This week, I had a chance to chat with Kasabian’s always-guitarist, sometimes-vocalist, songwriter Sergio Pizzorno. The chatty, upbeat Brit made for one of the easiest interviews I ever got, connecting all of the dots between my less connected stream of questions (we had to make the best of just a couple of minutes)…
America Give Up, indeed. Since the Strokes and the long-lost Libertines have lost their relevancy, perhaps we do need a new bunch of 19-year-olds to shake up the basics of rock and roll for the younger set, proving that there’s still plenty to be said for rollicking choruses, simple guitar chords and comedic banter. Howler is clearly cocky frontman Jordan Gatesmith’s project, though his band mates Ian Nygaard (guitar), France Camp (bass), Max Petrek (keyboards) and Brent Mayes (drums) are the perfect backdrop, filling out Howler’s sound and making the set come alive like a boys’ bratty party on stage.
The term “multi-instrumentalist” doesn’t really begin to describe the unconventional, über-talented Swedish singer/songwriter Christine Owman accurately. Owman is a one-woman show-stopper who takes on not merely a few, but almost twelve, instruments on her most recent album, Throwing Knives.
Why do the year-end lists always seem to come in tidy sums of ten, twenty-five, fifty, or a hundred? I would have gone and given you a baker’s dozen but I stopped myself at twelve, for fear of being overbearing. You know how overarching these lists can be.
2010 was so much better,” I said throughout 2011, despite posting Salem’s “King Night” on New Years Eve to slam the door on that horrible chapter. I started dead-set on only doing a top five for a year where I barely spun anything released more than twice, but then I looked through my downloads and saw a lot of heavy-hitters…
Brooklyn’s Monogold brought their lush, ambient sound onto the scene in 2008 with their debut EP, We Animals, followed by a CMJ showcase, heralded as “one to see” by many. This led to immediate attention from the likes of Spin, who included their song “Feel Animal” among their year’s top ten. Not too shabby for a band just starting out.
Tomorrow night sometime between 9-11PM the darkness will truly settle, the kids will scream out something blood curdling and the open bar vodka will be chugged. It will be time to get rinsed, nay, RINSED in the back room of Public Assembly with Blacky II and Dan Wender delivering all that moves you, A.Pop with the aesthetics and Professor Mims at the door and on the floor.
This is also a special occasion, it’s the one year anniversary, one year ago Blacky and Dan got together and threw their chips into the rotating roulette of nightlife building something abashedly fun, illicit, open and dangerous like Odysseus partying with the Sirens instead of keeping himself all tied up. As had happened in the past (one wonderful memory is Beacon performing an amazing live set at the party) there will be special guests, this night it will be Braille (Hotflush label), who already sound like a wonderful fit in my headphones.
We’ve had a chat with Blacky II, Dan Wender aka Carly and A.Pop about the past year, all that blood, all who bleed, 2012 and the future.
Needless to say, the blinding sea of frail Brooklyn whiteness—on and off stage—could not make proper kinesthetic sense of Friedberger’s off-tempo art-rock. On stage, she seamlessly coupled the warmth of Patti Smith with the outlandish glamour of Kate Bush, while playing songs that she must have discovered somewhere in Bowie’s k-hole
Though the romanticized torch singer is a heavily-sought title for many contemporary female vocalists, few approach it through such an experimental lens. Anomie Belle’s collaborative failures (see: Mr Lif’s verse on the title track) and weakness of production all seem to fall short of, or even complement, the strength of her uniquely apposed voice.