I’ve always had mixed feelings about math rock. For those of you who aren’t familiar with the genre, here’s my stripped-down definition: experimental rock made up of layered rhythms that really should not sound good together. In my experience, math rock can range from utterly abrasive to mind-blowing. Palm lands on the latter end of that spectrum.
I saw this band play at an itty bitty coffee shop up in Boulder a few weeks ago. The performance had me fully immersed – it almost becomes a game, trying to figure out when the downbeats land or when the keys change. It’s impossible to concentrate to this sort of music, yet it tickles the brain in an inspiring way.
Palm is full of contradictions. I should really stop trying to describe it, and you should really just listen to their newest track below. Enjoy.
I haven’t posted on this website in a while, but in that while I’ve managed to fall completely into a bottomless pit of admiration/adoration for King Krule, and specifically for his new album The OOZ. If you’re interested in hearing him say the album title in his glorious British accent, or in learning more about how the album was made, check out the Beats 1 session he recorded in his bathroom-turned-brainspace: https://itunes.apple.com/us/station/king-krule-takeover/idra.1295672630
Right now, though, on this cold Colorado Tuesday evening, I want to bring your attention to the first single from The OOZ–– Czech One. Not only is the song just really fucking spaceously beautiful, but the video is one of the best music videos I’ve seen in some time. If your self-esteem needs a little hammering, King Krule (or Archy Marshall, the man behind the project) is 23 and the director of “Czech One,” Frank Lebon, is 20. (But don’t actually feel bad; they both come from ridiculously creative/artistic lineages, which is its own sort of privilege)
Anyway, here’s “Czech One”:
If you liked what you saw, you should check out (The OOZ, obviously, but also) the art collective that Frank Lebon is a part of: http://www.dobedo.co.uk/
picture taken from altcitizen.com
Sitting outside on this sunny Sunday, listening to old Captain Beefheart & His Magic Band, I feel gluttonously at ease. This 1967 track off Safe as Milk will soothe you over, relax your muscles, and put you in the nostalgic shoes of all the alumni on campus this weekend. Don Van Vliet’s tender, bluesy voice sings of good times, gratitude, and loss while his Magic Band coos behind him. The constant tempo keeps a groovy vibe, perfect to put on repeat while swaying with a friend, taking a walk, or doing a problem set on this fine weekend.
I’m a big fan of the first few weeks after an album is released. No matter how famous or underground the artist is, for a glorious fortnight I can toss their music on the aux and watch as everyone in the room reacts. People will bob their heads and tap their toes, running through the iTunes libraries of their mind trying to figure out who the hell sings this song. In that moment, I feel like god, holding the power of a great song as well as the holy knowledge of its origins.
Ariel Pink’s latest album has been on the airwaves long enough wear its novelty thin, yet his music always has a similar effect on a room. Nostalgia confronts experimentalism in songs like “Death Patrol,” leaving listeners in a frustrating state of deja vu. Dreamy disco melodies combined with Pink’s eclectic vocal range make this track familiar yet uncontrived. “Death Patrol” is a perfect song for parents’ weekend, as music fans from any era can recognize something likable in it.
October is a nocturnal month where the stars are illuminated, always putting me in an astrological mood. So far my October has consisted of nightly readings of the book Sextrology with friends, which I HIGHLY recommend if you have astrological inclinations. Pharoah Sander’s “Moon Child” has been an obvious go-to song during these rituals. It’s a cosmic tune perfect for a witchy, mystical October.
Damn. Almost forgot to post this one. Very minimal sleep was had this week. This is the howling tune that I’m going to use to power me through the weekend. It is a pop-punk jam by A Giant Dog off the 2016 album “Pile.” Enjoy.
An R&B and funk band from the 70s and 80s, The Gap Band is sure to make you groove. I heard this song “Burn Rubber On Me (Why You Wanna Hurt Me)” while watching an episode of one of my favorite shows, Insecure. From its motorcycle-noise intro to its funky synth melodies, this song’s a jam! One day, I hope to have a dance party like the one in this music video.
Image credit: billboard.com
“Witness” is an awesome gospel tune featuring the great Mavis Staples. Her voice combined with the soulful raspiness of Benjamin Booker makes for an awesome song.
Chance the Rapper has been a collaborator since the start of his career. Kids These Days, an indie hip hop group from Chicago, includes among its members Nico Segal (later known as Donnie Trumpet) and Vic Mensa, both of whom frequently collaborated with Chance after the band split in 2013. “Wasting Time” features Chance crooning between horn interludes with typical emotional eloquence, “Damn I love you/ Don’t know what the means now/ but I love you.” The sobering lyrics and rich variety of sound and tempo make the track incredibly potent.
Get your daily punk fix. You know you need it.