All posts filed under: Music


Album Review: “Semper Femina”, Laura Marling

On Semper Femina, Laura Marling explores the lives of the exceptional women in her orbit as protagonists of their own stories, separate from the Male Gaze. It is tempting – perhaps even unavoidable – to decipher works of art based on title tracks. After all, why would the artist name their work after a single line or lyric? It must be meaningful – it’s the musical equivalent of when an actor will break the 4th wall, look straight into the camera, and say the name of a film. It drops like a hammer-blow, when we pick up on it. On Semper Femina’s second-to-last and standout track “Nouel”, British folksinger Laura Marling sings, “Semper Femina, so am I,” paraphrasing a line from a Virgil poem, translating roughly to “always a woman”. For her sixth LP, Marling initially sought to explore the lives of exceptional women from the vantage point of a man, but had to abandon the quest. She simply couldn’t get out of herself, and didn’t think it would be wise to do so. Instead, …


February 2017’s Most Essential Albums

February tends to be kind of a hard, dark month for much of the United States – it’s cold, days are short, and things can get lonely if you don’t have love in your life, around V-Day. To commemorate it is almost over, we’ve got some hard and dark sounds – like Amnesia Scanner’s As Truth mixtape; some cold and lonely sounds, with Ryan Adams’ excellent new breakup record Prisoner, and some enumerations on love, romance, and desire – both for and against – with The Last Artful, Dodgr and Neill Von Tally; Future; Bebe Rexha; and Anna Wise. There’s some warmth to be had, as well, via the analog ambiance of Noveller and Bing & Ruth. So settle in and take a listen to some of February’s top albums! February 2017’s Most Essential Albums 10. Last Artful, Dodgr & Neill Von Tally – Bone Music Referencing both Charles Dickens, a Los Angeles baseball team, and ducking drive-bys, the Last Artful, Dodgr is as West Coast as it comes – particularly her adopted home of …


Breaking Down False Binaries In Hip-Hop: JenRO – Planet Z

Hip-hop is full of false binaries – East Coast/West Coast; Old School/Nu Skool; Street/Club; Male/Female; Gay/Straight, and, all too often, never the twain shall meet. Superstar Top 40 Hip-Hop artists like Drake, The Weeknd, and Nicki Minaj broadcast the intricacies of celebrity like some crystalline Fortress Of Solitude, faces as perfectly presented as some ceramic Mardi Gras mask, commenting on the nihilism of partying every night, the boredom and apathy of drinking $1000 bottles of Cristal every night. Meanwhile, rough-and-tumble street rappers speak more to the experience of regular, working class people, struggling for dignity and a good life. They’re stories more of us can relate to, not to mention having more in common with hip-hops embattled roots, but the lack of resources, like high-quality studio recordings and a well-oiled marketing machine, means people just aren’t as likely to hear it. While it’s not a problem in and of itself, as good-sounding records from highly talented people with a boatload of resources are important, (think: Beyonce), we run the risk of losing working-class dialects in …

Muscle & Marrow - Love - album cover

Love Metal & Doom Pop: Portland’s Muscle And Marrow – “Love” review

Portland, Or. is a complicated, layered, and nuanced place. Beneath the facade of being a millennial paradise, Portland’s rooted in the blue collar industry of yesteryear, as one of the Pacific Northwest’s most bustling port towns. Even Portland’s reputation as being a hub for underground culture came about due to the economic downturn of the ’80s and ’90s. Portland is both rough and tumble, as well as cosmopolitan; utterly hip and chic while alternately not giving a toss what anyone thinks. Portlanders are tough, while still being kind and sensitive; nice, almost to a fault, but not afraid to be blunt. Likewise, metal is a complicated genre. While once a shorthand for the most extreme masculinity, in the 21st Century, metal has become shorthand for power, force, will, and intensity, which is important as it doesn’t make intensity the sole property of the patriarchy. Portland avant-metal duo Muscle And Marrow perfectly embody the intricacies and layered meanings of both Portland and metal/extreme music, especially in the case of their most recent album. Rather than focusing …

Chance The Rapper - Coloring Book cover

The REAL voice of the streets: Chance The Rapper – “Coloring Book”

Considering hip-hop’s roots in the pavement and asphalt of the urban environment, there is a certain crossover with the “hard living school of hard knocks”, as a lot of rappers, producers, and DJs are forced to live outside of the law to get by. Groups like N.W.A. or Public Enemy, or solo rappers like Tupac Shakur, spoke their truths – gun running, drug slinging, hook-ups, partying all night long, as one representation of what life on the streets is really like. The Golden Age Of Gangsta Rap led to a kind of revolving door of influences, with up-and-coming rappers thinking they had to live the stereotype to make good hip-hop, while outsiders assumed that all rappers are Gs and dealers. This assumption implies only gangstas and working girls hang out on the pavement – subtle shadows of racism and classism. If you translate “street” to mean “regular” or “working class people” doing what it takes to get by, however, the images and implications expand exponentially. On the latest, greatest mixtape from Chicago up-and-comer Chance The …

Brian Eno - The Ship - Album Cover Art

A vessel lost at sea, Brian Eno – “The Ship” (Warp Records)

Brian Eno‘s The Ship is like a libretti for Snowpiercer, or J. G. Ballard/Ben Wheatley’s High Rise – imagining society as a vessel lost at sea, forever drifting through endless, featureless landscapes. Trying to conceptualize or visualize society is a tricky business, especially in these uncertain mercurial times. Society changes in a nanosecond, never resting, always refreshing. With so many pieces and moving parts, it can seem like an impossibility to comment on even one tiny aspect of the world we’re living in, let alone the entire monolithic machine. Brian Eno likely needs no introduction for fans of atmospheric, imaginative electronic music, as the modern progenitor of Ambient music, via his ambient series in the ’70s. Eno’s always been concerned with removing the human from the scene, in an effort to truly free music from egotism and repetition, to create something truly futuristic. Eno’s ambient works are particularly adept at evoking landscapes/settings, like the austere, minimalism of an airport in Ambient 1: Music For Airports or a vast, menacing alien planet, on Apollo: Atmospheres And …


Beats From The Crossroads: Andy Stott – Too Many Voices (Modern Love)

Enigmatic Mancunian producer Andy Stott‘s output, these past few years, have been an exquisite portrait of what’s been going on in the post-dubstep electronic world. Dubstep’s ferocious bassweight is tempered with intricate, precise grime beats; weightless, ethereal, dreamy synthpop – all polished and poised, seemingly, by the human hand. This particular phase of Stott’s career started with 2011’s essential twin releases, We Stay Together and Passed Me By, when Modern Love label head Shlom Sviri suggested to Stott that he start incorporating found sounds, field recordings, and real world textures into his hardware-infatuated Detroit Techno emulations. Stott’s previously pristine Techno became slavered in hiss and static, seemingly emerging from some nightmarish late night radio program, tuned between stations. Stott further abandoned the cleanroom confines of the digital with the following two LPs, 2012’s Luxury Problems and 2014’s Faith In Strangers, which incorporated vocals from Alison Skidmore, Stott’s teenage piano teacher. Together, the pair dished out a kind of slo-mo post-industrial New Wave, somewhere between the graceful pop deconstructions of Arthur Russell, the existentialism of the …

LEVITATION FEST , photo by Cecilia Alejandra

[CANCELLED] I Just WAS Made For These Times: A Guide To The Psychedelic Sounds Of Levitation 2016

This weekend’s LEVITATION has been cancelled due to safety concerns regarding dangerous weather, the festival’s official website reported today 04/28/2016 Fans of every era of visionary, tripped-out, elevated cosmic music will find something that will make them float six inches above Austin’s cracked Earth, at the most recent incarnation of Levitation, formerly known as Austin Psych Fest. Psychedelia is defined as “music, culture, or art based on the experiences produced by psychedelic drugs.” It always seemed vaguely disappointing that so many artists and musicians interpreted this wide-open field of crimson clover and poppies as merely a re-creation of the late-’60s Haight-Ashbury scene. Sure, amorphous light shows are trippy, but so are late-19th-Century literary works like Alice In Wonderland or The Wind In The Willows, as are the speed-fueled paranoid guitar jams of proto-punk Garage Rock; densely layered, experimental Hip-Hop; dreamy, romantic Shoegaze; and basically every form of Electronic music that’s ever been made. Psychedelia’s experienced a number of fascinating evolutions, so far, during the 21th Century. We’re finally listening objectively, taking what we like about …



    Bloodboy is the artistic identity of LA based singer­-songwriter, Lexie Papilion. Her first single, “Human Female,” produced by Justin L. Raisen (Charli XCX, Sky Ferreira, Ariel Pink) expounds on her mission to create accessible, melodic pop music with a sonic and lyrical edge. The single dwells around two mantras on the musician’s life and music. Question what is expected. Walk the ledge of possibility. “So many people feel restricted for so many reasons,” Lexie concludes. “I’ve thrown those restrictions to the wind to say, ‘I don’t know if this is going to sound exactly the way I want it to, but I’m going to let everything peek through and see what happens.” Listen to the track at Spotify or watch the video below by Millicent Hailes Bloodboy – Human Female (uncensored) from Bloodboy  


Songs For Neo-Tokyo: Bwana – Capsule’s Pride (Bikes) (LuckyMe)

Much like fashion, Electronic music has never been very good at looking in the rearview. In the accelerationist framework of the genre, producers and DJs have simply not taken the time to dig through the past to make sense of it all. There are whole continents of early ’90s rave tapes, the early digital trance ambient of Pete Namlook’s FAX Label and glassy early house music that’s been completely overlooked by the obsessive reissue culture currently en vogue, despite how pivotal these works might’ve been in creating the world we’re currently inhabiting. UK post-dubstep producer Bwana is remedying this, with Capsule’s Pride (Bikes) which not only resurrects early ’90s electronica for re-evaluation, but also takes a close, loving work at another significant cultural artifact – Katsuhiro Otomo’s 1988 Cyberpunk Anime classic Akira. Akira follows two young members of a motorcycle gang in a futuristic Neo-Tokyo, Kaneda and Tetsuo, searching for the lost urban legend of Akira. Tetsuo gradually begins to develop psychic powers, as the motorcycle gang fights off gangs of evil clowns, meet sentient dolls, and ultimately, meet …