We’re just a few weeks away from the release of Tim Cohen‘s new album, You Are Still Here, and with that, there’s one final single to entice you to rid yourself of a few dollars. What I love from my listens so far is the simplicity and confidence in what Tim’s doing with this record. This jam is just this quick stomping riff, with emphatic lyrical delivery from Cohen that matches every note; the clarity on his voice really illustrates that growing trust in his pipes. There’s also this cool middling section to break the song in half, which I was totally digging (almost hoping he flipped in entire second song inside this one). Have a listen, and grab You Are Still Here from Bobo Integral.
I’m really surprised at how indifferent folks are to the new stuff from Tim Cohen, particularly considering how much everyone loves Fresh and Onlys. There’s a real steadiness to the verses on this tune, which you’d expect from Tim’s songwriting. But, I think the growth comes in that chorus; there’s this spirited pop bloom, emphasized by jagged guitar chords, horns and female accompaniment. Still, he kind of dwells in that mysticism mode, allowing the track to sort of brood then fade out in this hazy mantra that ends the tune succinctly. You Are Still Here is out on March 26th via Bobo Integral.
Well, this Tim Cohen tune came out yesterday, but our attention was turned to our Catenary Wires/Heavenly, etc takeover, so we didn’t get a chance to praise the tune, until now! It’s been really interesting watching the Fresh and Only’s front man weave his way in and out of his solo career. This tune has this certain slow-burn to it, like a candle flickering in a dark carpeted room, perhaps for sance purposes. For me, aside from this voice, I think my favorite thing is that he seems to have completely erased the sound I associate with him, almost presenting me with something brand new…like a Cohen protg, with just a little more pain in the voice. You Are Still Here will drop on March 26th via Bobo Integral.
Our dear amigo Tim Cohen has quickly established himself as someone who is in the “can do no wrong” category at this point in his musical career. Wether it be his work in Fresh & Onlys, or as a solo musician, the guy’s music is loved by the entire ATH staff. Currently working on a new solo album, we’ve already heard “Goodness” from the LP, and now he’s offered up another new single called “I’m a Girl”. I shall let the single speak for itself and just say that you should most definitely check out this album when it drops. Educate yourself.
Tim Cohen will release new album The Modern World on September 28th via Sinderlyn.
Tim Cohen seems to have slowed down a bit the last few years, but there’s never a day when I wouldn’t listen to something he’s crafted. He’s just announced a new record, and shared the single that’s below. There’s a soulful brood in the verses, something he’s grown into over the last few solo releases. You’ll find the chorus a bit playful, and perhaps that’s by design, giving a slight nod to pop structures…and it all sets up the closing “whose.” His new LP is titled The Modern World, and it drops on September 28th via Sinderlyn.
One of my most anticipated releases of 2017 is shaping up to be Tim Cohen‘s pure solo effort,Luck Man, which is due out, lucky for us, at the beginning of next year. We’ve already heard some great singles from the gentleman from this album, and now he’s given us another one with “Meat is Murder,” which reveals that this new album is going to be far from one dimensional. The last track we heard in “John Hughes” was a bouncy indie pop number, whereas this one, as its title suggests, is a bit darker than the last one. The guitars are a sharper, and yet lower in the mix, the percussion and bass combine for a low simmer, and Cohen’s vocals are deeper for the majority of the track. Take a listen and get as excited as I am for this new album, then go pre-order it here before its Jan. 20th release via Sinderlyn.
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I wonder when Tim Cohen ever sleeps, and if he does, is he writing songs while he sleeps? Last week he announced another new release…though not with Magic Trick nor Fresh & Onlys…just Tim Cohen. This new track, however, is something as enchanting, if not more so, than his various projects. His vocals capture something, and while the music is good enough, you can’t pull yourself away from that voice. It’s accented by female accompaniment in points, but the clarity on his voice alone warrants repeated listens. I’m not sure there’s anything this guy can’t do, so I’ll gladly spend time with his new album, Luck Man, when it’s released by Sinderlyn on January 20th.
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What’s that? You need to eat more Wheaties? No, you need to listen to more Magic Trick. And, what better way to kick off your week then getting two new songs from Tim Cohen’s other project (he’s also in some band called Fresh and Onlys). I’ve written a bunch about his work in the past, and so I don’t really need to tell you much more than that I love listening to him, especially as he’s grown as a songwriter. Below you’ll find two new songs from his forthcoming Other Man’s Blues, which comes out via Empty Cellar Records on August 26th.
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I feel like the Fresh and Onlys are one of the most vital bands around today, hyperbolically speaking. First, the band’s great, consistent and still grows with each release. Second, the members such as Wymond Miles are great songwriters on their own…and now we have new Magic Trick, the long-time project of Tim Cohen. His latest LP is informed by his move to the Arizona desert and travels on the road, but it still wears the influences you’ve heard on his previous releases. The female backing vocals add this really haunting touch to the track, placing you in the world Cohen has envisioned. His new record, Other Man’s Blues, will be released by Empty Cellar Records on August 26th.
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The Fresh and Onlys have been on fire, more or less, for the last five years. No matter what they do, it’s hard to find detractors of their musical accomplishments, and yet it still seems like the band have something to prove, or room to grow. House of Spirits is a record draped in imagery, largely crafted during a period of isolation in Arizona for member Tim Cohen; it’s an example of how well the band works when crafting songs together.
“Home is Where” opens up with little more than Cohen’s voice, illustrating the bare bones approach that led towards the completion of the record. Soon, the rest of the group joins in, providing a spirited pace that comes off as an exhilarating stomp with cascading guitars falling through the cracks left by Tim’s haunting voice. It gears you up for “Who Let the Devil,” which is perhaps one of the best songs the bands have written to date, seriously. There’s a trickling bit of guitar beneath the cymbal work, leaving room for the distant howl of Cohen to lurk in the distance. While the vocals still hold onto the traditional fare from Fresh & Onlys, they also soar into a loftier pitch during the chorus. But, like most affairs from the band, they don’t stand in one place for too long.
There’s this feeling of contemplation that permeates House of Spirits, but perhaps no track exemplifies this more than “Animal of One.” I’ve grown fond of the line “the point of forgiving is so you forget, that being forgiven is all in your mind.” Taken out of context, it might not seem as drastically poetic as I feel it is, but put into the context of this track and the album, it takes on greater meaning. The delivery of the chorus is also emotionally striking, rising high in the mix, while the rest of the song seems to hold back for some Western-influenced introspection. But, while the lyrical content of this album is superb, there’s also these little touches that have really brought the record alive.
On “April Fools,” for instance, there’s a wash of keyboards just barely audible. It’s not particularly forward-thinking, but these little flourishes have really added to the depth of sound in the band’s writing, demonstrating just how much they’ve grown since their inception…they seem to have left the idea of psychedelia behind, in some respects. This is especially evident on “Ballerina,” which comes across like a track that the Walkmen would have written at their best; it’s a simple ballad that works atop a simple percussive element. You’ll also find a backing vocal that perfectly accents the chorus from Cohen. And such are the fine touches that make the group rise above their peers.
For me, there’s a change in the sound of Fresh & Onlys, and one that’s been foreseen if you’ve followed the work of the members outside of the band, such as Magic Trick or Wymond Miles. On House of Spirits, the band seems to have brought in elements from all their various projects, leaving listeners with a cohesive record that will long stand up in the hearts of its audience.