The Harry Heart Chrysalis is ready to spread its wings

9 Jan

The Harry Heart Chrysalis

Does anyone miss Edward Sharpe and the Magnetic Zeros? They have the perfect name, with a perfect background story. After “Home” was featured in a commercial, they rose in popularity, and I’m sure had some people (me) shaking their heads at a band name that reminds of an egotistical power rock band. Alex Ebert plays the part of Edward Sharpe, a Messiah character he created in a story he wrote while in rehab. Decidedly not about ego, but rather a rebirth, (or resurrection, if you will) of Ebert during a dark and troubling time. I really admire Ebert, and treasure one of his solo tracks, “Truth.” (The version featuring RZA is also great, if only for the incredible, half-hearted rap-singing RZA does toward the end of his verse.) I found a song sonically similar by The Harry Heart Chrysalis, rhythmic and lyrically rich, though “Ninety Six” has a much different message.

The guitars give us our first impression of “Ninety Six”. The strums are quick and even, and the mandolin-like riff bounces with frontman Harry Heart’s vocals. Ebert has a similar sing-song rhythm, punching the lyrics at the end of each line. Where Ebert’s “Truth” battles inner darkness, “Ninety Six” embraces raw sexuality and insecurity. (Check out the lyrics via the Bandcamp version of the track.) Their previous efforts tended to be lighter than “Ninety Six,” which suggests that The Harry Heart Chrysalis is prepared to give us deeper meanings and more fulfilling stories. And with a name as mysterious as “Edward Sharpe and the Magnetic Zeros,” I think they will be well-received.

You can download “Ninety Six” for free via the embedded track above. Find more information about The Harry Heart Chrysalis on their website, Facebook, Twitter, and Soundcloud.

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2015 Albums Preview – January and February

28 Dec

How was your 2014? As demonstrated by the Top Songs/Albums countdown, 2014 was an exceptional year for music. At the end of each year of this blog’s existence I have always found myself questioning how the following year will one-up the previous year, and every year I am surprised by the following year’s ability to exceed my expectations. While many contemn modern music, I always exclaim that good music exists when you life the veil of mainstream mediocrity, and The Music Court exists to help you strip off this superficial covering. Let us help you get a jump start on your 2015. Here are some albums you should check out during the beginning of 2015.

Absent Fathers by Justin Townes Earle – January 13.

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Absent Fathers is the apt follow-up companion LP to Single Mothers from the Americana troubadour Justin Townes Earle (Steve Earle’s son). Earle’s alt/country croon and guitar-driven tracks are worth a few listens to and, considering the success of Single Mothers, there is no doubt that Absent Fathers will be a solid release.

Check out more information on the album

What a Terrible World, What a Beautiful World by The Decemberists – January 20

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If “Make You Better,” the Decemberists’ first single from its seventh studio album, is any indication of  what Colin Meloy’s new creation will sound like, I am happy to report that the music will blend The Decemberists’ recent drive to a more pop sound with its alternative roots. The music combines a Death Cab for Cutie sound with a little R.E.M. and even some Carbon Leaf. Then, of course, in typical Decemberists fashion, the song features some diverse instrumentation and creative harmonies.

Check out more information on the album

Vestiges and Claws by Jose Gonzalez – February 17.

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I am so very much looking forward to Vestiges and Claws. The album, Jose Gonzalez’ first solo LP release since 2007 (has it been so long?), is bound to be a 10-track testament to 60’s throwback acoustic music. “Every Age,” the official video of which is available on YouTube (and below), is classic Jose Gonzalez, relaxed and melodic with light percussion.

Check out more about this album

 

 

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Top Ten Albums of 2014 – #1: 0 by Low Roar

27 Dec

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How many of you have bought an album this year? If you did, you probably bought it digitally. If not, there’s a solid possibility that you are instead a vinyl enthusiast (read: purist) and you got something on wax. But the chances of either (I won’t even bother talking about CDs) were slim. Slowly, the album is becoming less and less important, but I implore us all to reverse this trend. A well-constructed full length album is the holy grail, and Low Roar has delivered 2014’s best with 0.

Combining lyrics, sounds, and rhythms is simple enough that even a celebrity teen mom can do it. Doing it well is a whole ‘nother ballgame. There is a profound effect from 0 that hits from all sides, right from the start. The debut track, “Breathe In,” is a full seven minute, slow-burning epic, enrapturing from the very beginning. The length is important, mostly because it sets this album apart from the rest of the pack; too often do songs stop short before reaching their full potential. This is not to say that all of 0 requires your undivided attention to appreciate. Take “In the Morning,” which comes in under a minute and a half; it proves that emotion in a message can be palpable, no matter how long it takes to say it:

“I want you to know

I need you to know

I love so much more each morning.”

To read more on my opinion of 0, check out my review from earlier this year, and be sure to check back in with the Music Court for more Low Roar news in the coming weeks.

It is a shame that we have stopped listening to albums. Are we too lazy to give an hour of new sounds a chance? Ruminating on a compilation of one artist’s musings, in the order that they have carefully curated, makes us think critically about what it means to be a true artist. Unfortunately, as with the growing ease to create music, we have an epidemic of everyone being a critic, and dismissing new music from completely unknown artists as quickly as they will laud a new track whose claim to fame is not having any treble. Instead of allowing ourselves the opportunity to internalize something we’ve never heard before, we opt for something easier, something that we don’t need to think critically about. Music is too large a part of all of our lives to waste it on tunes that we’ve heard before, and that we don’t even really care about. If you care about nothing else from this truly disappointing year, care about Low Roar, and pick up a copy of 0 today.

Find more information on Low Roar via their website, Facebook, Twitter, and Soundcloud.

Top Albums of 2014 – #2: Turn Blue by The Black Keys

24 Dec

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To be honest I was not sure where to start with this post on the #2 album of 2014: The Black Keys’ epic LP Turn Blue, an album eagerly awaited by a substantial fan base since the uber-successful release of the band’s 2011 album El Camino. My loss of words is directly caused by the plethora of topics I can discuss concerning this album. There is the continued partnership with producer Danger Mouse (who always finds his way onto the Music Court’s end-of-the-year charts with multiple bands), the Mike Tyson aided release announcement in March of this year, the Ghoulardi-inspired album title and the blue and pink Twilight Zone-esque spiral album cover, and, of course, the powerful 11 tracks that features sounds that range from psychedelic, low-key Broken Bells inspired keys to the upbeat blues rock that the Black Keys became famous for.

I’ll stick with the music.

The Black Keys, the baby of two childhood friends Dan Auerbach and Patrick Carney, has produced excellent scratchy garage rock since the band’s inception in 2001, and since then the band has continued to evolve as an inventive propagator of engaging, catchy rock music, and this has helped the duo develop a loyal fan base. Turn Blue, the band’s 8th studio album, involved some tenseness (as expected in the creation of any album) and a lot of new exploration for the band, which helped produce some fascinating tunes that take the Black Keys out of its comfort zone.

“Weight of Love” is a perfect indication of this. The inception of the song draws out two chords, distorted guitar, and distended percussion.  The first two minutes plays like pre-Dark Side Pink Floyd mixed with Burton’s spaghetti-western inspired Rome. The song then transforms to a sprawling rock piece with echoed harmonies and wall-of-sound keys. There are so many elements magically combined into this piece and this combination is done incredibly well. It is masterful. The fear was that it would be too self-indulgent, but, instead, the song actually blends 50 years of rock music elements and takes on past and present with ferocity and listenability. Excellent piece.

“Gotta Get Away” is refreshing. It’s a jaunty on traditional Black Keys garage rock. It is an infectious song with drawn-out keys and jocular instrumentation. It’s just a joy to listen to, so do so, and have a wonderful holiday!

Listen to more – Black Keys Website

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Top 10 Albums of 2014 – #3: SCOTLAND by Ghost Cousin (INTERVIEW)

21 Dec

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I wrote about this album a few months ago, and as you could probably tell, I absolutely loved it. Now I’m here to recognize it for being one of the best albums of the year*. Instead of just rehashing all the praise I have already given it, I was able to interview the group in order to give us a little insight into Ghost Cousin.

SCOTLAND is out now; buy it on Bandcamp. For more information on Ghost Cousin, follow them on Facebook, Twitter, and Soundcloud. Continue reading →

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