Posts Tagged ‘Matthew Ryan’

The Popdose Podcast: Episode 2

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Wow! You like us! You really like us! The numbers for Episode 1 of The Popdose Podcast were so high that we knew we had to come back for a second episode. (In all honesty, we were coming back regardless. We had too much fun last time, and none of us know how to take a hint anyway.)

With Halloween just a week away at the time of this recording, we decided to ask ourselves: what scared the crap out of us as children? Although our therapy bills this week have definitely skyrocketed, we hope you’ll find our confessions entertaining — and if not, you can count on plenty — plenty! — of digressions into other topics on the way.

So listen away! You can download here, or subscribe in iTunes (link below). Please leave us your thoughts in the comments, and if you like the show, please leave a review on iTunes. Enjoy!

The Popdose Podcast, Episode 2: Dixie Carter’s Laundry (1:01:36, 56.5 MB), featuring Jeff Giles, Jason Hare, and Dave Lifton.
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Show Notes

0:00 Intro, including an unfortunate digression into having sex with soup.

Theme: Things That Scared the Crap Out of Us as Children (more…)

CD Review: Matthew Ryan, “Dear Lover”

41f01W5oLDL._SCLZZZZZZZ_[1]I can’t tell you now where I’ve been now darlin’
There are hawks inside my head
And every smile and every good thing
Are picked at until they’re dead
I love you was all she said
That’s all she said

First he fills in the foreground. I imagine Matthew Ryan sitting in a dimly lit room with a guitar, or at the piano. He scribbles, in pencil, into his songwriting notebook, filling it with stories of the lost and brokenhearted, the dreamers and the damned. Then he picks out a melody that perfectly expresses the yearnings of his characters, who more often than not seem to be some part of himself. The song written, he opens his sonic palette to create a backdrop for his painting. A distorted guitar here, a driving electro-beat or ominous synth pad there. Foreground and backdrop blend into a seamless whole.

Dear Lover (Dear Future Collective) is Matthew Ryan’s 12th album, and his first to be self-recorded. Nine of the ten tracks were recorded at his home studio in Nashville. The album was inspired by events in the spring of this year. “In short, last winter I found myself in an emergency room with someone I love. It seemed too soon. I guess it always is. But it started my head spinning around these songs once everything turned out alright,” according to the artist. “It’s a collection dedicated to saying the things between lovers that often go unsaid,” he continues. (more…)

Live Music: Lindsey Buckingham in Boston, 10/17/08; Matthew Ryan in Asbury Park, 10/15/08

The career of a music writer certainly does have its perks. While it very often lacks in financial reward, it occasionally compensates with rewards of a more soul-satisfying sort. Last week was a perfectly good example. Over the course of three nights, I was able to see two of America’s most outstanding and individualistic musicians, in settings as disparate as a small rock n’ roll bar in Asbury Park, and a prestigious concert hall in Boston.

It began on Wednesday night when I took the familiar ride to Asbury Park to see singer/songwriter, and occasional Popdose contributor Matthew Ryan for the first time. If you think that Matt is just a guy who occasionally contributes to our esteemed journal, think again. He is one of the most respected songwriters in America, and each or his ten or so albums has been highly acclaimed. If you would like to familiarize yourself with his music, please check out the Popdose Guide to Matthew Ryan.

The Saint is the kind of bar that is vanishing all too quickly from the landscape, one of the last holdouts against the corporate takeover of live venues in Asbury Park, and NJ for that matter. It’s a pure rock dive that has been a stop for some of the most acclaimed bands in the world at some point in their careers. If there are 100 people in the house, the place is jam packed. Stickers and graffiti cover nearly ever inch of wall space. The sound system is superb, the beer is reasonably priced, the crowd is local and friendly. In other words, a club you can love.

I went to see Matt as a fan, not as a journalist, so I didn’t take any notes, or write down his setlist. What I can tell you is that he gave a wonderfully warm, intimate performance accompanied only by a talented violinist and keyboard player named Molly. I just knew it was going to be a special night when, after his first song (“Dulce Et Decorum Est” from his most recent album, Matthew Ryan vs. the Silver State), he took his vocal mic from the stage and placed it on the audience level, where it, and he, remained throughout the set. The rest of Matt’s performance featured songs from his new album, including “American Dirt,” and “It Could’ve Been Worse,” plus songs from nearly every era of his long career. At the end of the night, when it was time to field requests from a crowd that was obviously familiar with his work, Matt unplugged completely and performed the requested song standing next to the person who had asked for it, seeming to sing it just for them. (more…)

“Some Streets Lead Nowhere”

Yesterday as I sat in traffic, I looked in the rear view mirror and saw one of those couples. One of those couples that can scare you. Their car was a rumbling, rusty and older model Buick. Their windshield was gray and dry-looking with dirty rain. Their mouths formed a broken, upside-down U; it almost formed the visual arc in the symbol that can be found between where some of us begin, continue and eventually end.

What do we hope for? What is it in the electricity of affection and understanding that send millions to some heart soldier version of the great poem, “Dulce Et Decorum Est”? Or maybe even “Take This Waltz”? Ask me at any point in my life — broken, euphoric, numb, horny, content, or just lonely… and my answer is always the same. Is love worth the risk? YES. Yes it is.

Living can slowly grind us down to some smoothed but smaller version of ourselves. It’s not love alone — it’s our relationship with what we thought the world was, or is; it’s a war between dreams and the future. And the present is not unlike the trench where shots are fired and wounds are cauterized or the perfect hill where fireworks are launched. For me, it’s often the promise in a woman’s eyes that recalls what I find beautiful in the world. Not to mention their figures. I don’t mean that as a misogynist, but just in appreciation for that eternal promise beauty makes. But architecture, music, memory, conversation and words can do it too. Many things inspire hope, or fuel it. It’s good to be shaken into appreciation of what we take for granted some days…sometimes too many days.

But what happens? Why is the familiar often so resented or numbing? I don’t know. Maybe it’s ego, disappointment or mortality. Maybe it’s adventure and the arc of every story. If you’re in the middle of your great story, you should engage yourself completely with it. Things do end, but sometimes they don’t have to. That’s where poetry is. That’s where real music is. (more…)

The Popdose Guide to Matthew Ryan

guidelogo.gifYes, gentle readers, we treated you to an interview with Matthew Ryan on Monday, and today — which just happens to be the day his new album comes out — we’re giving him the full-on Popdose Guide treatment. That’s what the dudes in suits call “synergy,” except it doesn’t usually sound this good.

Like a lot of our Popdose Guides artists, Matthew Ryan has never sold a lot of records, but he’s enjoyed consistently positive reviews throughout his career; his debut inspired critics to use magic words like “Springsteen” and “Waits” in their writeups, and they’ve continued using them ever since.

Such comparisons are rarely helpful to an artist’s career — just ask the dozens of New Dylans who have been without record deals since the mid-’70s — but in Ryan’s case, it’s easy to hear why they’ve been made so often: His bruised-but-beautiful protagonists seek redemption as fervently as any of Springsteen’s working class heroes, and they’re brought to life with hard-fought vocals that suggest a raspier, more tuneful Waits.

Intrigued yet? Good. You’re in for an extra treat this week — we’ve been lucky enough to get a few words about each of these albums from Matthew Ryan himself.

Let’s get started.


May Day (1997)
purchase this album (Amazon)

“Well, I can’t believe it’s been 11 years since I made this. To me, it sounds young. But I’m proud that my intent was true and I didn’t compromise, since I didn’t know how to make records. Fortunately, David Ricketts (one half of David & David, a really great band from the ’80s) produced it, and knew how to make records. I wanted to make music as raw as the Replacments, Crazy Horse and the Clash, but I wanted it to be as elegant as the Blue Nile & U2. Even then I felt there was strength found in conspiring with the darker self.

“It was on this record, actually during the promotion of the record, that I realized honesty is dangerous. Often when people hear something honest they don’t want to hear themselves in it. I’ve always suspected that those that hated this record, or even still hate my music, probably need it the most. I don’t say that for the sake of ego, but because of what I’m talking about, what I’m trying to communicate. This was a good and a bad time. My soul knew who I was, but my head was too sensitive.” (more…)

Popdose Interview: Matthew Ryan

 

He may not be a household name, but Matthew Ryan’s raw, emotional songs have struck a chord with enough fans to support a musical habit that has lasted over a decade and through 11 albums (so far). On the eve of the release of his latest effort, Matthew Ryan vs. the Silver State, he took time out to talk with Popdose about his past, present, and future. Read on!

Judging from the title and the album cover, I was expecting an album of Irish battle songs!

Yeah, yeah, yeah.

But that really isn’t the case.

Well, they kinda are …

They’re pretty low-key for battle songs …

(Laughs)

… and I think someone who listened to your last album, From a Late Night High-Rise, might look at this and assume that it’s sort of a rockin’ response to what was a very personal set of songs. But it isn’t really that either.

Well, it’s hard for me to be objective, but I think it has an emotional presence that’s a little more amplified.

It does feel like a more muscular record, more live, for lack of a better word, but it doesn’t feel like you’re bashing out the stuff you were carrying around for High-Rise.

Right. Well, I think in the last few years my work has gotten a little more confidential, and I think that might be a sign of maturity. You know? I wouldn’t say this record’s more a whisper than a scream, but I guess it is. And the things I’m writing about, I’d rather provoke a conversation than rage from a soapbox.

The songs have a really natural flow to them. I just noticed this morning that the opening track, “Dulce et Decorum Est” (download), is seven minutes long.

(Laughs) That’s good to hear, man. That’s what I’d hope would happen, ’cause if you’ve got a story to tell and you’re telling it well and it has its own cinema about it, time should become a bit more elastic, you know? (more…)