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Category: Alt rock
The Districts release new single from upcoming “Popular Manipulations” album.
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Live – Midnight Oil and Boytoy – Chicago, IL – May 18, 2017
“You know what the coolest thing is about this show?” Said a man next to me in the Vic Theatre where young Aussie rockers Boytoy and Aussie rock legends Midnight Oil were about to perform. “No one here is under thirty!”
It wasn’t true, but it was definitely an older crowd at the Vic. It had been over twenty years since my wife and I had seen Midnight Oil in concert, and you could tell the entire crowd in the hot, packed venue was ready to go nuts once Midnight Oil hit the stage.
Boytoy were first. They were three young ladies who were playing some good garage rock when we walked into the place, but they transformed into a stoner rock band by the end of their set, which elated me to no end. I need to track down their stuff.

Speaking, sort of, of stoner rock, the guy next to me tapped me on the shoulder, pointed at my rolled-up tour poster and said, “I thought that was a bong! I thought, ‘This guy’s the coolest guy in here!’” He even grabbed it at one point during Boytoy’s set and took an imaginary hit off it.

Midnight Oil came out to a roaring welcome and then got right down to business. They hadn’t lost a step in the time they’d been off working on other projects or, in the case of lead singer Peter Garrett, serving in the Australian Parliament.
“Why hasn’t he aged?” My wife asked about Garrett. My best guess is that he’s either a vampire or the food is much better in Australia because she was right. He looked like he’d barely grown older since we saw them in the early 1990’s.
He was, of course, politically outspoken. You don’t go to a Midnight Oil show and not expect to hear some political commentary.
Garrett started fairly early in the set. “Fact one: Thanks for waiting for so long. Fact two: It’s nice to be back in Obama territory. Fact three: There will be no alternative facts here tonight. Fact four: We don’t have short memories.” They then tore into “Short Memory” and had everyone bouncing.
He would touch on compulsory voting (“I don’t think you-know-who would’ve gotten in.” (if we had it here in the U.S.)), the environment (“We have a Mother Earth who takes care of us.”), universal health care (“If you make tacos for a living, you pay a little bit. If you have fifty million in a hedge fund and support the governor, you pay a bit more. We don’t call this socialism. We call it common sense.”), and equal rights (“Everyone, no matter their race, sex, age, or religious beliefs deserves to be treated with respect.”) before the night was over, and he wore a shirt that read “To sin by silence when one should protest makes cowards of men.”
Among the many great spots in their set were an acoustic version of “My Country,” a funky rendition of “When the Generals Talk,” roaring versions of “Read About It” and “Kosciusko,” and a killer performance of “Dreamworld” to end the set that had everyone pumping their fists and chanting.

They played two encores. The first started with “Put Down that Weapon,” and I couldn’t help but think they chose to play that in Chicago as a message toward the high rate of gun violence there the last two years. “Truganini” and “Forgotten Years” rounded out the mini-set, and then they came out once more to dedicate “Sometimes” to people working hard to help others.

It was a trip back in time to songs that are still relevant today. Midnight Oil is globetrotting for this tour, so catch them if they come near you. This is one of the best and most welcome tours of the year.
Keep your mind open.
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Rest in peace, Chris Cornell.
I’m not sure what I can add to the thousands of words already written on the death of Soundgarden and Audioslave lead singer Chris Cornell. He was one of the best rock singers of my generation, and even sang the Bond theme for the modern version of Casino Royale – “You Know My Name.”
I’ll always remember him for his work on Soundgarden’s masterpiece album Superunknown. The whole record is a stunning piece of work, and Cornell’s voice ranges from screaming metal work to psychedelic wanderings to doom metal growls.
He was open about his drug addictions, and there is already talk that his death might be the result of suicide. I wish him peace and his bandmates and fans strength.
Keep your mind open.
Beach Fossils deliver new single from upcoming album.
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Kane Strang’s new album due June 30th.
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The New Pornographers – Whiteout Conditions
The New Pornographers (Kathryn Calder – vocals, keyboards, guitar, Neko Case – vocals, John Collins – bass, Todd Fancey – lead guitar, Carl Newman – vocals, guitar, Joe Seiders – drums, vocals, Blaine Thurier – keyboards, synthesizers) hail from Canada, so that might explain the title of their new album – Whiteout Conditions. Such things are frequent there in the winters. I can’t help but think, however, that the title is a tongue-in-cheek reference to the result of the 2016 U.S. Presidential election and the voter base that led to that result. Carl Newman and Neko Case are openly critical of President Trump on their respective Twitter feeds, so it’s not too much of a stretch.
Judging by the bright, uplifting feel of this record, the band assures us that everything will be all right. The opener, “Play Money,” is full of brilliant keyboards even as Ms. Case sings lyrics like “…just when I thought we beat the system, I knew a gentleman of leisure. He loved to talk about his treasure and how he got it for a song.”
The title track is a tale of some depression Newman’s admitted he was feeling at the time he wrote it (Shock at the result of the 2016 election?) “Flying and flat on the ceiling, I’m barely dealing…I wasn’t hoping for a win, I was hoping for freedom,” he sings, disguising the song as a tale of a man who’s sick of his job with pulsing synths and almost New Order beats. The first single, “High Ticket Attractions,” amps up the synths and witty lyrics (“You can’t imagine all the factions that form around high ticket attractions.”) even more, but now they’re backed with solid rock drumming by Seiders.
“This Is the World of the Theatre” pretty much wears its meaning on its sleeve. Like many of the tracks off their last album, Brill Bruisers, it sounds like an ELO track. “Darling Shade” has some of the funkiest bass on the record as Newman and his niece, Calder, sing, “When you give your mind to your voices, you accept the terms of your sentence.” “Second Sleep” is about insomnia (Due to stress?) as Peter Hook-style bass drives the track. “Colosseums” sprinkles in a bit of psychedelia as Newman sings about being overcome by, and warning against the distractions of, grand spectacle (“Colosseums, colosseums of the mind. Right on time, celebration in the ruin. Elation is moving in a wave. I avert my eyes, but I still see the lions.”). I love the percussion on this. It reminds me of Oingo Boingo songs, actually.
“We’ve Been Here Before” doesn’t sprinkle in psychedelia, it lays it on like a sweet strawberry jam. Just listen to those synths and vocals and you’ll hear it. Newman and Case assure us that we’ll get out of these times of “gods of bad parties.”
“Juke” is electro-psych with Newman singing about shattered crystal balls and people diverging on many paths after chaos explodes around them. The much-appreciated dive into psych-rock continues on “Clockwise.” It’s something you wouldn’t be surprised to hear on a Besnard Lakes album. The closer is “Avalanche Alley.” It opens with keyboards reminiscent of Pete Townshend’s “Let My Love Open the Door,” and then breaks into a great clickety-clack beat. I love that they chose to end an album about post-election blues with such a peppy, upbeat track.
As usual, the New Pornographers have crafted a great record. They’ve yet to swing and miss. Whiteout Conditions let us know that everything will be all right. Winter always gives way to spring. Whiteouts always clear sooner or later.
Keep your mind open.
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Bleached – Can You Deal?
Coming off their highly acclaimed full-length album Welcome the Worms, Bleached (Jennifer Calvin – guitar and lead vocals, Jessica Calvin – vocals and lead guitar, Micayla Grace – bass and vocals, Nick Pillot – drums) found not only more fame, but also more headaches from a music business dominated by men and, at best, dismissive towards women.
These attitudes, and the current political climate, inspired the four-song EP Can You Deal?. It’s a brilliant title. Can you deal with Bleached carving out a name for themselves in the music industry? Can you deal with them being a rock band instead of a female rock band? Can you deal with them not putting up with sexism or giving a shit about what you think?
The title track is all those questions and more amid shimmering punk-pop and a go-for-broke guitar solo by Jessica Calvin. “Flipside” is a lovely ode to a guy who rolls his eyes at the idea of being in a relationship because he’s too hip for the room. It’s undeniably catchy and, in a proper universe, would launch Bleached to the moon in terms of record sales. Seriously, it’s one of the prettiest singles of 2017.
“Turn to Rage” has Bleached showing off their rock chops (particularly the hammering drums by Pillot) while Jennifer Calvin warns a potential suitor not to fuck with her or he might end up “fishin’ for compliments from the grave.” The rock crunch continues on the final track, “Dear Trouble.” “Poor, Jennifer, I’ll be crazy all my life,” Calvin sings as she yearns for a relationship free of drama.
This is a solid EP and another booming step forward for Bleached on their way to being Next Big Things. They are currently touring with the Damned, so that alone should earn your respect if this EP doesn’t (but it will).
Keep your mind open.
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Sleater-Kinney – Live in Paris
The first ever live album from alt-rock / punk / riot grrl legends Sleater-Kinney (Carrie Brownstein – guitars and vocals, Corin Tucker – guitars and vocals, Janet Weist – drums and vocals) is a doozy. Live in Paris captures the band on their 2016 tour supporting the No Cities to Love album (their first in over a decade), and the only show of the tour where they performed a second encore.
Opening with the fiercely funky “Price Tag,” the band is already firing on all cylinders within the first thirty seconds. Tucker is growling and spitting lyrics like a rivet gun throughout it. “Oh!”, one of their biggest hits, keeps up the pace and you can envision the whole Parisian crowd bouncing throughout it. The crunch of “What’s Mine Is Yours” is only outmatched by Tucker’s battle cry voice. It also has a cool breakdown that flirts with psychedelia before Weis hammers out a tremendous fill that takes them back to angry rock.
“A New Wave” is chock-full of fuzz and bent notes as Brownstein and Tucker sing great double vocals on the chorus. “Start Together” is one of Sleater-Kinney’s best songs about rocky relationships. Tucker’s vocals are always pleading on it, as is the guitar work. “No Cities to Love,” from the album of the same name, is a slick song about attachment and how many of us never truly connect with the place we live (“There are no cities to love. It’s not the cities, it’s the weather we love.”).
“Surface Envy” has Tucker crying out for a little help in a relationship (“We win, we lose. Only together do we break the rules.”) and Brownstein and Weis pound out a hard rhythm behind her. I would’ve flipped had I been in the crowd when they played “I Wanna Be Your Joey Ramone.” It’s a powerful song about a girl with an unrequited crush and one of my favorites by them. “Turn It On” is a song about what might happen if that crush returns the affection.
Weis cuts loose at the beginning of “Entertain,” proving yet again that she’s one of the best rock drummers around nowadays. It’s a scathing song about a lover who expects Brownstein to entertain her all the time, but she lets her lover know that “reality is the new excitement.” “Jumpers” is one of Sleater-Kinney’s great examples of dual vocals from Brownstein and Tucker. The encores are “Dig Me Out” (a scorching punk track) and “Modern Girl” (a simple, but slightly fuzzed ode to being okay despite being alone).
Live in Paris might be the closest I get to a Sleater-Kinney show in a while, and I’m happy they released it. Everything you’ve heard about a live Sleater-Kinney show is true. This album is proof.
Keep your mind open.
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A gift from Ron Gallo.
I took part in Ron Gallo‘s PledgeMusic campaign to help fund his debut album, Heavy Meta. I’d been a fan of his since I’d seen him live last year and nabbed his RG3 EP. One of the perks he was offering in his campaign was a download of Heavy Meta and a mix CD he’d make for you for a mere $30.00. That seemed like a steal, so I jumped on it.
My mix CD arrived today, along with a hand-written note and track list from Mr. Gallo. The note reads, “Thank you for the support. Enjoy this eclectic mix of jams that influenced Heavy Meta. Be well.”
The track listing has a lot of great stuff on it, including tracks from artists whose influence I could immediately hear in Gallo’s work (the Stooges, John Lennon, Minor Threat, the Modern Lovers) and others I hadn’t expected but was delighted to see (Dangerdoom, Lauryn Hill, Duke Ellington). Anyone who can and would put together a great mix like this is sure to do great things.
Thank you, Mr. Gallo. I look forward to the future.
Keep your mind open.
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