The Walkmen

[psychobain]

Here’s what Stereogum’s Ryan Leas wrote about the new music in our Walkmen cover story last fall:

Occasionally, that speaking drawl gets chopped up into much more rapid, excitable bits, as when Leithauser’s discussing his new record. Being the singer and one of the primary songwriters for the Walkmen, Leithauser is at an automatic advantage and disadvantage. His solo debut will easily be the most visible of any of them, but it will also be the most difficult for him to carve out an identity wholly separate from his old gig. It’s still his voice, after all. To that end, he’s made careful decisions as to avoid any chance of if it coming off as Walkman-esque. Two songs were cut because of this, one a guitar-driven rocker and another a “slow waltz with big horns,” that Bauer loved but immediately warned him that he’d soon have to field comparisons to the Walkmen if he included it on his album.

Maroon describes Leithauser’s album as “Half orchestral, half rock ’n’ roll,” a split that’s readily evident in the two songs Leithauser plays me through those studio headphones. The first — which will probably be called “Alexandra,” for the repeated evocation of the name in the chorus — is an uptempo, almost exultantly Wall Of Sound-ish track full of horn blasts and jaunty ’60s pop piano. It travels in brighter territory than most Walkmen material save maybe select tracks off Heaven, and is likely the first single. The other is fully-committed orchestral pop, a slower, atmospheric number based entirely on piano, stand-up bass, and noir-ish string swells. In the lead-up to Heaven, Leithauser had spoken of how Frank Sinatra’s vocal phrasing had lately been an influence for him. Here, that inspiration has fully bloomed. He even used half a year’s salary to purchase the same vintage Neumann U47 mic Sinatra used.

While much of the Walkmen’s music made use of horns and strings, Leithauser’s new music is completely reliant on it, to the point that he has no idea yet how he will be able to take it on the road. What’s more, his band is diffuse — spread out between New York, Portland, and Seattle — and otherwise committed — spread out between the Shins, Fleet Foxes, and Vampire Weekend, who will likely just be finishing their tour as Leithauser’s about ready to get started on his own. Still, none of this seems to be weighing on him at this moment. Each possible roadblock is described through a full grin. He’s excited by the challenge.

[---]

i can't do it, i'm just not there yet

[psychobain]

another new song



really good

[psychobain]

Leaked.

5 AM

[zeb]

Is that a good or a bad ?

[zeb]

Listening now and it is pretty good. His voice keeps getting better and better.

[psychobain]

Pretty good.

When the first song gives you chills, its a good sign.

[Chris_H_2]

I haven't listened, but I'm imagining something that sounds like it picks up where Heaven left off.

[psychobain]

[psychobain]

Like what happened with I Should Live In Salt (The National), im having trouble passing track #1, not because the rest is bad (the other way actually, whole thing is great), but this track just destroyed me

[evenslow]

BUMP



Man, there has been a tragic lack of discussion for this band. I blame myself.

Anyway, thought I'd bump to mention the new Ham album. It's fucking great, just like all the Walkmen stuff and all his other solo offerings. This one's got more of a rough-around-the-edges, singer-songwritery vibe to it than the other two. His record with Rostam was really an exercise in tight arrangements and this is a bit more ramshackle in approach, probably owing to the fact that he basically played all the instruments himself and recorded in his home studio.

The Garbage Men, Isabella and Stars & Rats are early highlights for me.

[evenslow]

This is Friday night:

[ghost]

BUMP



Man, there has been a tragic lack of discussion for this band. I blame myself.

Anyway, thought I'd bump to mention the new Ham album. It's fucking great, just like all the Walkmen stuff and all his other solo offerings. This one's got more of a rough-around-the-edges, singer-songwritery vibe to it than the other two. His record with Rostam was really an exercise in tight arrangements and this is a bit more ramshackle in approach, probably owing to the fact that he basically played all the instruments himself and recorded in his home studio.

The Garbage Men, Isabella and Stars & Rats are early highlights for me.

I'll give this a spin today. Any thoughts on Walter Martin's new album, The World at Night? It was in my rotation for a few weeks earlier this year until everything blew up and I forgot about it.

[evenslow]

still haven't listened to it. i did like peter bauer's offering from many years back.

[psychobain]

His solo stuff is gold

[psychobain]

Hamilton Leithauser and his family recorded a remote edition of NPR’s ongoing “Tiny Desk Concert” series. Leithauser is accompanied by his wife, daughters, nieces, and father as he performs tracks from his last two albums. Watch their performance of “In a Black Out,” “The Garbage Men,” “Here They Come,” “The Stars of Tomorrow,” and “Isabella” below.

All but one of the songs Leithauser performed were from his latest album The Loves of Your Life, which came out earlier this year. “In a Black Out,” however, is from I Had a Dream That You Were Mine, his 2016 LP with Rostam. Leithauser’s father accompanied him on harmonica during that track.

[spike]

[psychobain]

https://www.rollingstone.com/music/musi ... 234641642/

Réunion and Colbert tuesday

[spike]

Went to Friday’s Metro show. Such a great small venue, and few bands can make me smile wide song after song. Awesome band and time.

[Chris_H_2]

Agree. We went last night. Incredible show and amazing stage presence.

Hamilton came into the crowd to shake hands and he stood right in front me and is deceptively tall.