I’m not sure what I can add to the thousands of words already written on the death of Soundgarden and Audioslave lead singer Chris Cornell. He was one of the best rock singers of my generation, and even sang the Bond theme for the modern version of Casino Royale – “You Know My Name.”
I’ll always remember him for his work on Soundgarden’s masterpiece album Superunknown. The whole record is a stunning piece of work, and Cornell’s voice ranges from screaming metal work to psychedelic wanderings to doom metal growls.
He was open about his drug addictions, and there is already talk that his death might be the result of suicide. I wish him peace and his bandmates and fans strength.
I will see The Black Angelsor A Place to Bury Strangersat any opportunity, so having them both on the same bill is a win-win and a must-see for me. Seeing them in Chicago’s Thalia Hall was an added bonus because the acoustics there are outstanding and there isn’t a bad place to stand or sit in the joint.
A Place to Bury Strangers were prompt, starting the show at 9:00pm sharp (which seems to be a trend in Chicago venues as of late). They came out as they always do – loud and heavy. They opened with “We’ve Come So Far” from Transfixiation and it was off to the races. The addition of Lia Braswell on drums is a great one, as she practically beat her kit into the floor. Her backing vocals bring a new dimension to many APTBS tracks, and I hope this trend continues on some new material. Guitarist and lead singer Oliver Ackermann was on fire for their whole set.
Every APTBS show looks like a scene from a John Carpenter film.
They ended their set with a wild sequencer / synth / bass / light show that I’d seen them do before in Detroit. They moved into the crowd and were soon casting laser lights and weird, warping synths beats and Dion Lunadon’s growling bass licks throughout the whole hall.
APTBS blowing minds and retinas in Thalia Hall.
As if that weren’t trippy enough, the Black Angels started their set with this image.
Do I detect a nod to Devo here?
“Take your acid now,” said a friend of mine upon seeing this. The Black Angels opened up with “Currency,” the first single off their new album – Death Song(review coming soon). “Bad Vibrations” (always a favorite) followed, and it again wowed the crowd.
The Black Angels dropping “Currency” from their new album.
This was the sixth time I’ve seen the Black Angels (and the third I’ve seen APTBS), and this might’ve been the heaviest set I’ve seen by them. My wife (who’s seen them five of the six times with me) noticed this, too. The version of “You On the Run” they played was certainly the heaviest I’d heard. It bordered on stoner metal. Christian Bland’s guitar seemed cranked to 11 in terms of volume and distortion for the entire show. Stephanie Bailey further cemented her prowess as one of the best rock drummers of our time. I say this every time I see the Black Angels live: Stephanie Bailey is their secret weapon. I later realized this was the first show I’d seen in a while in which both bands had powerful drummers.
The Black Angels getting heavy.
They played many tracks from the new record. “Half Believing,” “Comanche Moon,” “I Dreamt,” “Medicine,” “Grab As Much As You Can,” and “Death March” all sounded great. They closed with “Young Men Dead,” which made one man behind me so happy that he rushed ahead of me to head-bang and share his one-hitter with the strangers to his left and right.
The Black Angels performing “Young Men Dead” during their encore.
This made six good shows in a row from the Black Angels and three straight for APTBS in my experience. This tour is selling out across the country, so you’d better get your tickets soon if you want to catch it. I also must give a salute to the two men who make up the Mustachio Light Show. They provided all the wild and stunning visuals during the Black Angels’ set. It’s a great addition to this tour.
Thanks to Oliver Ackermann, Steven Matrick, and Burgers Rana for getting me a press pass to this show. I’ll have an interview with Oliver Ackermann posted soon as well.
KELLY LEE OWENS ANNOUNCES FIRST NORTH AMERICAN TOUR AND PRESENTS VIDEO FOR “THROWING LINES” WATCH THE VIDEO HERE
DEBUT ALBUM OUT NOW ON SMALLTOWN SUPERSOUND
(above image by Kim Hiorthøy)
“Kelly Lee Owens sounds ethereal and jittery at the same time — not an easy thing . . . Her sounds are the rounded, rubbery boops and pings of techno, ricocheting all around; a steady but understated beat carries [‘Anxi’] into a complete transformation halfway through.” – The New York Times
“[Kelly Lee Owens] mixes dream pop and ambient techno on her immensely varied and fully-formed debut.” – Pitchfork
“The stunning debut album from [Kelly Lee Owens] is the aural equivalent of a hot-stone massage: It’s 45 minutes of gently pulsing electronic beats, sumptuous keyboard hooks, and Owens’ heavenly vocals.” – Entertainment Weekly “Must List”
“an album of contradictions, subverting dance music and pop structures at once.” – W Magazine
London-based producer Kelly Lee Owens is announcing her first everNorth American tour in support of her self-titled, debut album, released this past March via Smalltown Supersound. On stage as on record, Kelly blurs the line between throbbing techno and pop vocal performances. For her first trip stateside, she’ll bring her meditative and immersive live show to FYF Fest, plus other major cities across the country.
Additionally, Kelly now presents the video for “Throwing Lines.” As Kelly describes it, “This is one of the poppiest tracks on my record and it could have had a showy video to match, but it feels good to take the piss instead – out of myself and that world.”
Kelly Lee Owens bridges the gaps between cavernous techno, spectral pop, and Krautrock’s mechanical pulse. It brims with exploratory wonder and delves into a variety of moods – sadness, anxiety, and darkly shaded ecstasy – with a trippy-eyed clarity and confidence. Since announcing her debut album, Kelly has quickly become regarded as one of the most exciting new artists to watch from the likes of Pitchfork, Rolling Stone, Entertainment Weekly, and way beyond. Watch Kelly Lee Owens’ “Throwing Lines” Video – https://youtu.be/oyx-lpJYGCg
Kelly Lee Owens’ Tour Dates: (new dates in bold)
Wed. May 10 – London, UK @ Pickle Factory
Thu. May 11 – Amsterdam, NL @ De School
Sat. May 13 – Brussels, BE @ Les Nuits Botanique Wed. May 17 – Toulouse, FR @ Art Gallery (DJ Set) Sat. June 3 – Barcelona, ES @ Primavera Sound Sun. June 11 – Paris, FR @ We Love Green Festival Sat. July 8 – Cheshire, UK @ Jodrell Bank Observatory, Bluedot Festival Wed. July 12 – Brooklyn, NY @ Good Room Thu. July 13 – Montreal, QC @ Ritz PDB Fri. July 14 – Toronto, ON @ Coda w/ John Talabot Sat. July 15 – Philadelphia, PA @ Underground Arts Thu. July 20 – Seattle, WA @ Q Nightclub w/ John Talabot Fri. July 21 – Los Angeles, CA @ FYF Fest Sat. July 22 – San Francisco, CA @ Swedish American Music Hall Fri. Aug 11 – Göteborg, SE @ Way Out West Festival Sat. Aug. 12 – Oslo, NO @ Øya Festival Fri. Sep. 1 – Dorset, UK @ End of the Road Sun. Sep 3 – Stradbally, IE @ Electric Picnic Festival Thu. Oct 19 – London, UK @ Oslo Hackney Wed. Nov. 1 – Sun. Nov. 5 – Reykjavik, IS @ Air Waves Festival
Slow Magic Shares New Single, “Mind” (Feat. Kate Boy) Listen Here Out Now On Downtown Records/Interscope Records
Announces Summer Headline Tour Dates + Spring Tour Dates With ODESZA And RÜFÜS DU SOL
Mind artwork
Slow Magic returns with his first new single since 2014’s How To Run Away in the form of “Mind” featuring Sweden’s Kate Boy. This marks the first time Slow Magic has featured vocals on one of his tracks. It’s also a fresh take on the sound Slow Magic has been developing since How To Run Away. There’s a driving beat and pitched up backing vocals, both ever-present elements on any Slow Magic creation, but here he’s pulled out the organic elements of his live percussion which sets him apart from so many of his peers and emphasizes the live element of his production.
The genesis for “Mind” began when Slow Magic and Kate Boy met a couple of years ago at a German festival that took place in an abandoned car factory. Slow Magic recalls, “I remember sneaking through the backstage area and onto the roof to watch their set. I had wanted to work with them ever since I heard their song ‘In Your Eyes.’ I recorded the live drums for ‘Mind’ in Stockholm, Sweden in a studio that metal bands usually record at.”
Starting next week, Slow Magic will tour in support of “Mind” with RÜFÜS DU SOL before meeting up with ODESZA including a performance at the legendary Red Rocks. Following that he’ll play a series of special, intimate headline shows throughout the summer in between a couple festival stops. A full list of dates is below.
Special Intimate Headline Shows Sat 06.03.17 – San Francisco, CA @ Gray Area Wed 07.19.17 – Brooklyn, NY @ House of Yes Fri 07.28.17 – West Hollywood, CA @ Troubadour
With RÜFÜS DU SOL Wed 05.17.17 – Nashville, TN @ Cannery Ballroom Thu 05.18.17 – Charlotte, NC @ The Underground Fri 05.19.17 – Atlanta, GA @ The Tabernacle
With ODESZA Sat 05.20.17 – Boise, ID @ Summerfield/Memorial Stadium Sat 05.27.17 – Morrison, CO @ Red Rocks
Festivals Sat 06.17.17 – Chicago, IL @ Taste of Randolph Fri 06.23.17 – Heber City, UT @ Bonanza Campout & Music Festival
Photo and Costume by Dream Angel Mask by Jonas McCluggage and Levi Wall Shot in Reykjavik, Iceland
EMOTIONAL FREEDOM TECHNIQUE OUT JUNE 9TH ON TENDER LOVING EMPIRE
(photo credit: Jaclyn Campanaro)
“…a cloud of weightless synths anchored by a danceably funky bass groove.”
— Stereogum on “Do You Want Love?”
“Dave Depper must be one of the hardest working men in indie-rock, one of those indispensably reliable gears turning in the background that supports the machinery of the whole edifice.”
— Flaunt DaveDepper is set to release his debut solo album, Emotional Freedom Technique, on June9th via Portland’s TenderLovingEmpire. Following the album’s first two singles, “Do You Want Love?” and “Communication,” Depper is excited to present the album’s next single, “Your Voice On The Radio,” which premiered earlier today via BrooklynVegan and features longtime friend and collaborator, LauraGibson. The track sees Depper indulging his pop instincts, showcasing his knack for layering propulsive, melodic bass and drum beats over a wash of vintage synthesizers. Gibson’s vocals warmly compliment Depper as he sings about unrealized and unsatisfied love. Stream the song here.
About the song, Depper says:
“Your Voice on the Radio” is the only track on the record I wrote with a specific thematic goal in mind, which was to pay tribute to those classic, slightly cheesy boy/girl duets of yesteryear (e.g. “Don’t You Want Me”, “Islands in the Stream”, “Young Folks”).
The song finds our protagonist daydreaming that the girl he hears on the radio is secretly dreaming right back at him, so I figured it appropriate to draft my favorite female singer, Laura Gibson, as my duet partner.
Sonically, I attempted to answer the question, “what if David Bowie’s backing band on ‘Sound and Vision’ cut a straight-up disco track while the boss was out on a smoke break?”
If you’re in the Pacific Northwest, Depper will perform two special shows to celebrate the release of Emotional Freedom Technique: Wed. June 21st at Barboza in Seattle and Thu. June 22nd at Mississippi Studios in Portland. Tickets for both are on-sale now. Depper will also play Seattle’s famed Bumbershoot festival this fall, marking his first ever major festival performance to his own name. Listen To Dave Depper’s “Your Voice On The Radio” (feat. Laura Gibson) — https://soundcloud.com/tenderlovingempire/your-voice-on-the-radio-feat-laura-gibson/
MC 900 Foot Jesus (Mark Griffin) was one of the most innovative experimental and hip-hop musicians in the 1990’s. His 1990 album Hell with the Lid Off album shattered conceptions of hip-hop and was a weird, manic masterpiece chronicling madmen, drunks, schizophrenics, and the notion that “Truth is out of style.” He put out a couple more records after that, 1991’s Welcome to My Dream and 1994’s One Step Ahead of the Spider. He retired before releasing a fourth album, citing frustrations with the music industry, but has since come out of retirement and is again playing shows and working on that fourth record.
He’s released, for free, Live in Vienna 1992. It’s a radio station’s recording of a live show there, and it’s outstanding. Griffin and his longtime collaborator, DJ Zero (Patrick Rollins), throw down stunning beats and rhymes of tracks from the first two records.
The album begins with a brief interview with Griffin, in which he says he tries “to put you inside someone’s head who really sees the world in a bizarre way” with his music. This approach is evident throughout all of his songs, which feature bizarre characters and people who believe their worldview is the truth.
“Falling Elevators” opens the set, and the slightly evil bass, beats, and saxophone set the scene right away. “Adventures in Failure” lets DJ Zero cut loose (as does the saxophonist, who sounds like he or she is going for broke), and MC 900 Foot Jesus raps a story about a man so sick of his job and wife that he fakes a kidnapping scheme after he skips work and wrecks his car. DJ Zero scratching the sound of a car screeching to a halt is a stunning lesson to anyone wishing to work the wheels of steel.
“I’m Going Straight to Heaven” again has DJ Zero slinging scratches like a fastball pitcher closing out the ninth inning. Griffin raps through what sounds like a bullhorn microphone. Griffin and his band slow down a bit on “The City Sleeps,” a song about a serial arsonist. There’s more excellent saxophone work throughout it. “Truth Is Out of Style,” Griffin’s first big hit, follows, and DJ Zero’s turntable work is even more impressive on it live. The only blip on the track is when the Austrian recorders cut out a mention of Shirley MacLaine in the lyrics, probably thinking they’d get sued if they didn’t.
The beats on “Killer Inside Me” are killer indeed. MC 900 Foot Jesus raps about a man who pretends to be a simpleton but who is actually a psychopathic killer who strikes after luring his victims into believing he’s harmless. DJ Zero also gets to stretch his scratching muscles more than on the recorded version of the track. He’ll leave you gobsmacked with admiration. “O-Zone” is almost a weird dream with its warped saxophone and droning synths.
The performance ends with “Spaceman,” a suitably trippy song about a bum who gets drunk and high to the point where he sees himself floating away from the Earth. Is he dead? Are aliens kidnapping him? Is he suddenly free of gravity? I don’t know. It’s Griffin’s reality, not ours. Each reality is one’s own truth, and the truth is this live album is worth finding. I got my copy through MC 900 Foot Jesus’ Facebook page, so go there and grab it while you can.
Keep your mind open.
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I don’t know if you’ll be in or near Columbus, Ohio on May 19th, but it would be worth your while to check out the Columbus Psych Festif you are. It’s a free show featuring at least ten bands at the Park Street Saloon.
Many of the bands are from the central Ohio area, and I can highly recommend Brujas Del Sol. I also recently learned that Austin, Texas’ Ancient Riverwill be playing there, and they are guaranteed to warp your minds.
One of the nice things about this blog is that it sometimes takes me to music I probably wouldn’t have discovered without it. One such artist is Jake Xerxes Fussell, whose label sent me a press release about his new album – What in the Natural World. The album cover shows a lone man in rowing a canoe on a glass-smooth river while large circular objects loom around and behind him. They could be hills or cogs in a giant machine, but the result is the same. One man rows away from things bearing down on him, preferring to find his own path and his own was to solace.
“Jump for Joy” starts the album and immediately showcases Fussell’s guitar-picking skills. His voice is both relaxed and sharp at the same time as he sings about making it to the pearly gates (“Step right in, give [St.] Pete some skin, and jump for joy.”) and leaving behind a life of toil.
Fussell asks, “Have You Ever Seen Peaches Growing on a Sweet Potato Vine?” I haven’t, but Fussell seems to have knowledge of such a rarity. His guitar is amped up a bit, and the drums by Nathan Bowles will get your toes tapping whle Fussell sings about an illicit affair with a married woman.
Fussell gets back to his theme of escape from burdens and desire on “Pinnacle Mountain Silver Mine.” It’s the story of a miner, one of many, who seeks a treasure rumored to be in a mountain but has never been found. Fussell climbs rocky hills and crosses raging rivers to work the mine, “but its secret I will never know.” It’s a lovely ode to those who work hard all their lives for little, if any, reward in this world.
“Furniture Man” is one of the saddest and yet prettiest songs on the record. Fussell’s guitar work is a crisp as an origami fold on it as he sings about a man being broke and having everything he owns repossessed on a Sunday morning, including items that evoke memories of his dead wife. All he can do is ask the furniture man to take his time so he can hold onto the memories just a bit longer.
“Bells of Rhymney” is a bit funky, actually, with a nice bass walk by Casey Toll and a bit of country swing in Fussell’s guitar. His vocals get agile on “Billy Button,” as he sings about a man happy to be “bound for the happy land of Canaan.”
“Canyoneers” is a tribute to men who live, work, eat, sleep, and die in canyons and the many would only fly over in a tourist trap helicopter ride that costs nothing after you sit through a timeshare sales pitch. “What’s in a man to make him thirst for the kind life he knows is cursed? He’ll die a lonely a river rat foolhardy canyoneer.”
“St. Brendan’s Isle” brings in some Gaelic flavor as Fussell sings about brave sailors facing rough seas and literal demons trying to drag them to Davey Jones’ locker. Holy saints and angels preserve them until they not only meet St. Brendan, but even travel the world on the back of a giant fish in celebration. Could this celebration be one of realization? Are the sailors long dead and actually experiencing the joy of the afterlife? Judging by the prominent themes on What in the Natural World, the answer is probably “Yes.”
“Lowe Bonnie” closes the album. It’s another excellent display of Fussell’s guitar prowess, and his vocals remind me of Warren Zevon’s as he sings about a man slain by his angry lover who instantly regrets the decision to stab him.
Another man leaves behind a world of toil for something he at least hopes is better. The album’s title has no question mark. It’s a statement. There is nothing in the natural world that can compare with what comes beyond it. There is no toil. There is no suffering. There is joy unlike anything here.
Mr. Fussell wants us (and perhaps himself) to remember this, and he’s crafted one of the best records of the year to help us do it.
My wife let me know about a performance of classic Indian music taking place at the University of Notre Dame for free on April 27th. I love classical Indian music, so I was willing to stay up a bit late even though I had to work early Friday morning to catch this show.
The performers were a pair of brothers named Ritesh and Rajnish Mishra. They’re classically trained and singing duets in classical Indian music isn’t easy since you have to harmonize and be able to improvise at any moment. The brothers put on a nice show, and their enthusiasm was contagious as they laughed and cheered not only each other but also their backing musicians.
Tabla player Hindole Majumdar put down great beats and harmonium player Anirban Chakrabarty created a hypnotic drone and bass. The four men performed for almost two hours with only ten minutes intermission. This was also the third time the Mishra brothers had performed at UND, and they certainly deserved a larger audience than the couple dozen of us who were there.
The ragas they performed were spiritual at first and then playful by the end. They also explained the beat structure of each before performing it. I love that about classical Indian music shows. The performers almost always give you a little music composition lesson at the beginning.
It was a nice way to spend the evening, and the lack of sleep was worth it.
Beach Fossils Share New Single, “Down The Line” Watch The Video Here Somersault Out June 2nd on Bayonet Records
Photo by Rebekah Campbell
Beach Fossils have shared their latest single from Somersault titled, “Down The Line.” The song features many hallmarks of Somersault – a buoyant bassline, a propulsive, wayward guitar. Beach Fossils have charted into new musical territory with a refined songwriting style. On “Down The Line,” Dustin Payseur sings, “I don’t want your Wall Street / Don’t got no degree / Written on the concrete / A.C.A.B.” They’ve expanded their range both musically and lyrically. This is a band in bloom.
The song is paired with a video directed by Payseur and features the members of Beach Fossils exploring New York City after hours. Shots of McGolrick Park, the Williamsburg Bridge, the JMZ line and the sunrise loom large. The “Down The Line” video mirrors the band’s previous video for “Saint Ivy,” which pays homage to New York City artists. Somersault captures flashes of life in New York grounded in personal experience.
Later this month, Beach Fossils will play some of their first shows in support of Somersault with a weekend in South America including a festival playing alongside Slowdive. Come July, the band will tour the west coast with support from She-Devils and Ablebody capping it off at FYF before making their way to the UK in August. A full list of dates is below.
Beach Fossils Tour Dates: Fri. May 12 – Buenos Aires, AR @ Niceto Club Sat. May 13 – Huechuraba, CL @ Espacio Riesco Fri. July 7 – Fresno, CA @ Strummer’s Sat. July 8 – San Francisco, CA @ The Fillmore Mon. July 10 – Vancouver, BC @ Biltmore Cabaret Tue. July 11 – Seattle, WA @ The Crocodile Wed. July 12 – Portland, OR @ Holocene Fri. July 14 – Boise, ID @ Neurolux Sat. July 15 – Salt Lake City, UT @ Kilby Court Sun. July 16 – Denver, CO @ Marquis Theater Tue. July 18 – Santa FE, NM @ Meow Wolf Wed. July 19 – Phoenix, AZ @ Crescent Ballroom Thu. July 20 – San Diego, CA @ Casbah (early & late shows) Fri. July 21 – Sun. July 23 – Los Angeles, CA @ FYF Sat. Aug. 26 – Leeds, UK @ This Must Be The Place Wed. Aug. 30 – London, UK @ Oslo Hackney
