Sweet Life Accordion Album

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Folklore speaks with the earthward metaphors of those who lived in the shadow of unseen pursuers and confronted their worst suspicions with music as their weapon. While his early releases were more a collage of loose ideas organized around a singular, murky sound, Daze presents 11 carefully composed tracks with beginnings, middles and ends. Vile was always a contemplative songwriter, but here his lyrics became more ponderous and worldly rather than navel-gazing.

Themes of movement and escape are the bedrock, providing a calming balance—lyrically, thematically, sonically. It closes exactly as it begins, with a long, winding, peaceful melody—one of the prettiest Vile has ever penned. In lesser hands, the American Graffiti -styled themes of star-crossed lovers and summer nights would drown in their own sincerity.

Here, they provide a pleasant escape to a mythical America of endless horizons and youthful resilience—not such a bad place to be. The title track is an apocalyptic love song submerged in waltzing, Spector-styled orchestrations—with Tillman embracing his wife, at peace as they drown. Sonically, Honeybear finds Tillman in a ruminative mood, favoring lavish strings, sweeping layers of voices and acoustic guitars. But the less he strains, the more his songs resonate. For Julie Miller, salvation is always peeking through the cracks of songs.

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But the songwriter with a dexterous voice that does many things—howl, coo, caress and throttle—remains her own best interpreter. But while they were on stage they perfected the material that would comprise their third full-length release, and Veckatimest sounds like the final product of a meticulous and exacting evolutionary process—one that adds depth and color to their swooning chamber pop arrangements, crispness to their intricate rhythms and intensity to their careful performances.

She finds ways to loop guitar solos into poppy verses, yet she avoids extremes. His band spans 11 members, but he primarily composes lighthearted, three-minute pop songs.

More than anything else, this is an album bursting at the seams with gorgeous remorse. With their Smiths-inspired melodies, chiming guitar lines and the magnetic vocals of Harriet Wheeler, the Sundays created enough buzz from their first club shows to become quickly involved in a bidding war among labels, with Rough Trade earning the honors for their debut, Reading, Writing and Arithmetic.

Nearly three decades later, it remains one of the defining British albums of its era. He croons like a soul singer, his voice occasionally cracking under the weight of emotion, with each of his heavy admissions punctuated with a clashing guitar. Burst Apart is a record of big songs from a Brooklyn band good at generating big songs, but it was just as notable that they could be impressive without an overarching concept behind them.

The result: an overpowering acoustic album brimming with sadness and soul. The title track—a meditation on three little words—is a three-hanky affair unto itself. It is urgent and spontaneous, featuring songs written in a rush of cathartic emotion on whatever instrument happened to be laying around. No three-minute orchestral intros to be written or historical facts to be researched here. It stares straight into the hospital rooms, regrets, cloudy memories and empty bedrooms—and dares to sing a quiet, beautiful song about them all.

More than anything, Cease to Begin represents the sound of a talented writer growing more comfortable in his skin and unafraid to name a song after ex-Seattle Supersonic Detlef Schrempf despite its elegiac, unrelated subject matter. Vic Chestnutt — Is the Actor Happy? Chesnutt was a rolling contradiction. Elegant and ungainly, impish and morbidly depressed, flat-assed drunk and piercingly sober, his salient obsessions circled around private peculiarities and public personae, scrawled like graffiti on the wall of a gas station, glimpsed through the Spanish moss.

His wounded warble was an epic surprise, too: sweeping like Marvin Gaye , in its way, and teetering with uncertainty—like a bastard Wallenda, who defied gravity out of sheer heart. To do that, they dusted off a musical form seen today as either a novelty or the exclusive provenance of ethnomusicologists. Sounding unlike anything that came before, it filtered old Irish tunes through a decidedly college-rock lens. Not everyone would have imagined that surf guitar reverb would sound so at home beneath a blast of mariachi trumpet.

Melissa Frances 12x12 Mini Accordion Album Bogen

Feast of Wire is the Tucson, Ariz. The result further proves that variety can provide just the right musical chemistry. Given the somber nature of some of the subject matter, many of the songs on Feast of Wire are unashamedly melancholic. But all are emphatically vibrant and ultimately spiritually fulfilling because of the beauty of their construction and the honesty of their execution. In giving The Sunset Tree over to this man, Darnielle explores a non-linear, irrational series of reactions. He keeps it simple, finger-picking strings to propel his gristly vocal melodies, which feel simultaneously cavalier and carefully wrought.

Though his acoustic guitar often thwacks like a snare, his songs are uncluttered by percussion, harmonized vocals or the orchestral ornaments that are so prevalent in alt-folk. Helplessness Blues is sweet and comforting at its worst and inspiring at its best. The album is often about love — and the emptiness that can accompany its euphoria.

Forget sexy. Hailing from the Rust Belt, Molina expertly blended the aggression of industry with a pastoral calm.

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But XO sure does. Tragically, Smith would have just one more album in him.

The arrangements occasion stirring moments on the epic scale of early U2—this is burnished, stadium-sized, cloud-cover rock. The change is more one of scale than style. This is a different sort of intimacy: The Winter of Mixed Drinks is less of a breakup record than a post-breakup record; the more pathetic feelings having hardened into self-reliant moxie. A cardiac pulse animates many of the songs, a mightily thwacking unison at the core of all the kaleidoscopic embellishment.

Along with his decidedly dour disposition, his penchant for hushed introspection creates a mix of ambiance and atmosphere that impacts the music more than the melodies themselves. Joanna Newsom — Ys The expansive lyrical content and layered allusions of Ys can be pretty hard to follow. The record takes on a mythical cast, but if Newsom is delivering a parable, she leaves it to the listener to determine the moral of the story.

Phosphorescent — Muchacho Muchacho aims big. Like the benders and busts of Grievous Angel , Muchacho pursues both sin and absolution and offers apology for neither. Houck works with elements of sand and soil and gold and steam to cast love in some comprehensible form of relief. That syrupy baritone. A sense of drama and a sense of humor.


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But it suits the talented Swede. But unlike many of their brethren, there was nothing twee or precious about this group. Under the guiding hand of then-former Swans leader Michael Gira, the band was able to travel down darker paths and shade their work with electronics, finding the perfect spaces to let their clattering percussion drive to the fore. The perfect tension between the two is palpable and exquisite. The songs are like a modern-day Diary of Samuel Pepys , snippets of everyday life in America.

In the hands of producer Dennis Herring, domesticity never sounded so lovely. No one probes the recesses of memory, of lost time and lost relationships, better than Mark Kozelek. Those memories and relationships form the warp and woof of his worldview, and the tapestry he weaves is stunning in its longing and beauty.

Musically, Kozelek alternates between gentle acoustic picker and Neil Young Godfather of Grunge mode, unleashing winding electric solos. But the longing, the yearning, is a constant, and it is a palpable reminder of why he is one of the most distinctive and worthwhile artists of the 21st century.

Damien Rice — O O is a stunning document of fragile eloquence that glides seamlessly from hushed ruminations to cinematic balladry. Just like people. All the artifice both musical and emotional has been carefully dismantled, traditional instruments—upright piano, pedal steel, acoustic guitars—have been dusted off, arrangements have been simplified, windows into souls have been propped open a bit wider.

This process is partly masochistic, partly exhibitionist, entirely self-consuming, but such is true art. The Decemberists — Picaresque On Picaresque , Colin Meloy zeroes in on characters—usually those struggling in the throes of concealed, unrequited or otherwise ill-fated love—before shifting his focus to setting. Meloy even ventures into an American present as outlandish as his imagined past. With a full stock of golden melodies, crafty string arrangements, and career-best vocal performances, Beck is maybe the best American songwriter of his generation.

I See a Darkness is dark, yes. It is gothic without being goth.

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Sweet Life Accordion Album Sweet Life Accordion Album
Sweet Life Accordion Album Sweet Life Accordion Album
Sweet Life Accordion Album Sweet Life Accordion Album
Sweet Life Accordion Album Sweet Life Accordion Album
Sweet Life Accordion Album Sweet Life Accordion Album

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