“Real Thing” is the super-hooky single from the latest EP by Australian band Middle Kids. Released a couple of months in advance of New Songs for Old Problems, “Real Thing” grabs attention with lead singer Hannah Day’s gorgeously stretched vowels on longing choruses that rise up from uneasy verses.
are supported by the guitars of Day herself and lead guitarist/bassist Tim Fitz,
in a perennial rock style that fits into the channel of what is broadly called “alternative”
or “indie.” The grungy chorus will certainly bring 90s associations for many.
In the week
before Gold & Grey dropped, on
June 14, Baroness played a series of small gigs, including an in-store
appearance at Vintage Vinyl and a full-on electric performance at the Gutter, a
Brooklyn, NY, bar.
videos of both above-mentioned short sets, each of which is totally worthwhile,
along with some thoughts about them. Please share your comments!
can’t think of any other band that does two-guitar harmonies in which both
guitarists use single-coil pickups. The reduced sustain (as compared to
humbuckers) and the pokier high frequencies of single-coils emphasize the sound
of two guitars together. With some bands, I frequently hear guitar harmonies as
two players trying to sound like one. I dig that sound a lot, but there are other
At the June 8th and 9th 2019 Brooklyn Stompbox Exhibit, musicians of all types who are pedal enthusiasts found a cornucopia of fun signal-bending technology ready to be played by anyone so inclined. What a kick it was to see the huge enthusiasm that a display of pedals generated! The exhibit, which was held at Lytehouse Studio, included the products of at least 50 pedal makers. Delicious Audio, a blog that was involved in organizing the event, reported a total of nearly 2,000 attendees.
A few big rooms, tons of music gear, and a seeming gazillion pretty closely packed people—“Well, that’ll give you a headache,” a cynic might think. But, actually, no, not at all.
Don’t let the wAcka-jaWaKa lettering on the cover throw you off! Warsaw Summer Jazz Days ’98 (Manifesto, 2019) is a well-recorded documenting of Allan Holdsworth digging deep into his muse in a trio that also showcased the chordally sympathetic six-string bassist Dave Carpenter and drummer Gary Novak. Needless to say, another reminder of the vital and singular sound of Allan Holdsworth will always be more than welcome!
quartet of tunes that later appeared on Holdsworth’s 2000 release, The Sixteen Men of Tain, this gig also includes several pieces from
the late master’s fertile early 80s period, plus “Proto-Cosmos,” from his tenure
with drummer Tony Williams.
In under one year, New York-based jazz guitarist Gilad Hekselman has released two strong collections as the primary artist: Ask for Chaos (September 2018) and Further Chaos (May 2019). Each features tracks by two ensembles that Hekselman leads. His GHex Trio consists of Helselman’s guitar, accompanied by stand-up bass and drums. In ZuperOctave, Hekselman takes charge of both of guitar and bass in a setting that also includes keyboardist Aaron Parks and drummer/percussionist Kush Abadey. With Hekselman making liberal and dramatic use of effects and his bandmates also embracing electronics, ZuperOctave finds startling and original sonic territory. It’s electronically-touched organic music that is, above all, jazz. More specifically, it’s sonically exploratory, harmonically adventurous jazz that doesn’t sound to me like what is usually called “fusion,” for the lack of rock-oriented beats. The track “Stumble,” from Ask for Chaos, is one among many ZuperOctave highlights.
“Stumble” arrested me immediately with its
memorable opening melodic figure and a lush sound so whole it’s sometimes hard
to tease apart Parks’s keyboards from Hekselman’s guitar.
The music of Baroness centers on guitarist/vocalist/songwriter/visual artist John Baizley, who is one of those people who can smile and still radiate heaviness. While the tracks released ahead of the June 14 release of Gold & Grey bear his unmistakable stamp, the band’s current lineup offers power and flexibility not heard even on its high-water mark album, 2012’s Yellow & Green or its acclaimed follow-up, Purple.
The Stray Cats breakout track and video hit may well be the
defining track of the first wave of retro rock. It’s now a classic in its own
right. Brian Setzer masterfully accompanies his throwback-cool vocals with clean-toned,
slapback-echoed guitar moves that include jazzy sliding chords; rockabilly triads
extended with sixths; and two tight, confident solos—not to mention a motor of
a main riff. Released decades after the peak of rockabilly, “Rock This Town”
might have seemed, at first, like the product of one more group of costumed MTV
opportunists, but Setzer, along with bassist Lee Rocker and drummer Slim Jim
Phantom, showed confidence that rockabilly was as enduring and vital as a
lovingly cared-for 1950s hot rod with a tank full of fuel.
On Hungry Ghost, released March 2019, Typical Sisters explores avenues for creating urgency beyond of the borders of well-defined genres. The more I listen to Hungry Ghost, the more I hear jazz in a generalized way and the less I hear anything like a bebop line. If one has to categorize this album, it probably makes most sense to call it jazz, but it’s jazz in the sense of connecting to jazz tradition and not in the sense of sounding like traditional jazz. That insufficient characterization shouldn’t suggest that Hungry Ghost is generic. Typical Sisters sophomore album is an expansive, challenging, and rewarding collection that reveals progressively deeper charms through repeated listening.
A look back at some of Clapton’s past Crossroads performances . . .
With the announcement that Eric Clapton is again firing up the Crossroads Guitar Festival in 2019, it’s worth taking a look back at some of his previous Crossroads performances. 2019 will bring the fifth incarnation of Clapton’s festival, which benefits the Crossroads Centre, a substance-abuse treatment facility he founded in the late 90s. Earlier Crossroads Festivals were held in 2004, 2007, 2010, and 2013. The festival always includes a variety of top-notch guitar talent, of course, but I’m choosing to focus on Clapton himself in the link selections below.
Here’s a thought I’ve been having for a while about Clapton’s live performances: