For their recently released second full-length, Cities of Glass, the members of AIDS Wolf, are “de-anchoring compositions,” as the Canadian noise-rocking outfit states in its official list of principles. This involves ditching the bass guitar, to focus on rhythm, and employing the creative use of silence to offset the band’s trademark near-abuse of guitars. Exemplifying this aesthetic, their disturbed single track, “Tied Up in Paper,” is flurry of screeching brutality with lead singer Chloe Lum’s demented moans leaving one to wonder whether she is being tortured or pleasured by the instrumental mess surrounding her. The song throbs, building climactically, then finally drops out abruptly, leaving the listener with a painful aural hard on. Lulu McAllister
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When winter hits Indiana, there isn't much to do besides drive around the slush-covered, four-lane roads and attempt to not freeze. Or, if you're David Adamson, you release an album that's as off-kilter and bizarrely enchanting as the state the he hails from. Ropechain marks his second full-length for Adamson under his Grampall Jookabox moniker, and his first for Asthmatic Kitty. A high-energy amalgamation of hip-hop and rock, with a distinct bluesy flavor (albeit, a really twisted kind of blues) the album's frantic pace makes you wonder if the man behind its production hasn't gone a little off his rocker, as evidenced here. Photo by Craig McCormick.
Despite all the ink and blog posts devoted to baile funk in recent years, relatively few Brazilian artists and DJs have been able to make the trek to the United States and deliver their sounds directly to gringo audiences. Hopefully, Cabide DJ can reverse that trend, as tonight, the man known as "Brazil's #1 Sampler" is kicking off a month-long U.S. tour. A veteran DJ who has been playing Rio de Janeiro's favelas since the late 1980s, Cabide puts his insane MPC skills to work on this bootleg remix of Cassie's "Me & U." Infusing the original R&B track with Miami bass beats, Cabide's version is a rollercoaster of stops, starts, and tempo changes that reflect funk carioca's DIY spirit and devotion to the dancefloor. Cop the track and get yourself to one of these shows. Unfortunately customs won't let Cabide DJ bring his famous fire-breathing sampler along for the tour, but we suspect these clubs will be hopping nonetheless. Shawn Reynaldo Dates 10/17 Boston, MA - Club Lido 10/18 Queens, NY - Made in Brazil 10/19 Danbury, CT - Tuxedo Junction 10/23 Boston, MA - "Bass Invaders" at Milky Way 10/24 Framingham, MA - Old Station Steakhouse 10/25 Hyannis, MA - Pufferbellies 10/26 Boston, MA - Rumor 10/30 Philadelphia, PA - Medusa 11/03 Philadelphia, PA - "Jang House" at The Barbary 11/06 Baltimore, MD - "Bananas" at Bedrock 11/08 New York, NY - "Batida do Funk" at S.O.B.'s 11/13 Baltimore, MD - Sonar w/Diplo, Boy 8-Bit, Blaqstarr
The number of disparate sounds and rhythms used here would spell disaster for some bands. Yet Pit Er Pat manages to exercise control over the myriad of musical instruments and influences that crop up in the trio's latest album, High Time, which will drop next week via Thrill Jockey. Apparently the band holed up in the studio with everything from guitars to kalimbas, and if "Evacuation Days" is any indication, the entire release is likely a cross between free-form jazz and art-rock that required some serious musical mastery to pull off. Maverick Newberry. Photo by Melanie Schiff.
Brothers and sisters! Oakland-based duo Zion I (DJ Amplive and MC Zumbi) have got a genuine old-school mixtape (as in an actual cassette), The Search and Seizure, on the table while we wait for their January release, The Takeover. This fresh offering is loaded with re-envisioned versions of hip-hop classics (side A) and electro and indie-rock tracks (side B). “The Rebel” is a cut off the former, pairing glitchy soul and other glimpses of the original, Public Enemy’s “Rebel Without a Pause,” against Zumbi’s cutting lyrics and crystal delivery. Synth horns, Wurlitzer, and a frayed electronic underbelly combine the best of now and then. Lulu McAllister
Sebastien Grainger knows the language of rock music very well, and that's not just because of his speaker-shredding work with the now-defunct DFA 1979. Like any good boy with a guitar, he shrieks and riffs his way through Sebastien Grainger & The Mountains, his first solo full-length, set for release October 21, and it's refreshing to know an artist can easily switch from angry dance-punker to heartfelt songwriter. It really does feel like Grainger means every single word he sings and note he plays, as evidenced by this track, which Saddle Creek was kind of enough to leak before the full album drops in a few days. Jennifer Marston. Photo by Eva Michon.
Who says techno can't have soul? If Dinky had her way, the whole genre would probably be populated with tracks like this one, which manages to sound emotional while still maintaining a minimal format. The key lies in the way she subtly sneaks in a synth line here, a minor chord there, and an understated loop of bleeps and blips that give "Mind" a rather hypnotic feel. No doubt the meticulous arrangements can be attributed to both Dinky's musical upbringing, as well as her stint with the famed Martha Graham School of Contemporary Dance, where every little move counts. Maverick Newberry
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