Oliver Ackermann has a Cincinnati story he
enjoys sharing: Back when his band, A Place To Bury Strangers, played
the Contemporary Arts Center during the 2010 MidPoint Music Festival,
Ackermann’s Shoegaze/Noise Rock band wreaked chaos on the Sixth Street
space’s electrical system.
Hold onto your seats, Cloud Nothings fans, as we're about
to exclusively break a new and crucial piece of info about the
Cleveland band's second record. While discussing the development of Attack on Memory, Nothings leader Dylan Baldi reveals a curious detail: “Steve Albini bought us kazoos that we used on the second song.” Take a second to visualize a misanthropic musician/producer best known (as an artist) for writing a record called Songs About Fucking exchanging American currency for kazoos.
years ago, Interscope Records released a compilation called Freshly
Squeezed: The Best New Music of 2004 with issues of Spin magazine.
It was a fairly good comp, but
one track in particular stuck out — Carina Round's virile, ominous “Into My
Blood,” a slow-burning masterpiece full of fantastically apocalyptic and
occultist imagery filtered through the perspective of one woman.
The song sounded like an introduction to a would-be superstar.
Officially, Philadelphia-rooted Psychedelic/Garage Rock outfit Purling Hiss consists of three members, but the brain stem of the whole affair is undoubtedly singer/guitarist Mike Polizze. The project is the
product of Polizze messing around with a grab bag of elements, from
sound levels to white noise to the song structures.
For a show focused on two skeevy, aimless teenagers, Beavis and Butt-Head
sure has done a lot of good for the world. In its original run, the MTV
program delivered endless numbers of gloriously stupid dirty jokes, set
the stage for Daria, and gave hundreds of musicians exposure by way of playing music videos alongside the duo’s inane commentary. That last practice inadvertently led to
the creation of The Koffin Kats.
This past May’s incarnation of Rock on
the Range, the annual Hard Rock/Metal fest held in Columbus, Ohio, was
far from noteworthy in terms of idiosyncratic performances. Heavyweights
such as A Perfect Circle, Danzig and Korn played sets that were so
technically well-orchestrated that they offered little in the way of
spontaneity or unusual detail; most bands’ ROTR performances were
interchangeable with any other night on tour.
On both the August-released Marble Son and the preceding three albums, the namesake of Jesse Sykes & The
Sweet Hereafter has shown her devotion to tracks that take their time
to venture anywhere they want. Instruments move in meticulous,
drawn-out motions, and when explosions finally do occur in songs,
they ruminate and linger instead of demanding immediate emotional