IN CASE YOU MISSED IT, Last night while all dee alumnz were geddin’ on to 80’s jams and badpop, something very different was dropping over at Synergy house. John Heart Jackie, a Portland based folk group made a stop off their tour to hang out with somebody’s sister’s boyfriend’s cousin, who lives at Synergy. When I arrived, the relatively small living room was full of beaming faces piled atop of eachother, all captive to the lush harmonies provided by these fine folk.
The first half of the show were folk orriginals, frm their new LP, WE ARE GOLD MOUNDS and a few covers. Then they took a break, had a few drinks and came back with some grade A blues and rock jams that satiated the crowd’s obvious need to dance. This went on well through the pre-party hours, until eventually most people made their way over to the Homecoming Dance, where cross generation mixxxing insued. The John Heart Jackie singer was feelin’ it and passed me his album, which we will be spinning in the coming weeks on the station.
We don’t get much “slow” music here at CC, specially on a Saturday night. Wanna hear more?
This song is anthem material right now. Today, the world unites under the cause of OCCUPY “Capitalism, democracy, wall street, whatever” across the globe, in solidarity with the growing movement in the States. I’m thrilled to bring you this music today, because this band is gonna be big, and big for the right reasons, because they have some important sH*t to say.
WU LYF, pronounced “woo life” which stands for World Unite, Lucifer Youth Foundation is a shadowed group from Manchester, UK that have cleverly avoiding the spotlight since their conception, I assume to finish their recently released LP, “Go Tell Fire to the Mountain.” Before the release, all you could find from them is a few singles on their apocalyptic website, http://www.wulyf.org, including the song HEAVY POP which has had me gritting my teeth in a woozy tribal dance for months.
The music is unstable post-rock at a marching pace, with singingly clear guitar riffs, haunting organ chords and reverberating drums to make your head bangarang. The singer makes the music with his powerful but distant vocals and halfscreams, launching cryptic lines of discontent at you like a bucket of paint. Lines like “I love you forever” and “no matter what they said, DOLLA is not your friend” instantly endear these guys to listeners.
Make your own judgements on what this band stands for, they seem to contradict themselves all over the place. My interpretation is that these youths from Manchester are feelin’ pretty alive but with no place to live, longing for a world where they could live for free. In their interviews they seem unwilling to express an specific political/social sentiments, but when one watches this video, and listens to the accusatory bellow of singer Ellery James Roberts, you feel the dissatisfaction of a disinherited generation, and the power of youth gone cold. Thankfully, it seems like WU LYF is finally here to stay, and their timing couldn’t be better. Lets hope this band stands up with what their name implies, and causes some serious movement together with all the revolutionary spirits coming out to play around the world.
Om has been around since 2003, when it was formed by Al Cisneros (bass and vocals) and Chris Hakius (drums). Their 2009 album, God is Good, is the band’s fourth overall and its first with Emil Amos on drums after Hakius’s departure in 2008. Amos, the man behind Holy Sons and the drummer in the similarly pre-exotic post-rocking act Grails, brings a new nuance to Om’s repetitive, Tibetan take on whatever it is they are taking on–the spirit, historiography, sacred texts, death, prayer, and so forth.
They have a new album coming out in 2012, so put that in your day planner. This one is out now, on Drag City. Oh, and it’s produced by Steve Albini.
Hailing from the incredibly prolific LA Low End Theory scene (think Flying Lotus, Teebs, Samiyam, etc.), this 21 year old producer crafts some of the most mature “dubstep” in the blogsophere right now. Where so many contemporary electronic musicians simply wield The Womp like a weapon in a war against artful restraint, Shlohmo challenges himself and his listeners to transcend the desire for visceral indulgence, opting instead to dwell in the ethereal realm of texture and stasis. If music is sex, then Shlohmo is tantric. Each song is a kind of subtle mediation upon itself; establishing a theme and then asking “why?”, his music quickly betrays its own futility while nevertheless insisting upon its beauty. An irrepressible remixer, Shlomo applies this deconstructive tactic to other people’s songs as well, and, in the process, he manages to distill something eminently listenable from even the most frustratingly bad pop-gangsta-rap song (for example).
Shlohmo will be coming to The Other Side at Cervantes Masterpiece Ballroom on Tuesday, October 18th. Doors open at 8:00pm, and tickets are $10. Click the “Concerts” link for more information.
Stone Rollin’ is off of Raphael Saadiq’s most recent album of the same name. It is both throwback and oh so fresh. I like to think it is the kind of music John Lee Hooker would have made if he was born 50 years later. Enjoy.
Teo is a sophomore at CC. He likes all sorts of music. He has a radio show every Tuesday 7-9pm. Check it out.
The Weeknd has so much buzz that I’m pretty sure every music blog ever has written about him. Abel Tesfaye takes everything that R&B does right and then does it really, really well. Every song is sexy and sensual but accessible. The Weeknd is currently releasing a 3-part trilogy of mixtapes. The first, House of Balloons, got the nod from Drake. The second, Thursday was recently released to much acclaim. The third installment in the trilogy is expected to be released sometime this fall.
|palimpsests of swelter beneath a new temperate regime|
My general conception of great nineties guitar-based alternative music is indelibly centralized around Polvo, a band formed in 1990 in Chapel Hill, North Carolina. Polvo’s earliest recordings consist of fairly unabashed, aggressive, mathy post-punk (check out 1993’s Today’s Active Lifestyles for a sprawling distortional romp), while its output in later years saw the band cross-fade its former ideas with approaches more proggy and Eastern-tinged before its break-up in 1998.
This specific track is the closer off of the band’s excellent In Prism, the 2009 reunion album, which I was hesitant to approach. Turns out that that fear was unfounded, since this plays not so much as a backward-glancing money-grabber as a series of long-churning ideas pensively pressed. The album, produced by the great Brian Paulson, is out on Merge Records.