Hailing from Glasgow, Big Miz put in the work behind the decks at at local clubs to build not only his skills but a thriving EDM community there. His first EP for the HOMAGE label, Where I Belong, is a good introduction to his music.
The title track gets it off to a great start with shining beats and bass hits that make you move whether you want to or not. “Everything’s Fine” uses vocal samples to neat effects, and “The Feeling” is a song about getting back to the dance floors and the clubs after we all had to dance in our living rooms during the pandemic (“We gotta bring back that feeling. Yeah, you know the one I’m talking about. That feeling that’s been gone…for way too long.”). Its slick beats will make you want to rush out to the nearest club.
The EP ends with a nice remix of the title track by LUXE that brings up the lush but doesn’t skim on the thumps.
It’s a sharp EP, and every track is solid. Don’t skip it.
Keep your mind open.
[Your e-mail address belongs in the subscription box.]
Diving further into his love / obsession with 1980s horror / thriller synthwave music, Boy Harsher‘s Augustus Muller teamed up with artist / kinky movie maker Vex Ashley of Four Chambers to create two films scores – one to a film that already existed and another to one that is new, and both of which explore the sexual relationship between humans and technology on the album Cellulosed Bodies.
The first half is a tribute to David Cronenberg‘s 1996 film Crash – in which the main characters are turned on by car crashes. Muller’s six-song “score” to the film (originally done by Howard Shore). “Fur and Metal” slowly takes us into this new, weird world of strange pleasures and soon we’re “Sharing a Smoke,” but how much of it is from a cigarette and how much is from burned wreckage along a dark road? Muller’s use of synths throughout the six tracks are at times haunting and other times throbbing like the pulse in your neck after something stressful and / or sensual. “Perverse Technology” is a perfect example of this, as somewhat creepy synths rise and fall like a lover’s chest taking deep breaths to maintain control while the beats mimic the twitchy brain impulses to seize pleasure now instead of making it last as long as possible. “Body as Machine” sums up the theme of the album’s first half (and Cronenberg’s film) in the title and in the grinding, pulsating synth-beats, and “Shattered Glass” ends the first half with something that isn’t quite afterglow, but more “after-shadow.”
The second half is Muller’s score to Ashley’s film Automaton – which, according to the liner notes, “…features a severe computer entity and trapped prey, succumbing to pleasure…” Reading that, and then hearing the ten tracks that follow, you think, “Yeah, that sounds about right.” The tracks featuring fewer beats, but more experimentation – again the theme of exploring new pleasures that at first might seem frightening – such as “Initialize,” “Next Subject,” and “Endoscopy.” “Examination” uses some subtle industrial clangs for beats, but they never overwhelm the track. “Acceptance” has the “trapped prey” accepting its pleasurable fate (or is the computer accepting it?). I’m guessing it’s the former, because the next track is “You Belong to the Machine” – which builds with a slow menace like a snake that’s been released into a dark room.
“Observation” sounds and feels like the evil / sexy computer is watching its prey / lover from a drone that rises and falls like a hawk drifting on warm wind. “Stretching / Invading” is about…well, I think you can guess. “Who Is in Control” can be taken in multiple ways. It’s the question in a BDSM relationship. On the surface, the computer in Ashley’s tale is in control, but what would it be without its lover? The computer needs the lover to achieve some kind of feeling. The second half of Cellulosed Bodies ends with “Subdue Yourself” – the only track with vocals (from dominatrix Miss Marilyn) – on a whispering aftercare note.
It’s a strange, lovely, sexy record, and one of the more intriguing releases of the year.
Ki Oni (Chuck Soo-Hoo) set out to create an ambient album about spirits transitioning from life to death, perhaps wandering the world for a while, and eventually floating into something we here on this side of the veil can’t quite yet fathom. He not only succeeded in doing it, he excelled at it with A Leisurely Swim to Everlasting Life.
It’s difficult to describe how gorgeous this album is. It’s at times lush and other times as subtle as a whisper. Nothing is rushed across its five tracks. The shortest one, opening track “An Infinite Dive,” is fifteen minutes and twelve seconds long. “Floating in a Stream of Consciousness” is perfectly titled, as it’s a collection of the sounds your brain is trying get you to hear as you remain in the eternal present, but you’re always too busy or worried to pause and observe all this amazing creation coexisting with you.
According to the press release I got for this album, “Reincarnation at the End of the World” has Soo-Hoo wondering, “With everything going on in the world –– and if reincarnation is real, where would a spirit go if the world ended suddenly? What would that sound like? Would it continue to float on this deteriorated earth until new life begins or would it float forever into the abyss?”
It’s an intriguing question, and my answer is that we’ll be free from worry wherever we are. Soo-Hoo’s synths, field recordings, and loops emulate a blissful ghost drifting here and there, no cares, no stress, no extraneous thoughts…just calm bliss.
“My Grandmother’s Garden” is a lovely tribute to Soo-Hoo’s late grandmother and the days he used to spend as a child swimming in her pool and eating food she’d grown. “To Wander Beyond the Aquatic Center” ends the record with a song perfect for the cover image of a true infinity pool stretching out into a misty pink sky as birds soar overhead. We should all hope to hear something this lovely as we go into sleep, whether for a night or forever.
This album, this leisurely swim, is something we all need from time to time. We need to immerse ourselves in the present and reconnect with the beauty that is right there calling to us and being enjoyed by those who have gone before and will greet us after we come up from our dive in the pool.
Keep your mind open.
[Dive into the subscription box while you’re here.]
The first lineup announcement for the 2024 Austin Psych Fest is here, and it’s already impressive. The Saturday lineup alone is worth the price of admission.
Friday’s top three, Courtney Barnett, Chicano Batman, and Psychedelic Porn Crumpets are top draws at festivals around the country. The Black Angels are must-see whenever they play, and All Them Witches are finally playing a Levitation festival!
Saturday is a “witchy” day all-around with not only All Them Witches, but also WITCH, Frankie and The Witch Fingers, and L.A. Witch all playing that day, and don’t miss Earthless or Minami Deutsch that day.
Alvvays and Kurt Vile and The Violators closing out Sunday is a big score, not to mention indie-rock stars Dehd.
More bands will be announced in the coming months, and tickets are on sale now. See you there?
Earlier this year, Slowdive released everything is alive, their first record since 2017’s self-titled album and first record with Dead Oceans. The record was met with critical and commercial acclaim, garnering praise from the likes of Vulture (“hypnotically gorgeous”), Billboard (“a dreamy yet taut melding of their strengths”), Brooklyn Vegan (“perhaps the best record of their career”), and more. On the heels of their sold-out fall U.S. tour, Slowdive have announced they’ll be returning to the US for a spring North American tour next year. Including the already sold out Sick New World festival in Las Vegas, they’ll play many cities not yet played in support of everything is alive: Atlanta, Dallas, Denver, New Orleans, and more.
As the Chicago Tribune commented, “Experimental and shimmery, [everything is alive] packs a lush and enigmatic punch. Don’t take their latest releases and live shows for granted. Who knows when this influential band will be back in town?” Tickets for all shows will be on sale Friday, December 8th at 10AM local time and more information can be found here.
Slowdive Tour Dates (new dates in bold)
Tue. Jan. 16 – Amsterdam, NL @ Paradiso Wed. Jan. 17 – Paris, FR @ La Cigale Thu. Jan. 18 – Cologne, DE @ Live Music Hall Sat. Jan. 20 – Hamburg, DE @ Grosse Freiheit 36 Sun. Jan. 21 – Copenhagen, DK @ VEGA Mon. Jan. 22 – Oslo, NO @ Sentrum Scene Tue. Jan. 23 – Stockholm, SE @ Munchenbryggeriet Wed. Jan. 24 – Copenhagen, DK @ VEGA Thu. Jan. 25 – Berlin, DE @ Columbiahalle Sat. Jan. 27 – Warsaw, PL @ Progresja Sun. Jan. 28 – Prague, CZ @ Divaldo Archa Mon. Jan. 29 – Munich, DE @ Muffathalle Tue. Jan. 30 – Zurich, CH @ Volkshaus Wed. Jan. 31 – Milan, IT @ Alcatraz Club Fri. Feb. 2 – Bologna, IT @ Estragon Club Sun. Feb. 4 – Lyon, FR @ La Transbordeur Mon. Feb. 5 – Barcelona, ES @ Razzmatazz Tue. Feb. 6 – Madrid, ES @ La Riviera Thu. Feb. 8 – Brussels, BE @ Cirque Royale Fri. Feb. 16 – Brighton, UK @ Brighton Dome Sat. Feb. 17 – London, UK @ Eventim Apollo Sun. Feb. 18 – Birmingham, UK @ O2 Institute Birmingham Mon. Feb. 19 – Norwich, UK @ LCR UEA Wed. Feb. 21 – Liverpool, UK @ O2 Academy Liverpool Thu. Feb. 22 – Newcastle-Upon-Tyne, UK @ NX Fri. Feb. 23 – Glasgow, UK @ Barrowland Ballroom Sat. Feb. 24 – Edinburgh, UK @ Liquid Room Mon. Feb. 26 – Cardiff, UK @ Cardiff University Great Hall Tue. Feb. 27 – Manchester, UK @ Manchester Academy Mon. Mar. 11 – Tokyo, JP @ Toyosu Pit Wed. Mar. 13 – Osaka, JP @ Namba Hatch Thu. Apr. 25 – Ventura, CA @ The Majestic Ventura Theater Fri. Apr. 26 – Pomona,CA @ The Fox Theater Pomona Sat. Apr. 27 – Las Vegas, NV @ Sick New World Festival Sun. Apr. 28 – Phoenix, AZ @ The Van Buren Tue. Apr. 30 – Albuquerque, NM @ The Historic El Rey Theater Wed. May 1 – Denver, CO @ Levitt Pavilion Denver Fri. May 3 – Kansas City, MO @ The Truman Sat. May 4 – St. Louis, MO @ The Pageant Sun. May 5 – Indianapolis, IN @ Egyptian Room at Old National Centre Tue. May 7 – Louisville, KY @ Old Forester’s Paristown Hall Wed. May 8 – Pelham, TN @ The Caverns Fri. May 10 – Dallas, TX @ Longhorn Ballroom Sat. May 11 – Houston, TX @ White Oak Music Hall Sun. May 12 – Austin, TX @ ACL Live at The Moody Theater Tue. May 14 – New Orleans, LA @ The Civic Theatre Thu. May 16 – Birmingham, AL @ Avondale Brewing Company Fri. May 17 – Atlanta, GA @ The Eastern Sun. May 18 – Asheville, NC @ Rabbit Rabbit
A Place to Bury Strangers are gearing up to crush Europe in April 2024 with shows ranging from the Netherlands to France. Don’t miss them if you’re in any of these cities. Heck, make a trip to see them while you’re are it. You won’t regret it.
Returning after three years since their last album, Belgium’s Cavaran remind us that stoner / desert rock is alive and well in Europe with their new album, Nights at Josan.
I don’t know where Josan is. The cover makes it appear to be some sort of Southwestern U.S. ghost town. As far as I can tell, there are only five places named Josan in the world, and none of them are in the United States. They’re in North and South Korea, Pakistan, Afghanistan, and Croatia. Of course, it could just be a cool place Caravan made up, or visited while shredding riffs that became out-of-body experience – because there are plenty of those on this record.
“It Gives” revs up the motor of your dust-covered motorcycle and launches you down a highway that stretches across mountains and seemingly upward into the sky. Patrick Van Der Haegen‘s bass on “Dying Whales” is the sound of giant marine mammal hearts. “Bad Roads and Mountains” is a stand-out with Lieven Tronckoe‘s metal guitar riffs leading the charge.
“Way Down Low” sends your motorcycle ride down a steep hill and into a dark, possibly werewolf-infested valley, and then “Snail Horns” has you swinging a chain at those same monsters as you blast down the main street of their creepy town. It is anything but slow like a snail. “Storm” is a banger. The groove on it is undeniable and hooks you right away. Your desert road heads into a thunderstorm that will either refresh you or pummel you, possibly both.
“Strawberry Butt” might have a silly title, but it might also be the hardest-hitting track on the album. Everything about it slams into you like hot wind coming down from a sacred mountain. “Black Trip” is a great groover that shows off Gert D’hondt‘s dexterity on a drum kit, and “Bullface” is a great way to close the record – as it practically launches you off a cliff like Evel Knievel over Snake River Canyon. The whole band clicks like a well-tuned engine and leaves you with wind-blown hair and sand-blasted skin.
Again, I don’t know where Josan is, but I want to visit there. You will, too, after hearing this.
Recording for the first time with a full band, Art Feynman (Luke Temple) took on new energy after relocating to Los Angeles from northern California and decided to create a record that dives into why he, and so many of us, have a fear of missing out (FOMO) and not a joy of missing out.
“Early Signs of Rhythm” bumps and clicks with Talking Heads-like beats, and they are a fully acknowledged inspiration on the album. Temple sounds like he’s looking for signs of true fun in a world that pushes false narratives of what joy really is as he spots a woman so lovely she can melt the frozen ground. Shane McKillop‘s bass on “In CD” is great, pushing the song into a happy mania. The post-punk paranoia of “Therapy at 3pm” is delightfully catchy.
“All I Can Do” has Temple singing about how he’s barely getting by at the rat race runs all around him. Kosta Galanopoulos‘ drums on it are razor sharp and the secret weapon of the whole track. “He Dances” might as well be called “You Dance,” because McKillop puts down a Barney Miller theme-like bass lick and the next thing you know you’re at least tapping your toes and nodding your head in his rhythm.
“Don’t have light to burn,” Temple sings on “Passed Over” – but he might actually be singing “Don’t have life to burn.” Both lyrics fall into the FOMO theme of the record, and the beats encourage us to dance before the end of the night, or our lives, gets here. “Chasing My Life” has Temple trying to catch up with something he can’t define. He likens it to a precious diamond he’s searching for in the dark. It’s the struggle of the ego, an ultimately fruitless task we all stumble into now and then. You can’t help but think he’ll find it, however, as the song is so peppy you end up cheering for him.
By the time we get to “Desperately Free,” Temple is worried about how he’s going to adapt to leaving his ego behind (“Desperately free, I don’t wanna be.”) or how he’s still trapped in FOMO and choice paralysis. The closer, “I Do,” brings us back to Temple’s love of Talking Heads with its simple beats, chimes, keyboard chords, and lyrics about love, hope, and release from stress that’s ours for the taking if we’ll just reach for it.
Reach for this album as well. It’s worth your time.
