Music

Music Day 3: Six Degrees of Memphis Party

Photos: James Edward Crittendon

Music Day 3: Six Degrees of Memphis Party

Jack Oblivion and the Tennessee Tearjerkers

The Six Degrees of Memphis party felt like heaven on Earth simply because it took place in a shaded parking lot with plenty of chairs. That the music was consistently strong was a bonus. Jack Oblivion and the Tennessee Tearjerkers offered up some fun, straightforward, slightly bluesy rootsy rock, followed by Cory Branan, who took it upon himself to keep things on schedule. Delivering an overcharged acoustic set (his banter with the soundman concluded with an instruction to leave the buzz in the amps because "I'm not going to be playing any Gordon Lightfoot. Branan was funny, ribald, and aggressive, as if he were reliving the anger in a couple of his songs. John Paul Keith & the 145's followed with a diverse set of tunes that ranged from blues rave-ups to chickin-pickin' country to tear-in-your-beer fair to straightforward rock.

Cory Branan

John Paul Keith & the 145's

Throughout the party, bands were exchanging members left and right, so it got hard to tell who belonged in which band and who was just sitting in. Antenna Shoes included Amy LaVere's guitarist and the bassist and trumpet-player from Snowglobe, as they offered up some very melodic indie rock (the trumpet definitely helped; there's something about that instrument that makes anything seem epic). Amy LaVere's set was short but effective, showcasing one new song and offering up several more from her excellent Anchors and Anvils disc. Lavere's live show benefits greatly from raucous guitar work, which adds a lot of muscle to her wry songs. Snowglobe finished up the proceedings, playing plenty of older songs and some new ones as well. Snowglobe's indie rock has a lot of influences, from Beatles-esque pop to Elephant 6-style indie psychedelia to Beach Boys-influenced vocals, so they covered a lot of ground (and as with Antenna Shoes, that trumpet does wonders).

Antenna Shoes

Amy LaVere

Amy LaVere

Snowglobe

From genre-busting electronic music to new highs in the ever-evolving R&B scene, from hip-hop and Americana to rock and pop, 2017's music scenes bestowed an embarrassment of riches upon us.


60. White Hills - Stop Mute Defeat (Thrill Jockey)

White Hills epic '80s callback Stop Mute Defeat is a determined march against encroaching imperial darkness; their eyes boring into the shadows for danger but they're aware that blinding lights can kill and distort truth. From "Overlord's" dark stomp casting nets for totalitarian warnings to "Attack Mode", which roars in with the tribal certainty that we can survive the madness if we keep our wits, the record is a true and timely win for Dave W. and Ego Sensation. Martin Bisi and the poster band's mysterious but relevant cool make a great team and deliver one of their least psych yet most mind destroying records to date. Much like the first time you heard Joy Division or early Pigface, for example, you'll experience being startled at first before becoming addicted to the band's unique microcosm of dystopia that is simultaneously corrupting and seducing your ears. - Morgan Y. Evans

Keep reading... Show less

The year in song reflected the state of the world around us. Here are the 70 songs that spoke to us this year.

70. The Horrors - "Machine"

On their fifth album V, the Horrors expand on the bright, psychedelic territory they explored with Luminous, anchoring the ten new tracks with retro synths and guitar fuzz freakouts. "Machine" is the delicious outlier and the most vitriolic cut on the record, with Faris Badwan belting out accusations to the song's subject, who may even be us. The concept of alienation is nothing new, but here the Brits incorporate a beautiful metaphor of an insect trapped in amber as an illustration of the human caught within modernity. Whether our trappings are technological, psychological, or something else entirely makes the statement all the more chilling. - Tristan Kneschke

Keep reading... Show less
Culture

Net Neutrality and the Music Ecosystem: Defending the Last Mile

Still from Whiplash (2014) (Photo by Daniel McFadden - © Courtesy of Sundance Institute) (IMDB)

"...when the history books get written about this era, they'll show that the music community recognized the potential impacts and were strong leaders." An interview with Kevin Erickson of Future of Music Coalition.

Last week, the musician Phil Elverum, a.k.a. Mount Eerie, celebrated the fact that his album A Crow Looked at Me had been ranked #3 on the New York Times' Best of 2017 list. You might expect that high praise from the prestigious newspaper would result in a significant spike in album sales. In a tweet, Elverum divulged that since making the list, he'd sold…six. Six copies.

Keep reading... Show less

Under the lens of cultural and historical context, as well as understanding the reflective nature of popular culture, it's hard not to read this film as a cautionary tale about the limitations of isolationism.

I recently spoke to a class full of students about Plato's "Allegory of the Cave". Actually, I mentioned Plato's "Allegory of the Cave" by prefacing that I understood the likelihood that no one had read it. Fortunately, two students had, which brought mild temporary relief. In an effort to close the gap of understanding (perhaps more a canyon or uncanny valley) I made the popular quick comparison between Plato's often cited work and the Wachowski siblings' cinema spectacle, The Matrix. What I didn't anticipate in that moment was complete and utter dissociation observable in collective wide-eyed stares. Example by comparison lost. Not a single student in a class of undergraduates had partaken of The Matrix in all its Dystopic future shock and CGI kung fu technobabble philosophy. My muted response in that moment: Whoa!

Keep reading... Show less
Books

'The Art of Confession' Ties Together Threads of Performance

Allen Ginsberg and Robert Lowell at St. Mark's Church in New York City, 23 February 1977

Scholar Christopher Grobe crafts a series of individually satisfying case studies, then shows the strong threads between confessional poetry, performance art, and reality television, with stops along the way.

Tracing a thread from Robert Lowell to reality TV seems like an ominous task, and it is one that Christopher Grobe tackles by laying out several intertwining threads. The history of an idea, like confession, is only linear when we want to create a sensible structure, the "one damn thing after the next" that is the standing critique of creating historical accounts. The organization Grobe employs helps sensemaking.

Keep reading... Show less
9
Pop Ten
Mixed Media
PM Picks

© 1999-2017 Popmatters.com. All rights reserved.
Popmatters is wholly independently owned and operated.

rating-image