Upon first spin, Trouble Will Find Me, the warm, wistful, and weary sixth long-player from The National, sounds a lot like 2010's warm, wistful, and weary High Violet, but where the former was built on a foundation of suburban despondency and casual, middle class self-destruction (and skillfully juggled melodrama and dark comedy), the latter feels mired in regret, seeking refuge in the arms of old friends and lost lovers, sounding for all the world like a single cube of ice lazily swirling about a recently drained tumbler of single malt scotch, a notion best intoned on early album standout "Demons," which casually announces "I am secretly in love with everyone I grew up with."
Celebrated as an instrumentalist and a vocalist, Australian artist Nicki Parrott has earned acclaim as one of the most engaging talents to emerge on the jazz scene in the 21st century. Born in Newcastle, New South Wales, Australia in 1970, Parrott had a precocious talent for music, first learning to play the piano when she was four years old.
After composition student Ellis Ludwig-Leone graduated from Yale in 2011, instead of giving in to post-college feelings of aimlessness and "what next?" confusion, he set about to work on the epic master statement that he dubbed San Fermin. The self-titled debut is a massive collection of densely layered orchestral pop stuck between the technical tendencies of classically trained musicians and the summery electro-pop curiosity of chamber-leaning indie acts like Dirty Projectors, Grizzly Bear, and Sufjan Stevens. Ludwig-Leone acts in a "man behind the curtain" fashion for San Fermin, conducting more than a dozen musicians and vocalists through his songs and only contributing piano and keyboards himself.
Fritz Reiner was one of the foremost conductors of his time. Crowning his long career in Europe and America was the decade from 1954 to 1963 as music director of the Chicago Symphony Orchestra – an illustrious partnership that ranks along such other historical tenures as Karajan’s in Berlin, Szell’s in Cleveland and Bernstein’s in New York.
Gone are the morose, gothic lo-vibes and in their place is an airy almost dance track that still sounds as true to form as other endeavor Danilova has ever undertaken. An old hit and recent show-stopper live track, "Seatalk" has been re-recorded as well and this new well mic'd version is breathtakingly good. There will be a video coming for that soon too. Closer, "Lightsick" is a straight piano ballad. Not synth, real piano. And for her darker fans, "Tower" still has that Mad Maxian apocalypse creep we know and love.