Last Saturday gave way to a solid festival of music and fun at the Anne Arundel County Fairgrounds.
Nestled in a cozy little patch of woods in the Annapolis countryside which is also known for hosting the Maryland Renaissance Festival every October, the Silopanna Music Festival took shape and filled the wooded fairgrounds, bringing local and national artists together and serving up a mix of genres on its stages—with a little something for everybody.
The festival featured three stages with no down time between sets, games, plenty of good food, and enough beer and mixed drinks to go around. The festival also delivered something more than just a schedule of outdoor musical performances, from apparel to custom craft brews, there was something to suit any fancy at Silopanna.
Hosted by the good folks at Rams Head Live, the scheduling went smoothly the way any well-managed festival should. Headlining act, The Flaming Lips were preceded on the main stage by popular acts Matt and Kim, Dashboard Confessional, Sleeper Agent, and Hellogoodbye.
You’ve heard the saying, “Everything’s bigger in Texas.” It’s true. The boots. The hair. The belt buckles. The conservative population. The beer bellies. And, no exception, the music festivals.
Rising to the Texas occasion is yet another new music fest in the Lone Star State, Fort Worth’s Clearfork Music Festival, which is set to make a dynamic second run next Saturday, August 30. After last year’s successful, albeit more quaint debut, the event is back and resoundingly bigger in 2014 with appearances from popular Austin-based acts like Bright Light Social Hour, The Black Angels, and Wild Child, as well as local favorites and up-and-comers Burning Hotels and Larry G(ee), all taking place alongside the Trinity River in the heart of downtown Fort Worth. A new location and a larger, not to mention pretty impressive lineup—that’s what you call beating the sophomore slump, folks.
While last year’s festival hosted acts almost entirely from the 817, highlights of this year’s lineup include headliners Bright Light Social Hour and The Black Angels, two Austin-bred psychedelic rock bands recently making waves with their quirky, innovative takes on rock n’ roll. Both have spent recent years touring nationally, on stages as large as Lollapalooza and Austin City Limits, promising a fine-tuned set and a super-charged show.
The club on the corner of N. Broad Street and St. Bernard Avenue is expanding the scope of their Swingin’ at the Prime jazz series, in partnership with the CubaNOLA Arts Collective, to include Latin jazz on the third Thursday of every month.
Tonight is the first installment and it’s going to be a Cuban dance party with Los Caballeros del Son, one of the premiere Latin music groups currently performing in South Louisiana. They play traditional son music, the foundation of all Cuban dance music.
Los Caballeros del Son feature bandleader Guillermo “El Mono” (the Monkey) Guzmán on piano, percussion and bass and Alexis Guevara Muñoz on lead vocals and guitar. Guzmán and Guevara are both from Ciego de Ávila, Cuba. Read More
After the release of free track “My Way Home,” Blair Jollands’ single “Carve It Up” evokes an old-skool rock melody with a modern twist.
In this video, the London dwelling New Zealander is seen wandering through many different landscapes with his guitar. It’s apt considering Blair’s melodies and lyrics conjure the essence of an ever wandering soul. Blair creates warm soundscapes reflecting his own life and travels.
Blair is also an accomplished composer for film and has worked on several soundtracks including Pride and Bleak House. His love of sound is ever-present throughout his tracks as each whistle, strum, and beat resonate with precision.
Having played this year’s Great Escape and the Camden Crawl, Mr. Jollands’ forthcoming album, set for release this October, is much-anticipated. Blair is a welcomed breath of fresh air to the modern folk rock scene.
Greater Manchester’s most in the know radio host Shell Zenner broadcasts the best new music every week on the UK’s Amazing Radio and Bolton FM. You can also catch Shell’s broadcast right here at TVD, each and every Thursday.
“On this week’s show my ROTW is Monomania by Deerhunter after I purchased it at Frankie & The Heartstrings Pop Records shop in Sunderland recently. I’ll be playing three lovely numbers from the album on the show and going a bit ‘far out!’
I’ll also have my #shellshock to share with you! If you haven’t heard Shopping yet, then you need this band in your life!
There will be the usual accompaniment of new and emerging music as I spin some of the best new Alt releases. Love music? Don’t miss it.” —SZ
ORIGINALLY BROADCAST ON JUNE 12, 2014
Founded in Rome by Franco Evangelisti in 1964, Gruppo D’Improvvisazione Nuova Consonanza is cited as the first experimental composers collective, their revolving membership including such figures as Egisto Macchi, Mario Bertoncini, Frederic Rzewski, and Ennio Morricone. Their self-titled 1973 LP for the General Music label is an eclectic and beautifully abstract beast, and it’s the second of the ensemble’s releases to see welcome reissue by Superior Viaduct.
These days free improvisation, a system as well as a widely populated genre as underappreciated sonic frontier, is predominantly associated with a subset and historical period of jazz, but it also has a multifaceted relationship with modern classical music, and it continues to be practiced, if increasingly on the cultural margins, right up to the present.
Novices and the generally tender of ear reliably reject free music as an absence of instrumental skill and compositional craft, or less politely, dismiss it as just so much fucking around. This is comparable to those who derided the Abstract Expressionist painters as a gang that’s main discipline was the shuck and jive of charlatanism.
Jackson Pollack endures as the most famed Abstract-Expressionist, and to currently denounce the man and the artistic movement connected to him as being polluted by fakers and frauds is to court ridicule as an utter philistine. To be sure, the drift away from the realist objective in the visual arts and literature has been largely accepted if not fully embraced, but the situation is less easily assessed in film and music.
The third Thursday of every month The Vinyl District curates DJs for all-vinyl sets at Den of Thieves. This Thursday we’re excited to present the Washington, DC collective known as Analog Soul Club with founding members Mettabbana and Sir Ramases on the decks. Chances are you won’t hear anything you’ve ever heard before and that’s not a bad thing. These guys aren’t in the game to be esoteric. They’re eager to share their booty so you can shake yours.
Sir Ramases, aka Ramases Harnett, is the founder of a research collective called Afro Ritmo Records which focuses on what he calls “the music of the original African man’s vintage past.” His keen focus on vintage global sounds embedded to vinyl have him very busy in 2014 with DJ gigs stretching from Venezuela, Surinam, the Dominican Republic, Panama City, as well as select dates in the US and Canada.
Besnik Hyseni’s (Mettabbana) musical journey began with collecting international music, 8-tracks, cassettes and vinyl as a teenager in his native Kosovo. Today his sets include melding vintage and raw analog and urban electronic music from Africa, Latin America, the Middle East, the Caribbean, and his native Balkan homeland.
KIM CLASSEN FOR TVD | On April 19, 2013 Robert Levon Been of Black Rebel Motorcycle Club paid an unforgettable tribute to his late father Michael Been’s legendary band, The Call.
Recorded at The Troubadour in downtown Los Angeles, The Call Live Tribute with Robert Levon Been features original bandmates Tom Ferrier (guitar, vocals), Jim Goodwin (keyboards, vocals), and Scott Musick (drums, vocals) and includes iconic tracks like “I Still Believe,” “Let The Day Begin,” and “The Walls Came Down.”
Formed in 1979, The Call released seven critically acclaimed albums within an eight year period and opened for acts such as Peter Gabriel and Simple Minds. In 1997, The Call returned to the studio after a seven-year break to record Heaven & Back, but disbanded shortly after its release. Michael Been began working as a sound engineer for his son Robert Levon Been’s band, Black Rebel Motorcycle Club, but sadly passed away from a heart attack while on tour in Belgium.
You can call me Mike, or you can call me Michael, or hell you can even call me Tex if you want—just don’t call me late for Helter Skelter. Because my favorite hypnotic cult leader Charles “No Sense Makes Sense” Manson is back—along with the infamous Jim Jones, lots of naked and semi-naked go-go dancers, a slew of badass biker chix astride chopped hogs, and even a little in-the-grave fornication, to say nothing of drugs and more drugs even more drugs—thanks to the brand new video of “Runaway Girls” by my favorite English psychedelic doom rockers and yours, Uncle Acid & the deadbeats.
Can you dig it? Is that some witchy shit or what?
I know, I know. You’re not supposed to like the Manson Family, or to glorify or gloss over the monstrous crimes they committed over a two-day period during 1969’s Summer of Hate. And I try my level best not to, I really do. But as I wrote in a March 2014 TVD review of Uncle Acid’s latest LP, Mind Control, both they and I are hopelessly obsessed by the second, benighted half of 1969, when the dark stars of the Tate/LaBianca killings and the mud and murder fiasco that was Altamont converged to send all those hopelessly naïve “He Ain’t Heavy, He’s Your Brother” hippie bromides into permanent paranoid retrograde.
“I had access to a limited number of vinyl records as a kid. My parents had (as so many did) purged the vast majority of their extensive collection in favour of the new audio super-format—CDs. The rogues that remained included a copy of the White Album that my mom bought for me, a bunch of soca music (maybe that’s why I still love Trinidadian everything?!) Rubber Soul, Graceland, and enough Woody Guthrie to fill a museum. There were more too—some Dylan and Stones and a bunch of great jazz records.”
“My father brought the psychedelic stuff, he was right into the Stones, the Dead, and Little Feat. Those bands really started the obsession for me. My mom loves to dance, she grew up on 7 mile road in Detroit and had spent a lot of time moving to that Motown sound.
My first experience of actually seeking out music was with vinyl. I would go to the shelf where my parents kept it, find a record, and listen the whole way through. THAT was important—that I would go from one side to the other, experiencing hours of music that grew and changed, expanded and contracted, and then…finished.
I bought my vinyl (and CDs) at a place called the Record Archive in Rochester, NY. They had these bizarre commercials where a giant record guy danced around and told you the specials that week. It was the record store ad analog of Gene Wilder’s trip down the chocolate-psilocybin river in Charlie and the Chocolate Factory.