An Emotional Reaction

Paradise is a place on earth with you...

Mon, 05 Sep 2011 10:03:49 -0400

Photo by Phil Sharp [+]

[MP3] Slow Club - Gold Mountain

Interplay. It’s like the musical version of intercourse—voices blending sweetly or urgently, twining around one another, in a way that is also pretty satisfying. Not to talk up this track as sexy, because it’s not particularly that. It’s full of calm, open spaces thanks to the sparse accompaniment. But man. Slow Club is a two person group consisting of Charles Watson and Rebecca Taylor, and their voices go so well together.

Preorder Slow Club’s Paradise. Album of the year contender tbh.

Philly's War on Drugs

Mon, 05 Sep 2011 09:35:20 -0400

[MP3] The War on Drugs - Best Night

I’m not that into Kurt Vile, but I do love his old band’s latest album Slave Ambient. The guitar work on this track in particular is astonishing, but not flashy. It comes at you in waves at first, tidal-like, but reaches a point towards the last half-minute where the notes seem to just bubble up around you. It’s kind of mesmerizing.

Make a good life choice and buy Slave Ambient. It will get you excited about rock music again, if you already weren’t (I don’t know why you wouldn’t be though, this has been a solid year of music so far!)

monkeyknifefight: Marina & The Diamonds — Radioactive...

Sun, 28 Aug 2011 13:42:21 -0400

monkeyknifefight:

Marina & The Diamonds — Radioactive (Acoustic)

Gotye, Making Mirrors

Fri, 19 Aug 2011 14:11:14 -0400

Before, I tended to think of Gotye’s Wally De Backer as a guy who makes slightly mournful electronic nighttime music. I think it’s because “Heart’s A Mess”, which was the perfect nighttime drive song. His newest album Making Mirrors doesn’t seem unified by that one overall mood though, but rather all over the place like the trajectory of Beck’s career. “Bronte” and “Somebody That I Used to Know” are the moody pulse-driven tracks I expected, but then there’s “Easy Way Out”, a slinky, retro track that actually rocks, and “Eyes Wide Open”, the slick first single which really showcases De Backer’s voice. “I Feel Better” has obvious soul influences. He’s a guy with a lot of tricks under his hat. Most of them work.

Eyes Wide Open by Gotye

Go buy Making Mirrors.

Fool's Gold, Balmy

Fri, 19 Aug 2011 09:12:17 -0400

[MP3] Fool’s Gold - Balmy

Well this is certainly the muggiest heaviest stomp of a song that I’ve heard in a while. No other band even comes close to sounding like Fool’s Gold. (People who say Vampire Weekend are frankly, liars.) They’re a stew of electropop, Hebrew, and claimed South African and Ethiopian musical influences.

Purchase the new album, Leave No Trace.

Us v. Them? On being a woman in indie culture

Wed, 03 Aug 2011 03:32:00 -0400

Being a woman in the indie community doesn’t only mean putting up the fact that misogynist lyrics or attitudes presented by indie artists doesn’t raise a single eyebrow in the indie media. It doesn’t just mean having to deal with dismissal of the fact that misogyny in such a culture even exists, either. Being a woman and at the same time being part of indie culture means having to prove, every single day, that you are there by your own accord.

This manifests itself in the widespread assumption that any woman who shows interest in indie music was originally introduced to it by a man, and that her continued interest has to be fueled by (a desire to impress) him. Basically, she cannot move about in any ‘indie’ spaces, may they be on the internet or at a concert venue, without the supposal that behind her is the raging shadow of a man who is more worldly and knowledgeable about the culture and music than she is.

This does not only strip women of our agency, and supposes that we are unable to become interested in and research things on our own. This creates a demand for women to continuously justify our presence in indie spaces by showcasing that we are not, in fact, like those other women. But no matter how much knowledge we display, no matter how much we distance ourselves from women who do not fit this ridiculous standard, and no matter how much we insist that our involvement in indie culture is by or own initiative, we can’t win.

Because being accepted into the indie community isn’t really a victory. It requires the creation of a false dichotomy that demands you declare yourself more worthy than other women. It frequently also means separating yourself from women artists, because any music a woman writes and/or performs can be doomed sentimental, overtly emotional, weak and of poor quality at the drop of a hat.

And once you’ve proven yourself, what is in front of you? Having to put up with the abundant misogynist attitudes than run rampant in indie culture, because calling them out means you’re a ‘sour feminist’. And even if you adhere to them - even if you’re ready to declare that fellow women are less talented, less intelligent and less capable of performing or appreciating music - you will still have to deal with constantly having to prove yourself, and being infantilized and belittled. No action, not even one readily upholding kyriarchal attitudes - will make the indie community take you as seriously as if you were a (straight, white, fully abled, cis) man.

This post does could have offered a simple explanation as to why I’d withdrawn from the community completely. Instead it is a collection of the reasons why I’m so interested in supporting women artists and bloggers, why I’m constantly trying to carve a place for myself in this community completely on my own terms, and why I think that what Britt has started is relevant, important and wonderful. And the next time a thirtysomething dude condescendingly asks what a little girl like me is doing at an indie show, I will ask him to shut the fuck up.

Noted:

Sat, 30 Jul 2011 11:56:00 -0400

Any MP3s prior to “Saturday Love” are now broken links because I switched hosting. I might re-upload some of the more recent ones, but generally the others will just stay dead. The links shouldn’t be up foreverrrrrr anyway. I’m just sorry if you came here for a song and left disappointed. But still, I am sure you will find ways to hear what you want! And, yay, my own domain hosting! There should be no future problems with my streaming and downloads, fingers crossed.

[MP3] Nicole Atkins - Cry Cry Cry Nicole Atkins’s voice is a dusty rose. Or a dusky rose....

Sat, 30 Jul 2011 11:41:04 -0400

[MP3] Nicole Atkins - Cry Cry Cry

Nicole Atkins’s voice is a dusty rose. Or a dusky rose. Either/or. It serves as a call-out to Americana, a call-back to 60s pop. She’s a self-taught musician with influences such as the Ronettes and Roy Orbison.

Her most recent long-playing effort, Mondo Amore, is currently receiving a lot of play on my iTunes. My favorite track so far is “Cry Cry Cry” because it really kicks despite the subject matter (heartbreak). Channel it but don’t give in. You might even find yourself dancing.

Check her official.

Nicole Atkins & The Antlers - "Hounds"

Fri, 29 Jul 2011 20:49:31 -0400

Nicole Atkins & The Antlers - "Hounds":

1/4 of the way through this video I had to pause because it was JUST TOO MUCH. My life is reacting with violent emotion to Antlers songs. Nicole Atkins joins them in-studio this time, for “Hounds”. Believe me when I say the result is unbearably lovely.

Neko Case playing “This Tornado Loves You” at...

Fri, 29 Jul 2011 12:39:00 -0400

Neko Case playing “This Tornado Loves You” at P4Kfest. That was some magical stuff. I love her little silly bit at the beginning about turgid excitement and fish sperm.

Amy Winehouse - Roun Midnite (Salaam Remi Refix) Holy shit. You...

Fri, 29 Jul 2011 12:00:32 -0400

Amy Winehouse - Roun Midnite (Salaam Remi Refix)

Holy shit. You need to check out this Amy Winehouse track. Roun’ Midnite is a Frank b-side, reworked by Salaam Remi. The mood is pitch-perfect. Thanks to PMA for the heads-up.

Laura Marling - Sophia The first track off of her upcoming new...

Fri, 29 Jul 2011 11:16:00 -0400

Laura Marling - Sophia

The first track off of her upcoming new LP, A Creature I Don’t Know. As usual, she sounds compelling and wise beyond her years. Her craftsmanship is unparalleled. I can’t get over it.

Random note: around the one 1:40 mark she sounds like a princess in a Disney film singing to the woodland creatures. That’s not in a bad way, I mean, it just all goes magical with a lift of her voice.

Preorder album.

The Horrors, Dive In

Fri, 29 Jul 2011 10:59:12 -0400

I didn’t mean to be dead-ish for this long. I’ve just been tired from work, and had some tumblr problems on top of that. Hilariously tumblr booted me from being a member of my own blog. ANYWAY.

I fell in love with the new Horrors’ album cover for Skying first. Then I fell in love with the album itself. Do you know that saying, to never judge a book by its cover? You still do though, right? I am often drawn into trying an unknown book by the cover art. That’s why book design is taken seriously. Album cover art, I think, can be just as pivotal. I supposed more in the age of vinyl, though MP3s haven’t stopped us from being able to google album art or add it to our skim-through collection on iTunes. But yeah, this album cover is like … a dream further refracted. Like a dream of multiple layers. INCEPTION.

Best album art of the year so far.

[MP3] The Horrors - Dive In

This track is so … baggy. I guess The Horrors have always worn their influences on their sleeves, but I felt like I was time-travelling back to the late 80s/early 90s. (I was a baby then, so it’s not likely I had a grasp on what shoegaze entailed, but whatever.) I love the bands they’re drawing from, I love the melodies, I love this album’s stabs at extended 7 and 8 minute-long jams.

You’ll want to look into buying Skying.

Megan Henwood is tapped to be the next big British folk star. I...

Mon, 18 Jul 2011 10:00:06 -0400

Megan Henwood is tapped to be the next big British folk star. I get it, I get the fuss. She has a refreshing sound that will soothe and put you at ease. She feels as down-to-earth as it gets, so the cover for Making Waves makes a lot of sense.

Stream the whole album right now on Soundcloud!

Sunday Five: Toro y Moi, Cults, and more

Sun, 17 Jul 2011 15:49:00 -0400

[MP3] Toro y Moi - Saturday Love

Chaz dropped a new Toro y Moi cut the past week. It’s pretty much bliss. Honestly, when you listen it does feel like a Saturday. Even today, on a Sunday.

2. Cults finally have a video for the sparkly gem of a song that is “Go Outside”, and it’s pretty… intense. I guess it reminds you of where they got their band name from?

Go Outside, by Cults from Boing Boing on Vimeo.

Pitchfork’s Music Fest was/is this weekend, and as a result I’ve finally gotten into Gang Gang Dance. Mostly I’m into the groovy funk of “Romance Layers”. Apparently they are playing at Johnny Brenda’s too on the 20th!

4. In the case of Elite Gymnastics, I’m going to let them/their lastFM speak for themselves. FYI my favorite track from them is “m i n n e a p o l i s b e l o n g s t o y o u”.

THESE GUYS KILL

SOME CHILL AS FUCK BEATS WITH SOME BALLER SAMPLES

THEY ALSO DO WICKED AS FUCK REMIXES

DOWNLOAD IMMEDIATELY FROM THEIR CHILL TUMBLR

5. My latest Bandcamp addiction is Crash Collect, especially the track “Move”.

&amp;amp;lt;a href=”http://crashcollect.bandcamp.com/album/smolder” _mce_href=”http://crashcollect.bandcamp.com/album/smolder”&amp;amp;gt;Smolder by Crash Collect&amp;amp;lt;/a&amp;amp;gt;

New Philly music venue, Union Transfer

Tue, 12 Jul 2011 11:55:53 -0400

R5 just dropped off official confirmation in everyone’s inboxes this morning about Philadelphia’s newest music venue.

After months of speculation, rumors, blog posts and a posted tour date or two - it comes with great pleasure that we can officially announce UNION TRANSFER, a brand new venue opening up in Center City this September! Union Transfer will hold 600 people (with a flexible capacity to accommodate more people if/when we need to) in what most people know as “the old Spaghetti Warehouse” building at 10th and Spring Garden. What most people do not know is that the building was originally an old luggage depot station in the early 1900s originally named “Union Transfer” (that made picking a name so easy!) It’s a pretty dramatic space w/ sweeping arches, stained glass, old chandeliers and a whole lot of character. Along with the old furnishings we are adding what we think will be the best and biggest PA/Sound System in Philadelphia. We are thrilled to show it all off later this fall with a bunch of shows that we are really excited about.

The venue is a new joint partnership between myself, Bowery Presents (who book a ton of great shows in nyc and own a few venues of their own) and Four Corners Management (the folks who own Drinkers, Noche, Lucys and a few other bars around town).

I’m not going to really formulate an opinion until I take in my first show there, but I bet there will be all sorts of thoughts regarding its potential or lack thereof already. Can we at least agree that the sound will probably be better than at TLA?

Also, they’ve already listed some acts I am excited to see live, including the Radio Dept. (11/21) and Friendly Fires (10/25), making up for the earlier date that was canceled?! See for yourself at http://www.utphilly.com/

Gillian Welch, Tennessee

Mon, 11 Jul 2011 14:24:18 -0400

[MP3] Gillian Welch - Tennessee

Gillian Welch will wring you out to dry with their (yes, her partner and producer David Rawlings makes two) aching blend of bluegrass and americana. The result is something lonely, yet warm, particularly this six-and-a-half minute track from the upcoming release The Harrow & the Harvest. “Tennessee” has an unbelievable weight and poignancy.

Buy Gillian Welch - The Harrow & The Harvest.

Eleanor Friedberger, Roosevelt Island

Mon, 11 Jul 2011 12:05:29 -0400

[MP3] Eleanor Friedberger - Roosevelt Island

Eleanor’s delivery and phrasing are unique. Her vocals have the force of a snarl but doesn’t seem wounded, exactly, as her verses churn and her chorus bursts to life with darting keyboard. “It doesn’t seem like anything could be better / than riding that train / and you step outside / you step outside” she recalls, and you can picture summer as she knew it.

You can stream her solo effort Last Summer at NPR or preorder at Insound.

i absolutely love this blog! :) i like the way you write about music. also, your M.I.A. post is genius and made me actually pay attention/listen to her new album.

Sun, 10 Jul 2011 13:07:59 -0400

Oh my gosh, thanks so much! I am really, really glad to hear that.

4 and Who Runs the World (Beyoncé)

Sun, 10 Jul 2011 11:48:00 -0400

Beyoncé, 4, June 24th, Columbia, Score: 79

On her fourth solo album, the reigning chart goddess and former Destiny’s Child member lets you know that things are a-ok between her and music mogul/rapper husband Jay-Z. Though, as much as the album wallows in marital bliss, there is also the independent strength and assurance of a woman who knows what she has is what she really wants, and why it matters. You believe her assertion to a former almost lover that it “sucks to be you right now” in “Best Thing I Never Had”. 4 is an album of constant comfort, maturity, and ease, even as it hops from style to style. It’s Beyoncé’s reflection on the journey—the sexiness of monogamy and a tribute to well-earned intimacy through commitment.

The first single “Run the World (Girls)” sported an aesthetically fantastic concept video but still made a relatively small splash on the airwaves. I blame the pasted-on Diplo beat. ”End of Time” revs up the energy to anthemic better, and so does “Countdown”. The latter just narrowly misses corny on its way to a clever concept, but it helps that the song is catchy as hell and propulsive like the drumline of the best high school marching band you ever heard. Beyoncé makes it work.

“1 + 1”, to be frank, is some wonderful baby-making music. ”Cause baby we ain’t got nothing without love / Darling you got enough for the both of us / So come on baby, make love to me” she asserts. The rest of the album dips into 80s/early 90s radio-ready R&B, and the comfort of sinking down into the sofa next to your partner after a long-ass workday. The slow-burn of “Party” (with welcome turns by Kanye West and Andre 3000) and the Frank Ocean-penned “I Miss You” are enough to make this album a must-listen, but the real standout is the fun, swinging 80s-lite-funk of “Love on Top”.

The only crucial sidestep is ”I Was Here”. It’s all a bit too heavy-handed with the schmaltz, but even still has a fantastic and measured vocal performance.

It’s tempting to say that there’s a utilitarian showmanship to it all, but 4 gives us all the glimpses of who she really is that we need, or deserve. Beyoncé is a constantly outward-looking artist, aware of a demarcation she needs between public and private. She’s found a way to celebrate the private in public in a way that is relatable while not necessarily soul-bearing.