Your Friday Ten’s been chosen completely at random …via iTunes.
TVD’s simple aesthetic #5: Serendipity.
Big Star – Give Me Another Chance (Mp3)
Post Post – Sober (Mp3)
Two People – Rescue Me (Mp3)
Robert Palmer – Johnny And Mary (Mp3)
Jellyfish – Will You Marry Me [Live] (Mp3)
Queen – Funny How Love Is (Mp3)
The Joy Formidable – Cradle [Kyte Remix] (Mp3)
Supergrass – Hollow Little Reign (Mp3)
Arnold – You’re A Star (Mp3)
Danny Wilson – Kathleen (Mp3)
I’ve missed several callings in life. There’s been no career at Marvel Comics drawing Spider-Man despite my facility with a pencil. My drum teacher “Don the Drum Master” thought I had some of the best hands he’d ever seen, but there’s been no career behind the kit. (And frankly, I think Don was just blowing smoke to keep me coming around for lessons…)
Thankfully, there’s one that doesn’t need a career goal to achieve: I can spot a star in the making. I can tell at note one or two who’s got it and who doesn’t. Who will forever be middling and just hover over the ground versus the ones destined for stratospheric trajectories. No shit. It’s a gift.
A number of months back, a friend of this blog Dave Mann put together a stellar evening of music over at The Black Cat that we hyped all week long—and the evening more than delivered. Beyond the band collectives however, I was struck by Jess, then of Vox Pop. I kept thinking to myself, “Why isn’t she singing EVERYthing?” She’s just that good.
Jess’ new project Lightfoot made is debut last month over at the Hotel and she joins LIGHTS and We Were Pirates this Saturday night (12/12) at DC9—where we encourage you to be.
Because stratospheric trajectories do, for a time, have launching pads.
“What’s especially interesting about [Lightfoot] is their pop-infused melancholy. There’s a searching and sadness to it, but it’s spring like and wistful. Something about acoustic guitar on rhythm–giving it that thick chug, and the lead of a semi-hollow body through a warm Fender tube amp…well, its cheerfully sad. It’s a triumphant sadness really. Also, Dye is a tremendous vocalist. Probably one of the best, earnest local singers I’ve heard. They remind me of Tanya Donnelly’s band Belly (the first album Star).”
—Brightest Young Things
This summer I received a decorated envelope that gave me that picked for the team feeling. Inside was the latest album, Tarpits in Canyonlands, from a North Carolina-based band called Bombadil. My first listen through the album felt like a hearty four-season long jaunt through a foreign land where men wear fedoras and drive wagons and women spend the days tending fields with their children tied firmly to their backs. Funnily enough, the band claims one of its inspirations came from a trip taken along “the so-called World’s Most Dangerous Road in Bolivia.” TVD caught up with Bombadil member Bryan recently to get the low down on the band (comprised of members Daniel (bass/piano/saxophone/vocals/songwriter), James (drums/vocals/songwriter), Stuart (piano/trumpet/vocals/songwriter) and Bryan (guitar/vocals/songwriter) and what they’re currently up to.
TVD: So first off- how did you get started?
Bryan: Though we didn’t realize the irony at the time, one starting point for the band was on a trip down the so-called World’s Most Dangerous Road in Bolivia. Daniel and I were debating whether the Rolling Stones or Pink Floyd was a better live band. We decided to start making recordings and one thing led to another. Our first show as ‘Bombadil’ happened in March 2005 in our university’s dining hall.
The extra shows and endless hours in the car since recording the first disc also meant we’d gotten a little better at our instruments and knew better how to communicate with each other. It also helped that Scott Solter is a completely brilliant engineer. I think the playful solemnness you mention will probably always be part of who we are as a band, but musically, we’ll always be looking for new alleys or passageways to wander upon.
Although there is no tour in the works yet, the band just recently released a new video for its song So Many Ways To Die , and their albums are all available online to keep your pallate wet until such time when they are able to roll through your town.
Bombadil – Sad Birthday (Mp3)
Bombadil – Honeymoon (Mp3)
Bombadil – Reasons (Mp3)
Bombadil – Oto The Bear (Mp3)
You’ve really got to hand it to Hugh Hefner. I mean, he’s turned some men’s singular pursuit—naked ladies—into a sophisticated, urbane endeavor replete with dapper attire, a haughty worldliness, an appreciation for the finer arts, with a taste for the unique and refined. Wiiiith naked ladies.
Take a look at these genre-bending exercises for a taste of that hip sophistication:
As TVD ages gracefully and evolves, I find myself telling people in conversation that The Vinyl District and its sensibilities, while all about vinyl and record stores, allows for a bit of an aesthetic that I like to apply to certain things beyond the initial goal posts.
I’m sure Hef said to himself at some point, “Well, what do I do AFTER I bed that millionth blonde? And brunette. Perhaps I head out for a drink? Or maybe I should read a book? I DO need a new pair of pajamas…hm…”
Because I, we, all dig vinyl and record stores and going to shows but there’s more ink in the well, more depth on the bench, and to be relegated to that one note is frankly a bit un-Hef-like.
Over the course of the week, our daily 5 will be a bit of an homage to all things outside of the vinyl pursuits which in some collective manner shall evolve into some TVD-type aesthetic.
So, when I’m not here in the masturbatorium, er…”TVD HQ” …you’ll find me at the first on our aesthetic list:
1. Dive Bars.
Arnold – Float My Boat (Mp3)
The Last Wave – Bars and Barons (Mp3)
Elliott Smith – Between the Bars (Mp3)
Pulp – Seductive Barry (Mp3)
The Ronettes – I Wish I Never Saw The Sunshine (Mp3)
By now we’re thinking you know the drill: be the first to choose the show you want to see at Comet by calling it out in the comments to this post—and a pair of tickets is yours. One winner per show too. Easy, right?
FRIDAY, DECEMBER 11
ArmChairs / Exit Clov / Circadian Rhythms
Armchairs
The Armchairs stand up for the hungry kids. Playing together since February 2008, this unlikely quartet puts on intense live shows that feature (but are not limited to) readings from the communist manifesto, hot dog costumes, light-up helmets, abrupt tempo changes, and audience participation. Drawing influence from bands such as The Kinks, The Zombies, Deerhoof, and Ween, The Armchairs have only just begun to unleash their fury on the unsuspecting public. Two DIY tours of the eastern seaboard, countless regional & NYC gigs (Pianos, Lit Lounge, Union Pool, Death by Audio, official CMJ 2009 showcase at Local 269) and a 10 song demo later, they are hard at work finishing their debut LP, “Science & Advice.”
Exit Clov
Exit Clov is a band from Washington, D.C. We write songs inspired by the madness of our city. Tunes of resistance, ennui and societal idiocy—music for 21st century kids. Our name, a tribute to Samuel’s Beckett’s “Endgame,” is both a call to arms and a personal manifesto. We share a wide range of influences from Blondie to Bartok but most of all we love a good hook. Consider our choruses a respite from the soundbite society we live in. Someone once called us “kaleidoscopic pop noir,” we think that sounds pretty cool.
Circadian Rhythms
Circadian Rhythms LP are in the midst of putting out an untitled EP with an independent philly label called EARSNAKE. The Circadian Rhythms work to blend all of their different influences into one body cohesively and this has been said about them, “From dark delta steez to kaleidoscopic soul, The Circadian Rhythms are a wholly unique if not slightly schizophrenic musical organism.”—John “wrath of the math” Morrison.
SATURDAY, DECEMBER 12
State Department / Imperial China / Deutschmarks
State Department
State Department are a super group that is newly formed and has members of heavy hitters Ra Ra Rasputin, Spiritual Machine, and Black and White Jacksons. Patrick Kigongo, is either a wind-talker of guitar technology, or the Haley Joel Osment of indie-pop–he talks to ghosts of Echo and the Bunnymen and Felt with noisy, surfy riffs that glide along the steady, insistent drums parts. Michael Medlock keeps his vocals angry and personal, which is a lot better than sassy and sarcastic. With sparklers ignited, the group even takes it way back to the Velvet Underground’s iconic song Waiting for the Man, a number that turned into an orgiastic crowd-participation sort of thing when just about anybody was allowed onstage, and just about anybody was allowed to have a microphone.
Imperial China
“It would [be a mistake to think] that Imperial China is a straight-up rehash of its musical forebears… From a dynamics perspective, the three instruments constantly change allegiances, occasionally veering off in three different directions at once. But the end result is always cohesive—and, more importantly, contemporary.” – Washington City Paper, July 2008.
“Imperial China, a trio from DC, carry on the city’s long and proud legacy of slashing, experimental post-punk that’s equally brainy and ballsy. They create fierce grooves, turn on a dime, throw some weird electronic flourishes in for good measure, and shimmy about on stage like they took dancing lessons from Guy Picciotto.” – Philadelphia Weekly, January 7, 2009.
Deutschmarks
Deutschmarks is Chris DeWitt’s solo music project. The live group includes members of DC bands Pree, Frau Eva and Wild Fictions. Deutschmarks sits on a pier of pulsing rhythms and and freewheeling melodies and throws little pebbles of misplaced nostalgia and Catholic mysticism into a big ol salty sea. Owing as much to early Who and CCR as he does to Les Savy Fav and Jens Lekman, helmsman Chris DeWitt barks and hollers and croons his way through a lively and energetic set of barn-burners
One of our favorite DJ nights, Rick and Brandon’s We Fought The Big One returns this evening AND with a special live event tomorrow night. Some details from Rick’s press release:
The stew has been brewing for awhile now, but this weekend makes it official: “We Fought the Big One” is expanding beyond the monthly confines of the Marx Cafe to include special live shows that will take place at DC-area venues!
Needless to say, we couldn’t be more excited. To tie in with this Friday’s dj night at the Marx, Brandon and I have curated a unique live event at the Velvet Lounge which will take place Saturday evening.
Brooklyn’s Outpost, a relatively new band that features Stuart Argabright from Factory Records’ act Ike Yard, Mark C from Live Skull and Kent Heine from Holy Ghost, will be our guest djs Friday evening at the Marx and performing Saturday at the Velvet.
All three members of Outpost have an unabashed obsession with J.G. Ballard. The group’s eerie sounds, which teeter between song and ambience, structure and formlessness, confirm that the collective agenda here is to make music as evocative and atmospheric as Ballard’s unimitable prose. We encourage you to hear for yourself.
Also on Saturday night’s bill are DC’s Screen Vinyl Image, The Plums, and our pal Blue Sausage Infant!
Brandon, who also writes TVD’s Musique Non Pop, has assembled ten tracks for us this weekend to set the mood:
Ike Yard – Loss (Mp3)
For a synth band set down in the middle of trendy 1982, these guys didn’t groove along with much of their native NYC club scene. Neither did they march along with all the dispossessed children of the European New Wave musical Cold War. Instead Ike Yard oozed with a sort of funky menace. Something that bands wouldn’t relearn how to do until the 90’s. From their “1980-82 Collected” CD available on Acute Records.
Live Skull – Corpse (Mp3)
Unfortunately mostly overlooked when the New York No-Wave scene is discussed, Live Skull is in desperate need of a good reissue program. Perhaps people misunderstood them because of their later (excellent) work with Thalia Zedek, which would be a shame. This song is from a classic Tellus compilation cassette released in 1983.
Skat – Just a Word (Mp3)
Shifting gears, Skat were a short-lived later incarnation of Brighton, UK’s The Chefs (themselves short lived.) Fronted by the wonderful (and wonderfully named) Helen McCookerybook, this is an unreleased song taken from a Peel Session circa 1983.
Furious Apples – Belladonna (Mp3)
This band was from Coventry, UK and released only a few singles and a couple of songs on a compilation before disappearing. Reminds me for all the world of Creation band, Felt or a little bit of The Church. From a 1983 single.
49 Americans – Don’t Sing The Blues (Mp3)
49 Americans went from the worst of the best late 70’s East London DIY, amateur, charming scruffy and funny as hell bands to a band suddenly playing with serious avant-garde types like David Toop and Steve Beresford. This is what they decided to do with their new situation. From their 1981 E Pluribus Unum LP.
Occult Chemistry – Water (Flexi Version) (Mp3)
A one off band made up of members of Twilight Zoners from Cardiff, Wales and Martha Tilson who would later end up in A Certain Ratio for a short while as their singer. This is taken from the latest Messthetics compilation put out by Chuck Warner and his wonderful Hyped2Death Label. To say that the Messthetics compilations have changed We Fought The Big One’s musical lives is an understatement.
Strike Under – Sunday Night Disorientation (Mp3)
Chicago’s Strike Under only lasted for this one 12” single before disintegrating in to Breaking Circus, Naked Raygun and later Pegboy. This is considered important in some circles as far as the evolution of Chicago Punk is concerned. It is also the first record on Wax Trax! Records. 1981. Sorry for the crappy transfer and minor skipping. It’s vinyl and this is why we love it.
B-People – Give Up (Mp3)
Another criminally forgotten band (of course they are,) Alex Gibson’s B-People from LA only lasted a few years in the early 80’s. They traded in music that was artfully jaded, distant but not foreboding and sometimes even moving. Take for example Mr. Gibson’s delivery of the line “My heart’s not in it anymore.” Simple, but it gets me every time. Circa 1981 or about there and originally on a cassette compilation.
Snatch – Hey Joey (Mp3)
Snatch were two ladies from New York, Patti Palladin and Judy Nylon whom left and moved to the UK in the early 70’s. They started off as rather thrashy punkettes, but gradually started to develop their sound. This song was recorded in 1977(!!!!) and released on a single. I swear this has everything to do with Brian Eno as they were working with him at the time, but can’t find any confirmation of such. Desperately needs a re-release.
Conrad Schnitzler – Gelb 1 (Mp3)
German avant-garde composer type started musical life in the early 70’s in a band called Eruption before moving on to his own solo work. This track was recorded in 1974 (again !!!!!!) and was only on cassette originally before being re-released a few times since.
The third edition of Story/Stereo is TONIGHT. Co-curator Matt Byars gives us an overview…
“I was going to write about Zomes’ show tonight for Story/Stereo #3 at the Writer’s Center in Bethesda (8:00 PM, with authors Dylan Landis and Brian Gilmore), but I’m coming up blank. After full days of explaining things to 6th graders (I’m a middle school teacher), I treasure things that don’t need explanation, and that elude language; Zomes fit the bill.
Their “Fig Newtons of grainy Krautrock” (as described by one reviewer), just are, in the simplest sense of the word; what could I say that would embellish that? I admit that the backstory builds interest — Asa Osborne, who effectively is Zomes, is best-known for his work in the legendary Dischord outfit Lungfish — but shut off the critique and comparison parts of your temporal lobe and just let Zomes’ gritty, swirling drones wash over you.”
—Matt
“It’s so hot my bass is sweating!” This sentiment echoed by Elvis Perkins’ bass player, Mr. Brigham Brough at last nights show at Rock n Roll Hotel, wasn’t a far stretch from the truth. I can describe this show in three short phrases: a) hot b) crowded and c) folk-gospel. Yep, that’s about it.
So I might be a bit biased in writing this review since in recent years my musical tastes have outgrown the folky likes of Wilco and Bright Eyes and have evolved to a more electronic persuasion. However, I shall do my best to maintain impartiality.
Although it may not be my cup of tea, it is clear that Elvis and the crew are definitely not lacking on fans, as this was the most crowded show I’ve been to at the Hotel. The Hotel consisted of quite the young, innocent and flannel-clad audience, many of whom admitted (once asked by Perkins) to seeing Perkins recently at Club Iota in Virginia. The progression from Iota to an overloaded Rock n Roll suggests Mr. Perkins is moving right up the ladder to… could it be?… 930 club stardom? I guess we shall see.
To begin the show Perkins and his troupe of heavily-bearded band members entered from the back of the venue, forcing the already tight crowd to get a little bit tighter, as their brass procession made its way to the stage. Many of Perkins’ songs evoke visions of a rainy New Orleans funeral procession (I may have fallen asleep with my eyes open once or twice…) except those in which the drummer busted out his big ass drum and threw a more funky-vibe into the mix (which was awesome). At the end of the show, Elvis so graciously took requests from the audience and immediately played not one but TWO encores. He then told the crowd to meet him upstairs for drinks or ‘a pat on the back’, whichever they preferred.
So bottom line, I can’t say anything about the band themselves, and you folky cats would have definitely enjoyed it.
You’ve got to hand it to Derek Webb—an artist who’s emerged from a career based initially in contemporary religious music, to an artist willing to ask tough questions of himself and his faith, which has ultimately produced ‘Stockholm Syndrome,’ an LP which moves him squarely into the electro-indie mainstream.
I’m always wary of genre and identity hopping to be fair, but ‘Stockholm Syndrome’ succeeds on its own merits, devoid of religious overtones, yet thoughtful, atmospheric, and actually damn catchy.
And wouldn’t you know it, we’ve got one to give away in all of its double-LP, 180 gram glory. Make your case in the comments to this post (with contact info – important!) and we’ll choose one winner to be mailed the record by noon on Friday (12/4.)
If you’re asking yourself this morning if we’re openly schilling for ThinkIndie.com, the answer to that question is YES, yes we are.
We’ll blatantly get behind and support any endeavor that keeps alive the independent spirit of the mom and pop record stores—and ThinkIndie’s doing just that.
There are two facets to ThinkIndie that underscore what we’ve been saying for some time now: digital files can coexist peacefully and strategically with vinyl records in the same marketplace—and ThinkIndie has a site for each under one umbrella.
Over the next few weeks, the guys behind the brand will be guest blogging here and shedding some light on the ‘Think Indie Collective’ consisting of ThinkIndie.com, the ThinkIndie stores, customers, record labels and artists whose product is carried by ThinkIndie.
This week, Tony from ThinkIndie gives us a glimpse into the digital side of things and next week we’ll delve into the vinyl end of the spectrum.
“We come to you directly from the engine room of the web ship ThinkIndie.com. Deep in the hull of this ship are two laptops, a rack full of servers, and a table covered with hard drives. Just a year ago, the two of us were both slugging away behind the counter at a large indie record store pushing vinyl, garage rock, DVDs, and digging in the used bins, but mother indie needed a couple able-bodied music fans to go rogue and jump onto their converted digital ship. Indie record stores can’t go digital, can they?
I admit, I had already ripped much of my collection to hard drives and had owned several media players. Andrew is a member of Napster, Oink and other torrent sites before they were shut down as well as being an avid music collector. Much like myself he had his fingers glued to the keyboard a good portion of the day.
We both agreed that the current download store choices were a bit milk toast and it really didn’t compare to going into a store. In the end, we made the leap to the dark side and the ship set sail for uncharted waters. It was in one of the seedy ports that we met the BlackSheep and hired his left for dead ass to be our mascot. He had not worked for a music related company since his Minor Threat gig back in the day.
This brings us to the here and now. ThinkIndie.com has a growing catalog of 320kbps mp3s, including exclusive stuff from our friends in bands and labels, and not to be outdone, we also give away a ton of tracks we like. Andrew picked out a few albums he’s been listening to that you may not have heard about, or ones he thinks you NEED to hear about. He’ll be back next week with another guest blog about music or something completely random.”
—Tony @ ThinkIndie.com
Mariachi El Bronx – S/T
Growing up in SoCal with the Mexican border anywhere from 30-120 minutes (depending on where you live) from your house you get a special appreciation for the Mexican culture. The Bronx, a punk/hardcore band from Los Angeles embraces this culture on their new release as Mariachi El Bronx. When it comes to mariachi music you know you’re doing something right when you have David Hidalgo of Los Lobos doing a guest spot on your record. I’ve been listening to this album a bunch since it came out and it’s near the top of my “best of 09” album list for sure.
Kalas – S/T
The self titled and only release from Kalas is a damn good one. It features Matt Pike of High On Fire/Sleep on vocals. It’s a little more melodic than the stuff he’s done in the past, but that’s because of the guys he’s working with here. It’s sort of a “Super Group” of Bay Area musicians, but I hate using that term. It’s still a super heavy album, don’t think Pike is capable of doing anything but heavy, and is one of my favorite finds of the year.
The Creepy Creeps – Fink About It
This is the Creepy Creeps 3rd release since 2006, but their first on Dionysus Records even though there had been talks of Dionysus releasing stuff from them as far back as 2007. Think of them as a mix of The Mummies, The Bomboras and The Ghastly Ones rolled up into a chunk of vinyl and pressed for the world to enjoy. Reverb drenched guitar, steady driving drum beats, thumping bass lines and cover it all in an organ glaze. If you are ever in San Diego and the Creeps are playing you have to catch em live. Dance Party U.S.A.
Soulsavers – Broken
The third album from the UK production team the Soulsavers. As with their second album it features vocals from Mark Lanegan (Screaming Trees/Queens Of The Stone Age/Gutter Twins), but also features Mike Patton, Jimi Goodwin of Doves, Will Oldham (a.k.a. Bonnie “Prince” Billy), P.W. Long and Richard Warren. This time around they are a little more rock n roll than spiritual like on “It’s Not How Far You Fall, It’s the Way You Land.” I hear their live shows are amazing, but I missed em when they came to town and I’ve been kicking myself ever since.
(Ed’s note: The cruel, cruel irony of this blog endeavor is that it’s allowed quite a few opportunities to present themselves—shows, events, interviews—but with scant ability to seize upon all of the offers. I mean, someone’s got to run the shop and keep things clicking along daily, so I’ve allowed some things to pass us by.
I’ve thought for a long while that I need a person in the street to run around like crazy, seize upon the free passes, interview the bands, do the shots, pass out on the floor, and send us dispatches from the night. The stuff that can be recalled or discussed, that is.
And a loyal reader of this ol’ blog has stepped up to do just that. Nicole’s agreed to seize upon the free passes, interview the bands, do the shots, pass out on the floor, and send us dispatches from the night. It’s God’s work, really.
In actuality, Nicole’s a music-obsessive, scientist by day (really) who’s recently moved to the U Street area, so she’s well positioned to embark on the missions we send her way as well as the ones she conjures up for herself. Anticipate the free flow of enthusiastic energy.
While we were prepping for this column, Nicole took in Devo and White Denim and bits from both follow below. She’ll be back with items from the current concert calendar…y’know…when the shots wear off.)
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Whoawhoawhoa…. quite the musically-stimulating weekend, indeed.
Saturday night Austin-based White Denim absolutely blew my mind (and my eardrums) at Rock n Roll Hotel.
I’ve been listening to this band for a few years now after they put out their first LP, ‘Work Out Holiday’ (check out, ‘all you really have to do’) and recently snatched up their newest LP, ‘Fits’. The music is kind of garage-experimental-esque and semi-reminiscent of Jimi Hendrix. Highly underappreciated, in my opinion.
I can’t even explain in words how insanely good the live show was (‘explaining in words’ isn’t a blogger prerequisite, right?). There was no freakin’ stopping the tremendous trio and they bounced from one song right into the glorious next, creating one seamless night of flawlessly intricate percussion, experimental guitar sounds and classic rock vocals. True absurdity. I’m tempted to say that this is the best live show I’ve ever seen ever…… that really means a lot.
Alsooo…the band members themselves were super-chill and manned the merch booth before and after the show, asking me what I recommended in the city and discussing their favorite cities to play. I was also really excited that they all happily signed my vinyl (which, by the way, comes with BOTH the new and old albums. Genius.)
Sunday night. Went with good ol’ papadukes to see DEVO. Mark Mothersbaugh is 59 freakin’ years old and god-damn he is good. Fortunately, the weirdness hasn’t subsided at all, either.
Anticipation was high at 930 club for this sold out performance in which Devo was to play the ‘Q-Are We Not Men A-We are Devo’ album in full. The crowd was just as you’d expect for a Devo show. I saw plenty of dudes with more grey hairs than not, various sightings of the Devo-typical red Energy Dome hats and I even saw one dude wearing a shirt that also functioned as a digital clock.
Lights went down right on schedule at 9pm to a packed venue and the video for ‘Jocko Homo’ began playing on the white screen behind the stage. This video tops the weird charts and includes oddities such as gorillas spanking the bums of ‘ugly-masked’ ladies (see video below, words do not do this video justice…). Way weird, but in a totally awesome sort of way. Post-video, Devo came out in their typical yellow rubber suits which they ripped off and threw into the crowd half-way through the night. The show was rad, indeed (granted, the show was packed and I’m a whole 5-nothing, so actually seeing the action was a bit difficult), although they ended sans-encore, and sans the hit song, ‘Whip-it’.
I’m sure many of you witnessed this tremendously-funky spectacle; I’m sure many of you with much more Devo experience than I…. What did YOU GUYS think???? How do you feel about the lack of encore or ‘whip-it’?? How was the following nights show???
White Denim – All You Really Have To Do (BBC Hub Session) (Mp3)
Devo – Secret Agent Man (Mp3)
Without a doubt, a fine way to spend tomorrow evening. From the press release:
Soul. It’s considered by most to be a weighty word. It’s used to describe a variety of people, places, and things and even the most intangible of ideas. Soul has implications of every kind, from food to the spiritual, but perhaps none are greater than it being used to define an era and a genre of music.
Coming off the success of their previous RAP exhibition, on Wednesday, December 2, Art vs Commerce, Smirnoff Vodka, and The Source Magazine will again partner on the second installment of The Classics – with Series 2: SOUL.
Similar to the first exhibition, this version will feature a bevy of album cover art, however this one will consist of over forty classic Soul album covers, courtesy of DJ YZO. SOUL, in some ways, will actually serve as a prequel to RAP, in that a variety of the albums on display contain songs that have been sampled and used in many classic rap music records.
Taking it’s lead from RAP, SOUL will take place at Lounge of 3 (1013 U St. NW) from 5pm-9pm and will again have Nick Da 1da and DJ 2-Tone Jones providing the sounds, along with DJ YZO. Guests will also be treated to a new series of complimentary signature cocktails from 7pm-9pm courtesy of Smirnoff, which include the Stevie Wonder and Gil Scott Heron.
