Flint – Audiofemme

PLAYING DETROIT: Tunde Olaniran Goes a Shade Darker on “Symbol”

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In 2015, Flint native, artist and activist Tunde Olaniran enchanted with his vibrant, otherworldly debut Transgressor. Since then, we have been waiting with bated breath for new music. Earlier this month that wish was granted as Olaniran released the incredibly slinky and oceanic single “Symbol” which leads us to wonder if (and when) a new record is on the way.

“Symbol” stays true to Olaniran’s charismatic duality. Olaniran packages a powerful narrative – with topics ranging from identity, racial violence and global injustice – in lush layers and goosebump-inducing vocal cascades. While his new single spills over with jutting water droplet-esque movement, Olaniran flirts with a restraint not frequently found on Transgressor. Though inherently still a pop song, “Symbol” advances Olaniran’s brooding, tribalistic approach to traditional pop with a slightly more aggressive tone that might suggest that whatever material is forthcoming is going to pack one hell of a punch.

Olaniran spoke with NPR’s Stephen Thompson earlier this month and said this of “Symbol”:

“I wrote ‘Symbol’ as the child of an immigrant, under the global specter of violence against black and brown bodies, and in light of the international refugee crisis. Now, with the Trump Administration, black and brown bodies are again held up as political symbols to attack DACA and feed white nationalism. It saddens me that these lyrics feel like they will be relevant for many more generations. ‘Symbol’ is about still finding joy in the knowledge that despite a dark history, we still became the future, and that my body is the literal wildest dream of my ancestors.”

Listen to “Symbol” below:

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PLAYING DETROIT: Cheerleader “Bitchcraft”

There is nothing coy about Flint-based Cheerleader’s first full-length album, Bitchcraft. It is a riotous collection of defiant anti-apologies, that if delivered in any way other than Cheerleader’s impenetrable assault, would reinforce the very holding back they’re fighting against. Bitchcraft is the ultimate “fuck you” manifesto aimed to destroy, disarm, and devour the state of counterrevolution. Fully equipped with an advanced artillery of punk purism and unflinching feminism, Bitchcraft doesn’t knock. It grants itself permission.

The power of Christina “Polly” McCollum (lead vocals, guitar), Ashley MacDermaid (bass), and Nisa Seal (drums) is not contingent on image, labels or accessibility, rather their undeniable cohesion in being able to tear down the construct and crippling societal misogyny without compromising sincerity. The album opens with a shrill “WHAT ARE YOU WAITING FOR, HUH? WHAT ARE YOU WAITING FOR?” which feels more like a dare than a question. The words bleed into the opening track “Beauty Queen” where McCollum delivers the first of many deafening blows with repeating the lines “I am more than my body.” Although the album clocks in just over 23 minutes, don’t mistaken its brevity for a shortcut. Quite the contrary. Cheerleader is free of filler or watery withdrawals, saying what needs to be said without finding polite euphemisms to spare feelings. Closing out the track “Friday Night Bites” during an Addams Family worthy bass line, McCollum exclaims: “No one cared about you then/no one cares about you now,” a testament to that one thing we have always wanted to say to that person we’ve always wanted to say it to. That’s the beauty of the anti-beauty of Cheerleader’s debut album. They have found a way to inspire without the squishy connotation.

To say this is an important record for women is like saying it’s wet when it rains. The overarching message of reprisal through rebellion and tenacity channeled by audacity is what, when conjoined with their tightly woven, Bikini Kill sludge, elevates Bitchcraft from an argument to an uprising.

Listen to Bitchcraft in its entirety here and check out the track “Beauty Queen” below:

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PLAYING DETROIT: WAT’ER YOU THINKING?! A Playlist for Flint

If you’ve seen the cover of this month’s TIME Magazine or have recently tuned into any national media outlet, you know that Detroit’s sister city, Flint, is in crisis. Due to corrupt government, dangerous mismanagement, and incompetence, thousands of Flint residences have been poisoned by lead through the water system.

Long story short, Flint was getting its water from Detroit until 2011 when Gov. Rick Snyder, due to economic disparity, decided that Flint would begin receiving water from the Flint river, despite the water’s highly corrosive makeup and the cities aging, weathered pipeline. The water itself is not poisoned with lead, but is so corrosive that it is stripping the lead pipes. Last fall, auto manufacturers refused the usage of Flint water as it was corroding the auto parts, yet it continued to pump into every household, poisoning an entire city. Despite the President issuing a state of emergency and the allocation of 80 million dollars in FEMA relief funds to assist Flint in its recovery, the damage is irreversible.

I know what you’re thinking. What does this have to do with music? Well, nothing, really. Other than the fact that I feel that I bear the shared responsibility of social consciousness as an artist and fellow human taking up space on this floating ball in space. I couldn’t help but search for some convoluted way to draw attention to this issue, while also finding personal solace through the only outlet that I knew. I’ve curated a playlist of “water songs” by Michigan artists with the hope of a healthy resolve for the millions of people around the world who do not have access to safe drinking water, which now include the thousands of children and families of Flint, Michigan. Let these tracks wash over you and extinguish any unwanted fires.

BLKSHK: “Arm Floaties (Night Swim)”
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Eddie Logix and Blair French are BLKSHRK. Released last year, Jellyfish on Cassette is an ocean of temperamental pulsations. The project fuses programmed sampled, live takes and improvisation all of which swell. “Arm Floaties (Night Swim)” gives gives the aural allusion of treading deep water.
800beloved: “Tidal (Alternate Version)”
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This alternate take of “Tidal” from 800beloved‘s dreamy sophomore record, Everything Purple, is a trembling and sedated beachside lullaby. Lynch’s breathy vocals paired with the distant and upbeat pop distortions forms the sensation of having a sun stained memory you wish you could return to.
Jamaican Queens: “Water”
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A standout track off of their 2013 album Wormfood, “Water” is drowsy and pleasantly complacent, much like falling asleep in a filled-to-the-rim bathtub. It’s a smug track about the things we normally don’t have the guts to confess about the disinterest in meaningful love and sex. It’s the type of song that demands hydration; a sonic hangover.
JRJR: “Dark Water”
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Before they dropped the Nascar kitsch, JRJR released Patterns. “Dark Water” is reminiscent of The Shins with hints of Jon Brion, making it both sugary and brooding. The Beach Boys-esque harmonizing and piano crescendo mask the heaviness of the repeated imagery of drowning which makes this bubbly pop track ironic and bittersweet.
Gosh Pith: “Waves”
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One of my favorite Detroit duos, Gosh Pith, channel a sleepy Animal Collective/Vampire Weekend vibe with a track off their 2015 EP, Window. “Waves” challenges the listener to let go, internalizing the symbolic properties of water via a gentle, lapping synth pop track.
The Gories: “Goin’ To The River”
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The Gories formed back in 1986 and were fearless in welding 60’s garage rock with hyper rhythm blues. “Goin’ To The River” from I Know You Fine, but How You Doin’ released in 1990, is defiant and demands rowdiness. This track by The Gories is a perfect example of their lasting and often overlooked influence.
Iggy Pop: “Endless Sea”
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What I consider to be the most under appreciated album in Iggy Pop’s catalogue and one of the most important contributions to post-punk, New Values is full of songs as jutting as this one. “Endless Sea” is particularly provocative. The synth breakdown along with seductive, temperate vocals are the perfect pairing for giving the drugged sensation of literal endlessness.
The Dead Weather: “Will There Be Enough Water”[/fusion_builder_column][fusion_builder_column type=”1_1″ background_position=”left top” background_color=”” border_size=”” border_color=”” border_style=”solid” spacing=”yes” background_image=”” background_repeat=”no-repeat” padding=”” margin_top=”0px” margin_bottom=”0px” class=”” id=”” animation_type=”” animation_speed=”0.3″ animation_direction=”left” hide_on_mobile=”no” center_content=”no” min_height=”none”]
The Dead Weather may be my favorite collaboration from the diverse repertoire of Detroit’s golden child, Jack White. White along with Alison Mosshart (of The Kills) make for a sexually hypnotic rock experience. “Will There Be Enough Water” is a smokey, blues infused anti-apology that is as thirsty as it is satiated.
Fred Thomas: “Waterfall”
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The folkiest track on the playlist, “Waterfall” off of Fred Thomas’ Kuma is moody and textured like a messier, sleep deprived Elvis Perkins. The song begs “Come on everyone/it’s time to go see the waterfall” an uplifting chorus partnered with moaning string arrangements keeps “Waterfall” in the heartache category.
Valley Hush: “Black Sea”
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This track off of Don’t Wait by experimental pop duo Valley Hush could easily be a secret video game level trudging through sparkling, underwater sludge where Lana Del Rey meets St. Vincent. It’s more sensational than literal, but the ominous gurgling noise is animatedly visual.