Archive for the 'drums not dead' Category

We, the World City Would Like to Thank You.

[no, thank you]

It’s a comforting thought, that in a world where every third artist name-drops Spector as their influence, limiting themselves to some sort of space-age echo-sonic thump sound, that an artist’s self-description can be so simply put as “angular” and “jittery”, and carry through on that promise like hungry wolves. We’ve been over this before, for entirely different reasons, but integrity still comes into the picture. That question still looms: how can technical virtuosity co-exist with that digital, sonic monster that is Echo? The answer is simple: unless you’re Battles, recognizing it as a happy accident is probably an impossible task. And really, who really needs to feed that beast when you’ve got your own poly-percussive wolf on the sticks?

Thank You’s World City carries its listener along a series of railed, experimental tracks, beginning with an oompa-oompa guitar that quickly progresses into a frenetic drum session whose player, like a loving mother, pays heed to every piece of the set; yes, cowbell included. That vibe continues throughout, with the guitars more or less feeding off the all-encompassing polyrhythms, as though it were a back-and-forth communique.

On the half-mark the strongest number Help God manages a layer of crescendos that I’d have a hard time separating from any number on the aforementioned Battles’ latest if it wasn’t for the ethnic drum breaks (and lack of heavy-modded vocal tracks). It’s that very parallel which stirs so much inside me. No doubt the world would literally topple over if somehow Thank You’s drummer met up with John Stanier in a show-down that would put this show to millenial shame. Can you imagine?

Glancing around on the web, there’s really very little info to be found on this trio. They belong to the same Wham City party scene as the beloved Dan Deacon; in keeping with his legendary performances, it’s no surprise then that their MySpace sound is charted as religiously Zouk-infused. I’d bet even their live shows, like Mr. Deacon’s, are a mess of free-wheeling, sweaty dancing Baltimore hipsters, but that’s love.

If you’re wanting to purchase the disc, or anything for that matter I’m afraid we can’t be of any help, it would appear there’s nowhere to get this thing than live & in person. Wildfire Wildfire is so brand-spankin’ new that they’re still working on the storefront aspect of being a label. If you’re around the area, seriously go to one of these shows, and get some video footage, will ya?

In the meantime dig it (mp3):
Thank You - Help God
Thank You - No Hole

Liars’ Big Chill.

Red Liar.

In the interviews leading up to the release of Liars‘ self-titled new LP, the band was quick to point out that, as compared to last years incredibly dense Drums Not Dead, the new album would be “chill“.

Now, I don’t know if the definition of chill is somewhat different over there in Germany than here in Canada, but damn. What we’ve got is awesome metal distorted guitars, heavy drums and enough psychedelica to drown an entire continent of witches. It’s like revisiting industrial goth, removing the make-up & pretension and adding just enough neuroticism & paranoia to completely defy any expectations you might have had going into the record.

You’ve got songs like “Freak Out”, which, with its jangly guitars, loose drums and deadpan vocal track, is a total throw back to classic Bauhaus. “Plaster Casts of Everything” (which was given an exclusive preview over at p-fork) is the best alternative rock song the genre has produced this year. For shame, Smashing Pumpkins. Or how about how the finale, “Protection”, with it’s 80s synths and almost mechanical drumbeat, could almost pass as a classic Bowie track? It is like the band is sampling all the best parts of music history, filtering out the cheese factor & supplying us with the crème.

And so, here again, we are left with Liars pushing their sound direction forward, making it simultaneously denser (some tracks, like “Leather Prowler” are easily as layered as anything on Drums Not Dead) and lighter. I don’t know if their sense of melody has ever shone so brightly. This dust makes that mud, indeed.

blowin’ yer house down:
01 Plaster Casts of Everything
02 Houseclouds
03 Leather Prowler
04 Sailing to Byzantium
05 What Would They Know
06 Cycle Time
07 Freak Out
08 Pure Unevil
09 Clear Island
10 The Dumb in the Rain
11 Protection

mp3: (removed by request)
Liars - Freak Out.
Liars - Houseclouds.

(LiarsLiars is due out August 28th on Mute Records. In the meantime, check out their myspace page & official site!)

Things that go BUMPS in the Night.

Look at all that repetition.  They must be drummers.

If you are a beat digger, you can now formally refer to Tortoise’s John McEntire, John Herndon, and Dan Bitney as Santa Claus. Through the impeccable Stones Throw Records, the trio has come together under the moniker Bumps to put out the quite descriptively named, Beats, Breaks, Raw Drums. Which is a record of, you guessed it, beats, breaks & raw drums. Fancy that.

Even if you aren’t on the quest to hit that perfect beat, if you are into drums at all… the record is definitely worth a few spins. Just don’t expect anything but drums - cause it’s not there.

This is definitely a niche record but it is a niche that I love seeing McEntire et al fill. Plus, just thinking about all the uses these beats will be given in the future… it’s enough to make me giddy in anticipation.

sample this:
Bumps - Fun Injury.
Bumps - Crass Jenny.
Bumps - OK!

(Beats, Breaks, Raw Drums will be released on June 19th from Stones Throw Records.)