Pop Politico: Trump and Mueller “About Me” Pages

It’s been non-stop stories about Russia and Trump in the news since the election.  Congressional investigations into Russian “meddling” of the 2016 U.S. Presidential election coupled with special council Robert Mueller’s FBI investigation into the Trump campaign’s possiblealleged…collusion with the Russian government to gain an advantage in winning the contest against Hillary Clinton has dogged Trump before he was even sworn in as president.  

Trump tried to make all the noise go away by firing FBI director James Comey.  The official line was it was because of Comey’s investigation into Hillary Clinton’s emails (!).  But really Trump — in a moment of pure “I don’t give a shit” bluntness — blurted out to NBC’s Lester Holt that Comey was fired over the Russia investigation into former NSA director Michael Flynn. More specifically, Flynn’s (undisclosed) conversations with high level Russian government officials about sanctions imposed by the Obama administration over meddling (there’s that word again) in the election. Those conversations also could be tried in court under the Logan Act (18 U.S.C.A. § 953 [1948]) wherein it is a crime for a citizen to have conversations with members of foreign governments against the interests of the United States. In other words, Flynn broke the law when he had conversations with a Russian ambassador to negotiate (or reassure) them that the sanctions imposed by the Obama administration would change with a Trump administration. So far, Flynn has not been charged with a crime under the Logan Act — or any other act — but his actions certainly suggest that he could be.

Later, it came out that Trump said to Comey: “I hope you can see your way clear to letting this go, to letting Flynn go. He is a good guy. I hope you can let this go.” That request in itself is most likely an obstruction of justice.  But the law is only embraced by Trump when it benefits him. Otherwise, who cares about obstructing justice. So, when Comey didn’t heed Trump’s request, Trump essentially said  — through a chain of command starting with Rosenstein to Sessions and finally to Trump –“You’re fired.”  

However, his action had the opposite effect: it created more noise.  

As it is with scandals in Washington D.C., it can be difficult to keep up with the breathless coverage and never-ending “Breaking News.”  Trump supporters wave all this noise away saying that the media (and by “The Media” they are only talking about media outlets they generally hate) are creating these stories about Russia to derail Trump’s ability to Make America Great Again.  

However, those who smell a rat and only see a con man in Trump, are obsessed by the constant Russia revelations because some also view Trump and his ilk as traitors who gained power through dirty deeds done dirt cheap.  Moreover, they see a president compromised by a foreign power who can’t or won’t solemnly swear to faithfully execute the office of President of the United States, and will, preserve, protect, and defend the Constitution of the United States.

With that, I wanted to find a way to distill a very good piece on Vox about all this Russia business into a kind of table of contents — with some personality. So why not “About Me” pages as carrots to lure you down the rabbit hole of Russia! Russia! Russia!

ALBUM REVIEW: NICOLE ATKINS, “Goodnight Rhonda Lee”

Dear Nashville,

Look, I’m sure you’re a lovely town. As a two-time Duke grad, I have to give a bit of respect to our fellow “Southern Ivy,” Vanderbilt. And yes, there’s that whole music thing, which is even better than the music scene in my hometown of Athens, Ga. (In fact, the only songwriter I know of from my high school naturally gravitated toward Nashville at some point.)

But you can’t just keep stealing all the great musicians from the East Coast. We’re dying over here. We’re getting slammed by everything from hurricanes to political movements telling us we’re not “real America,” which apparently only exists if you can see a corn field or coal mine from your house.

The latest is Nicole Atkins, whose voice should have been declared a state treasure in New Jersey. She’s a throwback in one sense — it’s easy to imagine her being fed a steady stream of Brill Building tunes and dueling with a Phil Spector Wall of Sound or a gargantuan Jimmy Webb arrangement. But she has embraced modernity, hosting a wonderful SiriusXM show and crowd-funding her albums with charming videos and other updates for those of us shrewd enough to chip in a few bucks. And she also writes the bulk of her own songs — quite well, in fact.

At some point, New Jersey isn’t going to take this any more. You already borrowed Bon Jovi for a while. What next — a mashup of Born in the USA with Courtesy of the Red, White and Blue?

(I know, I know — like most urban areas in the South, your politics are a bit more complicated than we might think from watching cringe-worthy Daily Show correspondent bits. I grew up in Athens, you know. Yes, that place made famous by Herschel Walker, Michael Stipe and the B-52s. Maybe you could send a few musical voices that way? Didn’t hurt Bob Mould’s career to hang out near UGA for a while.)

Don’t tell us you needed to take Atkins away from the East Coast to broaden her musical horizons. She’s already adept at any genre she chooses. Her Wikipedia page lists her genres as “crooner, soul, psychedelic, Americana.” Well, that narrows it down.

Sure, the country detour she takes on a couple of tunes on her new album, Goodnight Rhonda Lee, is worthwhile. She co-wrote two songs with Chris Isaak, each one turning the clock back a few decades. The opener, A Little Crazy, would be a little cliched if not for that gorgeous voice cutting through the over-the-top production. The titletrack, a wistful farewell to a trouble-making alter ego, brings modern psychology to a traditional country setting.

But, dear city of Nashville, we didn’t need you to teach Atkins how to get in touch with her inner Patsy Cline. She covered Cline years ago, one of many demonstrations of her genre-hopping skills. She also showed her range with a short collection of covers, Nicole Atkins Digs Other People’s Songs, in which she does a perfectly fine job of bringing Dream A Little Dream of Me to life, gives a lively reading of Nada Surf’s Inside of Love and takes the listener on a wondrous melodic ride on The Church’s Under the Milky Way.

And she shows plenty of range in her own work. Like Rachael Yamagata (probably the next East Coast chanteuse-songwriter you’re going to steal away from us), she knows her way around a torch song in both spare and complex arrangements.

She even shows dramatic range in her videos, from the foreboding Vultures to the playful Girl You Look Amazing, where she dances, bowls, dines and makes out with an invisible man over sharp guitar hooks and a disco bass.

Now she’s married. And newly sober. After years of finding hope in yearning and heartbreak — check out Together We’re Both Alone or Maybe Tonight — she’s certainly earned a life of domestic bliss. If she needed to move to make all that happen, fine. We get it. At least she left a nice note, bittersweet with a touch of the macabre, with the new tune I love Living Here (Even When I Don’t).

The common thread is all her different styles is that she sings the hell out of everything. It’s not all American Idol or modern RnB ego-tripping. I listened to Girl You Look Amazing for probably the 100th time this morning, and I still marvel at the subtle touches she brings in every line. She’s like a master blues guitarist, using bends and vibrato to bring the most out of a melody. I’d pay to hear her sing Three Blind Mice. Or maybe her next album will be heavy metal. Either way, I’m sure I’ll still be hearing something new on the 100th listen of Listen Up.

For me, that’s the standout of the new album. But I’m biased toward pop-rock with soulful flourishes — as much as I love Rachael Yamagata’s breakup ballad Reason Why, I’d love to hear her do more songs like Faster or 1963. Atkins offers up a sonic buffet here, building a bridge between country, RnB and whatever’s left of “adult alternative.”

So look here, Nashville. You didn’t make Nicole Atkins better. She made you better. And we’re not going to sit back and let you monopolize great singer-songwriter talents. At least she’s on tour this summer, and I can check her out in Arlington.

Wait, what? That’s Arrington, Va., not Arlington?

Dammit. Well, maybe one of my kids will go to Vanderbilt or something.

Sincerely,
A pissed-off East Coaster who’s at least grateful that more people should get to hear Nicole Atkins

 

 

ALBUM REVIEW: THE TRONGONE BAND, “Keys To The House”

There’s an immediate good vibe upon hearing the opening riffs coming from Keys To The House, the debut album from Virginia’s Trongone Band.  This band, led by brothers Andrew and Johnny Trongone, have a feeling of joy about them.  It could be youth; it could be that it’s their first album, which is always a joyful release – not just of music but of ideas and creativity that’s been built up, but no matter what it is, this album is just that – joyful.  Soulful, funky, groovy – this album has beauty, tunefulness and get-downness in numbers.

Of the album, Johnny Trongone says, “it was one thing to develop and write the songs over the past year as we played them out on the road, but it was a completely different world to take them into the studio, put them under the microscope and really turn them into songs.”  Primed for the festival circuit, the band has graced the stages of Virginia’s Roosterwalk, Tennessee’s Riverbend Music Festival, Florida’s Slide Into Spring Festival, The Allman Brothers’ Peach Festival in Pennsylvania, and West Virginia’s Deep Mountain Roots Revival.  This family affair recording process helped the band grow “so much on a personal and musical level, and listening back and dissecting these tracks helped us learn so much about each other’s playing.”

Starting with the Black Crowes-ish “Blind”, you know where this band’s roots lie.  Certainly, there are some Chris Robinson-isms in (presumably) Andrew Trongone’s vocals, but there’s a real down-home essence that does equal the same kind of passion that the Crowes delivered on “…Money Maker”.  The old-time honky-tonk piano drive of “Nothing To Lose” is a very satisfying moment, as the body of the song gives way to the beauty of Hammond B3 organ stylings, making this a near-gospel-like piece.  “Anne Marie” is a straightforward country stomper that’s as catchy as the day is long; “Straight To Hell” rocks hard (a neat counterbalance to the country sounds of “Anne Marie”) and “Ain’t It Funny” is soul-rock at its naturally Southern best, especially with that delicious Fender Rhodes break.

There’s nothing I can say more than when you hear this album, you’re going to enjoy it.  It will warm you and lift you up.  Which is critical at a time when most music is instantly disposable and forgettable.  And as a debut, The Trongone Band has delivered a strong first statement.  Here’s hoping there’s more in the stable down the road.

HIGHLY RECOMMENDED

Keys To The House is currently available

http://www. trongoneband.com

REVIEW: Alder & Ash – “Clutched In The Maw of the World”

The cello flirts lovingly with you, then roars and lunges forward, bearing its teeth.

The composition in question is “A Seat Amongst God and His Children,” the second song and most transfixing moment on Montreal artist Alder & Ash’s sophomore release, the appropriately titled Clutched In The Maw of the World, out July 28 on Lost Tribe Sound.

It starts with a gently thrummed but somehow ominous rhythmic pattern, a wispy line of melody, and then lashes out – a slashing lead cello line that sounds like the amplified edge of a razor scraping over metal, with a distorted loop of grungy notes keeping time. There, it wails like a beast after triumphantly pouncing on its prey. After a moment of calm, briefly sated, the cello starts to stab at your ears again and the aural animal goes back in to finish the bloody feast.

The images this blend of ambient/experimental and post-classical music brings to mind are appropriate. On its Bandcamp page, Alder & Ash frames itself as “a counterpoint of two extremes,” with the music divided between “stillness, introversion and penitence” and “violence, cacophony and angst.” You can’t say the performer doesn’t deliver on his promises. This is brutal listening, indebted as much to acts like ambient duo High Plains as it is to black metal and post-rock. And it is beautifully accomplished in its missions.

On “All His Own, The Lord of Naught,” the loops have a slithering quality to them as the cello waxes vaguely Middle Eastern, a hint of scales giving way to the throaty aftermath of a scream. Then, there are the melancholy moments – the somber title track, which feels, at times, as if it is too depressed to even muster the strength to lament, or the beautiful, album-closing “The Glisten, The Glow,” which displays an eerie, somewhat tragic resolve over the spare, lulling plod of its looped “percussion.”

Alder & Ash does a hell of a lot with a cello and a loop pedal alone and, for further evidence, Lost Tribe also is reissuing its first LP, the previously digital-only Psalms for the Sunder from 2016. Both records make for riveting, if occasionally uneasy listening, the Romantic giving way to the Neurotic, the beauty dramatically drawn black by the stain. Here’s the pull-quote: if you’re a student of storm clouds, you owe it to yourself to find this stuff.

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POPDOSE EXCLUSIVE VIDEO PREMIERE: DARLING WEST, “After My Time”

The last twelve months of Darling West’s musical career can hardly be described as anything less than fantastic. Since the release of their second album, Vinyl and a Heartache, they have played concerts all over the world, been listed on the biggest radio channels in Norway and appeared on the Top 100 Country charts in the U.S.; they’ve been played more than two and a half million times on Spotify, been booked to the biggest festivals in Norway and Americanafest in Nashville and won a Norwegian Grammy.

Despite all this, the band have no plans of resting on their acquired laurels, and now they’re releasing two songs from the album they plan to issue in early 2018.

They haven’t changed their style during the last year, but you could still hear a new and revitalized Darling West. The band are still playing their sweet Americana/country/folk, but there’s a lot more drive in the music and the melodies are catchier than before.

The first taste of their forthcoming album are the singles “While I Was Asleep” and “After My Time.” And the video for “After My Time” is now here – for you to view and listen to as a Popdose exclusive premiere.

As mentioned above, the last twelve months have been pretty great for Darling West, but there’s nothing that indicates that the next twelve won’t be even better.

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The Popdose Interview: Lisa Mychols

The moniker “The Divine Miss M” has already been taken, but to fans of indie pop music, few could even remotely stake a claim on the tag. Lisa Mychols is one. She has been involved with the California power pop scene for some time, both with various bands and as a solo artist. Her name is familiar to devotees of the International Pop Overthrow festivals and compilations. She’s also a firm supporter of the transforming power of creativity. This has been discussed again and again at her website, Mycholsfabulousplayground.com.

Popdose had an opportunity to share a few minutes with Lisa and discuss what’s in her present and future.

You took a bit of a hiatus between the last album and what, I hear, is work-in-progress for a new one. How are the new songs coming along and when is a projected time for when they’ll come out?

I’ve been writing so many new songs lately that I can’t seem to keep up with myself. Sadly, I’ve previously held off releasing anything much due to the old program in my head saying, “It must be a full length 10-12 song album and to be released all at once.” (Yaaaawwwwwn.)

I’ve been in the studio a lot this year working on original music with my wonderful musical team, and so far we’ve released the singles, “He’s Got Me Dreaming,” “Don’t Wanna Close My Eyes,” and “Loving You Baby.” All of these singles can be found over at the Lisa Mychols CDBaby store. (ED: See address at the bottom of this article.)

Also recently released have been “Asleep Beyond a Dream” for The Co-Op Communique Volume Three and “Almost Didn’t Happen” for the upcoming This is Rock and Roll Radio Volume 4 compilation. Yay!

You’ve been involved with music for some time, been in several bands and released highly regarded solo work as well. What are some of the things that you see in your music now that could have only come from your experiences?

That I can pretty much create anything I want! Each project I’ve been involved with have been like wings for me. Each venture has shown me how far I can take anything!

As an independent musician, you have to handle nearly everything involved with putting a record together, getting it out there, and getting it seen. What are the most important steps for an artist when it comes to getting the work in front of the eyes and ears of the audience?

To educate ourselves in the business of the independent artist. There are some great books and resources out there right now! Do what works, do what feels right, stay genuine and aligned with intentions, and remember that failures are really just lessons!

What is your recording process? You play guitar and so does regular collaborator Tom Richards, but how do you put it all together? Do you have guests or is it a “closed shop”?

These days, I usually bring in a song to either Tom Richards (The Waking Hours, The Hour Zero) or Steve Refling, and they collaborate with me, forming it in to something really special and unique. It’s really fun actually, getting to co-create with people I really admire and trust! Plus, they are both incredible musicians.

The one thing I have noticed is that you are one of the most positive people I know of currently making music, especially in the indie music sphere. A lot of folks have gotten jaded by their current career/success path. I’m curious about how you keep that focus and positive spirit going, especially during the low times all creative people face…

I educate myself: I read a lot! I read other perspectives. Seriously, knowledge is power. Knowledge is confidence and faith. It’s back to remembering the intention of the art, intention of the music, intention of service (what am I giving/how am I serving) and, of course, gratitude for the gift of “being” creative. I get to create!

What personally drives you to create? Is it a determination or is it compulsive — meaning, the thing you insist on doing versus that which you’re just drawn to doing and there’s no stopping it?

Definitely inspiration. When it hits, it’s unstoppable — I guess I’ve had some kind of “inspiration receiver” in me open for so long that I don’t know how to turn it off, how to not create. Sometimes I think I consistently over-create!

Will you be doing some touring for the new music?

I just had this conversation with Tom (Richards)! But, of course, right now we are still in the studio and haven’t made those plans just yet.

You contributed to the Songs Bond Songs compilation last year (it was released this year). The song you chose was the theme from “The Man With The Golden Gun.” Why did that song draw your attention? Tell me more about how that came together.

Andrew Curry chose the song for us, actually. I love Lulu and her version. I love every moment of recording that song — we just had so much fun with it, and it inspired us to make a video in support of the song. A great compilation all around and I think everyone did a fantastic job making it a super strong release!

You can find out more about Lisa Mychols at Mycholsfabulousplayground.com and hear her new music at https://store.cdbaby.com/Artist/LisaMychols1

Dizzy Heights #22: In Another World, He Could Wear a Dress

I know that the lyric is ‘Where your life is seen through cracked spectacles,’ but it has always sounded to me like, ‘Where everything is typical.’ A ‘Scuze me, while I kiss this guy’ moment in Brit Pop if ever there was one.

This is another show that came together in blocks. A producer, a city, a word in a song, a movement…I try to leave my options open. And Pop Will Eat Itself, The Jayhawks, Bell X1, and Paul Young are thankful for it. At least, I hope they are.

Oh, and the word I was looking for when talking about the last song? “Entranced.” I got close, but didn’t quite get there.

Thank you, as always, for listening.

POPDOSE PREMIERE SINGLE: POPULUXE, “Garage Sale”

Popdose is very proud and pleased to bring you this brand-new single from pop-meisters Populuxe.  This divine trio knows a thing or two about angular sounds, skwered lyrics to make you think and a great sense of production.  The ascerbic wit of Rob Shapiro’s words tell you he’s none too pleased with the current state of affairs in a wonderfully subtle manner and that he’s definitely studied the works of Andy Partridge…!

So take a nibble at the new sounds that Populuxe has to offer.  This is, yet again, a sweet ride…:

 


POPDOSE EXCLUSIVE VIDEO PREMIERE: ANTON BARBEAU, “Secretion of the Wafer”

 

The joyful maven of neo-psychedelic pop and general weirdness, Anton Barbeau, is back again – hard at work on finishing up his newest release, an E.P. of covers – plus this one original, which Popdose is pleased to present to you visually.  Here’s Anton in his own words on the song and the video for “Secretion Of The Wafer”:

“Japanese sex robot in blonde wig sings the greatest song ever about crowd funding.”  There’s your headline. Meanwhile, about the video…  It’s got chickens! In slo-mo! And Jesus and Mary! And a Spanish band!  It almost has a pair of identical twins in as well.

This version of the song is from my new EP on Fruits de Mer, Heaven is in Your Mind.  The other songs on the E.P. include my covers of Bowie, Big Star and Traffic tunes, but “Secretion…” is as all-me as I can get. I wrote it on the shore of the lake pictured on the E.P. cover, in Graus, Spain, during the filming of a documentary about me that is, at the moment, all footage, no plot.  Oh, that’s my life story!

Hope you enjoy the film we made. It’s got chickens!”

What more can you ask for?  For Christ’s sake, it has poultry.  Now dig in…

Heaven Is In Your Mind is currently available

http://www.antonbarbeau.com/index_new.html