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: Ava Luna w/ Krill & Blanko Basnet

Ava Luna performs at The Pinhook

Last Wednesday night The Pinhook was home to a wonderfully eclectic mixture of bands. Some of the most enjoyable lineups are the ones that you don't quite think would mesh well together, but once you get to the show it all doesn't seem to matter anymore. There's a sense of spontaneity that keeps the night exciting, and that's exactly what happened in Durham on Wednesday night. Ava Luna and Krill were wrapping up their SXSW run and making their way back up north, which as a southerner that doesn't get to trek down to South-by is always a joyous time. The two acts teamed up with Blanko Basnet, a group that's become a go-to opener for buzz bands like these, and brought one hellaciously fun show to an intimate Pinhook crowd.

The evening kicked off with Blanko Basnet and a set that was filled with roving guitar licks and infectious choruses. Joe Hall's vocal melodies display a staggering sense of dynamic shifts, one minute you're hooked on the buoyant verses then the song upheaves its pre-set structure and shifts into swiftly changing chords, brisk drum beats and some subtle harmonies. Blanko Basnet played some of the standouts from their debut full length that was released last summer and threw in a new track as well, which makes me excited to know that Blanko won't just be a one-off side-project from this Hammer No More The Fingers guitarist.

Krill performs at The Pinhook

Blanko made for a smooth transition into the indie-punk leaning power-trio of Krill. Despite a set mired technical difficulties with their microphone, Krill rolled right along with it, even joking that "it wouldn't be a Krill set if something didn't mess up." But the band never lost their footing, blasting through short songs filled with heavily distorted guitar, throaty shouts and tight drum beats that drove these songs along with a headstrong sense of determination. While Blanko's brand of indie rock eased the crowd into the evening, Krill thrusted their sounds upon the crowd with the ferocity of a punk act but the smooth sensibilities of a pop-rock group. Krill's romping sense of intensity was anchored by vocalist Jonah Furman's swiftly spat vocals, tying together the entire aesthetic of this Boston-based indie punk crew.

While the openers of the evening proved to be an exciting combination of two different ends of the indie-rock spectrum, Ava Luna took the night up to the next level. Sure this self-described "nervous soul" act displays a bit of punk-rock influence in their spastic rhythmic tendencies, but most of Ava Luna's songs are firmly rooted in a far weirder territory than the previous acts. Ava Luna is defined by their eccentricity, whether vocalist Carlos Hernandez is belting out his frenetic shouts or Becca Kaufman and Felicia Douglas are smoothly crooning their way into the listener's hearts, you're guaranteed an entertaining performance. With equal parts R&B and peculiar art-rock, Ava Luna played through some of Electric Balloon's standout tracks like "Daydream," "PRPL," and "Sears Roebuck M&Ms" while tossing in some of the best tracks from their debut Ice Levels. Their set felt like an anomalous blend of the quirk and tenacity of Talking Heads and the vocal prowess of Dirty Projectors, making for a weird yet whimsical closing to this incredible night of music.

Show Preview: Ava Luna w/ Krill & Blanko Basnet

Ava Luna will perform at The Pinhook on Wednesday
w/ Krill and Blanko Basnet

It takes quite a bit to drag me away from Raleigh on a school night for a show. But this Wednesday I'm prepared to trudge through what's sure to be an early and tiresome Thursday morning for the chance to check out the fantastic lineup at The Pinhook. The last time I saw Ava Luna they opened up for Sharon Van Etten at Kings a few years back, it was a strange fit for the songstress but their self-described "nervous soul" still struck a chord with me. Now on the heels of their second full length album Electric Balloon, I'm far more prepared to soak in the frenetic sounds of Ava Luna and their impressive opening acts.

Ava Luna is a band that's carved out their own corner of the musical world, something that's rather hard to do now in such an over saturated market. Plenty of acts are harkening back to the soulful sounds of Motown, but Ava Luna has taken the most exciting bits of the genre and enveloped them into a musical collage of sorts. Part art-rock, part doo-wop, part R&B and a hint of punk, that gives you a solid indication of the reeling soundscapes crafted by this eccentric act. Songwriter Carlos Hernandez shares vocal duties with Felicia Douglass and Becca Kauffman, making for some highly entertaining displays of acrobatic vocal stylings. Expect some angular arrangements that will compel you to bob and sway one moment then aggressively thrash around at others. Songs can shift direction at the drop of a dime, but they still feel cohesive and most of all smooth.

Speaking of smooth, the transition between the two openers will be nothing but. Krill are a buzz band of poppy garage rockers that hail from Brooklyn who garnered quite a bit of critical acclaim from 2013s Lucky Leaves. Their performance will surely compel the Triangle residents, there's enough fuzzed out rock to get the attendees amped up for Ava Luna despite their stylistic differences. Despite their namesake, this band packs a mighty punch with some emotionally intensive lyricism and some lofty arrangements.

Blanko Basnet will open up the evening, allowing concertgoers to dip their toes into the evening with some familiar locals. Blanko is led by Joe Hall of Hammer No More The Fingers and the group features much of the same tendencies as Hammer. Technically impressive guitar lines leave musicians in the crowd in awe of Hall's prowess as he stretches his hands to unnatural lengths across the fretboard for some seriously unique chord structures. Blanko Basnet is packed with enough familiarity to feel like an old favorite for locals (the band's lineup is filled with local favorites), but there's enough innovation to the Hammer formula to keep it thoroughly entertaining.

Tickets for the show are available at thepinhook.com. Admission is $8, doors open at 8:00 and the show begins at 9:00.

Ears to the Ground: "No Dark/No Light" by Lilac Shadows

It's with great pleasure that I share this brand new Lilac Shadows track with all of you. I've been intently listening to No Dark/No Light, Lilac Shadows' forthcoming full-length album set for release on Feb. 4, for a few months now. But regardless of how many times I listen to it I still find myself just as transfixed as I was on my first listen. With a revamped lineup, Lilac Shadows has come strong out of the gate for their debut full-length. No Dark/No Light finds the band delving deeper into the explorative tendencies that they toyed with on their Shallow Madness EP, they're swiftly mastering the push and pull that all great psych-rock bands harness.

"No Dark/No Light" is the album's lead single and it's a brilliant representation of what can be found on the album. Whether it's the rich dynamic shifts, the deeply layered strings or the rambling vocal melody, "No Dark/No Light" contains plenty of subtle nuances that the listener can go back and hone in on. It's a revelatory experience each time around, whether you find yourself entrenched in the encapsulating instrumentation or sucked into the equally dense vocal patterns and lyricism, it's all worthy of your undivided attention.

No Dark/No Light is a unique sonic adventure with apt titling. The album is as bold and defined as it is amorphous. Frankly it's one of those albums best experienced with minimal distractions, with eyes closed and headphones on just absorbing all of the intricacies that lie within. Granted that's easy for me to say since I've been following a similar listening pattern for a few weeks now, but if you don't believe me then give this title track the same respect. Nestle yourself inside of some blankets and pump these tunes into your ears and tell me you're not craving more. Sure you can blast this in a car or through your laptop speakers and get an equally enthralling experience, but music this wonderful deserves your aural respect. So give it such!

No Dark/No Light will be released on DiggUp Tapes on February 4. Lilac Shadows will celebrate the release of the album with a show at The Carrack Art Gallery in Durham. Joined by Midnight Plus One and Matt Northrup, Lilac Shadows will also be providing a "collaborative multimedia exhibit" so that fans can truly immerse themselves in the vibrant world of No Dark/No Light. Artists involved in the exhibit will be sharing interpretive artwork that serves as a response to their listening of the album. From Feb. 4-15, the Carrack will house this artwork along with an interactive sound exhibit, featuring samples of the album that people can interact with, creating their own soundscapes.

Artists involved includes: Harrison Haynes, Casey Cook, Ann Tilley, Will Goodyear, Katie Zickefoose, Gabrielle Duggan, JP Trostle, Brian Howe, Jeremy Withers, Thomas Dean, Janie Ledford, Grace Montgomery, Linc Hancock, Liz Bradford, Kelly Kye, David Eichenberger, Sandy Logan, Jacki Huntington, Matt Park and more forthcoming...

Check out the band's upcoming show schedule and listen to the title track below:

Upcoming Shows:

Feb. 8 - Durham, NC; The Carrack Gallery Release Show and Art Opening with Midnight Plus One and Matt Northrup

Feb. 20 - Raleigh, NC; Tir Na Nog with White Cascade and Jazz Tapes

Feb. 21 - Richmond, VA; Boyzhouse with Lonnie Walker

Feb. 22 - Washington DC; The Dunes with Lonnie Walker and The North Country

March 13 - Durham, NC; The Pinhook with Zack Mexico and The Clockwork Kids

March 14 - Charleston, SC; Swamp House with Zack Mexico and Elim Bolt

March 15 - Columbia, SC; Shredquarters with Zack Mexico and Elim Bolt

March 16 - Charlotte, NC;  Strange_House with Zack Mexico and Elim Bolt

Album Review: "Public Housing" by Gross Ghost

"Public Housing" was released on Oct. 29 on
Odessa Records. Gross Ghost will be celebrating
their album release this Friday, Nov. 22 at Cat's Cradle's
new Back Room w/ Last Year's Men and Schooner.

“It starts this way/nothing to do nothing to say,” Mike Dillon desperately sings out as the opening track to Gross Ghost’s latest full-length Public Housing kicks in. A brisk drum beat and bouncing bass line drive along until the electric guitar frenetically bursts through the mix, setting the tone for what’s to come on this enthralling sophomore release from Gross Ghost.

While their debut Brer Rabbit relished in playful poignancy, Dillon and company go straight for the throat on Public Housing, an album the chronicles a hectic period of couch surfing during the post-break up wake. Tracks like the album’s opener “Seeds” display a lot of the sentiments that can be found on Public Housing, Dillon wears his emotions on his sleeve as he runs the gamut of reactionary tales. While the overarching themes delve into looking back on loves lost, their sonic foundation is strongly geared towards the future.

Public Housing is a crisp record that was recorded at The Pinhook in Durham, one of the attributing factors to the unequivocal energy that oozes out of these tracks. The addition of longtime collaborator Christopher Hutcherson-Riddle has allowed the drums to serve as a powerful driving force for these rhythmically focused songs. Vocal melodies will frequently mirror the guitar riffs, making for wonderful interplay between all of the various textures in place. Public Housing finds Gross Ghost putting together all of the pieces that make for a tight, cohesive band with a strong drive to succeed.

Whether it be the unforgettable hooks on tracks like “You Will” or the unshakeable grooves on “Howlin,” Dillon’s songwriting is the strongest it’s been to date on Public Housing. While Brer Rabbit was a wonderful album that I still find myself drawn to, it very much just tackled the surface of this band’s potential. Public Housing plunges deeper into the rabbit hole, allowing for intimate connections with these tracks. The album’s lone acoustic excursion, “Dissolve” is filled with insatiable longings of “wanting it all,” and manages to fit in perfectly with the distorted anthems it’s surrounded by. This can easily be attributed to that constant sense of connectivity with these songs, Dillon has poured himself into these tracks and it’s paid off immensely.

Whether you’re hulled up in the house or barreling down the interstate, Public Housing’s versatility lends itself to plenty of listening situations. The introspection allows for listeners to entrench themselves in these tunes while the upbeat, jangling instrumentation makes these songs capable of filling you with uncontainable energy, driving you to shake, sway and shout along to these infectious songs. Public Housing gives Gross Ghost a powerful foundation to build upon, with two fantastic releases behind them there’s an undeniable spotlight shone upon this group. It’s clear that Public Housing is only the beginning for this newly cemented lineup of Gross Ghost, and there’s nowhere but up to go from here.

Art of Cool Festival Announces Lineup

The Art of Cool Festival will take place in Durham, NC
on April 25 & 26. Tickets are available now at $120 for a
2-day pass or $275 for VIP

Earlier this year The Art of Cool popped up on my radar due to an incredibly promising Kickstarter campaign. The project, led by Cicely Mitchell and Al Strong has been helping to increase the presence of our local jazz scene throughout the past few years. The local non-profit has been organizing events that showcase local artists along with internationally acclaimed acts at a variety of high-profile and low-key venues throughout the area.

The project got its starts at the LabourLove Gallery in Durham when trumpeter Al Strong was looking for a low-pressure, intimate venue to perform at. However, throughout the past two years it has blossomed into something that's capable of re-igniting the once vibrant North Carolina jazz scene.

While there's always been handfuls of dedicated jazz listeners and performers in the area, Art of Cool is helping to bring the rich local scene back to life with their massive festival set to take place next April in Durham. Their aforementioned Kickstarter campaign raised over $25,000 and this past Friday the festival announced their long-awaited lineup. With high hopes set, Cicely and Al certainly didn't disappoint, combining some of the most revered local acts with a Grammy Award-winning artists and internationally acclaimed icons. The festival's marquee headliner, Maceo Parker (saxophonist for James Brown and Parliament) just so happens to hail from Kinston while the five-time Grammy nominee Nnena Freelon (mother of The Beast's Pierce Freelon), has called Durham home for decades.

While acts like Nnena and Maceo feel like givens for a high-profile jazz festival, the standouts amongst the lineup are those that provide the biggest surprises. Seeing acts like Thundercat and Cody Chesnutt on the lineup beside names like Robert Glasper, The Foreign Exchange and a special arrangement by Miguel Atwood-Ferguson. Though the Atwood-Ferguson piece has been public knowledge since this summer, it doesn't make it any less exciting. For those that aren't aware, Atwood-Ferguson is a widely renown multi-instrumentalist/composer who has worked with a breathtaking lineup of musicians ranging from Ray Charles to Dr. Dre to Hall and Oates and pretty much everywhere in between. For the Art of Cool festival, Atwood-Ferguson has been commissioned to create a staggering tribute to North Carolina's most renown jazz musicians. An 11-person ensemble will perform Atwood-Ferguson's composition paying tribute to John Coltrane, Nina Simone, Thelonius Monk and Roberta Flack with promised special guests to join the already staggering array of musicians on stage.

For jazz aficionados this is an absolute dream come true. It's a Hopscotch-level festival that touches on an entirely different area of our state's great scene. On April 25 and 26, Durham will be filled with the entrancing sounds of some of the world's most talented musicians. The festival's headliners will perform at the gorgeous Carolina Theater while the other acts will perform amongst some of Durham's finest venues like Motorco Music Hall, The Pinhook, Beyu Cafe, Heyti Heritage Center and the Durham Arts Council. Among all of the awe-inspiring jazz, soul and experimental music on display, artists will be taking part in panel discussions and master classes throughout the area, making for a unique and immersive experience for everyone involved. Check out the full lineup below:

Art of Cool Lineup:
Maceo Parker | Robert Glasper Experiment | Miguel Atwood-Ferguson | Cody ChesnuTT | Amel Lerriux | Alice Smith | The Clayton Brothers | The Foreign Exchange | Thundercat | Mark de Clive-Lowe | Revive Big Band | Russel Gunn | The Beast | Kneebody | Nnena Freelon & Maya Freelon Asante | Lois Deloatch-Gomes | NCCU Big Band | Rafiq Bhatia | Butcher Brown | NCCU Jazz Vocal Ensemble | The Hot at Nights | Kate McGarry & Keith Ganz | Shana Tucker | Akua Alrich & Kris Funn

Show Review: King Khan and the Shrines w/ Hellshovel & Black Zinfadel

Hellshovel

As a first time passenger of the Bridge Bus, a bus that runs between Durham and Raleigh at night on the weekends, I wasn’t entirely sure if I would make it to the show. My bus anxieties were dissipated very quickly and I made it to Durham just in time to catch Hellshovel play.

Although I missed Black Zinfandel, I can tell you that they are a band not to be missed even though I did just that...They blend conventional punk stylings with psych-rock recklessness to create a crass, yet refined style. Regardless, Black Zinfandel gives me hope that the punk scene in Raleigh will eventually become much more visible.

When Hellshovel began to play all I could think about is how much better their shoes were than any of the shoes I own. That's actually not all I thought about but these dudes had some good shoes and very mod style that fit well with their rockabilly psych rock that was a lot more jam-band than a typical garage band, but it was refreshing to hear. Hellshovel played mellow garage tunes that still had energy infused into them to keep the crowd going until King Khan hit the stage. 

King Khan and the Shrines

King Khan's specialty lies in his live performances that tend to be over the top and exposed. Literally exposed, as most of the time, he sings in a cape and nothing else but his underwear. Because this is not what immediately happened, I was a bit surprised and maybe even disappointed to see him in a dapper suit, however the show proved to be nothing but a riot.

A moshpit formed very quickly and everyone in it seemed to be convulsing to the soulful sounds the band created. With a live band consisting of eight people, it was surprisingly tame until the encore when Khan finally came out dressed as I would have expected him, commando, with a cape. This show was first of hopefully many shows where I witnessed the span of fifteen to fifty years of age all together in the same moshpit, having a blast. And when an artist can elicit that big of a response from that wide of an array of people, there's obviously something fantastic happening.

Show Preview: King Khan and the Shrines w/ Hellshovel and Black Zinfandel

• 

  King Khan and the Shrines perform at Motorco
  in Durham, NC on Saturday, Nov. 2.
  Preview by Anastassia Olegovna

  Trying to identify King Khan and the Shrines in a certain genre is nearly impossible. Trying to identify who they even are is almost as difficult, but thanks to the Internet for no longer concealing the identities of anyone, King Khan is Canadian-born Arish Ahmad Khan. King Khan and the Shrines have been around since 1999 and if you’ve never seen them before and know very little about the state of their shows, you might find yourself going through a bit of a religious awakening. The two opening bands for this riotous party of a show, on Nov. 2 at Motorco Music Hall in Durham, are Hellshovel and Black Zinfandel--two bands that fit the bill perfectly. Hellshovel will start you off with a psyched out set of songs that sound like they are underwater. This Montreal band is signed to Slovenly Records, home of garage bands like Paint Fumes, Acid Baby Jesus, and Bazooka. Next is a local gem, Black Zinfandel, a band that is proving to be one of the most essential Raleigh garage bands. Fronted by Brian Cruse, Black Zinfandel has only been around for a short year but has become a favorite of the Triangle garage and punk scene, opening up for well established garage acts and playing a slew of their own headlining shows. Finally King Khan will blow you away into another dimension. Self-described as a “psychedelic soul band with a spectacle of a show”, a King Khan is a spiritual and ritual experience. A tarot-card reading magical guru, Khan has been at this for over ten years and with the release of his new album, “Idle No More”, he is a force of nature who will not stop bring the soul to garage.

Ani DiFranco Touches Down in Durham

Ani Difranco performed at
Carolina Theater in Durham, NC
on Sept. 27
Photo by Patti Perret

Ani DiFranco paid Durham, NC a visit this past Friday, and if the state could have collectively given her a high five- it would have. Pearl and the Beard opened, and in between their fresh, funky, and almost tribal songs, could not help but exclaim over “Ani DiFranco!” They were shocked they have been able to open for Ani DiFranco 14 times- but they were the only ones. Their intensely beautiful, borderline ethereal drum beats, and vocals were a spectacular pairing with the show to come. 

Carolina Theater’s Fletcher Hall, packed with enough girl power to ship us all off to the moon, hosted a high energy seated show. With more chewed nails, chair dances, and edge of seat spectators than a theater with blue velvet seats may be used to welcoming onto its stage. Fletcher Hall is full of golden scroll work, and deep red carpet, and Ani’s warm, subtle stage lights, and cozy carpets stage set-up practically glowed. As a disclaimer, this was “my show,” I have been listening to Ani, cranked up in my car, through headphones, and on CDs scratched to the point of skipping, since…forever. To call myself a “fan girl,” would imply that I was excited, and I was closer to short circuiting entirely than I would care to admit.  

That being said, I was a little anxious to see her live, I have been grooving to Ani through the years, and have followed her latest releases, but have relied on the high-angst classics. Or as Ani herself put it on Friday, the height of her “ugh” years, and for the “ugh” she threw her arm across her forehead. I was worried I wouldn’t get to jam to the songs I have spent years scream-singing in my car to, but  I was pleasantly surprised. I do not think it is easy to bridge such a dramatic shift in mood in lyrics and tone, and with such a diverse discography, it would be easy to rely heavily on the new. After all, Ani has been “suckling a five month old, for the past five months,” and as she also admitted “if there was any time to request one of her 486 songs- this was not the time.”

Album Review: "Blanko Basnet" by Blanko Basnet

Blanko Basnet will be celebrating their
album release at The Pinhook in Durham this Friday
with Speedy Ortiz & Organos

The joys of following your local music scene most certainly come in bunches. Sometimes you get to see a band's gradual ascent to stardom and you can become incredibly attached to these artists and the work that they produce. Other times you see bands fall by the wayside--for some reason or another--sometimes it's a break-up and others just take hiatuses to focus on separate projects. It's kind of like when you're young and your parents split up, you love them both equally but you naturally gravitate to the one that does cooler shit with you.

That's the way I feel about the current situation with Hammer No More The Fingers. Hammer has long been a favorite local band of mine, they were one of the first local acts I really got into, I booked them for a local festival, I traveled to see them, I learned the songs by heart. It was fantastic to feel a connection with a band like that, but as time has passed on Hammer has begun to oversaturate the market a bit. Black Shark and the Pink Worm EP were both fantastic releases, but it began to feel like a lot of the same music on a different day. Is it still awesome? Definitely. But there's definitely a yearning for some innovation and that's what Blanko Basnet feels like.

Blanko Basnet is the new project from Joe Hall of Hammer No More The Fingers and it's got enough of the vintage Hammer sounds to make it feel familiar whilst exploring vastly different sonic territories. While some tracks definitely feel like they have the typical Hammer bounce to them, there's enough of a dynamic switch that Blanko feels entirely new. The songs feel more explorative, there's much more jagged chord changes and spastic rhythmic switch-ups that keep things interesting for the listener. Hall's melodies typically follow the centric guitar lines but the tracks are in a constant state of flux, so by the time you've become attached to a particular section you find yourself humming along to an entirely new rhythm.

Listen To B-Sides From Baobab's Upcoming EP "In 7.59 Billion Years, We're All Gonna Die"

I've made no attempts at hiding my fanboy-isms for Durham's Baobab.  Phil Torres brilliantly blends an electronic approach with traditional folk sentiments to create a sleek finished product.  Baobab has already released one of my favorite albums of 2013 with BAYOHBAHB, but the songwriter isn't quite done yet, as we'll be getting an EP later this year with the bleak title of In 7.59 Billion Years, We're All Gonna Die.  For those of you that checked out my interview with Phil on WKNC's Artist of the Month feature back in February, this is no news to you.  However, it is exciting to hear previews of the upcoming EP in these b-sides from the forthcoming release.

These two new tracks showcase to very different sides of the prolific Durham artist, one highlights Torres' innate ability to craft free-flowing melodies with a particular sense of nonchalance while the second track brilliantly brings attention to his ability to build a dense, atmospheric soundscape to immerse yourself in.

"The Boy Shot The Man With The Gun" is the lead-off track for this short collection of B-Sides, it opens with a bare-boned acoustic riff and gradually builds into a rich track filled with reverb-washed harmonies, mood-building whistling and bright melodies that perfectly counteract the darker lyricism.  The song toys with rustic influences re-packaged with a contemporary approach, smooth slides provide grand dynamics while the ending vocal refrain nods towards gospel influences.

"We Exist In The Present (But Only Ever Experience The Past)" shows off Torres' intellectual, heady approach to his music.  Field recordings of rushing water and reversed synth lines add an atmospheric blend of texture to this tune, taking the backseat to a vocal exploration of astrophysics and Earth's relation to the universe that surrounds it.  The title of the track suddenly morphs into an explanation of this speech as the song goes on, the importance of the music and vocal sample trading off.  By the time the track is fading away with a simple guitar riff, the listener feels as if they've undergone an aural adventure into the depths of not only their mind, but the world that surrounds them.

If this is what we can expect from Baobab's upcoming EP then color me excited.  Listen to the new tracks below:

Album Review: "Baobab" by Baobab

Baobab is the self-titled self-produced debut from
Durham's Baobab, released in February 2012

There must be something in the water out here in the triangle seeing as fantastic new music has been popping up all over the place.  I became enthralled with Baobab after I came late into their set at WKNC's Double Barrel Benefit Day Party, their minimalist experimental style is compelling to say the least.  It's filled with multi-cultural influences and a wonderful blend of acoustic and electronic sounds all capped off with Phil Torres' soothing vocals and catchy melodies.

This fourteen track debut album is a self-produced gem out of Durham that combines aspects of folk, electronic, experimental, and world music.  It sounds like a conglomeration influences that could very easily produce a half-hazard release, but Baobab has outweighed my expectations completely.  Each track is a stand-out, making for phenomenal cohesion.  The juxtaposition of this wall of sound with raw acoustic guitars layered over it makes for an incredible soundscape that is far easier than expected to find yourself lost in.  Filled with reverberated worldly chants that can often sound afro-pop-ish, the duo of Baobab has done a wonderful job of making themselves stand out in the triangle music scene.  One could argue they're one of the most diverse acts in the region, while they fit a current archetype of a two-person band that sounds much fuller in studio than live, they still pull off their performances wonderfully with a backing track.