January 14, 2009 New Beirut Video - "La Llorona" (Stereogum Premiere)
A while ago we mentioned that Zach Condon headed to Oaxaca, Mexico -- the weaver village of Teotitlan del Valle to be exact -- and hooked up with the 19-piece Jimenez Band band, who helped him get the sounds he needed for his March Of The Zapotec EP. Condon plans to release some short films documenting the experience, but in the Owen Cook-animated video for standout "La Llorna" he stayed home and wrote a narrative about a little dog, a mourner, the band, a Mexican graveyard, and a puddle of tears (or, well, rain). It helps to know that "La Llorona"'s "the weeping woman" in Spanish and relates to a legend about a woman who killed her children then herself after she was rejected by a man. She spends her time as a weeping ghost, wandering in search of the kids.
Amebix's music was - and is - the sound of squalor and bleakness. "Crust" is the style they're crediting with helping pioneer, and as genre names go, they don't get much more descriptive. Influenced as much by Motorhead as by anarcho-punks Crass, Amebix merged metal influences with a gutter-punk mindset and a sense of apocalyptic doom. The group sidestepped the loud-fast template that was so common among early punk-metal bands, opting for a moderately paced sound built around repetitive bass lines, washed-out guitars, vaguely tribal drumming, and the occasional thin layer of gloomy keyboards. The end result often resembled early Killing Joke with half the chops and a tenth of the recording budget, which may sound like a slight, but it really isn't.
No Sanctuary is a reissue of three long out-of-print EPs recorded by the British trio between 1982 and '84. The liner notes provide scant information on the recording sessions, but bassist-vocalist Rob "the Baron" Miller's remembrances are still telling: "We lived in very squalid conditions, often without running water or electricity.... We lived by either begging, stealing, or appropriating food from supermarket skips, using ... dole money to get wasted enough to try and forget." This helps explain not only the recording quality - which might affectionately be described as "shitty" - but also the general vibe of the music, which is every bit as barren as the cover art.
AMEBIX Jan. 25, 8 p.m., $16 Great American Music Hall, 859 O'Farrell, SF
First of all, this is not the new Beirut album proper. Instead, we're receiving two EPs that together comprise Zach Condon's 2008 output – the first a collaboration with a Mexican funeral band, the second a resurrection of his early bedroom recordings moniker Realpeople. While good (very good, in fact), it's perhaps not exactly what you might have come to expect from this enviably talented young American.
Of course, the obvious curveball would be the Realpeople EP Holland, where horns'n'uke are substituted for gently synthesized beats and keyboards. The first, though, (album namesake March Of The Zapotec) intrigues in itself. I mean: you what? A Mexican funeral band? A 19-piece Mexican funeral band? A 19-piece Mexican funeral band from a remote weaver village in Oaxaca? What – that don't even speak Spanish, but the Mexican dialect of Zapotec? Not one to make things easy for himself, that Condon – though you wouldn't know it from the results.
For while the Zapotec EP is unmistakeably Beirut, it sees Condon marry his melodic verve with something almost imperceptibly darker. There's nothing here in any way as instant as 'Postcards From Italy', 'Elephant Gun', or anything off The Flying Club Cup. His mindset, perhaps (for the second time Condon bowed out of touring commitments by cancelling many-a-tour date last year, effectively citing exhaustion as the cause); the arid surroundings maybe – or perhaps simply the nature of the work, as moments here do sound suitably funereal.
Give it time though: it'll seep into your consciousness, lock and engage. Layers upon layers of brass that eventually come off warmer, grander and more precise than any before are steered by that voice, Condon's velvet tones and keen sense of composition reaching their zenith on 'The Akara'. Tumbling horns careen over minor chord ukelele, as he laments the "kite strings" that save him before he is, ultimately, saved. 'La Llorna' again brings his unfettered romanticism to the fore ("No man ever could steal her heart…"), while Chris Taylor of Grizzly Bear makes a guest appearance trumpeting on 'The Shrew'. Soon apparent is a sense that the panoramic Mexican filter through which Beirut's previously established Gallic and Balkan influences trickle has blessed Condon's project with perhaps its richest collection yet.
Which brings us to Holland. Two of these tracks have surfaced prior to this release – 'My Night With The Prostitute From Marseille' appeared on a digitally released charity compilation compiled by one Natalie Portman, while 'Venice' featured on a compilation given away by uber-hip US monthly The Believer. In isolation, both were intriguing diversions from the trademark Beirut sound; nestled here among similar bedroom-electro gems, they sound less like oddities and more part of a coherent – though not entirely successful – '80s-influenced set.
It's fine stuff, mind – and once you get over the contrasting musical backdrop Condon's quavering, gorgeous enunciation finds itself atop, periodically superb (see: aforementioned opener 'My Night…', which intones little lyrically yet evokes untold amounts, or the chiming, addictive stabs of 'The Concubine'). The bizarre, inconsequential Euro-pop of 'No Dice' upon which this collection unfortunately closes does mar slightly; though as a flipside to the superbZapotec, Holland offsets proceedings in a manner admirably diverse.
To reiterate, then: it's not the third Beirut album, like, proper. But as a means of sating collective appetites before that record does arrive – heightening expectations, even – it is a remarkable achievement. Beirut 8 / 10
UPCOMING BEIRUT LIVE DATES: 02/04 Brooklyn, NY Music Hall Of Williamsburg (sold out) 02/06 Brooklyn, NY @ BAM Opera House (Sounds Like Brooklyn Music Festival) 02/07 Brooklyn, NY @ BAM Opera House (Sounds Like Brooklyn Music Festival) 02/19 Mexico City, MEX @ Lunaria Auditoria 02/20 Mexico City, MEX @ Lunaria Auditoria 05/03 Hamburg, DEU @ Fabrik 05/05 Amsterdam, NL @ Paradiso 05/06 Brussels, BEL @ Cirque Royal 05/08 London, UK @ Forum 05/09 Minehead, UK @ All Tomorrow's Parties The Fans Strike Back 05/12 Paris, FR @ Bataclan
The four songs on this free download live EP were recorded at the festival in Roedovre (a suburb of Copenhagen) on November 8 2008. This was the first and maybe also the last concert by Slaraffenklang. The idea is simple and fun. Slaraffenklang is the mutant hybrid of Efterklang and Slaraffenland. There were 12 musicians on stage, and the songs performed were versions of songs by Efterklang and Slaraffenland. Sometimes just louder and heavier, and sometimes in new arrangements.
SLARAFFENKLANG - Danish Dynamite Live at Sono Festival 2008 Tracklisting: 1. Cutting Ice To Snow 2. Polaroids 3. Echo Wave 4. You Win
Recorded, mixed and mastered by Petter Samuelsson Click here
EU tour dates announced 05/03 GERMANY HAMBURG FABRIK 05/05 THE NETHERLANDS AMSTERDAM PARADISO 05/06 BELGIUM BRUSSELS CIRQUE ROYAL 05/08 UK LONDON FORUM 05/09 UK MINEHEAD ALL TOMORROWS PARTY vs Fans. The Fans Strike Back 05/12 FRANCE PARIS BATACLAN
On the band-name wince-o-meter, the Papercuts rank just below the Leapfrogging a Parking Meter and Hitting Your Balls on Its and the Digging Too Deep in Your Nose and Getting a Nosebleeds. But that hasn't stopped the reverbed-out San Francisco sad-pop project. You Can Have What You Want, the third album from Jason Quever's band, will be out on April 14. In the US, Gnomonsong will release the album, and it'll be on Memphis Industries in Europe. The record will feature collaborations with Alex Scally of frequent Papercuts tourmates Beach House.
And here's the tracklist: 01 Once We Walked In The Sunlight 02 A Dictator's Lament 03 The Machine Will Tell Us So 04 A Peculiar Hallelujah 05 Jet Plane 06 Dead Love 07 Future Primitive 08 You Can Have What You Want 09 The Void 10 The Wolf
Upcoming Vivian Girls live dates: 01/11 New York, NY @ KIDROCKERS at The Living Room 01/14 Hoboken, NJ @ Maxwell’s (w/ Titus Andronicus) 01/20 Brooklyn, NY @ Danbro Warehouse (w/ Fucked Up, Pissed Jeans) 02/06 Diksmuide, BEL @ 4AD Muziekclub (w/Crystal Antlers) 02/07 Rottedam, NL @ RoTown 02/08 Amsterdam, NL @ Paradiso 02/09 Antwerp, BEL @ Trix 02/10 Metz, FR @ Triniaires 02/11 Strasbourg, FR @ La Laiterie 02/12 Limoges, FR @ Woodstock Boogie Bar 02/13 Paris, FR @ Point Ephemere 02/14 London, UK @ Proud Galleries 02/15 London, UK @ Carling Academy Islington (w/ Black Lips) 02/19 New York, NY @ The Apollo Theater (w/ M. Ward) 02/20 Philadelphia, PA @ rocadero (w/ M. Ward) 02/21 Washington, DC @ Sixth & I Historic Synagogue (w/ M. Ward)
Press release via Neurot Recordings announced on various sites today:Shrinebuilder is a project that features, in equal measure, Wino (St, Vitus, Hidden Hand), Scott Kelly (Neurosis), Al Cisneros (Om, Sleep), and Dale Crover (Melvins). The band will be in the studio with Toshi from January 9th through January 11th. Shrinebuilder's debut full-length, currently self-titled, is set for a summer 2009 release on Neurot Recordings. Scott Kelly has announced that he will report live from the studio via We Burn Through The Night beginning no later than Saturday, January 10th. Look for guest blogs by other members of Shrinebuilder as well as possible in-studio photos from the band.
As reported by Pitchfork today, the Black Lips are taking their rock show to the distant lands of South Asia this month.
Black Lips to Play India's Indie "American Idol"
You think Atlanta badasses Black Lips ever get, like, tired? Or sick? It sure doesn't seem like it. They seem to know the indie rock halo can be fleeting, so they're taking advantage of the spotlight. More power to 'em. Before they unleash their new album, 200 Million Thousand, on February 24, and head to Europe and the U.S. next month, the foursome are boosting their Where I've Been profile with a round of gigs in India. The trek includes three dates headlining Campus Rock Idols-- which is like "American Idol", except with Indian college bands instead of American pop tarts, and no Simon Cowell (that we know of). The ambitious travellers are making a concerted effort to hit less-than-typical locales nowadays-- drummer Joe Bradly recently told My Old Kentucky Blog, "As soon as Sir Richard Branson, the rebel billionaire, opens up his space shuttle thing, we want to be the first band to play in space." Take that, Bowie! Back to earth:
01-16 Mumbai, India - Festival of New Noise 01-17 Pune, India - Raga Lawns, North Koregoan Park (Campus Rock Idols) 01-23 Chennai, India - Sir Mutha Venkatasubba Rao Concert Hall (Campus Rock Idols) 01-24 Calcutta, India - The Park01-25 Bangalore, India - BRV Grounds, KSCA (Campus Rock Idols)
Posted by Ryan Dombal on Thu, Jan 8, 2009 at 1:15pm
Other upcoming (less exotic) tour destinations: 02/15 London, UK @ Islinton Academy (NME Awards) 02/16 Bristol, UK @ Fleece N Firkin 02/17 Glasgow, UK @ ABC 2 02/18 Manchester, UK @ Institute 02/19 Brighton, UK @ Audio 02/26 Birmingham, UK @ Bottletree 02/27 Atlanta, GA @ Variety Playhouse 03/04 Carrboro, NC @ Cat's Cradle 03/05 Washington, DC @ Black Cat 03/06 Philadelphia, PA @ Johnny Brenda's 03/07 Cambridge, MA @ Middle East 03/09 New York, NY @ Bowery Ballroom 03/10 Brooklyn, NY @ Music Hall of Williamsburg 03/12 Cleveland, OH @ Beachland Ballroom 03/13 Detroit, MI @ Magic Stick 03/14 Chicago, IL @ Logan Square Auditorium 03/15 Milwaukee, WI @ Turner Hall Ballroom 03/16 St. Paul, MN @ Turf Club 03/17 Omaha, NE @ Waiting Room 03/18 Lawrence, KS @ Bottleneck 03/20-21 Austin, TX @ SXSW 03/23 New Orleans, LA @ One Eyed Jacks 03/25 Tallahassee, FL @ Club Downunder 03/26 Tampa, FL @ Orpheum 03/27 Miami, FL @ Churchill's 03/28 Gainesville, FL @ Common Grounds 03/29 Jacksonville, FL @ Jack Rabbits 03/30 Orlando, FL @ The Social
Black Time’s Double Negative, seemingly made on a broken mixer in a cave, sets a new standard for artfully shitty recording quality. A particularly wonderful moment comes in the song “The Days Are Too Long and the Nights Are Too Short.” As the song progresses, the blown-out drums sound less and less like drums, culminating in what ought to be a final drum-roll that instead sounds like a horrible accident, disrupting the song’s other elements. Actually, those drums might be a drum machine, but the recording is too stunningly bad to be able to know for sure. It must take a carefully honed aesthetic sensibility to come up with such confusion, such delightful cacophony.
Indeed, there are many fine bits on Double Negative, the third full-length from this London-based trio (plus friends). The mingling of Hamburger Mary and Lemmy Caution’s English-accented sing-shouts on “Six Feet Below” works appealingly, in a way oddly reminiscent of Huggy Bear. A few of the dirge-y screech-ups (“Scary People,” “Problems”) attain a surprising level of creepiness. The reverby U.K. D.I.Y.-style girl-and-organ-heavy slower jam “I’m Gonna Haunt You When I’m Gone” is a whistle waiting to happen.
Generally, though, one gets the sense that Black Time has good taste in raw three-chord music, and that their own work carefully sums up, without acceding, their influences. The nicknames, the sassy ‘60s-style album cover, the lyrics about skeletons and hauntings, the spoken-word social critique “A Boring Day for the Boredom Boys,” will all appeal to people who like the same bands as Black Time. Those fans – of the Country Teasers or the Gories or In the Red labelmates Black Lips, whose songwriting ability far surpasses Black Times’ – will probably appreciate this album. Black Time seem glad to alter just enough elements of the garage-punk formula so their songs are enjoyably familiar, rather than simply by-the-numbers.
Volcano's indie-rock-singing-in-the-rain-richard-simmons-pseudo-ertoric video for "Africa Just Wants To Have Fun" is on the mainpage of YouTube today and getting a shit load of hits. Let the good times roll.
