The Moonlandingz started as a bit of a joke between Sean Lennon and members of Fat White Family when then created a fictional band. That band got so much hype that art turned into reality and the Moonlandingz released Expanded in 2015.
The EP starts with the instrumental “Exorcise Your Mammary Eyes,” which I think is code for “Stop staring at my tits.” A Sean Lennon “de-mix” of “Sweet Saturn Mine” (one of the Moonlandingz biggest hits so far) is next, and the slowing of what is normally a fast, brash tune only highlights the creepiness of the lyrics (which are mostly about having sex while you’re high). “Lay Yer Head Down on the Road” is almost a carnival midway song about getting high to escape reality, even though such an action might be a bad idea.
“Blow Football with J. Carpenter” sounds like something John Carpenter would brew up on his home synthesizers. It’s creepy and futuristic at the same time. “Psych Ersatz” is equally strange, mixing images of spooky things in the shadows with psychedelic loops, beats, and echoed vocals.
The EP ends with “The Man in the Lyfe Suite – Parts 1, 2, and 3.” It’s a wild trip full of fuzzed out guitars, frantic vocals, and rollercoaster beats and loops.
Expanded was a nice appetizer for their full-length follow-up, Interplanetary Class Classics (one of my favorite albums of 2017 so far). Both are well worth your time.
As the story goes, Dion Lunadon, known to many as the bass player and co-mastermind of A Place to Bury Strangers, was feeling restless during a break in APTBS’ tour schedule. So, he poured that restless energy into his first solo album and gave the world a frantic, wild piece of noise-punk that has some fun surprises in it.
The album’s opener is a raging piece against something we all have to deal with – “Insurance, Rent, and Taxes.” The song flattens you with squelching sound and Robi Gonzalez (who used to play for APTBS). Lundaon sings, “Much too young to get any older.” on the swinging “Reduction Agent.” Lunadon reveals his love of dirty juke joint blues in the track in both the rhythm and lyrics (“I’ve got the mark of death. It won’t leave me alone.”). The organ and bass on “Fire” burns as hot as its namesake, building to a crazy blender-like frenzy. “Com / Broke” is your new favorite song for trying to beat rush hour traffic. Just be careful, as Lunadon’s lyrics do involve car crashes, fires, and self-destruction.
“Hanging By a Thread” is a post-punk (and nearly instrumental) surprise with guitars that sound like industrial saws. The industrial grind continues on “Move,” and Lunadon’s vocals sounds like the Borg has assimilated him. The drums blast the doors off the song around the 1:30 mark and you’re holding on for dear life by that point.
“Eliminator” is fierce noise-punk, and “Howl” is about Lunadon’s joy in expressing himself in the spotlight. It’s like something Lou Reed blasted out of his speakers when getting ideas for Metal Machine Music.
Believe it or not, “Ripper” is a psychobilly cut and Lunadon and crew have a blast on it. I couldn’t help but grin through the whole track. “White Fence,” on the other hand, is more fine post-punk with weirdly angled guitars and desperate vocal stylings. The closer, “No Control,” brings Lunadon’s album back into weird psychedelia before a quick, distorted fade out leaves you gasping for breath.
This debut solo record is quite a statement. It’s powerful, brash, and even fun. More debuts need to be this self-assured.
Keep your mind open.
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The second page of liner notes for Neko Case’s brilliant album Fox Confessor Brings the Flood have her name above the words “DANGEROUS TO MAN: WILD ANIMALS – A Definitive Study of Their Reputed Dangers to Man.” Ms. Case’s lyrics are often brutal in their honesty and her voice can both soothe and cut to the bone. She’s like a panther – lounging in the sun one moment, and then tearing out the throat of an antelope the other.
The album begins with “Margaret Vs. Pauline,” a tale of two girls. One, Pauline, has it made. “Everything is easy for Pauline,” Case sings. Margaret, however, has to scrap for all she can. Case has written an anthem for girls everywhere to never forget their strength. “Star Witness,” with its simple yet slick drumbeats by John Convertino, is a stunning display of Case’s vocal prowess.
“Hold On Hold On,” with the Sadies on backing vocals, is another plea from Case to stay strong in tough times, especially in matters of love. “I leave the party at three a.m., alone, thank God,” she sings at one point. It’s a haunting lyric, especially when the echoing song “A Widow’s Toast” follows it. It’s nothing but Case’s vocals and guitar, Paul Rigby’s guitar effects, and reverbed beauty.
The liner note art for “That Teenage Feeling” is a jackknifing semi-trailer with a transmission shaft shattering from the force. That, and the shuffling guitar (by Dexter Romweber, no less) backing Case’s voice, is a perfect expression of teenage emotions. The title track is about the beauty of things all around us that we don’t notice until they are gone. “John Saw That Number” is a great floor stomper spiritual with sizzling guitar by Dallas Good.
“Dirty Knife” is an ode to a murdered man and the type of song that Case does so well – a tale of death, love, violence, and rural landscapes. “Lion’s Jaws” belongs in David Lynch’s next Twin Peaks reboot. Dallas and Travis Good team up for lovely guitar work, and Kelly Hogan is listed as contributing “lovely backing vocal” to the track (which is true). “Maybe Sparrow” is one of Case’s greatest hits, and it’s easy to hear why as her voice peaks multiple times during the second verse. “At Last” is nothing but Case’s voice and three guitars, and “The Needle Has Landed” is beautiful power pop tinged with outlaw country.
Case is dangerous because her vocals and lyrics are like a hardwood staff. You can lean on them to get you through a rough patch or they can hit you in the ribs like a ball bat and bring you to your knees. Fox Confessor Brings the Flood is no exception.
Keep your mind open.
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The calm before the storm at Air Canada Centre in Toronto, Ontario.
Somehow multiple decades have gone by without me catching electro legends Depeche Modelive. The dates finally worked out, and my wife and I were able to see them and shoegaze / post-punk newcomers Warpaintat Toronto’s Air Canada Centre.
Warpaint impressing a lot of us.
Warpaint played a good set of crisp post-punk with snappy bass lines and even snappier drumming (which would be a theme for the entire night). I’d heard a lot of good things about them, and they didn’t disappoint. I need to find more of their material.
Looking down the “Barrel of a Gun” with Depeche Mode.
Out came Depeche Mode to the Beatles’ “Revolution,” a major theme for their new album – Spirit. They rolled into “Going Backwards,” “So Much Love,” and “Barrel of a Gun” (which included a snippet of Grand Master Flash’s “The Message,” which cracked me up).
“World In My Eyes”
The crowd (which filled the stadium, apart from the unsold / unused seats behind the stage, by the way) jumped to its feet when they broke into “World In My Eyes.” It was a reminder of not only their electro prowess, but how much influence they’ve had on Trent Reznor. An acoustic version of “Question of Lust,” sung by MartinGore,was a crowd favorite, and the follow-up of “Home” was excellent.
Depeche Mode never letting us down.
“Where’s the Revolution?” – the first single off Spirit – was another standout and essentially the band’s rallying cry for fans old and new to stand up against The Man. “Everything Counts” is also staggeringly relevant for these times, even though it’s decades old by now. It preceded “Stripped,” “Enjoy the Silence” (which was almost entirely sung by the now-bonkers crowd), and “Never Let Me Down Again” – which was better live than I even hoped it would be (and drummer Christian Eigner was absolutely slaying his kit by this point).
“Somebody”
The encore started with “Somebody,” included a nice cover of David Bowie’s “Heroes,” and finished with big hits “I Feel You” and “Personal Jesus,” which had everyone raising their hands to “reach out and touch faith.”
“Personal Jesus”
It was long overdue, but very welcome. My wife immediately listened to their new album as soon as we got back from the show. She woke up the next day with Depeche Mode songs in their head, and I’ve had “Never Let Me Down Again” stuck in my brain for days.
The cover to Public Enemy’s new record, Nothing Is Quick in the Desert, features outdated technology ranging from tube TVs and cassettes to an outdated computer and, yes, an iPod classic (like mine). Lit candles circle the items in homage to a time past, which includes some of PE’s classic albums, by the way. The words “Except death” line the bottom of the cover. The desert will reduce you over time, but it will kill you in an instant if you’re unprepared for it. It’s the same with time, and PE are using this record to warn us (again, as we can’t seem to listen) of growing lackadaisical in these tricky times.
The title track has a nice mix of heavy guitar and bass with chimes and piano as Chuck D proclaims “Everybody sellin’, but nobody buyin’” before rolling into “sPEak!” – a slick track encouraging us to use our voices and not let twenty-four hour news cycles and propaganda drown out our concerns (“Speak your mind. Speak. It’s time. Speak your piece. Be free.”).
Flavor Flav throws down a challenge at the beginning of “Yesterday Man” as he proclaims, “You don’t even know who the hell you are.” The song is about those of us who choose to live in (and are thus prisoners of) the past. Chuck D claims many of us want to be a spectacle instead of spectacular. We’d rather be momentarily famous than do something that matters.
“Beat Them All” brings in trance bass as the band sings, “If you can’t join ‘em, you know you gotta beat ‘em.” The song flows well into “Smash the Crowd.” Chuck D puts down some of his best flows on the track (tearing up rappers who’d rather get a quick buck instead of trying to change the world with their art) and I’m sure it’s smashes crowds and clubs live. “So Be It” has Chuck D proclaiming the virtues of “it,” but what is “it?” It’s whatever you believe in, according to him. Only Chuck D could use the word “it” so many times in one song and have it mean a hundred different things. Listen to this track if you’ve forgotten what a master MC sounds like.
“SOC MED Digital Heroin” is heavy on guest stars and warnings about getting “lost in the 1980’s” and becoming lazy thanks to having everything spoon fed to us. Flavor Flav shouts that he’s “shakin’ my damn head” at the proliferation of reality TV (of which, it should be noted, he was a star) and social media. “Terrorwrist” has wicked beats and bass by DJ Lord while Chuck D asks, “How can I make you understand?” – which he’s essentially been asking us since Public Enemy’s first album.
DJ Lord puts down more killer beats and cuts on “Toxic,” while Chuck D asks if MCs can change the world in “this time of 45.” He and Flavor Flav speak about how toxic talk and venomous news cycles have poisoned us. One of the cleverest tracks on the record is “Sells Like Teens Hear It.” It’s a slam on new styles of rap such as mumblecore and trap music. Chuck D likes some of it, but can’t understand why so many teenagers like songs that are essentially empty calories. It also has Flavor Flav’s best rapping on the record. It’s easy to forget that Flav can drop rhymes because he’s the greatest hype man of all time.
The album ends with “Rest in Beats (Parts 1 & 2).” Chuck D laments the losses of so many hip-hop and rap legends from Jam Master Jay to Lisa “Left Eye” Lopez. It moves onto the loss of record stores, excellent tours, exquisite rapping, rap teams, “the time when you really had to rhyme,” and having everyone together in one studio instead of e-mailing pieces of tracks back and forth. A lot of what made rap so good is a lost art by now.
Thankfully, we still have records like this.
Keep your mind open.
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The last time I saw the New Pornographerslive was in 2007 at Chicago’s Metro. Lead singer Carl Newman commented during the show about a strong thunderstorm happening outside during the gig, and you could hear thunder between songs now and then. It was a great show, and my wife and got back to our hotel room still buzzing from it. I noticed I had a voicemail from work, so I listened. The storm that had rolled through Chicago during the show had become a tornado by the time it reached our hometown. Nearly every home on the southeast side of town had either been destroyed or damaged. A factory and a convenience store were wiped off the face of the Earth. Amazingly, no one was injured. Our house was fine, but we returned home early the next day to help with the rebuilding and cleaning efforts.
Thankfully, the only thing dire that happened during my second time seeing the New Pornographers was that the brewery in which they played, Bell’s in Kalamazoo, didn’t serve cider, radlers, or even their own root beer.
Ought
Unfortunately, I missed nearly all of opening band Ought‘s set. I walked in during their last song (Thanks, Google Maps, for directions that were fine until the last two steps of the journey.), which sounded like some good shoegaze. I need to check out their material.
The New Pornographers opening with “Moves.”
The New Pornographers came out sharp and quick with crowd favorites like “High Ticket Attractions,” “The Laws Have Changed,” and “Sing Me Spanish Techno.” They sounded great. They haven’t lost anything in ten years. In fact, the additions of more electro touches from keyboardist Blaine Thurier and keyboardist / co-vocalist Kathryn Calder and violin and vocals from Simi Stone bring the band a new brightness.
Joe Seiders on drums and Simi Stone on violin and co-vocals.John Collins on bass and Kathryn Calder on keyboards and co-vocals.L-R: Blaine Thurier on keys, lead guitarist Todd Fancey, and lead vocalist and co-guitarist Carl Newman.
“Whiteout Conditions,” the title track of their new record, sounds even better live, and I was delighted to hear “Dancehall Domine” from Brill Bruiserslive for the first time (They nailed it, by the way.). The show cruised along well until a string broke on John Collins‘ bass and the band had a brief on-stage break while Mr. Collins worked some magic and had his axe swinging again in moments. They were soon they were back to a fine rendition of “Adventures in Solitude.”
Broken bass string break.
The encore included “Challengers,” “Brill Bruisers,” “The Slow Descent in Alcoholism” (which I found funny considering they were playing in a brewery), and a rousing version of “The Bleeding Heart Show” that had us all cheering.
“Challengers”
It was a fun night, and much needed by all. It’s no secret that depression and the 2016 presidential election fueled much of Newman’s songwriting for Whiteout Conditions, so the crisp sound, fun vibe, and power pop the New Pornographers brought were, for one night at least, an escape from the miasma of news, Tweets, rumors, and anger.
I don’t remember where I first heard of Thundercat (AKA Stephen Bruner), but I remember being amazed by his bass guitar skills. His fingers seemed to move on his guitar frets as nimbly as a spider racing across a web. I caught him live at Mamby on the Beach earlier this year, keen on hearing him live. He didn’t disappoint. He wowed the crowd with a jazz-fusion set that was unlike anything you heard the whole weekend.
His newest album, Drunk, is also unlike anything you’ve heard in a long while. It blends electronica with jazz, yacht rock, funk, and even a bit of trip hop. “Rabbit Ho” is a quirky intro with Bruner’s falsetto singing about friends coming and going from his life before it slips into “Captain Stupido,” which is a collaboration with one of his best pals – Flying Lotus. “I feel weird,” Bruner sings, perhaps speaking for all of us, as he struggles to get through the odd feelings that surround everyday activities like brushing your teeth. His bass and Lotus’ loops and beats are a killer combo.
“Uh Uh” is an instrumental showcase of Bruner’s stunning bass skills. Seriously, it will leave you dumbfounded. I have no idea how he plays that fast and that well at the same time. “Bus in the Streets” has Bruner watching the world go by and not wanting to get involved in the rat race. “Won’t you leave some things a mystery?” he asks in this age of everyone Tweeting, hash-tagging, and posting everything at every moment.
“A Fan’s Mail (Tron Song Suite II)” is perhaps the greatest love song written to a cat of all time. Bruner sings about his admiration for his cat having nine lives, doing what he wants, and lying in the sun all day. “Everybody wants to be a cat. It’s cool to be a cat.” It has a groove as smooth as a cat’s walk, too.
“Sometimes you have to let it go,” Bruner sings in the opening of “Lava Lamp.” The song moves as languidly as its namesake. “I’m so tired. Where can I lay my head?” Bruner asks. It’s a common theme for a lot of us in these times. We’re so overwhelmed that we’re losing time to decompress. Flying Lotus comes back on “Jethro,” and brings wicked beats with him. “Show You the Way” has powerhouse guests Kenny Loggins and Michael McDonald, and both men show they can still slay a microphone (and a keyboard, too, in McDonald’s case). It’s a glorious return of yacht rock that you won’t realize you missed until you hear this track.
The special guests keep on coming as Kendrick Lamar drops some guest vocals on “Walk on By” – another groovy, smooth track. “Blackkk” is the smoothest song about overcoming fear of death I’ve ever heard. “Tokyo” would be great to have in your ears as you cruise through the city. Bruner sings about eating too much fish, blowing all his money on anime, and wanting to stay another night there.
“Jameel’s Space Ride” has Bruner dreaming about driving into space as he’s pulled over by the cops. “Friend Zone” is a sharp dis on someone keeping him at arm’s length instead of embracing him as a lover. “I’m your biggest fan, but I guess that’s just not good enough,” he sings as his bass and Mono/Poly’s synths deliver dance beats. “Don’t call me, don’t text me after two a.m., unless you plan on giving me some, ‘cause I got enough friends,” Bruner sings. Ouch.
In contrast, “Them Changes” (the first single) has Bruner singing about heartbreak. “Nobody move there’s blood on the floor, and I can’t find my heart. Where did it go? Did I leave it in the cold?” His bass groove on it gets into your circulatory system and won’t leave until you dance. Flying Lotus’ beats sure help, too (as they do on the next track, “Where I’m Going”). “Drink Dat” is a slow jam for people starting to wind down after partying in the late hours. “Can’t open my eyes, girl, ‘cause I’m just too wasted,” Bruner sings between raps by Wiz Khalifa.
“Inferno” is the most psychedelic track on the record with Lotus’ trippy beats. “3AM” has Bruner still awake despite being (according to the theme of the album by now) drunk and tired. His bass groove in it is something Christopher Cross hears in his dreams. “Drunk” gets as wobbly as its namesake thanks to Bruner’s reverbed bass and Flying Lotus’ melted cheese synths.
“The Turn Down” is a witty song about the aftermath of too much partying. Bruner laments the mess in his house, the location of Captain Planet (who might be one of Bruner’s cats), and guests who have lingered too long. Pharrell teams up with him on the track, and Bruner has said multiple times that Pharrell’s contribution to the track blew his mind. He does nail it.
The album ends with the great, keyboard-driven “DUI.” Bruner’s night went from drowning his sorrows, to a fun time, to exhaustion, to annoyance, and then either back home, jail, or the grave. “I’m so tired,” he sings again just before the keyboards turn into the sound of screeching tires and then fade into distortion. Did he crash? Did he make it home? Is he in the hoosegow?
Drunk is masterfully crafted, and the best-engineered and mixed album I’ve heard so far in 2017. It’s a stunning, eclectic piece of work. Only good things are ahead for Thundercat. Get Drunk.
Zola Jesus’ music is difficult to classify. It’s not quite electro, not quite shoegaze, not quite diva, and not quite goth. Yet it is somehow all of these things. Zola Jesus, has one of the most haunting voices in music, and her album, Taiga, and is a fine addition to her already impressive catalogue.
The title track opener is a spooky electro song with drum and bass beats that dissolve into frightening horns. “Dangerous Days” could be a dance club hit if she wanted. It could also be your favorite new song about relationships. “Dust” sounds like a long-lost Yaz track with its tick-tock electric beats and her lovely voice creeping through it like fog rolling along a beach. Ms. Jesus, in case you’re reading this, I’ll sign a petition to hear you cover Yaz’s “Situation.”
“Hunger” is a hot song about hot sex that I’m sure tore up dance clubs in various remixes in 2014. “Go (Blank Sea)” is a swirling wave of sound that hits you over and over again (in a good way) with Zola Jesus’ powerful vocals, which are sometimes laced with reverb to make them even bigger, industrial beats, and angelic synths. It’s one of the best cuts on the record. “Ego” and “Lawless” highlight her vocals well, especially “Lawless,” which mixes epic synths with hip-hop beats and a bit of a tough girl attitude behind her vocals.
“Nail” has the gloomy yet beautiful feel that many Zola Jesus fans love in her work. “Long Way Down” has probably the biggest electro beats on the record (and the most reverb), and I’m sure is another excellent remixed dance track. “Hollow” is another solid entry, and the closer is the cheekily named “It’s Not Over.” It’s a big-voiced track about big love with a slow build and a glorious ending.
The main attraction to any Zola Jesus record is her phenomenal voice. The electro beats and goth touches help, but her voice can be soothing and haunting at the same time. She needs to sing the theme to the next Bond film, and the next ten Bond films if you ask me. If you enjoy a lovely female voice, you need to hear her.
Ty Segall is so prolific that I’m surprised it took him until 2015 to release a live album. He seems to put out a new record every month, so it feels like he should have three live albums by now.
The psych-fuzz whiz kid opens his live set with, oddly enough, “Wave Goodbye.” It starts out with low bass and then kicks into squealing high gear that has the small crowd cheering in joy. It sounds like something Tom Petty wishes he could release on his new record, but fears it would alienate his long-time fans. “Slaughterhouse” (from the album of the same name) is pure freak-out punk rock with a little Nirvana vocals sprinkled on top for good measure. “Death” mixes stoner rock with punk so fast it might give your ears friction burns. It’s one of the best cuts on the record.
“I Bought My Eyes” is one of Segall’s biggest hits, and he lets it rip on this live album. The guitars seem to come at you from all sides while Segall’s vocals are somehow gentle in the din. “Feel” borders on arena rock territory at first, but the sleeveless denim jacket riffs cut it off at the front door (which is a good thing).
“The Hill” follows the band’s friend, Julie, telling a joke, and next up is “Thank God for the Sinners,” which sounds like something Buzzcocks cooked up at their second jam session. Segall claims “Standing at the Station” “is about the cow trade.” I don’t know if that’s true, but I do know that it’s a swaggering, wild blues-influenced tidal wave coming out of your speakers.
The album ends with another of Segall’s hits – “What’s Inside Your Heart.” I’m sure the fans at this gig told him how their hearts were full of palpitations from being shaken by so much rock. It’s a strong ending to a strong record.
I know this entire review has essentially been me saying this record is non-stop blaring madness, but that’s the best way I describe it. You’ll understand once you hear it. Ty Segall is making crazy records, and we should all be grateful to him for doing it. The world needs more live records, and live performers, like this.
Keep your mind open.
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TV on the Radio returned in 2014 after taking time to mourn the loss of their bass player, Gerard Smith, who lost his battle with lung cancer in 2011. The album they released, Seeds, is a bright affair that not only pays tribute to Smith, but also embraces life and love after loss.
The first four lines of the opener, “Quartz,” are “How much do I love you? I’ll tell you no lie. How deep is the ocean? How high the sky?” It is a beautiful track with wicked beats that get your feet tapping within seconds.
“Careful You” (a play on “care for you”) is the most direct tribute to Smith barely hidden within a love song. The opening verse, “Oui, je t’aime, oui je ta’ime, a demain, ala prochaine (Yes, I love you, yes, I love you, tomorrow, and the next), I know it’s best to say goodbye, but I can’t seem to move away.” is both heartbreaking and tender. The throbbing synths drive the song through any fog that may be surrounding your head and bring you to out of your reality, at least momentarily.
“Could You,” with its big brass horns, has lead singer Tunde Adebimpe pleading for love (“Could you love somebody? Could you strip the ego bare and let love take flight? Could you open up your heart?”). The first single, “Happy Idiot,” is a sizzler with hot drums and lyrics about a man preferring ignorance and losing his mind to thinking of a life without his former lover. “Test Pilot” is another song about lost love and heartbreak, although by the end it seems the lovers involved may be willing to work through the rough skies and come in for a safe landing after all.
“Love Stained” is an epic song with lovely lyrics about a man terrified by his feelings and seemingly the world at large, but whose lover is always there for him (“In the middle of the night, when fear comes calling singing it all dies, always scared, alone, I’m looking into your eyes to feel the call, pretty thing that catches me so strong when I fall.”). The synths in this rise and fall like waves and eventually drift out like the tide. It’s almost as haunting as opening to the follow-up track, “Ride,” in which the piano and violins sound like a funeral dirge until the drums kick in and the song bursts open to become an affirmation of moving beyond grief and embracing the future. It’s a telling statement from the band considering the loss of Smith.
“Right Now” is another song of renewal and embracing of life. It is a directive from TVOTR to live in this moment and the leave behind the “imaginary need for the silly little things.” “Winter” has blaring guitars that sound designed to reach the back of the concert hall; and, yes, it’s another love song. It has the sauciest lyrics on the album – “Can’t think of nothing better than a union in the afterglow. Let it go, all the thinking and the reason. Here we go, to the lovin’ and the pleasin’.” Meow.
If all the synths are too much for you and you’re whining about the album not having a “real” TVOTR song, don’t worry. “Lazerray” sounds like something the band might’ve put on Return to Cookie Mountain. It’s is the most straight-up rocker on the record and a strong message about the impermanence of everything (“Chop down your master plan in nanoseconds, man. I hope you understand that nothing living lasts forever.”). “Trouble” seems to be a song about a man realizing his lover’s going to break up with him and there’s nothing he can do about it, but I can’t help but think it’s also about the impending death of Smith, especially when the song ends with “Everything’s gonna be okay” repeated over and over. The title track closes out the record, bringing back the thick synths and TVOTR’s great layered vocals. It’s another beautiful love song about a man planting the seeds to build a relationship with a woman who’s been stung in the past.
Seeds might be the best collection of love songs released in 2014. It was a great return for a great band.
