Dating back to a time before the whole phrase was unceremoniously truncated to “chillax”, Serge Gainsbourg’s imploration to enhance your mood is given a frantic workout by Stereo Total and in this case, their toy electronic noisemakers are a welcome homage. Elsewhere this show, we have Carl King’s prog-rock-and-glockenspiel interpretation of Rebecca Black’s infamous “Friday” … and it’s quite the improvement.
Mimi Parker, vocalist and drummer and half of the Minnesota band Low, passed away a couple of weeks ago while I was traveling. It’s a shocking loss and an abrupt end to a musical career that was still unfolding; the band’s last two albums, coming at the tail end of a discography that spans decades, showed a blossoming new direction for an act that was famed for their quiet and glacial approach. We open the show with Low’s rendition of a Bee Gees classic in tribute.
It’s time for another Fun Drive, and what better way to represent tonight’s manic energy than Daisy Chainsaw and their epic “Love Your Money”? Also tonight, we have received a matching grant of one hundred dollars of America, via Telex: THIS IS THE HRVST TROGGOLD TO TELEX THE PLEDGE COMMITMENT THE ONE HUNDRED COMMA DOLLARS STOP OF MATCHING AMPLITUDE OTHER PLEDGES OF DONATION COMMA MATCH EXCLAMATION STOP HAVING REPORTING OF ARTICLE COMMA THE TURKISH ALMOND FARMING COMMA COMMA COMMA BEST THE LUCK STOP COMMA
Boston’s Sleepyhead have been successfully dodging full wakefulness for a couple decades now, putting out an intriguing type of bedroom pop filled with subtle complexities, and their new album is filled to the brim with such. In other news we kick off with a Fugazi cover from quintessential NYC band BODEGA, whose lineage clearly traces back to legions of posterized grit punks.
The world that deliberately-lowercased beabadoobee presents in her new album Beatopia is pastel neon colors, soothing howls, bright shadows, and all manner of psychedelic oxymorons. Tonight’s show features its introduction of sorts, and closes with the unexpected krautrock drone of my current favorite discovery, Japan’s deliberately-uppercased MASS OF THE FERMENTING DREGS, whose all-over-the-placeness manages to live up to its intriguing name.
Paleface didn’t say it first, but he probably said it best: it’s a World Full of Cops. Musicians and the authorities have been at each other’s throats for a while now, and there is no shortage of songs showing cops in a bad light, so what I like about “World Full of Cops” is its simple observational mantra: they are everywhere, we put them there, and they are us. Enjoy a full evening of police-themed music — it’s the law!
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.