What Comes After the Blues

Amazon.com
Here's what's confusing: Jason Molina, main guy behind Magnolia Electric Co., was, in a previous incarnation, Songs: Ohia, which put out the widely praised 2003 disc Magnolia Electric Co . Regardless of what handle he's recording under, though—and there have been many—Molina's sound maintains a certain earthy, tumbleweeds-and-troubled-times integrity that doesn't appear to be winding its way toward beach blankets and sunny skies. On What Comes After the Blues, as on other efforts, there is a certain Neil Youngishness to the music that can't be ignored (dig into reading material on Molina and you quickly get the sense he'd prefer that it be ignored). But that's to its advantage. Where the late-90s indie rock brigade bulldozed their own mud-caked interpretations of Harvest-era folk into the ground, opening the door for the resurgence of retooled 80s pop, Molina's rotgut-steeped rock betrays a haunting! authenticity that won't soon lose its flavor. The gratifying opening guitar storm of first track "The Dark Don't Hide It," in fact, could fuel a real-rock turnabout on its own. --Tammy La Gorce

Product Description
With 'What Comes After the Blues,' we enter a new era with Jason Molina. After seven full-length studio albums in as many years – each recorded using a revolving cast of players under the name Songs: Ohia – Molina has retired the name as well as his wayward days and settled in with a new, consistent cast of players. He has named this group Magnolia Electric Co., after his final Songs: Ohia album. Why now? Surely moving to Southern Indiana and finding a once-in-a-career band consisting of Pete Schreiner, Jason Groth, Mark Rice and Mike Kapinus had something to do with it.

Sonically, this isn’t a huge departure from where Songs: Ohia was headed these past few years. The steel howls hauntedly, the guitars soar and crunch with verve, and the songs resonate with timelessness. Steve Albini’s live-in-a-room, captured-as-it-was-played engineering technique is still a crucial player. Where we find the marked difference is in their confidence, as afforded by experience and trust in one another. These guys are talented, hardworking, and actually enjoy playing with one another – and you can hear it in their songs. As on the limited edition live album Trials & Errors, Magnolia Electric Co. know exactly what they are shooting for and hit it dead center with every attempt. This is not indie rock anymore. Magnolia Electric Co. have made a no-bullshit album that is both rocking and full of life…a fist-pumper that manages to hit great depths of beauty.

What Comes After the Blues

What Comes After the Blues,Magnolia Electric Co,Secretly Canadian,Pop,Rock,Rock/Pop

What Comes After the Blues

Average customer rating:

One for the road
You're not the only one
Don't This Look Like The Dark...
Punch in the Gut Beautiful
Tasty good roots rock!

What Comes After the Blues
Magnolia Electric Co
Manufacturer: Secretly Canadian
ProductGroup: Music
Binding: Audio CD

General | Alternative Rock | Styles | Music

Indie Rock | Indie & Lo-Fi | Alternative Rock | Styles | Music

Alt-Country & Americana | Country | Styles | Music

General | Rock | Styles | Music

Pop Rock | Pop | Styles | Music
Similar Items:

Trials & Errors
Superwolf
The Letting Go
Ease Down the Road
You in Reverse

ASIN: B0007UDC8U
Release Date: 2005-04-05

Tracks:

The Dark Don't Hide It
The Night Shift Lullaby
Leave The City
Hard To Love A Man
Give Something Else Away Every Day
Northstar Blues
Hammer Down
I Can Not Have Seen The Light

Amazon.com

Here's what's confusing: Jason Molina, main guy behind Magnolia Electric Co., was, in a previous incarnation, Songs: Ohia, which put out the widely praised 2003 disc Magnolia Electric Co . Regardless of what handle he's recording under, though—and there have been many—Molina's sound maintains a certain earthy, tumbleweeds-and-troubled-times integrity that doesn't appear to be winding its way toward beach blankets and sunny skies. On What Comes After the Blues, as on other efforts, there is a certain Neil Youngishness to the music that can't be ignored (dig into reading material on Molina and you quickly get the sense he'd prefer that it be ignored). But that's to its advantage. Where the late-90s indie rock brigade bulldozed their own mud-caked interpretations of Harvest-era folk into the ground, opening the door for the resurgence of retooled 80s pop, Molina's rotgut-steeped rock betrays a haunting! authenticity that won't soon lose its flavor. The gratifying opening guitar storm of first track "The Dark Don't Hide It," in fact, could fuel a real-rock turnabout on its own. --Tammy La Gorce

Album Description

With 'What Comes After the Blues,' we enter a new era with Jason Molina. After seven full-length studio albums in as many years - each recorded using a revolving cast of players under the name Songs: Ohia - Molina has retired the name as well as his wayward days and settled in with a new, consistent cast of players. He has named this group Magnolia Electric Co., after his final Songs: Ohia album. Why now? Surely moving to Southern Indiana and finding a once-in-a-career band consisting of Pete Schreiner, Jason Groth, Mark Rice and Mike Kapinus had something to do with it.

Sonically, this isn't a huge departure from where Songs: Ohia was headed these past few years. The steel howls hauntedly, the guitars soar and crunch with verve, and the songs resonate with timelessness. Steve Albini's live-in-a-room, captured-as-it-was-played engineering technique is still a crucial player. Where we find the marked difference is in their confidence, as afforded by experience and trust in one another. These guys are talented, hardworking, and actually enjoy playing with one another - and you can hear it in their songs. As on the limited edition live album Trials & Errors, Magnolia Electric Co. know exactly what they are shooting for and hit it dead center with every attempt. This is not indie rock anymore. Magnolia Electric Co. have made a no-bullshit album that is both rocking and full of life…a fist-pumper that manages to hit great depths of beauty.

Customer Reviews:

One for the road.......2007-05-13

One thing that annoys me a bit about being a 30-something is how much great music I missed in the 60s and early 70s. Its not the same thing when someone tells you about as it is when you discover it for yourself. People told me about Tonight's the Night and Music From the Big Pink, but I discovered WCATB all by myself. I picked it up in a CD store and immediately dug the name, and the cover. The fantastic title was just the cherry on the cake. It was one of those CDs that just says: "I've been waiting for you". So when I took a listen to it and discovered that it was a) right up my dirty little street and b) recorded by Steve Albini, indie guitar god and now-famous producer, I just had to have it. WCATB is a real gem if you love 'folk rock' and hate that description in equal measure. I much prefer Cosmic American Music (with all due credit to Greil Marcus, who coined the phrase). If you are familiar with the likes of Mercury Rev's Deserter's Songs and Will Oldham's Viva Last Blues, you'd better step to this pronto. Based largely around Jason Molina's tremulous vocals, with perfectly measured dabs of electric guitar, bass, drums and - oh, yes - piano adding to the atmosphere, it is another instalment in the fantastic road trip that began with The Band The Band. Travelling along that great cosmic highway, it spends a night at the Motel Tonight's the Night to be sure, but all those Neil Young comparisons really miss the point. MEC are their own thing, and they have considerable greatness in them. The companion piece to this - Fading Trails - is also superb, but I have even higher hopes for the future. If they can just sustain this level of genius for 45 mins plus, they will have something that is equal in stature to anything that was produced in the halycon days of rock music. Ease on down the road indeed.

You're not the only one.......2006-09-20

...whose life can live up to the lie.

Every song is subtle and well crafted. The lyrics will break your heart. If you are looking for kick a** rock listen to Van Halen.

Don't This Look Like The Dark..........2006-02-22

Seems like the Indie kids jumped on the bandwagon 1 album too late (or 2, if you count Trials & Errors.) Somehow Molina has lost that stark, focused, bleak energy that served him so well previously. Now what we're left with is a bland, boring, 80's bar-band solo act. Does anyone remember The Lioness? Those were good songs, delivered with all of the wrenching plaintiveness of a penetrating songwriter. Now we get a shallow, plunky, whiny, gloss version of what we used to love. I guess it's better than a lot of sh*t bands on their best days, but still a let down. And what's with everybody saying this is a "hard-charging rock" record? The only song with cajones is the opening track, the rest is a pallid imitation of a better time. And by now the Indie kids have moved on & the fans have either walked off or acquiesced to a lesser sound. Here's hoping Molina walks off alone into the woods & finds the real gloom again.

Punch in the Gut Beautiful.......2005-06-16

This is the first time I've been so moved my an album that I felt compelled to use this forum to give feedback about (and promote) an artist. Excuse me, Artist. This album is the first exposure I've had with Jason Molina's music, and if his previous efforts are half as moving, I'll be buying them soon enough.
He's dark he's brooding and it's beautiful. The cathartic, yet familiar tone of his compositions convey raw, palpable emotion. His self-awareness is also in evidence in wonderfully simple "Northstar Blues" and "Hard to Love a Man" with it's asiatic interludes. The brevity of the album doesn't bother me, if it were longer I believe it would dilute the emotive power. Simply put, Molina is one of the strongest songwriter's I've heard in a long time and definitely worth supporting.

Tasty good roots rock!.......2005-06-06

I wasn't sure what to expect from this album, but I love it! Molina draws his inspiration from the classic, lonely sounds of Hank Williams and it shows, albeit in a more contemporary vein. Like the best moments of The Wallflowers, often better. My only wish is that it was longer than 8 tracks!

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