I wouldn’t wait much longer if you plan on seeing Sleater-Kinney‘s “Little Rope” tour, as two dates on the east coast are already sold out, and I’m sure other venues already have low ticket warnings in place. Joining them will be Black Belt Eagle Scout and, it was recently announced, Palehound.
Tickets are on sale for all shows now, so grab them while you can.
Keep your mind open.
[Don’t forget to subscribe before you go.]
You know you’re onto something when Carlos Santana calls your album “a work of supreme creativity.”
That’s how he referred to Nevaris‘ album Reverberations – a great album of dub, trip-hop, and world beat music put together by percussionist / keyboardist Nevaris and a great lineup of musicians including producer / bassist / legend Bill Laswell, DJ Logic on turntables, Will Bernard and Matt Dickey on guitars, Lockatron on drums, and Peter Apfelbaum on horns and additional keys.
The album had me hooked within the first twenty seconds of its opening track, “Dub Sol.” The sexy horns, panning beats, and incense smoke bass lured me into an exotic desert tent where you are sorely tempted to stay the rest of your life. “Disruption” has some of the best horn arrangements on the record from Apfelbaum, and DJ Logic gets to strut his scratching stuff as well on the track.
Laswell’s excellent dub bass returns on “Ninth Sun,” which also percolates with plenty of weird, trippy effects created by him. “Remedy” could easily fit into a mystery film set in Jamaica, while “Interference” would slide easily into a Bond film soundtrack – particularly a scene in which Bond enters an exotic casino in order to set up a trade of valuable information and ends up in a dangerous situation that’s either going to get him killed or laid.
It’s only appropriate, then, that the following track is called “Safehouse,” and we can imagine Bond making it out of the casino in one-piece and kicking back with a lovely lady in a backroom lounge at a Kingston restaurant. The track instantly puts you in a calming place with synth effects and reverberated beats that slow you down and bring you some much-needed chill.
“Frequencia” thumps and bumps in all the right places, with DJ Logic’s subtle scratching mixing well with the hand percussion and Hammond organ riffs. The closer, “Lockatronic,” gives drummer Lockatron plenty of time to show you how he locks it down and puts the whole band in his back pocket. He absolutely snaps every beat.
I love experimental, almost ambient dub albums like this. It’s solid.
Keep your mind open.
[Why not subscribe while you’re here?]
[Thanks to Shauna at Shameless Promotion.]
Located at 30 Berwick Street in London, Reckless Records packs a lot of cool stuff into a small space. The place had a lot of customers while I was there, most of them flipping through the extensive racks of vinyl in the building.
As you can see, they had nearly an entire wall of rare “white label” pressings, and I love that they have a section called “Cheaps.” Don’t worry, fellow CD lovers, they have those, too.
I wasn’t sure where to begin, but I ended up scoring a Julian Cope EP I’d never seen before, so that was a win. I was short on time, too, so I didn’t get to spend as much time in there as I’d like to have spent. This was probably better for my wallet, too, but I’d be happy to go back there. Be sure to check it out if you’re in London.
Keep your mind open.
[Don’t forget to subscribe before you go.]
It’s a good thing I don’t live in London, because I would be perpetually broke from spending so much money at Sister Ray Records at 75 Berwick Street in Soho.
Not only is their collection extensive and widely varied, but the bargains to be had there are second to none.
This is a tiny sample of what they had to offer. They had any genre you wanted, and a lot of great collections for dirt cheap prices. I scored a three-disc house music collection for not even eight bucks, an Ian Dury three-CD anthology, a Jam collection, a live Julian Cope album, a remastered version of Psychedelic Furs‘ Talk Talk Talk album, a Viagra Boys album, and a live album by The Damned. The Julian Cope disc was the most expensive thing I bought, and that was barely twelve dollars after the price conversion from British pounds. They had a staggering number of multi-disc collections for under ten pounds each.
There was a lot more I wanted, and I barely even looked in their basement.
CDs upstairs, vinyl downstairs. Both floors have enough in the racks to keep you busy for hours. I could’ve stayed there until they closed the doors, and, again, the prices are stunning.
Do not miss this place if you’re ever in London. It’s a must-stop for music lovers and collectors.
Keep your mind open.
[Don’t forget to subscribe before you go.]
Chock-full of floor-filling beats and sexy grooves, Movement Remixes is a collection of eight tracks by Gimenö done by DJ and producer pals of his. It’s difficult to choose a favorite because they’re all good.
Vøsne‘s dub remix of “@cid” builds like the effects of something you took earlier but aren’t sure if it’s working. It is. It builds into a thumping, bumping, humping dance track. Vøsne also has a “regular” remix of the same track later on the EP that’s sexy and menacing at the same time. Reeko remixes “It’s my break” into something you’ll want to crank during your lunch break in the storeroom so you can drown out those Black Friday customers and your boss’ ridiculous demands…and then play the song for your boss so he / she / they can forget their stress for a little while.
The Hd Substance remix of “DT001” percolates for a bit to let you know you’re about to receive a hot, energizing brew. Avox25‘s remix of “Old Trib” buzzes and crackles with industrial touches and racing heartbeat rhythms. Jorge Ciccioli turns “Movement” into something you might hear at a haunted attraction next year. Klint‘s remix of “Day One” is something you might hear at an underground club that features both dancing and bare-knuckle boxing.
Edgar De Ramon piles on the electro-cymbals and hi-hats on his remix of “Ports.” The last cut is, appropriately, RE-ST‘s remix of “Finale.” It doesn’t send you out on a mellow note, however. It keeps you dancing, reminding you of the energy this record’s given you, and tempting you to just play the thing on a loop for an hour or more.
There isn’t a bad mix on here. Don’t miss it.
[Move over to the subscription box before you leave.]
[Thanks to Pull Proxy PR!]
I was on my way back from a road trip to Atlanta and had time to stop in Louisville, Kentucky on the return route to catch the recently reunited Nashville punters Be Your Own Pet. I was late to the news that they’d reformed, let alone were touring and had a new album, so I was happy to have the chance to see them for the first time.
Unfortunately, I didn’t get there in time to see local rockers Zerg Rush, and Birthday Girl were already a few songs into their set. Birthday Girl play a wild mix of post-punk, power pop, and some kind of art rock. I mean, they even have a cellist in the band – who adds a great extra bass line to all the tracks.
Be Your Own Pet came out blazing, with classic tracks like “Zombie Graveyard Party,” “Food Fight,” and “The Kelly Affair,” and tracks from their new album like “Hand Grenade,” “Goodtime!”, and “Worship the Whip” (the title of which was emblazoned on lead singer Jemina Pearl‘s shirt).
Not only was BYOP’s set fiery, crazy, and downright frenetic, it was also free of any set list. A good portion of it was done on the fly, with band members suggesting songs to each other as they went or taking audience requests. This led to guitarist Jonas Stein saying, “Call it out.” to Pearl, who immediately said, “Girl U Want,” and then they launched into the Devo cover as easily as crossing the street.
Don’t miss them if they’re near you. It’s a wild show, and it’s great to have them back after fourteen years.
Keep your mind open.
[Don’t forget to subscribe before you go.]
Tuareg music legends Tinariwen are known for not only hypnotizing guitar work and mesmerizing percussion, but also soulful lyrics about their homeland uniting in peace – and the rest of the world with it. Their latest album, Amatssou (“Beyond the Fear”), is no exception.
The album opens with simple chords and chant-like lyrics on “Ken Arghalm,” and then the wicked, wonderful hand percussion comes in and soon you’re dancing around a fire…or your living room. “Tenere Den” crackles like sparking wood in that campfire, and the addition of violin to it is a great touch. The call for unity is strong on “Arajghiyine,” in which Ibrahim Ag Alhabib sings “Dear brothers, all rest. All leisure will always be far reach unless your homeland is liberated and all the elders can live there in dignity.”
“Tidjit” has the kind of Tuareg rhythm that no other culture can seem to recreate. It lifts you up and you feel like you’re drifting on warm wind. If you want to continue this feeling, listen to “Jayche Atark” while watching drone camera footage of the American southwestern desert (where Tinariwen recorded their last album). This happened to me when my laptop PC’s screensaver kicked on during the track and I was immediately hypnotized by the perfect blend of imagery and (North African) desert sounds.
“Imidiwan Mahitinam” makes you want to dance, or at the very least clap along to it while admiring the smooth guitar solo. “Ezlan” is perfect for morning yoga, and “Anemouhagh” is perfect for a morning run. The beat on “Iket Adjen” seems odd at first, but it makes perfect sense when the vocals, handclaps, and acoustic guitars join it. “Nak Idnizdjam” and the mantra-like outro send the album, and us, off on a spiritual high.
It’s another solid record from a band who makes nothing but solid records, and a wonderful journey across the desert of your choice.
Keep your mind open.
[Don’t forget to subscribe.]
[Thanks to Yuri at Pitch Perfect PR.]
I took a friend to see three crazy bands in Indianapolis not long ago. Those bands were new wave / no wave punk rockers Playboy Manbaby, Transformer rockers The Cybertronic Spree, and “drive-thru metal” giants Mac Sabbath. He had no idea what to expect, and is pretty much a 1980s metal guy. He’d heard from another friend that Mac Sabbath were some sort of killer clown band, but that’s about it.
I hadn’t heard Playboy Manbaby either until this evening, and they were great. They came out looking like average dudes and then tore up the stage with a wild punk set and even held a mini-election in the crowd decided by a game of rock-paper-scissors.
“Oh wow…” was all my friend could say when The Cybertronic Spree came onstage in their Transformer outfits. He was even more stunned when they shredded for their entire set, playing originals from their new album, Ravage, and covers of fun tunes like AC/DC‘s “Thunderstruck” and Weird Al‘s “Dare to Be Stupid.” You have to be able to play well if you’re going to have a gimmick like this, and The Cybertronic Spree play very well. At one point, co-lead singer Arcee was hitting such high notes that my friend said he thought his eardrums were going to rupture.
The “main course” was Mac Sabbath’s weird and wild rock / comedy show, full of heavy Black Sabbath parodies like “Sweet Beef” and “Frying Pan,” bad fast food-rock band puns (“Dokken Donuts,” “Dairy Queensryche,” “International Bauhaus of Pancakes,” etc.), water sprayed on the crowd, bizarre characters, and even a tribute to David Lynch‘s Blue Velvet and Roy Orbison.
Again, you have to be able to play well to do stuff like this, and Mac Sabbath have no problems doing so. Slayer McCheese can change riffs on a dime, The Catburglar is a sharp drummer and comedian, Ronny Osbourne never stops moving, singing, or joking when he’s onstage, and I don’t know how Grimalice plays bass in that outfit.
My friend was happy and dumbfounded by the end of the show. “I’ve never seen anything like that before,” he said. I hadn’t either, and I loved it. This was the last show of the first leg of their “More Than Meats the Eye” tour with the other bands, so don’t miss your chance to catch the second half.
Keep your mind open.
[Thanks to Annie at Adrenaline PR for the press passes!]
This was my fourth time seeing some iteration of Goblin, the third time I’d seen a version including founding member Claudio Simonetti, and the first time I’d seen the film Demons (properly known as Demoni in Italy, where it was made). Simonetti and his crew were performing a new prog-rock version of the film’s score to a live screening of the film – the first time they’d done this in the United States.
It was a fun show right out of the gate, with good sound quality the whole time. Simonetti announced that the original score was synth-based, but hoped we’d all enjoy this new take on it by him and his band.
In case you haven’t seen it, Demons, is flat-out nuts and is about a bunch of people trapped in a movie theatre while most of the patrons turn into blood-thirsty monsters. I can’t tell you more than that, not because I’d spoil it, but because there isn’t more than that. Simonetti said he loves the film, stating, “I think it’s very funny.” It is, actually. It’s a wild ride, and so was their new score.
After that came a brief intermission and then they returned for another full set of Goblin classics and even some rarities – including the theme to Ruggero Deodato‘s crazy action / horror film Cut and Run.
And, of course, there was plenty of music from Dario Argento‘s films, including the themes to Opera, Tenebrae, Deep Red, and Suspiria.
Simonetti’s current band includes Daniele Amador on guitar (who played a great solo during the Opera theme), Federico Maragoni on drums (who delivered double-kick drum beats so fast that I thought they were programmed tracks), and Cecilia Nappo again on bass.
It was a fun night all-around, and a fun way to kick off the Halloween season. The crowd was made up of prog-rock fans, horror fans, and movie buffs. It felt like a bunch of friends (including the band) just hanging out to watch movies and listen to good music.
In other words, it was a fun party.
Keep your mind open.
Don’t forget to subscribe before you go.
Apparently there was a bit of a ruckus when Motörhead released their Another Perfect Day album forty years ago. The band had a new lineup, as guitarist “Fast” Eddie Clarke had been replaced by Brian Robertson, and this caused some rumblings among the band’s fans. Robertson was no slouch, however. He formerly played for Thin Lizzy. The rest of the ruckus came from Lemmy Kilmister‘s new “musical” approach to recording and deciding to add more hooks and guitar effects on the record instead of hammering everyone with raw power all the time (which they were still doing in live performances, mind you).
What’s interesting about Another Perfect Day is that despite it being a “divisive” album among the fans, a lot of tracks from it became staples of their live shows and fan favorites. “Back at the Funny Farm” doesn’t scrimp on any of Kilmister’s fuzz-heavy bass or Phil Taylor‘s wicked double-kick drum madness. “Shine” became a hit for them, and why shouldn’t Motörhead have made radio friendly singles if they wanted?
Robertson’s solo blazes like a lit trail of gasoline on “Dancing on Your Grave.” On “Rock It,” they do exactly that for four straight minutes without taking a breath. The title track has a long solo from Robertson that borders on psychedelic rock. “Marching Off to War” covers one of Kilmister’s favorite subjects – the effects of war on those who fight it. A couple tracks later, “Tales of Glory” has Kilmister snarling at those who brag about their war experiences that were nothing like those who were on the front lines. “I Got Mine” is another track off this “controversial” album that is now considered a Motörhead classic. The closing track has one of the best titles of any Motörhead song, “Die You Bastard.”
The bonus tracks on the CD and digital download versions include live versions of “Hoochie Coochie Man” and “(Don’t Need No) Religion” and demo versions of “Shine” (one an instrumental), “Die You Bastard,” and “One Track Mind.”
If you can score the vinyl version, you’ll also get a full, previously unreleased recording of a concert at Hull City Hall in Hull, England recorded June 22, 1983. You can’t miss.
Another Perfect Day has reached a new group of fans, and (rightfully so) the ruffled fan feathers have smoothed over the course of four decades. The album deserves to be revisited and heard, and this new version is a great way to do it.
Keep your mind open.
[It’ll be a perfect day for me if you subscribe.]
[Thanks to Maria at Adrenaline PR.]