Morning people,

That’s it.. I’m just going to come out and ask it: When exactly did country music become cool?

I grew up in the Northern US where many people would describe their musical tastes by stating “I listen to everything… except country.”  Yet, at some recent juncture, a swelling combination of Folk, Americana, Bluegrass, Blues, Gospel, Country etc, morphed into the genre “Alt-Country” and somehow exploded in indie popularity. Suddenly empty jugs are outselling distortion pedals and I’m wearing flannel shirts & suspenders…

This week for instance, Aaron Lewis from the nu-metal band Staind (“It’s been a while”, I know..) released a twangy tea-party supporting country album, the new Oasis project Beady Eye released some damn catchy alt-country, even the new Dropkick Murphys album (epic Irish punk rock) is smothered in banjo!

The market is flooded with Bright Eyes’s, Mumford and Sons, Iron & Wines, Drive-By Truckers, Avett Brothers, Calexicos, Fleet Foxes, Bon Ivers, M. Wards, Magnetic Fields, Jose Gonzales’, Ray LaMontagnes, Ryan Adams’s, Sea Wolves, Sun Kil Moons, Tallest Man on Earth’s, Wilco’s, National’s, Great Lakes Swimmers, Sufjan Stevens‘ etc etc etc. Already popular bands like the Decemberists are even adopting the Alt-country sound to extend their popularity into the next indie era (btw, I enjoy the Decemberists much more now).

Now don’t misunderestimate my music-market amazement. I love the newfound folky fetish sweeping the Pandora-waves. In fact, this week’s album pick is especially close to my heart as James Vincent McMorrow has beautifully blended two of my favorite sounds of the past decade:

He’s taken the gentle, folky nursery rhymes of Iron & Wine and the heart-wrenching white soul of Bon Iver and fashioned a foundation from which his creative songwriting explores thankfully optimistic ground.

James Vincent McMorrow learned all the right lessons from Sam Beam and Justin Vernon. He has the fragile soaring falsetto, the sensual breathy chest voice, the contrasting simple and progressive songwriting, the pulsing power, the contemplative bittersweet poetics and the huge, romantic heart. Yet, as much as his influences can drift into melancholia, McMorrow trends towards hopefulness. Occasionally, his sound even bursts into merriment (see “Sparrow & the Wolf” for upbeat, bluegrassy, dance around in the dirt with hippie girls in skirts, fun).

McMorrow’s impressive debut album “Early in the Morning” is an intricate 45 minute experience. Each track takes the McMorrow sound down different sonic avenues while keeping cohesive as an album (See “From the Woods!!” for an audible explanation).

Much thanks to my friends Morgan and Lenny for enlightening me with the past two $ustained Note picks (respectively)!

I recommend downloading, “Early in the Morning” by James Vincent McMorrow then supporting him in your respective manner.

“We don’t eat,”
$tache

Disclaimers:
Yes, this is file-sharing.  The year is 2011 and all means of media are increasingly available to us.  The purpose of music is to be enjoyed.  I download many albums each week and listen to them.  I have a pact with myself that whatever truly amazes me, I buy.  Typically, I further support the groups by buying tickets to their concerts and purchasing their swag.  This dance of ethics works for me.  It may not work for you and that’s OK.  I merely ask that whatever you truly love, you support in whatever form you feel to be sufficient.