Simian is a great little band from back in early 00s England, which unfortunately only graced the world with two albums before splitting apart. Luckily enough, however, the record libe has their album We Are Your Friends (as well as an album by the follow up project of some of the original members, Simian Mobile Disco.)
Many will be most familiar with Simian in the form of Justice’s 2006 remix of the Simian song, "Never Be Alone," released under the name "We Are Your Friends." The Simian album of the same name is significantly lighter fare than the Justice mix, but you’ll still find it chock full of catchy choruses and electro schtick.
For being little more than indie pop, the album covers a considerable amount of ground in its meager 40 minute run. Opening up with the unabashedly Beatles-eque “La Breeze” and finishing off with the superb watery, spacey sounds of “She’s In Mind” and the hard-hitting, electro-funk of “End of the Day”, this album is just pure fun. Although you’ll find a lot of different sounds on the album, for an overall sense of the band, imagine if Primal Scream decided to produce an album of Brit pop, and voila! I give you Simian.
--Phil F.
Frank Wright is a Mississippi-Born Free-Jazz tenor sax player, who is perhaps one of the more underground or elusive of the New York 60s jazz scene. His style is most akin to Albert Alyer although don’t dismiss this has an imitation -- this is original, fascinating music. He largely recorded for ESP and European free-jazz labels, after his move to Europe in the 70s, and was no where near as prolific as many of commentaries. His sound is characteristically powerful and intense.
Frank Wright Trio, released on ESP-Disc in 1965, features Wright on tenor, Henry Grimes on bass, and Tom Price on Drums. It’s short, explosive, and a terrific introduction to Frank Wright.
The Earth starts with a haunting Wright introduction, erupts into a middle section at the extreme high end of the tenor range, followed by an interplay between Henry Grimes’ bass and Price’s incessant crashing symbol rhythm
Jerry starts has an almost taunt to hard-boppers -- a beautiful, well-written melody which is then dismantled. Wright solo’s has an existential feel to it, a peculiar anguish. Listen to the way he ends his first solo at around 6:00
The Moon is the harshest and fastest tune on the record. Challenging, but incredible stuff. The key word here is velocity. The air doesn’t just travel through the horn, it is forced.
This an original KRLX vinyl transfer. If MP3s aren’t your thing, feel free to go down to the record library and check out the record.
Yeah, so as far as new music this week, slim pickings. Aside from a couple bonus copies of the Stone Roses reissue (up for grabs, if you want 'em), we received nothing too special in the record libe.
This, however, gave me the opportunity to give a better, more attentive listen to HEALTH's latest LP, "Get Color." Yeah, the video and album were released on September 4th and 8th, respectively, so maybe this post is a little behind the times. But this happens with a lot of albums I end up really liking: I give it a listen or two, think it's alright, and put it back on the proverbial shelf. A few days/weeks/months later, I return to it again and get hit full-force. It's a strange phenomenon. But yeah, "Get Color". Who cares if this is a month overdue; believe me, this album is definitely worth going back to. Get it in the 'New Music' section.
And the video, directed by the bassist/noisemaker John Famiglietti, reminded me why there are music videos in the first place:
This track is on the Megaseg; let's get these guys some deserving air time.
Every week the Program Department features one outstanding show on KRLX. This week, we're honoring the new starlet of our weekday talk show block.
KRLX has a legacy of great talk shows, but Face-off is quickly raising our bar of excellence. By just their third show, David Sacks and Jordan Narvey have not only demonstrated their prodigious hockey knowledge, but also their chops as legitimate sports talk personalities.
Faceoff takes listeners inside the glass with researched analysis of everything hockey. Sacks and Narvey eat, sleep, and breathe the sport, and even the most apathetic hockey observer can appreciate their entertaining passion and knowledge. Hockey fan or not, check it out for a lesson on concise, articulate and entertaining on-air banter. They are--perhaps--the best around.
From analysis of breaking news stories around the league to insight on featured games, predictions and story lines, Face-off provides listeners with an opportunity to hear the latest news from around the NHL in just 30 minutes.
I never thought I would say this about a hockey show, but I wish it were longer.
Face-off: Mondays at 4:30, only on KRLX.
For a glimpse into David Sacks' hockey obsession, check out this video produced by co-host, Narvey.
Philadelphia's Kurt Vile has released one of 2009's most compelling records, with his ingeniously titled "Childish Prodigy." In his efforts with his sometimes band, The War on Drugs, Vile proved he is capable of crafting riotous punk rock anthems, but with "Childish Prodigy," Vile is moving in a new and entirely welcome direction. In this familiar punk route, his record has moments of distorted guitars, and embittered, wry vocals reminiscent of Richard Hell or Lou Reed, but Vile recorded the entirety of this album within the confines of his bedroom, and in this sense, the record could trigger a dynamic new trend in the realm of lo-fi self-recording.
Most indie rock acts who have engaged in this mode of musical production have released pleasant, but ultimately twee and to some extent, underwhelming records. However, Vile sounds nothing like The Boy Least Likely To or Beirut, and his impressive guitar work, and vocal versatility evoke Bruce Springsteen at his most self-effacing moments. With that being said, creating such an expansive, hypnotic sound within the meager setting of a bedroom seems to perfectly encapsulate the indie rock ethos. The album's lead off track "Hunchback" is confrontational and remarkably textured, but retains a comforting sense of lo-fi humility. Vile is signed to independent music juggernaut, Matador Records, and this fresh sounding album indicates that other acts might begin to follow his lead.
James Pants is the answer to the probing question: what happens if a talented multi-instrumentalist music nerd obsessed with 70s funk, 80s hip-hop and soul, acquires mad DJ skills?
It’s dance music at its most fun: ironic, clever, spacey, retro, original, and downright funky. There are robot voices, and finally, disco is cool again. James Pants is on the legendary Stones Throws records. He spins with the greats: Madvillain, J Dilla, Peanut Butter Wolf, and so many more.
He is flying all the way from Washington State to play Northfield. That’s right, FLYING. The man is getting on a plane solely so we can bow at his feet and stand in awe of his turntable prowess. This will be the dance party of the year.
James Pants will throw down at the Cave on Friday Oct. 16 around 10pm. Bring your parents. They’ll like it. Everyone will.
Everyone probably should learn these great dance moves:
If Gospel music made Jesus cool, then the Heavy have just seriously upped Lucifer's cool factor. Drawing influences from all over - James Brown, Iggy Pop, Screamin' Jay Hawkins, even King Khan & BBQ - the Heavy have released an album that manages to sound both cleanly produced yet also boasting raw power. There are shreds of said Gospel spirituals, but punk also has a firm grip on the band's sound; as a result, The Heavy are juggling a cornucopia of these music influences that one would naturally expect to turn out sounding like shit. For example, track 3 - 'How You Like Me Now' - starts out sounding like the new century's version of 'Papa's Got a Brand New Bag', but this is before the drums kick in. By the end of the track, the added layer of fuzzy piano is reminiscent of 'I Wanna Be Your Dog'. When it ends, the next track starts out with the intro from Screamin' Jay Hawkins' 'I Put a Spell On You.'
Normally, one would criticize a developing band for being unable to make up its mind regarding how they want to sound, but "The House That Dirt Built" instead deserves praise for that same reason. Should we knock them down for making unoriginal music that seems like a mixtape of music from the 60's and 70's? Well, if you choose to do so, go right ahead. All I know is that when I put their album in the record library CD player, something just stuck with me.
And a little extra note: Make sure to check out the mp3blog -- AMD's are also posting reviews of the latest digs. Check out James Beck's review of Le Loup , for starters.
Mr. Magic, born John Rivas, was the first to play hip-hop on the radio. The year was 1983. The city -- New York, on the station WBLS-FM. Although he was a producer and performer in his own right (check out Third Unheard on Stones Throw Records), he is best known as the man who brought Hip-hop to the airwaves, and henceforth to the mainstream.
Even if you don't know his name, you might recognize him as the voice for Grand Theft Auto’s rap channel “Wildstyle.” Thereby extending his dominion over hip-hop for a whole new digital generation.
KRLX-FM 88.1 * 507-222-4102 (office / record libe) * 507-222-4127 (request / live)
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KRLX is a service of Carleton College in Northfield, MN
Yeah, so as far as new music this week, slim pickings. Aside from a couple bonus copies of the Stone Roses reissue (up for grabs, if you want 'em), we received nothing too special in the record libe.
KRLX has a legacy of great talk shows, but Face-off is quickly raising our bar of excellence. By just their third show, David Sacks and Jordan Narvey have not only demonstrated their prodigious hockey knowledge, but also their chops as legitimate sports talk personalities.
James Pants is the answer to the probing question: what happens if a talented multi-instrumentalist music nerd obsessed with 70s funk, 80s hip-hop and soul, acquires mad DJ skills?
Mr. Magic died October 2, aged 53.
definitely tuning in next week.