Tag: STRFKR

It’s time to take perspective on our hyper-technologized society, through the audio lens of song.

It’s the evening before Valentine’s Day, which means absolutely nothing here at lacking org. Instead, we’re opening up with the Sex Clark Five taking on the Byrds, and something from Norwegian up-and-comers Mall Girl, who manage to hold up a broken mirror to American indie rock without cutting themselves to shreds. Also, their bassist name-checks Laddio Bollocko. Also tonight, more splendiferous instrumental musings from the incomparable Matt Berry to kick off the Final Hour.

It’s dense and it feels implacable, yet at the same time it’s sweet and comforting, like a punked-out beach blanket bingo, with cascading fuzz pedals and the feeling that the next wave is going to crest even higher.

Juliana Hatfield is once again in the middle of an unstoppable creative streak, now mixing her needle-sharp pop sensibilities with some truly out-there production.

It’s the triumphant return of Pom Poko and their shattered-and-reassembled attacks of aggression and affection, like the sonic equivalent of staying inside the sauna for as long as you can, then running out to roll around in the snow.

If I could use synesthesia to describe Woods’ music, I would say it sounds like sparkling pastel day-go colors.

Electronic music seems to trend towards extremes of ambience, rhythm, or noise, but there is a place of balance where textures and beats combine aggressively into what can only be called a rock barrage.

The screen door banged against the frame of the small building that was once Cisco, Utah’s non-bustling post office. It’s like a ghost town abandoned by the ghosts, mused the cinematographer. Whatever once haunted this place left out of boredom. Meanwhile, the blacksmith methodically tapped the foundation along the perimeter of the building. They had brought the infractometer over from the side-by-side they had arrived in, but sometimes the old ways worked best. The rhythm etched out a Namibian bossanova that had been popular in the ‘70s. The entrance to the silo complex had to be near.

Modern electronic soul, richly layered and intricately produced, with decidedly old-fashioned influences from ‘60s girl groups, ‘70s AM radio, ‘80s club hits, and so on.

Electronic drums, layers and filigrees of keyboards, and falsetto choruses make for some glossy synthesizer soul music that wouldn’t be out of place on a late Eighties dance floor.