Daily Archives: February 28, 2018

TOTAL ECLIPSE OF THE CHARTS ::: FEBRUARY 27th, 2018

Here are the Charts for this week….a bit late this week since I’m on the road in €

best

Alex

CKUT TOP 30 FOR FEB 27th, 2018

1.  ought – room inside the world – royal mountain *
2.  petra glint – the trip – vibe over method
3.  cadence weapon – s/t – eone
4.  dominique fils-aimé – nameless – ensoul
5.  youmna saba – arb’en – tunefork
6.  yoshimio / susie ibarra / robert aiki aubrey lowe – flower of sulfer – thrill jockey
7. moth cock -1-100 at the speed of…. – hausu mountain
8.  holzkopf – hause of sun – self released
9.  various – youth international party 50th anniversary – youth international party
10   nightmares on wax – shape the future – warp
11.  saukratese – season 2 –  CC
12. political ritual – s/t – ambiance magnétique CC*
13. wooing – daydream b/w time machine – ba da bing
14. the bridge – overdrive – rock/jazz – party – guersson
15. lea bertucci – metal aether – NNA
16. lachane – s/t – holodeck
17. effrim menuck – pissing stars – constellation CC*
18. u.s. girls – a poem unlimited – 4AD
19. moth cock -1-100 at the speed of…. – hausu mountain
20. profligate – somewhere else – wharf cat
21. the extract – dream song – self CC
22. station 17 – blick – bureau b
23. persuasion – quatermass ep – opal tapes
24. langley school music project – innocence & despair – bar/none
25. fischerspooner – sir – ultra
26. steff chura – messes – sadle creek
27. runaway brother – new pocket – tiny engines
28. wetware – automatic drawing – dais
29.  divide and dissolve – abomination – dero arcade
30. dabrye – three/three – ghostly international

ckut rpm – february 27, 2008
1.persuasion – quatermass ep – opal tapes
2.souns – aquamarine – souns.bandcamp.com CC
3.antenes – shifting zones – silent season
4.various – silk to dry the tears – 100% silk
5.peder mannerfelt – the 3d printed songbook – peder mannerfelt produktion
6.gene tellem – who says no – S.O.B.O – CC
7.memeshift – desert vibes – perfect location
8.jasen loveland – my medicine – acid camp
9.dimitri palikaris – exploring – ancient robot
10.
james n murray – city of the night – jacktone

ckut jazz – february 27, 2018

1. togetherness! – togetherness! – self cc
2.kaze – atody man – circum–libra
3.bobby previte  – rhapsody – rare noise
4.kate gentile – mannequins – skirl
5.jason robinson’s janus ensemble – resonant geographies – pfmentum
6.jean derome – resistances – ambiances magnétiques cc
7.irabagon / fielder / neufeld – in formation network – nuscope
8.rudd / victor / harris / filiano – embrace – rare noise
9.phillips / yoshizowa – oh my, those boys! – no business
10. anthony braxton – solo (victoriaville) 2017 – victo

ckut global – feb 20, 2018

1.afrika mamas – iphupho: a cappella from south africa – arcmusic
2.souljazz orchestra – under burning skies – strut CC
3.brooklyn raga massive – terry riley in c – northern spy
4.leila gobi – 2017 – clermont music
5.lemon bucket orchestra – if i had the strength – indoor recess
6. la misa negra – s/t – nam entertainment
7. brenda navarrete – mi mundo – alma
8. benji kaplan – chorando – big apple batucada
9.les filles de illighadad – eghass malan – sahel sounds
10. pasteur lappe – we, the people – africa seven

ckut beatbox – feb 27th
1. cadence weapon – s/t – one CC*
2.evidence – weather or not – rhymesayer
3.saukratese – season 2 –  CC
4.dabrye – three/three – ghostly international
5. swamp thing + ghettosocks – the octagon – droppin science  CC
6.fredy v – #ittakesavillage – self-released CC *
7.amp fiddler – amp dog knights – mahogani
8.v/a – cosmic melanin – 88 days of fortune CC
9.tshizimba – zero – self-released CC *
10.tachichi – chico’s 90s project (hand’solo) CC

Concert Review: Tess Roby, Girl Ray & Porches @ Theatre Plaza

Last Sunday, Theatre Plaza hosted an ode to DIY music with three distinct artists demonstrating synth-laden electronic, good ol’ rock, and a final act that combined the two. Local group Tess Roby opened the night with a simple setup: Tess on keys behind a mic, and her brother, Eliot, on guitar. Her warm, unadorned vocals (strikingly similar to the few studio recordings she has released) and pulsing synth cascades instilled a moody stillness, the only movement coming from the intermittent stomping of guitar pedals and the milling about of audience members. For her final song, “Ballad 5,” she requested that all the lights be turned blue, softening the ambiance one last time before taking her leave.

Girl Ray appeared shortly afterward with a classic guitar band outfit, adding just one touring member to their three-girl London-based act. Layering a modern lo-fi guitar sound over 70s folk/pop influences, they ramped up the energy along with the swelling crowd, even garnering cheers for a brief coordinated shimmy between guitarist/vocalist Poppy Hankin and bassist Sophie Moss.

With the clock approaching midnight, Porches frontman Aaron Maine took the stage with his back to a charged audience. After counting the band in with his swinging hips, he turned to deliver “Now the Water,” a song off his new album The House. A few tunes in, gentle head bobbing turned to jumping and jiving as the crowd got down to “Find Me,” a single off the album that juxtaposes lyrics about struggling with anxiety against dance-worthy beats. Energized by the response, Maine expressed his appreciation for everyone coming out by informing us he’d worn a “special shirt” for the occasion, indicating something apparently exceptional about his otherwise nondescript black tee. That shirt soon became a centerpiece for communicating the artist’s personality throughout the night, like his deadpan humor when he later clarified that we should actually ignore the shirt and “focus on the music,” a point he reinforced by briefly hiding behind it after lifting it up and over his face for a moment towards the end of his set.

Just as Maine’s dry sarcasm kept the audience guessing, The House navigates the ambiguous emotional spaces of post-breakup introspection, motivated by his recent split from Greta Kline of Frankie Cosmos. Still, the music of Porches has never shied away from melancholia, and the 15-song set, split evenly between the most recent and previous (sophomore) album, felt like it could be part of a single work connected by its synth and heart-heavy sound.

Whether or not the awkwardness was deliberate, Maine seemed most comfortable mid-song, swaying along to the murky emotions simulated by the swirl of rhythm, melody, and lyrics that frequently invoke water as a metaphorical vehicle. One couldn’t help but feel the simultaneous solace and solitude in his music when, during the encore, the rest of the band crept, kneeling, into their spots while he began the heartfelt ballad “Country.” Before giving anyone time to reflect, the band closed the night by stripping back the synths and returning to their roots with “Headsgiving” off the debut album, lifting spirits with hearty guitars and drums. It was a perfect way to end. Lyrics like, “And in her eyes/I want to die/Before I die the sad kind,” contrast with those about giving head to encapsulate the sadness, sometimes whimsical, sometimes sincere, but never overly self-indulgent, that Maine likes to inhabit with his songwriting. This emotional gray area has a hazy relatability, even if not always readily accessible – though wallowing in Maine’s world for the better part of an hour certainly helps tap into this space. As I stepped outside to let the cold wind blow away any remaining gloom, I felt a sense of catharsis, and though unexpected, I was sure I wasn’t the only one.

~review by Dylan Lai