Shirlette Ammons premieres "Earth Intro" ft. Indigo Girls

Shirlette Ammons
Photo by Boris Niehaus

While you were probably out day-drinking and Hopscotching around last Friday, it's possible that you may have missed one of our state's most impressive emcees releasing one of her most progressive tracks to date. Last Friday Shirlette Ammons not-so-quietly released her new single, "Earth Intro" from her forthcoming sophomore album Language Barrier. "Earth Intro" debuted on arguably one of the largest Feminist media outlets, Bitch Media and marks a huge departure from Ammons' previous releases.

Featuring Emily Saliers and Amy Ray of the Grammy Award-winning act the Indigo Girls, "Earth Intro" is a track that contains multitudes. Aesthetically it lands at a frenetic blend between indie rock, folk rock and hip-hop with echos of punk rock influences abound. There's sharply spat vocals meshed with whirring yet distorted fiddle lines, rich dynamic changes and both inward and outwardly facing lyrical content. The way vocals have a slight distortion to them allows them to dig deep into the instrumentation and serve as much textural purpose as it does to forward the song's themes.

Ammons told Bitch Media that the Indigo Girls' "gorgeous songwriting" and "fierce harmonies" help lend an "anthemic" feel to "Earth Intro", giving a brief peek into the contributions brought forth by Saliers and Ray. Both of the Indigo Girls have been active in the environmental, gender equality and gay rights movements, perfectly coinciding with Ammons' own contributions to the social spectrum. You may remember Ammons' collaboration with Caitlin Cary (formerly of Whiskeytown), "My Body Politic" from NC Music Love Army's 2014 release. While working with folk songwriters isn't entirely out of Ammons' musical spectrum, it's exciting to see her ever-expanding boundaries of hip-hop and continually defying expectations of the genre. Ammons also noted that Meshell Ndegeocello and Amelia Meath of Sylvan Esso will be serving as collaborators on Language Barrier, which is set for an early 2016 release. Check out the track below:

Show Preview: Sylvan Esso w/ The Human Eyes

Sylvan Esso will perform at Cat's Cradle on Friday
May 2 w/ The Human Eyes

For the past year, fans of the North Carolina music scene have likely had one band at the forefront of their minds, an unlikely pairing with origins in folk that have blown away all expectations with their dashing electronic arrangements. Sylvan Esso is still in many rights a young band, they've barely been together for over a year but you'd never know that judging by the rich definition of their sound. Vocalist Amelia Meath's enchanting vocals slide and sway in and out of the throbbing bass and skittering synths set forth by Nick Sanborn, creating a mystifying mix of sounds that feel made for each other. When the duo played Memorial Auditorium at Hopscotch last year, the bass felt encompassing enough to rattle the dangling chandelier while Meath's smooth vocals effortlessly cut through Sanborn's high-energy mixes. Since that Hopscotch date they've toured with the likes of Volcano Choir, Man Man and Tycho, and following the release of their self-titled debut on May 13 they'll hit the road with Tune-Yards for a full US tour. Receiving acclaim from Pitchfork, Stereogum, Consequence of Sound, Noisey and countless other outlets, it's clear that Sylvan Esso breezed right past the stage of being an underrated local and were thrust straight into the national limelight. But it's a much deserved co-sign from these esteemed publications, as their sound is unlike any other, it's an effortless mix of electronic pop standards tinged with Meath's twee-folk backgrounds and washed in Sanborn's hip-hop influenced blend of club bangin' beats and heady productions.

This Friday the duo will celebrate their album release at a sold-out Cat's Cradle, a night that's sure to be one of the year's highlights in terms of local outings. With fellow promising upstarts in The Human Eyes opening the evening, fans can expect a smooth transition from the low-key 80s inspired sad-pop into the riveting displays set forth by Sylvan Esso. The Human Eyes may have seemed an interesting pairing for those that first saw the lineup, but all it takes is a trip back to their 2012 release Guiding Eyes for the Blind to realize how excellent of a combination this is. Having a high-energy act that gets the crowd moving would have been a treat, but getting a dynamic lineup such as this one is just as, if not more, enjoyable. Songwriter Thomas Costello writes melancholy songs that tackle your standard sad-song topics, but conveys them with a light of beaming nostalgia. Tracks like "It's Not The Same Without You" display some downright downtrodden imagery, but they're delivered with the swagger of an upbeat Talking Heads tune. The juxtaposition of their lyrical focus and instrumentation makes for a set that'll surely be filled with some introspective bobbing and swaying all 'round, but hey that never hurt anybody. And quite frankly it's an excellent transition into the chest rattling, sometimes heartbreaking, tunes of Sylvan Esso.

Sylvan Esso's debut full-length is a concise collection of eclectic electronic tracks that range from the house-inspired "HSKT" to the dynamic sounds of "Dreamy Bruises" and "Could I Be." Tracks glide along with jittery synth lines before a crunching bass cuts through the mix, ducking in and out with kicks and hi-hats as Meath's vocals take center stage. Whether Meath is shouting out cat calls on opener "Hey Mami" or lamenting over our constant state of flux while calling out to the hanky panky on "Coffee," the band is sure to leave listeners as emotionally moved as they are physically. Thunderous bass and gorgeous croons make for a brilliant combination, one that will leave the hundreds in attendance at Cat's on Friday night shouting and swinging along long after the tunes have ended.

Show Review: The Love Language and Sylan Esso

The two-night winter formal at Kings Barcade featured two very loved Triangle bands, The Love Language of Merge Records and Trekky Records artist Sylvan Esso. Both nights sold out, with only a handful released at the door night-of that went well before doors opened. I went out Friday night, enjoying the unseasonably warm weather and First Friday activities beforehand. Making my way to Kings, I saw dapper men on bicycles headed the same direction alongside women in party dresses. Although not required, formal wear was encouraged for the show. And, let's be honest, it made the prom photo booth that much more fun, and drinking champagne a little more appropriate. 

Sylvan Esso kicked things off with instant energy. Balloons bounced around the heads of the audience, everyone bumping them around trying not to let them hit the ground. So, there was the occasional dive to save one. Adorable, fun and easy to dance to, the shoulder-to-shoulder crowd showed the band a ton of love. With only two songs available on hard copy, I was glad to see more of Sylvan Esso's repertoire. And while I enjoyed some songs more than others, there were not "filler" tracks or ones that were by any means subpar. Vocalist Amelia Meath, wearing an all-black pantsuit with a cropped black and gold jacket, led the crowd in arm pumps and dance moves, all while showcasing her vocal range and fluidity between styles. Nick Sanborn backed her up with beats, loops and other effects. Sanborn's exaggerated twists and turns made the layering fun to watch. They've got a solid, consistent sound and clearly have a good time doing it. 

In between sets I made the customary run down to Neptunes, where an additional dance party was inevitably going on. We also had our prom photo taken at the door of Kings. The photographer positioned us in the corny, wonderfully awkward traditional prom poses that I'm sure will all give us a good laugh to go through. 

The Love Language took the stage, and it was definitely the most intense Love Language show I've ever been to. The band performed strong with genuine excitement for the night, and the crowd jumped, danced, moshed (what?!) and crowd surfed (semi-successfully). The new songs took off like wildfire to those who were and weren't familiar with them. They sprinkled in some slow songs, because what would prom be without some swaying around and twirling? But of course, the old sing-a-longs are always the most fun. Everyone was hype on the music, each other, the general prom night contagion of excitement and Stu McLamb's "Spring Break Forever!" shouts between songs. After an incredible encore featuring “Blue Angel,” a favorite off of 2010’s “Libraries,” that isn’t often played live, the sweaty crowd dispersed outside to cool off before heading back in for Trekky’s DJ Sweet William.

As is essential to any good party, Kings was a great host with festive décor and endless PBR. The energy was palpitating all night, and made for the best prom.

Show Preview: The Love Language and Sylvan Esso

Kings Barcade is hosting a Winter Formal presented by Trekky Records on Friday, December 6 and Saturday, December 7, featuring local artists The Love Language and Sylvan Esso. If you head out for either night, make sure to dress up and wear your fanciest dancing shoes – there will be an official Winter Formal photo booth and dance party following the show with DJ Sweet William (OG Trekky Will Hackney) spinning some tunes.

Sylvan Esso is a Durham two-piece made up of Amelia Meath and Nick Sanborn. Meath’s feminine voice dances over pulsing electronic beats and bass lines, all of which are looped and layered throughout the songs. Sanborn is also the bassist of Megafaun, so seeing the genre differences and what he's capable of in both is an interesting thing to keep in mind when listening. Their debut 12” was released in July on Trekky Records, featuring “Hey Mami” and “Play it Right.” Since, they’ve played Hopscotch, have been remixed by Broken Social Scene’s Charles Spearin, and have toured with the likes of Volcano Choir, Man Man and Minor Alps. 

The Love Language is another Triangle favorite. The band had their second Merge Records release in July with Ruby Red, a strong follow-up to 2010’s Libraries, that includes just as many catchy tracks as before.  Tight as ever, they’re known for putting on fun shows with rich harmonies among each instrument. The live show translates their rock side much more explicitly than the album, so look forward to a slight twist to what you’ve been playing on your stereo.

Doors open at 9:00pm and the music starts at 10:00pm. The show is $12 in advance and $14 at the door. Tickets and more information is available at kingsbarcade.com

Show Review: Hopscotch Music Festival 2013, Day 1

Kurt Vile & The Violators @ The Lincoln Theater

I say it each year, but I truly don't know how Grayson and Greg will be able to top themselves next year. Although this year's festival was plagued with last minute cancellations of some big named artists, the show still went off without a hitch. Artists like Action Bronson pulling out last minute made for brilliant, once in a lifetime moments like Big Daddy Kane's set at The Lincoln. And while many thought the cancellation of Big Boi could harm this festival, considering he was their marquee act, the addition of A-Trak and Holy Ghost! made Friday night's City Plaza set far more wild than Big Boi ever could have. While the hip-hop icon will certainly tear down the house on Sept. 21 when he plays his rescheduled show, few lineups in Hopscotch history have meshed as well as Friday's events.

So after seeing 35 bands in three days and amassing more hours of live music than sleep, I've slowly begun to take in everything that I checked out over the weekend. From the good to the weird, I can honestly say there weren't really any sets that I couldn't find something to enjoy. For those that frequent festivals like this, that's a true testament to the power of this lineup. When you've got as many bands as Hopscotch does on your lineup there's bound to be a few duds, but if they were around this year I certainly didn't get the chance to see them. As a matter of fact, I stumbled upon more surprisingly fantastic sets than I did disappointing.

Rather than lambast you with a gigantic, novel-esque post that encompasses all of these acts that I've seen throughout the weekend, I've chosen to give day-by-day reviews for all of this year's festivities. So indulge yourself in day one and be on the lookout for the Friday review tomorrow!

Hopscotch Itinerary: Thursday, Sept. 5

This year's festival has a lot to offer for fans of all types of music. While diversity has always been a staple for Hopscotch lineups, this year's installment boasts such an interesting collection of bands that any festival goer could pop into any given venue and find something worth staying for. While this year has also been plagued with cancellations, the festival has done a remarkable job at maintaining high caliber replacements to make for an incredible weekend of music. While my festival schedule is still looking remarkably hectic for Friday night, Thursday will serve as an awesome, generally stress free opening night for the festival.

The day's festivities naturally kick off with day parties, which I'll be hopping back and forth from. Thursday's standout is most definitely the Rock & Roll Pizza Party at Slim's (mostly because you can't go wrong with free pizza, especially from Mellow Mushroom) which will host acts like Naked Gods and Lonnie Walker. But for a good chunk of the afternoon I'll be DJing at Wristband City as a part of WKNC's Remote Broadcasting. However, Thursday's daytime events also include some other awesome artists like The Brand New Life at Art of Cool's party at The Pour House and DiggUp Tapes Kings/Neptunes Party that highlights some of the label's finest artists alongside some of the state's standout acts that don't frequent the Triangle (I'm looking at you Alligator Indian).

But Thursday starts getting awesome quickly, as the night's marathon of a show schedule begins at 8:30 with Body Games at The Pour House. It'd be easy for fans of electronic music to just post-up at The Pour House, because it's filled with astoundingly talented artists all night, but those of us that want a bit more variety out of our Hopscotch experience will resort to venue hopping. Body Games is an incredibly promising new act from Carrboro with Lake Inferior's Dax Beaton behind the wheel. These electro-leaning pop tunes are an excellent way to kick off a night filled with energetic acts like this.

Hopscotch Highlight: Sylvan Esso

Sylvan Esso (Durham, NC) performs on Thursday, Sept. 5
at 10:00 at Memorial Auditorium

We're creeping awfully close to the most wonderful time of the year for fans of North Carolina's rich music scene. This year's Hopscotch boasts the most impressive lineup yet, a feat that the festival continues to pull off with each passing year. September is drawing near and that means that for three full days downtown Raleigh will be home to one of the most brilliantly orchestrated music marathons of the year. When the lineup was released I went through and did my annual rundown of bands on the bill, taking note of the new locals that I was unfamiliar with. Last year this method allowed me to find one of my favorite bands of the year with Jenny Besetzt and surely enough this year produced the same results.

When I stumbled upon Sylvan Esso the band had yet to release any music, but when I saw that the group was comprised of Nick Sanborn of Megafaun collaborating with Amelia Randall Meath of Mountain Man I knew that this would be a truly special project. But I had no idea that the duo would produce songs that left me absolutely floored at their seemingly effortless take on a truly innovative sound. Sylvan Esso brilliantly blends skittering, pulsating beats with twee-folk inspired melodies to create a unique blend of mesmerizing timbres.

When it came time to plan out my first Hopscotch Highlight it was a no-brainer, it had to be Sylvan Esso. The duo coincidentally enough made their live debut at last year's Hopscotch during Sanborn's Made of Oaks set at The Pour House. Made of Oaks is Sanborn's "beautifully sad instrumental hip-hop" project whose sound serves as the aural foundation for Sylvan Esso's groundbreaking tracks.