Tag: Detroit MI

Single Review by William Ruben Helms

 

Currently featuring founding members Cynthia Sley (vocals), Pat Place (guitar) and Dee Pop (drums) along with newest recruit Val Opielski, the New York-based act Bush Tetras can trace their origins back to when Sley, Place, Pop and Laura Kennedy (bass) formed the band back in 1979.  Interestingly, their full-length debut Too Many Creeps was considered one of their scene’s defining moments as it accurately captured the vibe, feel and ethos of that scene’s particular moment.

Building upon a growing profile, the members of Bush Tetras were an opening act during The Clash’s legendary, spring 1981 17 show run at Bond International Casino. After the release of their Topper Headon-produced Rituals EP, which featured the chart-placing “Can’t Be Funky,” Laura Kennedy and Dee Pop left the band and were replaced by Bob Albertson (bass) and Don Christensen (drums); however, the band broke up.

For the better part of the next three decades, the members of the band were fairly elusive, although interestingly enough, the band’s original lineup reunited on a couple of occasions — in 1995, which resulted in 1997’s Beauty Lies and recording sessions the following year, which resulted in a Don Fleming-produced album that was shelved when Mercury Records was sold. That album was finally released in 2012.

In 2005, Julia Murphy replaced Kennedy and they resumed playing and touring across New York. The band toured across Europe the following year. Sadly, Laura Kennedy died in 2011 after a long battle with liver disease. In 2013, Cindy Rickmond, a former member of Cheap Perfume, Grayson Hugh, Church of Betty and Unknown Gender briefly replaced Murphy. And in 2016, Val Opielski, a former member of Krakatoa, Walking Hellos, PSXO and 1000 Yard Stare joined the band.

Last year saw the release of Take The Fall EP through Wharf Cat Records, the first batch of new music from the band in over 10 years. Over the winter, Third Man Records cleared their Cass Corridor showroom floor, invited the band down to Detroit — and enlisted the help of Third Man Mastering’s Bill Skibbe and Warren Defever to record their recently released “There is a Hum”/”Seven Years” 7 inch. A side single “There is a Hum” is a slashing bit of post punk, reminiscent of Entertainment-era Gang of Four and Sonic Youth — but seething with a neurotic anxiousness. B side single “Seven Years” manages to be a mischievously anachronistic track that sounds as though it could have been released at any point within the past 30 years. The glitchy and spastic track features some blistering and energetic guitar work centered around cowbell-led percussion and a sinuous bass line. Both tracks find the legendary post punk/No Wave act boldly reminding the listener that although it’s been a while, they play with a fury, passion and purpose that many younger acts lack.

 

 

 

 

 

 

Video by William Ruben Helms

Live Footage: The Raconteurs Perform “Help Me Stranger” on “Late Show with Stephen Colbert”

Comprised of founding duo Jack White (vocals, guitar) and Brendan Benson (vocals, guitar) along with Jack Lawerence (bass) and Patrick Keeler (drums), the Nashville, TN-based supergroup The Raconteurs can trace their origins to when White and Benson, who have been longtime friends were hanging out together and wrote “Steady, As She Goes,” and after they wrote it, it inspired them to start the band, with the band’s founding members recruiting Lawrence and Keeler, who were once members of The Greenhornes to complete the band’s lineup. The band came together in Detroit during 2005 and wrote and recorded material when time allowed.  White and Lawrence went on to form The Dead Weather with The Kills Alison Mosshart.

The Raconteurs long-awaited third, full-length album HELP US STRANGER was released last month through Third Man Records — and the album, which also marks the first batch of new material from the band in a decade, finds the band further pushing their sound in new directions, meshing enormous power chord-based riffs with blues, psych rock, Detroit funk and Nashville soul. Now, as you may recall, album single “Bored and Razed” was a sleazy power chord-based 12 bar blues with an anthemic hook, delivered with a swaggering AC/DC-like air. “Help Me Stranger” finds the band playing a swaggering and dusty old-school blues filtered through modern rock, complete with anthemic hook.  While in town for a nubmer of promotional activities for the new album, the band had a two-night run on Late Show with Stephen Colbert.

Video by William Ruben Helms

Live Footage: The Raconteurs Perform “Bored and Razed” on “Late Show with Stephen Colbert”

Comprised of founding duo Jack White (vocals, guitar) and Brendan Benson (vocals, guitar) along with Jack Lawerence (bass) and Patrick Keeler (drums), the Nashville, TN-based supergroup The Raconteurs can trace their origins to when White and Benson, who have been longtime friends were hanging out together and wrote “Steady, As She Goes,” and after they wrote it, it inspired them to start the band, with the band’s founding members recruiting Lawrence and Keeler, who were once members of The Greenhornes to complete the band’s lineup. The band came together in Detroit during 2005 and wrote and recorded material when time allowed.  White and Lawrence went on to form The Dead Weather with The KillsAlison Mosshart. 

HELP US STRANGER, The Raconteurs long-awaited, third full-length album officially dropped yesterday through Third Man Records — and the album, which also marks the first batch of new material from the band in a decade, finds the band further pushing their sound in new directions, meshing enormous power chord-based riffs with blues, psych rock, Detroit funk and Nashville soul. HELP US STRANGER‘s latest single “Bored and Razed” finds the members of The Raconteurs playing sleazy power chord rock, centered around a boozy, 12 bar blues arrangement, a rousingly anthemic hook, delivered with a swaggering AC/DC-like air.

The members of the Raconteurs have been busy doing promotional activities for their new album that included a two-night run on Late Show with Stephen Colbert in which they performed “Help Me Stranger” and “Bored and Razed” and in-store appearance and performance at Rough Trade. Check out the live performance of one my favorite songs off the album “Bored and Razed,” which they played last night. 

Single Review by William Ruben Helms

Comprised of found duo Jack White (vocals, guitar) and Brendan Benson (vocals, guitar) along with Jack Lawerence (bass) and Patrick Keeler (drums), the Nashville, TN-based supergroup The Raconteurs can trace their origins to when White and Benson, who have been longtime friends were hanging out together and wrote “Steady, As She Goes,” and after they wrote it, it inspired them to start the band, with the band’s founding members recruiting Lawrence and Keeler, who were once members of The Greenhornes to complete the band’s lineup. The band came together in Detroit during 2005 and wrote and recorded material when time allowed.  White and Lawrence went on to form The Dead Weather with The Kills Alison Mosshart. 

HELP US STRANGER, The Raconteurs long-awaited, third full-length album is slated for a June 21, 2019 release through Third Man Records — and the album, which also marks the first batch of new material from the band in a decade, finds the band further pushing their sound in new directions, meshing enormous power chord-based riffs with blues, psych rock, Detroit funk and Nashville soul. HELP US STRANGER‘s latest single “Bored and Razed” finds the members of The Raconteurs playing sleazy power chord rock, centered around a boozy, 12 bar blues arrangement, a rousingly anthemic hook, delivered with a swaggering AC/DC-like air.

White, Benson, Lawerence and Keeler will be embarking on a lengthy North American tour, which will include a three nights stop in New York — September 5, 2019-September 6, 2019 at Hammerstein Ballroom and September 7, 2019 at Kings Theatre. The September 6, 2019 show at Hammerstein Ballroom and the September 7, 2019 show at Kings Theatre are sold out. Every online ticket purchased for the upcoming North American headlining shows will include a physical copy the album on CD — except for the Aspen, CO shows. Fans will also have the option to upgrade their CD to the standard, black vinyl LP. Check out the tour dates below.

Tour Dates
July 4: Belly Up Tavern – Aspen, CO
July 5: Belly Up Tavern – Aspen, CO
July 12: Masonic Temple Theatre – Detroit, MI (SOLD OUT) @
July 13: Masonic Temple Theatre – Detroit, MI $
July 14: Eagles Ballroom – Milwaukee, WI #
July 15: Armory – Minneapolis, MN #
July 18: WaMu Theater at CenturyLink Field Events Center – Seattle, WA #
July 19: Queen Elizabeth Theatre – Vancouver, BC (SOLD OUT) #
July 20: Queen Elizabeth Theatre – Vancouver, BC #
July 21: Edgefield – Troutdale, OR (SOLD OUT) #
July 23: Fox Theater – Oakland, CA (SOLD OUT) #
July 24: Fox Theater – Oakland, CA
July 26: Greek Theatre – Los Angeles, CA #
July 27: Santa Barbara Bowl – Santa Barbara, CA
July 28: Cal Coast Credit Union Open Air Theatre – San Diego, CA
August 10: Railbird Festival – Lexington, KY *
August 11: Knoxville Civic Auditorium – Knoxville, TN
August 12: Egyptian Room at Old National Centre – Indianapolis, IN (SOLD OUT)
August 13: Stage AE (Indoors) – Pittsburgh, PA
August 15: Agora Theatre – Cleveland, OH (SOLD OUT)
August 17: The Anthem – Washington, DC
August 18: The Fillmore Charlotte – Charlotte, NC (SOLD OUT)
August 20: Township Auditorium – Columbia, SC
August 21: Tabernacle – Atlanta, GA
August 22: Tabernacle – Atlanta, GA
August 29: Ryman Auditorium – Nashville, TN (SOLD OUT) %
August 30: Ryman Auditorium – Nashville, TN (SOLD OUT) %
August 31: Ryman Auditorium – Nashville, TN (SOLD OUT) %
September 3: Red Hat Amphitheater – Raleigh, NC %
September 5: Hammerstein Ballroom – New York, NY %
September 6: Hammerstein Ballroom – New York, NY (SOLD OUT) %
September 7: Kings Theatre – Brooklyn, NY (SOLD OUT) %
September 9: House of Blues – Boston, MA (SOLD OUT) %
September 10: House of Blues – Boston, MA %
September 12: Sony Centre for the Performing Arts – Toronto, ON (SOLD OUT) %
September 13: Express Live! Indoor Pavilion – Columbus, OH %
September 13-15: Riot Fest – Chicago, IL *
October 4-6: Austin City Limits Music Festival – Austin, TX *
October 9: Denver, CO – The Mission Ballroom (SOLD OUT)
October 11-13: Austin City Limits Music Festival – Austin, TX *
October 12: The Criterion – Oklahoma City, OK ^
October 13: Cain’s Ballroom – Tulsa, OK (SOLD OUT) ^
October 14: Cain’s Ballroom – Tulsa, OK (SOLD OUT) ^
October 16: Cain’s Ballroom – Tulsa, OK ^
October 17: Arvest Bank Theatre at The Midland – Kansas City, MO (SOLD OUT) ^
October 18: The Pageant – St. Louis, MO (SOLD OUT) ^
November 13: Teatro Colisea – Santiago, Chile
November 15: Popload Festival – São Paulo, Brazil *
November 16-17: Corona Capital – Mexico City, Mexico *
@ WITH THE PURE HEART TRAVELERS & NIKKI D AND SISTERS OF THUNDER
$ WITH THE HENTCHMEN & THE STOOLS
# WITH LILLIE MAE
% WITH OLIVIA JEAN
^ WITH THE CASUALITIES OF JAZZ
* FESTIVAL PERFORMANCE

 

Single Review by William Ruben Helms

Over the past month or so I’ve written a bit about the Detroit, MI-based trio Ritual Howls, and as you may recall with the release of three full-length albums and a number of EPs, the act which is comprised of Paul Bancell (vocals, guitar), Chris Samuels (synths, samples, drum machine) and Ben Saginaw (bass) have developed a reputation for crafting a cinematic twangy and dance floor friendly industrial post-punk — although last year’s The Body EP found the trio employing the use of more expansive arrangements paired with a sculpted sound and production.

Rendered Armor, the Detroit-based industrial, post-punk trio’s latest effort was released last week through felte records, and from the VOWWS-like “Alone Together” and the twangy Violator-era Depeche Mode-like “Thought Talk,” the album finds the band sonically continuing in a similar vein as The Body EP — but while balancing an uneasy intimacy with a wide screen, cinematic quality. “Devoured Decency,” the album’s latest single is a murky, mid-tempo, post apocalyptic song centered around thumping beats, arpeggiated synths, a throbbing bass line and a soaring hook. As the band’s Paul Bancell explains “This song started as a synth melody. I believe Ben’s bass accidentally ended up holding the song together, with his bass line working over multiple riffs. My wife Dana sings backing vocals on the song. It’s another post apocalyptic song – in some ways a call to stop being polite and decent when everything is going to shit around us.”

Ritual Howls will be touring with The Faint to support their forthcoming full-length album, and it includes two NYC area dates — July 29, 2019 and July 30, 2019 at Bowery Ballroom. Check out the rest of the tour dates below.

Tour Dates
04.13 Los Angeles, CA @ Echoplex (Record Release)  
07.27 Allston, MA @ Brighton Music Hall *
07.29 New York, NY @ Bowery Ballroom *
07.30 New York, NY @ Bowery Ballroom *
08.02 Philadelphia, PA @ Theatre of Living Arts *
08.03 Washington, DC @ 9:30 Club *
08.04 Columbus, OH @ Newport Music Hall *
08.05 Pittsburgh, PA @ Get Hip Records
08.06 Cleveland, OH @ Grog Shop *
08.07 Detroit, MI @ El Club *
08.09  Chicago, IL @ House of Blues *
08.10 Milwaukee, WI @ The Rave II (Downstairs) *
08.12 Minneapolis, MN @ Fine Line Music Cafe *
08.13 Kansas City, KS @ Madrid Theatre *
08.15 Dallas, TX @ Gas Monkey Live *
08.16 Austin, TX @ Scoot Inn *
10.04 Tampa Bay, FL @ Absolution Festival
 
* w/ The Faint, Closeness

 

 

Single Review by William Ruben Helms

New Audio: Permanent Records and RidingEasy Records Release a Gritty and Funky Track from Eight Edition of Brown Acid Compilation

I’ve written a lot about Permanent Records’ and RidingEasy Records ongoing collaboration on their increasingly expansive series of proto-metal and pre-stoner rock compilations Brown Acid over the past few years. And as you may recall, each individual edition is based around RidingEasy Records’ founder Daniel Hall’s and Permanent Records co-owner Lance Barresi’s extensive, painstaking research and curation — with Hall and Barresi spending a great deal of time tracking down songs’ creators, most often bands that haven’t written, played or recored together in 30 or 40 years, and then encouraging them to take part in the compilation process. As Permanent Records’ Barresi has explained in press notes for each of previous editions of the compilation, “All of (these songs) could’ve been hits given the right circumstances. But for one reason or another most of these songs fell flat and were forgotten. However, time has been kind in my opinion and I think these songs are as good now or better than they ever were.”

Having the original artists participate as much as possible in the compilation can give the artists and their songs, a real second chance at the attention and success that they missed. Plus, these songs can help fill in the gaps within the larger picture of what was going on in and around regional and national underground music scenes during the 60s and 70s. Following the critical and commercial success of its first seven editions, RidingEasy Records and Permanent Records’ edition of 60s and 70s proto-metal and pre-stoner rock Brown Acid: The Eighth Trip is slated for release on April 20, 2019 (4/20 y’ll!) continuing what has become a bi-annual tradition for both labels — and this site. And much like its preceding editions, the eighth edition finds Barressi and Hall digging deeper and deeper into the well of hard rock, psych rock, proto-metal and pre-stoner rock primarily from the States — with the addition of a Canadian band. The album’s first single was from “School Daze,” a seamless synthesis of MC5, Jimi Hendrix and Grand Funk Railroad from Detroit‘s Attack — or more precisely St. Clair Shores.

Originally recorded in 1969, Memphis-based act Grump took on “Heartbreak Hotel,” popularized by a fellow Memphian that you may have heard of, by the name of Elvis Presley — and Grump’s rendition is a gritty and funky stomp that recalls Steppenwolf’s “Magic Carpet Ride,” and Grand Funk Railroad. 

Video by William Ruben Helms

New Video: Detroit’s Ritual Howls Release Creepy and Unsettling Visuals for “Alone Together”

Over the course of three full-length albums and a number of EPs, the Detroit, MI-based trio Ritual Howls, comprised of Paul Bancell (vocals, guitar), Chris Samuels (synths, samples, drum machine) and Ben Saginaw (bass) have developed a reputation for crafting a cinematic twangy and dance floor friendly industrial post-punk — although last year’s The Body EP found the trio employing the use of more expansive arrangements paired with a sculpted sound and production.

Interestingly, the trio’s forth, full-length album Rendered Armor is slated for a March 22, 2019 release through felte records continues in a similar vein as The Body; in fact, the upcoming album’s latest single “Alone Together” is centered around twangy guitar, ominous atmospherics, shimmering synths and a dance floor friendly thump — and while sonically bearing a bit of a resemblance to acclaimed post-punk duo VOWWS, the song is the tale of a classic love song, set in a doomed world, much like our own. But at its core is a longing that verges on an increasingly perverse obsession. Created by Kirill Slavin, the recently released video for “Alone Together” features some incredibly creepy and unsettling footage from the short film Witch Zombies & The Lightbox Rave that helps to emphasize the obsession at the heart of the song. 

Video by William Ruben Helms

New Video: Moon King Releases an 80s Computer Generated Visual for Shimmering and Hazy Club Banger “Neon Lights”

Over the past few years, I’ve written quite a bit about the Toronto, ON-born and-based songwriter, multi-instrumentalist and producer Daniel Benjamin, the creative mastermind behind the critically applauded solo electro pop project Moon King. Now, as you may know, the act initially began as a solo recording project but may be best known for a several year period in which Benjamin collaborated with Maddy Wilde (vocals, guitar); but with Wilde’s departure a few years ago, Benjamin returned to his roots — writing and recording as a solo project. Coincidentally around the same time, Benjamin relocated to Detroit, MI, where he spent a year working and living in the Detroit neighborhood of Hamtramck. .

Benjamin’s stint in Hamtramck inspired the Hamtramck 16 mixtape, a mixtape that not only documented his arrival into a new, unfamiliar place but was also a radical change in sonic direction and songwriting approach with the material capturing his increasing obsession with electronic dance music. His forthcoming album, Voice of Lovers is the first full-length album of new material since he began fully embracing underground house, techno and electro pop — and the material finds the Canadian-born songwriter, producer and electronic music artist in a state of discovering and experimentation in which he synthesizers something fresh and unexpected out of dollar bin disco, new wave, eurotrash and more.  “There are a lot of quick cuts and transitions and the songs are pretty short, it’s meant to feel a bit breathless or disorienting, like driving around and dropping in at a few different clubs in a night. Lyrically the songs are little stories from the last couple of years…… trying to live in the US as a non-citizen, listening to records at the apartment in Hamtramck, late nights out at parties like Freakish Pleasures and Macho City, trips with the crew to Montreal, being on tour during the 2016 US election, spending the holidays alone in Detroit, the deaths of George Michael & Prince and the unfinished Moon King record from 2015. It’s dark and fun and a little nihilistic but ultimately positive.”

Voice of Lovers’ first single is the 80s synth funk meets Teddy Riley/New Jack Swing meets classic Chicago house track “Neon Lights.” Centered around layers of shimmering and arpeggiated synths, stuttering boom-bap-like drum programming, soulful vocals from Vespere and a rousing hook, the song manages to sound as though it were released in 1983 or so. And while evoking sultry and hazy summer nights, the track actually has an achingly lonely quality to it — as though the song’s narrator was spending time playing their favorite albums to gear themselves up to head out to the club. 

The recently released retro futuristic video by Stacie Ant uses computer-generated 3D figures dancing and singing along to the song in 80s-inspired clubs and outfits, complete with period-specific special effects to boot. 

Look for Voice of Lovers on April 2, 2019 through Arbutus Records. 

Single Review by William Ruben Helms

Over the course of three full-length albums and a number of EPs, the Detroit, MI-based trio Ritual Howls, comprised of Paul Bancell (vocals, guitar), Chris Samuels (synths, samples, drum machine) and Ben Saginaw (bass) have developed a reputation for crafting a cinematic twangy and dance floor friendly industrial post-punk — although last year’s The Body EP found the trio employing the use of more expansive arrangements paired with a sculpted sound and production.

Interestingly, the trio’s forth, full-length album Rendered Armor is slated for a March 22, 2019 release through felte records continues in a similar vein as The Body. Now, as you may recall, album single “Alone Together” was centered around twangy guitar, ominous atmospherics, shimmering synths and a dance floor friendly thump — and while bearing a sonic resemblance to acclaimed post-punk duo VOWWS, the song is the tale of a classic love song, complete with an aching longing that’s set in a doomed, near apocalyptic world, much like our own. Rendered Armor‘s latest single “Thought Talk,” is a twangy, Violator-era Depeche Mode take on their sound as reverb drenched guitar playing is paired with an industrial thump, laser-like hi hats, sharply arpeggiated and propulsive synths and Bancell’s icy delivery that further emphasizes the song’s plaintive melancholy. And much like its predecessor, the song finds the Detroit-based trio balancing an uneasy intimacy with a wide screen cinematic quality.

Ritual Howls will be touring with The Faint to support their forthcoming full-length album, and it includes two NYC area dates — July 29, 2019 and July 30, 2019 at Bowery Ballroom. Check out the rest of the tour dates below.

Tour Dates
04.13 Los Angeles, CA @ Echoplex (Record Release)  
07.27 Allston, MA @ Brighton Music Hall *
07.29 New York, NY @ Bowery Ballroom *
07.30 New York, NY @ Bowery Ballroom *
08.02 Philadelphia, PA @ Theatre of Living Arts *
08.03 Washington, DC @ 9:30 Club *
08.04 Columbus, OH @ Newport Music Hall *
08.05 Pittsburgh, PA @ Get Hip Records
08.06 Cleveland, OH @ Grog Shop *
08.07 Detroit, MI @ El Club *
08.09  Chicago, IL @ House of Blues *
08.10 Milwaukee, WI @ The Rave II (Downstairs) *
08.12 Minneapolis, MN @ Fine Line Music Cafe *
08.13 Kansas City, KS @ Madrid Theatre *
08.15 Dallas, TX @ Gas Monkey Live *
08.16 Austin, TX @ Scoot Inn *
10.04 Tampa Bay, FL @ Absolution Festival
 
* w/ The Faint, Closeness
Single Review by William Ruben Helms

 

Over the course of three full-length albums and a number of EPs, the Detroit, MI-based trio Ritual Howls, comprised of Paul Bancell (vocals, guitar), Chris Samuels (synths, samples, drum machine) and Ben Saginaw (bass) have developed a reputation for crafting a cinematic twangy and dance floor friendly industrial post-punk — although last year’s The Body EP found the trio employing the use of more expansive arrangements paired with a sculpted sound and production.

Interestingly, the trio’s forth, full-length album Rendered Armor is slated for a March 22, 2019 release through felte records continues in a similar vein as The Body; in fact, the upcoming album’s latest single “Alone Together” is centered around twangy guitar, ominous atmospherics, shimmering synths and a dance floor friendly thump — and while sonically bearing a bit of a resemblance to acclaimed post-punk duo VOWWS, the song is the tale of a classic love song, complete with an aching longing that’s set in a doomed, near apocalyptic world, much like our own. As a result, the song balances an uneasy intimacy with a wide screen cinematic quality.