stranger to me, too), it’s easy enough to find a lot of recurring descriptors and comparisons on the Internet. While it may be somewhat lazy, it’s not exactly a huge stretch to say that listeners who enjoy the work of Nick Cave or Tom Waits, or readers who like Harry Crews, will likely find a new favorite in Dowd: he deserves the respect those three command.
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Howe Gelb, ‘Sno Angel Winging It (Live) CD + DVD

By J Howell

A few years back, I read about what at the time seemed like the most bizarre thing I’d ever heard of: a Howe Gelb record that featured the Giant Sand mainstay with a Canadian Gospel Choir.

Now, I’d been a Giant Sand fan for a while at that point. I’d seen Gelb solo live a couple of years before, opening for John Parish. During his set he improvised a song about the wobbly fan onstage; at one point he even played guitar with his hands while banging on the piano with his feet. His only instructions to the soundman that night were, and I quote, “Can you make this guitar loud as fuck?”
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