Category Archives: Music

The Verge: True Womanhood

Posted on February 17, 2011 | Leave a comment

DC’s True Womanhood is a three-piece band that makes experimental, avant pop. While their sound owes much to touchstones like Joy Division and Echo and the Bunnymen, it’s not just a post-punk pastiche. The band, comprised of Thomas Redmond (vocals, guitar) Melissa Beattie (bass) and Noam Elsner (drums, electronics), is unafraid to reach for contemporary sounds, spending more time looking forward than back.

On last year’s Basement Membranes EP, True Womanhood demonstrated their mastery of their favorite genres. “The Monk” opens the EP and sets the tone: macabre and brooding. “Dignitas” is either about the Roman concept of dignity or the assisted suicide organization of the same name. The down tempo jam, with it’s vertigo-inducing “don’t look down / or you’ll fall” lyric, builds and swells to a breakdown that is funky in the same way that Nine Inch Nails’ “into the void” is funky. Other standouts are “Rubber Buoys,” which would fit in on OK Computer, and “Magic Child,” which emerges from a foreboding haze before breaking out the “punk” in post punk.

“Dream Cargoes,” off their forthcoming record, builds on the sounds of Basement Membranes. A delay-heavy guitar riff plays off a goth disco beat, along with the band’s characteristically gloomy, nostalgia-heavy lyrics: “You’re a big boy / you’re a preteen / but you’re no man.”

True Womanhood – Dream Cargoes

True Womanhood continues to experiment, incorporating new sounds into their established aesthetic. “The Grey Man” is unnerving and spooky, utilizing a rudimentary industrial beat and muted chords, with filtered vocals. The moombahton-influenced “Minajah” actually sounds more like witch house to me, with the skittering synths of Salem. But in keeping with their DIY, lo-fi stylings, they crafted the song with reel-to-reel tape and analog effects.

After a successful 2010, True Womanhood is poised to breakout in 2011. The band has a few East Coast dates lined up that shouldn’t be missed.

Mar 11 – The Rock Shop – Brooklyn, NY
Mar 12 – Kungfu Necktie – Philadelphia, PA
Mar 13 – The Red Palace – Washington, DC

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Californication's Queens of Dogtown: Fake band, real covers

Posted on February 15, 2011 | Leave a comment

On last week’s Californication, we finally got to see Becca’s new band in action. The Queens of Dogtown cover of “Would?” by Alice in Chains is nothing groundbreaking, but it’s good for a little grunge nostalgia, and its dejected lyrics serve as a parallel for Hank’s latest trials and tribulations.

Like Dr. Teeth and the Electric Mayhem and Drive Shaft before them, Queens of Dogtown is fictional. But that hasn’t stopped Showtime from setting up a Myspace page for the band and selling their songs as part of this season’s soundtrack. Along with “Would?,” The Queens cover the Misifts’ classic “Last Caress” and monster ballad “I Remember” by Skid Row.

Californication is the ultimate illustration of art imitating life. David Duchovny’s Hank Moody is drug-addled and sex-crazed, just like his novels, and in real life, Duchovny is a recovering sex addict. Following suit, the band’s frontwoman is played by Zoë Kravitz, the daughter of Lenny Kravitz and Lisa Bonet. Kravitz is no stranger to the mic: she’s the lead singer for non-fictional band Elevator Fight.

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Introducing Mercies

Posted on February 14, 2011 | 1 comment

Mercies is a DC-based power trio that benefits greatly from the work its members have done with other local bands. Guitarist-vocalist John Russell also plays in the jammier ThunderTyts (and was a member of Little Bigheart), bassist-vocalist Justin Scott writes electro-tinged indie pop as Stout Cortez, and drummer Ezra Finney also plays with City Folk. As Mercies, the band makes indie rock that is confrontational yet catchy, in the tradition of Wire and the Pixies.

The band’s self-titled EP gives a taste of what they’re about, pulling from a range of influences. The rollicking “Precipice” bounces along with the occasional shrieked lyric, while “This is Not About Control” is more brooding. The vocal interaction between Russell and Scott is interesting and always different: sometimes harmonizing, other times juxtaposing through counterpoint.

The EP piqued my interest, but their live show sealed the deal. Playing to a full backstage room at the Black Cat last Thursday, Mercies rocked on a visceral level only hinted at on their EP. The soundboard recordings do a good job of capturing that energy. “Decade” is the strongest of the bunch, with sharp guitar and bass riffs, Russell with his grungiest growl, Scott’s soaring “ohs” and “ahs” and rumbling beats from Finney.

Local music scenes often take on an incestuous quality, with musicians collaborating and growing together in various configurations. The fruits of that labor is evident with Mercies. Catch them at Sidebar Tavern in Baltimore on March 30 and Asylum in DC on April 7.

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Luvstep 2: A Valentine from Dirty South Joe and Flufftronix

Posted on February 14, 2011 | 1 comment


With the highly anticipated Luvstep 2 mixtape dropping at the stroke of midnight, Dirty South Joe and Flufftronix delivered the equivalent of chocolate and roses for fans of electronic music. And while the ultimate Hallmark holiday tends to disappoint, the mix certainly doesn’t.

Last year, the Philadelphia based duo identified an emerging trend: the mellow, romantic side of dubstep, a genre quickly falling victim to harder, aggressive sounds. The first Luvstep mix found DSJ and Fluff pulling scraps and threads together: a remix here, a dubplate there. A year later and the sonic fabric of luvstep is available by the yard. For the Luvstep DJs, this is when the fun starts.

The mix opens (after dialogue from quintessential chick flick The Notebook) with Breakage’s pulsing remix of “Ain’t Nobody,” by Clare Maguire. Quickly establishing a consistent bass/snare tick-tock, the mix focuses on soothing, vocal-centric songs, featuring singers like Katy B, Belle Humble, and Yasmin. This builds into the chainsaw wobble and chiptune distortion of Zeds Dead, on his remix of “Eyes on Fire” by Blue Foundation. Street bass master Starkey sets the tone for the middle of the tape with “Paradise:” airy and mellow. This holds until the sharp chords and post-DnB beats of collaborators dBridge and instra:mental.

The strength of the new mix is how deep it gets, introducing listeners to a whole slew of producers that are experimenting with luvstep sounds. The most intriguing of these come from the 90s R&B revitalism of producers like Pearson Sound (aka Ramadanman). This music is simultaneously the future of dance music and R&B; witness the critically-acclaimed EPs and debut record from James Blake. On Luvstep 2, newcomers Two Inch Punch and Psychonaught tweak Brandy and Ray J, respectively; the tunes are surprisingly apt for the mix. It finishes strong with up-tempo songs from Submerse: more futuristic R&B, with funky, garage beats dramatized by a layer of orchestral strings.

After the success of the Luvstep set at last summer’s Mad Decent Block Party, Dirty South Joe and Flufftronix are taking the show on the road. In DC, they will join turntablist-extraordinaire Klever and moombahtoner Obeyah at U Hall. It remains to be seen how luvstep plays in clubs where faster tempos dominate, but if anyone can make it work, it’s these guys.

The Luvstep Release tour

02/14/11 Philadelphia, PA at Fluid
02/14/11 Philadelphia, PA at The Lodge
02/19/11 Washington, DC at U Street Music Hall
02/22/11 Newark at Mojo on Main
03/02/11 Indianapolis at The Casba
03/03/11 Louisville, KY at Headliners

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Future Grooves: Azari & III

Posted on February 10, 2011 | 1 comment

The transition from “dated and lame” to “retro and cool” takes about twenty years. For most of the last decade, the 80s dance party was a reliable staple of nightlife. But once the dancefloor is flooded with kids born after the time period in question, it’s time to move on to the next ironically detached, nostalgia fueled trend.

Forget about Frankie Goes to Hollywood and Dead or Alive, it’s time for C+C Music Factory and Deee-Lite. Fear not – leading the charge is Toronto’s Azari & III.

While the duo, comprised of Dinamo Azari and Alexander III, might claim otherwise, they make house music that is heavily influenced by a time period that is finally ripe for homage.

Their first EP features title track “Hungry for the Power,” a deep house groove that relies on Casio loops and rubbery synthesizers. The interplay between diva vocals and spoken word is provided by frequent collaborators Fritz Helder and SYF (Starving Yet Full). The sinister clip evokes the seedy, coke-and-whore clubs that the track belongs to (it’s also very NSFW).

“Reckless (With Your Love)” is the duo’s breakthrough for a reason – from it’s first syncopated beat, the track is relentless. Reminiscent of Robin S’ classic “Show Me Love,” the track is a modern take on house music of yore. And as strong as the original is, Tensnake’s remix goes even further in its tribute to an era, sampling Snap’s classic “The Power.”

[wpaudio url=”/wp-content/uploads/2011/02/Reckless_original.mp3″ text=”Azari & III – Reckless With Your Love” dl=”0″]

[wpaudio url=”/wp-content/uploads/2011/02/Reckless_tensnake.mp3″ text=”Azari & III – Reckless With Your Love (Tensnake remix)” dl=”0″]

House music is nothing if not played properly. Luckily, judging by this DJ mix, Azari & III have the turntable skills to match their beat making. See and hear for yourself: the group plays tomorrow at U Hall for the weekly Red Friday party. At the very least, it beats another 80s night.

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What the fuck is OFWGKTA?

Posted on February 9, 2011 | 1 comment

It’s a question I’ve received a few times after nerding out on Twitter: what the fuck is OFWGKTA? That unwieldy acronym stands for “Odd Future Wolf Gang Kill Them All.” Odd Future is an LA rap collective made up of rappers, beatmakers, artists and skaters. In name: Tyler the Creator, Hodgy Beats, Earl Sweatshirt, Domo Genesis, Mike G, Frank Ocean, Left Brain, The Super 3, Syd tha Kyd, Jasper Loc, and Taco Bennett.

Everything about them is polarizing, from fandom on down. They’re old enough to drive but barely old enough to drink. They love non sequiturs but have no love for their fathers, who are either absent or might as well be. Everything is swag or not.

The beats are grimey, borrowing from chopped-and-screwed trap hop, Stones Throw futurism and everything in between. Wu-Tang is the nearest comparison, if only in form but not function. Lyrical topics include, notably, drug abuse, violence, and rape, alone or in combination. The one-upmanship is pure high school male, the depravity and vileness a product of our unshockability. Blame it on 9/11 and / or the Internet.

If you don’t get it, it’s not for you. Hell, it’s barely for me. At 26, I might as well be 2 Dope Boys, Nah Right, or worse – Steve Harvey. So instead of trying to digest the group’s 150+ songs, I’ll just provide the essentials that capture Odd Future’s essence better than I can.

All music is freely available on the OFWGKTA web site.

OFWGKTA – Radical

More fully-formed than their original offering, the Odd Future Tape, Radical is their most accessible material, if only because of the Mos Def, Gucci Mane and Roscoe Dash beats they hijack. Here’s Hodgy Beats over Dash’s “Turnt Up” and Earl and Tyler over Gucci’s “Lemonade”

[wpaudio url=”/wp-content/uploads/2011/02/Turnt_Down.mp3″ text=”Hodgy Beats – Turnt Down”]

[wpaudio url=”/wp-content/uploads/2011/02/Orange_Juice.mp3″ text=”EarlWolf – Orange Juice”]

Tyler the Creator – Bastard

Tyler the Creator aka Ace aka Wolf Haley, in the inevitable Wu Tang analogy, is the RZA. On Bastard, he puts his cards on the table on the first track: “This is what the Devil plays before he sleeps… I cut my wrists and play piano because I’m so depressed.” “French” is a banger you might nod your head to until Tyler spits out “rape her and record it / then edit it with more shit.“

Earl Sweatshirt – Earl

Tyler’s little cousin is Earl Sweatshirt, and like a younger brother, he has to go big or go home. Earl’s current absence from the group (due either to boot camp, jail, or a severe grounding) will definitely leave a void: he’s one of the sickest, most fascinating members of Odd Future. “epaR” is a violent fantasy sequence with a hook that beats its not-so-subliminal title. And his self-titled rant features their most telling video yet.

[wpaudio url=”/wp-content/uploads/2011/02/epar.mp3″ text=”Earl Sweatshirt – epaR”]

Ready for more?

  • Hodgy Beats’ Dena Tape shows flashes of talent, but he really puts it together when he joins Left Brain to form MellowHype; the Halloween themed BLACKENDWHITE is their better album.
  • Domo Genesis takes the reins as the requisite weed rapper; he beat Wiz Khalifa to the punch on his Rolling Papers tape.
  • Odd Future isn’t just about rap: subgroup Jet Age of Tomorrow has released two albums of mostly-instrumental space funk that is trippy on another level.

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EP Review: Blaqstarr – The Divine

Posted on February 8, 2011 | 1 comment


Blaqstarr’s Divine EP is a dedication to feminine perfection and an offering to Gaia. But this is still a Blaqstarr record; like previous offerings, it’s hyperactive and sex-charged, albeit built more for the bedroom than the club. Over just six songs, Blaqstarr moves further down the rabbit hole, continuing to push and pull at the confines of Baltimore club music, crafting something more soulful and dramatic than ever before.

Serving as an introduction to the bizarre trip that follows, “All the World” kicks off the EP. Chopped vocal loops and frenetic live drums build to a crescendo under Blaqstarr’s off-time (and ocassionally off-key) crooning. The title track picks up where “All the World” left off, focusing those Neptunesque live drums and bouncy melody. It builds predictably until the mid-song breakdown. Over droning guitars and an underlying Bmore beat, Blaq freaks out with a call-and-response refrain of “Can I lick your ice cream?” Bringing both strands back together is the kind of chaos for which he’s known.

One of the strongest songs on the EP is actually a reworking of a track that has been around since at least 2007. “Rider Girl” is a poignant tribute to deceased Baltimore legend K Swift. Falling somewhere between “Supastarr” and “Automatic Lover” in Blaqstarr’s body of work, the song serves as a bridge between the club music that Swift championed and the new school that Blaqstarr owns and operates.

The strength of the EP is Blaqstarr’s skill in digging deeper into the roots and relatives of Baltimore club, refreshing a sound that is starting to stagnate. “Wonder Woman” is a bluesy jam steeped in P-funk, conjuring images of Blaq armed with just an acoustic guitar. His off-kilter line “she licked the gun / when she done / and said revenge is sweet” and the ghost of a club beat just below the surface are both unnerving and enticing. “Oh My Darlin” is Blaqstarr at his most minimal, featuring only haunting synth lines, wistful vocals, and a Prince meets Kanye rhythm. The EP closes with the even-more melancholy “Turning Out,” a true 808 heartbreaker.

While The Divine might not feature a breakthrough single like “Shake It to the Ground,” it does more to cement Blaqstarr as an essential voice in music – someone unafraid to confront expectations and worship in his own way.

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Introducing Jessie J

Posted on February 7, 2011 | Leave a comment

Another year, another chanteuse from the UK. Will 2011 be the year of Jessie J?

Jessie J, aka Jessica Cornish, is a 22-year old singer-songwriter. With credits that include co-writing Miley Cyrus’ infectious hit “Party in the USA,” she seems set to be a star in her own right.

On lead single “Do It Like A Dude,” Jessie J is a little bit Pink, a little bit Nicki as she belts out the faux-feminist chorus “I can do it like a brother / do it like a dude / grab my crotch / wear my hat low like you.” Beneath the affected patois and vocal processing, there is something here. Even with the pedantic lyrics, I was intrigued, especially after hearing a remix by luvstepper Jakwob and seeing the video’s grimey clip.

Her next single is “Price Tag,” featuring hip-pop artist B.o.B. The tune couldn’t be anymore different from “Do It Like a Dude,” forgoing edgy for bubbly. It owes much to Natasha Beddingfield and Lily Allen, and B.o.B. adds his usual: an unoffensive, standard issue 16 bars.

After the success of the two singles, plus reaching the top spot on the BBC’s Sound of 2011 poll, Jessie’s debut Who Are You has been pushed up a month, dropping on February 28.

Unfortunately, based on early glimpses of the record, Jessie J seems to be moving towards the easy accessibility of “Price Tag” versus the more confrontational pop of “Dude.” The title track is a ballad that showcases her vocal talents, and “L.O.V.E.” is a light-hearted romp. “Nobody’s Perfect” is the best of the bunch, even if it comes off like a Rihanna B-side. Still, I’ll reserve judgement until the record is released. The girl’s vocal talents can’t be questioned; the song-writing might be.

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Album Review: James Blake – James Blake

Posted on February 7, 2011 | Leave a comment


For an artist who is only 22 years old, James Blake has already had a lot of digital ink spilled about him. Over the past year, he released three highly acclaimed EPs and a few singles, all of which pales in comparison to his self-titled debut record (released today but building hype since it’s December leak).

From his earliest release, the single “Air & Lack Thereof / Sparing the Horse,” Blake laid down a marker for his sound: R&B-infused post-dubstep with pitchshifted vocals, soothing piano chords and pulsing swells of bass. His multi-layered, surging compositions put him in the company of artists like Mount Kimbie and Untold, on the less dance-oriented end of the spectrum. “The Bells Sketch” is typical of these releases; bits and pieces of the familiar and nostalgic, mechanical chirps and whirls next to processed vocals.

[wpaudio url=”/wp-content/uploads/2011/02/James-Blake-The-Bells-Sketch.mp3″ text=”James Blake – The Bells Sketch” dl=”0″]

Many of the compositions on his records begin with minimal elements, like a simple piano melody and a two-step beat, before sneakily building into something ominous and claustrophobic. While they start as whispers and suggestions, the songs soon turn into several competing conversations. There’s an uneasiness that is not entirely unpleasant.

That trend continues on James Blake. While pushing against the boundaries of an increasingly characteristic sound, Blake has found a guiding principle in “less is more.” Throughout the record, Blake’s voice is processed and layered into a digital/analog cyborg, often repeating the same lyric. The overall effect is hypnotic and moving, as on “I Never Learnt to Share:” “My brother and my sister don’t speak to me / but I don’t blame them” stays consistent, but the song builds and pulses, morphing their tone and meaning.

[wpaudio url=”/wp-content/uploads/2011/02/James-Blake-I-Never-Learnt-To-Share.mp3″ text=”James Blake – I Never Learnt to Share” dl=”0″]

Covering Feist’s “Limit to Your Love,” Blake keeps the melody but makes the song his own, adding a thick layer of sub-bass to the piano-driven ballad. It’s a trick he masters on the album; despite how sparse and minimal the songs tend to be, there is a rich low-end that adds a warmth to the predominantly cold compositions. Don’t be fooled – this is a record built for subwoofers, not earbuds.

The second single, “Wilhelms Scream,” is blessed with one of the album’s sweetest vocal melodies. The video for the song perfectly captures the interplay between high and low, foreground and background that Blake tools with here and elsewhere.

James Blake is quickly becoming a singular force in music. The closest match for both his sound and rapid rise would be the XX, another act that makes pure soul music, stripped of excess and focused on bass. And he seems poised to exceed even that lofty standard.

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The Verge: CREEP

Posted on February 1, 2011 | Leave a comment

Witch house, drag, or grave wave: call it what you will, but one of the hottest developments in music last year was also one of the coldest. By it’s nature, this music is not readily accessible (often literally – most band names feature unsearchable characters). But when a band like Balam Acab appears in a Beyonce makeup commercial, some sort of crossover is imminent.

Enter CREEP. The duo, comprised of Lauren Flax and Lauren Dillard, owes more to witch house’s aesthetic than to chopped-and-screwed industrial. Still, the group’s music is sufficiently dark, if more straight-forward than their peers. Flax gained notoriety as the tour DJ for electroclash act Fischerspooner and brings a danceable quality to the music.

Lead single “Days” has received plenty of press, due in part to guest vocals by It Girl / XX frontwoman Romy Madley Croft. The backdrop for Romy’s distinct vocals is a battle between razorblade accents, lush bass synth, a chopped up soca beat and staccato snares. The song has received remixes aplenty, including a UK funky take by Deadboy, a dark tech house version by Azari & III, and an (as of yet) unreleased remix by Drop the Lime.

The video, directed by Fischerspooner’s Warren Fischer, is on point: Gothic imagery, fog-soaked lights, black shrouds, and a foreboding sexuality permeate the clip. Media bloggers at the Creators Project sat down with Fischer and CREEP to go over the creative process behind the video.

While “Days” is their only original composition, CREEP has also lent their remixing talents to contemporaries Von Haze, Baghdaddy and Memory Tapes. Their remix of the latter’s “Green Knight” is a more solemn, breathy take on the original, with the same type of jittery drums found on “Days.”

Memory Tapes – Green Knight (Creep Remix)

CREEP is set to release an album on Young Turks this year, and a single entitled “You” featuring Nina Sky is set to follow “Days.” The duo also put out a mix for FACT Magazine that branches out into funky, R&B-influenced electronic music. For a limited time, he mix is available to download.

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