Signing singer-songwriter Arlo McKinley for his Oh Boy Records was probably one of the last gifts John Prine gave us. With a full powered Memphis-based band backing him, “Die Midwestern” is a goldmine of western folk-rock tunes. Plus: new tracks by Will Johnson, Jeremy Ivey, Paul Cauthen, Jerry Joseph, Ulver, Protomartyr, Julianna Barwick, Sufjan Stevens, Jupiter Sprites, Tomberlin, Orville Peck, Sam Rae Music, Liz Simmons, Kathleen Edwards, Bonnie Prince Billy, Charley Crockett, Samuel Úria, Puerto, The Two Tracks, Jeremy Tuplin, Daniel Romano, THE EELS, Father John Misty, The Avett Brothers, and Warren Givens.
If you haven’t had your weekly crying session yet, Christian Lee Hutson‘s debut record, Beginners, has got you covered. Even if the quarantine hasn’t gotten to you yet, prepare to get drenched in beautiful nostalgia (the good kind). But there’s more: new tracks by Zachary Cale, Skullcrusher, Leah Senior, Katy Kirby, Nicole Atkins, Courtney Marie Andrews, The Deer, Bright Eyes, Jaime Wyatt, Ray LaMontagne, Pax (feat. Kate Bollinger), Josephine Foster, Mary Lattimore, Orville Peck, Shirley Collins, Lawrence Rothman and Marissa Nadler, Wilder Maker and Gabriel Birnbaum, Hailu Mergia, Nubya Garcia, Natalia Lafourcade, Cut Worms, Logan Ledger, Night Shop, Waltzer, and Psychic Markers.
We thought about not posting anything else for a day except John Prine tunes. But hey, there’s 1h43min of new tunes to listen to, and we’re not holding them hostage. This week, we focus on M. Ward’s tenth LP, Migration Stories. Which is, basically, more of the same. Fortunately for us, was there a time where “more of the same” from the American singer-songwriter meant anything other than good news?
Plus: new tracks by Lukas Nelson & Promise Of The Real, Loose Koozies, Western Centuries, Brent Cobb, Doug Tuttle, Alex Izenberg, TOPS, Irma Vep, Rolling Blackouts Coastal Fever, No Age, Iceage, Yves Tumor, Psychic Ills, Orville Peck, Jess Williamson, Whitney Rose, Superwolf, Andrew Bird, Sharaya Summers, Laura Marling, Talitha Ferri, Basia Bulat, Logan Ledger, and Mavis Staples.
Garrett T. Capps. Photo by Knelis / TakeRoot
It’s midnight in Groningen. It’s the end of an abnormally warm November saturday and it should also have been the end of an eight hour marathon of roots and americana across six rooms in the De Oosterpoort complex. But Garrett T. Capps and his NASA Country have different ideas. Suddenly, a “curfew” seems like a malleable concept as fellow Texans Robert Ellis and James Steinle join the band on stage for a sprawling and ecstatic “Born in San Antone” and a version of the classic “She’s About a Mover”, penned by San Antonio’s very own Doug Sahm. Capps seems comfortable as the frontman to a 21st century version of the mighty Texas Tornados, powered by a strong rhythm section and an unusual synth that takes his brand of Americana to another dimension. I’ve been calling it krautcountry after seeing them in Paradiso’s small room in the same evening as Faust and Camera, and you should too.
The Grote Zaal of De Oosterpoort during the 2018′s TakeRoot festival.
Coming of age in the era of MySpace meant stumbling into a lot of “A little bit of everything, except country and rap” on your fellow scenester’s profiles. Fast forward some 15 years, and there’s a rapper headlining your favorite indie festival, much to the disgust of a few folks who haven’t grown from their proud everything-except-country-and-rap pedestal. But most young alternative Europeans still look at country music with the same disgusted look that your aunt made the first time she stumbled upon a 50 Cent music video.