This is for Terry, who recently turned us all on to Pigs Pigs Pigs Pigs Pigs Pigs Pigs (aka Pigs x7) a UK metal band that he's seen in concert (just once, I believe). They straddle the stoner, doom, psychedelic genres, and like all such bands, they have a significant sonic debt to Black Sabbath (though on their second track, "Big Rig", there's also a definite Rage Against the Machine influence). I've yet to explore their full discography, but I've certainly liked what I've heard so far. KEXP concerts are always excellent, and this one does not disappoint. I don't see any nearby shows on the schedule now, but hopefully this will change in the future.
In the first installment for Women's History Month 2020 I'm going to feature Yo La Tengo, a band that I'm quite fond of but so far have only mentioned in passing. At the core of YLT is husband and wife team of Ira Kaplan (guitars, piano, vocals) and Georgia Hubley (drums, piano, vocals). Active since 1984, their discography includes 15 LPs and countless other releases. Although Ira is the front man, singing most of the songs and playing guitar, Georgia also sings, and their combination really defines the sound of the band.
Herbert turned me on to Yo La Tengo around 2000, right after "And Then Nothing Turned Itself Inside-Out" came out. Herbert is a big fan of Yo La Tengo, but not a fan of Sonic Youth, which I consider strange since I find a lot of similarities in their respective sounds. Sonic Youth might have a harsher, more aggressive, punk-influenced sound on some songs, but in my opinion if you like one band you'll the other.
This entry is from KEXP's excellent in-studio concert series, where they were supporting 2013's "Fade", one of the few LPs of theirs that I don't have. Georgia sings on the last song, "Before We Run".
Terry recently turned me on to Australia's King Gizzard & The Lizard Wizard. In their 10 years they've amassed an extensive discography, far more than with which I'm currently familiar. What I have gathered is that their sound has explored various genres and sub-genres. But based on Terry's recommendation, the first link I listened to was a KEXP concert from last summer while they were promoting their most recent LP, "Infest the Rat's Nest", which is apparently their foray into thrash metal, while retaining their space rock / psychedelic origins.
The best way I can explain their sound is to imagine if "In Search of Space"-era Hawkwind were cryogenically frozen, and after reanimation they asked "what did we miss in the last 48 years?", whereupon they quickly consumed the back catalogs of Iron Maiden and other NWOBHM luminaries, as well as the discographies of Metallica and friends, and then recorded "Infest the Rat's Nest".
It's certainly fun to listen to, and I'm about 99.99% sure it's not a well-executed parody.
Two weeks ago Drew, Lian, and I saw Thievery Corporation in concert at the National in Richmond. Drew had seen them many times, having lived in Adams Morgan some 20+ years ago, but it was a first for Lian and me. It was also appropriate since I first learned of Thievery Corporation via Drew and the "Dubbed Out in DC" compilation LP, and I've been a big fan ever since.
I had often wondered how their DJ / electronic / studio focus translated into a live setting (for example, they did not do my favorite song "The Foundation", which perhaps is less suitable for live performance), but I was pleased with the result, with the changing cast of guest vocalists providing the necessary variety. The bassist also high-stepped through the entire show, providing some on-stage movement to contrast with, for example, when the guitarist would sit on a couch and play the sitar.
The setlist for this show hasn't been posted, but this five song KEXP set captures the feel of what we saw two weeks ago, although in Richmond they did not have a horn section. In both shows Eric Hilton was not present and the best explanation I can find is this brief reference from the Phoenix New Times: "Hilton, who is not an enthusiastic live performer, opts to run his side of things from Washington..."
I need to eventually review "Dubbed Out in DC", "Sounds From the Thievery Hi-Fi", and some of their other classic LPs, but for now this KEXP sampler will have to do.
I'm about two weeks late for Pride Month and about six weeks late for the Samantha Bee controversy, but today I address both, via a live in the KEXP studio three song set by Peaches, aka Merrill Beth Nisker.
Why?
1. Peaches is awesome, and her entire canon is a wickedly-clever blend of feminist, LGBTQ, and social commentary. Even though you've probably never heard of her, a scan of her guest appearances and remixes will establish her alt-cred.
2. The Peaches song "Boys Wanna Be Her" is used as the theme song for Samantha Bee's TV show "Full Frontal". Samantha Bee is also awesome, wickedly clever, fierce, and... I don't think she should have apologized. One word should not distract us from the larger message, but I suppose this leaves us with the other "c-word".
More KEXP goodness, this time with Angel Olsen, recorded nearly a year ago in support of her excellent 2016 LP "My Woman".
This four song set doesn't feature "Shut Up Kiss Me" or "Sister", my two favorite songs from "My Woman", but does feature the next best three songs from the LP ("Intern", "Woman", and "Never Be Mine") as well as a great cover of "Total Control" by The Motels.
I've since updated my LP review to reflect this, but this KEXP concert clip is where I realized that the backup singer in the Colbert video that I raved about to all of my friends is actually Heather McEntire, the lead singer for Mount Moriah (on the right-hand side of the image above). I've already covered how great Heather is in my review of their eponymous LP, so on the one hand, I'm disappointed that I didn't recognize her, even in the whole The Crickets / rockabilly outfit, and on the other hand I'm glad I noticed her sound and thought "wow, she should have her own band!" Fortunately Mount Moriah is still active and this is just another example of their members being involved in different projects (cf. Jenks Miller and Horseback).
This is at least the second time Olsen has been on KEXP, but the 2014 appearance was in support of the "Burn Your Fire for No Witness" LP, which although not bad is not the masterpiece that "My Woman" is.
San Francisco-based Warpaint has been active since 2004, but I just recently learned of them via Herbert, when he mentioned about seeing them in the Netherlands last November. I don't know how I had missed them for 12 or so years, but I really like their sound. I got "Heads Up" for Christmas but haven't had a chance to listen to it yet.
In the meantime, check out this recent performance on KEXP. Unlike their earlier material, this reminds me of recent Radiohead (e.g., "A Moon Shaped Pool", "The King of Limbs").
I recently found out about Angel Olsen via several people raving about her most recent LP, "My Woman", on the "Now Playing" Facebook group. Eventually I investigated the LP and her body of work in general, and now I understand the buzz. I'm not yet quite ready to review it, so in the mean time I'll just bring your attention to her via this KEXP concert from 2014 in support of her "Burn Your Fire for No Witness" LP.
This is a good performance and I enjoy it more than her 2014 solo acoustic performance on NPR's Tiny Desk Concert, but 2016's "My Woman" represents a significant progression for her. Check her out.
This is really just a stopgap post; I really should take the time to review Waxahatchee's 2013 LP "Cerulean Salt" (it's great) or the recently released "Ivy Tripp" (it's good). Both are a departure from 2012's excellent "American Weekend" which was basically a solo Katie Crutchfield LP, with the last two as proper "band" LPs although the band members are largely shared with sister Allison Crutchfield's band, Swearin'.
While waiting for those reviews, you get this four song (all from "Ivy Tripp"), live-in-the-studio promo from KEXP. Aside from being a great performance, this performance features Allison on guitar & keyboards. Of course, this begs the question "did P.S. Eliot actually break up?"
I suppose a critic could say they're derivative, but I think it would be more fair to say they're celebrating an established genre. I mean, Otis died before these guys were born, and I welcome new artists revisiting classic sounds.
I learned of them a few months ago on NPR's Morning Edition. That NPR did a feature on these guys should surprise no one. Joy hooked us up with their debut LP "Half The City" but until I find the time for a proper review, this four song live in the studio set will have to suffice.
BTW -- The KEXP Youtube channel is simply amazing; tons of good stuff there.
