Widowspeak Travels Around Almanac

The last time Widowspeak landed here with their self-titled LP, the similarities between Molly Hamilton and Hope Sandoval were quickly dispensed with at the open. But there isn't as much reason to draw out the comparisons on the band's sophomore outing, Almanac. Hamilton has increased her vocal clarity, giving her more distinction as a vocalist.

True, she is still the same soft-spoken, wistful singer. But Almanac is a bit more than an ethereal introduction. While the band is still as wistful as ever, they have jacked up the instrumental vibe along with Hamilton's vocal prowess. It's a masterful album, with a bit diversity within the mystery.

Almanac takes them on an original odyssey. 

The magic inside the album transcends the old Hudson River Valley barn where they recorded it. Although the album itself is cohesive, each of the 12 tracks play like individual discoveries to be unwrapped and savored for a spell.

The first track worth unwrapping in this case is Locusts. It's not the album's first track, but it was the band's pick to be released as a video in support of the album. The song is delightfully hazy, mildly distorted, and exceptionally exotic. The atmosphere the band puts down begs you to spin as it spins.

The track is dark and soaring like much of the album, working hard to envelop someone and escape with them for a little while. The opening track, Perennials, does much the same thing. The song might be about the temporary nature of things — that nothing lasts forever or gives us any reason when it leaves — but what you do with those minutes and seconds might matter.


Dyed In The Wool carries a classic rock vibe, but also showcases Hamilton's flair for idioms. She frequently tucks them inside of songs and then builds them with remarkable effect. Dyed In The Wool is like that, the penance for hurting a loyal friend. There are a lot of dark spots on the album, and Widowspeak makes each and every one of them beautiful.

The Dark Age is indicative of how strong of an album Almanac is from start to finish. It was also one of the first songs they ever wrote together, but recently reworked to better fit the album. Although it's probably the most straightforward rock song on the album, it is also one of the most haunting. It's about being in a bad place and wanting to stay there.

If there is one song that feels like a story, check out Ballad Of The Golden Hour. Although lower on the playlist, it pinpoints how the band has evolved from their stripped-back debut. Widowspeak has been able to keep its tense, low key, and lamenting tone but make everything bigger and sharper in the process. Golden Hour is about knowing you have to leave some things behind but the fear of leaving the wrong things.

Almanac has plenty of peaks and no real valley across 12 tracks. 

There aren't really any throwaway tracks on the album. Devil Knows is awesome for its mischievousness. Thick As Thieves brings in all sorts of instruments like organs, harmoniums, and autoharps to hum along and move along in your life. Sore Eyes is a crazy, optimistic apocalyptic number. And the Spirit Is Willing retains some of the 1950s influences appreciated so much in the debut.

The lead duo, Molly Hamilton and Robert Earl Thomas, have really perfected something special in Widowspeak and they somehow manage to always find the right people to help them do it. The fuller and more polished sound is partly due to producer Kevin McMahon. Willy Muse is also back with his bass and Kyle Clairmont Jacques laid down the percussion.

Almanac By Widowspeak Is A Whirlwind At 8.9 On The Liquid Hip Richter Scale.

Anything Widowspeak might have improved upon from their debut album is done. The band has grown into creating a much more diverse, eclectic, and interesting mix while retaining their dreamy pop, classic rock laced roots. If you ever wanted to hear a whispered album sound arena big, this is it.

Almanac by Widowspeak is available on Amazon or can be downloaded (with a digital insert) from iTunes. The vinyl edition can be found at Barnes & Noble. Keep up with Widowspeak on Facebook.

Chris Cohen Hits The Overgrown Path

If it were anyone else, a debut album from someone who’s been in the music business forever would be a contradiction. Chris Cohen is the exception. He has been making music as a member/collaborator with indie bands for years.

If you have heard of The Curtains, Cryptacize or Deerhoof, you already know Cohen. If you have seen Danielson, Haunted Graffiti or Cass McCombs, there is a good chance you've seen him too.

A talented multi-instrumentalist, Cohen is a singing drummer first and foremost (picking up the sticks at the age of 3). But he is probably best known for his work as the bassist and occasional guitarist with Deerhoof (2001-2006), where his skills are showcased on outstanding albums such as The Runners Four and Milk Man.

Chris Cohen strikes his own chords for a change.

Striking out on his own for the first time, Cohen has released the debut album Overgrown Path on Captured Tracks. It also finds him transplanted from Los Angles to rural Vermont, where he sought the peace and tranquility necessary to make this album.

Although it took three years to write and record, Overgrown Path has a relaxed, organic feel that fits together perfectly for Cohen. And that makes sense. He played all the instruments himself, most notably the piano, guitar, bass, and a Cascio MT65.

He has said that he spent three years not really knowing where he was going, and it's reflected in every track on Ovegrown Path. The album is filled with unexpected arrangements, a lo-fi psychedelic pop sound, and an overall charming, unhurried pace.

All of it suits Cohen’s lazy, yet sophisticated baritone just fine. Not an inch of it bears resemblance to any of his previous work with various bands. This time it's about how he wanted to make music.



The video ought to be an unexpected sound for Cohen. Called Optimist High, it kicks things up a notch,with Cohen focusing on staying hopeful even when the odds are stacked against you. The video also brings in some of his newly found connection to Vermont. He plays the drums and communes in nature.

But not all of the album sounds like Optimist High. In Caller No. 99, Cohen laments about waking up to the sound of a clock radio “a year too late, just to sit around and wait.” The song is a nice slice of melodic psych pop with a shimmering guitar and layers of drums drifting about.

Rollercoaster Rider is a solid psych pop tune that explores feelings of being conflicted, going up and coming down. But on the other side of the coin, he composed Inside A Seashell to be all dreamy.

The strongest song on the album, Monad, puts Cohen’s easy delivery in the spotlight. The video was directed by filmmaker and educator (and sometimes actress) Kate Dollenmayer. It's a psychodelic journey that showcases photos taken by the late Vermont photographer Wilson Alwyn Bentley.



If the video gives you a sense that Cohen is feeling nostalgic, you might be right. Many of the songs carry nuances that suggest he is ruminating on his relationship with the past. His most soulful tune, Open Theme, wistfully recalls his youth and laments the years that have quickly passed.

What makes it stand out all the more is that Cohen grew up surrounded by the entertainment business (his dad was a music exec and his mother was a Broadway actress). And yet, anything he produces on his own lends itself to a solitary, sophisticated style — memorable lyrics and a dreamlike delivery.

Overgrown Path By Chris Cohen Slides Up 5.2 On The Liquid Hip Richter Scale.

Cohen’s solo career is already gathering steam. He will be on tour in Europe throughout the month of December, with shows set for Germany, Italy, France, UK, and the Netherlands.

His entire schedule is shaping up in 2013. He’s already slated to perform at the 2013 SXSW Music Festival in Austin, which should win him more than a few new fans. You can find the album, Overgrown Path, on iTunes. For a few dollars more, pick up the album on CD at Barnes & Noble or you can find Overgrown Path on Amazon. He also posts his own updates on Facebook.

Mac DeMarco Trades Camp For Cool

When I first heard Mac DeMarco’s debut EP, Rock And Roll Night Club, one word came to mind — strange. The spring release was strange right down to the album cover. DeMarco was front and center, applying a thick layer of sloppy lipstick.

It didn't matter that the photo was taken on Halloween as a goof. DeMarco found it highly amusing. The music was the same way. It features crooning, glammed up, sexed up vocals and an odd variety of musical styles and genres.

The jagged songs were accompanied by a variety of weirdly amusing promotional videos (like this official video for Rock and Roll Night Club. But that's not what this review is about. There is a newly released album.

Mac DeMarco 2 plays for the late night loner.

The full-length LP from the Captured Tracks label is simply called Mac DeMarco 2, sometimes listed a "2" on its own. This is the DeMarco I think I like. The 22-year-old Montreal-based singer by way of Vancouver is a real natural when it comes to songwriting.

He has keen and insightful instincts both as a writer and a singer. The result is a strong album and a much more cohesive body of work than Rock and Roll Night Club. But that’s not to say DeMarco hasn’t lost his edge and sense of irony.

“Mommy’s in the kitchen, cooking up something good. And daddy’s on the sofa, pride of the neighborhood,” sings DeMarco.

Is the song about rebelling against the boredom of suburbia? Or is it something seedier, like a meth lab dad? The choice is left up to listeners, with most of them taking note of the trip-tastic instrumentation.

In all, 2 is much more restrained than Rock and Roll Night Club. It doesn't lose anything by being a cut above the debut either. There is also much greater care to deliver some consistency, which keeps the LP at a steady clip even if it starts to become a bit cloying at times.

Where is works is in DeMarco’s tone and delivery. He is simple and sincere, making a memorable outing that defies the common fare being put out these days. There are several standouts to consider.



Yes, Ode To Viceroy is about how much he enjoys smoking the budget-friendly (in Canada) cigarettes. It takes a lot of balls to write about a brand of smokes nowadays, but DeMarco manages to pull it off with his sincerity. The fan clip captures DeMarco performing the tune live at the 2012 CMJ Music Festival.

Another must listen is I'm A Man, which is about what it’s like to be a guy living life in a city like Montreal (complete with pitchy background vocals). My Kind Of Woman is about a crush (or maybe an obsession). Robson Girl and Annie bring on some great guitar hooks. And Freaking Out the Neighborhood is a lively, unforgettable tune with a catchy melody that apologizes (sort of) to the people he loves for his unusual public behavior.



Either video will give you some insight into DeMarco's appeal. The affable, hat-loving DeMarco has a fantastic stage presence, infinite amount of energy, and clearly enjoys engaging the audience. It's not uncommon to get a healthy dose of hilarious banter. All of it makes him easier to like.

Mac DeMarco 2 is a solid batch of finely written and catchy songs. Many of them seem more enjoyable  as single sets instead of trying to listen to the LP as a whole. In this case, the whole isn’t greater than the sum of its parts. And that is a good thing.

Mac DeMarco 2 Rolls In With 6.1 On The Liquid Hip Richter Scale.

If DeMarco can put the campiness of Rock and Roll Night Club behind him and stay the 2 course, he’ll be an artist to watch. He's currently on tour in the UK, with shows coming up Nov. 19-22 in London, Manchester, and Brighton, followed by one night in Brussels, Belgium.

You can catch Mac DeMarco 2 on Amazon. You can also download the album from iTunes or order the vinyl edition from Barnes & Noble. To keep up on his schedule, check out Facebook.

Widowspeak Spins A Hazy Web

There’s one comparison that needs to be gotten out of the way. Widowspeak’s Molly Hamilton sounds quite a bit like Mazzy Star’s Hope Sandoval.

There’s similar phrasing and similar delivery. But then again, someone could argue comparisons to the Breeders’ Kim and Kelley Deal, Cat Power, and Drugstore’s Isabel Monteiro. But let’s be clear: Hamilton is her own performer. And Widowspeak is not a knock off or cheap imitation.

Widowspeak has deep roots in three cities: Tacoma, Chicago and Brooklyn. 

Tacoma is the home of singer/rhythm guitarist Hamilton and drummer Michael Stasiak; guitarist Robert Thomas hails from Chicago. Hamilton and Stasiak met Thomas in Brooklyn, which is now the band's home and cosmic base.

The trio has managed to craft a surprisingly cohesive sound in a relatively short amount of time. They even played some solid shows in Brooklyn while Thomas and Stasiak finished their degrees at New York University.

Their stripped down sound definitely captures a unique vibe as Thomas strums his Telecaster, Hamilton picks out notes on her junky Danelectro, and Stasiak holds it together with a drum kit that can only be described as ultra minimalist.

The sound conveys a slow burn with a Brooklyn lo-fi sensibility, with a bit of nostalgia and 50s rock added for good measure. It's at once familiar and brand new, unbridled and addictive.




Released on Captured Tracks and recorded at Brooklyn’s Rear House with Jarvis Taveniere (Woods), the self-titled Widowspeak is sparse, artistic, nostalgic, and confident. The songs have a common theme of longing for home (perhaps Tacoma) and finding oneself in strange and unusual places, perhaps with strange and unusual people.

It's a heartbreaking album, but not depressing. The best word might be haunting. 

The album proper was released in August 2011, but preceded by the March release of Harsh Realm/Burnout as a 7 inch and Gun Shy/Wicked Game in June, also as a 7 inch. Wicked Game, a cover of the song by Chris Isaak, is worth the download for its fresh sound. If you didn’t know better, you might think Wicked Game was a Widowspeak original. It’s that strong.

The band’s influences clearly include Velvet Underground. But Lou Reed and Mo Tucker would likely approve of Widowspeak’s ten tracks, especially the hazy, lazy Ghost Boy and the Sixties yet modern longing of Harsh Realm.

Even the most upbeat tracks such as the near-pop-like Hard Times and Puritan, present a band that is low key, lamenting, and tense. Fir Coat’s poppish beat and guitar evoke images of Tanya Donelly and Belly. In the Pines isn’t the classic folk original popularized by Leadbelly (or Nirvana); it’s an original that seems to swirl as it tries to find itself. Limbs, meanwhile, is contemplative and slow moving.

Throughout, Hamilton’s voice conveys loneliness, yet confidence in its acceptance. Although all of these songs feature solid songwriting across the board, sometimes the lyrics get lost in Hamilton's delivery, which, although emotive, is not always easy to interpret. She has openly admitted being a bit shy and suffering from stage fright.

"I knew you in the harsh realm. I thought about how it was. I thought about you because, I always think about you," sings Hamilton in Harsh Realm. 

The song has a haunting quality that is elegant in its simplicity. In all, it's a strong album, but I can't help think that there's so much more untapped talent and potential here. If the band delivered an album this good on comfy ground, imagine what they could achieve if they took some risks.

Widowspeak Will Burn Your Head At 6.8 On The Liquid Hip Richter Scale.

The band is still finding its niche. But as they get more shows under their belts, I anticipate that we will see and hear great things. They are currently on tour with the Vivian Girls through the end of September, with more dates expected to be announced soon.

The band stays in touch with fans while on tour through Twitter. You can pick up the self-titled LP Widowspeak from iTunes. You can also download the LP from Amazon. Extra kudos to Captured Tracks for taking a chance on a band with a bright future.