We’re up really late. We haven’t finished this week’s episode, but the good news is that we just finished these amazing tracks by Athens cuties Hope For Agoldensummer. We hope these songs are as mesmerizing to your ears as ours.
Download the entire session in a zip file.
And if you’d like to see the girls play Don’t Turn Away… check it out below
Buy Hope For Agoldensummer’s newest record Araidne Thread
I saw two great shows this weekend, both of which relied pretty heavily on lap steels for their sounds. Maybe it was a coincidence… or maybe the lap steel’s making a comeback. Are lap steels the new violins/recorders of indy music?
I saw Baton Rouge based Cohen and the Ghost this Friday at Wonderroot. They have a pretty good setup - guitar, bass, violin, drums, and a second guitar. But the second guitarist switches between instruments almost every song, going from guitar to mandolin to another guitar to lap steel. I hadn’t thought about this before seeing Cohen and the Ghost, but the lap steel produces a sound pretty similar to a short violin note. As Cohen and the Ghost’s violinist and lap steel players worked, their sounds tended to overlap, producing this musical hybrid instrument that really blew me away.
I wandered into A Fight to the Death’s Saturday album release party by mistake. They were playing The Highland Inn’s cavernous Ballroom Lounge, a place I tend to associate more with DJ sets and weekend jazz than A Fight to the Death’s wierd rock mix of Americana and Western-strained melodies. (I didn’t realize this until checking out their myspace page just now, but A Fight to the Death actually use the pedal steel guitar, an instrument I’d never seen in person before, though I’ve probably heard it on Calexico’s albums.) Anyway, they played a really great set, and totally transformed my opinion of the Ballroom Lounge.
Cosmonaut
From the sun baked streets of Los Angeles come one of the most seemingly bitter bands I’ve seen in a while. I guess it’s not that uncommon for a place notorious for at least twice as much failure as success to breed such a tortured and pensive musical force. The visions invoked through the Geiger-esque biomechanical artwork of Designer Codes come to life throughout the album. It plays partly like a gothy Depeche Mode album that must have been destroyed in a fire before it was released, but after a few listens it can remind one of a more sympathetic, less bitter Nine Inch Nails, and yet there’s a dynamic arena rock aspect similar to Hail to the Thief-era Radiohead or their recent tourmates Liars. The pounding of war-like drums coupled with the harsh clanging of digital scrap metal make me wonder: is Woven creating an atmosphere or destroying an already existing one?
Throughout the album I wavered a bit as this music at times seems very masochistic, cold, and industrial, yet underneath there is a very compassionate layer of emotion. The tracks sometimes play as if they are inflicting harm upon themselves. “Perception Whore” (like many of the tracks) pits contradictory elements against one another. A swooning choir of angels carries you throughout until you’re forced to consider whether or not they are actually crying out in agony. There’s a fierce momentum evident in the song structure which eventually leads to a rather ambivalent sound.
Designer Codes actually reminded me of an artist which seemed to be erased from my mind for quite some time. Remember VAST (Visual Audio Sensory Theatre)? Their self-titled album gave me a similar feeling to this one. On both albums my impression seemed to be that these are artists who are not preoccupied with creating beautiful music. These are artists who are creating, in an almost smug way, music that will give you chills, make you feel uncomfortable, make you long for the surreal, make you want to step into the shadow of your unconscious mind and experience the world in which they operate. Woven has made their way into the “guilty pleasure” section of my musical tastes, and the fucked-up thing is, I really have no idea why I feel guilty. Maybe it’s the same guilt one gains due to extracting pleasure from pain. In the masochist’s eye, pain and pleasure are nearly the same thing, and the brain tends to release the same chemical for both.
That being said, Designer Codes did make me feel a little uncomfortable and confused until I reached “Cosmonaut” and fell in love. While there are few tracks on the album as strong as this one, I would dare not take any of these songs out of their context and place them in, say, a very depressing and angsty playlist. Each song necessitates the other, ultimately creating a very impressive and cohesive album. Designer Codes requires the right kind of mindset, as it probably won’t grab you immediately. Instead you’d probably need it playing as background noise to allow it to work its way into the id. For those who consider music with this degree of moody self-examination to be pretentious and tiring, I’d still say give it a try. A guilty pleasure is still pleasurable after all.
“If I could only step outside my head…”
I’ve heard that Loxsly play a great live show. If they do, that infectious energy is missing in Flashlights, their EP follow up to 2005’s Maps and Organs. Instead, live-show unpredictability is replaced by a sense of overwhelming craftsmanship, an impression that every note of their four song EP has been tested, retested, replaced, and painstakingly honed by months of studio practice. This sense is most apparent on their second track, “Chopper,” a subdued six minute FREAKOUT. The track has vocals, but I don’t remember their exact words… instead, I remember the vibration of lead singer Cody Ground’s murmur, remember simple guitar riffs dropped into the song’s musical landscape like depth charges into a bowl of pea soup…
Track four, “Virgin Isles,” is another standout. It’s one of those rare indie songs which don’t use piano and organ as cheap tricks. Instead, the keyboards mimick and enhance Ground’s voice.
I mention Flashlights‘ second and fourth tracks as standouts, but Loxsly’s entire four song EP is worth at least a few listens. This is one of those album’s that will turn even the most crowded car ride quiet and introspective. It may be a departure from their more energetic Maps and Organs, but it’s at least as powerful.
Loxsly are touring the Southeast through mid-August, playing Athens’ Caledonia Lounge August 8th.
This is the sort of music you’d hear as the credits roll for a movie based on the plot concept, “guys kicking each other in their faces” (assuming Kasabian’s “Clubfoot” wasn’t already being used). It has those “nnnsque” noises people use when they’re making fun of techno. There are men and women screaming indistinguishable words in high pitched voices.
I would call the 4 song EP derivative, but 65daysofstatic has been playing this sort of music since 2001. If The Distant and Mechanised Glow of Eastern European Dance Parties is derivative of any sound, it’s the sound 65daysofstatic has spent the last few years popularizing through extensive touring and remixing. Unfortunately, in popularizing their style, 65days has also made themselves something of a cliche, as revealed in this latest album.
