7th Level Music

Levitation Austin 2024 – Day Three

Like any other marathon, the three-quarter mark is when it really starts to hit you. The same can be said of Levitation Austin, as Day Three is when the festival starts culling the weak and you begin to hear people saying things like, “I tapped out at one a.m.,” “He wanted me to go to another show last night, but I just couldn’t,” and “Austin is kickin’ my ass today.”

It’s also when you start having weird synchronous moments with people you’ve seen at the festival. My girlfriend and I have seen the same woman at all but two of the shows we’ve attended so far. She’s come all this way from England to express her love for a festival cameraman. He’s married, by the way, and this woman’s friend isn’t happy that he’s been dismissive of her. There’s also “blond guy,” who looks and dresses like a character from an early 1990s video game and I think has been on some kind of illegal drug for three days, “Asian guy with a splint on his right index finger,” and “Guy with the big King Gizzard and the Lizard Wizard patch on his jacket.”

We started Day Three with some friends and great BBQ (as one does in Austin at least once where you’re here) at a place called KG BBQ that mixes Texas BBQ with Egyptian flavors. It’s great. We then headed to Hotel Vegas for the “Levitation Lounge,” where no one bothered to check out RSVP tickets, and we had free drinks while listening to a DJ set by Death Valley Girls.

I was wearing my “Death Valley Girls Official Fan Club” shirt and was spotted by Bonnie Bloomgarden, the leader of DVG. She remembered me as the guy who keeps his phone set on black and white and, in a moment of joy for me, from this blog. They’d opened for Osees the previous night there and I told her I was excited to hear their new “Earth, Wind & Fire-sized line-up” later that night at Parish.

My DVG shirt proved to be popular. I had more comments on it than any other shirt I’ve worn all weekend. At least four people pointed at me and said, “Great shirt,” and then told me how they’d seen their Hotel Vegas set the previous evening and were amazed by it.

The surprisingly tall Dry Cleaning walked in not long after my lovely conversation with Ms. Bloomgarden. I thanked them for their set at the Far Out Lounge the previous night, and they told me how much they love playing in Austin. They were all delightful people and played a fun DJ set of their own that dropped in some classic Sade and Wham! tracks.

We wanted to stay for the Black Angels DJ set, but it was Day Three and we needed a disco nap. It turned out to be the right call because Austin got slammed with rain for about an hour and we would’ve been soaked on the walk back to our pad.

We came back to Hotel Vegas to first see local shredders Grocery Bag take the stage, and they played a wild set of fierce garage rock. Be sure to look them up.

After that was night number three of Osees’ four-night residency at Hotel Vegas. They ripped into it straight out of the gate (as always) and immediately floored by girlfriend, who was seeing them for the first time. She was amazed by their manic energy and how “they just go for it.” They threw in some punk ragers with a couple psych-rock cuts, showing how they can change shape faster than a D&D doppelgänger.

We then walked six blocks along 6th Street, maneuvering around stumbling drunks and people still in Halloween costumes lining up to cram into a small club spinning overplayed dance tracks from the early 2000s, to get to Parish and see DVG perform their heart-lifting yet spooky set of psychedelia. It was strange at first to see them with no guitars (apart from Sammy Westervelt on bass), replacing them with saxophone. “They sound like a spooky version of Morphine,” I thought. My girlfriend loved them and empowerment and spiritual healing messages they convey in their lyrics.

We headed to the Parish’s small lounge after the set and another guy pointed out my DVG shirt. It turned out he and his friend were at KG BBQ and noticed my shirt there. They’d seen DVG’s Hotel Vegas set and fell in love with them. One of them, Shafiq, got my “spooky Morphine” reference, and they were both from Chicago and frequented a lot of the same bar. The other, Imran, had been at the same Slift and Meatbodies show I attended at Reggie’s Music Joint weeks earlier. We all bonded over Gen X bands and chai.

Wine Lips, whom Shafiq had seen before (“First tickets I bought.”) and described as “The Toronto Osees,” came out and just went nuts. That might be the best way I can describe their set of crazy garage-psych. It was damn impressive. They barely let you take a breath.

We stopped at a shawarma food truck on the way back, where I was again complimented on my DVG shirt, and then got back in time to settle down with my overflowing chicken and falafel wrap and watch the opening scenes of Godzilla vs. Mechagodzilla. You can’t wrap up a festival day much better than that.

Up next, doom!

Keep your mind open.

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Levitation Austin 2024 – Day Two

The weather stayed nice for us on Day Two of Levitation Austin. There was no rain, and it was overcast – which meant that the sun wasn’t beating down on us at this place.

We spent most of our day here. It was a first time for both of us at the place, and the Austin Psych Fest in the spring is held here. You have to take the bus or use a ride-share service to get here because it’s on a busy road and there’s no where to park for miles. That being said, it’s a nice place big enough to hold two outdoor stages and multiple vendor booths. I would’ve enjoyed more food truck options other than pizza (which looked delicious, by the way), and we’ll bring a blanket next time, but the place reminded me of the La Chabada venue at Levitation France. You can easily hop back and forth between stages at both places.

Up first were Meatbodies, whom I’d recently seen in Chicago. They were the first band of the day and had a good crowd for a 4:30 slot. They had fun and set the table for everyone else to follow with a night of garage-psych, electro, cosmic rock, and post-punk.

They had to cut their set a bit short, as the second band of the day was in the process of unleashing fierce dance-punk on the main stage. Special Interest came out ready to fight and / or fuck. “Fierce” is how my girlfriend described their wild set.

We could hear parts of Fat Dog‘s set, which was described by one of the sound engineers as “Like Fontaines D.C., but hornier.” We decided to get close for Gang of Four, who are on their final tour, and were the big draw of the day for me. They didn’t disappoint, playing a lot of classics and destroying a microwave in the process. Jon King‘s manic energy made my girlfriend wonder if he might have a heart attack on stage, but one look through his unbuttoned shirt showed how ripped he is.

We hung out in the same area for Dry Cleaning, who somehow had to follow Gang of Four. Lead singer Florence Shaw (whom my girlfriend described as “fucking weird”) spoke, a bit nervously, about all the great bands playing that day. She and her bandmates didn’t have to worry, however, as they put down a great post-punk set. I love the addition of their saxophonist on this tour. The echoing horn is a sharp touch.

We heard part of Pissed Jeans‘ set, which sounded crazy, and they had a lot of fans at the Far Out. I saw plenty of their band shirts on people in the crowd (“Excuse me, are those Pissed Jeans you’re wearing?”), and then headed over to see Slift, who were once again wrapping up their U.S. tour at Levitation. They wasted no time, using every bit of gas left in the tank. Crowd surfers were abundant during their set and they practically blasted the east fence off the place. “I think Slift stole the show,” my girlfriend said.

We wrapped up the night at Kingdom in downtown Austin, a venue that’s the opposite of the Far Out. It’s pretty much a rave warehouse that you can only access through a door in an alley. We hit the dance floor during MJ Nebreda and Doss‘ sets, which were full of so much bass that we were both buzzing by the end of the night. It was fun to hang out with a crowd of ravers (many of whom still in costume a night after Halloween) after hanging out with rockers for several hours.

Up next, night three of Osees‘ four-night residency at Hotel Vegas.

Keep your mind open.

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Levitation Austin 2024 – Day One

It’s time to enjoy my favorite weekend of the year with another return to Levitation Austin. The weather on Day One was perfect for both the festival and Halloween. Downtown was packed to the gills with people in and out of costume, but the majority of the crowds were in the spooky spirit (For the record, my girlfriend and I were dressed as Shaggy and Velma.).

Up first was a stop at Stubb’s to catch Mdou Moctar and The Black Angels. We missed The Strange Lot‘s set, and caught part of Boogarins‘, but managed to get about halfway to the stage for Mr. Moctar and his band (who came out wearing wigs and fake beards).

The sound mix was a bit off during Moctar’s set at first, making his vocals a bit tough to hear, but they eventually smoothed out and the band had a great time. The crowd was roaring by the end of their set, and Moctar’s drummer was on fire.

The Black Angels are a new favorite band of my girlfriend, so we moved up closer to get her the best experience possible. They were performing the entire Phosphene Dream album as the first set, which is a favorite of mine since they were touring that album when I first saw them live in 2011.

They played a full second set, including many songs I’d never heard live until then (and I’ve seen them at least a dozen times by now). Lead guitarist Christian Bland did a lot of wild pedal effects during both sets, and their new bass player and keyboardist is sharp.

We snagged some mediocre falafel at a food truck after that and then heading over to Empire to see A Place to Bury Strangers. They were playing the inside stage, and it had been so long since I’d been at a show there that I’d forgotten how small the inside space is. “It’s going to be so loud in here,” I told my girlfriend, who was also seeing them for the first time.

After a great catch-up conversation with frontman / guitar and pedal whiz Oliver Ackermann, the band (all dressed as vampires) came out and, as predicted, flattened the place. Ackermann smashed one guitar and broke two strings on it by the second song (“We’ve Come So Far”). The stage was flooded with fake fog during “Ocean,” and Ackermann and Sandra and John Fedowitz emerged from it like, well, vampires, as their bulldozer of sound rolled over us.

A mosh pit broke out at one point, making my short girlfriend uneasy. I got her away from it while APTBS brought out their rolling synth-drum machine-cacophony maker into the crowd and Sandra and John Fedowitz played their respective drum and bass around it while Ackermann melted brains with weird sounds and weirder vocals. They returned to the stage where Ackermann decapitated a piñata with a guitar and they ended the night with enough feedback to make my girlfriend say, “I need a neck adjustment after that.”

It was a good start to the festival. Up next, several post-punk and rock bands at a place that has no parking and a late-night mini-rave.

Keep your mind open.

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Live: The The – Salt Shed – Chicago, IL – October 25, 2024

I wasn’t sure I’d ever get to see The The live. The band’s leader, frontman, and songwriter, Matt Johnson, had seemingly retired many years ago to make film scores and write other non-musical projects. Then, in 2018, he did a reunion tour through the United Kingdom. I thought that would’ve been great to see (and video recordings of the shows bear me out), but guessed that my only chance was gone.

Then he released Ensoulment, his first new album in almost thirty years and announced a world tour that was stopping in Chicago. I signed up for pre-sale tickets and snagged a pair as soon as possible. My friend, Brian, and I went, both of us having been fans since 1986’s Infected album.

There was no opening band. The The played two sets. The first was Ensoulment in its entirety, and this was the first time I’d heard more than the first three singles from it. The first half is almost a jazz album, and Johnson’s sharp lyrics and jabs at the political establishment (i.e., “Kissing the Ring of the POTUS”) on both sides of the pond still hit like a gold medal fencer.

Following a 15-minute intermission, the band came back out for a “time traveler’s set” of material from their previous albums, opening with a slightly stripped-down, but no less funky version of “Infected.” “Armageddon Days Are Here (Again)” and “Heartland” were big hits with the crowd. “Love Is Stronger Than Death” was a beautiful addition to the set, and Johnson declared “This Is the Day” as a song of hope that was just as important now as when he wrote it decades earlier.

All of his songs still resonate. “Lonely Planet” prompted a “Fuck yeah!” shout from a guy a couple rows ahead of us when Johnson announced it to close the second set. The encore was two songs from Soul Mining, which had been released forty-one years prior (“I wasn’t even born then,” Johnson said.). “Uncertain Smile” and “Giant” rounded out the show, leaving a lot of people happy and buzzing. The whole crowd was in the same boat as Brian and I. We all thought we might not get to hear these songs live, and were all thankful that it happened.

Keep your mind open.

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Review: Douglas Richards – Project 85 EP

What do you do when you’re an attorney who doesn’t have much to do during the COVID-19 pandemic lockdown? If you’re Douglas Richards, you go back to doing what you did before you became an attorney – being a rave DJ and making the Project 85 EP.

The first track, “Everyone Has Their Own Reasons,” is a tale of one of Richards’ friends experimenting with DMT, using his friend’s own telling of the tale for the vocals and stacking them with hot 303 beats and bouncing bass.

“I’m Here for You,” using more of the same conversation for more vocals, becomes a robotic techno ripper that bumps and thumps in all the right places. “I Move with Intention” has some retro vibes, sounding not unlike an early 1980s disco cut that you’ve been digging in crates to find for the last thirty years.

Richards is about to blow the doors off dance clubs across the world if he keeps up with stuff like this. Don’t miss out.

Keep your mind open.

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[Thanks to Pull Proxy Media!]

Review: Maquina – Prata

Hailing from Lisbon, Portugal, the trio of Maquina combine krautrock, electro, industrial, and shoegaze on their first full-length album, Prata. Trust me, it all works quite well.

Opener “Body Control” unleashes groovy fuzz bass to get your hips moving and then bonks you on the head with hard-edged synths, guitars, and howls. “Denial” has a spooky edge to it (and is a song about turmoil, after all), and there’s still time to put it on your Halloween playlist, so why not?

The beat and pulse of “Subversive” are infectious and will probably cause you to stomp the gas pedal if you listen to it while driving. “Kontakte” (“Contact”) has this weird, almost unsettling bounce to it that might be the throbbing of a UFO engine as it approaches you on a dark night…only to reveal a goth dance club inside it run by sexy aliens.

The opening bass of “Desterro” (“Exile”) brings to mind some of the same energy label mates A Place to Bury Strangers often unleash. Ending with “Concentrate,” Prata comes to a close with chugging drums and growling, simmering danger. It’s like a snake slithering across the room at you…and the snake is an android…and it’s programmed to lead you onto a monorail in the Lisbon of 2099.

There isn’t a bad track on this album, and it makes you want to catch them live. I’m sure it’s a wild experience…just like Prata.

Keep your mind open.

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[Thanks to Kate at Stereo Sanctity.]

Review: Temporal Waves – self-titled

Classical Indian music mixed with synth-wave? I’m there all day.

Shawn Mativesky, otherwise known as Temporal Waves, has released his debut self-titled album and it’s a wild mix of those two genres. I don’t know how he does it, but he blends tabla so well with analog synths and drum machines that you’re often not sure where one ends and the other begins.

He also gives any of the tracks on the album ample time to breathe. The opener, “I Remember,” is over six minutes long. It’s a beautiful track that puts you in a different headspace. The whole album does, really. It puts you into a trance one moment, and then sends you rushing to the dance floor the next.

There are four subtle “Interludes” on the album, each one setting the table for the next track, such as “Interlude I – Skyline” being a hazy lead-in to near-creepy “Sprawl Twilight.” “Interlude II – Scorched” is a perfect opening for the next track, “Eclipse of an Urban Dystopia,” just from the titles alone, but the dark, John Carpenter-like tones of both are a good pair.

You could put “Interlude III – Tomorrow Machine” on a horror / sci-fi film soundtrack and “Cortical Network Oscillations” could be the sound of an alien transmission. The build-up of “Cyclotron” is a cool opening to what sounds like a forgotten 1970s TV show theme. “Water Temple” drifts along for the first half and then drops deep synth-bass on you in the second. “Luminous Objects” might be the loveliest song on the album. It seems to make you float.

Mativesky’s hands and fingers are moving so fast on this tabla on “Data Cassette Sunrise” that you’re often taken out of whatever you’re doing while listening to it to think, “Holy cow…Does he have three hands?” I love how he adds apparent vintage video game sounds on “Awakening.” They blend in perfect with the raga-like hypnotic effects of his playing.

“Warmth of the Winter Sun” is loaded with heavy bass, bright synths, and wicked beats that are positively uplifting before the wind-down of “Postlude” to send us away with new energy.

Keep your mind open.

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[Thanks to Nick at Riparian Media!]

Live: Osees and Iguana Death Cult – Thalia Hall – Chicago, IL – October 19, 2024

It was the second of two sold-out shows for Osees in what’s become an annual autumn tradition at Chicago’s Thalia Hall. The crowd was buzzing at the outset, and everyone knew a good, wild time was coming.

The party started with Iguana Death Cult, all the way from The Netherlands. I hadn’t heard of them until this night, and at first wasn’t sure what to make of them. Were they pun, funk, post-punk, post-funk, post-psych, pre-psych? I’m still not sure if I know, but I do know that they were a lot of fun, the songs were wild, and each one was better than the last.

The crowd was behind them all the way, and had a fun mosh pit going by the end of their set. I chatted with their lead singer, Jeron Reek of them after the show, and he told me they’d played South by Southwest twice, and other clubs and events a ross the U.S. a few times, “but this was the best.”

Osees came out to a happy crowd and soon got underway with a no-frills, no muss, no fuss set of wild garage-psych that began with “I Come from the Mountain” and barely let up to give the mosh pit time to catch a breath.

No backdrop, no projections…just simple lights and heavy shredding.

As always, the band had enough energy to power a Formula 1 race car through 500 laps with double drummers Paul Quattrone and Dan Rincon leading the charge. “A Foul Form,” “Toe Cutter – Thumb Buster,” and “Animated Violence” had the front half of the crowd in a wild frenzy.

Lead singer and guitarist John Dwyer announced “Tidal Wave” as “an old one,” but everyone reacted like it was a brand new gift. He introduced “The Dream” as “Here’s a new one that nobody likes,” and the crowd proceeded to go bonkers.

“Warm Slime” was a great addition, and the night ended with two long psychedelic tracks, “C” and “Minotaur.” I love Osees’ longer psych-rock cuts, so I was digging it. I must, as always, give mention to Tom Dolas on keyboards and Tim Hellman on bass, who always keep the whole band grounded. Dolas is like a magician in the background putting in tones and sounds that would make the songs feel weird without them, and Hellman is one of the sturdiest bass workhorses in all rock music. That guy is solid all the time and never stumbles.

Both bands will be performing at Levitation Music Festival, with Osees doing a four-night residency at Hotel Vegas no less. Don’t miss either of them.

Keep your mind open.

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Live: Slift and Meatbodies – Reggie’s Music Joint – Chicago, IL – October 18, 2024

The first time I saw Slift was at the Levitation Music Festival in 2022. It was the last show of their U.S. tour, in a small venue, and they held back nothing. It was as if they blasted every drop of rocket fuel they had.

Now I was seeing them in an even smaller venue and with Meatbodies, no less, opening for them.

I’d been keen on seeing Meatbodies since I heard their newest album, Flora Ocean Tiger Bloom. Their live sets are as good as the record – trippy, heavy, and loud. It was a solid set, and the sold-out crowd loved it. The sound quality of their set was top-notch, too.

Slift was in full cosmic-psych mode to the point where they were selling posters at their merch table featuring schematics of the spaceship seen in the videos for their newest album, Ilion.

One thing you need to know about seeing Slift live is that every song sounds like a finale. They pack so much power and energy into their songs that you keep thinking, “It’s going to be tough to match that one,” and then they do it – every time.

They played a wall-shaking set of new and older material that had the whole place buzzing. The galactic nature of their lyrics and sound, and the near relentlessness of it almost becomes an out-of-body experience.

Don’t miss either of these bands. They’re touring all over the place, and will both be at Levitation Music Festival soon.

Keep your mind open.

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[Thanks to Kate at Stereo Sanctity, Frank and Bekah at SubPop, and Slift for the press pass!]

Review: Goodbye Meteor – We Could Have Been Radiant

The brief bio on Haute-de-France’s Goodbye Meteor‘s Bandcamp page lists their sound as “immersive and solar post-rock” that’s created for “opening the way for harmony between humans and nature.”

I’m glad they included this, because I was unsure of how to describe their newest album, We Could Have Been Radiant. I knew it wasn’t quite shoegaze, ambient, or psychedelic. It was somehow all three, and yet none of those.

The theme of the album is humanity’s search for something more, and often being disappointed when we find “it” because we realize we had “it” all along here in the present moment.

Opening with “This Is Not Here,” the quartet unleashes soaring guitar sounds that would be appropriate for hang gliding through a mountain range. It awakens you and reminds you that what you think is important right now is probably not that at all. “No Signal” implies the worst nightmare of many in this age of internet addiction and dependence, but the snappy drums and expansive guitar sounds makes you think having no cellphone or computer for a while would be the greatest thing you’ve experienced in a long time.

“Destructuration” builds from a drift through space to flying through a heavy meteor shower by the end. “What Are We Here For?” is the longest track on the album, clocking in just over twelve minutes, and it uses the time to make you sit back and think on things as it creates a sound around you that brings to mind images of spotting a far shore after days lost at sea or the sun finally breaking over the horizon after a seemingly endless night in the dark.

The title track is full of power and also subtlety. It shifts your perspective rather than blow your mind. The album ends with “Phosphenes,” a short track to uplift you on a high note as you consider what’s happening right here and right now.

Did I mention this album (apart from the final track) is instrumental? It’s good stuff, and best heard as one continuous experience. Check it out if you want to change how things appear.

Keep your mind open.

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[Merci à Laurent de Goodbye Meteor!]