Posts Tagged ‘Noise’

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Three DC Concerts: Beach House, A Sunny Day in Glasgow, Gang Gang Dance

April 2, 2010

DC just had its arguably busiest week in concerts of the season. The city had shows from the likes of Beach House, Dum Dum Girls, Real Estate, Deerhunter, Spoon, Gang Gang Dance, The xx, A Sunny Day in Glasgow and jj. I personally hit up three shows in a five day period: Beach House, A Sunny Day in Glasgow and Gang Gang Dance.

Beach House at the Black Cat on Friday might have been the most hyped concert of the week for one of the most hyped bands of the year. They quite easily sold out the Black Cat and packed the Main Stage room full of eager fans. The precious Bachelorette opened, who got a fair bit of audience response, probably due in part to her quiet, cutesy New Zealandic accent. Her set mostly consisted of cleverly looped vocals, guitar strums, and drum machines that made for a well received whole. When Beach House stormed the stage, the crowd couldn’t have been happier, frequently letting loose “we love you Victoria!”s and other such words of praise. The band’s set was decent sized and was delivered as well as received with great enthusiasm. Victoria LeGrand and Alex Scalley actually move around on stage and have more energy than their slow, syrupy music might suggest. They played all but one song from their new album Teen Dream (sadly giving arguably the album’s best song, “Real Love,” the shaft) as well as a couple older numbers, even stretching back to their 2006 self-titled debut for “Master of None.” The encore was just perfect. They first played a crowd favorite from 2008’s sophomore album Devotion, “Astronaut,” and clinched the show with a spirited rendition of “10 Mile Stereo.” Although seeing Beach House live doesn’t differ much from  hearing them on an album, it stands that doing both is a breathtaking emotional experience, and I would say that just about everyone at the Black Cat on Friday had a great time.

Beach House

A Sunny Day in Glasgow played on Sunday at DC9, which might take the cake as DC’s smallest regular concert venue, but it is also one of its most rewarding. Its acoustics are nice and its setup puts the audience just feet away from the performers. We walked in a little late to just catch Phil and the Osophers play an enjoyable, playful pop set that felt similar to the likes of Vampire Weekend. Although it was a fairly innocuous set, I admit to wanting to hear more from the band, and I hope they had a good time at SXSW where they played just last week. When A Sunny Day in Glasgow got started, their set was unstoppable. Their live presence is something to be reckoned with, six band members on stage all doing different things for every song (a favorite moment was when Ben Daniels broke out an electric mandolin). The group focuses their powers around vocalists Annie Fredrickson and Jen Goma, who harmonize the songs’ airy vocals to lovely effect. Most of the songs they played sounded better than the studio versions, which were already superb (recall my naming Ashes Grammar one of the best albums of this past decade). They played through new favorites like “White Witch,” “Failure” and “Passionate Introverts” with lovely vitality. The biggest disappointment of the show was the lack of an encore; they played through a rather short set and could have easily extended it to better please the crowd, but that was about their only shortcoming. They will surely have my ticket sale the next time they come to town.

A Sunny Day in Glasgow

The wait for Gang Gang Dance at the Rock ‘n Roll Hotel on Tuesday was long, and opening act High Life only made it feel longer. His high pitched squeals over noisy effects loops were maybe an appropriate way to ease the audience into Gang Gang Dance’s set, but it was still hardly appreciated except by a select few near the stage. He later made up for the set by acting as Gang Gang Dance’s much needed bass player, who gave the main band’s music the strong under-melody it needed. This was particularly important because Gang Gang Dance played so loud that it was sometimes difficult to hear what one was hearing, and a strong sense of melody as well as rhythm was needed to make sense of the raucous din. This situation could have been disastrous if the acoustics were different and the sound was too noisy, but Gang Gang narrowly hit a bullseye mark that got most of the audience nodding and bobbing in a narcotic haze. All of the songs they played were new, some melodic and most all featuring beats and melodies that sound like they come straight from Saudi Arabia or India. The only tune I recognized was the shimmering “Crystals,” which featured steel drum sound effects and twinkling synthesizers. We can hope that this song, as well as the others we heard that night, will make it onto Gang Gang’s next proper studio LP. Overall I’d say the venue housed a great amount of satisfied customers, considering the band surprisingly almost packed the house. But we need to remember that Gang Gang are a noise band, and though their noise is beautiful, it is still willfully cacophonous, and should be judged appropriately.

Gang Gang Dance

Overall, I had a really awesome time at all of these shows. Conclusion: DC has a lot of great shows, some of which are highly attended and some that aren’t, and if you pick and choose well enough, you can get more than your money’s worth for a night, or week, of fun.

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The Return of Youtube Corner: Gang Gang Dance – Crystals

March 4, 2010

Gang Gang are coming to the Rock n Roll Hotel in DC on March 30th and hopefully I’ll be seeing them. Last time they rocked and I have high hopes for this time too. For those of you who haven’t been following them, they recently signed to 4AD, and we can logically assume that new material is in the works. This is a classic Gang jam, ambient/dreampop clouds of sound and ethnic rhythms, topped with entrancing electronics. If their new material includes or is anything like Crystals, the new Gang Gang Dance album is definitely something to watch out for. And remember, Saint Dymphna was one of the best albums of not just 2008 but the whole damn decade, so their standards are already high. Enjoy and keep an eye out.

Gang Gang Dance

ATB

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Off This Century – My Favorite Albums of 2000-2009

December 25, 2009
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Halloween Albums

October 24, 2008

Halloween is near, and I have started to pick out some spooky favorites from the music library. I figured it might be appropriate to acknowledge some of the more genuinely scary or creepy albums I have come in contact with over the years. Six might seem like a rather arbitrary number, but these releases are of a rare breed and I find each one to be essential to the list. Of course there’s nothing wrong with traditional Halloween music (the Monster Mash, sure), or some other fun retro music that might be appropriate for the holiday (The Cramps!), but if you want something that might really creep you out, this list might be able to help.

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Alice in Chains – Dirt

Alice in Chains’ second album Dirt arrived just in time for the Halloween season in 1992, and took over the grunge scene with its spooky hard rocking style. The album is almost unbelievably advanced past the band’s debut album Facelift, every song taking on its own texturally rich identity. In terms of technical skill, every member of the band is in prime form despite their drug addictions which are reflected heavily in the album’s lyrical themes. The late and great Layne Staley spits “what the hell am I/thousand eyes a fly/lucky then I’d be/if one day deceased” on one of the album’s underhand knockouts Sickman. We can hear both the anger and anguish associated with personal breakdowns and drug abuse. The consistency of the album alone makes it one of the finest albums that grunge had to offer, with a killer lineup of singles, the hammering Them Bones, Vietnam reminiscent Rooster, and possibly the greatest grunge single ever, Would?. But the highlights don’t stop there; the album also has a slew of brooding, slow moving, moody masterpieces (Dirt, Rain When I Die, Down In A Hole), as well as many other sleeper highlights (God Smack is the origin of the name of AiC knockoffs Godsmack, to exemplify the album’s influence). Although Alice in Chains’ best work may be scattered throughout their albums and EPs, Dirt is easily their most representative and possibly most accomplished work, a scary, fun, and emotional masterpiece of its genre.

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Slint – Spiderland

Considered the premier post rock album, Slint’s second and final album Spiderland is made by a band with absolutely nothing to lose. Perhaps it is this that makes it so startlingly affecting. How out of no where the album must have seen at the time is also probably a reason that it was as vastly influential as it is. But legacy aside, Spiderland is quite a scary album by all accounts, softly building damaged melodies out of nothing and then disassembling them again. As soon as the opening arpeggiated harmonics of Breadcrumb Trail start, it sounds like the beginning of the end. This mysterious, slow urgency pulls the listener through the albums six unsettling songs with great anxiousness. All of Slint’s weaponry is fully formed here; their percussive anger, David Pajo’s atmospheric guitars and sense of instrumental tension, and Brian McMahan’s oft whispered creepy poetry. These elements make for six completely perfect songs, the rocking Nosferatu Man, the quiet, brooding Don Amon, the sadly beautiful Washer, and the extremely quiet instrumental For Dinner… It all seems to lead to something, and when it does, we get one of the single scariest and most beautiful songs of the nineties, Good Morning Captain, which evades all explanation. It may disappoint fans that the subsequent two song Slint EP was as far as the band would ever go, but Slint’s three releases, and particularly Spiderland were all they needed to be one of the most important bands of their genre.

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Boards of Canada – Geogaddi

With Board’s of Canda’s second major full length release Geogaddi, brothers Michael Sandison and Marcus Eoin make certain that their love of degradation and psychosis plays itself out on more than just their own production values. In fact, one might be given the false impression of their own mental degradation while listening to the album, it is so elaborately and eerily constructed. Although its format is essentially the same as its championing predecessor Music Has The Right To Children (long pieces dispersed with very short pieces, beat driven IDM), their style is distinctly advanced over their previous works. The album is almost extravagantly detailed with myriad fascinating jigsaw pieces of sound; reversed beats, distorted vocal samples, dissonant chords, and heavy aural contrasts provide the album’s basic groundwork. Although some pieces here are vaguely reminiscent of previous fan favorites (Sunshine Recorder, 1969, Dawn Chorus), every song is highly advanced and vaguely unsettling. Throughout the album Boards of Canada paint as they call it a vast, winding, labyrinthine “journey” through a beautiful and horribly warped dreamland. Once you follow the white rabbit down the hole, something immediately seems very, horribly wrong, and this feeling is played with, turned upside down and inside out at every turn of the album. The more you think about it, the more it scares you, and the more one recognizes its intricacies such as mathematical structures, biblical references, and distorted fascination with the occult, the more one wants to dismiss Geogaddi as pretentious and supersaturated. However, it is a genuinely creepy album, and its ominous atmosphere cannot be denied. And yet the brothers state the ultimate innocuousness of the album in interviews. “…If we’re spiritual at all, it’s purely in the sense of caring about art and inspiring people with ideas.” (interview “Play Twice Before LIstening” by Koen Poolman). Despite what its message is, Geogaddi is an album that genuinely brings you to the brink of your own mind and refuses to let you forget the experience.

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Coil – The Ape of Naples

If any album has ever been literally haunted, or at least come close, The Ape of Naples is the culprit. Created posthumously after Coil frontman John Balance tragically fell to his death over the banisters of his Mansfield home in a drunken stupor, The Ape of Naples is actually a collection of the industrial/electronic band’s leftover material. This makes the overall cohesion of the album nothing short of a small miracle of planning. In fact, it makes little to no sense that this album is more than a rarities compilation, and it is more, much more. Through it’s lengthy textural songs it develops many stories with real life reference points, perhaps outlining both the experiences of the unsettling said ape on the cover art as well as John Balance’s descent into alcohol addiction. The haunting opening chords of Fire of The Mind (the original title of the album) set the stage for an album loaded with treasures, all uniquely disturbing and affecting. Songs call on an eclectic selection of instruments such as accordions, marimbas, horns and pipes, and as always carefully synthesized melodies, beats, and atmospherics. Songs range from gentle to violent, and the album’s transformation is downright scary. The Ape of Naples is an all around great performance from all those involved, but John Balance remains the album’s key player. His voice touches every song in different ways, and his emotion is fluid, sometimes gracing songs with subtle melancholy and other times with spitting anger. The album comes to a close with a cover of the British sitcom Are You Being Served?’‘s theme song Going Up, featuring vocals from Balance’s final onstage performance at the Dublin Electronic Arts Festival in 2004. And with John Balance’s final vocals, locations of bedding materials, tea, and travel products as well as the final direction of an elevator, it isn’t hard to hear him simultaneously falling down and going up.

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Merzbow – 1930

Many non-noise fans may turn on Japanese noise godfather’s quintessential album, 1930, and be disgusted. It is, to put it one way, a deliberately disgusting album, barely music in any traditional sense, and more of a terrifying sound assault. Perhaps best at home in a torture chamber (just how the bondage obsessed Merzbow would like it), listening to 1930 at loud volumes is a potentially terrifying experience that can push one’s sanity to the limit. Once again, it is barely even music, but more an aural representation of a mile high battleship with cannons filling every square inch, all firing at the listener at the same time. Reach for the off switch and the terror goes away temporarily, but curiosity will make you turn it on again at some point, and when you get curious enough to listen to the entire thing, you probably won’t be able to turn it off as much as you want to. There is something almost inhuman and unearthly about 1930 that manages to consistently fascinate here, and even if you can’t bear to turn the volume up higher than a whisper, it is unspeakably overbearing. Everything from the fiery title track to the dizzying cacophony of Degradation of Tape to the final explosive, twenty two minute, ever changing Iron, Glass, Blocks and White, everything here is sheer chaos. For how brutal and unpredictable it is, it is no surprise that this horrifying album is considered a cornerstone of noise music. To say it is good or bad is irrelevant, because it definitely shouldn’t be judged by the same standards as any other album on this list, let alone any form of “art” on this planet.

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Brian Eno – Ambient 4

Brian Eno’s final installment in his Ambient series is possibly the most emotionally startling ambient album of all time, and may be considered to be the first dark ambient album. In that sense it is hard to imagine the entire genre of demonic dark ambient texture without this album as a precursor, although Ambient 4 is anything but paganistic or demonic. In fact, there is little to nothing subversive about Ambient 4 in the slightest, except perhaps its one odd song out, the deliberately creepy Shadow featuring Jon Hassell on trumpet, although if we are talking about scare factor the song is the album’s clear winner. Beyond this song, the album makes its goals known almost instantaneously and follows through with its goals systematically, like the other members of the beautiful ambient family. Moreso than any other album on this list, Ambient 4 carries a wide range of emotions with it, of which horror is only one. The collection of soundtracks to geographic locations here range from touchingly calm (A Clearing) to impendingly scary (The Lost Day). The distant chains of Lantern Marsh, the distorted miasma of Tal Coat, the birds and frogs of Leeks Hills…The album is startlingly emotional in ways that can be simultaneously relaxing and unsettling. On one hand, you get the feeling that at any point during the album someone could appear behind you and cause your heart to skip a beat, and yet at the same time the soundscapes are warm and completely safe sounding. The wide range of emotion here is mostly due to simple skill in production and crafting of music. The soundscapes sound so deftly realistic that the emotion comes quite naturally and makes the overall product quite moving. This may be the one to play on the boombox outside when the trick-or-treaters come by.

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Acid Mothers Temple & The Melting Paraiso U.F.O. – Crystal Rainbow Pyramid Under The Stars

February 26, 2008

I guess this week has been astronaut week or something? First The Orb, and now this. Hmm.

I miss when all bands released albums every year or two, instead of leaving big four or five year gaps between albums. The wait isn’t always worth it. Yeah, if the album ends up being excellent, then there is nothing to complain about, but back in the 60s and 70s, bands cranked out albums at breakneck paces, because it was their job and that’s just what they did to put bread on the table. The industry has changed. Now, we often wait four years for an album that sucks. It really impresses me that bands like The Beatles and Led Zeppelin released one or two albums a year with such consistent quality. And I’ll apologize, because mentioning the kitschy Japanese psychedelic band Acid Mothers Temple in the same paragraph as The Beatles or Led Zeppelin is a sin. But I’m a sinner. So are these guys. Gluttony. Lust. Pride maybe?

Acid Mothers Temple are a noise rock band that don’t really make music with song structure. They mostly solo over sheets of hard noise and vintage space age sound effects. And the solos aren’t that great. I’d call them trashy. But at the very least, Acid Mothers Temple know who they are, and they won’t pretend to be anything else. They just aren’t quite up with the times. Not that that’s bad or anything. They are probably just completely stoned. I wish I could give them a time machine so they could go back in time and do damage three or four decades ago. I think they would enjoy that.

Crystal Rainbow Pyramid Under The Stars does not do anything different than the bands previous albums, but it arguably does them better, and it is much more well produced. The other Acid Mothers Temple albums sound extremely rough in terms of production, and Crystal Rainbow Pyramid smoothens things out a bit in that respect. The album consists of three songs that continuously get more progressive and impressive as they go along. The opening Pussy Head Man From Outer Space is reminiscent of Electric Love Machine from the bands most popular album, Univers Zen Ou De Zero a Zero, in that it is a short rocker with a mildly cognisible progression. It is the shortest song on the album, but that isn’t saying a lot, because it clocks in at about 7:42. The albums self titled song comes next, and it is over twenty minutes. Which isn’t that bad, really. It’s a nice, slow, groovy song, and it changes things up a lot. But by this time, we start to ask ourselves if it is really necessary to have songs this long. These grooves could have lasted half as long and been just as effective, and the lengths feel like they were achieved for the sake of quantity.

Nothing says this more than the albums meatiest song, the final forty minute long epic Electric Psilocybin Flashback. It opens with an eastern guitar riff that reoccurs throughout the song in order to segment it, but really, it is a boring riff that sounds tired after one minute. The song doesn’t really do anything new or exciting, bar some fun saxophone solos that drift in and out that could have probably been given their own song. In all honesty, this song is mediocre enough to be a b-side. And it’s forty minutes long. Go figure. At the very least it will please AMT fans though, and if you enjoy noise rock, it will glide over your ears and have you grooving along for at least around fifteen minutes before it starts to piss you off.

I enjoy Acid Mothers Temple way more than any other noise act out there, and in that way this album was worth it to me. It isn’t a huge accomplishment of 2007, but if you are even considering Acid Mothers Temple, you probably know what kind of music you are in for. If not, the best introduction is Univers. It is the best album, the most digestible and fun, and really, you don’t need anything else. Crystal Rainbow Pyramid Under The Stars isn’t even comparable to Univers, but it definitely isn’t a failure. I like it. It’s not great, but it’s not bad. And I’d say it probably satisfied AMT themselves thoroughly, and that might be what matters most.