In the video for its new single “Gri45to,” Barcelona-based duo DOOUX appear to have filmed from some night club set in the world of Beyond the Black Rainbow or the home planet of Scarlett Johansson’s character from Under the Skin. Disorienting darkness, cool colors and shifting lights with figures disembodied from distinct context as though avatars of pure emotions generating the distorted, shimmery melodies and brooding atmospheres. But there’s something immediate about the two vocals together and the way DOOUX arrange the rhythms in the beat and with the arpeggios. Even though the song is about the inadequacy of language to fully convey or discuss emotions it manages to express how those feelings are recognizable and expressible through the medium of music when combined with voices capable of communicating feelings directly. Which is why even if you don’t speak Spanish, this Spanish language song is still quite effective. Watch the video on YouTube and follow DOOUX at the links provided.
gone sinister. The single by Gastel goes on to a hard driving dance rhythm like a synthesis of The Prodigy at their most dance abstract techno and modern EDM. But instead of a bass drop, Gastel drops out into a distorted white noise haze before dropping back in with a beat of swarming tones and that hard arpeggiation that borders on synthwave style except its dynamics are more supple and the sounds more distorted and jagged. The song’s cybernetic pulse and sense of menace makes it sound like the theme music to a robotic dance competition undertaken to determine which iteration of artificial beings will triumph into the next generation of existence. Listen to “Rene” on Soundcloud.
When Wendy Carlos released Switched On Bach in 1968 it was a landmark of electronic music using then very new synthesizer technology to perform classical music. Moony Matelot’s “In Lieu Of Flowers” is in a similar spirit but adding a drum machine and keeping the melody even simpler. The effect is not unlike some of the late 70s “library music” that would have inspired Boards of Canada and Black Moth Super Rainbow. It has that alien and out of time quality with a sound and an aesthetic that doesn’t suggest a specific musical movement but suggests a kind of hazy quality, of visuals, of memory, like something Errol Morris might use in a whimsical moment in one of his later films. It has the structural and tonal architecture reminiscent of one of Bach’s fugues but more lo-fi and informed by the aesthetics of 8-bit composition. Listen to “In Lieu Of Flowers” on Soundcloud.
“True Blue” was written about Kendra Muecke’s time spent in Denver on her journey of self-discovery. And appropriately enough the song’s unusual structure, more in line with spontaneous performance poetry than any standard songwriting format. Like she spent more than a little time on the informal Siege Perilous of various of Denver’s open stages performing alongside musicians putting forth the usual sort of open mic music and the Denver weirdos who don’t want to bother with getting shows the typical routes and performers whose art doesn’t fit in with any subscene and taking away some of that sense of freedom of creative expression unburdened by how it’s to be marketed. Musically it’s as though Kendra & the Bunnies was plucked out of late 70s Venice Beach after spending some years in post-Beat Denver and San Francisco with the realization that poetry and music and theater come from a common root in human culture and that all of it could be combined into a unified aesthetic driven by individual vision. “True Blue” could have come out of folk rock Southern California in the early 70s, could have come out of the burgeoning folk scene in Boulder and Denver during the same timeframe vibing with Anne Waldman’s perfrmance art songs at Naropa, could come from a standout performance at a coffee shop where many fledgling musicians are still trying to be Jack Johnson or Tracy Chapman. “True Blue” draws you in because the it seems so off the cuff yet is clearly refined and the story it tells is one that is frank, vulnerable and open with dynamics that come off like natural pauses in a friend’s telling you what she’s been up to since you last saw each other and relating some poetic truths about the essence of a town you may call home or one you’ve never been but can learn about through the lens of her interpretation as forged in the process of risking judgment on her creative work on the small stage where authenticity is respected and embraced and inauthenticity, at least on that small scale format, is revealed regardless of the intention of the performer. Listen to “True Blue” on Soundcloud and follow Kendra & the Bunnies at the links below.
Esmé Patterson, “Light In Your Window” cover (cropped)
“Light In Your Window” is the first single in a new chapter in the career of Esmé Patterson. While Patterson has made solid moves away from the type of folk and more traditional pop music that characterized the early part of her career as a member of Paper Bird with every one of her solo albums, this new single in the wake of her signing to BMG finds the songwriter exploring a new sonic palette as a vehicle for her characteristically nuanced and thoughtful lyrics. This time the sounds are more electronic, synth and keyboard driven, and recorded in a garage with Patterson’s friends in the pop band Tennis. It’s a song about the bad habits we find ourselves repeating based on past patterns that served us well but rather than necessarily casting these habits as bad, the song demonstrates some compassion for our past selves as a foundation for moving to where we want and need to be. “I can’t wait until it fades” is the telling line as an acknowledgment of how some ways become so ingrained in us it will take more time than we can predict for those modes of feeling and behaving to work their way out of us and while we really want to have moved on it’s okay to be patient with the way the human heart and mind work with the connections we have and have had with the people we love and loved. Listen to/watch the video for “Light In Your Window” on YouTube and look for the follow up to Patterson’s excellent 2016 album We Were Wild in 2020.
Dead Lucid’s live recording of “Space Rock” at Chicago DIY space the VCR on September 7, 2018 is reminiscent of something you might have expected from a live Sleepers set as in the San Francisco post-punk band, not the Denver-based experimental rock band. The vocals seem to wander between pillars of rapidly cycling and shimmering whorls of melody accented by percussion. Like a noisy, psychedelic dream pop version of a jazz session. Like a lower fidelity Bardo Pond jam yet more coherent and focused. The sound is incandescent and lacking in the sound separation you’d expect from a studio recording but with the freshness that can only come from a live version of a song when a band can color outside the lines a little and adapt and work together to create a real moment for the people that show up. Some people think that a performance that sounds just like the album is the epitome of a great show when really it’s that unpredictability and the willingness to go beyond that makes live bands still worth going to see. This recording captures a bit of that living, breathing experience of a band recreating the magic of the essence of a song. Listen to “Space Rock (Live at the VCR, 9/7/2018)” on Soundcloud and follow Dead Lucid on the Bandcamp page.
Hannah Connolly’s fragile and spare songwriting and performance on “House/Home” is the perfect format for a song about what it’s like to lose your home in the psychological sense. Pedal steel traces the fingers of dawn and dusk that seem to characterize the tone of the song. Connolly sings about how the house doesn’t seem like a home without the people she loves: “This house ain’t home without you, so there’s no reason left to stay.” With those simple words, Connolly articulates a feeling most people have had whether it’s living in a house you shared with a partner after the split up or going back to the family home after the members of your family that lived there have passed on or moved elsewhere and how those places can never be the same without the people in whom you invested your time and emotions, the people who give the idea of home context and meaning. It’s a sense of emotional intimacy and familiarity that you can’t simply buy or easily replace, it is something that must be lived and cultivated imbued with shared experience. Connolly captures the feeling of that loss with subtlety and and the strength of her poetic expression in words and music. Listen to “House/Home” on Soundcloud and follow Connolly at the links provided.
It’s difficult to tell if Aaron Matthew titled his instrumental, jazzy downtempo track “Lonely” because it sounds like you’re hearing it as though it’s bleeding from another part of a building in which you’re living or find yourself spending time alone. You hear this smooth, spacey lounge music that comes in and out with volume and intensity seeming to phase out and back into existence and you imagine yourself there with the music where cool people are getting into this chillout band that sounds a bit like Steely Dan had the group come up after Thundercat had a few records out minus the darkly surreal surreal vibe of so many of that band’s lyrics. Or it sounds like listening to a strange cool jazz station with spotty reception in the dark away from the glow of civilization and clearing your head while being drawn in by the mysterious music that seems to be the only thing you can get other than right wing talk radio and a blandly programmed community radio station is the frequency playing the hypnotic and soothing “Lonely.” Listen to the track on Soundcloud and follow Aaron Matthew at the links provided below.
“Hang On” by The Kerosene Hours initially sounds a bit like a more corrupted version of that Elvis hologram in Blade Runner 2049. Like someone constructing an imperfect image of how they want to present a myth of themselves without being able to conceal all the flaws and demons. Blend together some strands of Roy Orbison, Suicide and chillwave and you get a song about a sibling who is crumbling under the strain of their troubled psyche but wants to maintain a veneer of competence and strength when vulnerability and honesty about their inability to keep it together would be easier to take and more understandable than the intense discomfort of that completely ineffective deceit grounded in ego and a need to keep up airs of normalcy when the time for such gestures have long passed because you’re fooling no one and trying to keep doing so is actually preventing getting help and hopefully getting better. It’s a bittersweet, nostalgic take on a complex subject that perfectly balances the feelings of love and compassion for the discomfort and agony sensed if not fully acknowledged. Listen to “Hang On” on Soundcloud and follow The Kerosene Hours at the links below including Spotify where you can listen to the rest of the Desperate Perilous Virtue EP.
The “Misery” single by Animals In Exile, from the band’s third album Western Gothic, starts out in the jangle pop and psych mode that may be reminiscent to some of 90s-era Brian Jonestown Massacre or R.E.M. gone psychedelic with a dash of Americana flavor. But the songwriting takes the sound down some different paths than one might expect by bending the minor chord progression so that it blooms askew to illuminate a song that is a commentary on the way greed and how it manifests in the form of predatory real estate developers and rapacious industry is remaking our society and the world we live in into a product that is in turn used to get us to conform to patterns of behavior that reinforce that sort of economically authoritarian system and the seduction of that cycle as it is rewarded by the system in which we find ourselves living in through sheer inertia and adjusting to what we might think is inevitable change. And yet it’s a song that suggests we are aware of the destructive quality of this state of affairs and therein lies hope for change. Listen to “Misery” Soundcloud and follow Animals In Exile at the links provided.
Queen City Sounds and Art 
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