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+ Donato Wharton - Body Isolations
+ Svalastog - Woodwork
+ Tim Hecker - Harmony In Ultraviolet
+ Rosy Parlane - Jessamine
+ Jarvis Cocker - The Jarvis Cocker Record
+ Múm - Peel Session
+ Deloris - Ten Lives
+ Minimum Chips - Lady Grey
+ Badly Drawn Boy - Born In The U.K.
+ The Hold Steady - Boys And Girls Together
+ The Blood Brothers - Young Machetes
+ The Places - Songs For Creeps
+ Camille - Le Fil
+ Wolf Eyes - Human Animal
+ Christina Carter - Electrice
+ The Decemberists - The Crane Wife
+ Junior Boys - So This Is Goodbye
+ Various Artists - Musics In The Margin
+ Rafael Toral - Space
+ Bob Dylan - Modern Times
+ Excepter - Alternation
+ Chris Thile - How To Grow A Woman From The Ground
+ Brad Mehldau - Live in Japan
+ M Ward - Post-War
+ Various Artists - Touch 25
+ The Mountain Goats - Get Lonely
+ The White Birch - Come Up For Air
+ Camera Obscura - Let's Get Out of This Country
+ Coachwhips - Double Death
+ Various Artists - Tibetan And Bhutanese Instrumental And Folk Music, Volume 2
+ Giuseppe Ielasi - Giuseppe Ielasi
+ Cex - Actual Fucking
+ Sufjan Stevens - The Avalanche
+ Leafcutter John - The Forest And The Sea
+ Carla Bozulich - Evangelista
+ Barbara Morgenstern - The Grass Is Always Greener
+ Robin Guthrie - Continental
+ Peaches - Impeach My Bush
+ Oakley Hall - Second Guessing
+ Klee - Honeysuckle
+ The Court & Spark - Hearts
+ TV On The Radio - Return To Cookie Mountain
+ Awesome Color - Awesome Color
+ Jenny Wilson - Love And Youth
+ Asobi Seksu - Citrus
+ Marsen Jules - Les Fleurs
+ The Moore Brothers - Murdered By The Moore Brothers
+ Regina Spektor - Begin To Hope
+ The 1900s - Plume Delivery EP
+ Alejandro Escovedo - The Boxing Mirror
+ Function - The Secret Miracle Fountain
+ Sonic Youth - Rather Ripped
+ Loscil - Plume
+ Boris - Pink
+ Deadboy And The Elephantmen - We Are Night Sky
+ Glissandro 70 - Glissandro 70
+ Calexico - Garden Ruin (Review #2)
+ Calexico - Garden Ruin (Review #1)
+ The Flaming Lips - At War With The Mystics
+ The Glass Family - Sleep Inside This Wheel
+ Various Artists - Songs For Sixty Five Roses
+ The Fiery Furnaces - Bitter Tea
+ Motorpsycho - Black Hole/Blank Canvas
+ The Red Krayola - Introduction
+ Metal Hearts - Socialize
+ American Princes - Less And Less
+ Sondre Lerche And The Faces Down Quartet - Duper Sessions
+ Supersilent - 7
+ Band Of Horses - Everything All The Time
+ Dudley Perkins - Expressions
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44.1 kHz Archive

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Kimya Dawson
I'm Sorry That Sometimes I'm Mean
Rough Trade

I used to cry all the time. But somewhere between being a sobbing teenage malcontent and a content record-scamming twenty-some, I dried up. Now films where dogs have to be killed by the boys that love them or girls are lovingly raped by their dads or peacemaker mums get inoperable cancer just make me cringe, like the filmmaker's trying so hard, wanting to bully the audience into weeping away. And I ain't buying it. And, so, while I'm in such a state, along comes I'm Sorry That Sometimes I'm Mean, the solo album from Kimya Dawson from the Moldy Peaches. From silly, scrappy, scatalogical scuzz-toned comedy-rock duo the Moldy Peaches. Dawson being the girl in the duo who wears the bunnysuit on stage and sings things like "Who's got the crack?" The one who, on their latest single, says "Remember the time you fucked the jelly?" and "After this, you wanna go shit in a condom?". And, so, on such a solo record, on comes a song called "Reminders of Then." And my drought ends, so to speak. Over the simplest of guitar chords, and through a fog of four-track tape-hum, there's Dawson, singing softly, minus any self-conscious comedy. Singing a chorus that's beautiful and funny and sad and simple and mystical and romantic at once. Singing "Why am I surprised?/ Lies and bullshit, and bullshit and lies/ You'd think I'd give up after so many tries/ My finger's on the trigger and my eyes are on the prize." And it's enough to make a grown man, or at least some post-adolescent facsimile, shed a few quiet tears. Most unexpectedly, it's an earnest, entirely pretty song. And, most unexpectedly, it comes in an album that is almost entirely filled with such graceful exercises in strummed quietude. It's eye-opening, or, I guess, ear-opening, stuff — akin to first hearing Julie Doiron outside of Eric's Trip, even if the gap between band/solo isn't quite as pronounced in this case. I mean, Dawson hasn't really wandered far from the push-play-and-record lo-fidelity anti-folk of her main digs. It's just that it's all so quiet. And beautiful. And, save for a 90-second montage of children called "Stinky Stuff," there's not much here that isn't singer/songwriterish. Even when the record kicks out with something close to Moldy Peaches wackiness, it never rocks, never gets raucous, and never gets totally absurdist. And after Adam Green's solo debut essentially magnified the Peaches' prurience in its stripped-down setting, Dawson's solo deliverance of such prettiness and nakedness and sweetness and earnestness is even more striking.

by Anthony Carew

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