Jay Burna says he is “Self Made” but does that mean as a man? As an artist? As something else? He lays it down in his new song that will appear on an EP due out next month called Fear Is A Lie. The instrumental here from 2Much is very nice, would love to hear more.
Vocalist Valentina CX joins Sinitus Tempo for something that souinds like it explored the 101 Strings dollar bin and came out with something not only funky, but beautiful sounding. The song is called “Maidens Of The Nile”, a song that easily welcomes the dawn of spring to come.
Mo Kolours will be releasing a new EP next week called How I (Rhythm Love Affair) and you can check out a song which features keyboard whiz Henry Wu playing along with the finely crafted groove. Listen to “South LDN” and imagine yourself with them and/or there. The album is available below for pre-order through Bandcamp.
Superhuman Happiness are not the same band as Sister Double Happiness, please keep this in mind. Now that you know, we can continue and say that Superhuman Happiness will be releasing an album later this summer but they want to do some shows to get the cobwebs out of the way, so they will begin a west coast this this weekend. You can check out the tour dates below and also listen to their brand new single, “Super 8″, by heading here.
March 6… Los Angeles, CA (Bootleg Theatre) ^^
March 7… San Francisco, CA (Independent) ^^
March 10… Napa, CA (City Winery) ^^
March 13… Portland, OR (Mississippi Studios) ^^
March 14… Seattle, WA (Nectar Lounge) ^^
April 10… Brooklyn, NY (Brooklyn Bowl) #
April 16… Syracuse, NY (Funk N Waffles)
April 17… Buffalo, NY (Nietzsche’s)
June 25-28… Rothbury, MI (Electric Forest Festival)
^^ = w/ Marco Benevento
# = w/ Pimps Of Joytime
Now that Sonic Youth is officially over, we’re able to hear material from the other members, perhaps in a slightly different light. For Lee Ranaldo, perhaps it’s another way to hear his music and lyrics in a different way, away from the noise, the heaviness, and the occasionally ugliness although his music has always been very distinct from Thurston Moore’s and Kim Gordon’s. For Acoustic Dust (El Segell Del Primavera), the title basically tells the story, as the album has him playing acoustic guitars while being accompanied primarily by other acoustic instruments. It is his third album with The Dust, and if there’s something that makes these songs unique (if you want to call it that), it’s a distinct and simplified sound. One way to compare it is with the covers that are on here: Neil Young’s “Revolution Blues”, The Monkees’ “You Just May Be The One”, and Sandy Denny’s “Bushes And Briars”. You might expect to hear this at Farm Aid or the Bridge School Benefit, and perhaps jamming with Tom Petty or maybe choosing to do some ki ho’alu. Ranaldo sounds very comfortable in this mode but he has always done well with coverage a wide range of different textures, but it’s his stories that help pull you deeper into these songs and want to hear them over and over, or know that they will be there for you in the future when needed.
Zs are a Brooklyn based trio who come off as a group who like to throw in anything into the mix at any given time. There is a bit of spontaneity in what they do but there’s some sonic choreography so people can be sure they are on their mission to go through the music from star to finish. With the use of the saxophone, they may come off like the ghosts of Captain Beefheart & The Magic Band, Smegma, or Hell Cows and while those comparisons are/can be impressive, they show something that opens them up to the possibility of everything, which is what they do on Ze. The guitar work may sound like random doodling in spots while it may find its way to a goal in other portions, but the thing is the listener isn’t sure where things bein, end, or came from somewhere else. Or at least that’s one way of describing what they do. There are times when the rhythms go well beyond the math rock quota but a few seconds later, they may get into experimental mode and it sounds like a sandpaper circle being played at 78rpm.
What I also found impressive is that if you don’t pay attention to when the songs change, you will not know when songs actually begin or end. I would love to see how these guys do it in a live setting for while the noisy parts is what I love, I also really like when there are general melodies, as they do in “Corps” complete with unique rhythms and a twisted sax solo. Hearing this made me want to be deliberately on the edge. We’re just wrapping up month two of 2015 but I have already found one of my favorite albums of the year.
As someone who has followed Sub Pop Records for almost 30 years, it’s surprising and perhaps a bit of a shock that they have released something as soulful, moving, and powerful as THEESatisfaction and their album EarthEE but I’m glad they have done so. You might call this natural soul, neo-soul, earthy soul but personally, I simply want to call this soul that is able to branch out and find new things. The first person I am reminded of when I hear the voices of Stasia “Stas” Irons and singer Catherine “Cat” Harris-White is Georgia Anne Muldrow, as they’re all able to sing beautifully and with sensuality, then throw out dope rhymes without a fear of holding back words. They can be poetic in a romantic sense, then touch into the earth or the streets and tell you directly what they feel. You can also say this is along the lines of folks like Erykah Badu or Jill Scott but also with a slight OFWGKTA tendency, which means if they wanted to step out of the boundaries you expect them to remain in, they will do so. When you hear them rap in “Blandland”, you may immediately say “this would sound nice with Ladybug Mecca” and while she doesn’t show up, who does show up is fellow Digable Planets member Ishmael Butler, which is a chance for THEESatisfaction to extend their Seattle connection and show that family can be family when there is a sense of commonality. Me’Shell NdegeOcello finds her way nicely in “WerQ” and even with every cameo appearance the album features, it is still distinctively the sound of THEESatisfaction, and the song they’re creating/defining for themselves is enough to make people want to hang around for future endeavors.
Heavy Electricity (Sargent House) by Ireland’s No Spill Blood is proof that a band can still make angry music without sounding as if they’re trying to cater (too much) to anyone but themselves. In other words, the rage they play in their music sounds as if they’re giving each other last messages in case one of them dies, as if they’re saying “I want you to pass this to a loved one, I do so with confidence.” A lot of the riffs could be considered metallesque with sounds and rhythm sequences bordering on electronic mayhem, if not on the industrial side. Now mix that with punk or speed metal and it sounds like the perfect blend to down with the ship together and you feel the glory of the misery. “Harsh Route” even has some synth parts that sounds like something from a Foreigner, Styx Black Sabbath song, bright and moist but never out of place, especially when they morph that into something much uglier. The lyrics and and should be appreciated for those who may not be able to deal with the every day issues of simply living but there is always a small hint of brightness on the other side, if you’re willing to give it a listen.
(Heavy Electricity will be released on March 10th.)
A&R Studios: Live In New York On 26th August 1971 (Autarc Media) is a recording the Allman Brothers Band did two months before the death of guitarist Duane Allman and while this may not have the sane vibe or zest as the Live At Fillmore East album, there is more than enough juice in this baby to keep people satisfied. All the goods are here, from “Statesboro Blues”, “In Memory Of Elizabeth Reed”, “You Don’t Love Me”, “Trouble No More”, and “Done Somebody Wrong” among many more, and what is nice about this one, like with any Allman Brothers Band live show, is to hear the different variations between everything from the solos to Gregg Allman’s singing to the drumming and the overall vibe. The session here is a bit eased up, more laid back but still retaining the same energy they were becoming known for in 1971. A very fine listen. The show has been released a number of times so if you haven’t heard it yet, pick it up.
The Killer Instinct is a hard rock and heavy metal album by Black Star Riders for those who like their style of music on the classic side. I guess for me, there’s nothing wrong with liking something that sounds as if it came from the days of my youth but do you want to stay in ones memories forever or do you want to find a way to bring yourself to modern times? My point is that as strong as their musicianship is, I found myself getting bored by the third song, as if every cliche was being done in front of my face without anyone ever throwing something new. I wanted just a hint of… something just so I would know there’s something else but they have nothing else, at least not here. I understand what they’re doing and it works, but give me something just so I know there is more, or at least make me want more for the next round. I found this to be a bore.