#experimentalrock — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #experimentalrock, aggregated by home.social.
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Free download codes:
Analogue Path - Module-8 #1
"Let's MODULE8 with BASS/IDM/BEATS"
#ambient #electronic #experimentalrock #bass #dubstep #dnb #modularsynthesizer #eurorack #140 #ambientelectronic #deepdubstep #rockexperimental #music
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Free download codes:
immortal ebt - in blue
"A devastatingly beautiful shoegaze album about water."
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¤¤ YOUFF (BE) ¤¤ PULVERIN (AT) ¤¤ Live: DO 28.MAI ¤¤ @rhizvienna ¤¤ 20:00h
Youff is a Belgian noise rock band known for their energetic live sets and raw, unnerving sound, they keep on attacking the senses, one release at the time.
Pulverin stand for an eclectic, sophisticated form of contemporary hard dance music, garnished with hypnotic horns and complex polyrhythms.
#experimentalrock #noiserock #livemusic #dadadance #vienna #rhizvienna
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Transnadežnost' – Sonora
#Rock #artrock #desert #doom #experimentalrock #garage #progrock #psychedelicrock #shoegaze #spacerock #stoner #SaintPetersburg
CC BY (#CreativeCommons Attribution) #ccmusic
https://transnadeznost.bandcamp.com/album/sonora -
Transnadežnost' – Sonora
#Rock #artrock #desert #doom #experimentalrock #garage #progrock #psychedelicrock #shoegaze #spacerock #stoner #SaintPetersburg
CC BY (#CreativeCommons Attribution) #ccmusic
https://transnadeznost.bandcamp.com/album/sonora -
Transnadežnost' – Sonora
#Rock #artrock #desert #doom #experimentalrock #garage #progrock #psychedelicrock #shoegaze #spacerock #stoner #SaintPetersburg
CC BY (#CreativeCommons Attribution) #ccmusic
https://transnadeznost.bandcamp.com/album/sonora -
Transnadežnost' – Sonora
#Rock #artrock #desert #doom #experimentalrock #garage #progrock #psychedelicrock #shoegaze #spacerock #stoner #SaintPetersburg
CC BY (#CreativeCommons Attribution) #ccmusic
https://transnadeznost.bandcamp.com/album/sonora -
Transnadežnost' – Sonora
#Rock #artrock #desert #doom #experimentalrock #garage #progrock #psychedelicrock #shoegaze #spacerock #stoner #SaintPetersburg
CC BY (#CreativeCommons Attribution) #ccmusic
https://transnadeznost.bandcamp.com/album/sonora -
It's kind of strange to listen to a band that started in 1979, and only be familiar with their most recent (2025) album.
Katherina Bornefeld said something like "we're a very young band, we only play new songs", during a concert 2 weeks ago. If I had closed my eyes, they could've fooled me, because this sounds so fresh and cool, with some very memorable songs.
A nice addition to the best of 2025 list.
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Free download codes:
Dino DiMuro with Darren Lee Richardson - You're Pushing Me Into The Arms Of The Print Sisters
"Combines Dino's quirky rattletrap rhythms with Darren's killer stadium vocals"
#bandcampcodes #alternativerock #experimentalrock #rockvocals #music
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🇬🇧 David Bowie "No Trendy Réchauffé" – 2020
A live release capturing performances from Bowie’s 1995–96 Outside tour. The set blends newer, more abstract compositions with reworked versions of earlier songs, presented in a rawer and more improvisational live context...
#davidbowie #livealbum #experimentalrock #industrial #artrock #brilliantliveadventures #vinylcommunity #vinyl #music #vinylrecords #nowspinningonvinyl #nowspinning #nowlistening
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Free download codes:
Kid Lightbulbs - RUINED CASTLE
"An experimental rock opera for the bleakest of times."
#alternativerock #postrock #experimentalrock #artrock #experimentalpop #indietronica #alternativepop #pianorock #music
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Free download codes:
Analogue Path - Module-8 #1
"Let's MODULE8 with BASS/IDM/BEATS"
#ambient #electronic #experimentalrock #bass #dubstep #dnb #modularsynthesizer #eurorack #140 #ambientelectronic #deepdubstep #rockexperimental #music
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Darlington Pair – The Flood
#Branca #Chatham #Pavement #Rock #SilverJews #dreampop #experimentalrock #indierock #psychedelic #spacerock #Staunton
CC BY-NC-ND (#CreativeCommons Attribution Non Commercial No Derivatives) #ccmusic
https://darlingtonpair.bandcamp.com/album/the-flood -
Free download codes:
Mother Raspberry & A.R.C. - Christmas at Anthony’s
"The sodium heavy return of the mighty masters of musical madness."
#electronic #alternative #industrial #metal #experimentalrock #psychedelic #musiqueconcrete #music
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Alex Abrahams – Worms
#Experimental #artpunk #artrock #avantgarage #dancepunk #experimentalrock #nowave #noiserock #ontario #postpunk #punk #synthpunk #zolo #Hamilton
CC BY-NC-SA (#CreativeCommons Attribution Non Commercial Share Alike) #ccmusic
https://hivemaker.bandcamp.com/album/worms -
Ciolkowska – Bomba Nastoyashchego
#Rock #alternativerock #experimentalrock #indie #instrumental #krautrock #neopsychedelia #postpunk #postrock #progrock #progressive #progressiverock #psychedelic #psychedelicrock #spacerock #SaintPetersburg
CC BY (#CreativeCommons Attribution) #ccmusic
https://ciolkowska.bandcamp.com/album/bomba-nastoyashchego -
Ciolkowska – Bomba Nastoyashchego
#Rock #alternativerock #experimentalrock #indie #instrumental #krautrock #neopsychedelia #postpunk #postrock #progrock #progressive #progressiverock #psychedelic #psychedelicrock #spacerock #SaintPetersburg
CC BY (#CreativeCommons Attribution) #ccmusic
https://ciolkowska.bandcamp.com/album/bomba-nastoyashchego -
Free download codes:
Kid Lightbulbs - RUINED CASTLE
"An experimental rock opera for the bleakest of times."
#alternativerock #postrock #experimentalrock #artrock #experimentalpop #indietronica #alternativepop #pianorock #music
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Consecration Release New Album “Video Sam Kako Umireš” Via Geenger Records And Pop Depresija
Belgrade’s genre-defying collective Consecration return with their eighth studio album “Video Sam Kako Umireš,” available now via Geenger Records and Pop Depresija. Arriving just a year after Smrt, Ljubav, Smrt, the album continues the band’s expansive exploration of psychedelic rock, post-metal, jazz, and neoclassical influences. Led by Danilo Nikodinovski, the record unfolds like a cinematic journey, seven tracks of love, loss, and existential reflection. Complex, emotional, and richly produced, Video Sam Kako Umireš reaffirms Consecration as one of the Balkans’ most visionary and uncompromising acts. Stream or pre-order vinyl HERE
#CONSECRATION #EXPERIMENTALROCK #GEENGERRECORDS #MUSIC #NEWS #POPDEPRESIJA #POSTROCK
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Released today 47 years ago:
🇬🇧 David Bowie "Stage" – 1978
A powerful live double album capturing Bowie’s late-70s energy, blending Berlin-era experimentation with classic hits. Precision, intensity, and a band at its peak...
#artrock #glamrock #progressiverock #experimentalrock #livealbum #vinyl #music #vinylrecords #vinylcollection #vinylcollector #nowspinningonvinyl #nowspinning #nowlistening
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An anthem for the untamed dreamer, "Bored in My Own Sky" is a powerful fusion of human creativity and AI-assisted production.
#experimental #abstract #altpop #artpop #dreampop #electropop #emotional #experimentalfolk #experimentalpop #experimentalrock #femalelead #indierock #poetic #rap #synthpop
https://www.thebirdali.com/2025/09/bored-in-my-own-sky.html -
Mike Gutterman – Background Music For Productions Volume 16
#Experimental #alternative #atmospheric #backgroundmusic #electronic #experimental #experimentalrock #indierock #instrumental #postrock #productionmusic #shoegaze #soundtrack #Louisville
CC BY-NC-SA (#CreativeCommons Attribution Non Commercial Share Alike) #ccmusic
https://mikegutterman.bandcamp.com/album/background-music-for-productions-volume-16 -
Mike Gutterman – Electronic Music For Productions Volume 39
#BackgroundMusic #Electronic #Experimental #Instrumental #ProductionMusic #Soundtrack #electronic #electronica #experimentalrock #filmmusic #instrumentalelectronic #musicproduction #postrock #shoegaze #soundtrack #Louisville
CC BY-NC-SA (#CreativeCommons Attribution Non Commercial Share Alike) #ccmusic
https://mikegutterman.bandcamp.com/album/electronic-music-for-productions-volume-39-2 -
PICTURE ANN RELEASES THE “FROM THE WINDSWEPT SHORE OF TYNEMOUTH” EP
https://eternal-terror.com/?p=69621Inspired by a handful of trips to Newcastle upon Tyne and Tynemouth these past few years and more specifically the rich history surrounding those parts of England and the whole cultural landscape in the Northeast, a morose and reverb-drenched collection of tunes collectively known as From the Windswept Shore of Tynemouth has presented itself. In the words of J.N., “I was greatly inspired by […]
#ambient #ambientMusic #ambientPostRock #ambientRock #bandcamp #bergen #darkAmbient #darkAmbientDrone #darkAmbientDrones #darkAmbientMusic #doomMetal #experimentalRock #floodgateMoodsProductions #newcastle #northumberland #pictureAnn #postBlackMetal #postRock #progRock #tynemouth
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An Isolated Mind – I'm Losing Myself
#ExperimentalMetal #Metal #ambient #atmospheric #avantgarde #experimental #experimentalrock #integral #postmetal #prog #progressiveblackmetal #SanFrancisco
CC BY-NC-SA (#CreativeCommons Attribution Non Commercial Share Alike) #ccmusic
https://anisolatedmind.bandcamp.com/album/im-losing-myself -
Mike Gutterman – Acoustic Music For Productions Volume 3
#Acoustic #Experimental #acousticguitar #alternative #backgroundmusic #electronic #experimentalrock #instrumental #postrock #productionmusic #shoegaze #soundtrack #soundtrackmusic #Louisville
CC BY-NC-SA (#CreativeCommons Attribution Non Commercial Share Alike) #ccmusic
https://mikegutterman.bandcamp.com/album/acoustic-music-for-productions-volume-3 -
TEN PAST SEVEN – Long Live The Bogwalrus
#Alternative #Experimental #ExperimentalRock #Rock #experimentalnoiserock #instumental #ireland #irish #mathrock #noiserock #other #prog #Ireland
CC BY-NC-SA (#CreativeCommons Attribution Non Commercial Share Alike) #ccmusic
https://tenpastseven.bandcamp.com/album/long-live-the-bogwalrus -
Meander – &
#Experimental #experiemental #experimentalelectronic #experimentalhiphop #experimentalpop #experimentalrock #meander #obsoletemediaobjects #omo #Oakland
CC BY-NC (#CreativeCommons Attribution Non Commercial) #ccmusic
https://obsoletemediaobjects.bandcamp.com/album/- -
Friday - #GrassIsGreen with #SpeedyOrtiz and #Pile in #SomervilleMA at the #SomervilleArmory - ~$22 ⭐ ⭐ ⭐ ⭐ ⭐
https://artsatthearmory.org/events/get-to-the-gig-presents-grass-is-green/
#BostonWeekend 7/x
#Boston #BostonMusic #PostPunk #ExperimentalRock -
TomWaitsAWeek | Tom Waits – Rain Dogs (1985, US)
Today’s spotlight is on number 315 on The List, and the second in our #TomWaitsAWeek feature. Fun fact: Rain Dogs album was the most repeated submission when we were first compiling The List, with something like 5+ people submitting it at the same time;[1] CliftonR was the first to get in their vote, so they get the attribution. I’m going to apologize right off that bat to those 5+ people and anyone else who knows how great this album is – while Rain Dogs absolutely deserves its own dedicated and lengthy spotlight, it essentially shares this one with the 4 albums that preceded it and the 3 that came after. For that matter, each album mentioned here deserves its own spotlight. Alas, more Waits is better than less, so let’s not wait any longer and dig in…
Yesterday’s listening schedule[2] for #TomWaitsAWeek included some huge shifts in Tom Waits’ sound and life. Foreign Affairs (1977) and Blue Valentine (1978) are perhaps not too far away from the preceding Small Change, albeit with amped up cinematic vibes, more strings, the first swapping of the piano for an electric guitar, and the first appearance (in “$29.00”) of what will become Waits’ signature drunk howl (thanks to satsuma for that phrase!). Foreign Affairs is also the first album that makes me picture the eyes closed/eyebrows raised/can’t lose face Waits often pulls while singing, though I’m sure it was there in the earlier albums (if not the recording, then definitely the live performances). Then, with Heartattack and Vine (1980), suddenly we are in electric guitar-based R&B territory, the sound seeming to move from a bar corner to a proper stage. But, perhaps most importantly, we catch a completely smitten Waits singing a seemingly non-Waits lyric – “sha-la-la-la-la-la”, in “Jersey Girl”. The girl? One Kathleen Brennan, who would impact Waits and his sound immensely, from one wonderful day forward.
Waits wrote Heartattack and Vine while taking a break from writing the soundtrack for Francis Ford Coppola’s One from the Heart (1981), on the set of which he re-met Brennan, who he had first met while filming Sylvester Stallone’s Paradise Alley (1978; Waits’ film debut). It apparently was love at second sight – the two were engaged within a week, and married the month before Heartattack was released.
Waits has apparently said of Brennan that he didn’t just marry a wife, but also a record collection. Brennan introduced Waits to a bunch of new music, perhaps the most influential to his own evolving sound being Captain Beefheart and composer Harry Partch (who made his own instruments). With the life changes and Brennan’s encouragement, Waits also changed managers and producers – to himself and Brennan – and used the opportunity to, essentially, reinvent himself. Thus we have the absolute masterpiece that is Swordfishtrombones (1983), the first of Waits’ experimental era – the first Waits’ album to not feature saxophone, the first to have marimba (and various eclectic instruments), and, really, the first to have music that finally seems to live in the same postal code as the vocals. It’s weird, it’s whacky, it’s what most now likely consider pure Waits. It should be in every record collection, and should have it’s own full blog (like, an entire blog, not just a blog post) dissecting every second of it. Also, it was released on my day of birth, which gives it extra bonus points from me.
Swordfishtrombones is the beginning of a loose trilogy of albums, the second of which is technically the subject of this spotlight (and our first album in today’s listening schedule): Rain Dogs. While continuing along the lines of Swordfishtrombones plus adding in the plethora of new influences and experiences that came with Waits’ and Brennan’s move to New York City (including Waits’ growing filmography), Rain Dogs also brings back in all the best things of the pre-Brennan albums (including some of that country rock twang from Closing Time, in “Blind Love”). It’s a ‘best of’ bag of Waits’ tricks, if you will, but notably less whisky-soaked. The result is a couple of surprisingly rather radio-friendly tunes (well, alternative radio, at any rate) including “Hang Down Your Head” (the first tune co-written with Brennan), as well as some cinema-friendly tunes, with songs from the album bookending the soundtrack for Jim Jarmusch’s Down by Law (1986; which Waits also starred in). And, another super duper (not really) important thing that really stands out, to me at least: end-of-song FADE OUTS. Perhaps they were in previous Waits albums, but for some reason these are the first I recall, enough to point out, lol. Anyway, and again, it deserves more than the cursory glance here, so be sure to give it a few spins and gather your own thoughts about it. Whether it was the fade outs, the film cred, or just people knowing what’s what, it’s not hard to see why this album made and continues to make a number of lists, including the “official” 1001 list.
Following Rain Dogs, we get Franks Wild Years (1987), the last in the trilogy and thus another album in a similar vein. This album continues the story of one Frank, first seen in Swordfishtrombones‘ track of the same name (well, with the grammatically correct apostrophe), via songs first written (some co-written by Brennan) for a play. The real standout for me on this album – and, as far as I can remember, my first introduction to Waits – is the spectacular “Way Down in the Hole”, which was used/covered for The Wire‘s theme song. My advice? Get the entire trilogy and listen to all of them in a row, a few times over, as their own separate #TomWaitsAWeek. And then, for bonus marks, check out all the cover versions done for The Wire, if you haven’t already. For myself, I haven’t yet devoted enough time to Franks, so I’m planning on getting a lot more spins in soon.
The last two albums on our listening schedule today carry on the experimentation of the Sword/Rain/Franks trilogy, albeit with different vibes. On Bone Machine (1992), perhaps it’s because of the title but I can’t help but hear some Pixies vibes, also some Leonard Cohen vibes (“Black Wings”) – in other words, there’s a LOT of different stuff going on in this one. Again, it deserves it’s own spotlight, and more than a quick spin. And then, The Black Rider (1993) is another play-to-album collection of songs, the play in question co-written by none other than William S. Burroughs and directed by Robert Wilson (perhaps known by many as Philip Glass’ collaborator on Einstein on the Beach). Waits will very soon again collaborate with Wilson on what becomes Alice and Blood Money (both 2002).
Alice is the third and last Waits album we have in The List, and is one of the albums in tomorrow’s listening schedule (along with Blood Money). Because I’m only human I won’t have its spotlight ready prior to listening, but we’ll meet back here on Friday to discuss it, and cap off our #TomWaitsAWeek.
Until then, I hope you don’t have to wait to listen to more Waits!
[1]Apologies for the wishy-washy data, but I only tracked the first time an album was submitted, so this is going off my shoddy memory of how many times I replied “already added!” to people. I do remember with certainty that SpaceAce was one of those people, btw.
[2]For those wanting to listen through the discography with us, here’s what is left in the schedule, of studio albums plus the Orphans box set (any live/soundtrack/etc. albums are extracurricular!): Wednesday – Rain Dogs, Franks Wild Years, Bone Machine, The Black Rider; Thursday – Mule Variations, Alice, Blood Money, Real Gone; Friday – Orphans: Brawlers, Bawlers & Bastards, Bad as Me#1001OtherAlbums #1980s #experimental #experimentalRock #KathleenBrennan #ListenToThis #musicDiscovery #Musodon #TomWaits #TomWaitsAWeek
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TomWaitsAWeek | Tom Waits – Rain Dogs (1985, US)
Today’s spotlight is on number 315 on The List, and the second in our #TomWaitsAWeek feature. Fun fact: Rain Dogs album was the most repeated submission when we were first compiling The List, with something like 5+ people submitting it at the same time;[1] CliftonR was the first to get in their vote, so they get the attribution. I’m going to apologize right off that bat to those 5+ people and anyone else who knows how great this album is – while Rain Dogs absolutely deserves its own dedicated and lengthy spotlight, it essentially shares this one with the 4 albums that preceded it and the 3 that came after. For that matter, each album mentioned here deserves its own spotlight. Alas, more Waits is better than less, so let’s not wait any longer and dig in…
Yesterday’s listening schedule[2] for #TomWaitsAWeek included some huge shifts in Tom Waits’ sound and life. Foreign Affairs (1977) and Blue Valentine (1978) are perhaps not too far away from the preceding Small Change, albeit with amped up cinematic vibes, more strings, the first swapping of the piano for an electric guitar, and the first appearance (in “$29.00”) of what will become Waits’ signature drunk howl (thanks to satsuma for that phrase!). Foreign Affairs is also the first album that makes me picture the eyes closed/eyebrows raised/can’t lose face Waits often pulls while singing, though I’m sure it was there in the earlier albums (if not the recording, then definitely the live performances). Then, with Heartattack and Vine (1980), suddenly we are in electric guitar-based R&B territory, the sound seeming to move from a bar corner to a proper stage. But, perhaps most importantly, we catch a completely smitten Waits singing a seemingly non-Waits lyric – “sha-la-la-la-la-la”, in “Jersey Girl”. The girl? One Kathleen Brennan, who would impact Waits and his sound immensely, from one wonderful day forward.
Waits wrote Heartattack and Vine while taking a break from writing the soundtrack for Francis Ford Coppola’s One from the Heart (1981), on the set of which he re-met Brennan, who he had first met while filming Sylvester Stallone’s Paradise Alley (1978; Waits’ film debut). It apparently was love at second sight – the two were engaged within a week, and married the month before Heartattack was released.
Waits has apparently said of Brennan that he didn’t just marry a wife, but also a record collection. Brennan introduced Waits to a bunch of new music, perhaps the most influential to his own evolving sound being Captain Beefheart and composer Harry Partch (who made his own instruments). With the life changes and Brennan’s encouragement, Waits also changed managers and producers – to himself and Brennan – and used the opportunity to, essentially, reinvent himself. Thus we have the absolute masterpiece that is Swordfishtrombones (1983), the first of Waits’ experimental era – the first Waits’ album to not feature saxophone, the first to have marimba (and various eclectic instruments), and, really, the first to have music that finally seems to live in the same postal code as the vocals. It’s weird, it’s whacky, it’s what most now likely consider pure Waits. It should be in every record collection, and should have it’s own full blog (like, an entire blog, not just a blog post) dissecting every second of it. Also, it was released on my day of birth, which gives it extra bonus points from me.
Swordfishtrombones is the beginning of a loose trilogy of albums, the second of which is technically the subject of this spotlight (and our first album in today’s listening schedule): Rain Dogs. While continuing along the lines of Swordfishtrombones plus adding in the plethora of new influences and experiences that came with Waits’ and Brennan’s move to New York City (including Waits’ growing filmography), Rain Dogs also brings back in all the best things of the pre-Brennan albums (including some of that country rock twang from Closing Time, in “Blind Love”). It’s a ‘best of’ bag of Waits’ tricks, if you will, but notably less whisky-soaked. The result is a couple of surprisingly rather radio-friendly tunes (well, alternative radio, at any rate) including “Hang Down Your Head” (the first tune co-written with Brennan), as well as some cinema-friendly tunes, with songs from the album bookending the soundtrack for Jim Jarmusch’s Down by Law (1986; which Waits also starred in). And, another super duper (not really) important thing that really stands out, to me at least: end-of-song FADE OUTS. Perhaps they were in previous Waits albums, but for some reason these are the first I recall, enough to point out, lol. Anyway, and again, it deserves more than the cursory glance here, so be sure to give it a few spins and gather your own thoughts about it. Whether it was the fade outs, the film cred, or just people knowing what’s what, it’s not hard to see why this album made and continues to make a number of lists, including the “official” 1001 list.
Following Rain Dogs, we get Franks Wild Years (1987), the last in the trilogy and thus another album in a similar vein. This album continues the story of one Frank, first seen in Swordfishtrombones‘ track of the same name (well, with the grammatically correct apostrophe), via songs first written (some co-written by Brennan) for a play. The real standout for me on this album – and, as far as I can remember, my first introduction to Waits – is the spectacular “Way Down in the Hole”, which was used/covered for The Wire‘s theme song. My advice? Get the entire trilogy and listen to all of them in a row, a few times over, as their own separate #TomWaitsAWeek. And then, for bonus marks, check out all the cover versions done for The Wire, if you haven’t already. For myself, I haven’t yet devoted enough time to Franks, so I’m planning on getting a lot more spins in soon.
The last two albums on our listening schedule today carry on the experimentation of the Sword/Rain/Franks trilogy, albeit with different vibes. On Bone Machine (1992), perhaps it’s because of the title but I can’t help but hear some Pixies vibes, also some Leonard Cohen vibes (“Black Wings”) – in other words, there’s a LOT of different stuff going on in this one. Again, it deserves it’s own spotlight, and more than a quick spin. And then, The Black Rider (1993) is another play-to-album collection of songs, the play in question co-written by none other than William S. Burroughs and directed by Robert Wilson (perhaps known by many as Philip Glass’ collaborator on Einstein on the Beach). Waits will very soon again collaborate with Wilson on what becomes Alice and Blood Money (both 2002).
Alice is the third and last Waits album we have in The List, and is one of the albums in tomorrow’s listening schedule (along with Blood Money). Because I’m only human I won’t have its spotlight ready prior to listening, but we’ll meet back here on Friday to discuss it, and cap off our #TomWaitsAWeek.
Until then, I hope you don’t have to wait to listen to more Waits!
[1]Apologies for the wishy-washy data, but I only tracked the first time an album was submitted, so this is going off my shoddy memory of how many times I replied “already added!” to people. I do remember with certainty that SpaceAce was one of those people, btw.
[2]For those wanting to listen through the discography with us, here’s what is left in the schedule, of studio albums plus the Orphans box set (any live/soundtrack/etc. albums are extracurricular!): Wednesday – Rain Dogs, Franks Wild Years, Bone Machine, The Black Rider; Thursday – Mule Variations, Alice, Blood Money, Real Gone; Friday – Orphans: Brawlers, Bawlers & Bastards, Bad as Me#1001OtherAlbums #1980s #experimental #experimentalRock #KathleenBrennan #ListenToThis #musicDiscovery #Musodon #TomWaits #TomWaitsAWeek
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TomWaitsAWeek | Tom Waits – Rain Dogs (1985, US)
Today’s spotlight is on number 315 on The List, and the second in our #TomWaitsAWeek feature. Fun fact: Rain Dogs album was the most repeated submission when we were first compiling The List, with something like 5+ people submitting it at the same time;1 CliftonR was the first to get in their vote, so they get the attribution. I’m going to apologize right off that bat to those 5+ people and anyone else who knows how great this album is – while Rain Dogs absolutely deserves its own dedicated and lengthy spotlight, it essentially shares this one with the 4 albums that preceded it and the 3 that came after. For that matter, each album mentioned here deserves its own spotlight. Alas, more Waits is better than less, so let’s not wait any longer and dig in…
Yesterday’s listening schedule2 for #TomWaitsAWeek included some huge shifts in Tom Waits’ sound and life. Foreign Affairs (1977) and Blue Valentine (1978) are perhaps not too far away from the preceding Small Change, albeit with amped up cinematic vibes, more strings, the first swapping of the piano for an electric guitar, and the first appearance (in “$29.00”) of what will become Waits’ signature drunk howl (thanks to satsuma for that phrase!). Foreign Affairs is also the first album that makes me picture the eyes closed/eyebrows raised/can’t lose face Waits often pulls while singing, though I’m sure it was there in the earlier albums (if not the recording, then definitely the live performances). Then, with Heartattack and Vine (1980), suddenly we are in electric guitar-based R&B territory, the sound seeming to move from a bar corner to a proper stage. But, perhaps most importantly, we catch a completely smitten Waits singing a seemingly non-Waits lyric – “sha-la-la-la-la-la”, in “Jersey Girl”. The girl? One Kathleen Brennan, who would impact Waits and his sound immensely, from one wonderful day forward.
Waits wrote Heartattack and Vine while taking a break from writing the soundtrack for Francis Ford Coppola’s One from the Heart (1981), on the set of which he re-met Brennan, who he had first met while filming Sylvester Stallone’s Paradise Alley (1978; Waits’ film debut). It apparently was love at second sight – the two were engaged within a week, and married the month before Heartattack was released.
Waits has apparently said of Brennan that he didn’t just marry a wife, but also a record collection. Brennan introduced Waits to a bunch of new music, perhaps the most influential to his own evolving sound being Captain Beefheart and composer Harry Partch (who made his own instruments). With the life changes and Brennan’s encouragement, Waits also changed managers and producers – to himself and Brennan – and used the opportunity to, essentially, reinvent himself. Thus we have the absolute masterpiece that is Swordfishtrombones (1983), the first of Waits’ experimental era – the first Waits’ album to not feature saxophone, the first to have marimba (and various eclectic instruments), and, really, the first to have music that finally seems to live in the same postal code as the vocals. It’s weird, it’s whacky, it’s what most now likely consider pure Waits. It should be in every record collection, and should have it’s own full blog (like, an entire blog, not just a blog post) dissecting every second of it. Also, it was released on my day of birth, which gives it extra bonus points from me.
Swordfishtrombones is the beginning of a loose trilogy of albums, the second of which is technically the subject of this spotlight (and our first album in today’s listening schedule): Rain Dogs. While continuing along the lines of Swordfishtrombones plus adding in the plethora of new influences and experiences that came with Waits’ and Brennan’s move to New York City (including Waits’ growing filmography), Rain Dogs also brings back in all the best things of the pre-Brennan albums (including some of that country rock twang from Closing Time, in “Blind Love”). It’s a ‘best of’ bag of Waits’ tricks, if you will, minus the whisky. The result is a couple of surprisingly rather radio-friendly tunes (well, alternative radio, at any rate) including “Hang Down Your Head” (the first tune co-written with Brennan), as well as some cinema-friendly tunes, with songs from the album bookending the soundtrack for Jim Jarmusch’s Down by Law (1986; which Waits also starred in). And, another super duper (not really) important thing that really stands out, to me at least: end-of-song FADE OUTS. Perhaps they were in previous Waits albums, but for some reason these are the first I recall, enough to point out, lol. Anyway, and again, it deserves more than the cursory glance here, so be sure to give it a few spins and gather your own thoughts about it. Whether it was the fadeouts, the film cred, or just people knowing what’s what, it’s not hard to see why this album made and continues to make a number of lists, including the “official” 1001 list.
Following Rain Dogs, we get Franks Wild Years (1987), the last in the trilogy and thus another album in a similar vein. This album continues the story of one Frank, first seen in Swordfishtrombones‘ track of the same name (well, with the grammatically correct apostrophe), via songs first written (some co-written by Brennan) for a play. The real standout for me on this album – and, as far as I can remember, my first introduction to Waits – is the spectacular “Way Down in the Hole”, which was used/covered for The Wire‘s theme song. My advice? Get the entire trilogy and listen to all of them in a row, a few times over, as their own separate #TomWaitsAWeek. And then, for bonus marks, check out all the cover versions done for The Wire, if you haven’t already. For myself, I haven’t yet devoted enough time to this Franks, so I’m planning on getting a lot more spins in soon.
The last two albums on our listening schedule today carry on the experimentation of the Sword/Rain/Franks trilogy, albeit with different vibes. On Bone Machine (1992), perhaps it’s because of the title but I can’t help but hear some Pixies vibes, also some Leonard Cohen vibes (“Black Wings”) – in other words, there’s a LOT of different stuff going on in this one. Again, it deserves it’s own spotlight, and more than a quick spin. And then, The Black Rider (1993) is another play-to-album collection of songs, the play in question co-written by none other than William S. Burroughs and directed by Robert Wilson (perhaps known by many as Philip Glass’ collaborator on Einstein on the Beach). Waits will very soon again collaborate with Wilson on what becomes two of the albums in tomorrow’s listening schedule, Alice and Blood Money (both 2002).
Alice is part of tomorrow’s listening schedule, and is the third Waits album we have in The List. Because I’m only human I won’t have its spotlight ready prior to listening, but we’ll meet back here on Friday to discuss it, and cap off our #TomWaitsAWeek.
Until then, I hope you don’t have to wait to listen to more Waits!
1Apologies for the wishy-washy data, but I only tracked the first time an album was submitted, so this is going off my shoddy memory of how many times I replied “already added!” to people. I do remember with certainty that SpaceAce was one of those people, btw.
2For those wanting to listen through the discography with us, here’s what is left in the schedule, of studio albums plus the Orphans box set (any live/soundtrack/etc. albums are extracurricular!): Wednesday – Rain Dogs, Franks Wild Years, Bone Machine, The Black Rider; Thursday – Mule Variations, Alice, Blood Money, Real Gone; Friday – Orphans: Brawlers, Bawlers & Bastards, Bad as Me#1001OtherAlbums #1980s #experimental #experimentalRock #KathleenBrennan #ListenToThis #musicDiscovery #Musodon #TomWaits #TomWaitsAWeek
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TomWaitsAWeek | Tom Waits – Rain Dogs (1985, US)
Today’s spotlight is on number 315 on The List, and the second in our #TomWaitsAWeek feature. Fun fact: Rain Dogs album was the most repeated submission when we were first compiling The List, with something like 5+ people submitting it at the same time;[1] CliftonR was the first to get in their vote, so they get the attribution. I’m going to apologize right off that bat to those 5+ people and anyone else who knows how great this album is – while Rain Dogs absolutely deserves its own dedicated and lengthy spotlight, it essentially shares this one with the 4 albums that preceded it and the 3 that came after. For that matter, each album mentioned here deserves its own spotlight. Alas, more Waits is better than less, so let’s not wait any longer and dig in…
Yesterday’s listening schedule[2] for #TomWaitsAWeek included some huge shifts in Tom Waits’ sound and life. Foreign Affairs (1977) and Blue Valentine (1978) are perhaps not too far away from the preceding Small Change, albeit with amped up cinematic vibes, more strings, the first swapping of the piano for an electric guitar, and the first appearance (in “$29.00”) of what will become Waits’ signature drunk howl (thanks to satsuma for that phrase!). Foreign Affairs is also the first album that makes me picture the eyes closed/eyebrows raised/can’t lose face Waits often pulls while singing, though I’m sure it was there in the earlier albums (if not the recording, then definitely the live performances). Then, with Heartattack and Vine (1980), suddenly we are in electric guitar-based R&B territory, the sound seeming to move from a bar corner to a proper stage. But, perhaps most importantly, we catch a completely smitten Waits singing a seemingly non-Waits lyric – “sha-la-la-la-la-la”, in “Jersey Girl”. The girl? One Kathleen Brennan, who would impact Waits and his sound immensely, from one wonderful day forward.
Waits wrote Heartattack and Vine while taking a break from writing the soundtrack for Francis Ford Coppola’s One from the Heart (1981), on the set of which he re-met Brennan, who he had first met while filming Sylvester Stallone’s Paradise Alley (1978; Waits’ film debut). It apparently was love at second sight – the two were engaged within a week, and married the month before Heartattack was released.
Waits has apparently said of Brennan that he didn’t just marry a wife, but also a record collection. Brennan introduced Waits to a bunch of new music, perhaps the most influential to his own evolving sound being Captain Beefheart and composer Harry Partch (who made his own instruments). With the life changes and Brennan’s encouragement, Waits also changed managers and producers – to himself and Brennan – and used the opportunity to, essentially, reinvent himself. Thus we have the absolute masterpiece that is Swordfishtrombones (1983), the first of Waits’ experimental era – the first Waits’ album to not feature saxophone, the first to have marimba (and various eclectic instruments), and, really, the first to have music that finally seems to live in the same postal code as the vocals. It’s weird, it’s whacky, it’s what most now likely consider pure Waits. It should be in every record collection, and should have it’s own full blog (like, an entire blog, not just a blog post) dissecting every second of it. Also, it was released on my day of birth, which gives it extra bonus points from me.
Swordfishtrombones is the beginning of a loose trilogy of albums, the second of which is technically the subject of this spotlight (and our first album in today’s listening schedule): Rain Dogs. While continuing along the lines of Swordfishtrombones plus adding in the plethora of new influences and experiences that came with Waits’ and Brennan’s move to New York City (including Waits’ growing filmography), Rain Dogs also brings back in all the best things of the pre-Brennan albums (including some of that country rock twang from Closing Time, in “Blind Love”). It’s a ‘best of’ bag of Waits’ tricks, if you will, but notably less whisky-soaked. The result is a couple of surprisingly rather radio-friendly tunes (well, alternative radio, at any rate) including “Hang Down Your Head” (the first tune co-written with Brennan), as well as some cinema-friendly tunes, with songs from the album bookending the soundtrack for Jim Jarmusch’s Down by Law (1986; which Waits also starred in). And, another super duper (not really) important thing that really stands out, to me at least: end-of-song FADE OUTS. Perhaps they were in previous Waits albums, but for some reason these are the first I recall, enough to point out, lol. Anyway, and again, it deserves more than the cursory glance here, so be sure to give it a few spins and gather your own thoughts about it. Whether it was the fade outs, the film cred, or just people knowing what’s what, it’s not hard to see why this album made and continues to make a number of lists, including the “official” 1001 list.
Following Rain Dogs, we get Franks Wild Years (1987), the last in the trilogy and thus another album in a similar vein. This album continues the story of one Frank, first seen in Swordfishtrombones‘ track of the same name (well, with the grammatically correct apostrophe), via songs first written (some co-written by Brennan) for a play. The real standout for me on this album – and, as far as I can remember, my first introduction to Waits – is the spectacular “Way Down in the Hole”, which was used/covered for The Wire‘s theme song. My advice? Get the entire trilogy and listen to all of them in a row, a few times over, as their own separate #TomWaitsAWeek. And then, for bonus marks, check out all the cover versions done for The Wire, if you haven’t already. For myself, I haven’t yet devoted enough time to Franks, so I’m planning on getting a lot more spins in soon.
The last two albums on our listening schedule today carry on the experimentation of the Sword/Rain/Franks trilogy, albeit with different vibes. On Bone Machine (1992), perhaps it’s because of the title but I can’t help but hear some Pixies vibes, also some Leonard Cohen vibes (“Black Wings”) – in other words, there’s a LOT of different stuff going on in this one. Again, it deserves it’s own spotlight, and more than a quick spin. And then, The Black Rider (1993) is another play-to-album collection of songs, the play in question co-written by none other than William S. Burroughs and directed by Robert Wilson (perhaps known by many as Philip Glass’ collaborator on Einstein on the Beach). Waits will very soon again collaborate with Wilson on what becomes Alice and Blood Money (both 2002).
Alice is the third and last Waits album we have in The List, and is one of the albums in tomorrow’s listening schedule (along with Blood Money). Because I’m only human I won’t have its spotlight ready prior to listening, but we’ll meet back here on Friday to discuss it, and cap off our #TomWaitsAWeek.
Until then, I hope you don’t have to wait to listen to more Waits!
[1]Apologies for the wishy-washy data, but I only tracked the first time an album was submitted, so this is going off my shoddy memory of how many times I replied “already added!” to people. I do remember with certainty that SpaceAce was one of those people, btw.
[2]For those wanting to listen through the discography with us, here’s what is left in the schedule, of studio albums plus the Orphans box set (any live/soundtrack/etc. albums are extracurricular!): Wednesday – Rain Dogs, Franks Wild Years, Bone Machine, The Black Rider; Thursday – Mule Variations, Alice, Blood Money, Real Gone; Friday – Orphans: Brawlers, Bawlers & Bastards, Bad as Me#1001OtherAlbums #1980s #experimental #experimentalRock #KathleenBrennan #ListenToThis #musicDiscovery #Musodon #TomWaits #TomWaitsAWeek
-
TomWaitsAWeek | Tom Waits – Rain Dogs (1985, US)
Today’s spotlight is on number 315 on The List, and the second in our #TomWaitsAWeek feature. Fun fact: Rain Dogs album was the most repeated submission when we were first compiling The List, with something like 5+ people submitting it at the same time;1 CliftonR was the first to get in their vote, so they get the attribution. I’m going to apologize right off that bat to those 5+ people and anyone else who knows how great this album is – while Rain Dogs absolutely deserves its own dedicated and lengthy spotlight, it essentially shares this one with the 4 albums that preceded it and the 3 that came after. For that matter, each album mentioned here deserves its own spotlight. Alas, more Waits is better than less, so let’s not wait any longer and dig in…
Yesterday’s listening schedule2 for #TomWaitsAWeek included some huge shifts in Tom Waits’ sound and life. Foreign Affairs (1977) and Blue Valentine (1978) are perhaps not too far away from the preceding Small Change, albeit with amped up cinematic vibes, more strings, the first swapping of the piano for an electric guitar, and the first appearance (in “$29.00”) of what will become Waits’ signature drunk howl (thanks to satsuma for that phrase!). Foreign Affairs is also the first album that makes me picture the eyes closed/eyebrows raised/can’t lose face Waits often pulls while singing, though I’m sure it was there in the earlier albums (if not the recording, then definitely the live performances). Then, with Heartattack and Vine (1980), suddenly we are in electric guitar-based R&B territory, the sound seeming to move from a bar corner to a proper stage. But, perhaps most importantly, we catch a completely smitten Waits singing a seemingly non-Waits lyric – “sha-la-la-la-la-la”, in “Jersey Girl”. The girl? One Kathleen Brennan, who would impact Waits and his sound immensely, from one wonderful day forward.
Waits wrote Heartattack and Vine while taking a break from writing the soundtrack for Francis Ford Coppola’s One from the Heart (1981), on the set of which he re-met Brennan, who he had first met while filming Sylvester Stallone’s Paradise Alley (1978; Waits’ film debut). It apparently was love at second sight – the two were engaged within a week, and married the month before Heartattack was released.
Waits has apparently said of Brennan that he didn’t just marry a wife, but also a record collection. Brennan introduced Waits to a bunch of new music, perhaps the most influential to his own evolving sound being Captain Beefheart and composer Harry Partch (who made his own instruments). With the life changes and Brennan’s encouragement, Waits also changed managers and producers – to himself and Brennan – and used the opportunity to, essentially, reinvent himself. Thus we have the absolute masterpiece that is Swordfishtrombones (1983), the first of Waits’ experimental era – the first Waits’ album to not feature saxophone, the first to have marimba (and various eclectic instruments), and, really, the first to have music that finally seems to live in the same postal code as the vocals. It’s weird, it’s whacky, it’s what most now likely consider pure Waits. It should be in every record collection, and should have it’s own full blog (like, an entire blog, not just a blog post) dissecting every second of it. Also, it was released on my day of birth, which gives it extra bonus points from me.
Swordfishtrombones is the beginning of a loose trilogy of albums, the second of which is technically the subject of this spotlight (and our first album in today’s listening schedule): Rain Dogs. While continuing along the lines of Swordfishtrombones plus adding in the plethora of new influences and experiences that came with Waits’ and Brennan’s move to New York City (including Waits’ growing filmography), Rain Dogs also brings back in all the best things of the pre-Brennan albums (including some of that country rock twang from Closing Time, in “Blind Love”). It’s a ‘best of’ bag of Waits’ tricks, if you will, minus the whisky. The result is a couple of surprisingly rather radio-friendly tunes (well, alternative radio, at any rate) including “Hang Down Your Head” (the first tune co-written with Brennan), as well as some cinema-friendly tunes, with songs from the album bookending the soundtrack for Jim Jarmusch’s Down by Law (1986; which Waits also starred in). And, another super duper (not really) important thing that really stands out, to me at least: end-of-song FADE OUTS. Perhaps they were in previous Waits albums, but for some reason these are the first I recall, enough to point out, lol. Anyway, and again, it deserves more than the cursory glance here, so be sure to give it a few spins and gather your own thoughts about it. Whether it was the fadeouts, the film cred, or just people knowing what’s what, it’s not hard to see why this album made and continues to make a number of lists, including the “official” 1001 list.
Following Rain Dogs, we get Franks Wild Years (1987), the last in the trilogy and thus another album in a similar vein. This album continues the story of one Frank, first seen in Swordfishtrombones‘ track of the same name (well, with the grammatically correct apostrophe), via songs first written (some co-written by Brennan) for a play. The real standout for me on this album – and, as far as I can remember, my first introduction to Waits – is the spectacular “Way Down in the Hole”, which was used/covered for The Wire‘s theme song. My advice? Get the entire trilogy and listen to all of them in a row, a few times over, as their own separate #TomWaitsAWeek. And then, for bonus marks, check out all the cover versions done for The Wire, if you haven’t already. For myself, I haven’t yet devoted enough time to this Franks, so I’m planning on getting a lot more spins in soon.
The last two albums on our listening schedule today carry on the experimentation of the Sword/Rain/Franks trilogy, albeit with different vibes. On Bone Machine (1992), perhaps it’s because of the title but I can’t help but hear some Pixies vibes, also some Leonard Cohen vibes (“Black Wings”) – in other words, there’s a LOT of different stuff going on in this one. Again, it deserves it’s own spotlight, and more than a quick spin. And then, The Black Rider (1993) is another play-to-album collection of songs, the play in question co-written by none other than William S. Burroughs and directed by Robert Wilson (perhaps known by many as Philip Glass’ collaborator on Einstein on the Beach). Waits will very soon again collaborate with Wilson on what becomes two of the albums in tomorrow’s listening schedule, Alice and Blood Money (both 2002).
Alice is part of tomorrow’s listening schedule, and is the third Waits album we have in The List. Because I’m only human I won’t have its spotlight ready prior to listening, but we’ll meet back here on Friday to discuss it, and cap off our #TomWaitsAWeek.
Until then, I hope you don’t have to wait to listen to more Waits!
1Apologies for the wishy-washy data, but I only tracked the first time an album was submitted, so this is going off my shoddy memory of how many times I replied “already added!” to people. I do remember with certainty that SpaceAce was one of those people, btw.
2For those wanting to listen through the discography with us, here’s what is left in the schedule, of studio albums plus the Orphans box set (any live/soundtrack/etc. albums are extracurricular!): Wednesday – Rain Dogs, Franks Wild Years, Bone Machine, The Black Rider; Thursday – Mule Variations, Alice, Blood Money, Real Gone; Friday – Orphans: Brawlers, Bawlers & Bastards, Bad as Me#1001OtherAlbums #1980s #experimental #experimentalRock #KathleenBrennan #ListenToThis #musicDiscovery #Musodon #TomWaits #TomWaitsAWeek
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Listen to this track by former Alabama Shakes vocalist and guitarist turned stylistically exploratory solo artist Brittany Howard. It’s “13th Century Metal”, a cut from her 2019 debut record Jaime. The album’s title is in tribute to Howard’s late older sister who died at the tender age of 13. Jaime remains to be a beloved figure who helped inspire her younger sister to express herself through art, including songwriting.
The title of this particular song refers to its imposing feel as defined by its author, inspired in part by Gregorian chants of the 13th century. Maybe this is what the equivalent of heavy metal might have been in a time in history when “iron maiden” was a perhaps a more literal reference than it would be later on. Yet to that point, the title also evokes images of smiths, anvils, bellows, hammers, tongs, and the creation of forged implements. These were put through the fire to make them sturdier, hardier, and more resilient to do what they were designed to do. In this context “metal” and “mettle” turn out to be pretty interchangeable.
There are definite parallels to be found here from an artist who has undergone a similar forging process to temper her to do what she does. As Alabama Shakes broke out on the international scene in the early 2010s, Brittany Howard showed herself to be a formidable musician across a spectrum of classic rock music traditions from Muscle Shoals to Headley Grange. This song blurs stylistic lines even beyond that of her former band, establishing her approach to genres as paints in a paintbox, not the box itself.
Apart from that, the lyrical content of the song and its presentation is less like a rock single, and more like a sound collage to accompany a manifesto about how the artist perceives the world and herself as a person living in it. In kicking off Howard’s solo career, “13th Century Metal” serves as a kind of central statement to define herself in a new phase of life and career, suggesting the emotional context that applies the most resonantly to the material that she’s putting out under her own name. At the same time, this centerpiece of Brittany Howard’s debut record is not all about the artist. “13th Century Metal” is also a unique invitation to us listeners, too. More on that in a bit.
In the meantime, this tune also represents a new approach to making music as differentiated from Howard’s earlier output with the band. The sound on this song and on the rest of the record diverges from the hard rock with classic soul flourishes of Alabama Shakes. This is not necessarily a means to distance herself from a former sound. It’s more of a product of her enthusiasm. The writing and recording process evidently found Howard like a kid in a candy store. The process pulled her in a number of directions as she worked on material as she was finding out for herself what the record was going to sound like only in increments.
Here on this song, electronics, production effects, woozy psychedelia, and sampled break beats take the place of muscular rock guitar riffs and soul inflections, although still with a Bonham-like percussive weight to anchor it. “13th Century Metal” suggests the sounds of the church, but in a different way than is reflected in her past classic soul references. Instead, this song features an echoey spoken word delivery imbued with MLK civil rights-era rhetorical passion. In this, it initially comes off like a sermon to the congregation of all humanity amidst the chaotic noise of the 21st century. Howard’s voice only just rises above the din with a whiff of desperation and even terror.
Brittany Howard on stage with Alabama Shakes in 2012 (image: Fred Rockwood)As for the invitation she’s extending in “13th Century Metal”, Howard’s message is simple enough: we are all brothers and sisters, so do the best you can to be kind to your fellow man. Give it to love. It feels like a good deal of this advice is aimed at herself as much as anyone. All told, “13th Century Metal” is the sound of a person making a decision about the kind of human being she wants to be. We, as her audience, bear witness. Among other things of course, this is a great theme for a debut solo record. Yet in this, the song isn’t really a sermon at all. It’s an acknowledgement of her own self-doubt as met by her determination as a person who’s climbing the same hills we all are.
As much as this song sounds like the herald to a new era for Howard as a solo artist and as an individual, it also suggests that the world itself was moving toward something new along with her. Within its lines, it captures the emotional undercurrents and political headwinds of the time when paradigms were shifting. The mid to late 2010s were fraught with shocking rhetoric around class, race, gender, human rights, violence, sexuality and any number of other issues. Wrongful deaths and riots blighted the landscape. News headlines shocked us to the point of disbelief along with the think pieces and social media diatribes that followed. In the same way that is true today, we had to gird ourselves for what might come next.
That period contained the beginnings of the uncertainty that has since given way to downright destructive narratives that are so uncomfortably commonplace today. These struggles revealed how far the world had to go before we get to where we hope to go as a civilization that truly serves everyone. Donald Trump being president did not, and now still does not, help. The movement behind his rise to power was and remains to be indicative of heels being dug in to resist what’s necessary and overdue where social change is concerned. We’re still feeling the effects of that today, now very likely to intensify over the next four years.
“13th Century Metal” also carries an invitation to consider who we all want to be as people as we face an awful and repressive social environment. It’s therefore also in consideration of what kind of world we want to make for ourselves and for each other in resistance to it. This is a call to rebellion. That certainly includes being kind, mindful, empathetic, self-aware, and wary. These were radical political choices by the time Jaime came out. They remain to be so today, and all the more.
As much as this song may be considered as a personal manifesto and a sermon to the church of humanity, the takeaway is more profound and deeper still. This is a hopeful prayer that in being thrust into the fire, we will not only survive, but also be tempered in our strength of will and knowledge to create a better world after all.
Brittany Howard is an active artist today. You can learn more about her and her more recent output at brittanyhoward.com.
For more background on Howard’s life as a developing artist and on her approach to writing the material for the Jaime album, including this song, check out this interview with Brittany Howard at The New Yorker.
If it’s more music that you’re after, check out Brittany Howard’s Tiny Desk Concert in which she demonstrates her amazing vocal capacity that puts her in the same league as any classic soul vocalist you can name.
Enjoy!
https://thedeletebin.com/2024/11/11/brittany-howard-sings-13th-century-metal/
#2010sMusic #BrittanyHoward #confessionalSongwriting #experimentalRock #PoliticalSongs
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