Following last year’s cover of “O Holy Night,” Texas space-psych rockers Dayluta Means Kindness have released their version of “O Come, O Come, Emmanuel” for 2018. It’s an instrumental jam that keeps the core of the song and sends it into orbit. It’s only a buck to download it, so drop them some change while you’re in the Christmas spirit.
Keep your mind open.
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As soon as I saw Flasher, Public Practice, and Gong Gong Gong were playing at Chicago’s Hideout (a great small venue with an appropriate name, as it is concealed in an industrial area), I knew it was going to be a good show. All three are creating post-punk rock that’s clever, timely, and powerful.
Gong Gong Gong opened the show, and you could immediately tell there was a buzz about them in the crowd. I met one woman who specifically came to see them because she’d read a write-up about them in the Chicago Reader and wanted to hear these two guys from Beijing who didn’t have or need a drummer. They don’t need one because there’s enough percussion between the guitar and bass riffs to support an industrial band. It was a fascinating set full of songs that sound like they belong in a David Lynch film. I’m calling it now – Look for Gong Gong Gong to be on the bill for the 2019 Pitchfork Music Festival.
Public Practice came out and gave everyone a lesson on how you own a stage. They played their entire Distance Is a Mirror EP (one of the best releases of the year, in my opinion) and a couple tracks I hadn’t heard yet. They left you hungry for more, much more. I hope this tour gives them plenty of ideas for new tracks. I was delighted to see them selling WALL records at their table, too. Everyone needs WALL records.
Flasher threw down an energetic set that warmed you up from the chill outside. The tracks they played off their great debut, Constant Image, were almost double speed. They weren’t screwing around up there. It was definitely the most punk of the three post-punk sets. Unfortunately for my wife and I, we had to leave early during their set due to a long drive home and a predicted storm of freezing rain heading for our route. As you might’ve guessed from reading this, we made it home safe.
As I figured, this was / is a great lineup for a tour. Don’t miss it if it comes near you.
Keep your mind open.
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February/March North American Tour On Sale Now
To celebrate a banner year, The Beths are releasing a 7-inch featuring a moving rendition of “Have Yourself A Merry Little Christmas” via Carpark Records. Recorded in three separate continents on their first proper world headline tour, The Beths ditch the usual uptempo, guitar-driven numbers, for a slow-building serenade propelled by strings. The B-side, only available on the physical 7-inch, features a special demo version of Future Me Hates Me favorite “Happy Unhappy.” All profits from the 7-inch go toGirls Rock Camp Foundation.
Having recently completed a North American tour this fall selling out Seattle, Chicago, Boston, New York City (x2), Philadelphia and Washington, DC, The Beths will return in February and March to headline their biggest shows yet including Music Hall of Williamsburg in Brooklyn, First Unitarian Church in Philadelphia and Lincoln Hall in Chicago. A full list of dates is below and tickets are on sale now.
The Beths online:
https://www.facebook.com/
https://thebethsnz.bandcamp.
https://soundcloud.com/
https://twitter.com/
https://www.instagram.com/
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Funky and creepy at the same time, the score to Dario Argento‘s 1975 classic giallo movie Profondo Rosso (Deep Red) is a great one. Claudio Simonetti’s Goblin released this version a few years back with new performances of the classic material Simonetti made with the original members of Goblin and also with live versions and alternate cuts.
The main theme, “Profondo Rosso,” combines Simonetti’s clockwork synths with church organs, funk bass, and prog-rock drumming. “Death Dies” could fit into any 1970’s action film with its urgent piano chords, Titta Tani‘s car chase drums, and Bruno Previtali‘s groovy guitar squalls. Federico Amorosi‘s bass on “Mad Puppet” is like lava bubbling under a dormant volcano until about the three-minute mark when the tune becomes a chilling walk through what normally is a groovy neighborhood but now feels slightly…wrong.
“Deep Shadows” is bizarre with its quirky synths, Previtali’s shredding, and the rhythm section breaking the tune open into a prog-rock jam. A live version (from 2000) of “School at Night” follows, with its creepy child sing-song vocals and music box chimes, and it flows into live versions (from the same show) of “Mad Puppet” and “Profondo Rosso.”
Rounding out the album are alternate versions of “Death Dies” (from 1992) and “Profondo Rosso” (from 1990). Both are harder, faster versions. Simonetti’s piano work on “Death Dies” is especially frantic and jazzy. The version of the main theme (which is also another live cut) is even called the “rock version” and has bigger drums and guitars with a bit more distortion than usual. Plus, Simonetti goes nuts on his keyboards by the end of it.
It’s a great score, especially if you love giallo movies, Goblin’s work, or progressive rock.
Keep your mind open.
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Chicago power-punks Axis: Sova tighten up but still keep plenty of live-to-tape fuzz and fury on their newest record – Shampoo You.
The opening riffs of “Terminal Holiday” are a great example of that. The guitar fuzz is almost funky and then almost psychedelic while the Peter Hook-inspired bass keeps you from free-floating beyond gravity.
The guitars are pure new wave on “New Disguise.” The skronks and squeaks are great, and the drum beat is like something from an early Knack record. “Crystal Predictor” is one of the sharpest post-punk tracks of 2018 with a catchy chorus and guitar chords that shred one moment and then ooze the next.
The dual vocals on “Dodger” are a great touch to an already keen track that is louder than you realize at first. “Stale Green” slows down the tempo but ups the power and grooves. The bass groove on “Shock Recognition” could be from a Cure B-side, while the guitar solos border on noise rock cacophony and the electric drums are so precise that they might cut you.
The album ends with the Black Angels-like “Same Person Twice,” which might be about reincarnation or being stuck in repetitive relationships. I like that they decided to end the record on a slightly mellow note. It’s like a cool-down after a high-intensity spin bike workout.
This is one of those records that gets better with each listen.
Keep your mind open.
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You know you’re in for a psychedelic music treat when an album opens with a track entitled “The Intergalactic Drifters Inn Welcoming Center Theme Song Pt-1.” Recorded between the Dunes‘ home land of Australia and their part-time homeland of Texas, the psych-giants’ newest (and self-titled) record is a welcome addition to 2018 releases. I’m a longtime fan of the band, and learning this record was coming out this year was like getting an early birthday present.
The opening track mixes shoegaze guitar droning with desert wind synths and didgeridoo tones to put you in the right frame of mind without the need for any kind of of, ahem, enhancements. It will do the work for you. “When You Wake Up” then bursts into your brain like the sun coming through the window after a long night of partying. The reverbed vocals speak of either sleeping off a bad trip, putting the past behind you, or reincarnation (“When you wake up, it’ll be all right.”). It could be all three for all I know. Just let the wall of distortion wash over you.
Psychedelic surf guitars step up front and center on “Making Friends with Codeine.” It’s appropriately trippy and catchy as all get-out. The cleverly titled “(Just Because You’re Not Being Followed Doesn’t Mean You’re Not) Paranoid” reminds me of Black Angels‘ tracks in that it’s creepy, rocking, and mind-melting all at the same time.
“Mountain” is something the Yeah Yeah Yeahs would’ve created if they’d become a psychedelic rock band instead of an art-punk band. The tribal of drums of “New Old” drive the track for over seven minutes of powerful psychedelic rock complete with vintage keys and guitars that stomp their fuzz pedals into submission.
“It feels like the bottom of the sea,” Stacie Reeves sings on “WKNDS” – a track heavy and weird enough to be on your playlist while doing deep sea research on bioluminescent fish or color-shifting cephalopods. “Pariah” is nearly nine minutes and it’s a fine journey toward a desert sunset while walking alongside an Aboriginal shaman.
“The Intergalactic Drifters Inn Welcoming Center Theme Song Pt-II” closes the record, letting us know that our tour of the cosmos has come to a conclusion. The Dunes have taken you on a journey that is difficult to describe, but you know it was mind-altering while you were on it. Thankfully, you can take the journey anytime you want and will probably notice something different every time.
Keep your mind open.
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The moment I heard Italian composer and keyboardist Claudio Simonetti was touring with her latest version of Goblin and performing the live score to Dario Argento’s Suspiria while the film was shown, I knew I had to score a ticket to see the show. The closest venue for which I could secure one was the Wealthy Theatre in Grand Rapids, Michigan. This would be the third incarnation of Goblin I’ve seen in the last few years and the first time I’ve seen Suspiria on the big screen.
The Wealthy Theatre is a small venue that hosts retro film screenings and live music performances. I almost literally bumped into two men outside the venue who obtained free tickets after one of them had sold a computer to the drummer, Titta Tani, through Craigslist. Neither of them had seen Goblin or Suspiria. I told them they were in for a treat.
The film was a big hit with the crowd. It had been a while since I’d seen it and I’d forgotten how much of a master’s course it is on lighting. I noticed a couple people having to turn away from the screen during a couple murder scenes, so it’s still an effective horror piece. Goblin did a great job with the live score, building tension and rocking out without overpowering the dialogue during critical scenes.
They played a full set afterwards of music from other film scores. A big hit was their music from Dawn of the Dead.
They were really cooking by this point, and their pieces from Demons, Phenomena, and Tenebrae (which made the guy next to me stop in his tracks as he started to leave for the restroom) were also big highlights. They ended with the main theme from Deep Red – a personal favorite.
The crowd was buzzing afterwards, and Mr. Simonetti and crew were kind enough to hang around in the lobby afterwards and sign autographs. I saw many horror fans with DVDs, special collector’s edition vinyl, posters, and more, and everyone was patient and happy to be there.
It was a nice post-Halloween / pre-Thanksgiving treat. Don’t miss this tour if you’re a fan of horror films, progressive rock, or film scores. It’s selling out at a lot of dates and it’s well worth it.
Keep your mind open.
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