VINYL NIGHT RECAP (8.29.2016)


Every Monday from 8PM-Midnight at Haymarket Whiskey Bar in Louisville, KY...WLFY invites the public to bring in a record and play it over the bar speakers.  People now have the option to write a short paragraph about the record they brought it and we'll be posting them here on WLFY for any out of towners or people who want to follow along.

Zach Hart - Glen Campbell / Wichita Lineman

I picked this album because Campbell has a very large discography and if you're flipping through the bargain bins at your local record store you can get lost in how many good/bad records of his that are out there. "Wichita Lineman" is the perfect representation of Campbell's talent. From the legendary title track to his cover of "(Sittin on) The Dock at the Bay"...this collection of Campbell songs is the perfect introduction or treasure for the most die hard fan.



Chad Thomas - Glass Animals - How to Be a Human Being

This just came out three days ago. I'd heard good things. It is in fact a very good album. It is funky and fun; you should check it out if you like things that are good.


Jenn Yates - Deadhorse - We Can Create Our Own World

I found this album on bandcamp and decided I must own it on vinyl. Its gothic post-rock sound to me is the voice of the 21st century dissenters who revile the status quo. The piano heavy melody and slow rhythmic builds/dissolves express a spectrum of dynamic moods - melancholy, enraged, apathetic, hopeful, and romantic all at once. Its a timeless sound too, like you could walk through a mirror into another time or world and it would be just as relevant. Apocalyptic, epic, and cohesive, it's one of my favorites of the genre and an immediate stunner spinning on the platter. I can't wait to see what next comes out of Eerie.


Trent Burdick - Angel Olsen - My Woman

This album is due out this upcoming Friday. Today is Monday. You are welcome to come to whatever conclusions you want from that. obviously it is amazing at first listen, looking forward to continued discovery of this record and future efforts from this artist.


Chad Thomas (take two) - Naked City - Naked City

Originally released in 1990 - I was originally worried this would clear the bar, but it totally didn't. John Zorn is a genius. He has released hundreds of records. This is one of the best. Inspired equally by The Beach Boys and Napalm Death, the tempo changes on this record are the result of meticulous planning and not tape edits. This ended their relationship with Elektra Records (Nonesuch) and launched a 7-record career. By comparison, Zorn's Filmworks series of movie soundtracks would exceed 30 albums. Zorn's career would go on to span hundreds of releases, most on his own Tzadik label. Dive in and explore!


Logan Nichols- Join Dan Sartain


This is one of the most frequently played records at my house, which is odd because I've never actually brought it to vinyl night. This is Dan Sartain's second release under his real name. I guess it's just a super sentimental album for me. I got it when I was sixteen or seventeen. I ran into Josh Castleberry of Toxic Beauty Records out in public somewhere and he just told me to come to the record store sometime with some cash because he had a surprise waiting. It listens at first like a punk record, the title and the cover going hand-in-hand. But around the fourth song you pick up strong Mariachi influence seeping into the guitar riffs and backing trumpet tracks. Such an anomaly. Drama Queens, Gun vs Knife, Hangers on, Besa Me Mucho, and Indian Ink are all fucking brilliant songs. Dan's guitar work on this record is fucking nutz . Strongly recommend this release as well as Dan Sartain vs. The Serpientes. Heartbreaking stuff, really.

Track of the Day: Caitlin Kraus Torres - "Waiting for the World"


Dear Discriminating 7" record purchaser,

Our new favorite label, Austin's Keeled Scales, dropped a 7" from Caitlin Kraus Torres this last June. "Waiting for the World" begins with a dark, shaking sound before the melody and instruments begin to creep in and Torres shows off her strong vocals. You'll hear traces of Angel Olsen and Sharon Van Etten mostly because of Torres' vocal strength. But, that's not the entire showpiece here.  There's a understated but sophisticated orchestration that creeps in during the track. While we begin with what seems to be solely noise, by the end, "Waiting for the World" becomes a lush almost chamber pop piece that ranks right up there with bands like The Castanets. 


Barcelona Gipsy balKan Orchestra - "Lule Lule" (Music Video)


Dear Balkan/Central European Folkloric Musical Renaissance,

At first I thought: I'm fine with having just Beirut and Hawk and a Hacksaw in my life. Just fine. But now I realize that I was wrong. Here in Barcelona (where I'm staying for a couple months. Come out, say hi), I came upon a flyer for the subject of this letter, BGKO (a reformed version, so it seems of, Barcelona Gipsy Klezmer Orchestra). I had expected the show to be a small affair, but when the line stretched literally around the block, I realized that I discounted the popularity of the group. In the Marsula Cafe, the group performed in the round. The audience was a veritable United Nations -- in ethnicity, nationality, and age -- and the band matched. Consisting of musicians from all over Europe, BGKO's sound was equally diverse swinging from klezmer to Italian folk music and everywhere in between. The musicianship was incredible, even while breaking in a new clarinet player, and it isn't a reach to call the singer, Sandra Sangiao, mesmerizing.  The group has 2 records with a third due out soon. But, perhaps the best way to get into the music is through watching the group live. So, I'm attaching a vid that I think you'll like. The tune is "Lule lule," an Italian folksong (and if it's not, blame my poor Spanish for hearing that), which, in concert becomes a riotous audience participation number. It's hard to interact with YouTube, but I think you'll get the drift until you can see them live.

xo,
HankWLFY




Real Live Tigers - "Denatured" [Music Video]


Dear House Show Goers,

Odds are you've seen or heard of Real Live Tigers. I know I've been passing through more than one town and happened to have my travels coincide with the band. Hell, I've even let 'em crash on my couch and floor more than once. Hospitality isn't completely dead not matter what the pundits tell you. 

So, today we serve "Denatured," a track from Real Live Tigers' forthcoming LP of the same name, mastered by Paul Gold (Dirty Projectors, Grizzly Bear, Jason Molina), the album is available on limited edition smokey-gray transparent vinyl from Keeled Scales.

You'll no doubt recognize certain trademarks of Real Live Tigers right off the bat from this: a pensive, melancholic tone, the desire for change, how emotional turmoil and urban decay seem to slip by each other with a knowing wink. Yeah, all those things that makes Real Live Tigers great are in this track. 

Enjoy, and I'm pretty sure that Tony'll be coming to a house near you pretty soon.

xo,
WLFY


Dear Reader,



Dear Reader,
About nine years ago I was much younger than I am now...nine years younger to be exact.  I expect older folks to scoff at nine years and the kids to think, "man, nine years, that's a lot!". That's how time moves...slow with the young and fast with the old.  Anyway, nine years ago, I was young and disappointed in the one world I cared about, writing for the movies...trying to write for the movies...writing for other people...just trying to write.  After a screenplay meeting with the most bullshit of notes, I came home and started this music blog called We Listen For You.  I called my closest friend Hank and we decided to have a communication, a sharing of music, just the two of us...if people read then cool.  In the years to follow we became read by a few and accepted by my personal music blog heros (that was an actual thing back then) like Aquarium Drunkard, I Guess I'm Floating,  My Old Kentucky Blog, and even blocked on twitter by most members of Pitchfork who introduced me to more great music 1999-on than anybody.  I was passionate and fueled by trying to help anybody and everybody who wrote music that changed my life.  Hank and I fought for the unknown great because that was what this was all about...and the times where we couldn't help (which was often) came with a burden.

Now it's 2016 and sadly it feels like on any level of music writing...nobody gives a shit.  Bare with the constant ....'s because this is off the cuff and will never be edited.  We needed Pitchfork back in the day because nobody was standing up for the non-mainstream.  It was important and a need in a bunch of people was formed.  A need to discover and share. Which brings us to today.  Anybody with a streaming service and a social media platform can "discover and share"...so music blogs are dead, right?  No.  I named this blog We Listen For You not because we're cocky jerks who think we know more about music than you...rather the fact that there IS SO MUCH MUSIC to listen to and digest, that we would be the source to listen to EVERY submission and report back to you the reader on our findings. That's all gone with the fact that anybody can surf 120+ years worth of music with a few clicks around Spotify.  I used to burn clickbait large music websites at the cross for pandering, but after years of confusion it's clear..these large sites either had to play the game or become irrelevant.  Pitchfork, Stereogum, Consequence Of Sound, etc had to adapt and do "clickbait" not because they're soulless assholes, no, the readers demanded the popular clickbait content and they obliged to survive...thus is life.

Enough about other websites, what about this nothing music blog We Listen For You.  For now on, all of our posts will be in letter format.  If we write about a band, it will be addressed to said band.  If we write a "thinkpiece" (oh, how that's become a terrible word) it will be directed at those we want to talk to.  In the letter format we will be able to 1.) write when we want to write (regardless of the track/album/concept is "new") 2.) Allows us to be sloppy and unprofessional as we have been for nine years...spelling mistakes shouldn't bother you when the writer is honest (we're still on blogspot..come on) 3.) The ability to highlight a band with 10 followers on Facebook.  If nobody is reading and we're not making money, who cares if a post gets no hits...we don't. 4.)  We get to stay true to the entire point of this music blog...share music that we care about.

Which brings us to what Hank and myself expect from you.  If you're reading this then you know about us, which is rare.  We want to be open, free formed, and share good music with you.  What we want from you is to simply check in to this site every once in a while and enjoy.  That is all.  Great music and the experience of sharing sounds that move you isn't that complicated...so let's not make it so.  For nine years we've been ourselves and through this new letter system we're going to get more personal...talk to band rather than talk down to them...and just enjoy an art form that is supposed to be loved rather than expounded upon to make the creator less than the critic.  The world of music journalism will always be in a state of flux...with our new letter system we feel that our site will be a timeless and honestly imperfect space where two people can reach out...talk about what music they love...and nothing more.

Track of the Day: Karl Blau - "How I Got to Memphis"


Here's a blast from the past. Some years ago, when I made the acquaintance of Real Live Tigers, crashing on the floor of a house in Arkansas, Tony presented me with "Lightning Bolts on Me Wanger," a mix of total jewels from the indie indie scene and with a title taken from the Flight of the Conchords brilliant tribute episode to David Bowie. One of the tracks was Karl Blau's "How I Got to Memphis," a cover of Kentucky's Tom T. Hall. (Remind me to tell you about his other tunes like "I Like Beer" or how the highway out of Morehead, Kentucky is named after Hall.) Blau's voice hints at the Western part of Country/Western while having what seems to be an ironic aching tone. This track is a total ear worm, and the chorus, I guarantee will pop up for you again sometime, just as it reemerged for me today, Good Friday, when the track seems to be reissued and found its way onto Spotify in anticipation of Blau's cover record out in May via Bella Union. Enjoy!