It’s been about six months since the previous compliation of music that was played on the 11pm-midnight section of the Mixtape — the late-night temporal space that receives music that is strange, harsh, and/or repetitive that is known as The Final Hour. This is the second anthology from this pool of music, presented through the entirety of tonight’s Mixtape to allow those whose schedule leans towards the earlier hours a chance to experience. Hark!
Sure, we’ve all heard of the Eiffel Tower, but what do we know about the architect whose name it bears? April March breaks it all down on this version of the Pixies’ song. Also in this show, a special-delivery track from Planets in the Ocean, a new project from one of my favorite vocalists, Robb Benson.
Why had I not heard of this Zach Hill (Death Grips, Hella) side project before? The I.L.Y.s hit a lot of my targets — noisy, harshly pop, and completely willing to blur the line between the analog and the digital. The video for tonight’s feature track is also something to behold, though I’d avoid it if you have a thing about bugs. Lots of bugs.
Exploding out of upstate New York, The Bobby Lees have returned with a their third outing, titled Bellevue, and it delivers more of that biting, can’t-you-see-I’m-in-the-middle-of-an-episode post-rock blues energy. Tonight’s Mixtape closes out with Escape Mechanism’s “Being,” sampling William S. Burrough’s unmistakable reedy voice into an existential mantra.
Coming straight outta Dublin, Fontaines DC have an insistent and incisive sound that carves anthems out of marble using only guitar strings and a chiseling voice. No particular theme seems to emerge tonight, although we will be closing with Angel Olsen’s “Go Home.” Go home, it’s midnight.
Nothing to do with Peggy Lee’s sultry standard, this particular “Fever” comes from Aldous Harding, whose unique marshmallows-and-razor-blades sensibility makes for songs that leave you bleeding but which you crave again and again. Also tonight and also from New Zealand, a track from Garageland, one of my favorite underrated Kiwi bands of the ‘90s, which isn’t saying much because they were all underrated and they are all my favorites.
I always thought Kurt Vile was a play on the name of the German composer that gave us “Mack The Knife,” but that seems to be his given name (bonus: middle name is Samuel). Sonically, he’s more in line with Lou Reed than Weill, topping his awkward nouveau folk with a voice that may not be the most musical but is actually the perfect medium to express this particular malarkey.
It takes a certain mindset to take on a King Crimson song, and clearly black midi is of that mindset. Is it a bugle call for all prog rockers everywhere to take up their Moogs and sparkly jumpsuits and join the New Prog Revolution? I can support that.
Sometimes it takes a while for an album to be recognized as a classic, sometimes the shock of recognition is instant and universal. This is the case for Spoon and their latest release, Lucifer on the Sofa, which showcases much of what has made the band a constant source of solid material, but in a concentrated way that will make you start all over as soon as you hit the end.