Tag: Wilco

RSVP HERE: Shelley Thomas Livestreams via YouTube + MORE

Shelley Thomas composes and produces lush orchestral arrangements that she has dubbed “world chamber pop.” She has figuratively and physically gone around the world with her compositions, traveling to 17 countries and studied with over 40 music teachers that have influenced her style that melds Balkan, Arabic, Hindustani, African, and classical music. She can sing in 15 different languages and plays the oud, which is like a short scale pear shaped lute that has been used in Middle Eastern, North African and Central Asia for thousands of years.

Shelley’s latest single release, “Mirror,” guides you through a sonic journey to the beautifully haunted side of yourself. Her vocal harmonization traps you in a trance that eventually leads towards acceptance and healing. If that isn’t enough to meditate on, her recent video for “Cancer Moon” captures her immense live band while boiling down all the intense emotions the moons of this past summer have ushered in. The next chance you’ll have to catch Shelley making her world music magic is September 25th at 1pm via YouTube. She also does a livestream from her Patreon on the last Friday of every month. We chatted with Shelley about the transformative power of music, what rituals inspire her and shaman drums.

AF: What got you into the oud, qanun and composing world orchestral music? 

ST: I grew up with a classical pianist mother, and took dance, piano, voice and guitar lessons as a youth. I studied World Music Performance at CalArts (BFA ’08), where I had a six-piece band called Blue Lady I wrote songs for. I got into Arabic music shortly thereafter via a vocal class. I fell in love with the style, and picked up the oud a few years later to accompany myself while singing Arabic music. Then another few years later, I felt inspired to start composing again after years of only singing traditional music – but with a bigger vision, for more instruments, including strings and qanun, because I love the delicate and emotive textures. After many years of absorbing and learning from masters, the music started pouring out of my mind. And that’s the album I’m working on now. I’ve always felt that music is the soundtrack to my life, and enjoyed profound journeys and transformations through listening. I hope to give listeners such an experience.

AF: Can you tell us some stories about some of the countries you’ve traveled to and music teachers you’ve worked with?

ST: Two of my incredible vocal teachers were Rima Kcheich and Ghada Shbeir, whom I studied with in Lebanon and also at Simon Shaheen’s Arabic Music Retreat in Massachusetts. Rima taught me to pay attention to the details and sing maqam, and Ghada taught me to improvise and add different vocal timbres to my toolbox. Simon himself teaches me passion, discipline, and affirms music as my greatest love. I spent about six months in Lebanon and loved the culture, nature, and its music especially. I also studied Manned drumming from Guinea with Jebebara ensemble there. 

My mentor at CalArts was Alfred Ladzekpo, a Ghanaian chief and master drummer. I was obsessed with Ewe drumming, and my friends and I spent all of our free time playing and learning those rhythmic compositions. He taught us to know when we’re “OFF!” While at CalArts, I also studied Bulgarian choral music with Kate Conklin, and Hindustani music with Swapan Chaudhuri and Aashish Khan. Aashishji said, “You can’t sing both rock and Raga.” 

I’ve traveled to Morocco several times, also toured with Vlada Tomova’s Bulgarian Voices Trio in Canada, Mexico, Cuba, and Russia. I’ve studied Fado singing in Lisbon, Portugal, and Bulgarian Folk Singing at Plovdiv Academy of Folk Music. I sang with Petrana Kucheva, a fantastic vocalist and mentor whom I met there, for a few years. I’ve toured with Black Sea Hotel in the states, Sweden and Denmark and performed at Emirates Palace in UAE with Mayssa Karaa. I’ve been to Turkey, where I witnessed Ottoman music in the otherworldly cave-chimneys of Cappadocia, and Oman, where I saw an exquisite concert of Amal Maher singing Oum Kalthoum at Muscat Opera House. I’ve studied oud with Charbel Rouhana, Wassim Odeh, George Ziadeh, and Bassam Saba, a dear mentor and Artistic Director of the NY Arabic Orchestra. Bassam has taught me style, taste, humbleness and soul. 

AF: What’s it like learning to perform a song in a language you aren’t fluent in? What language do you enjoy singing in the most?

ST: It’s a fun challenge. Language lights up my brain. Just as an opera singer learns to sing European art songs well, I study and dedicate to the linguistic nuances the same way. I’d say it’s 80% listening, and 20% translating that into your body. I watch old-timey videos of singers and study the shapes of their mouths. I had a fantastic Arabic diction teacher, Dr. Iman Roushdy-Hammady. I’ve dedicated a lot of time to Arabic and Bulgarian singing, but I am now enjoying the most singing my own songs in English. You have to learn to lighten up, let go of perfectionism, and not take yourself so seriously. It’s okay to make mistakes! At the end of the day it’s about following your heart to what’s interesting, and joyful expression through music and cross-cultural understanding.

AF: What types of symbolism and ritual inspire your music? 

ST: I love psychology and Jungian symbolism of the shadow and the divine child archetype, also expressed by Carolyn Myss. I love the artwork of Alex Grey, which portrays us as multidimensional beings, and I’ve performed in his sacred space at CoSM. I’m fascinated by many rituals around the world, from Amazonian ayahuasca healings and their beautiful icaros songs, to the adhan, the Islamic call to prayer, to West African dance drumming, to Episcopal church services with epic organ arrangements, incense and flags, to sound baths and crystal energy healings. Drumming is very important to me and I maintain a strong rhythmic element to my music. Drums and shakers, in particular, have been used in healing rituals since ancient times. When I’m around drums, I can hear them speak, and feel them cleansing my body and shaking energy up inside. Also language, poetry, and the power of the spoken word, with sound and intention, is an important element of ritual. Julia Cameron’s The Artist Way is my anchor, and I write morning pages regularly. Essentially, I’m interested in the all ways humans have created meaning, healing and transformation, and connect to higher realms through music and sound.

AF: What’s the most inspiring thing you’ve seen this month?

ST: The most inspiring thing I’ve seen this month is the sun setting over the ocean, and the sea’s iridescent colors of dusk; the way they work together to create something more beautiful than they could be individually.  

AF: What would you want listeners to take away from your latest release?

ST: “Mirror” is specifically about shadow work and integration of all parts of yourself into one loving whole. The more we can accept and understand ourselves, the more we can begin to accept and understand others. Transformation begins from within, and it takes time, patience, and humility. The way forward to a better world, in my vision, is with greater compassion, sensitivity, and this knowledge of self, which can be catalyzed by music. So we can become less violent and reactionary, and more inspired, loving and proactive. We are creative beings, meant to create, meant to shine, and meant to enjoy life, not just to suffer. We can heal, we can let go of our old stories. We can become friends with ourselves and create a life we don’t need to escape from. It’s up to us to choose joy in each moment, to make the best of our current situation and find a positive way forward, and to choose to be willing to move towards this healing with honesty. When we make this choice individually and then come together, with all of our gifts and solutions and ideas, that is the power of community. Then, we can truly live and flourish in harmony, and fulfill our potential.

AF: What is your livestream set-up like?

ST: I use the streaming platform Stage Ten, link it to my Youtube Live, and press go. I have a BOSS RC-300 loop station that I improvise with and program vocals into with some beats. I have a Shure Beta-58 microphone, my oud with pickup mic attached, and various percussion like shaker, frame drums, and riq, which I layer with the looper. I have a Fishmann Loudbox Mini amp, so I plug 1/4’ cables from my loop station into that. I plug the mic and oud directly into the loop station.

AF: What are your plans for 2020 and beyond? 

ST: I am in pre-production for recording my first full album of original music with a ten-piece microtonal chamber ensemble! I’m finishing the scores, arrangements, and parts in Sibelius, and planning to launch a crowdfunding campaign to support this work. First I’ll record and make a music video for my next single, “Dreamtime.” Once the world opens up again, I’ll be touring a lot with this ensemble.

My ultimate goal is to open an artist retreat & performance center with music and photo/video production studios. This space will be available to artists from around the world from all socio-economic backgrounds to come and create the art that’s meant to be made through them, in a supportive, inspiring, and unpretentious atmosphere. 

RSVP HERE for Shelley Thomas livestream via YouTube at 1pm ET. To pre-order the upcoming album, email info@shelleyvoice.com. 

More great livestreams this week…

9/25 Langhorne Slim, Clap Your Hands Say Yeah, Mt. Joy & More via Philly Music Fest. 7pm ET, RSVP HERE

9/25 Modern English (Live from London) via AXS. $15, 8:30pm ET, RSVP HERE

9/25 Long Neck, Baby Grill, gobbinjr, Oceanator via Twitch (Around the Campfire). RSVP HERE

9/26 Angel Olsen, Beach House, Big Thief, Blood Orange, Charli XCX, Solange, Wilco & More via Hotel Figueroa (Pitchfork Drive-In). $39, 10pm ET, RSVP HERE

9/26 Oh Sees via Seated. $15, 8pm ET, RSVP HERE

9/26 Reggie Watts, John Teida, Girl God, Shannon Lay, Ramonda Hammer, & more via Echo Park Rising. 12pm ET, RSVP HERE

9/29 Pom Pom Squad, Charlotte Rose Benjamin via BABY.tv (Neon Gold Presents). 8pm ET, RSVP HERE

9/30 The Nude Party via Rough Trade UK Instagram. 1pm ET, RSVP HERE

9/30 Laraaji (Sun Piano) via NoonChorus (LPR Presents). $10, 9pm ET, RSVP HERE

RSVP HERE: Hnry Flwr Livestreams via BABY.tv + MORE

Photo by Carla Maldonado @carlamaldonado x @somad.studio

Hnry Flwr is Brooklyn’s musical guru guiding us towards the mystery and beauty of the infinite void. Hnry Flwr is the musical project of David Van Witt, and he has quite the origin story – his first impression of this world was living in a cult in Iowa, which he fled with his artist mother who gave psychic readings as they meditated and traveled around the world. Van Witt left home when he was 16, and after observing the divine connection music initiates in people at a punk show, has “been writing songs and practicing a sort of secular spirituality, where music is the prayer, ever since.”

Hnry Flwr’s twangy sunshine goth gospel is usually brought to life with a seven-piece band that includes Abdon Valdez III, Ronnie Lanzilotta, Dallin Stevenson and Sarah Safaie, but since quarantine began, Van Witt (who is also a producer) has been creating his own backing tracks and even started a twitch channel. The next chance you have to feel all the love the void has to offer with Hnry Flwr is tonight (5/15) via BABY.tv at 8pm est! We chatted with Hnry Flwr about inducing trance states, minimalist drone raga, and the importance of laughing with salamanders.

AF: What were your last live shows before quarantine like? What do you think your live set will transform into when we’re able to play shows in person again?

HF: Our last show in NYC before the quarantine was incredible — a sold out show at The Sultan Room. I did a trust-fall into the audience and everyone caught me. Our live set is going to include way more hugging and trust-falling and I want to include a portion of the set for people to go into a deep trance. I want to explore the void with people. We will find a way to lose ourselves together, rather than find ourselves alone.

AF: If you had control of all the radios/TVs/cell phones all over the world for 30 seconds what would you say?

HF: I would generate a mass flash trance to see if we can’t be still and quiet and hear what the void has to say.

AF: What have you been reading and listening to while in quarantine?

HF: If it’s not obvious by now, I’ve been reading a book about inducing trance states. I’ve been listening to the birds when I can. I love when they come back north. Somehow I’m still surprised by it every year. But as far as music, almost exclusively Pure Moods Volume 1.

AF: What’s your live stream gear set up like? Do you have any fun props or lighting planned?

HF: I set up my monochromatic light sculpture. It emits one very dark shade of yellow, the one from sunset right before the reds and purples. What’s special about it is it omits all other colors. These things are possible if you explore The Void with an open mind.

I make new backing tracks every week so I can feel like I’m playing with a band. So many artists are doing “stripped-down” sets, which can be really special, but for me, I try to use it as an opportunity to have whatever perfect band I can imagine backing me up every week. It’s a great time to be exercising your imagination.

AF: If you found out you were immortal what other musical projects/careers/lifestyles would explore?

HF: I would have a really loud minimalist drone raga band, and then when all my family had passed on I’d live on a mountain near a stream and I wouldn’t do anything for as long as it takes to find a silent ancient wisdom. Then I would be a painter in honor of my mother.

AF: I love your music video for “Waiting Room!” It feels like our whole reality is stuck in a waiting room right now. What do you think lies on the other side for music, politics, spirituality and humanity as whole?

HF: Thank you. We have always been in the waiting room of the great beyond. I think the future is just as unsure as it was before the pandemic. It’s always unsure. We are just forced to face that uncertainty together now. There are a lot of people who need answers about the future to feel secure in the present. I’m not sure what the future holds. My mother was giving psychic readings for most of my childhood and even if they were accurate, I am not sure that it helped anyone. It certainly did not help her or our family. This is a good time to be present, to take care of yourself and your loved ones and try not to worry about the future. In your mind, find a stream and sit next to it. Listen to it. Laugh with the salamanders.

RSVP HERE for Hnry Flwr via BABY.tv 5/15 at 8pm est. $5-$50 sliding scale 

More great live streams this week…

5/15-5/16 Prince 1985 Purple Rain Tour via Youtube. RSVP HERE

5/16 Beach Slang via Stageit. 5pm est, RSVP HERE

5/16 Frankie Cosmos via BABY.tv. 9pm est, $5-$50, RSVP HERE

5/16 Courtney Barnett, Georgia Man, June Jones + more via Instagram (Covid-19 mutual aid fundraiser). 5am est, RSVP HERE

5/17 Elliott Smith (Heaven Adores You film screening) via Twitter.  5pm est, RSVP HERE

5/18 Diet Cig via Echo Eco Wine Instagram 8pm est, RSVP HERE

5/19 Alanis Morissette (performing Jagged Little Pill) via Facebook. 8pm est, RSVP HERE 

5/21 Clap Your Hands Say Yeah via Twitch. 8pm est, RSVP HERE

ONLY NOISE: Real(istic) Love

 

ONLY NOISE explores music fandom with poignant personal essays that examine the ways we’re shaped by our chosen soundtrack. This week, Erin Lyndal Martin shares a selection of songs that jar her out of a sardonic mindset when it comes to romance.

There’s nothing wrong with sugary love songs. But I don’t trust them because they tend to be completely non-specific. The poet in me cries out for more details. The realist in me wonders how the people in these songs ever get their laundry done if they’re always high on love. And the cynic in me thinks of all the bad dates, all the times I’ve swiped left, all the lore about how undesirable women are after 30, all the fat shaming, all the dick pics. But I feel hopeful when I hear songs about smart, jaded people who’ve found love, often unexpectedly.

These are some of the songs that give me hope.

“Miss You Till I Meet You” by Dar Williams (from My Better Self)
Dar Williams is a talented singer-songwriter who frequently tackles real-life situations in songs that address coming of age, going to therapy, and finding one’s place among gentrification.

Bad dates are not all alike. Sometimes I’ve come home from a date feeling down because my date and I had nothing in common, or maybe it just didn’t seem like the right time, or my date asked me weird questions like if I wrote “human interest fiction” or “technical fiction.” Afterwards, it helps to think about telling these stories to someone I do want to hang around. Someone I want to hang around me.

“Papa Was a Rodeo” by The Magnetic Fields (from 69 Love Songs – Disc 2)
Helmed by Stephin Merritt, the Magnetic Fields bring an irreverent sensibility to matters of love, usually with a twist of magical realism, as on their 69 Love Songs trilogy.

At first, labeling this song as “realistic” is a tough sell. What are the chances that two people could bond over their childhoods spent roping steers, only to spend decades wrestling alligators together? But, like a lot of Magnetic Field’s 69 Love Songs, there’s a grain of truth here. At a certain point, you stop hoping you’ll meet someone who has zero baggage. Not only is it impractical, but it has ceased to even be appealing; instead, you daydream about meeting someone who understands your baggage, who sees you and sees your baggage and says “yeah, me too.”

“Something Changed” by Pulp (from Different Class)
Pulp is a Britpop band known for songs about perversion and classism (not usually at the same time).

I got the Different Class CD in high school and remember flipping through the booklet and seeing the request not to read the lyrics while listening to the music. I listened for the snotty Britpop protest songs and lurid perversions, and then this song came on – a love song written for acoustic guitar. I was surprised, but I trusted Pulp not to mess with me too much, and I thought about this as being a love song for the sort of people who trust sneering Britpop bands with love songs. I love that it retroactively assigns importance to all the little things done on a day that ends up coincidentally being the day one falls in love.

“I Hope That I Don’t Fall in Love With You” by Tom Waits (from Closing Time)
Tom Waits is an iconic songwriter and musician known for his gravelly voice, rich lyrical imagery, and jarring songcraft.

I can’t tell you how many times I’ve gone to a bar alone with just a novel and a notebook, nursing a drink and scribbling down ideas while watching people around me. This song always reminds me of those nights. I’ve had many nights where that’s all that happens. If I’m lucky I write a few good lines or draw a cute picture of a cat. But those nights tend to blur together and I mostly remember the outlier nights, when a conversation with a stranger just happened, and I was excited and terrified to see where it went next.

“Yellow Brick Road” by Kris Delmhorst (on Five Stories)
Kris Delmhorst is a singer-songwriter-fiddler from Massachusetts known for her pithy lyrics and lovely melodies.

Once I was at a wedding where the best man’s toast included the line “now your real life can begin.” Wow. Just wow. As if there are any parts of our lives that aren’t real and everything we do before we have an official, government-sanctioned bond just doesn’t count. This song celebrates who we are as individuals within a couple. “I’m not on a yellow brick road/Got a mind and a heart and guts of my own/Not looking for someone to set me free,” Delmhorst sings. “I’m not on a yellow brick road/I’ll find my own way home/I just want someone to walk with me.”

“Kathleen” by Josh Ritter (from Hello Starling)
Josh Ritter is an acclaimed and prolific singer-songwriter once voted among Paste Magazine’s Top 50 living songwriters.

This song makes me happy. Very happy. It’s about a guy who drives a beautiful girl home from a party. He knows they’ll never fall in love, but he’s so excited to be the one who has that time alone with her, that “only both of us know about.” When you don’t have the love life you want, you learn to make the best of these little moments of connection: driving someone home; smiling knowingly at a stranger on the bus when a passenger shows the bus driver her groceries; standing next to someone while you look at a painting in a museum.

“Reservations” by Wilco (from Yankee Hotel Foxtrot)
Wilco is a highly regarded alt-country band, and their 2002 album is already considered a classic.

Recently, a romantic partner I hadn’t seen in years came to visit and I was really stressed out, which was funny because I realized I had zero anxieties about this particular person. We know each other well and have a great time together. But the thought of sharing my living space with anyone, even for a few days, was terrifying. I wanted everything to be perfect. In the end, he was an amazing houseguest who did my dishes and bought me good bourbon and let me play him videos of goats and magicians. And I did get sick towards the end of his visit, something I feared, but that won’t be what I remember. What I will remember is that even the worst anxieties can disappear with someone who really sees me.

“Unison” by Björk (from Vespertine)
Björk is an Icelandic musician known for her conceptual albums, creative collaborations, and quirky individuality.

Unsurprisingly, Björk is wonderful at writing songs that balance realism and reverie. She has a number of them, but “Unison” is my favorite. “I will grow my own private branch of this tree,” she sings, celebrating her individuality. But trees — and people — can bend, and the refrain continues, “I never thought I would compromise.” When you’re single, it’s so easy to get lost in thought loops about who you want to be with and if you’d even want to make room in your life for another person. Björk reminds us that we don’t have to choose between ourselves and being with another person.

NEWS ROUNDUP: Webster Hall Reopening, R. Kelly Arrested, and MORE

Webster Hall is Reopening!

It’s always sad when an iconic New York venue closes, but Webster Hall’s story has a happy update. The 130-year-old venue was shuttered in August 2017 for renovations when longtime owners the Ballingers sold it to AEG. That means Bowery Presents will be handling bookings, and the show schedule looks pretty sick, starting with a christening from punk poet laureate Patti Smith on May 1. Broken Social Scene, MGMT, Sharon Van Etten, Big Thief and Built to Spill are some of the acts slated to play over the next six months or so, and that’s just the initial announcement. The New York Times got a sneak peek into the renovations, and it seems like the $10 million plus project focused mostly on accessibility, with a revamped entryway and the addition of an elevator, as well as updates to the bathroom and soundsystem. Much of the characteristic fixtures in the ballroom were left unscathed, though we’re guessing the floor will no longer feel like it’s about to cave in when the mosh pit gets too rowdy. The Marlin Room will become a lounge, and there’s no word yet on what’s going on with the basement stage. The venue will still have a capacity of about 1,400 – making it an essential part of downtown nightlife once again.

R. Kelly Arrested, Bond Set at $1M

Following increased scrutiny after Lifetime doc Surviving R. Kelly aired earlier this year, the R&B star was arrested in Chicago on Friday and charged with ten counts of aggravated criminal sexual abuse involving four separate victims, three of whom were minors when the abuse occurred. One of the most disturbing pieces of information to emerge in Saturday’s bond hearing was that Kelly met one of these victims at his 2008 trial for child pornography, of which he was acquitted; like the trial a decade ago, some of these charges stem from the discovery of a sex tape in which Kelly appears to perform sex acts with an underage girl. His bond was set at $1 million, and that may be the tip of the iceberg – Kelly is also under investigation by multiple federal agencies for sex trafficking, and it looks likely that there are more victims who have yet to come forward. Let’s hope this is the beginning of the end of their nightmare.

That New New

Audiofemme favorites Sharkmuffin shared rollicking new single “Serpentina,” the first single from their Gamma Gardening EP, out April 5 via Exploding In Sound. We couldn’t be more excited – love you, Tarra & Nat!!!!

While this video for Kate Bush’s cover of Elton John’s “Rocket Man” isn’t exactly new, it hadn’t been released since its recording in 1991. The video comes with the announcement of a four-disc rarities and b-sides compilation called The Other Sides, which will be available March 22. In other Elton John news, his biopic, starring Taron Egerton, comes out May 22.

Tierra Whack is back with single “Only Child,” her first release since blowing up with Whack World.

Helado Negro is currently on tour with Beirut as he prepares for the March 8 release of This is How You Smile; he shared a video for single “Running” this week.

Ella Vos shared an intimate self-directed video for “Empty Hands,” which follows her through the last day of two years of treatment for lymphoma. The single appears on her latest EP, Watch & Wait.

Karl Denson’s Tiny Universe will release Gnomes & Badgers, their first album in five years, on March 8. The TG Herrington-directed clip opens a poignant dialogue about the family separation crisis at the U.S.-Mexico border.

Marissa Nadler released two new songs – including a duet with John Cale – via new imprint KRO Records, who will release the single on heart-shaped vinyl this spring.

CHROMATICS are back with “Time Rider” and a slew of tour dates, but no official release date for an album, which they’ve been teasing for some time now.

Priests released a lyric video for “Good Time Charlie” from their upcoming album The Seduction of Kansas, out April 5 via Sister Polygon.

Empath have announced their debut LP Active Listening: Night on Earth (out April 2 via Get Better Records), and shared its first single, “Soft Shape.”

Alex Lahey will finally release a follow-up to 2017’s excellent I Love You Like a Brother. It’s called The Best of Luck Club and is slated for release via Dead Oceans on May 17; “Don’t Be So Hard on Yourself” is the first single.

TEEN are streaming Good Fruit ahead of its March 1 release over at NPR, and have shared a video for “Pretend.”

With her band Wax Idols on an indefinite hiatus, Hether Fortune has shifted to solo work with the release of single “Sister.”

Shady Bug shared “Whining” from their sophomore album Lemon Lime, out March 8.

Los Angeles noiseniks HEALTH have released their fourth collaborative single since September, this time featuring JPEGMAFIA.

We’re obsessed with “TGM” from 18-year-old newcomer Ebhoni, who reps her Toronto home and West Indian roots all at once.

Palehound kicked off their tour with Cherry Glazerr by releasing a new single called “Killer.”

Indie poppers Pure Bathing Culture  shared a lyric video for “Devotion,” the first single from their forthcoming LP Night Pass, out April 26.

If you’ve ever wondered what Mountain Man’s Molly Sarlé sounds like on her own, take a listen to her debut single, produced by Sam Evian. She’ll play some shows with Mountain Man cohort Amelia Meath when she joins Sylvan Esso for a few shows in their recently-announced WITH tour.

Nilüfer Yanya’s debut album Miss Universe drops March 22. Her latest single “Tears” follows alt-pop bops “In Your Head” and “Heavyweight Champion of the Year.”

Former Shudder to Think frontman Craig Wedren has had an illustrious career scoring film and television, so it’s no wonder the clip for his vibey rework of “2Priests” (from last year’s Adult Desire Expanded) is so gorgeous.

We have a feeling Aldous Harding’s low-key pilgrim dance from “The Barrel” video might catch on well before Designer arrives via 4AD April 26.

Legendary Smiths guitarist Johnny Marr shared a video for latest single “Armatopia” to promote his upcoming North American tour in support of 2018’s Call The Comet.

End Notes

  • Breakdancing could become an Olympic event by 2024.
  • Moogfest has announced the “first wave” of its 2019 lineup, featuring Kimbra, Martin Gore, Matthew Dear, Lucrecia Dalt, GAS, Ela Minus and more.
  • Wilco have also announced the lineup for their bi-annual Solid Sound Festival, taking place June 28-30 in Massachusetts. There will be several sets from Jeff Tweedy solo and with the band, as well as appearances by Courtney Barnett, Cate Le Bon, Tortoise, Jonathan Richman and more.
  • Detroit musicians will be the first recipients of Tidal’s new $1 million endowment program.
  • The 1975 took home British Album of The Year at the BRIT Awards for A Brief Inquiry into Online Relationships, and called out music industry misogyny in their acceptance speech for Best British Band.
  • Stereolab have added a ton of reunion tour dates to their Primavera Sound and Desert Daze appearances, and announced reissues for seven of their records. The band has been on hiatus for a decade.
  • Tom Krell of How To Dress Well launched his label Helpful Music with an EP from Calgary’s Overland.
  • W Hotels have also recently launched a label, releasing two songs with Perfume Genius to benefit Immigration Equality. Watch a mini-doc about the collaboration here.
  • Lydia Loveless took to Instagram to detail sexual harassment she has suffered since signing to her label Bloodshot Records; her abuser doesn’t work at the label, but attended all social events having to do with it as the partner of one of the label’s founders, who has since left the imprint.
  • Someone decapitated Puff Daddy’s wax figure at Madame Tussauds in Times Square.
  • Michael Jackson’s estate is seeking to block the production of HBO’s Leaving Neverland with a $100 million lawsuit; the two-part doc follows the story of two men who say their were abused by the King of Pop as children and is set to air March 3rd & 4th. Watch the trailer here.
  • Stereogum published this handy rundown on the drama that’s dogged Royal Trux’s reunion tour, as well as the release of White Stuff, still scheduled to come out March 1.
  • My favorite Eric Andre gag is getting his own TV special. Thanks Adult Swim!

NEWS ROUNDUP: NYC Cabaret Law Repealed, CMA Gag Order & More

  • NYC Cabaret Law Officially Repealed

    Established in 1926 to prevent unlicensed dancing in NYC bars, New York’s “Cabaret Law” is finally on its last legs after City Council voted Tuesday to end it. Many have been quick to point out that the antiquated law is like something out of Footloose, inappropriate for such a progressive, cosmopolitan city. While the law has been less strictly enforced since Rudy Giuliani used it to crack down on “rowdy” nightclubs nearly two decades ago, it still a red-tape nightmare for venues, bars and clubs – especially, say its critics, those run by and for marginalized groups, such as LGBT, Black, and Latinx communities. Now that City Council has voted to repeal, Mayor Bill de Blasio needs to approve the measure to officially end the 91-year old restriction.

  • The Country Music Association Bans Questions On Gun Rights, Then Rescinds its Gag Rule

    Next week is the annual Country Music Association Awards, and the organization drew criticism this week when it warned reporters covering the event not to ask artists about so-called sensitive issues – specifically, “gun rights, political affiliations or topics of the like.” They threatened reporters who defied these guidelines with loss of credentials and removal from the event, but eventually rescinded the gag order when taken to task by artists and media via Twitter – including the show’s host, Brad Paisley. While the country music scene has often touted gun ownership rights, a deadly mass shooting in Las Vegas at a country music festival last month has caused some musicians to reverse their opinions and call for stricter gun control. To compound to issue, the head of the powerful country music PR firm that represents NRA Country (as well as artists like Dolly Parton and Kid Rock, who have since severed ties) is embroiled in a sexual assault scandal. 

  • Other Highlights

    Elsewhere opens and Market Hotel re-opens on opposite ends of Bushwick, Beyoncé will play Nala in Disney’s live-action Lion King, Blind Melon’s Bee Girl gets married, Brooklyn grunge-rock darlings Sunflower Bean release new song and sign to Mom + Pop records, Southwest Airlines wants to torture travelers with in-flight concerts, see the LES mural dedicated to Charles Bradley, the 50 most requested lyrics on Alexa, check out Bjork’s bold new publicity photo, Maroon 5’s unfortunate album title, “Oldies” are official public domain, Wilco shares twangy new “old” song “Myrna Lee”, Lana Del Rey weighs in on Harvey Weinstein, Shamir Bailey takes down his music video (his latest LP Revelations is out today), and forget guitar – this woman plays the scissors. Plus new videos from Benjamin Clementine, Black Rebel Motorcycle Club, and Stef Chura.




NEWS ROUNDUP: Reactions to Charlottesville, Prince’s Pantone Purple & More

 

  • Music + Politics: Responses To Charlottesville  

    The horrible events of last weekend show that change is necessary in this country. Here’s some ways the music world reacted to Charlottesville:

    Spotify is cracking down on racist bands. Yeah, unfortunately, white supremacists make music too, and it makes its way to streaming services. Earlier this week, after Digital Music News published a list of 27 white supremacists bands an author found on Spotify, Spotify removed many and is investigating the rest. The company stated, “material that favors hatred or incites violence against race, religion, sexuality or the like is not tolerated by us.”

    Wilco released “All Lives, You Say?” It’s a typically laid back Jeff Tweedy tune, but politically charged. A tribute to Tweedy’s father, buying the song will benefit the Southern Poverty Law Center.

    Johnny Cash’s family makes a statement. After a picture of a “self proclaimed neo-nazi” wearing a t-shirt with the singer’s name began circulating, his daughter Roseanne reiterated her late father’s passion for equality; the singer released an album about the inequality Native Americans faced in the 60’s, a risky career move. 

  • Prince Gets His Own Shade Of Purple

    Purple, associated with individualism, ambiguity, and of course, royalty, was a fitting color for Prince to embrace. This week, the Pantone Color Institute gave the late artist his own shade, dubbed “Love Symbol #2.” The symbol refers to the character Prince renamed himself as in the 90’s. As far as shades of purple go, “Love Symbol #2” is deep, dark and mysterious; a good fit for The Purple One.

https://www.youtube.com/watch?v=i3LHatq2u4k

https://www.youtube.com/watch?v=bwd_UCiuPww

NEWS ROUNDUP: 100 Days Worth Of Protest Music

Screen Shot 2017-01-20 at 1.42.25 PM

  • This Protest Album Features Carrie Brownstein, Stephen Malkmus

    Quasi’s Janet Weiss and Sam Coomes organized and contributed to the Battle Hymns compilation. Name your price for the download, which benefits Planned Parenthood, the American Civil Liberties Union, and 350.org. Buy it here.

  • Our First 100 Days Kicks Off With Angel Olsen

    Our First 100 Days is a project designed to counteract a certain someone (hint: evil and orange) who is starting their first 100 days as well. For $30 or more, you’ll get all of the exclusive songs and, according to their website, your money will “go directly to organizations working on the front lines of climate, women’s rights, immigration and fairness.”  Listen to Olsen’s track, “A Fly On Your Wall,” below and get more information about the musicians and organizations involved here.

  • Stand Up For Love With Andrew Bird & Jeff Tweedy

Stand Up For Love is a three hour telethon is happening today, and aims to raise $500,000 to defend civil liberties. It started at 12:30pm, but I’m betting the page will host an archived version.  The website states that celebrities such Joseph Gordon-Levitt, Jane Fonda, Robert Reich, Jesse Tyler Ferguson, Tom Morello, Adrian Grenier, David Duchovny, Misha Collins, Michael Franti, Andrew Bird, Jamie Lee Curtis, Tim Robbins, and Jeff Tweedy of Wilco will be featured.

  • Covers For A Cause With Littler, Abi Reimold & More

    “Don’t Stop Now” is a collection of covers that benefits the ACLU. From the Bandcamp page: “This compilation is an expression of love, anger, hope and protest on inauguration day… Each dollar donated will help protect the people of the United States, especially those most vulnerable, from the reckless authority of a Trump presidency.” There’s 38 songs in total; stream below and buy it here.

 

 

PLAYING DETROIT: Ohtis “Runnin'”

adam by kenny

The return of Adam Pressley (Prussia, Jamaican Queens) and Sam Swinson’s beloved project, Ohtis, is really good news. Formed and broken-up in Illinois while currently reunited and divided between LA and Detroit, Ohtis premiered the first track “Runnin'” off of their forthcoming album Bobo, Dad, and Holy Ghost. 

“Runnin'” feels like something out of 2008. A story-driven, soft spoken Fleet Foxes-esque tale or a sad desert realization with dampened slide guitar wading in and out circa Wilco’s self-titled record.  Ohtis brings us a track that feels like a hand floating out of the window of a silent car ride, the wind pushing back against a palm telling it what direction to go, the only conversation being the sound of air escaping between parted fingers.

The track opens with: “The expression you were wearing of emotional pain / Like anybody struggling to keep themselves sane,” that set the tone of Ohtis’ painterly Americana breed of misery. It’s a song about surrender, drunk driving through the plains and crossed fingers for a lovers return. The chorus drifts away from uncertainty and sways towards an invitation into a new past with the line: “We together will be better than me.”

With “Runnin’,” Ohtis has delivered an atypical strain of heartbreak that hones in on what’s to be gained, not what has been lost. The experience feels as it was seen through two sets of eyes, although only one voice remembers everything the eyes had seen. It isn’t until a female voice sneaks into the final reprise of the chorus that you feel that resolve is near and the next adventure even closer.

Ohtis plays a set in Ferndale this Saturday, July 16 at 6:30 p.m. as part of Pig & Whiskey Festival.

 

PLAYING DETROIT: The Belle Isles, SHELLS, Stef Chura and Mega Bog

[fusion_builder_container hundred_percent=”yes” overflow=”visible”][fusion_builder_row][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”]

img-mega-bog_172945392020
Erin Birgy of Mega Bog Photo by Andrew Swanson

My first musical outing of 2016 was also the first of the year for The Seraphine Collective, “an inclusive, supportive, and active community of feminists designed to foster creative expression and camaraderie among underrepresented musicians and artists in Detroit.” Our venue? Lo and Behold record and book store, a tiny and toasty hideaway wedged in Hamtramck (or Detroit’s “Little Poland”) perfectly suited for the freezing temperatures outside and our shared, palatable mid-week ennui. Taking to the stage (well, floor, respectively) were three dear-to-Detroit local artists alongside a quietly celebrated up and coming national touring act, all of which provided a unique and unified inspirational soundscape for the year ahead.

The Belle Isles

image2
Owner of Lo & Behold Richie Wohlfeil debuted his two-week-old brainchild The Belle Isles (named, of course, after Detroit’s beloved state park paradise). A slinky lo-fi three-piece (Richie on the mic and guitar along with Conor and Deb on drums) reminiscent of Mayer Hawthorne and MC5 with hints of John Frusciante vocals. The song “Detroit Funk” was a hodgepodge of funk and “do-do-do-do’s” straight from that song by The Cure with all of those “do-do-do-do’s.” “Hey, what should we do next? The Summer Song? I don’t remember the words but fuck it. I’ll make it up.” Richie swigs a beer and rails into a song that he did in fact forget the words to. Good thing we were in a book store, as there were a few he could borrow.

[/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”][bandcamp width=350 height=442 track=2167295929 size=large bgcol=ffffff linkcol=0687f5 tracklist=false]

SHELLS

image4

Shelley Salant is a one woman Velvet Underground/Wilco/Brian Jonestown Massacre, but most importantly, entirely herself. Barefoot with nothing but a borrowed electric guitar and a loop pedal SHELLS made seismic waves in our tiny venue. Vocal-less and relying entirely on her ability to collage multiple chord progressions without hesitation or transition was, for me, one of the most impressive moves I’ve seen in a long time. Her songs spoke without words: an abridged novel of noise. Every piece had an exposition, conflict, and a sweeping resolve.

[bandcamp width=350 height=470 album=293188728 size=large bgcol=ffffff linkcol=0687f5 tracklist=false]

Mega Bog

image7

On an ambitious 43 show tour Seattle-based Mega Bog stopped by our little haven. The most playful of the night, they infused Jenny Lewis’ whimsical style with Fleet Foxes’ (but only if they had been listening to Best Coast records). Erin Birgy fronts and mothers Mega Bog. She is effervescent in the way her voice hops around, reminding me of the way Regnia Spektor used whimsical manipulations of vocals on Soviet Kitsch, which is perfectly paired with the Mega Bog’s dissonant, dreamy instrumentals. Any band that actively uses a triangle, I’m in.

[bandcamp width=350 height=470 album=1414100094 size=large bgcol=ffffff linkcol=0687f5 tracklist=false]

Stef Chura

image9

Stef Chura alongside boyfriend and Jamaican Queens drummer, Ryan Clancy filled the space with what felt like a collaboration between Karen O and The Modern Lovers Jonathan Richman if they scored a 90’s teenage runway film. Stef’s voice is dominant with a confident meekness that is shrill by means of catharsis. So much so that guitar and drums seem secondary. Her vocal playground is purposeful, warped, and effective. It’s a freeing expelling of emotion but stripped down and wonderfully messy like early Flaming Lips recordings.

[fusion_soundcloud url=”https://api.soundcloud.com/tracks/234277527″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”450″ iframe=”true” /][/fusion_builder_column][/fusion_builder_row][/fusion_builder_container]

PLAYING DETROIT: 10 Questions With Frontier Ruckus

1437419063265Frontier Ruckus‘ Matthew Milia has a lot to be thankful for. For starters, Ryan Adams sent him an email about anticipating ”smoking a jay” and listening to the new recordings and they scored former Wilco drummer, Ken Coomer, as producer and percussionist on their 2016 release recorded in Nashville earlier this year. Formed in 2003, Frontier Ruckus has built a reputation on pairing vividly raw and pleasantly long winded imagery with lush pop arrangements. Each song paints portraits of memories, dreams, and personally important geographical landmarks. Just a year after the release of their fourth album, Sitcom Afterlife, Milia and gang — David Jones (banjo, electric banjo), Zach Nichols (musical saw, trumpet, alto horn, meodica, keys) and Anna Burch (bass, vocals) — return home to close out a short tour. They play tonight at Marble Bar in Detroit on the tail of the announcement of the completion of their fifth LP. I caught up with Milia to discuss tour, Thanksgiving, and the tao of Frasier Crane.

1. What’s the best part about touring? Any good stories from this latest trip?

I turned 30 on this last trip, in Houston, and it felt kind of heavy. Some fans made me a homemade cake and presented it to me onstage between songs with candles lit, which the rest of the band was in on, and everyone sang me “Happy Birthday.” I’ve been touring for most of my adult life so it felt natural to be away for it—if anything I just felt an immense gratitude to be able to still be doing what I want to be doing at this stage of life.

2. When you’re on the road, what do you miss most about Detroit? 

There’s something comforting about geographical orientation. What I love most about Detroit is that it just happens to be the place where I’ve best memorized how all the roads map out and connect — the intricacies locked away within the metropolis. There’s kind of a thrilling novelty to the pure dislocation of tour at first. But a few weeks in, you wish you knew your surroundings more innately without consulting Yelp.

3. It’s been just over a year since the release of Sitcom Afterlife. What’s been the biggest change in Frontier Ruckus from then to now? 

Anna is playing bass guitar again! For the first time since her departure, right after Deadmalls and Nightfalls came out in 2010. It creates a nice heightened energy on stage. We’re five albums in now, and with each album it just seems to crystalize the overall feeling of the band, and diminishes distracting anxiety. People at shows have this greater context to see things in. The characters in the songs all interact. The band’s narrative grounding just feels sturdier and a bit more substantial, without being too self-aggrandizing about it.

4. You’ve described yourself as a verbose lyricist. What are some of your favorite words or imageries? 

Early on I really like mixing biblical or religious imagery with sexuality. I think 13 years of pent up Catholic schooling will do that. These days, in a more balanced way, I think I’m still locked into the almost obsessive and systematic image-cataloguing of banal domestic suburban household objects and scenery that I fell into during Eternity of Dimming. I love detailing the unfolding of great familial drama in front of a static backdrop of living rooms and dads’ home offices.

5. You have a background in poetry. How is the writing process different for you when writing lyrics versus poetry? 

Well I rhyme in song which I never ever allow myself to do in poems. So I rhyme like hell in song. The more complex or internal or multi-word the rhyme the better.  And then there’s the chordal and melodic component which inevitably influences the language and meter of lyrics. I like to juxtapose in opposites. So if the chords sound happy I’ll tend to evoke an unsettling memory or something that challenges my emotional comfort, and vice versa. With poetry it’s all about language and much more conversational.

6. Could you describe Frontier Ruckus’ aesthetic via a memory that best encapsulates it? 

One time I was riding in the back seat of the car with my mother and grandmother. For some reason I was wearing roller blades. The only other thing in the back seat was my grandmother’s oxygen tank. We were stopped at a light and my curiosity led me to twist the knobs until it rattled and hissed and I got so freaked out that I swung the car door open and jumped out, slipping on my roller blade wheels in the path of oncoming traffic. My mom swung her door open which signaled to the cars to screech to a halt. That mixture of a comforting situation turning erratically panicked is what I think the band is about.

7. You just finished recording your fifth LP in Nashville, slated to release next year. What does it sound like? If it were a thanksgiving food what would it likely be?

It was the first album we’ve done outside of Michigan and our first with a producer — Ken Coomer (Wilco’s original drummer), who also drummed on the whole record. It’s definitely got more of a polished baroque pop vibe, with string parts and mellotron, etc. But where Sitcom Afterlife was sort of a one-off break-up album dealing with the bitterness of a specific situation, I think this album returns to the more universal themes of our earlier records that tried to portray the sorrow and loss inherent to notions of family, home, and memory, but through a sense of beauty and complex appreciation.

It would be a slice of pumpkin pie mingling with a bit of creamed onions from a reused plate.

 

8. What inevitable awkward family interaction are you dreading/looking forward to this Thanksgiving? 

Just the perennial explanation of what being in a band is like, and what sort of accomplishments the band achieved since the last briefing. I’m blessed with a super supportive family though. Still one always feel obliged to qualify things in relatable terms.

9. What does the ideal 2016 look like for the band? 

Our aforementioned fifth album will be coming out at some point! Lots of touring and a few trips to Europe I’m sure. Collaborating with rad artists on music videos. I’ll be compiling another collection of poems I hope, along with some short fiction.

10. What character of Frasier are you and why?

Definitely Frasier. I’d be lying if I didn’t desperately relate to his misguided narcissism colliding with crippling insecurity.

[fusion_builder_container hundred_percent=”yes” overflow=”visible”][fusion_builder_row][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”]

 [/fusion_builder_column][/fusion_builder_row][/fusion_builder_container]