KEVIN MORBY 黑胶唱片和CD

Review: American singer-songwriter Kevin Morby returns with More Photographs, the follow-up to the acclaimed LP This Is A Photograph. The companion LP continues to flesh out the former album's themes of life, death, and memory - portrayed through a mix of autobiographical and fictional stories - revisiting and reimagining several of its songs from an alternative perspective and mood. Morby puts it best: if This Is A Photograph was an impression of "a house that you have been living inside of, then More Photographs is, perhaps, the same home just experienced differently. As if you, its inhabitant, have taken a tab of something psychedelic and now, suddenly, you've replaced your eyeglasses with kaleidoscopes." Morby's poetic lyrics collide well with its atmospheric, revelatory arrangements, all while doing equal justice to its collabs with the likes of Katie Crutchfield and Sam Cohen.

Review: American indie rock singer-songwriter Kevin Morby presents his seventh studio album More Photographs. A companion piece to his previous album Sundowner, More Photographs features songs that were recorded during the same sessions but did not make the final cut - each piece truly sounds like a "photograph", snapshots of time left in dusty old attic-bound photo albums or in ramshackle boxes. New takes on the previous album's songs, including a reprisal version of 'Don't Underestimate Midwest American Sun', lend a more honest perspective on the polished originals, also released on Dead Oceans.

Review: Before we get to his solo career credentials, it's a good thing to know something of Kevin Morby's background first. The American singer-songwriter has counted himself as the bassist in the Brooklyn outfit Woods and was frontman of The Babies before that. This release of Oh My God delivers Morby a fifth solo studio album since his Harlem River debut in 2013 and the versatility of his styles and inspirations seem to be hitting a new high, given the sometimes bluesy substance of his lyrics. Often where Morby's voice hits a sweet spot, subtle humming attenuations caress his deeper notations, all coated in a slight smokey haze similar to Bob Dylan (of now) and the late Leonard Cohen. Throw this into a mix of light distortion, piano ballads and theatrical big band techniques, it's in Kevin Morby we trust.

Review: Before we get to his solo career credentials, it's a good thing to know something of Kevin Morby's background first. The American singer-songwriter has counted himself as the bassist in the Brooklyn outfit Woods and was frontman of The Babies before that. This CD release of Oh My God delivers Morby a fifth solo studio album since his Harlem River debut in 2013 and the versatility of his styles and inspirations seem to be hitting a new high, given the sometimes bluesy substance of his lyrics. Often where Morby's voice hits a sweet spot, subtle humming attenuations caress his deeper notations, all coated in a slight smokey haze similar to Bob Dylan (of now) and the late Leonard Cohen. Throw this into a mix of light distortion, piano ballads and theatrical big band techniques, it's in Kevin Morby we trust.

Review: Before we get to his solo career credentials, it's a good thing to know something of Kevin Morby's background first. The American singer-songwriter has counted himself as the bassist in the Brooklyn outfit Woods and was frontman of The Babies before that. This deluxe blue vinyl release of Oh My God delivers Morby a fifth solo studio album since his Harlem River debut in 2013 and the versatility of his styles and inspirations seem to be hitting a new high, given the sometimes bluesy substance of his lyrics. Often where Morby's voice hits a sweet spot, subtle humming attenuations caress his deeper notations, all coated in a slight smokey haze similar to Bob Dylan (of now) and the late Leonard Cohen. Throw this into a mix of light distortion, piano ballads and theatrical big band techniques, it's in Kevin Morby we trust.

Review: Before we get to his solo career credentials, it's a good thing to know something of Kevin Morby's background first. The American singer-songwriter has counted himself as the bassist in the Brooklyn outfit Woods and was frontman of The Babies before that. This cassette release of Oh My God delivers Morby a fifth solo studio album since his Harlem River debut in 2013 and the versatility of his styles and inspirations seem to be hitting a new high, given the sometimes bluesy substance of his lyrics. Often where Morby's voice hits a sweet spot, subtle humming attenuations caress his deeper notations, all coated in a slight smokey haze similar to Bob Dylan (of now) and the late Leonard Cohen. Throw this into a mix of light distortion, piano ballads and theatrical big band techniques, it's in Kevin Morby we trust.

Review: It may still be customary to kick off any discussion of Kevin Morby with his past in Woods, yet on the evidence of records as strong as 'City Music', it won't be for long. Such is the understated charm yet undeniable confidence of these ditties, which tackle his bittersweet relationship with the New York he now calls home, it doesn't seem a stretch to be talking about him in the same breath as heroes and fellow East Coasters Patti Smith, Bob Dylan and Lou Reed. No retro pastiche, nor classicist sermon, 'City Music' is the sound of a rare talent coming to fruition.

Review: It may still be customary to kick off any discussion of Kevin Morby with his past in Woods, yet on the evidence of records as strong as 'City Music', it won't be for long. Such is the understated charm yet undeniable confidence of these ditties, which tackle his bittersweet relationship with the New York he now calls home, it doesn't seem a stretch to be talking about him in the same breath as heroes and fellow East Coasters Patti Smith, Bob Dylan and Lou Reed. No retro pastiche, nor classicist sermon, 'City Music' is the sound of a rare talent coming to fruition.

Review: Former Woods bassist Kevin Morby might not always have been everyone's contender as singer-songwriter of the moment, yet this makes the modern-classic appeal of 'Singing Saw' all the more illuminating. Here, his Dylan-esque drawl (particularly recalling the sun-burnished hues of 'Nashville Skyline') makes its presence felt on a finely honed collection of Laurel Canyon-tinged serenades that run the gamut from the piano-led melancholia of 'Ferris Wheel' to the Replacements-esque rock of 'Dorothy', arriving at a sound that's subtly reflective and emotionally resonant in equal measure. Fans of Whiskeytown, Matthew Sweet and Kurt Vile alike, you need this album on your stereo.

Review: Former Woods bassist Kevin Morby might not always have been everyone's contender as singer-songwriter of the moment, yet this makes the modern-classic appeal of 'Singing Saw' all the more illuminating. Here, his Dylan-esque drawl (particularly recalling the sun-burnished hues of 'Nashville Skyline') makes its presence felt on a finely honed collection of Laurel Canyon-tinged serenades that run the gamut from the piano-led melancholia of 'Ferris Wheel' to the Replacements-esque rock of 'Dorothy', arriving at a sound that's subtly reflective and emotionally resonant in equal measure. Fans of Whiskeytown, Matthew Sweet and Kurt Vile alike, you need this album on your stereo.

Review: Former Woods bassist Kevin Morby might not always have been everyone's contender as singer-songwriter of the moment, yet this makes the modern-classic appeal of 'Singing Saw' all the more illuminating. Here, his Dylan-esque drawl (particularly recalling the sun-burnished hues of 'Nashville Skyline') makes its presence felt on a finely honed collection of Laurel Canyon-tinged serenades that run the gamut from the piano-led melancholia of 'Ferris Wheel' to the Replacements-esque rock of 'Dorothy', arriving at a sound that's subtly reflective and emotionally resonant in equal measure. Fans of Whiskeytown, Matthew Sweet and Kurt Vile alike, you need this album on your stereo.

Review: Until recently, Kevin Morby had been pulling double-duty in folk-psych mainstays Woods (from whom he parted ways amicably at the end of last year) and self-styled 'party band' The Babies (now on hiatus) but with a full year of touring in 2013 over and a move in location as inspiration, it was time for him to strike out on his own once more. The result is this second solo record, which takes a reflective approach yet triumphs though his mellifluous tones (comparable to the like of Cass McCombs and Kurt Vile) and a Dylan-esque sense of earthy intensity. This marks a quiet revelation from a songwriter striking out on his own without compromise, yet with style and grace aplenty.}