This time there was no faffing about—I wrote my fiveish questions down in my catch-all journal during the lead-up to DIIV and Ariel Pink—wholly intent on clamming out some answers from DIIV and ignoring the fact that Ariel Pink was even going to be there.
Darrell Scott may wax his lap steel guitar to its most opaque or Byron House may whack his bass guitar into didgeridoo-type drones or Marco Giovino inhabits each cut with on-beat percussion or Patty Griffin and Bekkah Bramlett may sing like spectres on the end of Plant’s lower register or Buddy Miller may manage to wrap it all into nice package with a cute li’l bow n’ all, it still sounds like this is the re-reburnishing of a car marque …
You gotta convince the fools in the pit that...you fell asleep with that thing, your thing, an instrument, your instrument across your chest or under your head, passed out after exploring it with the curiosity of a serial cave diver.
No joke: the first side of this record sucks so bad it ruins the entire album.
Throughout Carry Fire, some coals burn hotter than others, but none flameout. Instead, they move through the skin with the comfort of a warm winter treat, a hot chocolate for the soul.
UMO is kinda like a lo-fi prince. And I’m talking the gigolo of funk, the true king of the Eighties prince: capital-P Prince.
The third album is a pain in the ass, an asshole, a bastard. It broke the Mint Chicks and sent Ruben Nielson scurrying to Portland, Oregon to cache himself in graphic design and commercial art. However, the foxhole he ended up in was a basement studio filled with all the gadgets and toys a growing musician needs.