Cheyenne Mize Among the Grey
(Yep Roc Records)
“Sweet and psychedelic, stormy and intimate”
Strong writing and excellent production always makes for a great recording. Cheyenne Mize seems to have the recipe perfected here with her latest release, Among the Grey.
The LP is very reminiscent, yet with a fresh touch, of a collection of pop-songs that are soulful with a psychedelic 1960s atmosphere.
There is something special about the hypnotic tone and pacing throughout. The tracks are sewn together beautifully by Mize’s engaging and sweet voice with songs that display a subtle hint of Jim Morrison’s poetic structure and music of The Doors.
Mize’s tone and melodic arrangements engulf you; the spacious ambience of songs such as “Wouldn’t Go Back,” a somber ballad, and the record’s best track “As It Comes,” are indeed touching and reflective. Each song, however, delivers a genuine emotion. “Raymaker” is expertly woven “in the mix,” allowing the record to send your mood to a quiet state, and a journey of a soft lullaby in a nostalgic sense. Spacious, soft, soothing guitars nicely complement Mize’s airy, sultry vocals.
There is no “grey” area here. Cheyenne Mize’s spectacular collection is among those you should acquaint yourself with; this comes highly recommended.
It’s a quiet, warm Saturday afternoon in downtown Louisville, and the lobby of the city’s most iconic display of Southern grandeur, The Seelbach Hotel, is bustling with road-worn and seemingly infrequent visitors stirring about.
One of those visitors is Lexington-native Ben Sollee, one of Kentucky’s up-and-coming “musical” displays of Southern grandeur. A classically trained cellist, Sollee is a one-man orchestra, who owns his instrument and is known for playing it with a combination of passion and grace. He has managed to breed a whole new style of playing his centuries-old instrument, where the end result is a little rock and roll, a little soulful, a little bluegrassy, a little jazzy, very modern, and all Americana. Continue reading →
“Re-imagining past singles into expansive, rambling Americana jams”
It has been a restless year for Louisville, KY native Will Oldham (AKA: Bonnie ‘Prince’ Billy). After releasing an EP with Mariee Sioux, collaborating with David Byrne for a Robert Smith documentary and completing his own memoir, for which this record – his 26th EP – shall accompany: Will Oldham on Bonnie ‘Prince’ Billy by Alan Licht. Now Here’s My Plan is a reworking of Oldham’s most memorable and influential songs – produced, expanded and woven into a honky-tonk medley by equally iconic Steve Albini.
Now Here’s My Plan courses the vein his album Beware pulses:rambling with distinct Americana roots. Spurring his melancholy originals with the largess of a full band then ratcheting up the tempos produces glorious, fresh definition. Most notably on “I See a Darkness,” the slowcore figurehead, here fervent with a foot-stomping beat, male/female harmony, electric guitar, Wurlitzer organ and Oldham’s staple growl, creates an essential reworking, achieving a surprising equilibrium of immensity and catchiness.
Oldham deviated from minimalist songwriting years ago (when Cat Power did the same), once his sole bearing. Now the instrumentation is roomy and freewheeling, featuring strings, keys, hearty percussion and multiple singers, making this EP a must for any follower of Oldham’s legacy.
Engineered, Recorded and Mixed at Electrical Audio by Steve Albini