on life, music etc beyond mainstream

Calexico: ALGIERS
Beachwood Sparks: THE TARNISHED GOLD


Und jetzt am Abend, neue Bekannte am Strand gefunden, leichter Sonnenbrand, Riesenlust auf den flämischen Barbecueabend, zu dem ich eingeladen bin, ein geplatzter Reifen, und später dann, angeleitet von Mitgliedern der Barbershop & Sea Company, Schwimmen bis zum Horizont: so nennen sie das hier (ich hab es mir übersetzen lassen), wenn man einen Kilometer rausschwimmt, und dann von einem Boot eingesammelt wird, das die kleine Schwimmtruppe auf eine in der Nähe gelegene Insel transportiert, auf der es wilde Füchse geben soll (welche Drogen nehmen die denn hier?!) – und eine sehr ungewöhnliche Grillparty mit Überlebenden der Brüsseler Punkerszene.


A propos Beachwood Sparks: It’s funny we sometimes call such oldfashinoned music „timeless“. Why? I think such music presents certain qualities that a lot of listeners love f o r e v e r: the harmony vocals, the Nashville sources, the mild psychedelic colors! So this is full of good vibrations, with some dark undertones that undermine (a little bit) the „innocence“ of this old time feel.

This entry was posted on Donnerstag, 21. Juni 2012 and is filed under "Blog". You can follow any responses to this entry with RSS 2.0. Both comments and pings are currently closed.

1 Comment

  1. Michael Engelbrecht:

    The LA quartet Beachwood Sparks are a band out of time, in two senses. First, their third album comes the best part of 11 years since their last. Second, their music is so tied to the southern California of the late 60s and early 70s that it’s hard not to imagine the songs as outtakes from the Easy Rider soundtrack. Curiously, though, that makes them feel more current than they did first time around: Beachwood Sparks are bathed in same the hazy, tinted nostalgia that powers Tumblr and Instagram. It helps, too, that Tarnished Gold is of a piece with their first two albums, but never a pale imitation. Earl Jean combines country rhythms with soft jangle of electric guitars, like the Byrds in their Clarence White era; Talk About Lonesome sounds like a ballad Neil Young wrote for Johnny Cash in 1972, then forgot about. The mariachi diversion No Queremos Oro is a little puzzling, but the rest’s a summery shimmer of pleasure. (Michael Hann, The Guardian)

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