Showing posts with label listen. Show all posts
Showing posts with label listen. Show all posts

Wednesday, January 4, 2012

welcome : black pussy

So much comes through my gd inbox every, single day that it's extremely difficult to stay afloat. I'm constantly skimming, always forwarding, and rarely revisiting. Often the squeaky wheel gets the oil and I spend the bulk of my time responding to inquiries and requests from the people I personally know.

Everything else of interest, especially that which is local, gets a little Gmail label stuck on it. And then it gets pushed into email oblivion. Once it has left that first page of 50, or even fallen beneath the fold with 30+ emails sitting above, it may be lost, even if it's gone unread because I knew I was interested in it... ever so slowly it slips into the digital quicksand, briefly resurfacing if it's lucky enough to be searchable (or unlucky depending how searchable it is), begging to escape the inbox purgatory, pleading for hell: permanent deletion.

It takes a very special set of, completely subjective, oft uncontrollable, circumstances to escape this fate.

Enter: Black Pussy.

Already cognizant of the psych, trance rock of White Orange, a less serious, stoner rock (see here) alter ego is not out of the question... I just wish someone would've slapped me in the face with it!

Instead, I breezed through the email.

But thankfully, OMN's Ruben Mosqueda quickly offered to do a write up on the band's debut, six-track album, On Blonde, due out on January 17th.

"That takes care of that," I thought. And it may have been another long while before, or if, I ever revisited Black Pussy.

If only I'd slogged through the initial emails/bios I would've realized that Black Pussy is the "baby" of White Orange vocalist/guitarist/songwriter Dustin Hill and features WO guitarist Ryan McIntire, bassist Adam Pike and drummer Dean Carroll plus backing vocalist Madeline Mahrie and guitarist Peter Meissner, who also provided the album's artwork.

And I would've read this descriptive gem: "The Rolling Stones song 'Brown Sugar,'" Hills says. "We heard a rumor that they wanted to call it 'Black Pussy' but for some reason or another they had to bring it down."

So, how did Black Pussy finally capture my attention? Another press email, a few more forwards, some banter back and forth, and it hit me that this was the band that my buddy Sabotage Jones said he saw on NYE in White Orange's stead at Kelly's Olympian. Stoner rock, copious consumption, make outs, nudity on stage. Here are the photos to prove it.

It takes a couple of days for these things to settle in.

So, back I go to read Ruben's yet-to-be-published review where he says, "Portland's Black Pussy is a sludgy throw-back that harkens to a time when lava lamps and black lights reigned supreme. Their debut On Blonde is full of rebellious attitude, obnoxious, distorted guitars, and memorable hooks."

Not to mention: "The lyrical content touches on everything that you’d expect--sex, drugs, more sex, and rock ‘n’ roll--and comes as no surprise from a band that lists their inspirations as weed, wine and women, not necessarily in that order."

Couldn't of said it better myself. Here's to bong rips, "high-heeled cocaine" and Black Pussy.

Welcome. I will be delighted to celebrate the release of On Blonde at the Ash Street Saloon on Saturday, February 11th.

Tuesday, November 8, 2011

download : free starfucker demos

Over the last few days, Starfucker has dropped a couple treats on us via Soundcloud and Facebook in the form of demos from the Reptilians recording sessions.

In a Facebook post, the band said, “We’re thinking about releasing all of the Reptilians Demos as a 12-inch vinyl someday… that’s even the Demo Artwork!! >>this is what ‘Julius’ used to sound like…”

Here are the four other tracks they’ve shared so far: “Astoria,” “Bury Us Alive,” “The White of Noon,” and “Mystery Cloud”




The expanded line up heads over to Europe in ten days for 20+ dates in November and December before playing an NYE show in Seattle and heading south to Cali and then the South. Sorry, no PDX/ORE show for now. Complete dates here.

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Read this on OMN.

Saturday, September 24, 2011

listen : james blake interviewed at the wonder + gig review and setlist

Although fans that saw James Blake on his first American tour, including a sold-out stop at the Doug Fir in May, worried about the intimacy that would be lost as he plays bigger and bigger stages, Blake himself is excited by the prospect–larger venues mean bigger sound systems with more low-end to create the massive sounds he’s seeking.

And James Blake demonstrated on Friday night at the Wonder Ballroom that the understated, introspective nature of his performance is still enough to captivate a larger audience, ably pulling the crowd in and keeping their attention with his drama-filled pauses and fragmented laments. Blake does have reason to fancy the increased power–his minimalist songs did sound good on a big PA whether he was vibrating the floorboards with active, soulful dubstep on R&S released EP tunes “CMYK” and “Klavierwerke”–the most club-worthy moments of the night–or providing a brief glimpse of unadulterated piano playing and vocals on “Give Me My Month”–the moment that most embodied Blake’s desire to play serious, solo piano sets, aiming “to make an art of the songwriting for piano.”

As many struggle to understand how James Blake can possibly be classified as dubstep, let alone what dubstep is, Blake simply described dubstep to OMN before the show as an “intense focus on a feeling,” and his stage presence, or lack thereof, was perfectly suited to amplify this emotion. Shy and subdued, his tall frame seated behind two keyboards, Blake mumbled a few anecdotes and was visibly touched by the audience’s reaction to his “melodic bass music.”

Listen to the entire OMN interview with James Blake including his thoughts on his new, “more intense” EP, Enough Thunder, expected in November and future collaborations with Bon Iver, aka Fall Creek Boys’ Choir, but sorry, not tonight at McMenamins Edgefield.

Reverbed, looped, layered and vocodered to create an Auto-Tune effect, the ever-transforming vocals wavered alongside the rhythmically discordant beats, both always on the edge of cracking to pieces yet masterfully restrained. The live layering and looping of the opening lines to “I Never Learnt To Share” captured the audience’s cheers as the audio’s balance panned from side to side, and the song furtively built into a droning, intense frenzy, which if ill-crafted would’ve been offensive. The same was true of the shattering yet delicately measured bass pulsations on “Limit To Your Love,” which obviously received the loudest cheers of the night especially when the disco ball started to spin.

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Read the rest and find the setlist on OMN.

Saturday, November 27, 2010

album : madison’s dance-pop on 'the noise some people make'

It may still be a long time coming (January 11, 2011), and it may not have anything to with Oregon (except for the recent RAC remix) or even the West Coast, but Madison’s debut EP, The Noise Some People Make, is electro-hot. And it may be only four swift songs, clocking in at under 13 minutes (we have two of them for you below!), but they’re soon to be burning up the dance-pop charts across the country.

With the same spunk and blonde eye-appeal as Norway’s Annie, Madison comes to us from NYC via Miami with her self-proclaimed “high fashion for lowbrows” first exposed with sunny, faithful love on her single "#1" (below), which mixes the sexiest, breathless moments of Goldfrapp with poppier synth lines.



Thumping electro flatulence and acoustic plucks mark the opening of a building dance jam where clever, sensual lyrics coax you to keep the “Lights Low” because “this ain’t no church, there ain’t no steeple.” Although the third track “Superwoman” loses traction due to its lack of lyrical originality, it is ripe for radio play as it perfectly fits somewhere between Britney and Gaga. With posh, Kardashian talk of glitterati, money and life in the spotlight, Madison bows down at the celebutante altar. But she wins you back and then some with her Nancy Sinatra electro-twang and sultry appeal on “Hot Hot Love” (below) closing it out with a ditsy-fun cheerleader chant.




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Read the rest and download two tracks on OMN.

Thursday, November 11, 2010

q/a : brent amaker + the rodeo is ‘here to kick your ass’

By nature, cowboys are badasses. Look it up in Merriam-Webster. It says: A rugged American dude that rides around on a horse ropin’ cattle, shooting pistols, and a slugging whiskey while wearing leather and a distinctive, wide-brimmed hat that ass kicker. And FREEDOM. Plus there’s a picture of John Wayne.

Now that’s a fact. So what happened to all our country cowboys?

For years, at an increasingly alarming rate, Nashville has been giving us country music about Bud Light, break ups, and tricked out pick ups. Songs are more likely to be about NASCAR than real struggle or strife–unless the salon got your highlights wrong–and freedom comes prepackaged in tacky, flag-waving odes, no longer reflections of “Prison Blues.”

Besides, where’s the excitement? The bravado, decadence, and romance embodied by a real man’s man? Where’s the Wild American West? Well it’s still here, from the wettest, northern stretches of the American West, in the form of Seattle’s Brent Amaker & The Rodeo.

The noir cowboys, forever dressed from head to toe in black, are equal parts Johnny Cash and Sergio Leone along with those dusty gems found on Tarantino soundtracks and a reputation for boisterous, whiskey-infused shows where B.A.R Brigade supporters encourage even more debauchery by emulating the Rodeo’s style. Their live sets often feature burlesque dancer Bunny Monroe or the you-gotta-be-there-to-see-it “Whiskey Baptism.” And Portland will get their chance to experience this live show that is a show, pulling as much from Devo and Bowie as classic country, when Brent Amaker & The Rodeo play the second to last date of their current tour at the Mt. Tabor Theater on Sunday, November 14th.

With cocksure confidence from three years of touring the US and Europe, B.A.R. just released their third album Please Stand By on October 19th, and on this one, Brent Amaker could almost make you believe he’s turned sympathetic, a romantic of sorts on “Garden Of Love,” until he makes you to “Saddle Up” and shut up on “Talk Talk Talk Talk Talk” like a backhand me across the face, proving he’s 100% badass on “Man In Charge” or “Sissy New Age Cowboy” (below), from their 2006 self-titled debut album and the testosterone-titled, pre-album taster Pink EP.






On Please Stand By, Brent Amaker & The Rodeo go from patriot to ring leader to Don Quixote to free wheeler to narcissist in just over 30 minutes all fueled by cheeky, pointed lyrics, but does Brent Amaker care to explain himself? Simply put: “No.”

So then, who is Brent Amaker? Is he a hardass or a softie?

Hardass, unless I’m dealing with a lady. Dudes can suck it up and handle themselves.

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Read the rest and hear tracks from B.A.R. on OMN.

Monday, October 19, 2009

praise for pretty lights at the crystal

"Sunday School" started right on time and I wasn't late.




But as the beat dropped and the drum kicked, this sabbath day gathering was not about praising a ritual deity but rather about reviving musical lore.

The instantly recognizable drone from Biggie coupled with the raging, harsh lyrics "Fuck Him, I didn't wanna go to Heaven anyways" let everyone know what kind of church we were in.

This Sunday's best included short skirts, sparkly face paint, and fanny packs congregated in the nave of the Crystal Ballroom under impish frescoes and colonnades topped by cackling jokers all to exalt the Pretty Lights.

Derek Vincent Smith of Pretty Lights beamed life back into old vinyl cuts but not just by spinning and sampling. Hunched over the glowing lights on his Monome 128, he organically mixed and meshed delicate sounds with deft accuracy.

Complemented by live drummer Cory Eberhard, the pair resurrected hammered beats while forging new material and playing with osmotic precision as Smith manipulated the electronics and Eberhard the sticks. The duo simultaneously, continuously changed tempos and transformed rhythms fueled by the bouncing crowd.

Backed by a multimedia show teeming with acidic oscilloscope visualizations, blinding strobes, and yes, a rainbow of pretty lights. He took the audience for a zooming joy ride strapped to the fender of the big red PL bus cruising through the city lights of Chicago, NYC or maybe even Denver—showing us the companioning cityscapes to his immense soundscapes.

The west coast was not neglected as the kids grinded to snippets of "Shake, shake it baby" from "California Love" buzzing to afros and disco hustle above.

Stating there'd be no encore, Pretty Lights continued to smash through cut after cut of tantalizing dance anthems with the crowd sweating along and the Crystal's windows clouded by a moist haze like after a steamy shower.

Absorbed in the keypad before him, a Rubik's Cube of color and rectangles blipped behind the band, and a classic Jordan finessed his way along the baseline and onto the screen for a flash on "More Important Than Michael Jordan."




The finale of Wreckx-N-Effect's "Rump Shaker" vs "Paper Planes" by M.I.A. tastily blended the choral lyric "All I wanna do" to the delight of manic mob.

At the close, Smith humbly thanked Portland for coming out and asked the people to buy a t-shirt or hat to support the free music.

Check out all of Pretty Lights' tracks for free on his website.

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Sunday, October 18, 2009
Pretty Lights
Chicharones
DJ Rootz
Crystal Ballroom : 1332 W Burnside Portland, Oregon 97209

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Read this article on CWG Live And Direct.
Read this article on Examiner.com.

Wednesday, November 19, 2008

Monday, November 10, 2008

Sunday, June 15, 2008

delicious

I just assume it's a happy song and not about punching babies.

Inni mer syngur vitleysingur




Monday, May 19, 2008

almost forgotten

...but still worth mentioning. Some stuff I was listening to a while ago.

The Once And Future King




Je Veux Te Voir [Club-Club Version]




Daft Punk Is Playing At My House




Dance To Our Disco




Let's Make Out




Oh, and I forgot to mention this a looong time ago. The greatest music video of all time from MGMT. It's interactive. Please download and trip accordingly.

Saturday, May 17, 2008

listening of late

Just a bit of what's been running through my ears recently.

Men's Needs [CSS Remix]




Station Approach




The whole album is great. Try Forget Myself and the title track.


Tamacun




Again, the whole album is spectacular including a Stairway cover.


Seaside




Ooh La




And one of the most beautiful voices I've heard, Emily Haines from Metric, in a different, stripped-down yet amazing role.


Our Hell




Doctor Blind




Watch the video for Our Hell for something creepy and captivating.