The Joy Formidable made a stop at Washington, DC’s Rock and Roll Hotel on Black Friday, giving fans respite from the Thanksgiving holiday and oncoming Christmas onslaught. Celebrating ten years together, they treated VIPs to a short acoustic set prior to doors opening before filling the RnR Hotel with tight indie rock.
The Joy Formidable (Ritzy Bryan, Rhydian Daffyd, and Matt Thomas) are playing their entire album A Balloon Called Moaning (plus a few more from their catalogue) as a celebration of hitting ten years together. The fans, crammed into the RnR Hotel’s dark snug room, were ecstatic; one yelling appreciation to Thomas as he took the stage and many singing along with Bryan.
The band appeared to be in good humor and a celebratory mood as well, appearing delighted to play their old songs. Bryan stopped to thank a young boy (age ten or so) for being in attendance and Daffyd even took it in stride when an on-stage encounter with Bryan ended with a cut to the forehead, blood trickling down his nose. Thomas for his part pounded the drums like a sledgehammer; I was situated next to his drum kit and could feel the blasts of air moved by his high hat.
PHOTOS: RICHIE DOWNS | Usually I spend three days before a concert plumbing the depths of the band’s discography, but this time there was no need. I know Led Zeppelin’s back catalog like the back of my hand. So I walked to the venue listening to an astrophysicist with a thick Italian accent explaining orbital mechanics over a poor-quality long-distance call. I mention this interview because it turned out to be an oddly fitting warm-up act for JBLZE—it’s as confusing as it is fascinating.
From the beginning, it’s unclear what JBZLE is supposed to be: cover band? Nostalgia trip? Both at once, or something else entirely? To the band’s credit, it’s also difficult to fuss too much about this performative identity crisis. JBLZE is undeniably fun. They’ve been opening for Peter Frampton recently, and they hit the much smaller stage at the Fillmore with the same energy—they’re loud, proud, and happy to be there.
So is the audience, a mixed collection of Baby Boomers out on Date Night, parents who have dragged their children along (or vice versa), and die-hard Led Heads difficult to categorize any other way. In the queue outside the venue, a teenager chatters at her father about other concerts they’ve clearly been to together. He catches my eye over her head and shrugs, smiles. She’s got the bug. It’s a familiar scene; ten years ago it might have been my father and me.
The family resemblances don’t stop there. Jason Bonham reminisces about his own father between songs, recalling how the resurgence of analog audio led him to an unexpected discovery: that the liner notes give Bonzo songwriting credit on “Good Times, Bad Times.” “He didn’t play an instrument [besides the drums],” Jason explains, “so how did he get the ideas across?” He sang them, according to Jimmy Page, who answered this question with an anecdote about “Out on the Tiles”—which started with one of Bonzo’s old drinking songs.
Metalheads! Forget about what the famed English poet Robert “Percy Bysshe” Plant wrote in the second line of the third stanza of his magnum opus, “Stairway to Heaven”–look to the East, from whence cometh the universe’s first ever sitar-fronted metal band!
They’re called Sitar Metal, and on their eponymous 2019 debut LP frontman and sitar virtuoso Rishabh Seen–who’s been playing the instrument since he was 5 years old–and company make like Ravi Shankar backed by Metallica.
Sitar Metal is a revelation, and the fastest way to unclog your third eye this side of Drano. Seen’s the lotus position’s answer to Jimi Hendrix, while the band behind him–bassist Tushar Khurana, guitarist Deeparshi, and drummer Damian Rodrigues–provide the heavy metal thunder.
Seen’s a fourth-generation sitar player, and I can only wonder what his great-grandfather would have made of Sitar Metal–as an embodiment of Shiva the Destroyer, most likely. Its songs stop and start, proceed at a gallop, segue into meditative mode, and explode into enthralling climaxes; Seen often starts them off in solo mode, and it’s a shock to the chakras when the band comes storm-trooping in.
VIA PRESS RELEASE | Craft Recordings is excited to reissue Big Star’s acclaimed first two albums on 180-gram vinyl. Set for a January 24th release date and available for pre-order now, #1 Record and Radio City feature all-analog mastering by Jeff Powell at Memphis’ Take Out Vinyl, and also manufactured locally—in Big Star’s hometown—at Memphis Record Pressing.
Though they both failed to strike commercial success at the time of their releases, 1972’s #1 Record and 1974’s Radio City are now considered to be milestones in the history of rock by critics and musicians alike. Heavily influenced by the British Invasion, yet markedly original—with their jangly pop, driving guitars, sweet harmonies, and wistful melancholia—Big Star offered a distinctly new sound when they first emerged in the early ‘70s, and are counted among the founders of power pop—a genre which wouldn’t truly take off until later in the decade. Nevertheless, Big Star would become an underground favorite, influencing some the biggest alt-rock artists of the ’80s, ’90s and beyond, including R.E.M., Teenage Fanclub, Wilco, and The Replacements (who famously penned the song “Alex Chilton” as an ode to the band’s frontman).
The Memphis band was formed in 1971 by singer/songwriters Alex Chilton (1950-2010) and Chris Bell (1951-1978), drummer Jody Stephens (b. 1952) and bassist Andy Hummel (1951-2010). Chilton and Bell drew on the Lennon/McCartney style of collaborative songwriting for their aptly titled debut, #1 Record. Working with Ardent Records’ founder and engineer John Fry, Chilton laid down guitar and vocal tracks—often in one take, while Bell added polish with overdubs and harmonies to songs like “The Ballad of El Goodo,” “Thirteen,” and “In The Street.” #1 Record was released to wide critical acclaim, yet distribution issues severely limited the album’s availability in stores. It would sell fewer than 10,000 copies.
As the second decade of the 21st century winds to a close and for a handful of perfectly sound reasons, Exotica music isn’t exactly a thriving contemporary concern. However, the form has persevered as a point of historical interest, with a select few even able to conjure up fresh material that’s inextricably inspired by the style’s moods and climes. Right now, it’s doubtful anybody’s doing it better than sharp-dressing Swede Mattias Uneback; he’s had substantial time to hone his skills as part of The Test Pilots and more germane to the genre in Ìxtahuele, but with Voyage Beneath the Sea, he’s debuting as a leader, and per the title, the LP is an underwater delight. It’s out now on Subliminal Sounds.
When I say that Exotica has persevered historically into the present, I’m thinking specifically of the Numero Group label’s Technicolor Paradise:Rhum Rhapsodies & Other Exotic Delights, a multi-disc various artist retrospective deep dive into the style from last year, and additionally Subliminal Sounds’ own Pacific Paradise, which threw a spotlight onto the work of a single artist, the obscure bandleader Paul Page.
The emphasis on blissful states of being and temperate locales elevates those releases to a standard far above that of the associated genre of Cocktail Lounge. Thankfully, this extends to the Exotica impulse as manifested in the recent past by Ìxtahuele (the band’s last album Call of the Islands came out in 2016) and in the here and now by Uneback.
While surely conscious of the imagery and atmosphere that surrounds Exotica, with Voyage Beneath the Sea’s sleeve design radiating like an album rescued from a box moldering in a corner of a dimly lit antique shop (a look it shares with Page’s collection), Uneback is considerably more than some dude sporting a thrift store ascot and guzzling from a pitcher of poorly mixed martinis.
Target & Walmart Help Propel Vinyl Album Sales to Blockbuster Week: Vinyl album sales in the U.S. surged pass the half-million mark last week, scoring the second-largest week for vinyl in 2019. According to Nielsen Music, 544,000 vinyl albums were sold in the U.S. in the week ending Nov. 28 (up a big 60% compared to the previous week’s tally of 340,000). The 544,000 haul is the second-biggest week for the format this year, behind only the 827,000 sold during Record Store Day week (week ending April 18). To compare, in 2018, during the tracking week that ended with Thanksgiving Day (Nov. 22, 2018), there were 355,000 vinyl albums sold. And, in the week ending with Thanksgiving Day in 2017 (Nov. 23, 2017), there were 331,000 vinyl LPs sold. The gain in vinyl sales in the tracking week ending Nov. 28, 2019 is largely owed to sale pricing and promotion by Target and Walmart.
Charlottesville, VA | Siding with vinyl: The pros and cons of Record Store Day: …In the decade-plus since, RSD has grown to include more than 1,400 shops in the U.S., plus thousands of others on six continents (Antarctica is the exception), offering more than 500 exclusive vinyl releases in April and more than 150 every November. Three of Charlottesville’s independently-owned shops participate, and we wanted to know: Does the event actually honor record-store culture in the way it claims to? Yes and no. Record Store Days are a lot of work for employees—the buying and the staffing (in some cases, it’s all the same, single person)—and prep begins months in advance. …Not having the releases that customers want is one of the greatest frustrations of Record Store Day, says Cal Glattfelder, owner of Sidetracks Music. It’s difficult to tell an eager customer that the shop doesn’t have a particular release. Plus, RSD is risky business for these small shops. They pay thousands of dollars up front for records that may or may not sell, and labels don’t take returns. Stores might not make their money back right away, if at all.
Chicago, IL | This new film travels with a record shop owner as he buys peoples’ collections: Vinyl road tripping with the owner of Chicago’s Dusty Groove. A new film that tells the story of Chicago Record shop Dusty Groove, and its owner Rick Wojcik as he buys record collections, is being released in 2020. Dusty Groove: The Sound Of Transition follows Wojcik as he journeys to the homes of record collectors, buying their soul, jazz and hip-hop vinyl. Dusty Groove: The Sound Of Transition was directed, filmed and produced by Danielle Beverly, and follows her feature documentary Old South. According to Beverly, “Each seller shares a common reason: they face a major life transition.”
Duncan, OK | New record shop is ready to take you for a spin: Much like a prism with one beam light entering it making it break into the seven colors of the rainbow — it was one record, Pink Floyd’s “Dark Side of the Moon,” which lead to the opening of Put The Needle On The Record for Karen and Casey Sorensen-Kindt. The couple split the duties up and Karen is the owner and Casey is the manager for the store, however, both like to get in a dig for vinyl records and other interesting items. Located at 113 W. Main Street, the store is a mix of old school media vinyl, even some 8 Tracks tapes to DVDs and CDs. “We both thought about doing some sort of small business for many years but I was serving in the army for 24 years, retired in 2014, finally settled here in Oklahoma about a year and a half ago,” Casey said. “And thought there was a great opportunity to take advantage of the fact there was no record store here in Duncan.” Karen said the couple started on a different route but vinyl was still there.
As the dust settled, I took a moment to soak in what I had just witnessed and walked back to my car speechless. This show was brilliant on so many levels and highlighted the sheer genius of Daniel Ash, Peter Murphy, Kevin Haskins, and David J. For fans in attendance, the performance on Sunday night was magic of a type that won’t be replicated any time soon.
I’m not sure there are many other bands who have been more influential for other bands than Bauhaus. Formed in 1978, Bauhaus were true pioneers of gothic rock and set the stage for all who came afterward. Nine Inch Nails, Korn, and Tool (just to name a few) have cited Bauhaus as a significant influence upon their music, and this will come as no surprise to those who have followed the band since its inception. Their style was unlike anything in music then or now, and they continue to push the envelope 40+ years later.
On Sunday night, Bauhaus once again sold out the Hollywood Palladium for what was sure to be a show for the ages. Opening the evening was Azam Ali, and although I had never heard her music prior, I definitely wanted to hear more after her set concluded. Azam’s voice was beautifully haunting and the perfect fit for the evening. Her cover of the Cocteau Twins’ “Shallow Then Hollow” was spectacular and demonstrated that all covers need not sound like covers—Azam made it her own and shined in the process.
Living legend Cher wowed the crowd at the United Center in Chicago on Wednesday, November 27th. Nile Rodgers and Chic opened the show, performing the classics “I Want Your Love,” “Good Times,” and “Le Freak,” while also throwing in some Nile Rodgers collaborations like Daft Punk’s “Get Lucky,” and David Bowie’s “Let’s Dance.” They thoroughly got the crowd warmed up for Cher.
Multi-million record selling artist Cher has lit up the entertainment industry since the 1960s, and she’s still performing at the same caliber, if not higher, as the peak of her career. Cher started off her set by floating above her immaculate stage on a flying gold platform, belting out the uplifting lyrics to the first single from her twenty-fifth studio album, Woman’s World. Surrounded by immensely talented dancers for all of her upbeat tracks, Cher’s vocals and moves kept up the whole set, making it impossible to believe that this powerhouse entertainer turned 73 this year.
Throughout the night Cher took little breaks to interact with the crowd, telling stories of different moments in her career. After a video interlude of her time with Sonny Bono and a performance of “The Beat Goes On,” Cher told the crowd that she had been going back and forth on whether she wanted to include the next song in her set or not, saying that maybe she’ll “just wait until [her] next farewell tour,” however following up with the sentiment, “Bitch, you’re 500, just do it!” This transitioned into a heartfelt rendition of “I Got You Babe,” complete with a large video projection of Sonny singing the duet along with her.
La Dispute brought its post hardcore punk to Washington, DC on 11/24 with an appearance at the 9:30 Club. Philadelphia noise rock band Empath and Los Angeles post-hardcore punks Touché Amoré were along for support.
La Dispute is touring in support of its their well-received fourth album Panorama, the first release with Epitaph Records. The current lineup is vocalist Jordan Dreyer, drummer Brad Vander Lugt, guitarist Chad Morgan-Sterenberg, guitarist Corey Stroffolino, and bass guitarist Adam Vass. Getting great reviews from outlets like Pitchfork, the music blends melodic tones with finely constructed stories that touch on death and life. I was not entirely sure what to expect from this band, with the dim lights and salt lamps on stage; however, the show was extremely energetic and Dreyer possesses the ability to convey deep emotion through fine vocal execution.
It’s worth noting that La Dispute often works with charitable organizations. In addition, early in the set, Dreyer stopped to state the band supports a safe environment for all, regardless of sexual orientation, gender, or race. A quick search reveals that the band makes their catalog of music available free each Christmas, asking only that fans make donations to organizations of their own choosing. It’s always refreshing to see bands use their position to support positivity and charity.
The night kicked off with Philadelphia noise punk darlings Empath, described by Rolling Stone as being much of a “cosmic jazz combo as a screaming punk band”. Empath (Catherine Elicson, Garrett Koloski, Emily Shanahan, and Randall Coon) are promoting their debut LP, Active Listening: Night in Earth, described as fierce and cacophonous. It’s clear, in performance, this is a band not interested in fitting into a neat category.
There’s something incredibly special about a band like Feeder. Not too many bands can continue to endure such a rollercoaster ride for nearly three decades—countless peaks and valleys of critical acclaim, tragic loss, astounding highs, and of course, periods of confusion and lost direction. These guys have seen it all, and yet they’re still playing gigs and making arguably the best music of their career.
I remember these guys from the ’90s Britpop invasion in the States, but lost track of them until stumbling upon one of my all-time favorite records, 2008’s Silent Cry. For me, there’s always been a mystique around the band and their atmospheric yet aggressive sound. Maybe it’s because I lived in the States during their peak and never got a chance to see the live show until moving to London three years ago. Touring in support of their new record Tallulah, this would be my second Feeder show in London, and they sounded bigger, bolder—and ultimately better.
Grant Nicholas and Taka Hirose make up the core of the band these days, with Nicholas being the prominent songwriter. The album is named for Nicholas’ wife’s best friend’s daughter(yeah, I had to read that a few times back as well) who was in attendance at the jam-packed Roundhouse theatre in North London.
VIA PRESS RELEASE | “I love it that phonograph records are popular again,” enthuses Marshall Crenshaw. “They were consigned to oblivion by the music business back when I was recording for Razor & Tie, but now they’re back!”
The artist recently regained ownership of the five acclaimed albums he released on the Razor & Tie label between 1994 and 2003, and plans to issue revised editions of those efforts, on vinyl and on all digital platforms, beginning with his 1996 release Miracle of Science, due on January 17, 2020 on Crenshaw’s own Shiny-Tone label (distributed through Megaforce). Ultimately, the new reissue series will encompass three much-loved studio albums—Miracle of Science, 1999’s #447 and 2003’s What’s in the Bag?—plus 1994’s live My Truck Is My Home and 1998’s early demos collection The 9 Volt Years. Each album will include two newly recorded, previously unreleased tracks, which will appear on a bonus 7″ single on the vinyl editions and as bonus tracks on the CD and digital versions.
“Miracle of Science was a turning point for me,” Crenshaw recalls. “I had voluntarily taken myself out of the major-label world. ADAT machines had just come out, so I bought a couple of those and a few other pieces of gear, and now suddenly I could make records at home if I felt like it. That took me back to my roots, you might say; I did about half the album at home by myself. And the other people that played on the record, I still get such a huge kick out of hearing what they did, particularly on the tracks that I recorded at Alex the Great studios in Nashville. There’s a lot of spirit in the music, a lot of fire. The playing is loose and wild—a much different approach from what you hear on my major-label records, and a real breakthrough, for my money.
If ferocious, female-fronted alternative rock is your kinda thing, then look no further, MeMe Detroit is back and she means business. We featured MeMe a while back when she released energy-fueled EP “Life In The Now” and now she’s back with another raucous release to feast your ears on.
“Can’t Get You Out Of My Mind” is a single that is swarming with attitude from the offset. MeMe—aka Maria Rodriguez—creates fuzz-filled formidable soundscapes throughout, feeling instantly reminiscent of the likes of Yeah Yeah Yeahs and Wolf Alice. Distorted guitar twangs are matched with pulsating drumbeats and powerful lead vocals from Maria herself to create a sound that is unapologetic and undeniably powerful.
As far as break up anthems go, this one takes no prisoners, so we recommend turning this one up to full blast and screaming it from the top of your lungs. Trust us, you’ll feel far better afterwards and that heartbreak will soon feel like a walk in the park.
With plans for an album already in the works, 2020 is shaping up to be an exciting year for MeMe and her newly recruited team of musicians, so watch this space.
On the debut album by Portland, OR’s J. Graves, it’s Jessa Graves who writes the songs, sings them and plays the guitar, while the bass is handled by Barret Stolte and the drums by Dave Yeager. J. Graves is indeed a band, though the choice of moniker drives home the namesake’s input and sheer commitment. The style can be accurately tagged as a post-Riot Grrl state of affairs, but with strength of songwriting and emotional range that validates the comparisons to Sleater-Kinney and Yeah Yeah Yeahs. Another way of putting it is that Marathon isn’t always raging; far from it actually, but the LP is consistently heartfelt, which brings us back to the matter of commitment. The album, self-released, is out now.
Jessa Graves’ story includes a prior outfit, Hellokopter, who worked hard and made progress and just at the brink of a major breakthrough and reward, fell apart as bands often do. If a not uncommon occurrence, the fallout from this situation can still be devastating to those involved, which is exactly what happened with Graves; the result was that she didn’t play, write songs or sing for three years.
But in 2016 she wrote “Leap Year,” which after three more years is one of Marathon’s ten selections. The trajectory from that initial song to this finished album wasn’t easy, however. There were serious health issues in 2017, with the chest x-ray adorning the record’s cover deriving from that very situation. Those difficulties necessitated major life changes, as she quit smoking and in 2018, ran a marathon.
Hence the record’s title, though there is a deeper significance; in an article in the Portland-focused website Vortex, Graves described the completion of this album as her second marathon. And there is an additional layered meaning, as the same article refers to the video she made for the record’s Kickstarter where she observed how the x-ray showed her insides and then added that “my music is everything that is inside of me.”
Makati City, PH | Vinyl is not back…it never left! …Let’s get one thing straight. Vinyl is not back. Vinyl never went anywhere. It’s always been here. The interest in vinyl may have waned, but its presence exists. Which is why many think that vinyl, or LP records, are making a comeback. Technically, you could say that, but in certain close quarters, be they the casual LP consumer to the staunchest record collector, records have always been there. Always. Records have been around since its introduction by Columbia Records in 1948 and its adoption as the new standard by the record industry, a format that slowly but surely gained its foothold among consumers in the 60s and especially in the 70s. The LP’s product sibling, the 7’’ 45rpm record, took off as well, offering one song per side (thus, the term single) whose sales were soon surpassed by the 12’’ LP, wherein recording artists could put more music, at times turning their release into an artistic expression of their music.
Birmingham, UK | Trendy new vinyl bar and live music venue Dead Wax Digbeth to open in Birmingham: The Wagon & Horses has been transformed into Dead Wax Digbeth where you’ll be able to hear live acts, play records and even bring along your own vinyl to blast out. A new music venue and ‘vinyl bar’ where you can play records and even bring your own music is being opened in Birmingham. Dead Wax Digbeth will open its doors to music fans at the weekend with a four-day launch featuring 45 bands, musicians, artists and DJs from the city and across the Midlands. A series of specially curated free events will run across the venue’s three spaces from Thursday, November 28 to Sunday, December 1 – including two all-dayers, late-night DJ sets, rare live performances and acoustic sets. …Music fans and vinyl lovers will be encouraged to choose and play albums and singles from the bar’s large 4000 record collection as well as enjoy vinyl-only sets from a diverse line-up of DJs in a vibrant setting in the heart of Digbeth designed and created by local artists.
New York, NY | A visit to Turntable Lab on 10th Street: The older I get the less new music I am exposed to, which is why I am always particularly interested in EV Grieve’s Fridays at Five and curated musical selections. It’s turned me on to local rocker Liza Colby, Princess Nokia’s “Tomboy” and THICK’s “Green Eyes,” among others. In this A Visit To … I get the opportunity to explore new-to-me music at Turntable Lab with owner Pete Hahn and his Turntable staff. Pete arrives — on skateboard — from his nearby East Village home to meet me at the Lab’s storefront at 84 E. 10th St. between Third Avenue and Fourth Avenue, and walks me though the store pointing out both beginner record players (now made with USB port) and advanced DJ setups. I even get a mini lesson on the ones and twos on the in-house DJ booth from sales associate Paul Bennett! Aside from a tour and DJ lesson, Hahn talked about the evolution of Turntable Lab, which had its humble beginnings as an NYU side hustle, to its first shop on Seventh Street between Avenue A and First Avenue. Turntable is now in its 20th year of business.
UK | How golden oldies are driving a boom in independent music shops: Vinyl accounts for a huge proportion of sales at local retailers. Here’s some rare cheerful news for you: independent music shops are doing well despite an overall slump in the industry… The high-profile collapse of HMV earlier this year certainly makes it look that way. Although the brand was saved by a new owner, it immediately closed 27 stores in a reminder that music shops are not immune to the challenges of the high street. That includes high rents, business rates and consistent footfall declines. But there’s evidence this was good for your local record store: independents gained £5m from shoppers moving their spend from other retailers, with £1.6m of that coming specifically from HMV. That also includes spend shifting away from other places such as supermarkets. Physical music now accounts for 15 percent of spend at the grocers, down from 17 per cent in 2018. Kantar says 1.1 million shoppers stopped buying physical music in the grocers over the past year.
The theatrics, the costumes, the grandiose stage and fire, but most importantly, the songs. Swedish metal band Ghost has it all. The stars, or maybe the burning fires of hell, have aligned perfectly over the past decade to propel Ghost as one of the most important bands in metal today.
Tobias Forge, also known as Papa Emeritus I, II, III, and his latest evolution as Cardinal Copia, is the mastermind behind all things Ghost. Backed by a group of nameless ghouls (literally, as listed in Wikipedia) he’s taken metal to an entirely new level and delivered two remarkable albums while bringing back the evil nature of the genre in the spirit of early Black Sabbath, but with the vocal stylings of ’70s prog rock.
What you get is a sound that has evolved over the years into something that is still as evil as ever in spirit, but surprisingly accessible. It’s metal for everyone essentially, and that statement was solidified further when the band won the much-coveted Grammy Awards for Best Metal Performance and Best Metal Album. Not that the Grammys matter anyway these days, but it does feel good when they get it right one out of ten times.
This would be my second time seeing Ghost in London, and the show is bigger and much more refined. Upgrading from the legendary O2 Forum to Wembley Arena makes perfect sense when you see the new design and production. It’s truly over the top and rivals any rock tour that’s hit the arena circuit this year.