“Yeah, well, you know, that’s just like, uh, your opinion, man”
Jeff Bridges as The Dude, “The Big Lebowski” dir. Joel & Ethan Cohen, 1998
I’m sure most of you are well aware, but Kings is a gem in the middle of downtown Raleigh.
The sound is good, and the beer is cheap — what more could you ask for?
On Saturday evening, March 23, 2024, the Kings stage transformed into an altar of bowling pins and White Russians in honor of “The Big Lebowski’s” 25th Anniversary.
Album art for Julia Holter's "Something in the Room She Moves".
Julia Holter’s new singles are part of her new release which came out March 22, 2024. The new tracks are part of a project Holter is working on about human bodies’ ability to transform and be corporeal (as mentioned on her Bandcamp page).
This is Holter’s sixth full-length album. I began listening to her majestic sounds a little over a year ago looking for strange, ethereal compositions. I fell in love with her album “Tragedy” for the song “Goddess Eyes”.
The singles released for “Something in the Room She Moves” have an aura of gold and beauty that have been slowly reaching a climax thanks to the direction of her career. The three songs include “Evening Mood”, “Spinning” and “Sun Girl”.
In “Evening Mood”, we get to experience creeping beauty, skirting the shadows as the sun sets for the day. Moments of bliss and relaxation permeate the track, leaving the listener in a state of placid peace.
“Spinning” is my favorite release from the singles. An electric little start to the song winds us up for an unveiling of magnetic and addicting grace. The world swirls around in confusing spirals as we get to experience Holter’s delicious composition.
I’m not the biggest fan of “Sun Girl”. Specifically the first half of the song is a bit too long winded and doesn’t keep me engaged like the lengthy “Spinning” or “Evening Mood”. The second half, after the cacophonous odd noises, is enticing. It’s the strange addicting music that Holter is able to create so well (but only for half of the song). I’m sure many folks will love the whole track, but the first bit wasn’t for me.
I am excited to listen to the full album when I get the chance. These tracks were awesome teasers and make me want to dive back into the rest of Julia Holter’s discography.
Eat the abstract leaf (don’t poison yourself though),
Rod Argent in 1961 asked his family, friends and classmates to start a band. At the time, they couldn’t have predicted their impact and longevity. This cornerstone of British 60s rock music, The Zombies, are still performing and recording music.
I had the privilege of interviewing Rod Argent who is a vocalist and keyboardist for the band. Here is a few questions I asked him regarding their newest album. Note that the interview has been edited for this blog.
Q: So, I wanted to talk about your new album. I think the biggest achievement of “Different Game” is it standing out from the rest of your music. I think a lot of older bands, stick to their guns, to a fault. And they’re kind of stuck where they used to be, like decades ago. Y’all experiment with the formula. How do you all have that forward thinking mentality when making new music, but also making sure it fits within like The Zombies catalog?
A: Well, we never worry about it sticking within The Zombies catalog to be quite honest. Because as I said, right at the beginning, we always do things the same way. I don’t know any other way of doing it. It’s just me playing around on a piano. You never know where the idea might come from. You could hit a chord sequence that you think, oh, that’s tasty. And oh, God, I really want to write something around that. And strangely enough, the very first song on the album, “Different Game”, my wife and I went to the bar festival in Leipzig, just before the COVID, actually.
The last performance on the festival was in St. Thomas’s church, where (Johann Sebastian) Bach was for the last 10 years of his life. And he wrote the massive thing called Mass in B minor. And I have to tell you, there were 2000 people in the church. It was packed. And it’s a huge musical piece that you’ve got two organs, one on each side of the church. You’ve got two choirs ,you’ve got soloists, and you’ve got an orchestral section as well. It was so loud. I mean, most people listening to classical music think of it as being relaxing and everything. This is the reality of how it used to be. This is like a rock and roll concert, and it is fantastic. And, and there was this one section in called the Sanctus in the Mass in B minor. And it just blew me away.
When we got back home, just for fun, I kept playing it. Then I sort of kept playing this little chord sequence, which was part of it. And then I suddenly found myself singing a tune over it over it. I wasn’t trying to do that.(…)You know, it’s me in the studio, where I am at the moment, just just having fun, really, and making something work.
Q: You talked about wanting to work with an orchestra at one point, which I find kind of interesting. You have one song in the new album(Different Game), which is mostly just strings(I want to Fly). When you’re talking about your inspirations and what you kind of aim for. I feel like this, album feels a very balanced. And It delves into so many sounds. When you all get together, will you all have like a general idea of what genres y’all want to touch on? Or is it more just like, what the band members were kind of feeling at the time?
“I Want to Fly” by The Zombies from YouTube
A: It was to some extent, the fashion of how we were recording and what we were recording. So when we recorded maybe two or three tracks, you naturally think, oh, for balance, it will be great. I really fancy writing a song that is much more stripped down, you know. And at one point, I thought it’d be great to just have a track with just piano and vocals on the album. And that was the original idea for it. I think what had happened, I can’t remember what track I’d heard. But I think I’d heard an Adele track where it was just piano and her voice. I thought this can really work.
And I was just thinking in terms of some of the tracks we’ve recorded, and thinking that will be a nice balance. So that sort of can dictate it to some extent. But we recorded that. And this is what goes on when you’re recording. I love playing on acoustic piano. And Collin’s vocal, I loved his vocal, I thought it was great. Then I thought you know what, it would be great to score some strings. And I scored that arrangement myself. I said, just leave it, let’s just leave it there and keep it really simple and stripped down. And in the end, we added a little bit of bass on it, very subtle bass. And that was it.
The Zombies have an extensive catalog and they continue to innovate. The Carolina theater is a beautiful venue and you will have the opportunity to see old and new members of the band. They will be coming to Carolina Theater on March 31st(Sunday).
If you want to check out the full interview, here is the Youtube and Spotify link.
Rod/The Zombies Interview on Off The Record by DJ Veil
Rod/The Zombies Interview on Off The Record by DJ Veil on YouTube
We’re back this week with another installment of the Metal Minute. Many moons ago, I covered progressive metal, an artsy and psychedelic interpretation of the genre.
This week, we’re exploring the despairing world of doom metal.
What is it?
Doom metal is a subgenre of heavy metal that casts a gloomy, despondent shadow. If Edgar Allan Poe was a metalhead, this would be his genre of choice.
Cover for “Dehumanizer” by Black Sabbath
The genre can be traced back to the 1980s influence of Black Sabbath, a band that’s blues-infused style laid the groundwork for what would eventually develop into its own scene.
What’s it Sound Like?
The subgenre features slow, almost laborious tempos that compound an overarching tone of dread, despair and neurosis.
It’s common practice for guitarists and bassists to detune their instruments in order to achieve maximum heaviness. This effect leads many to describe the genre as “sludgy.”
Cover for “Epicus Doomicus Metallicus” by Candlemass
The lyrical content of doom metal songs tends to center around several core themes: depression, paranoia, despair and occasionally the occult. While other subgenres, such as black metal, lend themselves towards extreme vocal distortion, most doom metal vocalists sing in a clear fashion.
Thus, it’s all the easier to pick out a song’s bleak themes. For example, “Solitude” by Candlemass represents clear doom metal ethos in its lyricism.
I’m sitting here alone in darkness Waiting to be free, Lonely and forlorn I am crying I long for my time to come Death means just life Please let me die in solitude
“Solitude” – Candlemass
Subgenres Within Subgenres
Not only is doom metal a heavy metal subgenre, but is possesses several subgenres itself. Sub-subgenres, if you will.
Doom metal subgenres include drone metal, epic doom metal, gothic doom metal, sludge metal (also known as sludgecore), progressive doom, and many others.
Cover for “When the Kite String Pops” by Acid Bath
Each subgenre retains the core elements of doom metal but with the integration of qualities from other styles. For example, sludge metal is a combination of doom metal and hardcore punk.
Songs like “Finger Painting of the Insane” by Acid Bath feature the loping guitar rhythms characteristic of doom metal with the screaming vocals and “punch” of hardcore.
Welcome all ye foodies and music enjoyers. Today’s special presentation of things to feast on includes helping out folks that don’t have the capability to get the amount of food they need in their lives.
A fundraiser by Moldy Pear Records (located in Hickory, NC) is taking the initiative to raise money for Feeding America by donating ALL profits from their skramz, punk and indie compilation to this organization.
Feeding America fights for more legislature and policies regarding food insecurity programs, adds to food banks and meal programs, and is trying to root out the cause for food insecurity in America. They are big proponents of stopping food waste in homes and the food industry by teaching and becoming a collector of food going uneaten and unsold.
If you didn’t know already, food waste in America is an atrocious issue leading to large amounts of food in landfills (the US government estimates food as taking up 24% of landfill space in their Methane Emissions Reduction Program). Hopefully, programs like Feeding America or Food Not Bombs can help people begin to understand the issue with food consumption in the US (and in the world).
Of course we’re here to review a little music, but the most important part of this article is to get some of this stuff into the light. I love food and there’s a lot that needs to be done in the world with the way we have decided to consume.
“Creamy Peanut Butter” by Obscured Wingtip Memoir
This song is so damn painful to listen to. I love that it is the opening doom for this compilation album, and then everything else is much kinder and warmer afterwards. The head thumping chaos fuels me to smile as I get to enjoy this pain as loud as I can tolerate.
“Table Salt” by Sickle Eater
This reminds me of My Bloody Valentine being mixed with a little post punk. It’s a nice shoegaze feel but still independent in its blood and sound.
“Condensed Tomato Soup” by Girl Goes to Greenland
I love the slow build in this track. It’s a really calm and simple luxury that gets heavier and deeper as we approach the middle section of the song. The raspy crying vocals grasp for air. It’s a neat song with tons of heart in it.
“Granulated Sugar” by Snail Trails
This feels like a classic mix of country and punk and the beat of pop-punk. It’s a great little track with the skramz screams and emotion just trying to escape the vocalist. Thank you Snail Trails for this beauty.
Notable mention to “Hamburger Helper” by Sometimelastyear
Another painful track. It kills me a little more every time I listen to it. I can’t put the horror into words, but it’s definitely worth a listen.
There’s tons of interesting music on this compilation. I find it very noble to try and raise money this way. If you’re inclined to help donate to Feeding America and potentially discover some new tracks and bands from Hickory, NC, then drop some money to donate for this album.
After over 20 years of stasis, post-hardcore band Unwound is back from the dead with a 2024 tour.
The band will touch down in Carrboro, North Carolina March 22 at the legendary Cat’s Cradle alongside noise rock band Cherubs.
Unwound went on indefinite hiatus after their 2001 release “Leaves Turn Inside You,” the “Unwound album that ended all Unwound albums.”
Cover for “Leaves Turn Inside You” by Unwound
The band announced their reunion in 2022 following the 2020 death of bassist Vern Rumsey. Jared Warren of Melvins, Karp and Big Business stepped in to take over Rumsey’s role.
In February 2023, the band played their first show in over two decades at Seattle’s Showbox.
In November of the same year, they announced a 2024 tour featuring five cities on the east coast.
The tour kicks off March 20 in Atlanta before stopping in Knoxville for the city’s annual Big Ears Festival March 21. Unwound will perform in Carrboro March 22 before moving on to D.C. and Jersey City.
Rewound
“When we put Unwound on the shelf in 2002, we never thought we’d return to the project,” said drummer Sara Lund in a 2022 press release.
Following the announcement of Unwound’s 2023 reunion tour, demand for ticket sales was so high that the band added 10 additional dates.
“Starting over again is a rebellious act against our failure,” said founder Justin Trosper.
Cover for “You Bite My Tongue” by Unwound
Unwound emerged as a stylistic diversion from the band’s original project, Giant Henry, formed in 1988 while the members were still in high school.
“The first era of Giant Henry was sillier — making fun of grunge music, but we actually sounded grungy,” said Trosper in an interview with Tobi Vail. Unwound, Trosper explained, drew inspiration from Melvins, Black Flag, Nirvana and Flipper.
For those unfamiliar with Unwound’s sound, it’s best described as the impact point between smoky atmosphere and punk angst. The virile edge of Black Flag meets the cigarette-tinged vapor of Nirvana.
“Experience it. Enjoy it. Just don’t fall for it.”
– Phillip Seymour Hoffman as Lester Bangs in “Almost Famous” (Crowe, 2000)
There are very few words in the English language to express just how important “Almost Famous” is to me; in the immortal words of Bad Company, “it’s all part of my rock and roll fantasy.”
To a little girl who grew up on her dad’s rock albums, there was nothing more whimsical than the idea of being whisked away by a band. But I never wanted to be Penny Lane; I always wanted to be William Miller or, even better, Lester Bangs.
