This Weeks’ News.

This album art was designed by someone who writes for the show and is not named Dave, dfjacobs, icebergxc, or marquismeowmersiv.

When I talk of magical realism, there’s a good chance I’m either talking about Gabriel Garcia Marquez, whose work I was forced to read in Spanish once upon a time, Haruki Murakami, whose work I chose to devote my life to once upon a time, or a Philadelphia Eagles Superbowl, a cause I choose to support despite its grim possibilities.  I could also be talking about one man, Louis Weeks, whose influence led me to know about and write posts such as this one.  

Louis has introduced me to some great music, including the music he’s created himself.  Louis, the ever-anxious musician, has offered his musical expertise to many different pursuits, including but not limited to great a-cappella, months of the year, gibberish, and fruit. (Click on each link.  It’s worth it.)  Throughout all the work, there is a dynamic quest for invention, supplying different soundsets, but always a common thread of what is, ostensibly, himself.  While up until now, it has been up to the listener to decide what that common thread of “Louis” is, he has finally taken it upon himself to make himself infinitely clear in his newest release, “Broken English.”  And he does…kinda.

“Unlike Louis’ previous efforts, this features exclusively the man and his guitar, providing unparallaled intimacy.”  This quote, taken right from his personal music page, outlines the goal of this four song EP quite plainly.  But it doesn’t really work like that.  The EP is an oasis of pensivity, and while it is honest, it is not quite forthcoming.  ”Unparalleled intimacy,” to me, infers that you’d get right down to business like high school seniors in the hours after Senior Prom; this EP, though only four songs, challenges the listener, and the consistency of the slower, textured style serves as a wall preventing from immediate connection with the piece.  Lyrically, he limits his words to, and sometimes past, the minimum–a lot like Justin Vernon does in a lot of Bon Iver songs.  It makes the narratives a little oblique: “I hear trees fall, it doesn’t really mean it didn’t happen at all./looking for my hammer I found the culprit saw,/every little piece of you was down.”  The listener really has to sit down, (included) lyrics sheet in hand, and listen to the textures provided by each note plucked, and each word sung before many it grows to deliver on its rewarding promise.  It proves that intimacy, even unparalleled, is gained not given.  When it is gained, it’s really awesome.

Not to say that I don’t have wishes.  I do wish that there were a way to fit more musical variety in this release.  Musical variety in four songs is tough, but why not include more than four songs?  Some possible candidates can be discovered at his YouTube page and the MySpace pages for him and his band (and his other band).  Even his personal website has a great song that plays over the homepage not included on the release.  These places prove that he does have the capacity for greater versatility than he affords himself in Broken English.  Why not show it?  For fans of the songs here that want more, these are great places to get it.  For people that don’t get what’s here, still a good place to see more of what he can do.

Below, I’ve included the two middle tracks of “Broken English,” including the title track.  For the rest, check out http://www.louisweeksmusic.com/ and click on “Music.”  It’s a free download that includes the album inserts.  Do it.  Why not?

Louis Weeks – Broken English (YSI)

Louis Weeks – The Culprit Saw (Down) (YSI)