Next week in music | Oct. 31 – Nov. 6 • The Short List: 8 Songs You Want to Hear
Nope Things. All sweets. Read, see and listen for yourself:
THE EDITED PRESS RELEASE: “Formed in the heart of London’s DIY punk scene, Big Joanie (guitarist Stephanie Phillipsbass player Estelle Adeyeri and drummer Chardine Taylor Stone) are a black feminist punk band whose passionate gigs and wilder mix of ’90s riot grrrl and synth-heavy post punk have seen them rise steadily to become one of the most championed bands in the world. current era. Big Joanie are back with their second album Back home. Registered at Hermitage Studios in north London, the album was produced and mixed by Margo Broom (Goat Girl, Fat White Family). Back home is a spectacular leap forward for the group; The band draws on its tightly knit lo-fi punk formula to create a collage of blazing guitars, slow-tempo dance punk and soulful strings that evoke the full depth of the band’s expansive artistic punk vision. The title of the album refers to the search for a home, whether real or metaphysical. “We were really thinking about the idea of a house and what it means,” explains Stephanie. “It’s about the different ideas of home, whether it’s here in the UK, in Africa or the Caribbean, or somewhere that doesn’t really exist; it is neither here nor there.
where i’m supposed to be
THE EDITED PRESS RELEASE: “Ezra CollectiveThe new era of, an adventure in uncovered maturity and high stakes, will be defined by the anticipated second album. where i’m supposed to be is a shattering celebration of life, an assertive elevation in Ezra Collectiveits sinuous hybrid and its refined collective character. The songs marry cool confidence with luminous energy. Full of call-and-response conversations between their ensemble parts, a natural product of years of improvising together on stage, the album – which also includes Sampa the Great, Kojey Radical, Emile Sande, Steve McQueen and Nao – will light up sweaty dance floors and soundtrack dinner parties in equal measure. “London meets Lusaka. Moments of joy, moments of struggle, but United in a spirit that we must continue. Life must go on,” says the band describing their inspiration. “We write our music with a constant desire to push the boundaries of what we can mix jazz with. This incorporates the energies of South African vibes, mixed with our own style of London jazz.
Tropical Gothic Club
THE EDITED PRESS RELEASE: “Dean Ferita has been at the heart of American rock ‘n’ roll for nearly two decades, since his role as an invaluable member of stone age queens and The dead timekeyboardist on tour with The Storytellersand backing musician on records by Jack White, Karen O, Iggy Pop, Brendan Benson, Kill them, beck and more. While his own music was central to his role as singer, guitarist and founder of wax wings and on records like Hello=FireFerita started Tropical Gothic Club without a clear mission for a solo album under his own name. In early 2020, the Tennessee-based musician set up a small A-frame in his backyard to use as a writing and recording space while stuck at home during the impending pandemic. With little free time, Fertita set to work recording demos of the many musical ideas he had accumulated over the years, drawing on songs and fragments written at different stages of his busy career. . “The Tropical Gothic Club the songs are like concept cars,” says Fertita. “They were meant to go into future production once they were redesigned and redesigned so everything was tight. Creatively, things changed and my options weren’t just black and white. They were also fluorescent.
THE EDITED PRESS RELEASE: “horse lords return with COrdinary objects, an alloy of influences and scholarly approaches with frenetic gravity in pursuit of a united musical and political vision. The group’s fifth album does not document a new utopia, but paints a fascinating portrait of the revolution in progress. Fellowship Items adheres to the essential instrumental sound documented on four previous albums and four mixtapes by the quartet of André Bernstein (saxophone, percussion, electronics), Max Eilbacher (bass, electronics), Owen Gardner (guitar, electronics) and Sam Haberman (drums). But the album refocuses that sound, tying together the disparate strands of the band’s choppy musical scope around propulsive rhythmic grids. Fellowship Items ripples, drones, chugs and soars with new abandon and steely control. Fellowship Items reflects familiar elements of Horse Lords’ established palette – the mantra-like repetition of minimalism and world traditional music, intricate counterpoint, the intricacies of microtonality, an expanse of timbre and texture drawn from across the avant- guard – with some remarkable stylistic innovations. At various points the album leans closer to free jazz than anything else in the band’s catalog, channels spectral electroacoustic tones and throbs with an unexpected yet happy synth. While these new elements bespeak additional time and care in the studio, Comradely Objects retains the dizzying obsessive rhythmic energy that galvanizes the band’s finest moments.
Caleb Landry Jones
Gadzook Vol. 2
THE EDITED PRESS RELEASE: “Don’t let the prestigious acting career fool you – Caleb Landry Jones is an authentic musical maverick. And on his next release Gadzook Vol. 2, he places himself in a line of foreign artists, many of whom have only a thin thread tying them to this reality, able to reach the cosmic realms of the imagination and bring back a musical masterpiece. And while most artists don’t save some of the best music from their careers for an album with Flight. 2 in the title, Jones is an artist for whom chronology is a slippery substance. One of Jones’ greatest musical gifts is his ability to cover a vast energetic and sonic landscape, with a wide range of instruments and vocal styles over a completely unique song structure, in a cohesive and euphoric way. . And while all his records have an ecstatic quality Gadzook Vol 2 is perhaps her most soothing and sublime collection to date. Each song has at least a dozen worming hooks, all so satisfying that you feel a deep longing as they fade away until you realize they’re woven into another groove-laden peak tapping out the grooves. toes. A mic drop continues on an orgasmic magic wheel.
THE EDITED PRESS RELEASE: “Produced by the Grammy-winning French band themselves, and recorded in Paris Decorative Arts Museumwho sits in the Louvre Palace, Alpha Zulu is all Phoenix does its best: effortlessly catchy melodies married to ever-innovative production, resulting in what is destined to be one of the albums of the year 2022. Indeed, Alpha Zulu – the band’s first album since the critically acclaimed 2017 record Ti Amo — is an immediate reminder of what made Phoenix one of the most beloved artists of the past two decades, cementing the band’s lasting (and ongoing) influence on pop culture. Working at the Museum has brought Phoenix full circle, sort of. As children growing up in Versailles, they had rebelled against the oppressive French classicism they had grown up in – the idea that culture belonged in a museum. And yet, here are four of France’s most important cultural ambassadors, carrying out their next job in such a space. It worked perfectly: away from the Museum’s exhibitions, their studio became a storage place for a jumble of works: Dali next to the medieval pieces and Lalanne sculptures. “Behind the scenes at the museum looks like a mashup,” says Deck. “It’s very pop in a way – like the way we make music.”
THE EDITED PRESS RELEASE: “Support is the third album by the New Orleans no-wave punks Special interest. At all levels, Special interest are uncompromising: in their adventurous sound, energetic live performances and convictions. Dance music and punk culture have flirted in the warehouse before, but their desire to dismantle the genre is informed by a larger abolitionist worldview that resists constraints, categories and conformity. Their music is a soundtrack for dancing pain as well as raging against the machine. Special interest describes the recording experience Support as “inverted”, since the pandemic has obviously dampened the possibilities of live performance, bringing about a new period of sonic experimentation and exploration in which the old rules have been discarded. Everything the band writes comes from the same source – hard-hitting drum machine beats – but the possibilities are endless and the outcome always unpredictable. Collaboration is central to the band’s creative process, and it’s hard to imagine even one element of Special Interest’s ensemble being taken out of the equation. Their songs are living organisms, open to the possibility of experimentation and interpretation, but not the property or creation of a single person.
Brown Acid: The Fifteenth Voyage
THE EDITED PRESS RELEASE: “And There you go, The fifteenth voyage is upon us, and it’s another mind-blowing dose of long-lost, rare and unreleased hard rock, heavy psych and proto-metal tracks from the 60s and 70s. Growing original artists continue to yield more and more amazing discoveries every time we come back for more. As we have done throughout this series, all of these tracks have been painstakingly licensed legitimately and the artists have been paid. Get comfortable and get ready for another deep dive into the wet, underground, crazy-eyed, furry-eyed rock ‘n’ roll treasure trove of yesteryear.