Chelsea Wolfe- APOKALYPSIS

She looks like a female version of Marilyn Manson, her album cover resembles Marilyn Manson, and youtube videos present her as standard issue coffee-house singer/songwriter material, but this sophomore release from the NorCal native belies all of those assumptions. It's got some dirgy metal moments, "Pale On Pale", there a healthy dose of Sonic Youth's tribal floor tom meets dirty guitar distortion on "Demons", "Mer" employs vintage '90s guitar riffs a la Polvo, and there's a great cinematic slow build on "Tracks (Tall Bodies)". All of it punctuated by ghostly backing yelps and howls. Her vocals are clipped and arching, yet strong, sort of a goth take on Annie Clark of St. Vincent's voice, and a there is a definite resemblance to PJ Harvey going on. There are no burners on this record, it generally plods and floats along on an other-worldly vibe, but the song cycle should fulfill fans of various genres. Chelsea Wolfe is someone to watch, for sure.

Buy this record when you wanna tear the wallpaper down, burn the bedroom to the ground, and start all over again.

www.chelseawolfe.net

John Fahey- Requia

Fahey was a master at the finger-picking style of guitar playing. The British guitarist James Blackshaw is a fine current example of this difficult style and Philadelphia songwriter Kurt Vile has also listed Fahey as a big influence. When Requia was released in 1968 it received mixed reviews. Fahey broke the record into two parts: the first half, just Fahey and his guitar, are requiems for dead musicians utilizing the folk and blues styles that Fahey had explored with his earlier work. The work is engaging and often beautiful. The second half of the record consists of his attempt at "musique concrete", a combination of white noise and sound collages consisting of found sounds, speeches, clanging pans, animal noises, you get the idea. It was this style that turned critics off, even Fahey mentioned that he was disappointed with his initial attempts at this musical style. Oddly, perhaps by coincidence, The Beatles released their own "musique concrete experiment, "Revolution No. 9", at almost the same time as Requia. John Fahey should be required listening for any aspiring guitarist.

Buy this record if you wanna make your fingers bleed.

www.johnfahey.com

Jennifer Castle- Castlemusic

Sparse folk record from Canadian songstress Castle, who once provided back-up vocals for the likes of The Constantines and Fucked Up. Most songs feature her singing to the accompaniment of one instrument, be it guitar, piano, or organ. Her voice exudes a breathy thinness, and wavers, but it manages to hold your attention. When she sings of sage, lavender and cedar leaves on "Remembering" I can't help but think renaissance faire, and the triteness of the lyrics.
The best songs remind me of someone else; "Summer" could be Brightblack Morning Light and "Way of the Crow" has a distinctive Neil Young feel, while "You Don't Have To Be" could pass for Emmylou Harris. That's actually not a bad list of influences when I read it out loud. Overall, it's a mixed bag, but at least the touring gives her a chance to get out of Canada from time to time.

Buy this record when the cabin creaks and the lazy susan is empty.

www.flemisheye.com//jennifer-castle

Bobby- Bobby

Another damn band named after someone that isn't in the band. It's confusing, and annoying. This is reaching the Wolf and Bear named bands level of absurdity. Anyway, the music is unassuming and generally pleasant, for the first half of the record. By the second half you've been over-saturated and you're ready for it to end. They should have made an EP and fans would have been left itching for more, rookie mistake.

Buy this record if you plan on entertaining the in-laws but need an excuse to cut the dinner party short.

www.partisanrecords.com/catalog/bobby