Over the course of this site’s nine year history, I’ve written quite a bit about the New York-based singer/songwriter and multi-instrumentalist Kelsey Warren, a grizzled local scene vet, who has been in a number of projects as a side man, hired gun or frontman including Denise Barbarita and the Morning Papers, and Pillow Theory among others.
Now, as you may recall, Warren’s latest attention-grabbing project Blak Emoji began in 2015 as a solo recording project with a rotating cast of players; however, over the past couple of years, the project gradually evolved into a full-fledged band that features Sylvana Joyce (keytar), Bryan Percival (bass, keys) and Max Tholenaar-Maples (drums). During that same period, the project released a handful of slinky, 80s synth funk-inspired singles — “Another Club Night,” “Velvet Ropes & Dive Bars” and “Honey,” — that won attention across the blogosphere and this site. And while being a decided departure from Warren’s previously recorded work, Blak Emoji reveals a songwriter, who can effortlessly craft a big, dance floor friendly hook.
Warren and company released their highly-anticipated full-length debut Kumi earlier this year and the album continues the slinky, Rick James meets Prince mold of his previously Blak Emoji work. Kumi’s latest single is the slinky, club banger “Love Lust Above.” Centered around layers of arpeggiated synths, thumping beats and Warren’s sultry vocal delivery, the track may arguably be the most sensual track off the album, bearing an uncanny resemblance to INXS’ “Need You Tonight.”
Directed by Jasin Cadic, the recently released and slickly shot video stars Maya Eley, Kristina Kiss, Ruth Gutierrez and Kelsey Warren further emphasizes the sultry, dance floor friendly vibe of the song. At one point, we see Warren getting painted by a love interest, as two shadowy figures convulsively dance in the background.
Andy Clockwise is a Sydney, Australia-born, Los Angeles-based singer/songwriter, multi-instrumentalist, producer and engineer, who emerged into his homeland’s music scene with the release of his critically applauded, commercially successful debut double album Classic FM. As a result of the album’s success, Clockwise earned opening slots for INXS and The Stranglers‘ Hugh Cornwell.
After briefly relocating to London, Clockwise eventually wound up in Los Angeles, where he quickly immersed himself into his new hometown’s music scene. Receiving airplay on NPR, KCRW and KROQ, Clockwise also discovered that the successful he attained back in Australia managed to translate rather quickly in the States, as he released a string of successful EPs before the release of his sophomore full-length effort The Socialite. Additionally, since relocating to Los Angeles, Clockwise founded his own record label, Exhibition Records, “to make as much music as possible before we are old,” the Aussie-born, Los Angeles-based singer/songwriter, multi-instrumentalist, producer and engineer says in press notes. In fact, labelmates Bella Darling and George Stanford released material on the Motown and Factory Records inspired label.
Last summer Clockwise released The Good Book EP, an effort that featured singles “Open Relationship,” a collaboration with Warpaint‘s Stella Mozgawa and “The Best,” which debuted on the US Speciality Radio Charts at #15 with fellow countrymen The Avalanches. Both singles spent several weeks on the FMQB Radio Charts in North America with “Open Relationship” landing at #1 on KROQ’s fan-voted Locals Only Charts — and the track received airplay on KCRW and Alt 98.7FM in the States, and double J and FBi in Australia. He’s also toured with The Black Keys, Julian Casablancas, and Warpaint. Along with that Clockwise has been extremely busy working in the studio on multiple releases for artists and composing for film and television, with some of his compositions appearing in Netflix’s Wanderlust, Meet Me In Montenegro, Pump The Movie and several others.
Building upon that momentum, the Aussie-born, Los Angeles-based singer/songwriter, multi-instrumentalist, producer and engineering will be releasing his forthcoming album War Stories in three volumes over the next two years. After dealing with the illness and death of his mother, Clockwise took the time to work on the album’s material in his New South Wales-based studio, writing and recording the album primarily by himself — but with the assistance of co-producer and co-engineer Omar Yakar, Jr. at Boulevard Recording, once Clockwise returned to Los Angeles to finish it. “War Stories is about the wars we put each other through…a pop musical ode to human dysfunction, heartache, sex, grief, revolution, and the death of our youth,” Clockwise explains in press notes. “War Storieswas pretty much made by myself in LA/London/Australia while my mum was ill and i was traveling back and forth to look after her and getting back to what I actually enjoy about music which is folk/classic post punk/ pop / my Irish trad music and early electronic house — I gave it a name Warrior pop. Something to stop you from thinking everything is awful. It sounds alright too.”
Centered around propulsive drumming, atmospheric synths, a sinuous bass line, shimmering guitars, War Stories‘ latest single is the moody and rousingly anthemic, New Wave meets Bruce Springsteen-like “This Town (Used To Be Great).” The song’s heartbroken narrator tells a familiar tale of finding love and failed love in a new town — and as a result, the song is imbued with the lingering ghosts of past love and the bitter and uncertain feelings it can invoke.
Last November, I wrote about the Budapest, Hungary-based indie rock quartet Ivan and the Parazol, and as you may recall the act which is currently comprised of Vitáris Iván (vocals), Balla Máté (guitar), Beke István (keys) and Simon Bálint (drums) can trace their origins to when its founding members along with Tarnai János (bass) met at a private music school back in 2010. And since their formation, the Hungarian rock act has released three full-length albums, opened for Deep Purple, played SXSW twice, played Reeperbahn Festival, Eurosonic Nooderslag, and the Sziget Festival main stage as well as hundreds of shows internationally across Europe. Adding to a growing national and international profile the act was nominated for an MTV Hungary Brand New Award in 2010, won an MTV Europe Music Award for Best Hungarian act in 2014. Also their single “Together” was named the Sziget Festival anthem.
Last year was an eventual year for the Hungarian rock band: they celebrated their eighth year together, and in that time, the band cemented a reputation for being at the forefront of their homeland’s growing, contemporary rock and indie rock scenes. Building upon their growing profile, the Budapest-based rock act’s Wil Anspach-produced fourth, full-length album Exotic Post Traumatic finds the band ambitiously expanding upon the sound and songwriting approach that has won them attention in the homeland — with the intention of winning ears and audiences across the rest of the European Union and the States. Exotic Post Traumatic’s slow-burning, first single “Nr. 1003” was a slick and seamless mix of glam rock, psych rock and arena rock that seemed to draw from The Rolling Stones, Pink Floyd and Tame Impala — and while seemingly sunny, the song has a subtle darkness to it; after all the song focuses on the band moving froward with their lifelong dream without one of their closest friends. And while there’s some guilt about moving forward, there’s also the hope that their friend will be able to join them on their incredible journey.
The album’s latest single “Changin'” is a straightforward arena rock track features an enormous power chord-led hook, a thundering backbeat and Vitáris Iván’s sultry baritone. And while to my ears, the track sounds like early INXS, the song is centered by an overwhelming positivity — that the changes the song’s narrator feels he’s going through is part of a necessary part of his personal evolution. As the band explains in press notes that “‘Changin’ could be the title of the whole album, cause the last two years have embodied this concept. The band, our music, and style of song-writing developed and evolved so much. This song was inspired by a new relationship, but of course the desired love is hard to reach, especially when the different factors of life and personal experiences can make it harder to materialise. Our band and our bond is a relationship too that goes through evolutions and difficulties. So, you have to trust your instinct, and the change will make you better.”
The recently released video follows a beautiful and stylish woman as she goes to an artist loft — at first she vamps in an elevator before heading to an art gallery. Next door, the members of Ivan and the Parazol are jamming out. Much like the video for “Nr. 1003,” the slickly shot video creates the impression that the band are part of their country’s — and in turn, their hometown’s — effortlessly cool.
Last year, Pitchfork, one of the premier music websites; October, a beer culture-centric website that aims to capture the spirit, ambition, making and drinking of the precious and beloved stuff through essays, travelogues and events; and Bon Appetit, the award-winning food lifestyle brand teamed up for what may arguably be one of the most unique festivals I’ve come across in some time: OctFest, a beer, music and food festival. 2018’s edition of OctFest, which will take place on Governor’s Island on September 8, 2018 and September 9, 2018 will feature a food lineup curated by Bon Appetit , a music lineup curated by Pitchfork that will include Vince Staples, The Flaming Lips and dozens of other music acts, 90+ craft breweries from all around the world – and with arguably some of the most gorgeous views of Manhattan you’ll see in your life.
So let’s talk a bit about each aspect of the festival, huh?
10 Barrel Brewing Co. (Bend, OR)
Austin Eastciders (Austin, TX)
Breckenridge Brewery (Littleton, CO)
Elysian Brewing Company (Seattle, WA)
FiftyFifty Brewing Company (Truckee, CA)
Firestone Walker Brewing Company (Paso Robles, CA)
Founders Brewing Co. (Grand Rapids, MI)
Four Peaks Brewing Co. (Tempe, AZ)
Golden Road Brewing (Los Angeles, CA)
Goose Island Beer Co. (Chicago, IL)
Jolly Pumpkin Artisan Ales (Dexter, MI)
Karbach Brewing Co. (Houston, TX)
Kona Brewing Company (Kailua-Kona, HI)
Live Oak (Austin, TX)
Monkless Belgian Ales (Bend, OR)
On Tour Brewing Company (Chicago, IL)
Rogue Ales (Newport, OR)
The Shop Beer Co. (Tempe, AZ)
Virtue Cider (Fennville, MI) North America – East
Blue Point Brewing Company (Patchogue, NY)
Brasserie Archibald (Canada) Braven Brewing Company (Brooklyn, NY)
Brewery Ommegang (Cooperstown, NY)
Brickworks Cider (Canada)
Circa Brewing Co. (Brooklyn, NY)
Cisco Brewers (Nantucket, MA)
Collective Arts Brewing (Canada)
DC Brau (Washington, D.C.)
Devils Backbone Brewing Company (Roseland, VA)
Flying Dog Brewery (Frederick, MD)
Hanging Hills Brewing Company (Hartford, CT)
Jack’s Abby Craft Lagers (Framingham, MA)
Keegan Ales (Kingston, NY)
Lamplighter Brewing Co. (Cambridge, MA)
LIC Beer Project (Long Island City, NY)
Lord Hobo Brewing Company (Woburn, MA)
M.I.A. Beer Company (Doral, FL)
Microbrasserie Gainsbourg (Canada)
Mill Street Brewery (Canada)
Narragansett Brewing Company (Pawtucket, RI)
Sand City Brewing Co. (Northport, New York)
Springdale (Framingham, MA)
Stanley Park Brewing (Canada)
Sunday Beer Co. (Brooklyn, NY)
The Bronx Brewery (Bronx, NY)
Veza Sur Brewing Co. (Miami, FL)
Wicked Weed Brewing (Asheville, NC)
Zero Gravity Craft Brewery (Burlington, VT) Europe
Aktien Brewery of Kaufbeuren (Germany)
Birra del Borgo (Italy)
Brasserie La Binchoise (Belgium)
Brouwerij Bosteels (Belgium)
Brouwerij DeKroon (Belgium)
Camden Town Brewery (UK)
Hertog Jan (Netherlands)
La Virgen (Spain)
Laugar Brewery (Spain)
Wild Beer Co (UK) Latin America
Bogota Beer Co (Colombia)
Cervecería Urbana (Mexico)
Cervecería Wendlandt (Mexico)
Cerveza Patagonia (Argentina)
Lohn Bier (Brazil)
Melas Beer (Colombia)
Nicaragua Craft Beer Co. (Nicaragua) Pratinha (Brazil)
Wals (Brazil) Asia, Africa, Oceania
Bira 91 (India)
4 Pines Brewing Company (Australia)
Balter Brewing Co (Australia)
Boxing Cat Brewery (China)
Cape Brewing Co. (South Africa)
Good George (New Zealand)
Newlands Spring Brewing Company (South Africa)
Pirate Life Brewing (Australia)
Playground Brewery (South Korea)
Taihu Brewery (Taiwan)
The Hand & Malt Brewery (South Korea)
While I’ll definitely have interest in the food and beer, my primary interest is the music and I’m looking most forward to catching sets from the following:
Saturday, September 8
Vince Staples: Staples is a 25 year-old, North Long Beach, CA-born and-based emcee and actor, who first rose to prominence as member of hip-hop collective Odd Future, which also featured Mike G, Earl Sweatshirt and Tyler The Creator – and the collaborative Mac Miller-produced Stolen Youth mixtape. October 2014 saw the release of his solo debut EP, Hell Can Wait, which included attention grabbing singles “Hands Up” and “Blue Suede.”
Building upon a growing profile, Staples’ full-length debut 2015’s Summertime ’06 was released to critical applause – with Staples being featured as part of XXL’s 2015 Freshman Class. Staples’ critically acclaimed sophomore album, 2017’s Big Fish Theory found the acclaimed, young emcee expanding upon his sound as the album’s production incorporated avant-garde, dance and electronic influences. Additionally, Staples’ made a guest appearance on Gorillaz’s latest effort Humanz.
Staples is headlining Saturday night and I’m looking forward to hearing material off both Summertime ’06 and Big Fish Theory live.
BADBADNOTGOOD: Currently comprised of founding members Matthew Tavares (keys), Chester Hansen (bass), and Alexander Sowinski (drums) with newest member Leland Whitty (saxophone), the Toronto, Ontario, Canada instrumental act BADBADNOTGOOD derive their name from an abandoned comedy TV project that Tavares was working on before the band formed – and whether as trio or a quartet, the band has developed a reputation for a sound and compositional approach that draws from hip-hop, electronica, jazz, prog rock; but they’re perhaps best known for their jazz-based interpretation of hip-hop tracks, which have allowed them to collaborate with Kendrick Lamar, Tyler The Creator, Earl Sweatshirt, Denzel Curry, Danny Brown, Mick Jenkins, Ghostface Killah and others. Interestingly, the band can trace its origins to when the band’s founding trio bonding over a mutual love of hip-hop – in particular MF Doom and Odd Future.
As the story goes, the then-trio played a piece based on Odd Future’s music for a panel of their jazz performance instructors, who didn’t believe it had much musical value – but interestingly enough, after they released the track as “The Odd Future Sessions, Part 1,” the track caught the attention of Tyler The Creator, who helped the video go viral. The Canadian act followed that up with the 2011 release of their full-length debut BBNG, which featured interpretations of A Tribe Called Quest, Waka Flocka Flame and Odd Future. Building upon a growing profile, the members of BADBADNOTGOOD recorded a live jam session with Tyler The Creator in Sowinski’s basement, with videos from the session amassing more than a million views each.
2012’s sophomore effort BBNG2 was recorded over the course of a ten-hour studio session and featured Leland Whitty (saxophone) and Luan Phung (electric guitar) and featured their own original material, as well as renditions of sons by Kanye West, My Bloody Valentine, James Blake, Earl Sweatshirt and Feist. That year, the band was the official Coachella Festival house band, backing Frank Ocean and Odd Future over the course of its two weekends.
2013 saw the release of III, which featured “Hedron,” a track that was also featured on the compilation album Late Night Tales: Bonobo; “CS60” and “Can’t Leave the Night,” which was released with the B-side “Sustain,” and they were involved on the soundtrack for The Man with the Iron Fists, assisting with the production and composition.
2015 saw the release of the band’s fourth, full-length album Sour Soul, and the album found them collaborating with Ghostface Killah – and interestingly, the album is more of a hip-hop album that nods at jazz. They ended the year with covers of a handful of holiday standards, including “Christmas Time Is Here” with Choir! Choir! Choir!
Leland Whitty joined the band as a full-time member in early 2016, and followed that up with producing “Hoarse” off Earl Sweatshirt’s full-length debut Doris and “GUV’NOR,” a remix, which appeared on JJ DOOM’s Keys to the Kuffs (Butter Edition). By the middle of that year, BADBADNOTGOOD released their fifth full-length album IV, an album that featured guest spots from Future Islands’ Sam Herring, Colin Stetson, Kaytranada,Mick Jenkins and Charlotte Day Wilson, and was named BBC Radio 6’s #1 album of the year.
Live the act, which also includes keyboardist James Hill can easily shift between jazz, acid jazz, jazz fusion, hip-hop, prog rock, advant-garde jazz, funk and rock with an effortless and seamless fashion – and seemingly at will. I saw them earlier this summer at BRIC Celebrate Brooklyn! Festival at the Prospect Park Bandshell and they are a must see.
Preoccupations: Now throughout the past handful of years of this site’s history, I’ve written quite a bit about Canadian post-punk act and JOVM mainstays Preoccupations, and as you may recall, the band which is comprised of Matt Flegel (bass, vocals), Mike Wallace (drums), Scott Munro (guitar) and Daniel Christiansen (guitar) initially formed under the highly controversial name Viet Cong – and as a result of their original name, the members of the band found themselves in the middle of a furious and frenzied debate around cultural appropriation and the usage of terms, names and symbols closely associated with historical groups and actions that evoke the horrors and brutality of despotism, fascism, war, genocide and so on. Ultimately, the band decided it was best to change their name before the release of their sophomore album, an effort that found each of the individual members of the band in unsteady and uncertain positions – at the time, each of the individual members of the band had relocated to different cities across North America, which forced the band to change their long-established creative process.
Unlike their previously recoded material, the band went into the writing sessions without having a central idea or theme to consider or help guide them along, essentially making the recording sessions a collective, blind leap of faith. Interestingly, the band’s sophomore, self-titled album wound up drawing from that mix of anxiety, despair and regret that creates sleepless nights. New Material, the band’s third full-length album was released earlier this year, and the album builds upon the Canadian post-punk act’s growing reputation for crafting dark and moody post-punk centered around themes of anxiety, uncertainty, futility, frustration, creation and destruction but as the band’s Matt Flegel says of the self-recorded album, the album is “an ode to depression. To depression and self-sabotage, and looking inward at yourself with extreme hatred.” And while the material is dark, murky and deeply introspective, the members of Preoccupations have developed a reputation for having an intense and energetic live show, which reveals the material’s anthemic nature.
Sunday, September 9
The Flaming Lips: Currently comprised of founding members Wayne Coyne (guitar, vocals) and Michael Ivins (bass), with Steven Drozd, Derek Brown, Jake Ingalls, Matt Duckworth and Nicholas Ley, the Norman, OK-based psych rock/psych pop/indie rock act The Flaming Lips formed back in 1983 with Coyne (guitar), Coyne’s brother Mark (vocals), Ivins (bass) and Dave Kotska (drums). Interestingly, after Kotska joined the band, Richard English joined the band – and that year, they recorded the only full-length album with Mark Coyne, the band’s self-titled effort.
After Mark Coyne left the band, Wayne assumed vocal duties and the and released their 1986 full-length debut Hear It Is on Pink Dust Records, a psych rock imprint of Engima Records. With that initial lineup, the band released two more albums, 1987’s Oh My Gawd!!! and 1989’s Telepathic Surgery, which was originally planned to be a 30-minute sound collage. From that point on, the band has gone through a series of lineup changes – 1989’s Dave Fridmann-produced In a Priest Driven Ambulance featured Nathan Roberts (drums) and Mercury Rev’s Johnathan Donahue (guitar), and saw the band expanding upon their sound with further experimentation with tape loops and effects, as well as Coyne making a transition to vocal style inspired by Neil Young.
Back in 1990, the members of The Flaming Lips caught the attention of Warner Brothers Records and were promptly signed when an AR rep witnessed a show in which the band almost burned down the American Legion Hall in their hometown with the use of pyrotechnics. In 1991, the members of the band started recording their major label debut Hit to Death in the Future Head, which was delayed for nearly a year because of their use of a sample from Michael Kamen’s score from the major motion picture Brazil, which had a lengthy clearance process. After the recoding of the album, Donahue left the band to focus on his work with Mercury Rev and Roberts leaving the band, citing creative differences.
Ronald Jones and Steven Drozd joined the band and with that lineup they released Transmissions from the Satellite Heart, their only full-length album in which their longtime producer and collaborator Fridmann wasn’t involved; however, because of the success of album single “She Don’t Use Jelly,” the band was featured on Beverly Hills 90210, Late Show with David Letterman,Charmedand Beavis and Butthead. Building upon a growing profile, the band went on a lengthy stint of touring opening for Red Hot Chili Peppers and Candlebox.
1995’s Clouds Taste Metallic was released to critical fanfare in 1995 although it didn’t achieve the same commercial success of its predecessor. In 1996, the band went through another lineup chance with the depature of Ronald Jones. The three remaining members of the band felt a growing dissatisfaction with stand rock music, led to the extremely experimental Zaireeka, a four CD album intended to be heard by playing all four CDs in four separate CD players simultaneously. Sonically, the material incorporated traditional musical elements, found sounds often manipulated by contemporary recording studio techniques and electronics.
And while their experimental efforts received, the band received mainstream success with 1999’s The Soft Bulletin, which meshed catchy melodies with synthetic strings, hypnotic and carefully manipulated beats, booming cymbals and weird but deeply philosophical lyrics. Critically, the album has been compared to The Beach Boys’ Pet Soundsas it featured the entire studio as an instrument to be manipulated. The Soft Bulletin’s critically applauded follow-up, 2002’s Yoshimi Battles the Pink Robots featured guest musician Yoshimi P-We and found the band incorporating the increasing use of electronics and computer manipulation – and the album is generally considered their first critical and commercially successful album after 20 years as a band; in fact, “Approaching Pavonis Mons by Balloon (Utopia Planitia)” won a Grammy for Best Rock Instrumental Performance, and the album was certified Gold in 2006. Since then the band has been considered one of those must-see acts, thanks in part to a show that has largely been described as a pure spectacle.
Rodgers is arguably one of the more influential and important figures of pop music and dance music of the past 40+ years, and he’s had a role on some of the most beloved albums and singles, and I gotta admit I’m looking forward to hearing all of those old Chic songs live.
Yo La Tengo: Yo La Tengo is Spanish for “I have it” — referring to a female-gendered object or person, in which it would be “I’ve got her,” but the Hoboken, NJ-based indie rock band actually derive their name from an old baseball anecdote. During the New York Mets‘ inaugural season in 1962, centerfielder Richie Ashbury and Venezuelan-born shortstop Elio Chacon found themselves colliding in the outfield. As the story goes, whenever Ashbury went for a catch, he wold scream “I’ve got it! I’ve got it!” but Chacon spoke Spanish and had a limited understanding of English. During a game later that year, Ashbury yelled “Yo la tengo! Yo la tengo!” instead and saw Chacon backing off on the play, avoiding further collisions; however, left fielder Frank Thomas, who didn’t understand Spanish and missed the team meeting that proposed using “Yo la tengo!” to avoid outfield collisions, collided into Ashburn. After getting up from their collision Thomas reportedly asked Ashburn, “What the hell is a Yellow Tango?”
As far as the band, the New Jersey-based indie rock band, which is currently comprised of founding members Ira Kaplan (guitar, piano, vocals), and Georgia Hubley (drums, piano, vocals), along with James McNew (bass, vocals) can trace their origins back to 1984. When Kaplan and Hubley formed the band, they played an advertisement to recruit other musicians, who shared their mutual love of The Soft Boys, Mission of Burma and Arthur Lee and his band Love, and as a result, the band’s first lineup featured Kaplan, Hubley, Dave Schramm (lead guitar) and Dave Rick (bass) with whom they released their debut 7 inch “The River of Water,” which featured a cover of Arthur Lee’s “A House Is Not a Motel.” After the band recorded “Private Doberman” for the Coyote Records compilation Luxury Condos Coming to Your Neighborhood Soon, the band went through a number of lineup changes before settling on their current lineup in 1992 — although the band’s original guitarist Dave Schramm joined the band during the sessions for their 14th record, Stuff Like That There.
Despite achieving limited mainstream success, Yo La Tengo have developed a reputation for being a critically applauded act while maintaining a devoted cult following, thanks in part to their live shows, which reveal an almost encyclopedic repertoire of covers — their SummerStage set last year began with a cover of Ace Frehely‘s “Back in the New York Groove“– and for their annual Hanukkah residency at Maxwell’s that featured a shit ton of covers and special guests, including their parents. Live, they manage to walk a tightrope between power and lush beauty, irony and sincerity within the turn of a phrase.
No Age: Comprised of Randy Randall (guitar) and Dean Allen Spunt (vocals, drums), the Los Angeles, CA-based noise rock duo No Age can trace their origins to the breakup of their previous band Wives, in which Spunt played bass and sang while Randall played guitar. The duo’s first official release was an extremely limited release collection of 5 vinyl singles and Eps that they released on 5 different labels on or around the same day – March 26, 2007. Designed by Brian Roettinger and the members of No Age, the back of each record’s sleeve was a different color and had a different letter that when put together spelled out the band’s name. Half of the songs on the singles and EPs wound up comprising their full-length debut Weirdo Rippers.
Since the release of Weirdo Rippers, Randall and Spunt have developed a reptaution for relentless touring, frequently playing shows at unusual locations – they once played a show at the Los Angeles River and they famously accompanied video artist Doug Aitken and Chloe Sevigny to Athens, Greece and Hydra Island, Greece to perform a multimedia piece “Black Mirror.” The performances took place on an old Greek barge at the Port of Piraeus, off the Island of Hydra and a final performance with the barge driven to the middle of the ocean. Additionally, they’ve found new and interesting ways to pair art around the release of their music – 2009’s Losing Feeling EP was released with a limited edition “Losing Feeling” companion zine; 2012’s “Collage Culture” 12 inch was a soundtrack to readings of excerpts of Aaron Rose, Mandy Kahn and Brian Roettinger’s Collage Culture, split in two channels – one side with readings from the book, the other side with No Age music written specifically for the release.
The acclaimed noise rock act is currently touring to support their latest effort Snares Like a Haircut, which was released earlier this year through Drag City Records.
Check out the full musical lineup below.
Saturday, September 8
Standing on the Corner
Sunday, September 9
The Flaming Lips
Nile Rodgers & CHIC
Yo La Tengo
Tickets are still available, please check out OctFest.co for information.
You can check out information and updates on the festival at Oct.co, and on Twitter by following @Pitchfork and @ReadOctober.
I’ll be covering the festival through my various social accounts, so feel free to check me out through the following:
Throughout their history together, the Calgary, AB-based indie rock/darkwave/New Wave/post-punk act Ultrviolence have developed a reputation for adhering to old-school DIY principles and for frequently ignoring the clichés and dictates of the music industry machine. And over the past couple of years, the band has caught the attention of the blogosphere — and in particular this site, for a sound that seemingly draws from Joy Division, Interpol, Viet Cong and others.
Since the release of last year’s Black Sea EP, the band has gone through a massive lineup change with Nate Jespersen (vocals, bass), the sole founding member, collaborating with several members of Vancouver, BC-based indie rock band ACTORS. Produced by ACTORS’ Jason Corbett, the project’s much-anticipated follow-up to Black Sea EP, Forty Knives EP finds Jespersen and the band’s new lineup building upon the moody, post-punk sound that first caught the attention of this site and the blogosphere while thematically evoking the dark and seemingly unending solitude that arises when one allows themselves to be completely isolated from the world.
“Guillotine,” Forty Knives’ first single is a hauntingly moody and atmospheric track, which finds the band pairing jangling guitar chords played through reverb and delay pedal, shimmering synth chords, a propulsive bass line and a metronomic-like drumming paired with Jespersen’s equally moody baritone vocals. Interestingly, with my 38th birthday being yesterday, this particular song evokes something profoundly familiar — the lingering and embittering ghosts and ill-feelings of a particularly dysfunctional and/or ambivalent relationship; the awareness of time passing by and of the built-in regret that you’ve squandered the most valuable and important commodity you’ll ever know — time; and that feeling of stepping away from the wreckage of a lengthy relationship and not quite knowing what to do next or how to even go about it. And as a result, the song possesses a visceral ache.
The recently released video for the song nods at Bob Dylan’s “Subterranean Homesick Blues” and INXS’ “Need You Tonight”/”Mediate” as the video features a man on the side of the road, holding cardboard signs with the song’s lyrics; however, this man is hitchhiking with a sense of desperate urgency.
Comprised of primary members Guy Fenech, Oly Marlan and Nick Franklin Sydney, Australia-based indie electro pop/indie rock act Australia independently released their full-length debut Portraits of People, Places and Movies earlier this year to national attention for a sound that channels their homeland’s early 80s pub rock scene and 80s New Wave — in other words, as you’ll hear on Places and Movies‘ latest single “Breathe In,” anthemic hooks paired with propulsive four-on-the-floor-like drumming, angular guitar chords, a sinuous bass line, shimmering and undulating synths and Fenech’s baritone crooning to craft a sound that will remind listeners of INXS‘ “Listen Like Thieves” and In Ghost Colours-era Cut Copy — but with a dance floor-friendly feel.
Last night, I learned that JOVM has had readers and viewers from over 117 countries across the world — this year. 117! I’m honored, flattered and incredibly humbled that my childhood obsession with music and my labor of love have become a part of so many people’s lives. With 2015 coming to a close, I want to thank you, dear friends for letting me come into your screen and hopefully bring a little bit of joy, wonder and meaning into your lives. And if I’ve done that, I’ve been wildly successful in ways that I never would have dreamt.
Comprised of Jordan Rose Brzezinski (vocals), Philip Shoemaker (synths, keys and guitar). Russell Augustin (guitar) and Bryan Hart (drums and samples), the Chicago, IL-based quartet Sexy Fights specialize in a slick, dance floor ready sound that […]
Over the past thirty or so years, several Australian artists have become internationally-known sensations including Men at Work, INXS, Midnight Oil, The Church, Cut Copy, Tame Impala and several others. Last year, the Melbourne, Australia-born, […]