Sage Francis – Li(f)e

It’s been silent here, but not quiet elsewhere. Having spent the last few months on a project examining the speech of two rappers, it’s about time to discuss one of them.

Until the beginning of this year, I knew little about Sage Francis other than a handful of songs. Yet it takes very little to notice his intelligence and his love of the hip-hop craft. That said, there is also much to benefit from not merely listening to his LPs – interviews give an insight into the philosophies that underpin his work. He is clearly a man who works hard to hone his skills and push the boundaries of the genre, but at all times it is a labour of love.

What sets Li(f)e apart from his other albums is the choice of instrumentals. Not content with merely rapping over samples, the decision to combine rap with indie music leanings creates something quite different to any other album of that genre I can think of. The collaborations include tracks with Chris Walla (Death Cab for Cutie), the late Mark Linkous (Sparklehorse) and the Chicago-based Califone, resulting in individual parts that are as refreshing as the overall work.

Although somewhat of a tautology, what this as a Sage Francis album is Sage Francis himself. His conscious lyrical style allows him to delve into a number of different narratives covering as many varied topics. The compelling story of an escaped convict trying to see his dying mother (Little Houdini), the pros and cons of a religious life (Love the Lie), an autobiography that becomes a life lesson to youths (The Best of Times): whatever Sage turns his hand to, he does so choosing wit, ferocity and composure over the arrogance of many of his contemporaries. In truth, you would be hard pushed to find a better story teller in any genre, of any medium.

Song of the Album – The Best of Times

- Lyle 

RM Hubbert – Thirteen Lost & Found

Ex El Hombre Trajeado guitarist RM Hubbert’s second solo album Thirteen Lost & Found brings diverse guest appearances. Produced by Alex Kopranos, and with songs containing Arab Strap’s Aidan Moffat and Delgados’ Emma Pollock, Hubbert tries to add texture to his very minimalist quantity of instruments.

There is no arguing that RM Hubbert is a technically talented individual, up there with the likes of Kaki King, but this album lacks something. I enjoy the natural tones from a record that sound like it’s been recorded in a front lounge, but those records usually have a punch that say ‘We don’t need fancy equipment to produce this kind of energy’. Thirteen Lost & Found for the most part, lacks that vital energy.

I think the biggest mistake on this album is the opening track, We Radioed. Sounding much more like a hidden track that you unexpectedly find 10 minutes after the album has finished, the song seems pointless and unrelated to everything that happens afterwards. It neither gently brings you into the next 10 songs, nor does it throw you into the deep end, but instead makes you think you’ve paid too much money.

The album does hook it all together at points. Foe Joe is a lovely guitar piece that sounds more simple that it probably is to play. Sunbeam Melts the Hour displays a gorgeous arrangement of instruments and sweet layers of vocals, not too dissimilar to Joanna Newsom.

As Thirteen Lost & Found plays out, there are bursts of potential as the tracks tick over though never delivering fully. I can appreciate the work, but this is not an album that pleads for a reply.

Song of the Album – Sunbeam Melts the Hour

- Christopher

David Karsten Daniels/ Fight the Big Bull – I Mean to Live Here Still

San Francesco’s David Karsten Daniels plays folk music like he’s composing an orchestra, yet still displaying a front door porch quality. Fear of Flying, Daniels’ more sombre previous album, proved his talents in arranging. Now with collaboration and a clearly more brighter outlook at life, I Mean to Live Here Still has new hooks added to his signature sound. Daniels collaborates with 9 piece Virginia jazz band Fight the Big Bull. With the bringing together of such traditional styles, I Mean to Live Here Still, sounds both old fashioned and fresh simultaneously. Though recorded together, the collaboration was made via mail, making the music fragmented to the point of chaotic.

At times, Daniels and the band appear to wrestle for space. Die and Be Buried acts as a competition to see who can be louder than the other, forcing the band to more disorder and Daniels to scream on the edge of what is tuneful. But then Each Summer Sounds, works beautifully in harmony, the chords and vocals gently tip toe around each other to feel the next note.

This bringing together of Daniels and Fight the Big Bull makes sense in term of musical style – both playing songs the way others did long ago, but I would be surprised if either thought it would come out the way it did. I certainly was.

Song of the Album  - The Funeral Bell

- Christopher