We all know that the internet can be a dark, scary place. But sometimes, it can also be a catalyst for beautiful projects that inspire change. Twenty-one year old college junior Portia Maidment (of Port Lucian) harnessed the power of the internet and used it to create a new compilation, Trans Musicians and Allies for Change, out via Ztapes on March 5th. The comp is made up of nineteen different artists from around the world, ranging from an acoustic Diners ode to chilling out, to the watery shoegaze of Floor Cry. All proceeds from the cassette will be donated to Trans Lifeline, a 24-hr hotline dedicated to offering support to trans and gender non-conforming folks.
Maidment, a pre-med student at Case Western Reserve University, was first inspired to make this project after taking a class on transgender literature. “That [class] sort of boosted my interest in transgender rights,” says Maidment. “So, I’m actually applying to medical school so I can eventually perform gender affirming surgeries and things like that.”
If you’re wondering how a pre-med student managed to organize an entire compilation album in the midst of a pandemic, you’re not alone. But Maidment said it was actually pretty easy. “I would hit people up on Twitter and ask if they were interested in this comp,” she says. “That’s honestly how I did the whole thing. A lot of people that are on the comp, I don’t know, but because I had support from a label and a cohesive idea, it just sort of came together.” And the power of the internet prevails.
Maidment’s patchwork approach to choosing the artists is evident in the diversity of sound on the record. Whether it’s an acoustic Joni Mitchell track from Philly indie pop band 2nd Grade or a trademark conversational narrative from Fred Thomas, all of the tracks are either previously unreleased demos or written specifically for it. While all of the songs feel vulnerable and personal, some speak specifically to the transgender experience.
Toronto-based indie group Little Kid explores the importance of defining your own identity in “What’s in a Name?” In the most gentle of voices, singer and multi-instrumentalist Kenny Boothby distills the emotional fallout that can occur after a person chooses to change their name. “Oh babe, what’s in a name?/Grew tired of the one that your parents gave/They heard that you wanted to change it like trumpets on judgment day.” Many transgender and non-binary folks experience pushback from friends and family members when announcing their name change, making the transition harder than it needs to be. Aside from the administrative cost of a name change – ranging from $150-$450 – the emotional cost can be huge. Having to remind your friends, family and strangers of your new name over and over again can be emotionally exhausting and invalidate your identity.
Boothby goes on to support the sentiment that these type of dismissive of reactions usually have nothing to do with the person they’re directed at, but rather, a deep-rooted resistance to change or anything outside of what they know. He sings, “Guess they still don’t know how to behave when they can’t place you anywhere.” The song is a validating, soothing reflection on affirming your identity, and an ever so tender fuck off to those who don’t respect it.
Unfortunately, the theme of people not respecting transgender or gender non-conforming folks’ pronouns, identities and safety is a global epidemic. This threat to safety and selfhood can undoubtedly drive people into dark places. And while organizations like Trans Lifeline are an amazing resource for folks that are struggling, sometimes it’s extremely difficult to take the first step in reaching out. In their song “Are You Doing Alright?” Kennedy Freeman of Highnoon addresses anxiety and depression and encourages listeners to reach out to their friends. Freeman says they wrote the song in December, a time when they were especially feeling the effects of being isolated during lockdown.
Although they tried recording the song a few different ways, they say that a voice recording felt the most natural. “Phone audio can feel really familiar and comforting in a way for me too,” says Freeman. “I wanted it to feel like a close friend reaching out leaving a message or something.” The feeling definitely comes across and feels poignant to this project in particular. “This song felt applicable to the compilation,” says Freeman, “specifically the idea of a lifeline people can access when they’re struggling and how important queer friendships and mutual support can be to gender non-conforming people.”
Much like the community it aims to support, Trans Musicians and Allies for Change is colorful, varied, and refuses to fit in any one box or description. The funds from this compilation will go straight to Trans Lifeline, where they will be used to provide direct emotional and financial support to trans people in crisis. Grab yourself a copy – today is Bandcamp Friday, so the streaming platform is waiving their revenue share – and proceed to listen in awe.
With this absolute dumpster fire of a year coming to a close, the next few weeks are a time for reflection, rest and recuperation. That means a lot of things for a lot of people, but in the music world, it means year-end lists. I usually tend to stay away from this sort of thing because I don’t love the hierarchical nature of the practice. However, it has truly amazed me to see the amount of stellar music come out of Detroit in the midst of such a gut-wrenching year, and it feels important and cathartic to look back on some of the beauty that surfaced in the sea of chaos. I don’t pretend to be a curatorial genius or an authority of any sort, but here are some of my favorite releases from Detroit artists in 2020, in no particular order.
Jay Daniel – SSD (EP)
Detroit house mainstay Jay Daniels gives us fifteen minutes of percussion-driven, layered dance music. While his roots as a drummer remain evident on the EP, Daniels guides the listener through a vibrant forest of sound and space with ease. Shiny synths and deep bass embellishments wrap his complex rhythmic patterns into a pleasurable and meditative listening experience.
Zilched – DOOMPOP (LP)
Lead singer and songwriter of Zilched, Chloe Drallos, has the innate ability to immortalize potent emotions. Delivered with thrashing drums, distorted guitar and apathetic vocals, Drallos recounts moments of heartbreak, angst and boredom that are crushingly relatable. The record is reminiscent of the ’90s riot grrrl without being derivative and satiates the screaming late-teen, early twenty-year old in all of us.
Tammy Lakkis – “Get Up”/”Moon Rock” (single)
Tammy Lakkis makes irresistible electronic music with attention-grabbing percussion and melodic sensibility. “Get Up” feels like spinning out of control without worry or regard for where you’ll land, while “Moon Rock” captivates the listener with the pairing of Lakkis’ mesmerizing vocals and trippy synth layers.
Boldy James, Sterling Toles – Manger on McNichols (LP)
It’s hard to find the words to describe the gravity of this record. Detroit rapper Boldy James teams up with masterful producer Sterling Toles to blur the lines between hip-hop and jazz in a record that took nearly a decade to complete. Boldy’s often gutting depictions of the city and his experience therein are his most personal and potent verses to date, which he credits to Toles in “Mommy Dearest (A Eulogy).” Toles’ diverse sampling, intricate rhythmic patterns and orchestral arrangements are the perfect pair to Boldy’s visceral anecdotes, making for an undeniably timeless and legendary record.
Omar S – Simply (EP)
A true staple in the Detroit house realm, Omar S unsurprisingly delivers a trance-inducing, escapist EP. The perfect amount of dissonance mixed with bouncy up-tempo tracks gives the listener what they want without being over indulgent.
Milfie (feat. Supercoolwicked) – “From Milfie, With Love” (single)
In a year filled with so much uncertainty, there’s something ultra comforting in listening to an artist who knows exactly who she is, and that’s Milfie in a nutshell. In this two-part single, Milfie reminds us of her unshakable self worth, demanding flow and refreshing realness. Joined by ethereal R&B singer-songwriter, SUPERCOOLWICKED, on “Ain’t Got Time,” the two powerhouse artists reflect on the importance of loving yourself and blocking out the bullshit.
Jake Kmiecik – Horizons (EP)
Kmiecik – drummer of psychedelic-folk outfit Bonny Doon – shows his range in his solo ambient project, Horizons. Glimmering synths are the guiding force in this minimal and cerebral record. Soft and spacey moments intertwined with lush, cascading layers call to mind the ebbs and flows of nature. As a whole, the project feels like a much needed deep breath.
Maya Mereaux – Seauxl (LP)
Songstress Maya Mereaux makes the stream of consciousness melodic on her first full-length record, Seauxl – a ten-track journey to self-awareness. The album weaves a strong narrative via incredible vocals about losing oneself in a romance, only to come out the other end knowing yourself better than ever before.
White Bee – Psychedelic Flight Attendant (LP)
White Bee’s Shannon Barnes shares a soulful and transparent foray into her innermost thoughts on Psychedelic Flight Attendant. Barnes has spent the better part of the last decade not only teaching herself guitar, but creating her own unique sound along the way. Filled with syncopated rhythms, unexpected melodies and universal truths, this record is a shining time capsule for Barnes’ growth as an artist.
Zelooperz – Valley of Life (LP)
Part of Zelooperz’ allure is his ability to jump from character to character within a single project. Just as the title Valley of Life suggests, this body of work feels like a sample platter of all the people Zelooperz is, has been, or could be. That range extends into his seemingly effortless flow, which can fluctuate between sincere and satirical in eight bars.
Tiny Jag – Morph (EP)
Deviating from her former trap-hop style of writing, Tiny Jag “morphs” her sound into alternative power pop on this 2020 EP. Her cunning wordplay is still there, this time delivered with more blasé, controlled vocals and accompanied by booming 808s and shimmering synths. Though this music has all the elements of top-charting success, don’t be mistaken – this isn’t like anything you’ve heard before.
whiterosemoxie – white ceilings (LP)
People love a prodigy. And while many blogs focus on Moxie’s age – just 17 years old – it’s important not to gloss over the fact that no matter what age, the rapper is a talent that only comes around once in a while. His poetic flow is reminiscent of Long Beach’s Vince Staples, and though the two are an entire country apart, they share a penchant for repping their city and distilling their experience in a way that makes them charmingly relatable.
Moodymann – Taken Away (LP)
Detroit’s Godfather of house music – Kenny Dixon Jr. – is back with his legendary funk grooves and repetitions, but this time they’re paired with an undercurrent of pain and longing. After a tumultuous year which included being harassed by police in front of his own building, it would be impossible not to inject some of that frustration into the music. Taken Away isn’t a record that encourages you to forget the tears, but rather to dance through them.
Fred Thomas – Dream Erosion (Synthesizer Songs) (LP)
Thomas is known for his devastatingly honest, stream of consciousness style of writing. And although Dream Erosion is devoid of lyrics, the writing still feels like a magically unfiltered outpouring of emotion. This is especially true of “Kitchen,” a collaborative improvisation that was recorded entirely in Chuck Sipperly’s ‘synth kitchen.’ The record is as beautiful as it is somber and sounds like the amalgamation of collective despair, surrender and inevitable hope.
Anna Burch – If You’re Dreaming (LP)
Burch’s second full length release is soaked with a nostalgia we didn’t know we’d have in 2020. “Party’s Over” reminds us of the times there were parties that we didn’t want to go to, where instrumentals like “Keep it Warm” and “Picture Show” emit a longing for something we can’t get back. Burch’s sweet voice glides over melancholy guitar strums and lackadaisical drums, leaving the listener with the feeling of waking up from a fever dream.
Cousin Mouth – “New Memories” (single)
Cousin Mouth’s songwriter and lead singer/guitarist Alex Burns gives us a glimpse into his forthcoming record MayflowerPeacemakerHolyredeemer with its premiere single, “New Memories.” Burns’ soulful falsetto and intricate guitar riffs are accompanied by the gorgeous voices of Detroit vocalists Supercoolwicked and Salakastar to create a sort of psychedelic R&B. Burns’ lyrics teeter between the ephemeral and the literal, weaving a story of self-doubt and redemption.
Jacob Sigman – Color Coded Heart (LP)
Prolific songwriter/artist Jacob Sigman gives us forty-five minutes of uplifting and earnest pop music. Sigman’s knack for earworm-type melodies paired with uncontrived optimism make his music inherently loveable – even “Get Your Love,” a song about losing a lover, is sprinkled with a carefree hope that has the power to momentarily release you from the gravity of heartbreak.
Black Noi$e – Oblivion (LP)
DJ and producer Rob Mansel, a.k.a Black Noi$e, enlists a star-studded roster of friends to complete his first full-length Oblivion. With appearances from Danny Brown to bbymutha, Mansel demonstrates that he has a well of talented peers to pull from. Despite the high-profile collabs, his dark, layered production style stands on its own throughout the record. He doesn’t bend his arrangements for any of the featured artists, but rather creates his own world of mangled percussion and ominous synths in which his collaborators can dwell with ease.
Madelyn Grant – “Purpose” (single)
Neo-soul singer-songwriter Madelyn Grant ponders life’s meaning on her debut solo single, “Purpose” – a song about blocking out the noise and expectations of society to find what truly moves you. Grant’s pristine vocals sit comfortably on a bed of horns, electric piano and steadfast drums. She pays homage to some of her Motown idols, like The Supremes and Marvin Gaye, with airtight harmonies and infectious melodies.
Meftah – Information Travels Through (LP)
A record that truly shows the vibrant and singular spirit of its creator, Information Travels Through is a breathtaking ode to finding a sense of self in a world that is so often telling us what we should be. Meftah shared a gorgeous statement along with the record that says it better than anything I could say, partially quoted below:
“So this is me creating my own context, beyond the one painted for us on Earth. Beyond just the music, and the record. It is a spiritual war going on. Mentally. Physically….Right now, in 2020, because we STILL exist within a system founded off of land and body theft from Africa, and all colonized lands, this work is dedicated to all my fellow soldiers. It is for all children of the Diaspora. We will always move together.”
Sasha Kashperko – “Can We Not Go to War, Please?” (single)
Kashperko displays his kinship with his instrument on his plea, “Can We Not Go to War, Please?” The track is urgent and erudite, showcasing Kashperko’s deep understanding of rhythmic structure and melodic phrasing. Asking a simple enough request that has clung to the minds of so many of us in the last few years, he doesn’t give any answers, but cries out in solidarity and frustration.
Salar Ansari – Sayeh E Nour (LP)
Spacious synths and watery percussion create a kaleidoscopic atmosphere in this lush ambient record. Ansari’s use of experimental instruments and uncanny sounds transport the listener to a different world with every track. Perfect for both blissful dissociation or centering mindfulness.
Mario Sulaksana – “For You” (single)
Producer, composer and pianist Mario Sulaksana’s first solo release is a glimmering ode to his most concrete influences – Stevie Wonder, Quincy Jones, Marvin Gaye. A true student of the craft, Sulaksana fuses his own cascading style with the formula of the greats – a simple but strong melody, the perfect balance of space and sound, and satisfying harmonies.
don’t – Lightning Slow (LP)
don’t finds a way to make their apathetic garage pop cozy and charming. Baked in warm and fuzzy guitars and steady but unexpected melodies, Lightning Slow feels like a first kiss in your parents basement; surprising, a little uncomfortable, but welcome and oddly familiar. Lead singer Frances Ma delivers poetic verses with angelic apathy, merging nostalgic feelings of teenage angst with more recent feelings of existential dread.
Eddie Logix – Placebo Palace (EP)
At any given moment, Eddie Logix likely has his hands in myriad different projects around the city or even country. The diverse producer, engineer and DJ is known for his elasticity when it comes to making and engineering music, but on Placebo Palace, it’s clear that his heart lies in dance music. The EP feels like a love letter to Detroit and is a welcome ray of light in this dark year.
Tearyeyed – “ForceField V4” (single)
Tearyeyed combines beautiful textures layered together to tell a story that the listener can mold into their own on “ForceField V4.” The song starts out like an afterthought – a simplistic tapping rhythm and guitar strums laced with tearyeyed’s pillowy vocals chase one another in circles. The song’s mantra stands out through the melodic mist: “My love is like a forcefield, I am there to protect you.” Slowly, his voice fades and the drums crescendo into an outpouring of unspoken emotion.
Double Winter – It’s About our Hearts
Beachy riffs, sentimental melodies, and charming honesty are the makings of the debut LP from psychedelic-surf rock outfit Double Winter. It’s About our Hearts has something for everyone – from goth wallflower anthem “Sad Girl at the Rave” to the ’80s drag racing soundtrack stylings of “Rodeo.” Their myriad influences range from doo-wop to Italo, and are what make their sound universally accessible and very much their own.
DonJuan – “Red Plum” (single)
DonJuan is a grossly underrated songwriter and producer based in Detroit. “Red Plum” is just an introduction to his catalogue of simplistically poignant material. This song in particular contains the type of intimacy that makes you feel like you were in the room when it was recorded. The lyrics are simple enough (“I never seem to say the things I mean, I never wanna ask for things I need”) but when repeated over and over they serve as both a reflection and a question to the listener.
2Lanes – “Baby’s Born to Fish” (single)
A strikingly influential group of musicians comes together on this pulsating meditation on change and resilience. Detroit’s Kesswa, Ian Finkelstein, Shigeto and John F.M. are all contributors to this atmospheric track. The result is haunting and unyielding dance track that could only be made in Detroit.
Billionaire Sophia – Ootgoat (LP)
Billionaire Sophia makes music that meets in the middle of pop, house and R&B. Her voice is as smooth as butter and floats perfectly over her self-produced, synth and percussion heavy beats. Her melodies are satisfying but not predictable, lyrics colloquial but not cliché. There’s a touch of glamour and fantasy to all of her songs, both sonically and thematically – it’s the type of music that makes you feel like anything is possible.
It’s been a week since the “Shelter in Place” mandate was issued by Michigan governor Gretchen Whitmer, but many Detroiters have been self-quarantined for much longer. Most businesses have closed their doors, thousands are out of jobs, and you’re likely to see more plastic bags blowing in the wind than actual people on your daily walk. Put simply, shit is getting dark. But, the incredibly thin silver lining to all of this is the output from Detroit’s creative community. Whether it’s pre-planned new releases, quarantine-inspired songs, live streams or covers that are helping them cope, these songs offer a temporary solace from the ‘rona blues.
If you are working from home and have a little extra to spare, don’t forget to support these and other musicians via Bandcamp or by buying merch, as many have lost income due to venue closures/not being able to tour! There are also many artist coalitions you can donate to that will spread the love to those in need – NPR has a great list of those here.
“Just Wait Till Next Year” (John Maus cover) – Primer
Electronic producer and songwriter Primer (Alyssa Midcalf) shares her own haunting rendition of John Maus’s “Just Wait Till Next Year.” Midcalf’s melodramatic vocal style is a perfect match for Maus’s twisted lyrics, which seem more righteously delivered by a female voice anyway. Midcalf’s synth-driven production style adds a lush urgency to the track that feels especially pertinent to the times.
“The song is the most honest and vulnerable song about longing and the frustration and aggravation that comes with it that I’ve heard. It resonated with me, but I also felt I would be able to do it justice. And making music is the only thing I’ve been doing to cope with the reality of being in a global pandemic.” – Alyssa Midcalf
“Bored in the house” – Curtis Roach
Detroit-based hip hop artist Curtis Roach accidentally created a viral TikTok that perfectly sums up what most of us are feeling right now. The sound from the original TikTok has been used by a myriad of celebrities – Tyga, Keke Palmer, Chance the Rapper and more – and has even developed to a full-on Curtis Roach x Tyga compilation. Roach’s sunny personality and inherent sensibility for beat and melody make him a magnetic internet personality, and someone to reference when you need a little cheering up.
“How ‘Bored in the house’ came about… I really made that out of pure boredom. There’s nothing more, nothing less. I make funny tik toks all the time and this was one of those times where I was just bored and didn’t know what to do. I come up with melodies all the time. I’m an artist first off, so it’s natural to me. If I’m going for a walk, I might sing a little melody about me going for a walk, or when I’m brushing my teeth, I might write a melody about that, so it’s like, super natural to me. I made it like a week and half before we were all on lockdown going into quarantine. I didn’t know that all of this was going to happen, this is all new to me like it’s new to everyone else, so the reaction, like everybody using the sound and celebrities posting it…it’s just like tremendous, it’s super incredible it’s crazy, it’s kind of overwhelming. I’m just appreciating the blessings from everything coming from this.” – Curtis Roach
“Beyond” – Anya Baghina
Beloved Detroit songwriter and frontwoman of the band Soviet Girls, Anya Baghina shares a song from her eponymous solo project. The recording is as haunting and distant as the song’s muse. Baghina’s intrinsic talent for detailing ordinary heartbreaks in crystal clear metaphor truly hits from unexpected angles. Ultimately, it’s a song for reflecting, wallowing, moving on.
“Recorded live to a 4 track tape recorder, ‘Beyond’ embodies the desperation of finding the answer in fading relationships. A liberating yet conflicting moment when you realize that something or someone doesn’t hold the same meaning anymore. As our reality is being disrupted and redefined by the pandemic, the things that we value are changing. Maybe just temporarily, but hopefully for the long run too. This song identifies with the feelings of loss through acknowledgment and reflection. Something we can all relate to at this time, unfortunately, because of the shared trauma we are experiencing.” – Anya Baghina
“Steal My Sunshine” (Len cover) – Ben Collins
Minihorse frontman and songwriter Ben Collins blessed our Instagram feeds with a subtle and sweet version of Len’s “Steal My Sunshine.” The stripped-down performance is a departure from Minihorse’s lush garage-rock layers and showcases Collins’ calming vocals.
“There were a few songs I used to sing at karaoke with my old bandmates, and ‘Steal My Sunshine’ was something that Leah Diehl (Lightning Love) and I attempted once or twice. It’s an amazing song, but also lyrically dense and nonsensical which I love. I had a bunch of cover requests come in over Instagram, and some were really amazing songs, but as a pathologically lazy jerk, I went for the one I already knew. And with the looper, I’m able to sing my own backups, which is fitting during this lonely apocalypse!” – Ben Collins
“The Ice Creams” – The Ice Creams
Multi-disciplinary artist Emily Roll joined forces with their partner, Fred Thomas, to compose and record an entire punk EP in all of ninety minutes. It’s grungy, ironic, creepy, and, at times, hilarious. I love it.
“So, Emily and I have worked on a bunch of different creative pursuits together over the years, playing together in Tyvek, doing performance pieces, etc, and since a lot of stuff is on hold right now for everyone’s musical output, we just decided to jam in the studio space I work at last Sunday night. A pressure/frustration/anxiety release. We didn’t start playing with any musical concept outside of long ago coming up with ‘The Ice Creams’ as a sick name for a potential future band. We jammed and recorded for about an hour and a half, not really improvising or writing songs, but some weird trance-like version that incorporated both. If we hit on an idea we liked, we’d try it a few times. We recorded the entire session and later pulled out the most realized takes. Emily played synth and sang, I played a floor tom and a snare drum. We posted a few videos on our Instagrams that night and several unrelated people told me it reminded them of the soundtrack from a movie from 1980 called Liquid Sky. We will probably jam again and hopefully play a show or two whenever shows begin again.” – Fred Thomas
“Existence” by Carmel Liburdi
Folk-pop songstress Carmel Liburdi shared her original song “Existence,” a soothing and reassuring tune about harnessing your true self and focusing on gratitude. Liburdi’s charming and sweet demeanor is a perfect match for this uplifting song that sprinkles a little hope into the void. She sang the song for a series called “Lullabies for Detroit,” a Facebook group dedicated to spreading peace and wisdom in the community.
“When I wrote that song I was feeling sentimental about the people and experiences I’ve had in my life and, as cheesy as it may sound, how grateful I am for all of it. It’s such a personal and meaningful song to me, I felt it would be good for Lullabies From Detroit because of that intimate feel. I really want/wanted to offer a sense of comfort and capture the feeling of the ups and downs of life and how we can transcend the tough times. There is so much uncertainty, loneliness, and anxiety in a time of isolation like this, it felt good to connect—even virtually—and share those personal feelings, as a way to tell people I see them, I hear them, I care, and that we’re all connected in our shared human experience.” – Carmel Liburdi
“6-Step Program” – Mathew Daher
Nothing is more welcomed right now than a chance to give your mind a break from the madness. Detroit-based experimental multi-instrumentalist created this truly hypnotizing sonic and visual experience to do exactly that. Entitled “6-Step Program,” the film welcomes the viewer into a mindful meditation exercise. Possibly enjoyed even more if you burn one before watching.
“‘6-Step Program” is a meditation both about and born of pandemic-induced isolation, uncertainty, and channeling restless energy.
Amidst this social distancing, it feels like ways of social and physical connecting that we’ve taken for granted have become objects of fantasy and longing. I’ve been really curious about what kinds of fantasies of physical togetherness and touch people are having right now. I’ve also been thinking a lot about people in addiction/recovery communities for whom orders to isolate bring up particular challenges to the refuge they take in the community.
This track is built off of raw drum audio that I phone-recorded on a whim as I was blowing off some steam at the drum kit the other day. The grooves mused me into a couple late nights down an electronic rabbit hole. They drew out these layers and textures colored by the surreality and sense of uncertainty that has been unfolding, as well as the digital outpourings of pain, tenderness, and care between people navigating this crisis.” – Matthew Daher
“When the World Ends” – Jack Oats
Justin Erion, aka Jack Oats, channels angst, worry and existential dread on this original song. Erion’s emotive delivery encompasses a universal feeling of anxiety as he says the things we’re all thinking.
“For the first time in many of our lives, we are faced with a sense of impending doom. We’ve learned the history, we’ve heard about the devastation of our ancestors, and now sadly it’s our turn. Some of us have prepared mentally and situationally, some of us are falling apart in disbelief at the collapse of our normalities. Life feels on pause, as we await to continue to grow. Who knows… maybe this is the end of the world. And who knows which world will come to be next.” – Jack Oats
As the former leader of Saturday Looks Good To Me and bass player in His Name Is Alive, Fred Thomas might easily be considered Southeast Michigan’s godfather of indie rock. Ever prolific, his third solo record in four years, Aftering, is set to drop this Friday. Ahead of that comes a video for his single “Altar,” a visual representation of conflicting feelings – joy and isolation. Thomas says the song is a “remarkably personal” recount of a time where he felt ousted from a group of friends in a small town. The song’s cutting lyrics paired with the disorienting visual accurately capture the lonely state of not knowing where you belong.
“The song is about a situation where you feel ostracized by people that you know, people that you thought were your friends,” says Thomas. “Where things have switched from ‘everything’s cool, everybody’s my friend’ to ‘oh, everybody hates me.’” In the video, Thomas and his band – Anna Baghina (guitar), Erin Davis (bass), Stefan Krstovic (drums), Emily Roll (synths) – alternate between clean-cut euphoria and dirty catatonia. The scenes are meant to juxtapose that ecstatic time of belonging and community and the dull pain of estrangement. “Every attempt was made to hold on to that dislocated magic,” Thomas sings, acutely recalling what it’s like to hang on to the skeleton of a support system.
For anyone who has felt abandoned or burned by a friend (or multiple friends), this song hits close to home. Thomas’s penchant for conversational lyricism and poignant metaphor has the ability to draw out the deepest buried memories. “Those nights were spent/
Digesting the ashes of a dead friend/Putting barricades in place/Cultivating contradictions/Drinking whispers,” Thomas sings, listing all the necessary ingredients for a burned bridge.
But, however dark Thomas goes in his writing, he always intends to imbue his work with some levity, which the video makes obvious through the band’s outfits and awkward thrashing. “I want there to be humor and absurdity in everything I do,” he says.
Aftering comes out this Friday, September 14th via Polyvinyl. Check out his tour dates below.
09/16 – Austin, TX @ The Mohawk (Indoor) + [SOLD OUT]
09/17 – Houston, TX @ White Oak Music Hall (Upstairs) +
09/19 – Detroit, MI @ Outer Limits Lounge
09/20 – Detroit, MI @ Third Man Records (In-Store) *
10/10 – Cincinnati, OH @ MOTR #
10/11 – Atlanta, GA @ The Earl #
10/13 – Asheville, NC @ Grey Eagle #
10/14 – Raleigh, NC @ Kings #
10/16 – Norfolk, VA @ Charlie’s American Cafe #
10/17 – Washington DC @ Songbyrd #
10/19 – Philadelphia, PA @ Boot & Saddle #
10/20 – Brooklyn, NY @ Baby’s All Right #
10/21 – Portsmouth, NH @ Book & Bar #
10/23 – Montreal, QC @ La Vitrola #
10/24 – Toronto, ON @ Baby G #
10/25 – Ann Arbor, MI @ Blind Pig #
10/26 – Chicago, IL @ Empty Bottle #
11/30 – Seattle, WA @ Barboza +
12/01 – Portland, OR @ Mississippi Studios +
12/04 – Oakland, CA @ 1-2-3-4 Go! Records
12/05 – Los Angeles, CA @ The Hi Hat
+ w/ Owen
* w/ Kat Gardiner
# w/ Anna Burch & Common Holly
There is an undeniable shift in self when the clocks return to their forward position and warmer days begin to outnumber the cold ones. Spring, though different depending on your geographic specifics, happens under the same sky at just about the same time. Perhaps you’re like me and mending a broken heart after the end of what can only be described as a cruel internal winter, looking forward to dusting off, stretching out and starting over. But whatever version of spring suits you best, let these emotionally selected tracks from Detroit’s vast pool of feelings-feelers guide you through the waves of change.
The Bowie-esque closing track on Zoos of Berlin’s groundbreaking return from hiatus, last year’s Instant Evening, swirls like winter’s final snow against new growth on your favorite neighborhood tree. “North Star on the Hill” encapsulates hesitance and imbalance but with a fragility suited for this polarized change in season.
Yeah, okay. It’s no secret that I can’t get enough of Michigan native and songstress/sorceress Anna Ash’s 2016 release Floodlights. Her Lucinda Williams-esque warble and her completely unique vocal warmth could melt the most stubborn frost from the windshield of your equally stubborn ’89 Cutlass. “Player” is timeless and sun-soaked (why do I feel like it could be on the Erin Brockovich soundtrack or, like, Ally McBeal?) but what makes it a great addition to this seasonal transition is her ability to meld vulnerability with hair-flipping “I-told-you-so” vibes.
I’m not the biggest Minihorse fan. Or maybe it was a timing thing when they dropped their fuzzy, lo-fi EP Big Lack last year. But hey. I sort of get it now. “Drink You Dry” is laced with memories of riding around in your girlfriend’s ex-boyfriend’s best friend’s backseat while you may or may not be day-drunk, trying not to get dizzy watching the blur of houses and trees from the lap of someone you met once. It’s an afternoon. It’s boredom. It’s quietly and politely reckless. And in a lot of ways, it’s Spring.
There’s something so nervous and sweet about this 2005 release from one of our most beloved indie pop acts Saturday Looks Good to Me. Led by the incomparable Fred Thomas, “No Good With Secrets” embodies an innocence and aimlessness that tugs on our teenage heartstrings but 12 years later makes space for our adult selves as we still carry those bashfully brazen tendencies to drive by someone’s house (even if they can’t come out to play.)
Maybe I’m getting a little too literal, but there is something perfectly riotous and manic about Deadbeat Beat’s “When the Sun Soaks In.” It elicits that moment you realize you don’t need a jacket to leave the house and how the sight of your own bare arms turns you on. A fusion of a 1960’s beach party and a 90’s make-out session, this track is equal to smelling salts or pheromones for our shared and stagnant winter coma.
The truth is, I’ve spent more time over the past two years trying to convince myself that I like JrJr than I have actually spent liking JrJr. The verdict? I don’t get the hype or the Warner Brothers continuous record deal. This song, however, is insufferably Spring and is so infectious that you may as well make an appointment with a licensed physician or psychiatrist because even when the song ends the whistling will go on and on and on…and on. I’m sure you’re wondering why a respected music journalist with what some would say exquisite taste would include something that makes her so despairingly nauseous on a playlist about Spring. The answer is simple. “Gone” is carefully crafted to make you feel invincible. It’s a look back, a look forward and ultimately it’s about leaving what is truly gone in the dust to never be found again. This will be the last time I ever listen to this song willingly. But maybe for you, the right person in the right moment, you’ll see “the light through the trees.”[/fusion_builder_column][/fusion_builder_row][/fusion_builder_container]
Fred Thomas has a lot of feelings (and he really wants to talk about them). He may fear transformation in the same way he might fear another perturbed thought of how he could have prevented a previous love affair from going to pieces. He may relish in the scratching of the many surfaces that camouflage and protect his tender, gooey existential crisis-inflamed interiors. But what is made clear by Fred Thomas’ latest beautifully neurotic mind-mapping narration “Voiceover” (the first taste from his forthcoming record Changer due out later next month) is that he doesn’t quite have it all figured out and if he did, well, he might not know what to do.
“Voiceover” is a sleepless, chorus-deprived and worrisome dashboard “check engine” light. Self-deprecatingly confrontational, this pared back rock jam feels like a tightly woven string of doubts that overcame by means of emotional overload. The video is a life on loop. Repetitive thoughts are mirrored with commonly overlooked/performed imagery. From lipstick application (and lipstick removal) to uncorking wine, and to book to bookshelf placement to the subtle beauty of gently falling hemlines against the back of kneecaps, what is captured visually here is the same crisp mundanity expressed in Thomas’ artfully composed run-on sentences.
View Fred Thomas’ latest GIF-like emotional exploit below:
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There’s something unidentifiably exciting about Stef Chura. It would be an easy out to say her warbled, playful vocal contortions are the key to her aforementioned excitability, which are undoubtedly fearless and perfectly flawed. Last month, I referred to her vocal playground as one crafted by Karen O meets Johnathon Richman, but with the recent release of “Slow Motion” off of her up and coming album Messes, I can see how I quickly generalized her aesthetic. Chura creates space and fills it with confessionary uncertainty. What Chura is doing is entirely all her own.
“Slow Motion” encapsulates personal frustration and manages to make a lo-fi cry for clarity anthemic for anyone who has ever wanted to control the speed of their own reality. The lyrics “you bottle/me in your pocket and explode/give me something/and I don’t know what it’s for/and right when it starts/ to feel like home/it’s time to go” paints an universal exploration of impermanence in feeling comfortable with ourselves as individuals, as well as our comfortability as a piece of our respective social quilt. With Ryan Clancy on drums and producer Fred Thomas on bass, Chura’s vocals are practically framed by the jumpy, hazy rhythms allowing her to use her beautifully tortured voice to maim and repair parts of the song at her leisure.
The video, which is a desaturated Microsoft Paint snack party in Detroit’s UFO Factory bathroom (inarguably the most popular bar bathroom for selfies) poses Chura as an unenthused guest of honor surrounded by balloons, toilet snacks, and a listless oversized stuffed bear. Shot by internationally acclaimed digital artist and Detroit implant Molly Soda, “Slow Motion” is a vivid collaboration between wanting to feel part of a whole and wanting to fall apart, whisked together with whimsy and an old screensaver from the 90’s. The party gets tripped out and psychedelically rambunctious as the guests go crazy with silly string and happy face balloons that seem melancholic in context. The video is a play on party culture and for Detroiters, gives a voice to an iconic space while touching base with those deep-rooted sad girl vibes, that need someone like Chura to portray with sincerity and unapologetic malaise.
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.
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.
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.
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.
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.
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.
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.
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.
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.
If you would like to learn how you can help the residents of Flint, Michigan, click here.
It’s New Years Eve-Eve, and I’m flooded with the sounds of the past year. 2015 saw the rise of Detroit music in an unforgettable way. Our musicians took to the stage and to the studio with an unmistakable fire under their asses, in turn producing one of the most emotive soundtracks for the year as a whole. Detroit had something to say and people listened. I could go on and on about how I feel about the textural landscape of what this city produced this year, and how for the first time in years I felt moved and compelled to share my findings with the same enthusiasm one might reserve for opening Christmas gifts. I could talk about how Wolf Eyes‘ I am a Problem: Mind in Pieces broke my heart in ways I thought impossible, or how Moonwalks‘ Lunar Phases pushed me back to being in smokey concert venues, chasing after psychedelic rock bands when I was 16, making me feel younger than I did when I was actually young. So instead, I asked a few Detroit artists, most of whom released music this year, what local release stood out to them in 2015, and what they are most anticipating in the coming year. If what we heard is any indication of what’s to come, my suggestion is to brace yourselves: Detroit just got started.
FAVORITE OF 2015: My favorite release is a single track. Absofacto’s “Dissolve” hit me hard out of wintery nowhere in early February of 2015 (and I’d been working in studio with Jon Visger on and off for a while at that point) – but that’s how he works. Lurks, rather, within shadows. Jon Visger wrote, produced, and released this song himself. Nostalgic alarms reminiscent of mid-90s Boards of Canada fire the song into motion and are quickly joined by the fast-approaching outer edge of the track’s structural spine: the drums. They weigh about a thousand pounds each and somehow I feel weightless upon their anticipated arrival. (Sweaty like Black Moth Super Rainbow, yet crisp like Com Truise.) You’re soon swallowed up by the groove in its entirety, where bass is vicious and Visger’s vocals emerge. Lyrics speak out from a character’s entangled, love-sore point of view: a last-ditch effort farewell letter/self-evaluation. Love’s magnetism paired equally with its potential volatility.
MOST ANTICIPATED IN 2016: Recently, I listened to a bunch of new demos at Assemble Sound studio in Detroit with bassist Jeff Cuny of the band Valley Hush. I was pretty taken aback by how much things have blossomed sonically and vocally for them since hearing them in 2014. They’re a newer band, and for me it’s exciting to watch a group’s sound evolve and sometimes quite rapidly. It sounded like they have been experimenting, which is great, so I’m excited for what’s to come.
FAVORITE OF 2015: My local release would be All Are Saved by my good friend Fred Thomas. Deeply personal and universal at the same time, in Fred’s finely honed and idiosyncratic style.
MOST ANTICIPATED IN 2016: It would have to be my bandmate and roommate Anna Burch’s new batch of solo songs that I’ve been thick in the midst of watching her create over the past year or so. Her melodies and lyrical voice are both really captivating. She hasn’t officially said it will come out this year, but I’m hoping.
FAVORITE OF 2015: Dwelling Lightheartedly In The Futility Of Everything by Matthew Daher was an early 2015 release, but stuck with me for the whole year. It’s not a pop or dance album and the songs are challenging – they seem to be five different animals that live together in the same cave. But like magic, they opened up and travelled through me like a dance. “Cyclicity” seemed like it was written just for me, and I was lucky enough to collab with Matt and produce a video for the song. Just a beautiful exchange of energy on that collaboration.
MOST ANTICIPATED IN 2016: My most anticipated local release is whatever Ritual Howls put out because holy crap, their 2014 release, Turkish Leather, makes my eyes roll back in my head with my tongue hanging out like cartoon dog drooling over a steak or bone or whatever dumb food item cartoon dogs like to eat. I’ll be spying on them online until I see something released!
FAVORITE OF 2015:I would by lying if I said a local release stuck out enough to be regarded as a favorite in 2015. Most of what I heard locally was a recollection of once unsuccessful “indie” bands until the 90’s came back, hip/trip-hop and grunge were openly repurposed, and Ableton was accepted as everyone’s backing track. If anything, Tunde Olaniran had a track I dug off of Transgressor. In my opinion, the only good thing that happened in Detroit and nationally in 2015 is that more female artists demanded and took the attention of listeners. At this point in time and in the bigger picture, this is more important than any best of the year list.
MOST ANTICIPATED IN 2016: The local release I am most anticipating is our own final LP as 800beloved because I don’t know how it’s going to end. Rather, I’m dying to hear how it will end.
