Two saxophone titans, Parker from U.K. & Liebman from U.S. & drummer do battle. Sounds like the classic Rashid Ali/Coltrane duets w/an added saxophone. Hold on to your hat.
Archive for March, 2010
6th release by this piano trio. Focuses on engaging, bright melodic compositions. Simpatico play comes from a 14 year working relationship. All tunes written by Yamamoto.
Italian pianist leads on light & lyrical originals & Beatles covers(#6 & 11). Sicilian themes add a nice touch.
Well regarded pianist on a program of originals & unique take on some standards. Some barely recognizable. Highly percussive style on short pieces that reflect distant roots in stride, ragtime & Monk.
March 29th, 2010::True Panther Sounds
The first thing you look at when you pick up Gay Singles is Hunx’s sweaty crotch tightly squeezed into a zebra patterned man thong. Little do you know that packed into that tight man thong is an album chock full of some of the greatest bubble gum punk songs ever written. Pulling from influences such as The Ramones, John Water’s films, Phil Spector’s girl groups, and more, Hunx has truely created a rock and roll homoerotic masterpiece. Standout tracks include, “Gimme Gimme Back Your Love”, a punk rock cry for a past love driven by organ riffs that will pump through your bloodstream straight into your heart, “Hey Rocky”, a Ramonesesque plead to get back into Rocky’s pants, “Crusing”, a straight rock and roll ode to the Al Pacino film of the same name, “Don’t Cha Wan’t Me Back”, a punk ballad slow dance song fronted by Hunx’s weasely voice with Phil Spector-like backing vocals, and “Teardrops on my Telephone”, a love song driven by delayed electric guitar chords and old fashioned rock and roll vocals. This is one of the only rock and roll records that have come out in the last decade that bares true rock and roll. As Hunx says: if u don’t like rock and roll than i don’t like you.
After meeting in the early 90’s at the get go of the antifolk “movement”, Kimya Dawson, Jeffrey and Jack Lewis finally get together and make a CD! Also rocking full throttle are Karl Blau and Anders Griffen to make up the Bundles. It’s classic Moldy Peaches sounding bubbles and fun, and here, Jeff’s voice is very reminiscent of Adam Green’s sort of grainy, mostly talking efforts from Peaches. Take “Over the Moon”, something in Karl Blau’s up-in-the-sky voice blends so well with Dawson’s, and although different, is in some ways identical to the Peaches. But overall, this sounds like more mature kid-rock, still very childish in themes and songwriting, the overall effect of harder-hitting drums and percussion makes seem a bit more easy to get into if you’re not already a Dawson fan.
PLAY: 2, 5, 4, 7
RIYD: The Moldy Peaches, Jeffrey Lewis, Adam Green
FCC: 1, 3, 6
March 29th, 2010::Hardly Art
I’ve seen Golden Triangle three times. Every single time is absolutely insane.and the last show I went to I ended up taking a whiskey shower and getting body slammed by a huge, sweaty, smelly fat guy with no shirt on. However surprising as it may sound, I embraced these seemingly unfortunate chain of events because Golden Triangle is a kick ass garage punk band. The band consists of six freaky musicians: two fronting girls who howl garage anthems simultaneously while the backing band rocks and rolls like a monstrous ocean of screeching guitar, bass and drums. Double Jointer is their debut, full length album on a major independent label. Standout tracks include: “Neon Noose”, a rollicking psych punk fueled by dark surf guitar riffs, “Death to Fame”, a brooding girl group anthem backed up by the frightening crash of drum symbols, a “Rollercoaster”, a true representation of a fuzz driven rollercoaster, and “Jinx”, a shiny trash punk ruckus. Golden Triangle will knock you out with their sick nasty circus garage punk until you’re covered in blood, sweat, tears, and whiskey.
Dr. Dog calls their fifth studio album “the most autobiographical release,” singing about life and conversations in West Philly and the “new dynamic they had developed on the road.” While it’s not immediately apparent to me just by listening to the album what that new dynamic is, I might call it organized, systematic schitzophrenia. “Shadow People” and “I Only Wear Blue” are strangely reminiscent of Daniel Johnston’s childlike mania, “Station” brings up Summerteeth era Wilco, and “Unbearable Why” is reggae-tinged in a Vampire Weekend sense. All that being said, this album does not seem confused, songs flow nicely into each other, styles complimenting rather than conflicting with one another. It’s easy to listen to, introspective maybe. But for me, the still sophomoric lyrics leave something to be wanting to call this brilliance, but it’s lovely jammy-twinged country-rock none-the-less.
Play: 5, 2, 7, 9
(Courtesy of Anti Records)
Scottish/Shoegaze/Folk/Post Rock (if that doesn’t pique your interest, nothing will).