Category: Reviews
Lakker: ‘Containing a Thousand’ EP
Digital audio workstations meet the end of the world on Dublin duo Lakker’s new EP Containing A Thousand out on R&S March 11.
This EP takes the listener on a journey through a post-apocalyptic wasteland where music is made from the grinding of machines left to continue manufacturing hunks of metal without a human in sight. Dark, almost foreboding melodies swirl around hard, industrial beats, creating a sound that could only be described as coming from a cosmos with only the faint memory of human existence.
Although it is their first album released on esteemed electronic label, R&S, this techno duo is certainly not an amateur act. They have been creating electronica beats for a decade, even having the honor of being spun by Richard D James (Aphex Twin) in his live sets—a distinction coveted by much of the electronic music world.
Complex, but intense beats begin the journey through a robotic wasteland with “Counting a Thousand.” Techno vibes from a satellite far from Earth circulate the air, as machines grind and churn perpetually, having continued their course despite the absence of humanity. Perhaps, the human race has jetted off to inhabit a new planet, and left only the remnants of parties and discos floating noisily over the crackling radio waves on a used-up earth.
“Mausoleum” continues with more metal-crunching, mechanical beats. Lakker’s roots in punk, metal, and broken beats can be clearly heard, mingling with the distinctive techno sounds they have become known for. Sounds that evoke images of machines humming through long plastic tubes elicit ominous, almost eerie feelings.
The EP gets a bit more tribal with “K’antu.” This track is curious sounding, like exploring the home of a person you have never met from a culture you have yet to experience. A little bit brighter and more optimistic sounding than the preceding tracks, “K’antu” feels as if it would make the perfect background music for Alice, had she fallen down the rabbit hole in outer space.
“Thermohaline” hits the listener like a meteor, from the moment the song begins. Powerful beats boomerang as the melody builds intensity in the background. This track has the horsepower of a Ferrari, but takes quiet moments for the listener to catch their breath before pulling them back into the music—hard.
Containing a Thousand certainly distinguishes itself from all other electronic bands out there. It takes the intensity of Excision minus the screeching sounds and dub step scratches and fuses them with the spacey after-world beats of Mimosa, taken to a whole new level of brooding intensity. While the album is rather dark and ominous, techno fans will certainly be swept away to another land by this EP.
RAW Natural Born Artist: PIXELS at Terminal West: Music
I’m not sure if everyone at Terminal West Wednesday night was prepared for the amalgamation of creativity that was to take place inside the brick walls of the former steel foundry, but I know I certainly wasn’t. Courtesy of RAW Natural Born Artists, an international organization that connects artists of all kinds, the Pixels showcase featured three talented, up and coming musical acts as well as fashion, art, photography, and performance art from the Atlanta area.
Four Flats, a trio comprised of David Blackmon and Brad Garner on guitar and Courtney Rogers on lead vocals was first to take the stage. Their set consisted mostly of covers with a southern influence such as Otis Redding’s Sitting on the Dock of a Bay, Dolly Parton’s Jolene, and Whipping Post by The Allman Brothers, a band in which Rogers said has had a huge influence on their direction as a band. Despite the fact that Four Flats has no original compositions yet, they show real promise as a band.
The second act of the night, and undoubtedly the crowd favorite, was Bonnie Bordeaux. Bordeaux and her powerhouse of a band, who have only been collaborating for a few months, used their contagious stage presence to transport the audience to the 1940’s. They performed mostly original songs, which were innovative and unique. Never a boring moment, the set combined Pop, Jazz, and R&B. Bordeaux also performed an ambitious cover of Settle Down by Kimbra, which she pulled off stunningly. Between Bordeaux’s musical range and ability to put on a great show, this group has grand potential to be the next big thing to come out of Atlanta. Bonnie Bordeaux will also appear at SCAD Atlanta on February 28th.
The last musical act of the night was Athens-based rock band American Mannequins, who have become a steady presence in the greater Atlanta music scene this past year. Lead vocalist Curtis Vorda, effortlessly hit high notes belting out melodies that ranged from uplifting to haunting. Although their involved prog-rock arrangements and somewhat awkward stage presence didn’t strike a chord with all audience members, their solid musicianship was more than redeeming.
The Pixels showcase put on by RAW Natural Born Artists featured musicians with raw natural born talent and an eclectic variety of music that the audience appreciated. Check out these great new artists and upcoming RAW events here.
RAW Natural Born Artists: PIXELS at Terminal West: Art
Where can you find feminist, hiphop performance art, utensil jewelry, and photos of naked women standing near Atlanta landmarks? You’re best bet is a Raw Natural Born Artist showcase like the one held last Wednesday at Terminal West. Pixels featured music, art, photography, fashion, performance and make-up artists.
The visual pieces were hung on display on chain-linked fences that surrounded the main stage where three talented music acts would perform. Jewelry booths were set up in the adjoining room while performance art and a fashion show completed the evening.
Photographer Q. Oliver’s portion of fence was swarming with interested people all night. His stunning black and white photographs featured women of all shapes and ethnicities standing completely or partially nude in the middle of some of Atlanta’s busiest streets. I was told he captures the photos in the early morning hours to avoid too much attention from passer-byes and law enforcement. Check out Q.Oliver’s photos here.
Jewelry designer Mallory Wingo of WingostarrJewelery incorporates natural gemstones with everyday items like forks and spoons to create some very unique pieces. She strives to make customized pieces with the time consuming process of hammering letter stamps into the metal of her designs. Shop WingostarrJewelery here.
Danielle Deadwyler a.k.a Didi Xio’s performance art incorporated hiphop beats and social commentary on gender and race stereotypes. She first engaged the audience by having a man hold one end of a noose, wrapping herself up in the other end and pulling on it violently while she recited poetic verses. She then took the stage in a fierce mental rap while including the audience in a game of dice. Deadwyler’s performance was powerful and hard-hitting. Preview Didi Xio’s musical storytelling here.
These are just three of the many incredible artists on display at the Pixels showcase. Raw Natural Born Artists is an international organization connecting local artists to their community while providing them the creative freedom to perfect their craft. You can learn more about this organization and support local artists here.
Roky Erickson with Black Angels at Terminal West
My two roommates and I went to see Roky Erickson. We were anxious to see what kind of people would be at a show featuring Roky Erickson (obviously The Black Angels headlined). We walked in behind a middle-aged double date. One of the women was wearing gold metallic go-go boots. Of course, The Black Angels are a psychedelic-rock band, so I was expecting oddities like this one. It was a sold out show.
We walked in in the middle of Roky Erickson’s performance, and I cried a little on the inside. I wanted to see him walk on, but I can imagine it: probably simply and without acknowledging there was a crowd of Black Angel fans before him. Roky Erickson got his start in 1966 after co-founding The 13th Floor Elevators. Later in 1974, “Two Headed Dog (Red Temple Prayer)” debuted a more rock and roll side of Roky, as compared to his original psychedelic style. “Two Headed Dog” became a single, which he of course, featured at the show. I assumed he was the reason most of the older folks showed up. He wasn’t alone on stage, though. He was accompanied by three guitarists, a beautiful keyboardist and a drummer, all of which were young and healthy. Roky seemed out of place. He still has long hair, although more gray and he seemed to be looking at the guitarists at either side of him, looking for a nod of approval I was looking forward to seeing him by himself. I wanted to see him on a stool with a guitar singing, “I Love the Living You”. Roky is the epitome of raw, so much so that his acoustic songs become revelatory. He is the only artist that can bring tears to my eyes and yet sing so simply. Nonetheless, he was there, in the flesh, a legend. I was glad to know Roky existed outside of my head. He left as simply as I assume he came out.
Enough of my swooning over Roky Erickson. The crowd multiplied, along with random puffs of smoke overhead (“eh-hem”). There was still a varied age group. To be honest, I had never listened to Black Angels prior to this night. The stage was set with four stand-alone canvases and one large canvas backdrop. Projections splattered the stage with trippy colors and star images. The music played but no Black Angels. I could feel the excitement gathering, and the crowd grew louder, but still, no Black Angels. After two or three minutes of this titillation, they walked on. I was expecting a grand entrance, but I guess you don’t need that when you’re the Black Angels. The crowd went wild, as the cliché goes, and they began. The drummer, a shaggy haired girl that looked like she could stare anyone to death, played a heavy, slow beat. Then the vocalist broke in. This was literally a psychedelic experience – not just The Black Angels but the event as a whole. To my right was a young, sweet couple and to my left a guy that looked like Mick Jagger’s clone. I was still having post-Roky effects, and it was all too much. I wouldn’t have missed this show for the world. It was a once in a lifetime experience, and I shared it with two great people, and that is what makes a concert review-worthy.
Axxa/Abraxas: ‘Axxa/Abraxas’
Sometimes, you have to learn to be happy exactly where you are. And, thankfully, once in a blue moon, musical acts like Axxa/Abraxas emerge and remind me again why I’m so proud to be living in Athens, Georgia. The project of University of Georgia alum Ben Asbury is a unique blend of music and art that never ceases to inspire with its melting pot of 60s pop, 70s psych and post-punk. On March 4, all of this wonderment culminates in the release of Axxa / Abraxas’ self-titled debut album.
I suggest starting with the album’s first two singles (below), “I Almost Fell” and “On The Run”, especially if you’re a little weary of heavy psychedelia. Their sound is quite different from the rest of the album, yet still fits ideally between the other eight tracks. “I Almost Fell” is what would happen if A Flock of Seagulls was transported to the 70s, while “On The Run” dips deeper into straight rock n’ roll. This track is simultaneously reminiscent of the Doors and today’s surf punk bands – an odd but strangely satisfying combination.
The rest of the record proves to be much more expectedly 70s, a lot more lyrically inclined. “Ryan Michalak (Is Coming To Town)” opens the album in an instrumental haze of violin before jumping into a fuzzy-voiced tale about – what else – an old friend returning. Harder tracks like “So Far Away” make me feel like I’ve turned on an old Cream record, while more thoughtful tunes like “Painted Blue” tell me, “Close your eyes so your mind can see.” Groovy, no?
If at all possible, try to pick up a physical copy of the album – Asbury was in part picked up by the Captured Tracks label because of his demos’ stunning D.I.Y. silkscreen art. But don’t take too long eyeing this inevitably gorgeous cover art. You’ll want to get to listening to this psych masterpiece, stat.
Holychild: ‘Mindspeak’ EP
“Everytime I Fall” is a new single by holychild off their upcoming Mindspeak EP due out on March 4th via Glassnote. LA indie-electronic-pop duo consisting of liz nistico and louie diller describe themselves as “making brat pop.” And this is exactly what this single sounds like. Bratty.
Angelic vocals lead off the track and the drums and melody kick off shortly after. It is rather difficult at first to hop on the unpredictable beat that seems at times to not quite keep up with the playful vocals. Lyrics such as “everytime I fall, fall away, I don’t even have to say, I know the story’s not the same with you” are whimsical and fun but seem to be more preoccupied with rhyming than relaying a message.
This single is a departure from other singles by holychild, such as “Playboy Girl” and “Best Friends” that have a more indie-rock, girl power vibe to them. However, “Everytime I Fall” evokes memories of a 90s pool party in a chick flick; it makes for a cheerful and sprightly dance tune, but feels like it just may be missing something. The melody is unique and has potential for greatness, but the distorted vocals are distracting and almost whiny, and take away from the rest of the song.
“I’ll never give it all to you,” holychild sings, and it feels as if they truly haven’t.
James Supercave: “The Right Thing”
James Supercave of LA are to release their most recent EP in late March. “The Right Thing” is their newest single. James Supercave utilizes various styles in this single and creates an epic poetry of sorts. The single starts with synthesizer sounds combined with twangy vocals (but not too much as to sound similar to vocals like Mumford & Sons, don’t worry). The combination of the synthesizers and the raw vocals is somewhat experimental, and this modern sound is specific to this generation of artists. The vocals grow high-pitched and mimic the futuristic sound. There is a one second pause and a powerful guitar boost at 1:08, similar to a metal beat. Almost at the same time, the track slows down. Violins replace the guitar, and harmony replaces the synthesizer. Everything becomes soft. The vocals get deeper, almost opera like. At 3:00, the sound takes on a revelatory mood and finishes out with distorted synthesizer sounds and clean-cut guitar riffs.
“The Right Thing” is proof of James Supercave’s versatility. As an English major, I’m inclined to say that it resembles an epic poem in song form. Its up’s and down’s create a journey of emotions and sounds.
Keep James Supercave on your radar. There is a possibility that James Supercave will tour with War Paint in the spring and will make a few appearances at SXSW. You’ll want to be there.
Angel Olsen: ‘Burn Your Fire for No Witness’
If Nancy Sinatra and Joni Mitchell had a love child, it would be Angel Olsen… with a little bit of Karen O from the Yeah Yeah Yeah’s thrown in. Olsen proves her musical finesse and artistic diversity with her new album, Burn Your Fire for No Witness.
Originally from St. Louis, but Chicago-based, Angel Olsen began her career playing in coffee shops and with various bands before striking out on her own and embarking on her own to create solo album, Half Way Home, in 2012.
Burn Your Fire for No Witness, her second solo album that will be released on Jagjaguwar February 18, adds more depth to her sound as she matures her identity as an artist.
Beginning with “Unf—theworld”, Olsen sings softly, but with great depth. Her sound is very raw and stripped down, providing a background from which she ruminates in experiences of love and heartbreak. It often feels if she is singing to the listener from a different era; at times bringing to the imagination the idea that her music is broadcasting out of one of those vintage television sets from the 50s with her fuzzy vocals and vintage sound.
On “Forgiven/Forgotten”, she quickly dives into a heavier rock and roll jam with some punk-rock riffs and a serious dose of girl power. Despite bumps in the road, she asserts her self-assuredness but remarks, “I don’t know anything, but I love you.”
On the quirky and comical “Hi-Five”, jilted lovers and lonely feelings are abundant. This Johnny Cash-sounding ballad follows two people bonding over being deserted and lonesome. “Are you lonely too?” Olsen asks. “Hi-five, so am I.” It is relatable and fun and you cannot help but crack a smile.
These fun upbeat songs are balanced by slow, longing, almost mournful tunes. Olsen’s voice is clear; it is gentle but unwavering as she reflects upon facts of life over simple guitar melodies on songs such as “White Fire”, “Dance Slow Decades” and “Enemy.” From “White Fire” we find where the album title comes from.” If you’ve still got some light in you then go before it’s gone,” she urges, “burn your fire for no witness it’s the only way it’s done.”
Our heart aches with her on lonelier tracks, but more upbeat songs such as “High & Wild” and “Stars” raise spirits; head bobbing and tapping feet are inevitable.
Coffee shop tunes and rainy day music blend with reminiscent and bereft lyrics to create an album that is simultaneously modern and old-fashioned. Olsen’s sound has certainly been developed and cultivated since her first release. As she remarks on “Enemy”, “we might be older now, but is it changing anything?” For Angel Olsen, it certainly is. And it sounds awesome.
New Electric Ride: “Balloon Age”
New Electric Ride, the Psychedelic indie rock band signed to Beyond Beyond is Beyond Records, is set to release its debut LP, Balloon Age on February 25th. The album contains psychedelic songs laced with tinny vocals, quirky keyboard, and a flanged up sound reminiscent of The Beatles, but before you go comparing them to John, Paul, George, and Ringo, a few words:
Balloon Age, an apparent ode to The Beatles (specifically Yellow Submarine) manages to pay homage to the Fab Four, while still showcasing New Electric Ride’s unique style. More pop-driven songs like “Bye Bye (Baton Rouge)” showcase the band’s ability to write a catchy hook without sacrificing their sound. Riff-driven tracks like “Lovers” highlight the group’s commitment to creating dynamic rock songs. But still, I found myself constantly comparing the album to the countless hours I’ve spent listening to The Beatles discography. While this comparison can be high praise, it can also be crippling. Whenever any band steps into the arena with The Beatles they tend to magnify their weaknesses and minimize their strengths. Luckily for New Electric Ride, the George-Harrison-style guitar can sound great if a song has enough catchy creativity to back it up – and in the case of Balloon Age, the creativity is palpable with each track.
Generally speaking, everyone’s favorite cook is his or her mom. My mom makes the best chicken piccata that I’ve ever tasted (mad props to Debra). At this point in the review, you’re probably asking, “Colby, why are you talking to me about delicious Italian cuisine and your mom?” What I’m getting at is this: While my mom’s chicken piccata will always be the best in my mind, I still like the dish when someone else cooks it, because that’s my taste. Maybe the sauce is too thick, maybe they forgot the capers… I’m still going to eat it, and nine times out of ten, I’m going to like it. Maybe the tinny vocals and the flanged up sound works better on some songs more than others, but I still like that Lennon sound. The question becomes, is the album a unique, successful expression of a new voice? And in this case, I believe that it is.
At some point or another, every rock band enters into the arena with The Beatles in some way whether they like it or not. I mean, The Beatles are basically the successful older brother that casts a never-ending shadow for the rest of us to live in. Maybe that’s the issue. Is it really fair to judge a band based on the scale created by legends? Even if that band draws creatively from the style of a legendary group like The Beatles? New Electric Ride seems to pose this sort of question in “A Submarine Song.” The band asks “isn’t it mean how no one can dream about writing a submarine song anymore?” Have people like me killed the dream by constantly judging one piece of music, art, or literature in relation to another?
What’s the point in creating music if you can’t dream of being the best? Can’t you at least aspire to write something as iconic and great as “Yellow Submarine?” Just because it’s been done before, can we not draw from and build upon the successful sounds laid down by our musical forefathers? If that’s the case, then I might as well just lay down the pen (or shut my laptop down), because I’m sure that I’ve consciously and subconsciously used phrases and styles from past writers who were far superior and more successful than me.
Look, I know as well as the next listener that it’s damn near impossible to listen to an album with tinny, flanged up vocals with harmony and not think of The Beatles, but before we judge a band based on that criteria, maybe we should consider other things – like how much we genuinely enjoyed listening to the album, regardless of whether or not it was as good as Magical Mystery Tour. There will never be another group like The Beatles or another album like Sgt. Pepper’s Lonely Hearts Club Band, but it’s refreshing to see a band take those sounds and make them their own in an attempt to create something new and great. New Electric Ride does just that with Balloon Age.
I’m done rambling now. Go listen to the album and eat some chicken piccata.
Pillar Point: ‘Pillar Point’
In the music world, indie-pop electronica albums are like Starbucks; there’s one on every corner. So what sets Seattle band Pillar Point and its self-titled debut album apart from the rest? It blends the bright, fast beats and optimistic melodies of bands like The Naked and Famous with smooth, airy vocals reminiscent of Win Butler (Arcade Fire). But Pillar Point is much less in-your-face than other bands. It trades blatant lyrics and assertive beats for a more inconspicuous feel, and in doing so, evokes every emotion from melancholy to exhilaration. The music and lyrics are rather understated, a quality that many of us music consumers who miss the subtlety of music will most certainly appreciate.
While Pillar Point may be a new act to the music scene, the musician behind the project, Scott Reitherman, formerly of Throw Me The Statue, certainly is not. While his musical prowess and experience are evident, he is not afraid to deviate from his usual sounds and winds the music down an unbeaten path in this new album, out February 25th on Polyvinyl Records.
Songs like “Diamond Mine” and “Eyeballs,” at first listen, are instant dance classics, with quick beats that often change pace layered on top of buoyant synth melodies. But Reitherman’s vocals lend an ethereal, vaporous quality to the tracks and are often interjected with smoky, almost hypnotic bridges. Other songs, such as “Cherry” and “Dreamin’” slow down the pace a bit with mellow, dreamy melodies and lyrics that speak intimately of love and heartbreak. Reitherman displays childlike curiosity and playful innocence evocative of our first crush in “Curious of You”, complete with a sneakily woven Blondie reference in the melody and lyrics. Alternately, he tells of love with a distant, experienced wisdom on the next track (“Echoes”).
Listening to Pillar Point feels like floating over the rest of the electronic music we find out there today, dreamily and distantly enjoying the beats, yet also taking time to ponder the profound lyrics. Upon listening to the entire album, it feels as though you have come upon something truly great in a very delicate way. Perhaps the best way to describe Pillar Point is in its own lyrics from “Black Hole.” To listen to this album is “to sleepwalk through a lost empire.”