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neumu
Saturday, August 23, 2014 
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44.1kHz = music reviews

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Editor's note: We have activated the Neumu 44.1 kHz Archive. Use the link at the bottom of this list to access hundreds of Neumu reviews.

+ Donato Wharton - Body Isolations
+ Svalastog - Woodwork
+ Tim Hecker - Harmony In Ultraviolet
+ Rosy Parlane - Jessamine
+ Jarvis Cocker - The Jarvis Cocker Record
+ Múm - Peel Session
+ Deloris - Ten Lives
+ Minimum Chips - Lady Grey
+ Badly Drawn Boy - Born In The U.K.
+ The Hold Steady - Boys And Girls Together
+ The Blood Brothers - Young Machetes
+ The Places - Songs For Creeps
+ Camille - Le Fil
+ Wolf Eyes - Human Animal
+ Christina Carter - Electrice
+ The Decemberists - The Crane Wife
+ Junior Boys - So This Is Goodbye
+ Various Artists - Musics In The Margin
+ Rafael Toral - Space
+ Bob Dylan - Modern Times
+ Excepter - Alternation
+ Chris Thile - How To Grow A Woman From The Ground
+ Brad Mehldau - Live in Japan
+ M Ward - Post-War
+ Various Artists - Touch 25
+ The Mountain Goats - Get Lonely
+ The White Birch - Come Up For Air
+ Camera Obscura - Let's Get Out of This Country
+ Coachwhips - Double Death
+ Various Artists - Tibetan And Bhutanese Instrumental And Folk Music, Volume 2
+ Giuseppe Ielasi - Giuseppe Ielasi
+ Cex - Actual Fucking
+ Sufjan Stevens - The Avalanche
+ Leafcutter John - The Forest And The Sea
+ Carla Bozulich - Evangelista
+ Barbara Morgenstern - The Grass Is Always Greener
+ Robin Guthrie - Continental
+ Peaches - Impeach My Bush
+ Oakley Hall - Second Guessing
+ Klee - Honeysuckle
+ The Court & Spark - Hearts
+ TV On The Radio - Return To Cookie Mountain
+ Awesome Color - Awesome Color
+ Jenny Wilson - Love And Youth
+ Asobi Seksu - Citrus
+ Marsen Jules - Les Fleurs
+ The Moore Brothers - Murdered By The Moore Brothers
+ Regina Spektor - Begin To Hope
+ The 1900s - Plume Delivery EP
+ Alejandro Escovedo - The Boxing Mirror
+ Function - The Secret Miracle Fountain
+ Sonic Youth - Rather Ripped
+ Loscil - Plume
+ Boris - Pink
+ Deadboy And The Elephantmen - We Are Night Sky
+ Glissandro 70 - Glissandro 70
+ Calexico - Garden Ruin (Review #2)
+ Calexico - Garden Ruin (Review #1)
+ The Flaming Lips - At War With The Mystics
+ The Glass Family - Sleep Inside This Wheel
+ Various Artists - Songs For Sixty Five Roses
+ The Fiery Furnaces - Bitter Tea
+ Motorpsycho - Black Hole/Blank Canvas
+ The Red Krayola - Introduction
+ Metal Hearts - Socialize
+ American Princes - Less And Less
+ Sondre Lerche And The Faces Down Quartet - Duper Sessions
+ Supersilent - 7
+ Band Of Horses - Everything All The Time
+ Dudley Perkins - Expressions
+ Growing - Color Wheel
+ Red Carpet - The Noise Of Red Carpet
+ The Essex Green - Cannibal Sea
+ Espers - II
+ Wilderness - Vessel States

44.1 kHz Archive



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artist
Mark Eitzel
recording
The Invisible Man
Matador
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rating


Monobrow'd, vodka-breath'd, woe-and-the-hell-below drunken-crooner-du-jour Mark Eitzel is known to all and sundry as being — musically — almighty grumpy, on par with peer Mark Kozelek as the guy at the end of the bar who you'd hate to be stuck next to if he was just wailing into his drink. But wailing behind a guitar, steering a sad tune down a slow and dusty path of lolling lamentation, he makes perfect company for late-night listening in the lost hours of the idle night. After two light-jazz longplayers in '95/'96 (one made in co-op with Peter Buck) for the Warner empire, in 1998 Eitzel scratched out new territories of dingy bleakness and maudlin melancholy on the stoically beautiful Caught in A Trap and I Can't Back Out 'Cause I Love You Too Much, Baby, a Matador-issued album that featured appearances from Steve Shelley, James McNew, and Kid Congo Powers, but found its best moments when it was just Eitzel alone with his guitar. There are a few such lonesome-balladeer turns on The Invisible Man, a long longplayer after a long lay-off that finds Eitzel returning with a band-like sound, meaning that he's oft joined by plenty of others, or, at worst, plays all the instruments himself. While the sound is often thick — layers of dewy guitars, keyboards, old organs, bass, drums/beats — it's always concerned with the "space" of the piece, such thickness often casting insular environments in which Eitzel's voice can wander lonely. Occasionally, the sound can take over too much from the vocal, like on Steve I Always Knew, when the song's narrative lyrics are overwhelmed by skittering beats and baroque flushes of synthesized sitar.


by Anthony Carew




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