NYC

Album review: Jorge Arana Trio – Mapache

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Mapache, the debut full-length release from the Jorge Arana Trio, is both a throwback and forward-gazing: its simple blue-and-black-washed cover art hearkens to classic Blue Note albums of yore and its narrative thematic structure pays homage to the great concept albums of the past. The trio’s modern influences and distinctive voice carves out new territory of its own.

Leading the expedition are erstwhile members of Kansas City’s beloved experimental rockers Pixel Panda: Jorge Arana (guitar/keys) and Joshua Enyart (drums), joined by Jason Nash (bass).

These three adventurous fellows use their musical wanderlust to carve up twelve short sketches that cover free jazz, fusion, prog-jazz, metal, noise rock, and pretty much anything they deem necessary to move the story forward. Mapache, like its Spanish namesake, is a musical raccoon with its paws all over a number of genres, filching whatever and whenever it pleases.

“Bitter Era” opens the album demonstrating just this, embarking on a jazz odyssey with frenetic rhythms, dissonant plunking on the keys, and a grungy guitar before settling into a staccato groove that turns aggressive in the driving “Snake in the Grass.” A chorus of tribal voices lends a sinister air of foreboding before erupting in a hard rock finale.

Tracks such as “Nightly Stroll,” “Confrontation!”, and the playfully sinister “Short & Evil” make up a trilogy that heightens the sense of high stakes drama. The bulk of the album is packed densely with similar battle-music suites, highlighted by the aptly-titled “Catching Bullets with Your Teeth” and the bendy buzz-saw guitars propelling “Thieves Among Us.”

Early track “I’m an Omnivore” and the penultimate “Baptize Your Dinner” provide nice, contemplative free jazz reprieves from the cacophony. The album finale, “Ether,” returns us to the loose, improvisational spirit of the album’s opener before settling into an ambling, drunken strut, littered with loose keys, scratchy guitar strings and scattershot percussive asides.

There’s a strong sense of storytelling throughout Mapache, an orchestrated chaos. Stanley Kubrick’s Apocalypse Now didn’t improve upon Joseph Campbell’s Heart of Darkness so much as tweak its slow-burn descent into madness with psychedelia, machine gunfire, and stylistic bursts of dramatic flair. Jorge Arana Trio does the same here for the experimental jazz canon.

The clever and calculated Mapache stops just short of an uncontrolled acid jazz freak-out. Instead, it’s an invitation to embark upon a cinematic romp through a treacherous sonic wilderness, just beyond the safety of civilization–one that doesn’t promise to show you the way home.

 
Tomorrow marks the album release for Mapache. Join the Trio along with Quirk and Ruckus, Ambulants, and Mr.Marco’s V7 at Coda tomorrow, October 26, at 9:00 pm. Facebook event pageMapache will be available in cassette or download form. 
 
 
–Vi Tran 
 

Vi Tran is currently acting in Bloody Bloody Andrew Jackson at the Unicorn Theatre through November 4. He’s also in Vi Tran Band and Hot Caution.

 
NYC

Album review: The Caves – Duplexiaville

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When last we heard from KC quartet (recently upgraded to a five-piece) The Caves, they were supporting their five-song EP called, creatively enough, Five Songs With The Caves. It’s been a minute or two since then, and their live performances have solidified their reputation as a solid, cohesive act, but as with all bands who earn favor among their listening audience, said listeners have been patiently waiting for new music—a track or two would be performed here and there, and rumors of recording sessions would swirl in hushed tones among the faithful. That wait for new music has been rewarded recently with the release of Duplexiaville, a ten-track gem.
 
By way of comparison, and to see how their new album shows the evolution of the sound of The Caves, listen to one of their most well-known songs, “Liars” (which was included as part of the excellent Golden Sound Records/The Record Machine compilation Secret Handshakes). Whereas “Liars” is a mid-to-uptempo track featuring some pretty intense lyrics (the repetition of “I don’t believe in protecting liars” is a pretty effective verbal middle finger), you’ll find nothing of that level of bubbling-under angst in Duplexiaville. Here you’ll discover a group that has grown, individually and together, and has brought that growth to the recording studio, culminating in music that is wistful and winsome. There’s no rush in the pacing of this record, as the listener is taken on a gentle tour that takes its time in reaching its destination.
 
The overall sound can primarily be slotted into one of two categories: tracks like “Empty Sails” and “Give It Away Or Lose It” are rife with the trademark harmonic dissonance of Andrew Ashby’s guitar tone, while “Two-faced Folds” and “Feeler” offer slices of hypnotic dream-pop that would seem perfectly suited for an Olympic Size collaboration. You’ll also find a couple nice little detours on your aural adventure: “The Usual”, a bonafide alt-country work of art (just add a little Mike Stover steel guitar and shake well), and the album’s closing track, “Once And Astronaut All,” a lovely little ninety-second lullaby that sends the listener off to the land of hopes and dreams on the pillowy cloud of chords and notes that bring an end to the tour of Duplexiaville.

It’s a nice place to visit … and I think I’ll do so frequently. 

–Michael Byars

Next chance you have to catch The Caves will be on Saturday, November 24 at The Brick. They’ll be joined by Knife Crime and Tree.

–Michael Byars

Michael Byars currently has a pink goatee. No, it isn’t his natural hair color. No, he didn’t lose a bet. No, it has nothing to do with illicit sexual activities with Strawberry Shortcake. It’s in recognition of National Breast Cancer Awareness Month—and in recognition of his mom, who kicked cancer’s ass. Rock on, Michael’s mom!

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NYC

Album review: Ross Brown – Small Victories

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It would seem that Golden Sound Records has done it again with the release of Ross Brown’s sophomore album Small Victories. And by “it” … I honestly couldn’t define what that would be. A wonderful X factor that every release on the label embodies; full of catchy indie hooks and masterful production.
 
Taking quite the turn from his first album The Human Condition, Brown delves himself in an array of stylistic experiments. While The Human Condition emitted a consistent stream of indie riffs and beats, Small Victories changes styles with each track. From poppy synth sounds to music straight from the 1960s, Brown truly elicits his talents on this album.
 
The album kicks off with the track “Dishes,” an erratic show of one’s own bravado. “I stand above everybody else, and I am glorious” sort of thing. Listening to the instrumentals, it is hard to imagine that only one man put this piece together. Synthesizers, guitars, and miscellaneous percussion push the upbeat song along. The next few songs seem to have a certain someone in mind; songs about memories and human interaction. The liner notes state, “None of these songs are about you.” I guess we will just have to believe that.
 
“Laodicea” takes a somber tone as a song reveling in self-pity. Brown appears to pick out procrastination and a lack of skill sets as a personal downfall, exploring that part of him in the song. The sixth track, a personal favorite from the album, is a high-energy, synth-driven story of a song. You are almost forced to imagine the story unfolding in your head as Brown attempts to get to know a girl. Taking on the role of a fumbling, blabbering fool, Brown spews out lines like, “Did you ever eat paper as a kid?”, and “In a food crisis who among your friends would you eat first?” The tale of a poor kid trying to relate to a beautiful woman—an experience most men could identify with.
 
Another thematic shift brings us to “Self Interest,” which discusses several cases of self-centeredness. The classic rock and roll diddy of this song urges the listener to wiggle a little. Tapping your feet to the beat, the song is very catchy. The hooks readily implant themselves in your brain and it’s nearly impossible to walk away from this track without humming it in your head.

Being the frontman for Fullbloods, drummer of The Empty Spaces, and an operator of Golden Sound Records, Brown has his hands full. But despite all of that, he is able to put together Small Victories, a brilliant conglomeration of melancholy jams and upbeat anthems that is sure to win you over … pun intended.  

You can listen to some tracks from Small Victories by clicking on the album below.

–Steven Ervay

Steven is the intern of Midwest Music Foundation and The Deli – Kansas City. He can’t go to 21+ shows yet and that bums him out.  

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NYC

Josh’s Top 3 NYC bands from CMJ 2012: Wilsen, Blonds, The Nightmare River Band

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Josh run The Deli’s CMJ Music Marathon last weeks (consisting in blogging about 26 emerging bands based in The Deli’s 12 local scenes – but mostly NYC). Here’s his top 3. We’ll have a list of honorable mentions tomorrow.

WARNING: Josh was our "guy/mellow/folky" runner. Tracy – the "girl/upbeat/punky" marathoner – was covering noisier bands, stay tuned for her selection.

1. Wilsen "When the forlornly whistling of the lead singer, the eponymous Wislen, coincided with striking crash of a cymbal, I can’t imagine there was a spine in the room left sans-shivered".

2. Blonds "With their commanding take of an already strong catalog, Blonds proved to be the highlight of CMJ Tuesday."

3. The Nightmare River Band (pictured) "The Nightmare River Band played a great set filled with some rather awesome rock n’ roll songs."

NYC

Rush Midnight to release debut EP + kick off mini tour

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When Rush Midnight’s lead singer Russ Manning croons “the music starts to creep back in” on the band’s lead single, “The Night Was Young Enough,” it is as much a celebration of youth as it is a declaration of synthpop’s unexpected elasticity over the past decade. With a voice that evokes new romanticism and a video that feels like “Let’s Get Physical,” slowed down and bohemianized, Manning (former bassist of Twin Shadow) continues indie-electro’s move out of the mumbly moodiness of every Washed Out copycat into more sensual, soulful territory indicative of fellow-Brooklyn acts like Body Language and MSMR. Rush Midnight’s debut EP, +1, lands on October 30 via Cascine Records and a short tour kicks off at the Studio at Webster Hall (NYC) on November 9th.- Brian Chidester

NYC

Bridget and The Squares play Paper Box 11.9

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The boy/girl duo of Bridget and the Squares might not initially strike you as badass and full of rage, but trust me… this is a band out for blood. Their two latest EPs Kill and Destroy take you down a dusty road littered with broken people and failed relationships. Riding epic piano lines through the desert in tracks like ‘The Animal and ‘Nothing Right, Nothing Wrong,’ singers Laura Bridgett and Kyle Thompson chart the wreckage they find through the love and passion they bring to every subject excavated. Get on over to their bandcamp for more, and catch them on November 9th when they play Bushwick’s Paper Box – Mike Levine (@Goldnuggets)

NYC

Making it in the city: ZZZ’s

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Dystopia’s probably the track that’ll best define their universe, with its menacing beat-heavy thick horror soundtrack crumbling around high pitched synth lines, and random alien-like hyper-distorted vocals cutting in. Spitefully charging through crunchy cold-blooded jams, the three ZZZ’s ladies re-appropriate dark dissonant no-wavey/industrial atmospheres to twist them into their own, using just about every trick in the book to avoid falling into routine. Originally from Japan, they formed the band in NYC in March 2012, playing some 50-odd gigs around the US, and more recently, a couple of shows during this CMJ; and seeing as, according to their Twitter, they’re leaving the city at the end of December -not sure how long for- we’re hoping to hear more dates announced soon. Meanwhile, check out their music below. – Tracy Mamoun 

NYC

White Coward Playing Last Show at the Black Lodge

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Photo Source: White Coward

White Coward are scheduled to play their finale show this Friday, October 26th with No Babies, Mtns, and Casy and Brian at the Black Lodge.

Their EP Relaxer dropped in April of this year, tagged with vague terms like "kids" and "shred." Upon listening to the record, the aforementioned words actually make a modicum of sense.

First of all, the song "Kids I’ve Had" grinds and purrs against your ears with a quality of great persistence. I wouldn’t mind "running around the neighborhood" (as a line goes) blasting this noisy track. Better yet, it could stand-in as the soundtrack to some demented carnival populated with bizzaro rides and carnees. A whopper of frenzied, disoriententing energy fuels this art punk anthem.

"Gal Pals" possesses a savory don’t-give-a-fuck flavor in the same vein as groups like Braniac, The Blood Brothers, and Raking Bombs. They differentiate their noise rock with a taunting snarl instead of slurred speech or venomous screams. The song’s locomotive-like grooves rip right through your comfort zone.

A prerequisite for absorbing Relaxer’s raw delivery is to listen to it really loudly. If your speakers can’t produce enough decibels to tickle your brain with feedback, then go see White Coward live on the 26th of October. Last chance! 9pm start time. Listen to "Gal Pals" below and visit their bandcamp to stream it all and pick your price.

– Cameron LaFlam

NYC

sami.the.great releases video for “Hear Me Now”

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Brooklyn’s reigning quirky-pop princess sami.the.great finds herself in the throes of an exuberant and incurable case of optimistim in latest video for "Hear Me Now." Part of her strong debut, ‘Hear Me Now’ is one of my favorites off the record. With so much druggy, after-hours dance music hitting the charts these days, it’s refreshing to hear the Brooklyn singer/songwriter use hard-knocking beats for what they’re there for: kicking shit down the road and celebrating how awesome you are. And with all these bright colors bouncing around the green screen for this production, you’ll be able to bottle some of Sami’s energy for yourself. The video is directed by psychedelic director Joel Fernando, and moves back and forth between trippy screensaver-esque visuals, and Sami herself conjuring various magic. Check it out below. – Mike Levine (@Goldnuggets)

NYC

From the NYC Open Blog: pow wow! debuts new LP

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After a little over a year in the making, pow wow! has debuted their first full length record, Don’t Stop To Look, streaming and available for download now on their bandcamp and soon available on Itunes, Spotify, Amazon (& More) as well as a limited run vinyl LP pressing before the end of the year. Voted one of of L Magazine’s NYC Bands You Need To hear in 2009 and covered extensively by Brooklyn Vegan, Time Out New York, Village Voice, and various other local and international blog’s after having released a handful of EP’s and singles between 2009-10, pow wow! returns in 2012 with "Don’t Stop To Look," their most diverse, yet focused and finely crafted pop record to date. Keeping true to their march to your own beat mantra as a band, the offerings on Don’t Stop Look marry 60+ years of international pop music influence while honestly narrating an experience that is quintessentially New York. Passive and passionate; Yearning yet resigned. Candid, sometimes cryptic, but always conversational in delivery. Check out their latest video here. (As posted in The Deli’s Open Blog – post your band’s entries, videos, and Mp3s here). The Deli NYC Open Blog is powered by The Music Building.

NYC

Cold Blood Club releases a first EP

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You remember ‘White Boyz’ right? The song that tried to make white male timidity into a cool thing, while being picked up for Mercedes Benz Fashion Week 2012 to soundtrack catwalks across Bryant Park. Indeed, Cold Blood Club are almost too catchy for their own good. Well, now the group is back with their first official EP, ‘Headlines & Firefights.’ Lead vocalists Kendra Jones and Brad Peterson are not exactly known for being timid, so you know when they do something new, it’s sure to turn heads. And based on their increasing penchant for loud, obnoxious party music, and loud, insane parties… it’s bound to be a thing best experienced live. – Mike Levine (@Goldnuggets)

NYC

Psychobuildings release new video for ‘Wonderchamber’

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“Wonderchamber,” the new video by Brooklynʼs Psychobuildings, creeps along like an arachnid lullaby poised to disintegrate into a danceable labyrinth. Subtly political, its Nietzschian lyrics deadpan the sensual allure of an omnipresent cult leader who speaks with “glitter in his pockets” to crowds more than willing to drink his kool-aid. Psychobuildings leader Peter LaBier prances across the singleʼs video in a shirtless jiggle, gently balanced by the kaleidescope ballet effects that brings to mind Damien Hirshʼs larva collages. When LaBier emerges halfway through in a psychedelic unitard, the whole affair feels somehow enlightened and utterly irresistible. Five live shows during CMJ last week cemented the bandʼs devil-may-care aesthetic to dizzying response. – Brian Chidester