Over this past block, I made an episode of a podcast. It’s not completely about music, but it’s on how sound makes meaning, so I figured I would post it on here. In it, I interview two really wonderful members of the CC community, Jake Sabetta and Jane Hilberry (and if you’re on this website, you will likely at least know of Jake).
Hope you enjoy!
“Witness” is an awesome gospel tune featuring the great Mavis Staples. Her voice combined with the soulful raspiness of Benjamin Booker makes for an awesome song.
Chance the Rapper has been a collaborator since the start of his career. Kids These Days, an indie hip hop group from Chicago, includes among its members Nico Segal (later known as Donnie Trumpet) and Vic Mensa, both of whom frequently collaborated with Chance after the band split in 2013. “Wasting Time” features Chance crooning between horn interludes with typical emotional eloquence, “Damn I love you/ Don’t know what the means now/ but I love you.” The sobering lyrics and rich variety of sound and tempo make the track incredibly potent.
Get your daily punk fix. You know you need it.
Before there was MF Doom or King Geedorah, there was Zev Love X. Rapper Daniel Dumile got his start as a part of the group KMD, which he formed with his brother in 1988. The group released their first studio album in 1991, when Dumile was only 17 years old. For longtime Doom fans, the rest is basically history.
Hearing a young Dumile spit on a track like “Peach Fuzz” is one helluva trip. Zev Love X’s raps have the same unique timbre of a typical Doom song, but the high-pitched pubescence makes it something entirely unique. You can hear the same savvy rhyme schemes, wacky references, and vintage samples on KMD’s music as you would on any of Dumile’s recent work, but with a distinctly old-school vibe. So kick back, revel in the ’90s slang and bump this blast from the past on repeat.
This little gem of a song popped up on my Discover Weekly this week, and the vocals instantly charmed me with their Frankie Cosmos-like easiness; if I were to describe Melina Duterte’s (the mastermind behind Jay Som) voice with a motion, that motion would definitely be floating, softly and lightly just above the melody. The guitar, especially in the solo near the end of the song, seems very reminiscent of Mitski, and since her and Frankie Cosmos are two of my favourite artists, it’s no surprise that this song caught my eye (or, I guess, ear). Plus, the self-proclaimed “most trusted voice in music” and our overall most favourite website, Pitchfork, gave Jay Som’s new album an 8.6 and oh-so-highly coveted Best New Music title, so she must be great. (But, seriously, give this song a listen).
Lollapalooza’s experiment as a four day festival needs to end. Aside from the obvious burden the festival puts on Grant Park and the residents of Chicago, the addition of a fourth day compounds the issue that all festival-goers know very well… the bands we want to see are now spread out even more than they were before. Fuck you Perry Farrell. I don’t know if you are responsible for this but as the creator of Lollapalooza, you deserve the blame. Do you think I want to drag myself through hordes of drunken teenagers in 90 degree heat for another day just to see one good band at 3pm and another at 8pm? No. There is only so much of that any sane human can handle.
This issue is trivial compared to the affliction that “rock festivals” everywhere are suffering from. Coachella, Bonnaroo, Lollapalooza. All of their rock lineups are garbage. Rock music is not dead but festivals like these are accomplices in murdering it. Lollapalooza’s 2017 lineup has marginally improved from last year’s disgrace but all three festivals are trending in the wrong direction. I have attended Lollapalooza five out of the last six years but I have little intention of going this year. Sure, I like Arcade Fire and the Shins and even Cage the Elephant (even though they’ve sold out) but they are not worth spending roughly $400 to see. I’ll preserve what hope I have for Lollapalooza and wait for another year.
I truly hope that the Black Lips’ recently released single, Can’t Hold On, is not an accurate representation of what the rest of their upcoming album will sound like. Their last album, Underneath the Rainbow was mediocre at best and a huge disappointment following their awesome 2011 release, Arabia Mountain. There is not a distinctly good or bad feature of this new single. It simple sounds substanceless. It is as though it may have been a recording the Black Lips disregarded from one of their previous sessions. Can’t Hold On is five minutes of unremarkable noise and will likely let down any Black Lips fans.
“My War” is so much more genuine than the Green Day/Blink 182 teenage bullshit you listened to when you were crying in your room in middle school (not speaking from experience). It transcends basic teenage angst with raw, unthrottled emotion. Henry Rollins’ voice is haunting and the straightforward lyrics cut to the bone. Rollins sings, “I might not know what a friend is / All I know is what you’re not / ‘Cause you’re one of them.” The feelings of betrayal, alienation and rage are all palpable. I’ll admit that I am a relative neophyte in the world of Black Flag fandom so I cannot appreciate this song as a part of Black Flag’s entire body of work. However, the raw emotion of “My War” speaks for itself.
– Jake Golbus
Although I love Grimes, I think I’ve listened to Art Angels and Visions a bit too much. As a result, I’ve been listening to Grimes’ older music recently. “Weregild” is off of her 2010 release Halfaxa. Pieces of Art Angels, however, are reminiscent in this song especially in her sound looping throughout the track, a technique she has kept consistent throughout her work. The song as a whole seems a bit darker than her newer releases. In addition, the song is much more experimental, something I hope she doesn’t’ lose with her rise to fame.