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Tweedy — Sukierae [September 23, 2014]

USA Flag                     Tweedy — Sukierae 
♦   Některé sólové projekty jsou ještě překvapivější, než ostatní. Sukierae slouží především k potvrzení toho, co už víme: Jeff Tweedy je jedním z nejvíce citově zainteresovaných amerických skladatelů kolem & around.
♦   Tweedy zjistil, že dává přednost výslednému zvuku jeho skladeb v doprovodu promyšleného bubnování jeho dospívajícího syna. Je snadné pochopit, proč. Spencer Tweedy má lehký dotek a záviděníhodnou hudební citlivost; je to bubeník "s čepelí na nejdůležitější tepně těla", více se zajímá o tón a texturu, než o pouhé měření času. Ideální doplněk k pátrající a komplexní písni jeho otce. Spencerovo hraní je hnací sílou a zároveň je intelektuální. Jejich společná telepatická souhra, zejména pokud jde o "Diamond Light Pt. 1", "Hazel" a "World Away" je inspirující.

                                      © Jeff Tweedy, Wilco Copyright, Larry Philpot
Birth name: Jeffrey Scot Tweedy
Born: August 25, 1967, Belleville, Illinois, United States
Instruments: Vocals, guitar, bass guitar, harmonica
Album release: September 23, 2014
Record Label: dBpm Records/ANTI Records.
Duration:     71:43
01. Please Don't Let Me Be So Understood      (1:33)
02. High As Hello      (3:56)
03. World Away      (3:31)
04. Diamond Light Pt. 1      (6:13)
05. Wait For Love      (3:07)
06. Low Key      (3:15)
07. Pigeons      (3:09)
08. Slow Love      (5:32)
09. Nobody Dies Anymore      (4:58)
10. I'll Sing It      (4:02)
11. Flowering      (2:54)
12. Desert Bell      (3:18)
13. Summer Noon      (3:33)
14. Honey Combed      (2:42)
15. New Moon      (3:39)
16. Down From Above      (4:25)
17. Where My Love      (3:43)
18. Fake Fur Coat      (2:24)
19. Hazel      (2:36)
20. I'll Never Know      (3:13)
© 2014 ANTI Records.
By Stuart Henderson, Score: 8
♦   "It took me 18 years to do this solo record," dad-joked Jeff Tweedy from the stage at Toronto's Urban Roots Festival this summer, "because I had to grow a drummer." Originally conceived as a solo project for the Wilco frontman on which he'd play all the instruments, Tweedy found that he preferred the sound of his compositions when accompanied by his teenage son's thoughtful drumming. It's easy to see why. Spencer Tweedy has a light touch, and an enviable musical sensitivity; he is a drummer in the Brain Blade vein, more concerned with tone and texture than mere timekeeping. The ideal complement to his dad's curious, complex songs, Spencer's playing is propulsive and cerebral. Their interplay, especially on "Diamond Light Pt. 1," "Hazel" and "World Away" is inspired.
♦   Much of the music on Sukierae is close in spirit and mood to Tweedy's work with Loose Fur, a Wilco side-project that released two albums of often mysterious avant-rock in the mid-2000s. But, spread across 20 tracks — it's said that Tweedy had as many as 90 to work with — what stands out most of all is the remarkable depth of Tweedy's musical well. From lo-fi folk ("Pigeons") to off-kilter rock ("Don't Let Me Be So Understood") to minimalist dreamscapes ("Down From Above") to reflective indie rock ("I'll Sing It"), the sprawling Sukierae has a little something for everyone. Even if, at 72 minutes, it overstays its welcome a bit, there's no denying the vital talent on display at every turn. Fortaken: http://exclaim.ca/                                                     © Photo by Zoran Orlic
By TOM MOON, September 14, 201411:03 PM ET
♦   A clue about the scruffy aesthetic of Sukierae arrives at the 2:27 mark of "World Away," one of 20 (!) songs on the first family-band album from Jeff Tweedy of Wilco. Until this point, the tune — a variation on the Bo Diddley beat strummed on acoustic guitar, with Tweedy's sleepy voice distantly implying a blues cadence — has been fairly straightforward.
♦   A new chorus begins in orderly fashion, but before it gets very far, the vocals are eclipsed by unexpectedly menacing electric guitars. All snarls and daggers, these rise from background to foreground like a fast-growing audio fungus, threatening to obliterate everything else. The brief outbreak is followed by a fadeout, but it's not one of those mellow Laurel Canyon-at-dusk affairs; for a while, Tweedy's voice soldiers earnestly on amid the fitful anarchy of razor-wire guitar antics, vying for attention. As the music evaporates, there's the sense that the struggle is ongoing; that if we were magically able to fade things back up, we'd hear Tweedy's incantation "only a world away" further obscured by a spastic lo-fi freakout that hails from three noisy worlds over.
♦   It's brief, this interlude, but revealing. It suggests that Tweedy and his drummer son Spencer, 18, embraced an improvisational, whatever-works ethos during the recording of the thoroughly surprising Sukierae. Jeff Tweedy is known to be somewhat fanatical about the structures, melodies, and other compositional elements of his songs; he's capable of proferring an exuberant and entirely credible update of girl-group pop and then, in the next song, lace up his boots and kick out a punishing update of '70s arena rock. Only it's better and smarter than it would be in virtually any other hands.
♦   Sukierae contains some wry and characteristically compact Tweedy gems. Overall, though, it achieves a rare balance between songwriterly preciousness and reckless, heat-of-the-moment lunges. The songs fall across a range of styles and moods; there are playful soft-shoe numbers in the style of "Mr. Bojangles," and tunes with tricky progressive-rock groove changes, and disarmingly tender moments, too. Many of them have episodes like the one in "World Away" where the universal order is abruptly jumbled. In these moments, when savvy listeners might expect a typical pop-song resolution, there's instead a leap into the unknown. Later, maybe, there's a return to order. And maybe not. The uncertainty acts as a lure, pulling you in to see what happens next.
♦   Jeff Tweedy has described his writing process as a piecing together of fragments, a connecting of disassociated parts. Often, he and Spencer start with a slight riff, then go off exploring with little in the way of an organizing agenda. Sometimes, they hew close to the spirit of the initial idea; sometimes, they wind up in a different time zone. The thrilling "Diamond Light, Part 1" is an example of the latter: It opens with a pulse-pounding drum pattern, then switches to half-time for a shadowy vocal, then unfolds into spectacularly beautiful expanses of instrumental dissonance that show the influence of Wilco lead guitarist Nels Cline. It's not hyperbole to say that in moments like this, the Tweedy band takes more musical chances than any similar father-son or family band in rock history.
♦   Inevitably, Wilco-like turns of phrase are scattered throughout these songs, their verses riddled with inscrutable codes and references. At the same time, Sukierae finds Jeff Tweedy communicating in more direct ways, his words perhaps reflecting what both he and Spencer have described as a low-key music-making process. Other events in the Tweedy household could easily have affected the tenor of the narratives: During the recording process, Sue (Jeff's wife, Spencer's mom) received a complex cancer diagnosis and began treatment. It's always dangerous to speculate about the relationship between real life and song lyrics, but many of these songs go right at big questions about mortality and devotion, honor and commitment, what it means to confront (or even momentarily fret about) the prospect of losing a loved one. Running through these songs are great and graceful affirmations of love, carnal and familial, and right alongside them is pronounced old-soul wistfulness and a healthy dose of doubt. At times, it seems as though Tweedy's at a loss, and can offer little more than his own confusion. Then, at other moments, he's eager to share what he's learned from recent introspection, and his clarity is striking. "It's not how they tell it, it's not how they say," he sings with earnest, breathy intimacy in "Slow Love." "Your heart's in your mind and your mind's in the way."
♦   That's one of the things that's most striking about Sukierae: Its resonance comes from a pronounced ease of expression. There's not much contrivance, not much high-concept, just a dad and his son bashing out tunes. It's the rare chance to follow one of rock's thinkers as he goes off wandering without a map or a professional care about the results — crucially, without his mind getting in the way.
Fortaken: http://www.npr.org/
:: http://consequenceofsound.net/2014/09/album-review-tweedy-sukierae/
Written by Jeff Terich | September 18th, 2014 at 11:08 am | Score: 3.5/5
:: http://www.americansongwriter.com/2014/09/tweedy-sukierae/
By Mac Wilson | Sep 15, 2014
:: http://www.thecurrent.org/feature/2014/09/15/album-review-tweedy-sukierae
BY SIMON VOZICK-LEVINSON | September 17, 2014 | Score: ****
By Gareth James | 15 · 09 · 2014 | Score: 6/10
:: http://www.clashmusic.com/reviews/tweedy-sukierae
"Tweedy, the band, is a collaboration between Jeff Tweedy, best known as the founder of the pioneering Chicago rock band Wilco, and his 18-year-old son and drummer Spencer Tweedy. dBpm Records in conjunction with ANTI presents Sukierae (sue-key-ray), the debut release by the aptly-monikered duo Tweedy. Sukierae features 20 new songs penned by Jeff, performed by Tweedy father and son along with a host of musical guests. "When I set out to make this record, I imagined it being a solo thing, but not in the sense of one guy strumming an acoustic guitar and singing, " Jeff said. "Solo to me meant that I would do everything write the songs, play all the instruments and sing. But Spencer's been with me from the very beginning demo sessions, playing drums and helping the songs take shape. In that sense, the record is kind of like a solo album performed by a duo. "
La famille Tweedy, père et fils,  forme sa petite entreprise... et c'est très sympa.
Website: http://wilcoworld.net/
Store: http://tweedy.kungfustore.com/
Musical style:
Tweedy's musical style has varied over his music career. Tweedy's vocal style is considered nasal, emotional, and scratchy, and has been compared to that of Neil Young. His first exposure to music was through gramophone records that his siblings left behind when they attended college, and he particularly liked The Beatles' White Album. Tweedy would frequently read issues of magazines such as Rolling Stone, and began to purchase punk rock albums such as The Clash's London Calling and X's Wild Gift. Belleville crowds did not respond well to punk music, so while Tweedy was a member of The Primitives they played covers of country songs at much faster tempos.: 13–19 When Uncle Tupelo formed, the band began composing its own songs influenced by Jason & the Scorchers and The Minutemen. Wilco's first album shared many musical similarities with the four previous Uncle Tupelo albums, but on Being There, Tweedy began introducing more experimental themes into his music. He claims that he wanted to rebel against the belief spread by the No Depression magazine that Wilco was primarily a country band.: 110–111 One of the most influential albums for Tweedy was Bad Timing by Jim O'Rourke, which helped to inspire Yankee Hotel Foxtrot and A Ghost Is Born.: 176–177 Tweedy uses a 1957 Gibson J-45 acoustic guitar, as well as a 1965 Fender Jazzmaster, at least three different Telecasters, an Epiphone Casino, a Rickenbacker 360, and a Gibson SG Standard. He has vintage SGs from ’62 and ’65 as well as a 2007 Custom Shop model and a 2008 Custom Shop Vintage Original Spec (V.O.S.) that are all rigged with Maestro tremolo bars. He also has been known to use a Breedlove 000 and even designed a limited edition 000 for Breedlove in 2007. His amplifier of choice is a Vox AC30.




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