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Fall, as it turns out, has been really good for music. Here at WKNC, we’ve been scouring those releases for what’s been the best, and then adding it because we know and understand that you, the masses, want nothing more than the best niche music. Here’s what we’ve found in the electronic sphere lately.
This week’s local music dive is gettin’ tropical as we explore a little bit of North Carolina’s Reggae, Ska and Dub scene. When I say “scene”, I mean a pitiful handful of bands. Unfortunately (or fortunately based on your view), there aren’t too many performers in NC that make their artistic sounds modeled after Jamaica’s beautiful sounds, but that is okay because the bands we do have here are interesting too.
From Carrboro, NC is The Unsustainables who focus on “traditional ska” and Reggae as their main sound influences. They perform around Raleigh in venues like the Pour House. As for band influences, here’s what their Bandcamp page states: “Inspired by the legends of Studio One, Treasure Isle, and Black Ark Studios”.
Raleigh has their own Reggae and Dub influenced band called Sons of Paradise. Now, I’m not too keen on their sound as it sounds pretty white-washed, but maybe someone else will enjoy it. They also perform around Raleigh in venues like the Pour House.
And my favorite I’ve found is a Ska Punk band from Chapel Hill, NC, SiBANNÄC. These guys have a hardcore edge to their music in similar fashion to Bomb the Music Industry! When I started looking for Reggae and Ska music in the area for this blog post, I didn’t think I’d be listening to a sound like this. I enjoy the explosive percussion, raw and throaty vocals, diabolical thrashing guitar and vengeful subject matter in their songs.
Unfortunately, I didn’t enjoy “You Hate to See It” off of this EP, but I did vibe with the long, windy “Heart Thief”. It is a slow moving jam, with nice chill lyrics, while “You Hate to See It” feels corny and overdone. “Heart Thief” feels more like an original sound based on the original Ska noises with a lot of sweet sax and island strums from the guitar.
I didn’t like any of the songs I’ve listened to by Sons of Paradise. They’ve pulled the weakest parts of Reggae and Dub from the genre and turned it into music that doesn’t feel authentic. I might have been hoping for too much from picking through this genre in NC.
FCC warning: there are many curse words and inappropriate things for ears unaccustomed to non-radio approved music. This album came out last year in 2022, and since then I think they’ve added a new vocalist and released their final album. I loved “Bomb the Block” off “Repeat Offenders” because it’s a short and sweet ACAB piece of pie with all the Ska and angsty punk built into it. Also, their album that came out in April this year “Closing Statement”, which is stated as their final album that features many community members involved with their music.
Well, I hope you all can find some island tunes for this warm November weather that puts you in a relaxed mood. I think The Unsustainables are the best sound for you if you’re seeking that, but if you’re like me and the coming Winter weather gets you heated up, then SiBANNÄC is just the band for you.
On October 31st, the Jubilee era came to its vibrant and energetic conclusion. The show took place at The Fillmore in Philadelphia, the city that birthed Japanese Breakfast. This was my third time seeing Japanese Breakfast on the Jubilee tour, which spanned from June 6th, 2021 to last weekend. Every single time I have been nothing less than blown away by these hometown heroes. This particular show, however, was possibly the most impeccably conducted tour conclusion that I have ever been lucky enough to bear witness to.
Minus the painfully unfunny comedy set performed by Sarah Sherman, colloquially known as Sarah Squirm, which I think a majority of the audience would have preferred to have never seen. This substanceless set only really consisted of Sherman repeatedly making grunting noises for an uncomfortably long time, and disses at Philly sports. Not a great move in a room full of Philadelphians. Genuinely, this was one of those moments where I wished a comical amount of tomatoes would have been thrown on stage.
The only appropriate way to describe a Japanese Breakfast show is as a massive celebration, thrumming with a whimsy and joy that is nothing short of a festivalian atmosphere. I have watched non-fans fall in love with indie rock’s sweetheart Michelle Zauner in real time. Their eyes, glued to her as she gracefully dances across stage; a persimmon-shaped mallet in her hand. Then, mere moments later, she proceeds to rip into the most enchantingly raw guitar duet with her husband and bandmate of Japanese Breakfast, Peter Bradley.
We are well in to the fall season for 2023. So, I figured I’d do everyone a favor and present a slate of some classic albums released during the season I’d recommend for the ears of those in need of some fall tunes to jam to.
“Tender Buttons” is the third and final studio album from the U.K based group Broadcast. This album is the result of the work from the recently downsized duo of Trish Keenan (vocals, guitar, keyboard) and James Cargill (bass) following the exit of several band members.
This album can be described a more bare form of the music that many were accustomed to hearing from this band before its release. That being said, the base essence of dream pop and indietronica sounds can be heard in this album’s entirety.
Favorite Tracks:
Considered a classic by many, “Love Deluxe” is the fourth studio album from English band Sade. This is an album very special to me as I often find myself frequently coming back to it and it will play the same for me at any time of day.
The album takes listeners through multiple genres including: cool jazz, classic R&B, and lush ambience all supporting the timeless vocals of lead singer Sade Adu.
Favorite Tracks:
“Everything But The Girl” is the self-titled release of the U.K based duo Tracey Thorn and Ben Watt. The album itself consists of mainly a sophisti-pop genre with aspects of jazz and lounge music sounds.
A fun fact about this album is that Thorn and Watt were close friends with band members of The Smiths at the time and this album even features The Smiths guitarist, Johnny Marr on the harmonica for the song “Native Land”.
Favorite Tracks:
While its the most recent album on this list, “The Ooz” holds a significant place in my heart. King Krule is the stage name of Archy Marshall and this project from him truly feels like a lost piece of media in its truest essence.
The album plays with a psychedelic core backed with mellow jazzy sounds along with many songs containing post-punk elements.
The lyrics on this album are some of my favorites not only from King Krule but in general for me, they are very hard to forget due to how well they are delivered on each track.
This album also highlights a fair amount of somber tones and topics along with the heavy theme of introspection from the point of view of Archy himself. I feel that the overall cool vibe of the album plays especially well in the fall season.
Favorite Tracks:
Ultimately, I’ll say once again that all of the songs on this slate are strong recommendations from me and I would go even further and say that these each of these albums were released during the perfect season for them.
Thanks for reading, hope this helped in some way and remember to stay cool.
– MJ :p
| # | Artist | Record | Label |
| 1 | CHERRY GLAZERR | I Don’t Want You Anymore | Secretly Canadian/Secretly Group |
| 2 | BEN FOLDS | What Matters Most | New West |
| 3 | CITIZEN | Calling The Dogs | Run For Cover |
| 4 | SLUICE | Radial Gate | Ruination |
| 5 | PANCHIKO | Failed At Math(s) | Self-Released |
| 6 | SLOW PULP | Yard | Anti- |
| 7 | TANUKICHAN | Gizmo | Carpark |
| 8 | WHITEHALL | Maizy | Enci |
| 9 | YVES TUMOR | Praise A Lord Who Chews But Which Does Not Consume; (Or Simply, Hot Between Worlds) | Warp |
| 10 | BEING DEAD | When Horses Would Run | Bayonet |
| 11 | FEEBLE LITTLE HORSE | Girl With Fish | Saddle Creek |
| 12 | J GRAVES | Fortress Of Fun | Self-Released |
| 13 | MAN ON MAN | Provincetown | Polyvinyl |
| 14 | JAMES ELLIS FORD | The Hum | Warp |
| 15 | MOKA ONLY | In And Of Itself | Urbnet |
| 16 | POSITIONER | Possession Arrow | Self-Released |
| 17 | SQUID | O Monolith | Warp |
| 18 | WAVEFORM* | Antartica | Run For Cover |
| 19 | WOMBO | Slab [EP] | Fire Talk |
| 20 | YES YES A THOUSAND TIMES YES | Supertinyinfinitedans | Really Rad |
| 21 | 12 RODS | If We Stayed Alive | American Dreams/Husky Pants |
| 22 | APHEX TWIN | Blackbox Life Recorder 21f/In A Room7 F760 [EP] | Warp |
| 23 | ASIAN GLOW | Coverglow pt.1 | Self-Released |
| 24 | BIG THIEF | “Vampire Empire” [Single] | 4AD |
| 25 | BILLY WOODS AND KENNY SEGAL | Maps | Backwoodz Studioz/Fat Possum |
| 26 | BOMBAY BICYCLE CLUB | My Big Day | Mmm…/AWAL |
| 27 | BLACK MILK | Everybody Good? | Mass Appeal |
| 28 | BULLY | Lucky For You | Sub Pop |
| 29 | DARKSOFT | Beigeification | Look Up |
| 30 | JANE REMOVER | Census Designated | DeadAir |
| # | Artist | Record | Label |
| 1 | HOTLINE TNT | Cartwheel | Third Man |
| 2 | SIPHO | PRAYERS & PARANOIA | Dirty Hit |
| 3 | TIFFY | So Serious | Totally Real/Dollhouse Lightning |
| 4 | VIJI | So Vanilla | Speedy Wunderground/PIAS |
| 5 | IAN SWEET | SUCKER | Polyvinyl |
| 6 | SLEEPING BAG | Pets 4: Obedience School Dropout | Earth Libraries |
| 7 | DAZY | “Forced Perspective” [Single] | Lame-O |
| 8 | SEN MORIMOTO | Diagnosis | City Slang/Sooper |
| 9 | KEVIN ABSTRACT | Blanket | RCA |
| # | Artist | Record | Label |
| 1 | MICKEY O’BRIEN | Orebody | Hand’Solo |
| 2 | BUTCHER BROWN | Solar Music | Concord Jazz/Concord |
| 3 | KIPP STONE | 66689 BLVD | Closed Sessions |
| 4 | K-RIZ | One Way Ticket | Birthday Cake |
| 5 | GOTTS STREET PARK | On The Inside | Blue Flowers/PIAS |
| 6 | DJ UNKNOWN | Prisoners Of Gravity | Urbnet |
| 7 | LTTHEMONK | Uptown Intern #333 | Sonic Unyon |
| 8 | SEAFOOD SAM | Afros In The Wind [EP] | drink sum wtr |
| 9 | TOMMY RICHMAN | The Rush [EP] | Pulse/Concord |
| 10 | ILLA J | No Traffic | BBE |
| # | Artist | Record | Label |
| 1 | SEAFOOD SAM | Afros In The Wind [EP] | drink sum wtr |
| 2 | H31R | “Down Down Bb” feat. Quelle Chris [Single] | Big Dada |
| 3 | JESHI | The Great Stink [EP] | Because |
| 4 | ERICK THE ARCHITECT | “Ambrosia” feat. Channel Tres [Single] | Self-Released |
| 5 | K.O.D. | “QUEEN OF HEARTS” [Single] | Self-Released |
| # | Artist | Record | Label |
| 1 | CRYPTOPSY | As Gomorrah Burns | Nuclear Blast |
| 2 | OUTERGODS | The Kingdom Built Upon The Wreckage Of Heaven | Prosthetic |
| 3 | BARONESS | Stone | Abraxan Hymns |
| 4 | WAYFARER | American Gothic (Bonus Track Version) | Profound Lore |
| 5 | XORCIST | “Coterie Of The Depraved” [Single] | Prosthetic |
| 6 | VITRIOLIC RESPONSE | The Dissidents/Vitriolic Response [EP] | Self-Released |
| 7 | CREAK | Depth Perception | Prosthetic |
| 8 | TILL THE DIRT | Outside The Sprial | Nuclear Blast |
| 9 | INHUMED | Feasted Upon Like Carrion | Self-Released |
| 10 | DYING FETUS | Make Them Beg For Death | Relapse |
| # | Artist | Record | Label |
| 1 | ONEOHTRIX POINT NEVER | Again | Warp |
| 2 | CARLOS POMPEU | O fantasma que come mofo e vomita o sangue dos outros | LogoLogo |
| 3 | CDMUSIC009 | VARIOUS ARTISTS | Club Design |
| 4 | JOCKSTRAP | I<3UQTINVU | Rough Trade/Beggars |
| 5 | RIPHYAKU | rated N for nobody | Lost Frog |
| 6 | AMBER DREGS | Sloejams vol. 3 | Self-Released |
| 7 | EVABOY | Beef | Dismiss Yourself |
| 8 | TANK JR. | Autism House | Self-Released |
| 9 | MUNYA | Jardin | Luminelle |
| 10 | GLASSER | crux | One Little Independent |
| # | Artist | Record | Label |
| 1 | ONEOHTRIX POINT NEVER | Again | Warp |
| 2 | CARLOS POMPEU | O fantasma que come mofo e vomita o sangue dos outros | LogoLogo |
| 3 | CDMUSIC009 | VARIOUS ARTISTS | Club Design |
| 4 | AMBER DREGS | Sloejams vol. 3 | Self-Released |
| 5 | JOCKSTRAP | I<3UQTINVU | Rough Trade/Beggars |
| 6 | RIPHYAKU | rated N for nobody | Lost Frog |
| 7 | EARTHEATER | Powders | Chemical X |
Sopor Aeternus & The Ensemble of Shadows is the musical brain child of Anna Varney Cantodea.
From the moment of its conception in Germany in 1989, the musical project defines itself through its basis in the “sacred trinity” of music, poetry and visual appearance.
Though arguably underrated in the goth scene, Sopor Aeternus is unequivocally striking both musically and visually, making it (in my opinion) one of the most important projects in the subculture today.
The project is best enjoyed holistically, affording appreciation of both its music and its stunning visuals.
While Varney exists as the self-proclaimed “sole protagonist” of the band — the Sopor Aeternus, if you will — she credits much of her inspiration to the “Ensemble of Shadows,” whom she describes as the “spirits” who deliver her the ideas for musical compositions.
Varney also claims that the influence of this “Ensemble of Shadows” dissuaded her from suicide following the production of her second album, “Todeswunsch – Sous le Soleil de Saturne” (“Deathwish – Under the Sun of Saturn”) in 1995.
Though infused with elements of classical, baroque, medieval and even electronic music, Sopor Aeternus continually roots itself in a starkly “gothic” sphere.
Which makes sense, as the project’s basis lies in its purpose as an expression of “extreme, intense pain.”
On her website, Varney describes her musical project as “magic(k)al, spiritual work … a perpetual stock-taking … a constant analysis … crisis & observation … invocation & exorcism.”
According to her philosophy, “life” and “art” are inexorably linked. Each musical release represents Varney’s process of coming to terms and moving on from events in her life.
Many artists, especially in the goth scene, liken their musical process to ritual. Varney, however, takes this a step further by conceptualizing music as a deeply personal, intimate experience.
As such, she refuses to engage in live performances and claims to record all her songs in a single take, never revisiting them after leaving the studio.
Varney’s current discography consists of a vast assortment of music, including three demo tapes, 16 albums, eight EPs and 11 singles.
My personal favorite of Varney’s works is her 2020 album “Island of the Dead,” which draws from her experience as a trans woman dating a married man.
Possessing a blend of humor and heartwrenching honesty, the album is theatre in its purest form, a prolonged dialogue between Varney, her lost love, and herself.
It’s difficult to describe Sopor Aeternus, because it stands as something so artistically rich.
Trying to confine it within the stricture of words is like trying to summarize the totality of a play or novel in a single sitting. It’s impossible to capture everything.
What I’d say is the best thing to do in order to gain even a sense of what Varney brings to the table is to listen through one of her albums with the awareness of its personal nature.
It’s not uncommon for artists to infuse their work with aspects of themselves. Especially in music, it’s a common practice.
But it’s less common to see the practice represented so holistically — the intersection of gender, sexuality and mental health made manifest — in an overarching musical “universe.”
Deeply philosophical, irreverently gloomy and subtly witty, Sopor Eternus & The Ensemble of Shadows is a “project” in the most literal sense, and one I highly encourage anyone with a taste for the avant garde to explore.
I can’t get out and I’m not sure I want to anyway. I’ve been stuck listening to two albums by an artist I’ve already mentioned on the blog here this semester, Gary Brents. This blog will dive a little bit into two other albums released by Brents this year: “Celestial Invocation” and “Astral Corridors“.
Just a little info on Brents if you haven’t read my previous article or if you forgot: he is a metal mastermind based out of Dallas, Texas with tons of projects that have been taking off recently like Memorrhage, Cara Neir, and this project, Gonemage.
Each of these projects focuses on a specific genre, sound or part of fantastical reality that Brents has created to explore his musical talents with. Using Gonemage as an example, Brents states it is “Rock/Metal/Chiptune convergence set in pixelated dream realms. Gonemage began as an alternate reality to my other project Cara Neir’s album Phase Out” (seen on Gonemage’s Bandcamp).
This album’s unique qualities shine bright compared the darker depths explored in Gonemage’s other albums. It’s described as a “…lively pop space opera where the fate of planets hinge on an intergalactic basketball tournament” (again on Gonemage’s Bandcamp), and I don’t know if I could come up a more perfect setting for a space opera.
How in the world does anyone make music sound so majestic and thrilling all at once? One of my favorite tracks on this release is “6 PTS, 6 REB, 6 AST“. It’s dreamy, hyper, explosive, bumpy, jumpy, pretty much everything I could want from an epic reality based on intergalactic basketball.
This is the the moody, thought-provoking, emo older sibling 9by like four months) of “Celestial Invocation”. It’s a little more metal and 8-bit musically centered, but it has so many differences it feels like a completely different human being made this music.
If you take the time to look through the album descriptions in Gonemage’s discography, then the seemingly convoluted story descriptions become clear and fun to experience. Each of these albums has a set protagonist working through some Sci-Fi or Space Fantasy epic saga, which are all a pleasure to absorb.
My favorite track on this album is either “Dream Surfing in the Astral Corridors” because it sounds like high-tech Freddy Krueger on another mission of evil murders in the VR apocalyptic world we’re sure to see soon, or “Purple Lurker Bedside” because it sounds like a mish-mash of Grimace, the “Purple People Eater”, and “The VVitch” mashed together in an impossible conglomerate of cyberpunk horror.
I know Halloween is over, but if you feel like escaping into a dark fantasy world through music or basketball based space opera, then I know which albums I’d recommend to you.
