Friday, July 12, 2013

Generationals, Sallie Ford and the Sound Outside @ Pier 84 (REVIEW & PHOTOS)

     Last night saw a slew of southern tinged rock take over Pier 84 as Asheville, North Carolina to Portland transplant Sallie Ford and New Orleans outfit Generationals filled the sweet summer air with some sweet summer grooves. Waxahatchee , the heartbreaking solo project of Katie Crutchfield, was also there, and played a set that was raved about by the other acts, but I was unfortunately too late to see. Any latecomers weren't allowed to wallow in self-pity for long, though, as Sallie Ford slapped everyone who wasn't familiar with her music with a surprising, powerful set.

     Sallie Ford and the Sound Outside is like Johnny Rockets gone badass. You would think that their music is meant for early American Bandstand, and in a way it is. Musically, they have that swaying 50's feel that is so easy to jive to. But don't be fooled by this seemingly innocent music, or Sallie Ford's harmless appearance, because when she takes the stage, she owns. Her voice is a confluence of old school women soul singers and has the power of contemporary singers like Amy Whinehouse, minus the melancholy. It packs a punch. Her whips of "Fuck that!" and "Don't gimmie no lip boy" are goosebump inducing, catching me totally off guard. Sallie's domineering stage presence is surprising and exhilarating, and the Sound Outside execute with the precision of a veteran band. Lead guitarist Jeffery Munger breaks off into surf rock style riffs with a deftness and nonchalance that epitomizes the coolness of a band that might get misinterpreted as nerdy. Jeffery busted out jokes as well as riffs, and took over as a candid entertainer when the band experienced technical difficulties. The Sound Outside is a well read band that knows their influences well, yet  they choose not to conform to any one label. They are Rockabilly but not totally. Sallie stretches her lungs for soul, but often tapers of to a nasally moan. Sometimes it seems like they are fully embracing the image that they maintain; at other times it all seems a satire.One label, however, is totally accurate no matter what genre they employ, humble and unassuming.

     Generationals is another band that must be full of music nerds because their music is flooded with a variety of influences. They incorporate heavy, layered synth patches into what would otherwise be cookie cutter pop-rock. They too flirt with nostalgic sounds, incorporating church organs and beehive hairdo baselines. Another band that eludes pinning down, Generationals have some songs in their repertoire that are dripping in synth and others that are straightforward indie albeit with bass that's so infectious, your hips will disobey your better judgement and start gettin' down. Their set got off to a slow start but by the end almost everyone in the crowd was shaking what their mama gave them. A cover of "Friday I'm In Love" fit in nicely with the overall sound of the show and gave some of the people who just stumbled onto the pier because it was free something to sing to. Even with so many apparent influences, Generationals copy none, they simply pick and choose. They have successfully crafted their own sound entirely and are not afraid to keep trying something new, the mark of a band that will have longevity.
     Pier 84 is a beautiful place to catch a show, and while it may not be in the "cool" part of town, the music that it continues to draw makes it worth switching from the L to have a nice night out. Best of all, the shows there are FREE! The Pier will have two more shows this summer: Foxygen with Thao and the Get Down, Stay Down on July 25, as well as Titus Andronicus with Ducktails on August 8th. Both shows are absolutely worth the money, or lack thereof.

See pictures of last nights show below and KEEP IT LOCKED!
Follow Inquisitive in Queens on Twitter

SALLIE FORD 










 Generationals 

-------------------------------







Tuesday, July 2, 2013

2013: The Year Music Embraced The Dark

With the year reaching its midpoint, many music blogs and pundits, including the beloved Anthony Fantano, are taking a second to look back on the first half of the year and all it had to offer. So far, 2013 has been a cornucopia of experimentally rich music, with established artists exploring new sounds and ideas. Artists of all kinds have gone out of their comfort zone this year to produce music that challenges listeners and grasps with themes of modern-day alienation and confusion. Case and point is the divisive, snarly, and downright abrasive Kanye West release "Yeezus". A complete 180 from the lushly layered orchestration of his 2011 release "My Beautiful Dark Twisted Fantasy", Yeezus embraces minimalism, glitch music and pounding tribal drums. Not to say that this release was out of Kanye's comfort zone, since as a producer he is always redefining what is considered popular rap, but it was so off-the-wall as a whole that it caused a huge stir. Those unfamiliar with the likes of Death Grips were questioning if this was even rap. No one was prepared for one of the most popular names in rap, the same rapper who released the bubblegum "Gold Digger", to release an album that seethes the paranoia that Yeezus does. Everyone was at least a little shocked and usually really excited. It provided everyone with the opportunity feel their personal and societal demons exposed in music and examine themselves within the comfortable confines of an artist whose music widely accepted and liked.

    Kanye is not alone. If I could think of any thread that connects the noteworthy releases of the year thus far, it's that the artists have all incorporated a certain degree of darkness into their sound. By darkness I don't necessarily mean  demented vocals, or Michael Myer-esque melody. I mean an application of grungy, grimey sounds and themes; as if these artists decided to adopt the life of a depressed teenager living in a rainy, smog filled 1990's London. These are the sounds I hear when I play the latest Sigur Ros release "Kveikur". Sigur Ros themselves pulled off a total makeover, throwing their years of airy, romantic ethereal music out of the window and instead replicating sounds of pounding heavy machinery and incorporating pulsating percussion. What about M.I.A , with her latest single "Bring The Noize", that after the pop and squeak of "Bad Girls" and "XXXO", refocuses on simple invigorating percussion and experiments with vocals and has a synth breakdown that makes you want to have a seizure. Talk about abrasive; the first listen  reminded me of the raw power M.I.A had on Arular.

     All of the aforementioned releases were just in the past month. Besides them, there's the extremely dark release by Baths, "Obsidian", whose themes deal with hurting himself and feeling hopeless. There's also the myriad of local punk bands fronting the reemergence of a scene that exposes dissatisfaction with life, society, government, and basically any establishment that has an influence on us. If 2009 and 2010 were the years of chillwave, 2011 the year of twangy dream rock bands like Real Estate and Girls, and 2012 the year of everything in between, including anthemic rock outfits Japandroids and Cloud Nothings, as well as Grimes (who could have fit in nicely if she had released Visions in 2013), then the year 2013 is the year of music waking up to reveal its true broken down, fractured, and truly fucked up nature. This is a year of mature music releases that do away with the fluff of dreamy riffs and stick to minimal, driving percussion, as they too drive their messages into the listener's skull.

     What caused this shift in the music being put out? If this is a continuation of the groundwork laid out by Death Grips, Grimes and Crystal Castles last year, is it going to continue to grow as a trend? What is it a response to? Are there any factors in society that are molding public discourse through music and the arts in general? How does this tie in with other forms of art currently being made? These are the talking points that are going to be discussed as we continue to move throughout the year and new albums are put out. 2013 has spoiled us so far, and there are still so many albums to be excited for.

Upcoming releases of interest -
Jay Z - Magna Carta Holy Grail (July 4)
Earl Sweatshirt - Doris (July 30)
Bloc Party - The Nextwave Sessions  (August 13)
Washed Out - Paracosm (August 13)
Porcelain Raft - Permenant Signal (August 20)
The Dodos - Carrier (August 27)
Grouplove - Spreading Rumors (September 17)
MGMT - MGMT (September 17)

Keep it locked!