Categories
Classic Album Review

A Slate of Fall Albums For Fall ’23

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.

Cover art of "Tender Buttons" by Broadcast

“Tender Buttons” By Broadcast (2005)

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:

  • “Michael A Grammar”
  • “Tears In The Typing Pool”
  • “Black Cat”

“Love Deluxe” By Sade (1992)

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:

  • “Pearls”
  • “No Ordinary Love”
  • “Like a Tattoo”

“Everything But The Girl” By Everything But The Girl (1984)

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:

  • “Tender Blue”
  • “Never Could Have Been Worse”
  • “Mine”

“The Ooz” By King Krule (2017)

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:

  • “Cadet Limbo”
  • “Slush Puppy”
  • “Dum Surfer”

Final Thoughts

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

Categories
Weekly Charts

Top Charts 11/7/23

Top Charts

#ArtistRecordLabel
1CHERRY GLAZERRI Don’t Want You AnymoreSecretly Canadian/Secretly Group
2BEN FOLDSWhat Matters MostNew West
3CITIZENCalling The DogsRun For Cover
4SLUICERadial GateRuination
5PANCHIKOFailed At Math(s)Self-Released
6SLOW PULPYardAnti-
7TANUKICHANGizmoCarpark
8WHITEHALLMaizyEnci
9YVES TUMORPraise A Lord Who Chews But Which Does Not Consume; (Or Simply, Hot Between Worlds)Warp
10BEING DEADWhen Horses Would RunBayonet
11FEEBLE LITTLE HORSEGirl With FishSaddle Creek
12J GRAVESFortress Of FunSelf-Released
13MAN ON MANProvincetownPolyvinyl
14JAMES ELLIS FORDThe HumWarp
15MOKA ONLYIn And Of ItselfUrbnet
16POSITIONERPossession ArrowSelf-Released
17SQUIDO MonolithWarp
18WAVEFORM*AntarticaRun For Cover
19WOMBOSlab [EP]Fire Talk
20YES YES A THOUSAND TIMES YESSupertinyinfinitedansReally Rad
2112 RODSIf We Stayed AliveAmerican Dreams/Husky Pants
22APHEX TWINBlackbox Life Recorder 21f/In A Room7 F760 [EP]Warp
23ASIAN GLOWCoverglow pt.1Self-Released
24BIG THIEF“Vampire Empire” [Single]4AD
25BILLY WOODS AND KENNY SEGALMapsBackwoodz Studioz/Fat Possum
26BOMBAY BICYCLE CLUBMy Big DayMmm…/AWAL
27BLACK MILKEverybody Good?Mass Appeal
28BULLYLucky For YouSub Pop
29DARKSOFTBeigeificationLook Up
30JANE REMOVERCensus DesignatedDeadAir

Top Adds

#ArtistRecordLabel
1HOTLINE TNTCartwheelThird Man
2SIPHOPRAYERS & PARANOIADirty Hit
3TIFFYSo SeriousTotally Real/Dollhouse Lightning
4VIJISo VanillaSpeedy Wunderground/PIAS
5IAN SWEETSUCKERPolyvinyl
6SLEEPING BAGPets 4: Obedience School DropoutEarth Libraries
7DAZY“Forced Perspective” [Single]Lame-O
8SEN MORIMOTODiagnosisCity Slang/Sooper
9KEVIN ABSTRACTBlanketRCA
Categories
Weekly Charts

Underground Charts 11/7/23

Underground Charts

#ArtistRecordLabel
1MICKEY O’BRIENOrebodyHand’Solo
2BUTCHER BROWNSolar MusicConcord Jazz/Concord
3KIPP STONE66689 BLVDClosed Sessions
4K-RIZOne Way TicketBirthday Cake
5GOTTS STREET PARKOn The InsideBlue Flowers/PIAS
6DJ UNKNOWNPrisoners Of GravityUrbnet
7LTTHEMONKUptown Intern #333Sonic Unyon
8SEAFOOD SAMAfros In The Wind [EP]drink sum wtr
9TOMMY RICHMANThe Rush [EP]Pulse/Concord
10ILLA JNo TrafficBBE

Underground Adds

#ArtistRecordLabel
1SEAFOOD SAMAfros In The Wind [EP]drink sum wtr
2H31R“Down Down Bb” feat. Quelle Chris [Single]Big Dada
3JESHIThe Great Stink [EP]Because
4ERICK THE ARCHITECT“Ambrosia” feat. Channel Tres [Single]Self-Released
5K.O.D.“QUEEN OF HEARTS” [Single]Self-Released
Categories
Weekly Charts

Chainsaw Charts 11/7/23

Chainsaw Charts

#ArtistRecordLabel
1CRYPTOPSYAs Gomorrah BurnsNuclear Blast
2OUTERGODSThe Kingdom Built Upon The Wreckage Of HeavenProsthetic
3BARONESSStoneAbraxan Hymns
4WAYFARERAmerican Gothic (Bonus Track Version)Profound Lore
5XORCIST“Coterie Of The Depraved” [Single]Prosthetic
6VITRIOLIC RESPONSEThe Dissidents/Vitriolic Response [EP]Self-Released
7CREAKDepth PerceptionProsthetic
8TILL THE DIRTOutside The SprialNuclear Blast
9INHUMEDFeasted Upon Like CarrionSelf-Released
10DYING FETUSMake Them Beg For DeathRelapse
Categories
Weekly Charts

Afterhours Charts 11/7/23

Afterhours Charts

#ArtistRecordLabel
1ONEOHTRIX POINT NEVERAgainWarp
2CARLOS POMPEUO fantasma que come mofo e vomita o sangue dos outrosLogoLogo
3CDMUSIC009VARIOUS ARTISTSClub Design
4JOCKSTRAPI<3UQTINVURough Trade/Beggars
5RIPHYAKUrated N for nobodyLost Frog
6AMBER DREGSSloejams vol. 3Self-Released
7EVABOYBeefDismiss Yourself
8TANK JR.Autism HouseSelf-Released
9MUNYAJardinLuminelle
10GLASSERcruxOne Little Independent

Afterhours Adds

#ArtistRecordLabel
1ONEOHTRIX POINT NEVERAgainWarp
2CARLOS POMPEUO fantasma que come mofo e vomita o sangue dos outrosLogoLogo
3CDMUSIC009VARIOUS ARTISTSClub Design
4AMBER DREGSSloejams vol. 3Self-Released
5JOCKSTRAPI<3UQTINVURough Trade/Beggars
6RIPHYAKUrated N for nobodyLost Frog
7EARTHEATERPowdersChemical X
Categories
Band/Artist Profile

Artist Profile: Sopor Aeternus & The Ensemble of Shadows

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.

Cover for “Mitternacht” by Sopor Aeternus & The Ensemble of Shadows

Sopor Aeternus, or Eternal Sleep

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.

Cover for “Have you seen this Ghost?” by Sopor Aeternus & The Ensemble of Shadows

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.

Discography

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.

Cover for “Vor dem Tode tr​ä​umen wir” by Sopor Aeternus & The Ensemble of Shadows

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.

Final Thoughts

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.

Categories
Band/Artist Profile

Trapped in an 8-Bit Death Metal Realm

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).

Celestial Invocation

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.

Astral Corridors

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.

Categories
Concert Review

A Non-Fan’s Review of the julie Concert

On a Monday night, I stood at the edge of the moshpit- the event horizon, my body delineating physical security to those behind me- a perfect location from which to drink in the atmosphere and peruse the faces of fellow young people as they melted into the ferocious wall of noise and flesh they were so vivaciously facing. Guitars shrieked, people thrashed, the room got darker, the walls closed in, and the sea of hair and sweat rose, and rose, and rose…

Then, in a shocking moment of clarity, I realized: I hardly know this band.

Well, they’re called julie- with a lowercase “j”- and they rocked. Despite their recent clout (approaching 28 million streams on their first single, and a few others creeping towards ten), despite their student radio buzz, and despite their October 30 gig at Kings selling out shockingly quickly, I didn’t go into the show knowing exactly what to expect. I’d heard of them… but never properly heard them.

A friend of mine got a ticket before they sold out, and after I was offered an extremely last-minute ticket (I sent the money during class the same day), I decided to ride along. 

It was the right decision.

Like a bunch of new-generation artists, julie’s Spotify discography is notably short. Since 2020, they have released four singles and a six-track EP clocking in at a combined thirty-five minutes, making for interesting expectations going into the show.  It’s natural to survey your thoughts before walking into a concert, and I certainly did; how long was the set going to be? How will they fill the space? Will they play every song?

While I can’t say which songs they played, and as such I can’t tell you if they played everything they had on Spotify, their set was nonetheless fantastic. The energy was raw, the emotions were real (and validated by the audience, who, by the way, were pretty exclusively around college age), and the playing was tight. 

There’s three musicians in julie, and despite being a trio, they managed to bring an enviable sonic fullness and delightfully looming stage presence to bat. Their music is done in a ragged grunge-esque style; they take momentous distortion and occasional bouts of atonality and whip up thematically and texturally rich (and addictive) tunes which didn’t fail to cause a stir at the gig.

Their angsty, dark aesthetics did not go unnoticed; the band’s artistic sensibilities played into the music seamlessly, and these sensibilities were not challenging to pick up on. The bassist/lead vocalist brought the popular nu-gaze, Gen-Z-grunge rotten-doll aesthetic to the forefront, channeling heavy Kim Gordon vibes with her twisted yet on-the-nose vocal performance and rock-solid bass duties.

The guitarist spun distorted melodies and executed beautiful intermissions with ease (and sung wonderfully too), and the drummer (seemingly a budding Zach Hill fan) kept things impeccably tight throughout, with brief yet effective solos that complemented and magnified the band’s loving harshness.

On the topic of noise; julie were very noisy. In between many of their songs were intermissions of beautiful, pedal-y feedback, mainly led by the guitarist and the bassist. Song outros were added, extended, amplified and experimented with in real time. The huge walls of din and moments of electronic sampling managed by the bassist added needed tension to the relative sameness of the set and contributed to the band’s readily apparent dark aesthetic.

Herein lies my sole complaint.

As a non-fan (and this goes for almost any artist with a cohesive sound, really), I began to notice something. Recall how I noted their short discography? The set was, ultimately, long. Surprisingly long. I believe it went close to if not over an hour.

While this could be passed off as artistically valid fan service- and to be fair, I did find it pretty impressive- I found that many of the songs began to blend together, with similar tempos and vocal lines, and dynamics that were roughly the same throughout the set.

The band did make an effort to separate their tracks, and to provide periods of rest (hence the aforementioned “intermissions”), but I very occasionally found my interest in the music towards the end of the set faltering at certain points. These feelings were far from the norm, but I did leave the venue with them in the back of my head.

My friend at the show mentioned that this issue could be the effect of having a discography consisting largely of singles, as opposed to album tracks that ebb and flow. But hey, I’m not a dedicated fan, so what do I know; pretty much everyone else there seemed like they’d disagree with me.

Ultimately, I’m super glad I went. The opener was killer (a fresher band by the name Deux Visages), presenting much hookier and marginally more accessible songs compared to julie, while maintaining a similar aesthetic. They had a charming (and far from offputting) air of inexperience, but still played excellently. It was the perfect opener for a more esoteric, darker lead act, and provided the perfect appetizer for what was to come. I left the show satisfied; it’s one of those sets where it leaves you curious for what the future holds for an artist. julie is a band to watch for sure.

Next time, I’ll do my homework.

-Mike Utt

Categories
Concert Preview

Concert Preview: Citizen with Narrow Head and Modern Color

There’s no better time to go to a show and listen to moody, angst-filled music than mid-to-late November, that sweet spot nestled right between midterms and finals where reality is at its most existentially crushing.

Cat’s Cradle, one of my favorite venues for its ease of parking *cough cough* Raleigh needs to do better *cough cough*, will be hosting a trio of excellent bands on Wednesday, November 15.

With a lineup consisting of Citizen, Narrow head and Modern Color, the night will be a sepia explosion of wrenching post-hardcore and shoegaze ballads.

If you’ve been looking for an excuse to slap on your used Carhartt jacket and favorite knitted beanie, this might be the perfect opportunity for you.

Citizen

Michigan-based punk-rock-emo band Citizen has been hard at work, having released their most recent LP back in early October.

In celebration of this release, the band the US with Narrow Head and Modern Color (and will tour the EU with Drug Church) and will stop in North Carolina on the 15th.

If you’re not familiar with Citizen, they’ve got a classic summery sound that leans more in the direction of emo than punk and with distinct post-hardcore roots.

Cover for “Calling the Dogs” by Citizen

While I wouldn’t consider the music “moshable” per se, it’s definitely good music to nod your head to.

“Calling the Dogs,” Citizen’s latest LP, is a contemporary take on shoegaze and indie rock.

Consistently upbeat and occasionally beachy, the album is exactly the kind of music I’d imagine coastal hipsters drink IPAs to at bonfire get-togethers.

While the album only gives me subtle shoegaze or emo vibes, it’s an interesting representation of the band’s stylistic development since their early 2012 album “Split.”

Some of the LP’s tracks, like “Dogs,” take on a gritty post-punk slant akin to Viagra Boys. Others, like “If You’re Lonely,” lean more towards indie rock.

Narrow Head

Where Citizen’s music is fast and upbeat, Narrow Head traverses swirling rivers of molasses.

Slow, grungy and riddled with distortion, the music of Texas-based Narrow Head is an echo of the 90s in some places and a glimpse into an unseen future in others.

Cover for “Far Removed” by Narrow Head

With their most recent albums and LPs all having been released in the same year, 2020, it’s unclear where the band will be sourcing their setlist materials.

All that’s guaranteed is that the music will be perfectly smokelike, its hard rock edge blunted by the ambience of the concert hall.

Modern Color

I’ve mentioned Modern Color on this platform before.

Of the three performers at this show, I can guarantee Modern Color will be the moodiest.

Cover for “From the Leaves of Your Garden” by Modern Color

If their setlist pulls at all from their 2021 EP “Now, Life is Living You,” the audience will be transported by a swell of pure emotion — yearning, melancholy and other abstract feelings — as soon as the first song starts.

Based in California, Modern Color defines itself as alternative rock, post-hardcore and punk. While I see their discography as more post-punk than punk, there’s a strong post-hardcore influence throughout.

Of the three bands, I think Modern Color will bring the most raw energy to the stage and audience.

Categories
Concert Preview Local Music

November & December Local Shows

Hey y’all. Hope you’ve been keeping up with local shows in your neighborhoods wherever you’re from, and if you’re a part of the Triangle area, then I know there’s been a lot of great performances out here lately.

A couple months ago I made a post about shows in September in the area and I want to return to that style of post to update anyone that cares about interesting shows in the Durham, Raleigh and Chapel Hill area.

Chapel Hill:

  • Local 506 has a large number of upcoming shows including an “Emo(ish)” cover show on November 4th, Satan’s Satyrs w/ Magick Potion and The Magpie (a local band I’ve talked about before) opening for them on November 14th and Bask w/ Wailin’ Storms (a local band) on December 15th.
  • Cat’s Cradle (another indie music staple in the Triangle area) has Nation of Language performing on November 9th, Slaughter Beach, Dog plays on November 14th, Angel Olsen is making an appearance on December 9th and the first annual Holiday Hootenanny featuring Callous Daoboys, 68 and Johnny Booth on December 16th.

Durham:

  • In Durham’s The Fruit, there are a number of musical and non-musical events happening like a monthly flea market on November 5th and December 3rd; there’s a 90’s Rave on November 18th; also, there’s Auntie Boy and Jooselord will be present on the same night (not sure how that works), but Jooselord is a local talent with tons of hype and fun.
  • The Pinhook also has many exciting musical talents and non-musical events like a Queer Movie Night featuring “Beetlejuice” and “To Wong Fu” on November 7th. Performing the next night is a Queer Country lineup with karaoke, line dancing and live music. Also, Rosie Tucker performs on November 13th.

Raleigh:

  • And in Raleigh we have a few cool venues too. At The Ritz The Front Bottoms play on November 7th.
  • At Raleigh’s Pour House we have Crawford & Power (a lil’ country for ya) on November 12th, Late Notice and a slew of opening bands on November 16th and axelone w/ Max Gowan and Cor De Lux on November 27th.

Hope this light list of interesting performances can pique your interest. There are many bands and artists I’ve failed to mention, but these seemed the most interesting to me. Enjoy my bias.