Categories
Podcasts

D-Town Brass


Learn more about D-Town Brass and Yung Mattro.

You can also view a video of this interview on YouTube.

Categories
Weekly Charts

Underground Charts 3/30

ArtistRecordLabel
1AG COOK7GPC
2MEZ“Southside Mez” [Single]Human Re Sources
3MAC MILLERCirclesWarner
4KYLESee You When I Am Famous!!!!!!!!!!!Self-Released
5654AR“Sum Bout U (ft. FKA Twigs)” [Single]Columbia
6UNUSUAL DEMONT“Amber” [Single]Unusual Productions
7GABRIELLE FINDLEYSugar1065633
8FAT TONYExoticaCarpark
9MATT MARTIANSThe Last Party3qtr
10BRENT FAIYAZF*ck The WorldLost Kids
Categories
Weekly Charts

Daytime Charts 3/30

ArtistRecordLabel
1JULIEN BAKERLittle OblivionsMatador/Beggars Group
2REALLY FROMReally FromTopshelf
3IAN SWEETShow Me How You DisappearPolyvinyl
4TIGERS JAWI Won’t Care How You Remember MeHopeless
5ADULT MOMDriverEpitaph
6ANTONIONIAntonioniLauren
7CHAD VANGAALENWorld’s Most Stressed Out GardenerSub Pop
8CITRUS CLOUDSColliderLolipop
9SHYGIRLALIAS [EP]Because
10GRIMESMiss Anthropocene (Rave Edition)4AD
11ALICIA CLARAOutsider/UnusualHot Tramp
12BEAU DEGAHoly CannoliSelf-Released
13MYDMoving Men Remixes [EP]Because/Ed Banger
14SMERZBelieverXL/Beggars Group
15CASHINOVABig DragonStophouse
16MOLLY BURMAN“Fool Me With Flattery” [Single]Prolifica/PIAS
17ARLO PARKSCollapsed In SunbeamsTransgressive/PIAS
18BLU AND EXILEMilesDirty Science
19BUTCHER BROWN#KingButchConcord Jazz
20NATIVESON 91Come Back DownInner Tribe
21PINK SIIFU AND FLY ANAKINFlySiifu’sLex
22SMINOShe Already DecidedSelf-Released
23MISS GRITImpostor [EP]Self-Released
24MAGDALENA BAYA Little Rhythm And A Wicked Feeling [EP]Luminelle
25JORDANASomething To Say To YouGrand Jury
26FRUIT BATSThe Pet ParadeMerge
27RHYEHomeLoma Vista
28RON GALLOPEACEMEALNew West
29RICO NASTYNightmare Vacation [Advance Tracks]Sugar Trap
30SPIRIT OF THE BEEHIVEEntertainment, Death [Advance Tracks]Saddle Creek

TOP ADDS

ArtistRecordLabel
1COOL GHOULSAt George’s ZooEmpty Cellar
2XIU XIUOH NOPolyvinyl
3ANTONIONIAntonioniLauren
4TUNE-YARDSsketchy.4AD/Beggars Group
5NISAGuilt TripSelf-Released
6BLANKETMANNational Trust [EP]PIAS
7ALICE PHOEBE LOUGlowSelf-Released
8HAUNTED SHEDFaltering LightStrolling Bones
9SHOW ME THE BODYSurvive [EP]Loma Vista
10MANNEQUIN PUSSY“Control” [Single]Epitaph
Categories
Weekly Charts

Chainsaw Charts 3/30

ArtistRecordLabel
1CANNIBAL CORPSE “Murderous Rampage” [Single]Metal Blade 
2BORN OF OSIRIS “White Nile” [Single]Sumerian 
3ABOMINABLE PUTRIDITY Parasitic Metamorphosis Manifestation Inherited Suffering 
4SUFFERING HOURThe Cyclic ReckoningProfound Lore
5ROB ZOMBIEThe Lunar Injection Kool Aid Eclipse ConspiracyNuclear Blast
6BEARTOOTH “Devastation” [Single]Red Bull
7CYTOTOXINNuklearthUnique Leader
8WARDRUNAKvitravnAISA
9THERIONLeviathanNuclear Blast
10BOUNDARIES Your Receding WarmthUnbeaten 
Categories
Weekly Charts

Afterhours Charts 3/23

ArtistRecordLabel
1AVALANCHES, THEWe Will Always Love YouAstralwerks
2CARIBOUSuddenly RemixesMerge
3CRIJuvenileAnjunadeep
4OVERMONOEverything U Need [EP]XL
5ADRYIANO100% AUTHENTIC VIP LOUNGE TRAXX [EP]100% VIP APPROVED MATERIAL
6YAEJIWhat We DrewXL/Beggars Group
7BICEPIslesNinja Tune
8GALCHER LUSTWERKInformation (Redacted)Ghostly International
9FIT OF BODYPunks Unavailable [EP]2MR
10BELLA BOOOnce Upon A Passion RemixesStudio Barnhus
Categories
Weekly Charts

Chainsaw Charts 3/23

ArtistRecordLabel
1ROB ZOMBIEThe Lunar Injection Kool Aid Eclipse ConspiracyNuclear Blast
2BORN OF OSIRIS “White Nile” [Single]Sumerian 
3ABOMINABLE PUTRIDITY Parasitic Metamorphosis Manifestation Inherited Suffering 
4SUFFERING HOURThe Cyclic ReckoningProfound Lore
5ASPHYXNecrocerosCentury Media
6BEARTOOTH “Devastation” [Single]Red Bull
7CYTOTOXINNuklearthUnique Leader
8WARDRUNAKvitravnAISA
9THERIONLeviathanNuclear Blast
10BOUNDARIES Your Receding WarmthUnbeaten 
Categories
Weekly Charts

Daytime Charts 3/23

ArtistRecordLabel
1JULIEN BAKERLittle OblivionsMatador/Beggars Group
2MISS GRITImpostor [EP]Self-Released
3CLAP YOUR HANDS SAY YEAHNew FragilityCYHSY/Secretly
4ADULT MOMDriverEpitaph
5BLACK COUNTRY NEW ROADFor The First TimeNinja Tune
6ARLO PARKSCollapsed In SunbeamsTransgressive/PIAS
7FRUIT BATSThe Pet ParadeMerge
8MOLLY BURMAN“Fool Me With Flattery” [Single]Prolifica/PIAS
9SPIRIT OF THE BEEHIVEEntertainment, Death [Advance Tracks]Saddle Creek
10AVALANCHES, THEWe Will Always Love YouAstralwerks
11TIGERS JAWI Won’t Care How You Remember MeHopeless
12BLESSEDiii [EP]Flemish Eye
13BLU AND EXILEMilesDirty Science
14CASHINOVABig DragonStophouse
15CITRUS CLOUDSColliderLolipop
16FAT TONYExoticaCarpark
17LAVA LA RUEButter-fly [EP]Marathon
18STEVE LACYThe Lo-FisL-M
19ALICIA CLARAOutsider/UnusualHot Tramp
20ANTONIONIAntonioni [Advance Tracks]Lauren
21BRENT FAIYAZ“Gravity” feat. Tyler, The Creator [Single]Lost Kids
22DEZRON DOUGLAS AND BRANDEE YOUNGERForce MajeureInternational Anthem
23DON TOLIVERAfter PartyWMG Atlantic
24GALCHER LUSTWERKInformation (Redacted)Ghostly International
25KELLY LEE OWENSInner SongSmalltown Supersound
26MATT MARTIANSThe Last Party3qtr
27SERENA ISIOMASensitive [EP]AWAL
28SHYGIRLALIAS [EP]Because
29SMERZBelieverXL/Beggars Group
30SMINOShe Already DecidedSelf-Released

TOP ADDS

ArtistRecordLabel
1REALLY FROMReally FromTopshelf
2DOOHICKEY CUBICLEDon’t Fix Anything 😉Self-Released
3RON GALLOPEACEMEALNew West
4CHAD VANGAALENWorld’s Most Stressed Out GardenerSub Pop
5LO TALKERA Comedy Of ErrorsArts & Crafts
6ADULT BOOKSGrecian UrnTaxi Gauche
7CRUMB“Trophy” [Single]Self-Released
8SQUID“Paddling” [Single]Warp
9PACKS“Slivertongue” [Single]Fire Talk
10CONTROVERSIAL NEW SKINNY PILL, THE“No Path Forward” b/w “Welcome 2 Your Show” [Single]Guilt Ridden Pop
Categories
New Album Review

Chemtrails Over the Country Club

ALBUM: “Chemtrails Over The Country Club” by Lana Del Rey
RELEASE YEAR: 2021
LABEL: Interscope
RATING /10: 10 – a country-folk dream
BEST TRACKS: “Tulsa Jesus Freak”, “Chemtrails Over The Country Club”, “Breaking Up Slowly (Feat. Nikki Lane)”
FCC: (none)


The Goddess of sadcore’s long awaited album is here. To announce the release, Lana Del Rey posted an extract on Instagram  saying: “Until we meet again, I’ll be out there, running with the wolves.” If you listen to the album, her caption just makes sense: “Chemtrails Over The Country Club” is about Lana running away from California to the countryside and finding out she’s Wild At Heart” in the process. She makes it very clear that she’s finally found her true self and that she’s not going to let stardom, the media or Los Angeles’ toxicity steal away her identity this time. It’s official: the dream pop queen has turned folk. This album is undoubtedly the result of her embracing both a wilderness and a vulnerability that only genres like 1960’s Americana and country-folk can reliably convey. The harmony between the guitar and the slow piano throughout the album makes for a very soothing record. Compared to the rest of her discography, which mostly depicts heartbreak and sorrow through a sad or glamorous prism, this album sounds like a timid ray of sunshine emerging from behind the clouds. 


Let’s talk about the cover first. Lana’s tendency to get inspiration from the 60’s and 70’s is never a surprise to anyone, so her choosing an old school aesthetic for this album isn’t either. The photograph on the cover depicts a group of women around a table inside a country club, all wearing summer dresses and a cheerful smile on their faces. Lana is standing among them, though barely noticeable at first glance, and she’s smiling like never before. The last time Lana chose to use a black and white picture as a cover was in 2014 for “Ultraviolence” where she was standing alone, staring into the camera with a dreadful look in her eyes. I love the idea that Lana went from glamorizing her loneliness and despair to celebrating her newly found happiness surrounded by equally happy women — as if the path home to herself took finding pieces of herself in other people. Speaking of being surrounded by women, all the featurings on the album are female artists: Nashville singer Nikki Lane on the slow and heart-shattering country ballad “Breaking Up Slowly”, and Zella Day and Weyes Blood on the cover of Joni Mitchell’s “For Free”.


Now for the actual content of the album. The very first song, “White Dress”, really intrigued me when I listened to it for the first time. Her trying of new high-pitched vocal techniques when she’s always relied on her deep voice was definitely unexpected, but still very pleasant. Each album she releases fits into a completely new era and universe in my eyes, so I’m always open to being surprised. In this song, she reminisces her past life when “[She] was a waitress / Wearing a white dress” in her teenage years, not yet burdened by the crushing weight of celebrity — a recurring theme on the album. “The best ones lost their mind / So I’m not gonna change / I’ll stay the same”: these lines from “Dark But Just A Game” are pretty self-explanatory. As far as I’m concerned, I’m mostly going to listen to this song for the sensual aura of its verses, which are hypnotic and even strangely addictive, but that’s just my take on it.

Lana is now claiming to be “Wild At Heart”, and indeed, the album unveils a side of her persona that’s wild, sensual, free and craving adventure. She’s no longer tied to the glamour of the City of Angels but rather to the recklessness of the countryside. Throughout her discography, the New York-born singer went from idolizing the “West Coast”, to questioning if she really belonged in Los Angeles in her poetry book with “LA Who Am I To Love You”, to eventually wanting to move away from California as far as possible. That being said, the allusions to country culture and the Midwest throughout the record are all pretty obvious: her sharing of religious faith with her lover in “Tulsa Jesus Freak”, her love for living on the road in “Not All Who Wander Are Lost” and her leisure time at the country club in “Chemtrails Over The Country Club” are good examples.


In an interview she gave for Mojo, Lana stated that her new album was  “more innocently emotional” than her previous records, and it would be hard to say otherwise. The fragile and bare emotions Lana had finally been comfortable writing about on both “Norman Fucking Rockwell!” — her last album — and “Violet Bent Backwards Over The Grass” — her poetry book — seem to have helped her transcend the desperation she’d been drowning in for years now. She’s no longer holding onto toxic lovers but rather finally owning her side of the story in “Breaking Up Slowly”, my favorite song off the album: “It’s hard to be lonely, but it’s the right thing to do”. I was also glad to find songs on the album that actually portray loving and healthy romantic relationships. Lana has always been heavily criticized for “glamorizing abuse” or only singing about toxic relationships. While I never minded her writing about her own experiences and actually found comfort in her portrayal of heartbreak, lyrics like “You make me feel I’m invincible / Just like I wanted / No more candle in the wind” in “Yosemite” are very relieving to hear. The last thing I’ve noticed about her lyrics is how playful and carefree Lana seems to have become: sunny afternoons spent by the swimming pool, road trips in her old sports car, drinking whiskey and coke at the bar or teasing her love interest about his astrological sign — her new ranch Americana and roots persona seems to be having fun.

I could honestly keep writing about Lana’s music for days, but I’ll end this review here. I’m glad she’s finally found her “own version of America”, by leaving Los Angeles behind and being one with the countryside. As someone who’s been listening to her music for 10 years now, I’m glad she’s finally welcoming warmth, happiness and playfulness into her songwriting — without the underlying fear that often comes with being that vulnerable.

-Lise Nox

Categories
Concert Review

I went to a COVID-safe concert after one year without any live shows

Yes, you read the title right. “In the middle of a pandemic?!”, you may ask. I would have had the same reaction if I were you. As someone who takes COVID very seriously, I can assure you that the show in question was safe — and that it was far from being your typical gig experience.

A friend of mine told me a while back that her partner plays the bass in a band. “It’s too sad we won’t get to see any of his live shows together while you’re here”, she said, sad to see how COVID was ruining the American experience for a French girl like me. I didn’t think much about it until recently, when North Carolina officials announced that venues could re-open at 30% of their capacity. My friend instantly reached out to me and told me tickets were going to be sold for her partner’s band Tumbao’s show at Pour House Music Hall on Mar. 5, 2021. “They’re only allowing the venue to open at 19% capacity just to be extra safe, so we have to be quick to get tickets!”

Long story short, we got the tickets. I was both ecstatic to see live music again after a year and skeptical regarding how safe the venue would really be. We ended up receiving very clear instructions before the show: wear a mask, arrive with your entire group before you get seated, only leave your table to go to the restroom, order drinks through a QR code. Typical guidelines, but here was my favorite COVID-related instruction: “We have limited space and a very specific seating layout to adhere to covid distancing guidelines. Feel free to stand at your seat and wiggle those hips and shake those booties, but we ask you stay in place and save those wild dance moves for another day.” The absurdity of being told not to stand or dance at a concert was proof that no one was going to expose themselves to COVID that night. We were allowed to drink under our double layer of masks and stare at the musicians for one hour and a half — and that’s already a lot, considering that I didn’t think I would get to see any concert before 2022.

The venue was… empty. There were people at every table they had set up, but the venue looked empty. I was seating upstairs and had an overall view of the audience. A young couple, two guy friends, another young couple, an older couple — that’s all I could see from where I was seating. The tables were all between 6 and 12 feet apart from one another. It felt like I was attending a secret underground show held under the Prohibition in the 1920’s, except it was 2021 Downtown Raleigh and everything happening at Pour House that night was perfectly legal. I know I make it sound like it was a dull experience — it wasn’t — but I just want to make sure that everyone reading this knows the venue did everything it could to keep us safe.

Now that I’ve made it clear that Tumbao’s show was COVID-safe, let’s talk about how fun it actually was. I had no idea what kind of music the band was going to play that night — I didn’t look them up on Google before the show to keep it a surprise. Their Facebook bio describes them as “a New, Fresh Latin-infused Funk, R&B, Jazz & Rock head turnin’ blend”. Well, from what I saw live, I can tell you that their music is indeed a blend of Latin, Funk and Rock music; it’s fun, fast-paced, uplifting and would make even the shyest person in the room want to dance the night away to their rhythmic beat. The guitarist was celebrating his birthday that day, and I’m pretty sure that getting to play a live show in the middle of a pandemic is probably the best birthday gift any musician could ask for. Turns out that the girl from the young couple in the front row was celebrating her birthday that day, too. “Pisces!”, she shouted, and I couldn’t help but smile. How I had missed the surreal one-word conversations one can only witness between an audience and artists on stage. The band played a Latin-Funk version of “Happy Birthday” right after, and everyone in the audience sang in unison.

I stayed at my seat the whole show, just enjoying the music and drinking my local craft beer, but the two couples downstairs would dance whenever they could. Don’t worry, they had their masks on the whole time and stayed at least 6 feet away from everyone else. They were “wiggling their hips” and trying to pull off moves mixing rumba and waltz while still standing at their assigned seats. Everyone else at the show was seated the whole time, so both of their romantic dances were, in addition to being very cute to watch, safe, although barely compliant with Pour House’s guidelines. The whole time I was listening to the music, I couldn’t believe I was there. Live music. Instruments. A band on stage. I could mostly see the bassist and the drummer from where I was seating, and I still couldn’t help but think: is this concert even real? Yes. Yes it was. It was amazingly real. At some point, I got so lost in the music that I almost forgot that I was wearing two masks and that I was sitting in an almost empty venue. My body had been craving the sensations of live music for too long, so I let myself feel them all fully. The band ended the concert by playing a Latin cover of “Electric Feel” by MGMT, and everyone screamed the lyrics along, just like in the good old days pre-COVID. The last thing I remember about the concert is another friend of ours at the show telling us, “I have a Pour House gift card I’ve been waiting to use for a year now, so drinks are on me.” Free drinks at my first gig in forever. What a way to end this surreal night.

– Lise Nox

Categories
Classic Album Review

Album Review: Punisher – Phoebe Bridgers

ALBUM: “Punisher” by Phoebe Bridgers

RELEASE YEAR: 2020

LABEL: Dead Oceans

RATING /10: 10 – an emo-folk masterpiece

BEST TRACKS: “Moon Song”, “Halloween” and “ICU”

FCC: (none)

Phoebe Bridgers got nominated in March 2021 in the Spotify Awards as “Best New Artist of 2021”, and as someone who’s been a fan of her music ever since her first album came out, I thought I’d write something about her second album “Punisher”, which led her to slowly but surely rise to the success she’s always deserved. If I had one dollar for every time I’ve cried listening to Phoebe Bridgers, I’d be filthy rich by now. If you’re not familiar with her music, let me try to describe it metaphorically for you. While Phoebe’s first album “Stranger In The Alps” sounded like a quiet whisper coming from the French mountains, “Punisher” sounds like a mellow cry for help coming from the nocturnal abyss of the desert. That’s the closest I can get to describing her style, which fits into the folk, indie and emo genres all at the same time. Each song off the album perfectly renders her emo-folk apocalyptic universe: low reverbed notes, a slow strumming of the guitar and Phoebe’s soft voice as an echo — that’s how “Punisher” sounds like as a whole. The only songs that are not quite like the others are surprisingly “Kyoto”, which has been her most famous single off the album, and “Graceland Too”. While every other song makes me want to curl up under a blanket and stare endlessly at the ceiling, “Kyoto” is more on the upbeat and fast-paced side, and the banjo in “Graceland Too” makes for a really great country-folk ballad.

That being said, if you really want to appreciate Phoebe’s music, pay attention to the lyrics. As far as I’m concerned, I could spend hours reading about “Punisher”’s lyrics on Genius. If you look into it, you’ll quickly realize that what sounds like your regular sad folk song actually depicts obscure stories about drugs, death, dead relationships and Phoebe’s existential crisis – all at the same time. The album cover matches perfectly what she writes about: Phoebe is standing alone in the desert in a skeleton suit, bathing in bright red light, while the world around her is engulfed in dark blue.  In an interview with “Our Culture Mag”, Olof Grind, the Swedish photographer behind the cover, describes Phoebe as “standing completely still, waiting to be beamed up by aliens” and it reminded me instantly of “Chinese Satellite” where she mentions wanting to believe in extraterrestrial life: “I look at the sky and I feel nothing / You know I hate to be alone / I want to be wrong”. Phoebe is desperately looking for “a new place to be from” (“I Know The End”) by staring at the stars in the sky, but can hardly bring herself to believe in anything supernatural.

What fascinates me most about Phoebe is her ability to incorporate contemporary poetry techniques into her songwriting, by bringing together completely unrelated themes in a way that feels oddly normal. “Always surprised by what I do for love / Some things I never expect / They killed a fan down by the stadium / Was only visiting and they beat him to death”. These lines from “Halloween” correlates codependent tendencies with the literal murder of a hooligan after a game, and while it doesn’t really make sense, it somehow does. Passion and death always seem to find their way back to each other in Phoebe’s universe.

I firmly believe you have to listen to “Punisher” as one long poem to truly get its essence. If this is your first time listening to this album, I would recommend playing the songs in order and listen to each one of them until the very end. It’s the only way you’ll be able to fully indulge in their melancholy. However, if you’re looking for a specific song to drown your sadness in, “Moon Song” struck me as one of the most heartbreaking song on the album. “You couldn’t have / Stuck your tongue down the throat of somebody / Who loves you more / So I will wait for the next time you want me / Like a dog with a bird at your door” – these lines crushed me instantly when I heard them for the first time, and they still do even after my 100000th time listening.

 Saying that “Punisher” is one of my favorite albums of all time would be an understatement. Listening to Phoebe strumming the guitar and singing about dead relationships, supernatural entities and the end of the world strangely makes me feel safe, like I’ve found a home in her peaceful yet dark post-apocalyptic universe. If you haven’t listened to “Punisher” yet but plan to, let this be your final content warning: you can let Phoebe sing you to sleep, but you must expect her to come haunting your dreams afterwards.

  • Lise Nox