Generally, you can categorize most music into a day of the week. Monday, Tuesday and Wednesday tend to be tough, but the rest of the week has fairly defined sounds.
Thursday — anxious, nervous, ready to hit the weekend (See: Most post-punk)
Friday — free at last, spacious, upbeat soundscapes, excitement, urgency (See: hip-hop, tense indie rock)
Saturday — let's get crazy. obviously (See: dub-step, electronica, synth-driven rock)
Sunday — slow down, grab a blanket, recover from the weekend and mourn the coming week (See: Most things acoustic, Norah Jones. Ha!)
Well, funneling through my inbox today, though it's only Wednesday, was one of the more beautiful Sunday albums I've heard in a long time.
The name is Matthew Barber, and his new record is Ghost Notes. It was just released stateside yesterday, but was already nominated for a Juno (Canadian Grammy equivalent) this year for best Traditional Roots album. Not bad, eh?
His acoustic guitar and piano have the same light, meandering and lovely tones and melodies as Mark Kozelek/Red House Painters or a less urgent City and Colour (which, if you haven't fallen in love with already, you should check out...now).
As I was attempting to write my last music column for my college newspaper, I put on this record and got wildly nostalgic, in the least cheesy, last-song-at-prom way possible. His melodies are plaintive but hopeful — and I couldn't help but sadly smile, sitting alone in my room, writing what will be my last imprint on college.
This is Sunday morning music, coming home from war music, falling in or out of love music. Beautiful, aching in a way that doesn't quite hurt. Check it out here.
And here:
And he's only got one tour date coming up in the states: May 13, Union Hall, New York, NY and supporting Jill Sobule. If you're in the area, this is a solid bet for a great night. Even if it isn't on a Sunday.
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