Those guys in the photo are called Blacklisters. I don’t know much about them other than that they’re from Leeds, England, they’re hardcore, they just signed to Brew Records and they’re new song “Swords” was a great way to start my morning.
You can download that song, and a few others, for free from their Bandcamp site.
I always struggle when trying to explain Explosions in the Sky‘s genre. Modern classical, I’ll offer first, followed by electric guitar orchestra? In some ways, I think they pick up where Lou Reed left off after Metal Machine Music, in the way they play with the capabilities of the instruments to make noises.
But unlike Lou Reed, who built a spiky industrial cathedral of noise, Explosions in the Sky are gentler on the ears. Think morning light glimmering through rose windows and soaring Gothic arches instead of a cold bucket of water to the face amid Romanesque gloom. I don’t mean that in a bad way -Â I find that cold bucket of water refreshing and gloomy shadows do have an appeal – but rather to underscore the difference in tone between the two artists.
Recently they made their first music video ever, after over a decade as a band, and it is exquisite:
Directed by Ptarmak
Illustration: Sissy Emmons
Animation: David Hobizal
Addt’l Artistry: JR Crosby, Luke Miller, Zach Ferguson
Ben Hansen, Christy Carroll, Annie Mayfield
Addt’l 3D: Josh Johnson
I am envious of everyone who was able to attend this show – Booker T. Jones and the Black Keys!? Are you freaking kidding me!? – but we are fortunate enough to have this great review and fantastic photos from Jessi Smith. Thanks so much, Jessi.
As I type this The Black Keys are in the midst of their tour of Canada, where they seem to get a lot more recognition than around here. They get invited to perform at Canadian awards shows, unlike here where they have to accept their Grammy’s during the pre-show. America is coming around though. Less frequently am I met with blank stares and well meaning corrections of, “Do you mean the Black Eyed Peas?†when I mention their name. However, with shows like the one I went to in Indianapolis on June 10th under their belts, they’re going to be household names before you can say “That’s not how you say Auerbachâ€. Then all the hipsters can hate them for selling out, which I won’t mind because the fewer faux fan douchebags that like them the better.
A $5 skip the line pass and a GA ticket. That’s all it took to set in motion what would be the best concert I’d ever attended. The competition for that title isn’t light either, not only had I seen The Black Keys in 2010 but, Bob Dylan and B.B. King had also given me shows to remember. The weather was perfect, a nice breeze blew and I was pressed against the barrier directly in front of center stage, nothing between me and the band but a one foot patch of grass. The show opened up with Nicole Atkins and the Black Sea, who played a set that was lovely and was enjoyed. Next up legendary Booker T. Jones who charmed me and made me feel more than a little ashamed that I’d initially been a bit disappointed that Cage the Elephant wouldn’t be opening for this show. I was an ungrateful and uneducated fan who won’t ever make that mistake again.
With the backbeat of GZA’s “Liquid Swords” playing, Dan and Pat calmly walked out and took their places. After the customary “We are The Black Keys from Akron, Ohio†they proceeded to do what they do. “Thickfreakness” came first as the opener as expected. I hope that never changes. It’s a constant in the Black Keys shows that makes me feel like a ground floor fan. They did the “Stack Shot Billy” / “Busted” back-to-back that was beyond words. The energy they put into “Busted” exploded after well built tension and extended riffs.
We also got a special treat. About midway through the show Dan announced that they were going to do something a little different. With an almost giddy smile he told us that they’d be having Booker T. join them for a couple songs. As they played “Ten Cent Pistol” with Booker, the boys had us hanging onto every note. The smooth line, “…the couple screamed but it was far too late, a jealous heart did retaliate.†was followed by the sudden blackout of every light and complete silence from the band for what seemed like forever. The anticipation boiled over and at just the right moment they burst back and blew minds. Another little treat came during “Everlasting Light” when a giant disco ball rose from the stage and made the place positively twinkle. This isn’t a band where you expect that kind of thing and I’m not gonna lie, my fangirl came out and I loved it. It wouldn’t be the first appearance of my fangirl, what with my front and center position and Dan’s frequent trips to the edge of the stage (where I’m certain we made eye contact… just throwing that out there) All together they played nearly 20 songs and still I didn’t want it to end. They encored with “Sinister Kid” and “Your Touch”, then bade us goodnight.
And here I am, still talking about it.
I found this one while I was looking for something else (specifically, Skinny Puppy videos) and of course I had to share. There are some beautiful visuals and Mr. Murphy (formerly of Bauhaus, aka, per Wikipedia, the “Godfather of Goth”) is in fine vocal form. Apparently he also has a new record out! It is called Ninth, and you can listen to a few songs from it at his MySpace.
![Peter Murphy - I Spit Roses [Official Music Video]](http://i.ytimg.com/vi/5lnq9Add25M/0.jpg)
The gentlemen above are the Starry Saints, and they are based in Portland, OR. This song is from their most recent record Serenade. I like this video because it’s in a familiar format – a live performance – but they project different moving images on to the wall behind them during the show, which adds texture but yet doesn’t look weird and fake. I also enjoy the dramatic close-ups on the keyboards.
And the song is pretty cool, too. I was hooked in the first thirty seconds and still humming the chorus in the shower two days later.
This month I’ve set myself a challenge: post a video every day. I’ve mentioned before that I have A Lot Of Feelings About Video, which is true, but more than that, I have A Lot Of Feelings About Music Television, or rather, what used to be music television, and, at least in some locations – CMT doesn’t seem to have been affected as thoroughly as MTV – is now All Reality TV, All The Time.
Mostly I’m interested in the intersection of music and image, and how artists, directors and choreographers work together to bring a song to visual life. I’m starting today with All of My Best Friends (Are Behind Bars), sung by Justin Haigh (Apache Ranch Records) and directed by Jim Shea.
I like the song, but the video itself is also a delight, because it is beautifully shot and lit and, most importantly, playfully highlights the wordplay in the title without overworking the punchline:
Originally from South Dakota, Justin Haigh now lives in Texas, and before he was a country singer, he was a lot of other things, including: cattle rancher, meat packer, trucker and U. S. Air Force service man. As you might expect, he has stories to tell, and you can hear them on his new record People Like Me.
Here’s what I can tell you about the record: It was circulating through my “To Listen To” playlist during exams, and the title track never failed to make me grin and tap my pen to the beat. I also enjoyed the slower, more reflective songs, like his cover of Kevin Higgins’ Monahans, as well as The Leaving in Your Eyes and Is It Still Cheating.
There are no melancholy love songs like country melancholy love songs, and those hit the same sweet spot as Ghost in this House, by Shenandoah, and Vern Gosdin’s Set ‘Em Up Joe. This, ladies and gentlemen, is the good stuff, and you should check it out.
Emily Zuzik
Emily Zuzik is a veteran of the New York City music scene, but you might also recognize her voice from Moby’s latest record – she collaborated on a track called The Low Hum – or from television and movies: her songs have appeared in Smallville, Ticking Clock, and Fifth Form.
L to R: Wes Hutchinson, Ryan Vaughn, Emily Zuzik and Brian Killeen.
She has just released her seventh record, The Wild Joys of Living, and I had the pleasure of attending her show at The Living Room – a venue as tiny and cozy as the name would suggest – this past Saturday night, where she played the record in its entirety. Ladies and gentlemen, it is delicious. The songs run the gamut from sweet pop morsels to fuzzier, more aggressive rock and roll. I was especially fond of Motels, which is about naughty things people do in motels, and also You’re The One, which is sweet but not treacle-y love song.
As a taste, I give you a video of her singing Want to Go Out Tonight?, which is the first single off of the new record:
One of these days, I will master the art of showing up to the Grog Shop at Just The Right Time – not too early, not too late. This past Friday was not that day. I missed all of Heelsplitter and caught one and half songs from the Not So Good Ol’ Boys. I can tell you that the audience was into NSGOB. And it was good to see that much long hair on dudes on a rock stage in Cleveland without any spandex in the vicinity.
Witnessing a Scott H. Biram show might lead you to believe the phrase “Texas tornado” was invented for him. Biram even comes with his own siren, by way of the megaphone he keeps in his instrument arsenal. Offstage, Biram appears calm, unassuming… sweet, even. But once he sits down in the midst of the aforementioned instrument arsenal – which includes a few vintage hollow-body electric guitars, one angular solid-body electric, harmonicas, guitar pedals, stompbox and a pair of tambourines set on the edge of an equipment case to pick up the beat of the stompbox – and straps himself in, it’s as if something snaps inside him, and he is a whirlwind of energy, fury and conviction until he steps off stage.
The audience loves Biram. He will show his appreciation, for sure, but he won’t back down from telling someone to fuck off or shut up, as when someone requested that he “play something good”.
“I just played three good ones,” Biram rightfully pointed out.
Attitude is undoubtedly a big draw with a Scott H. Biram show. “This is a love song, so spread your legs” was his introduction to “Wildside”. Biram has just the right balance of sweet and ornery to pull off something like that (so don’t try this at home, kids).
But attitude is just air without the chops to back it up, and you don’t get a reputation as solid as Scott H. Biram’s by being just okay. From the bluegrass-style picking of Doc Watson’s version of “Freight Train Boogie” to the folk strumming of Woody Guthrie’s “Pastures of Plenty” to the heavy metal slide of “We Come to Party”, Biram is the kind of guitar player that makes it all look easy. And his harmonica playing is pretty much perfect.
While it can be overshadowed by all the amped up guitar and sweet-ass harp, Biram’s voice is also a beautiful instrument worthy of its own spotlight. Biram’s rendering of “Go Down Ol’ Hanna” is gorgeous and might have made Leadbelly a little envious if he was around to hear it.
But Biram’s forte is whipping a crowd into a stomping, hollering frenzy, throwing his whole self into a song, a one-man audio mosh pit – and all while seated. You won’t get any video examples of this from me, though, because all you would see would be a shaking blur due to all the actual stomping (and hollering) I was doing.
In addition to the previously-mentioned songs, Biram brought out “Time Flies”, “Long Fingernail”, Muddy Waters’ “I Can’t Be Satisfied”, a Mance Lipscomb tune dedicated to roadie/guru extraordinaire U.S. Justin, an unapologetic cover of Johnny Lee’s “Lookin’ for Love”, a handful of songs from the album he just finished recording before this tour started (slated to be released in October, and it’s going to be gooooood) and more songs that I didn’t write down. The man just goes, and good luck keeping up with him.
There was no encore, per se, Friday night. Biram announced that he had a couple of more songs, but those couple more songs turned into five or six more songs as he just played until he couldn’t anymore. He doesn’t go out with a bang because the whole damn show is one huge bang.
We don’t cover enough hip hop. And it’s not as though I don’t listen to it. Mos Def’s The Ecstatic has been one of my go-to albums for the last couple of weeks.
And the Ohio angle isn’t a tough one here at all. You may already be familiar with Chip Tha Ripper.
Chip Tha Ripper – Light One Up from illRoots.com on Vimeo.
And do you know Stalley? Because he’s worth your time.
Stalley – The Autobiography from Stalley330 on Vimeo.
So, hip hop: I should do more of that.
We love DIY bands to pieces here at NTSIB since we’re DIY ourselves. And like most DIY bands, we’re broke-ass broke, so we understand their plight. Our friends in the Imperial Rooster aren’t on a label, not even a little one, so while they have released their new album Decent People, it pretty much only consists of 1s and 0s at this point. So, they’ve gotten themselves up a Kickstarter campaign to help them release the new album on vinyl and CD.
And they have some exceptional prizes, from the rad Rooster T-shirt to test pressing vinyl to a show at your house to, my personal favorite, a personal music mix from drummer Dusty Vinyl (he’s got great taste in music, y’all). There are even more great incentives than I’ve listed here. And if you follow NTSIB and have seen our other posts about the Imperial Rooster, you know they’re a band worth backing. So, stop on over at the Rooster Kickstarter page and pledge what you can. Even if it’s only a dollar. They’ll love you for it, and so will we.
