Music

Kid Dakota: The West Is the Future

Michael Metivier

Darren Jackson's opus is at times as flawed and messy as the philosophy of expansion it critiques, yet it manages to succeed as often as not.


Kid Dakota

The West Is the Future

Label: Chairkickers
US Release Date: 2004-10-19
UK Release Date: 2004-11-01
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The songs of Kid Dakota's latest, The West Is the Future, are as heavy and dense as the artifact itself. Stark black and white scratchboard illustrations by Will Schaff fill a thick booklet that weighs considerably in your palm. It is grand, ambitious, and almost unrelentingly dark, mirroring the noise the band kicks up. The West Is the Future is both an exploration and indictment of Manifest Destiny as seen through the lens of Upper Midwest and Great Plains cultural phenomena. Darren Jackson's opus is at times as flawed and messy as the philosophy of expansion it critiques, yet it manages to succeed as often as not.

When I first saw Kid Dakota play live, I felt they had a musical kinship with the late great Grant Lee Buffalo , invoking an epic idea of America without the familiar partisan bait-and-trap of most issue-oriented rock. But although Buffalo was capable of raging against the machine on songs like "America Snoring", they were ultimately hopeful, redemptive. Kid Dakota's America is nihilistic in comparison. The lyrics are delivered in terse, repeated phrases; the music, a pummeling rock opera of contrasting dynamics, is anchored in the minor key. Despite its prog-rock accoutrements, its nature is reality-based, not fantastical. Therein lies the problem, because the dead-seriousness of the message can get a little silly when compounded by the theatrics of the music.

"Pine Ridge", for example, is a portrait of the notoriously impoverished South Dakota reservation. To its credit, the song is unflinching in its descriptions: "With a government check / They go buy liquor / And it makes their thoughts go dim and dimmer" -- a bitter pill for bleeding hearts (including mine) who aren't used to facing uncomfortable truths unless accompanied by clear polemics against "The Man". Jackson's bluntness is effective, provoking you to question how you feel about what you're being shown. However, when he sings about drunk drivers on their way to the "pow, powwow", repeating the phrase in the same sullenly important tones, it sounds unintentionally hilarious, goofy to the point where you ask yourself a different set of questions: Is the song being derisive? Sympathetic? It's too felt and forceful to be ambivalent. Let's get back to it.

"Winterkill" features the album's sunniest guitar work, but it's a wan January sun nonetheless, bright and cold. The band sounds great as per usual, exhilarated and exhilarating. Low's Zak Sally plays the strings of his bass like I-beams in support of the super-structures of Jackson's songs. Christopher McGuire's drum kit functions sans toms, so even the percussion is un-wishy-washy. Jackson's voice tackles the melodies with closed-eye intensity uncannily like Thom Yorke's, betraying both singers' heritage in Queen-style acrobatics (not a bad thing at all). But then you glance at the lyric sheet opposite Schaff's wool-capped trio of characters, rendered with angry or vacant eyeholes and angular, awkward limbs. What's he saying? What's he railing about? Alcoholic ice-fisherman: "The ice is thick / The air is thinner / No room to breathe / No sun to shine". And later: "They're drinkin' heavy / The down is dead / Winterkill, overdrive / The fish are dead". By this point, I've half a mind to slap Jackson with one of those frozen fish. If these fishermen are metaphors for some larger idea, or if it's supposed to be tongue-in-cheek, it's not justified in the writing. As it stands, it sounds absurd.

I like Jackson's writing. I like its clipped, martial rhythms. I like the newspaperman's details in "Ten Thousand Lakes", the smarts of "Starlite Motel". I love the band -- its power, elasticity, melodic sense (and a shout-out to the good use of cicadas on "Homesteader"), the way they make long songs feel not-so-long because of their conviction and purpose. This album is a leap, a gamble, an artistic stretch that bodes well for Kid Dakota even if they don't shoot down every duck. It's got the dark majesty thing down pat. On "Ivan", Jackson sings, "I might be able to accept the God who made this world / But I can't accept the world that this God made". Maybe this line is the key to songs like "Pine Ridge". Maybe we're all to be condemned; we all suck and deserve no sympathy for our crimes or our victim-hood. We're just reaping what we've sown from the West's snowballing expansion. The fruitful contradiction of The West Is the Future is that I'm not persuaded that the situation is as dire as the songs' convictions. There's something else spinning inside them that's waiting to brought out and explored. Let's wait and see.

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

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Music

The Best Dance Tracks of 2017

Photo: Murielle Victorine Scherre (Courtesy of Big Beat Press)

From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.

In June of 2016, prolific producer Diplo lambasted the world of DJ's in an interview with Billboard, stating that EDM was dying. Coincidentally enough, the article's contents went viral and made their way into Vice Media's electronic music and culture channel Thump, which closed its doors after four years this summer amid company-wide layoffs. Months earlier, electronic music giant SFX Entertainment filed bankruptcy and reemerged as Lifestyle, Inc., shunning the term "EDM".

So here we are at the end of 2017, and the internet is still a flurry with articles declaring that Electronic Dance Music is rotting from the inside out and DJ culture is dying on the vine, devoured by corporate greed. That might all well be the case, but electronic music isn't disappearing into the night without a fight as witnessed by the endless parade of emerging artists on the scene, the rise of North America's first Electro Parade in Montréal, and the inaugural Electronic Music Awards in Los Angeles this past September.

For every insipid, automaton disc jockey-producer, there are innovative minds like Anna Lunoe, Four Tet, and the Black Madonna, whose eclectic, infectious sets display impeccable taste, a wealth of knowledge, and boundless creativity. Over the past few years, many underground artists have been thrust into the mainstream spotlight and lost the je ne sais quoi that made them unique. Regardless, there will always be new musicians, producers, singers, and visionaries to replace them, those who bring something novel to the table or tip a hat to their predecessors in a way that steps beyond homage and exhilarates as it did decades before.

As electronic music continues to evolve and its endless sub-genres continue to expand, so do fickle tastes, and preferences become more and more subjective with a seemingly endless list of artists to sift through. With so much music to digest, its no wonder that many artists remain under the radar. This list hopes to remedy that injustice and celebrate tracks both indie and mainstream. From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.

10. Moullinex - “Work It Out (feat. Fritz Helder)”

Taken from Portuguese producer, DJ, and multi-instrumentalist Luis Clara Gomes' third album Hypersex, "Work It Out" like all of its surrounding companions is a self-proclaimed, "collective love letter to club culture, and a celebration of love, inclusion and difference." Dance music has always seemingly been a safe haven for "misfits" standing on the edge of the mainstream, and while EDM manufactured sheen might have taken the piss out of the scene, Hypersex still revels in that defiant, yet warm and inviting attitude.

Like a cheeky homage to Rick James and the late, great High Priest of Pop, Prince, this delectably filthy, sexually charged track with its nasty, funk-drenched bass line, couldn't have found a more flawless messenger than former Azari & III member Fritz Helder. As the radiant, gender-fluid artist sings, "you better work your shit out", this album highlight becomes an anthem for all those who refuse to bow down to BS. Without any accompanying visuals, the track is electro-funk perfection, but the video, with its ruby-red, penile glitter canon, kicks the whole thing up a notch.

9. Touch Sensitive - “Veronica”

The neon-streaked days of roller rinks and turtlenecks, leg warmers and popped polo collars have come and gone, but you wouldn't think so listening to Michael "Touch Sensitive" Di Francesco's dazzling debut Visions. The Sydney-based DJ/producer's long-awaited LP and its lead single "Lay Down", which shot to the top of the Hype Machine charts, are as retro-gazing as they are distinctly modern, with nods to everything from nu disco to slo-mo house.

Featuring a sample lifted from 90s DJ and producer Paul Johnson's "So Much (So Much Mix)," the New Jack-kissed "Veronica" owns the dance floor. While the conversational interplay between the sexed-up couple is anything but profound, there is no denying its charms, however laughably awkward. While not everything on Visions is as instantly arresting, it is a testament to Di Francesco's talents that everything old sounds so damn fresh again.

8. Gourmet - “Delicious”

Neither Gourmet's defiantly eccentric, nine-track debut Cashmere, nor its subsequent singles, "There You Go" or "Yellow" gave any indication that the South African purveyor of "spaghetti pop" would drop one of the year's sassiest club tracks, but there you have it. The Cape Town-based artist, part of oil-slick, independent label 1991's diminutive roster, flagrantly disregards expectation on his latest outing, channeling the Scissor Sisters at their most gloriously bitchy best, Ratchet-era Shamir, and the shimmering dance-pop of UK singer-producer Joe Flory, aka Amateur Best.

With an amusingly detached delivery that rivals Ben Stein's droning roll call in Ferris Bueller's Day Off , he sings "I just want to dance, and fuck, and fly, and try, and fail, and try again…hold up," against a squelchy bass line and stabbing synths. When the percussive noise of what sounds like a triangle dinner bell appears within the mix, one can't help but think that Gourmet is simply winking at his audience, as if to say, "dinner is served."

7. Pouvoir Magique - “Chalawan”

Like a psychoactive ayahuasca brew, the intoxicating "shamanic techno" of Parisian duo Pouvoir Magique's LP Disparition, is an exhilarating trip into unfamiliar territory. Formed in November of 2011, "Magic Power" is the musical project of Clément Vincent and Bertrand Cerruti, who over the years, have cleverly merged several millennia of songs from around the world with 21st-century beats and widescreen electro textures. Lest ye be worried, this is anything but Deep Forest.

In the spring of 2013, Pouvoir Magique co-founded the "Mawimbi" collective, a project designed to unite African musical heritage with contemporary soundscapes, and released two EPs. Within days of launching their label Musiques de Sphères, the duo's studio was burglarized and a hard drive with six years of painstakingly curated material had vanished. After tracking down demos they shared with friends before their final stages of completion, Clément and Bertrand reconstructed an album of 12 tracks.

Unfinished though they might be, each song is a marvelous thing to behold. Their stunning 2016 single "Eclipse," with its cinematic video, might have been one of the most immediate songs on the record, but it's the pulsing "Chalawan," with its guttural howls, fluttering flute-like passages, and driving, hypnotic beats that truly mesmerizes.

6. Purple Disco Machine - “Body Funk” & “Devil In Me” (TIE)

Whenever a bevy of guest artists appears on a debut record, it's often best to approach the project with caution. 85% of the time, the collaborative partners either overshadow the proceedings or detract from the vision of the musician whose name is emblazoned across the top of the LP. There are, however, pleasant exceptions to the rule and Tino Piontek's Soulmatic is one of the year's most delightfully cohesive offerings. The Dresden-born Deep Funk innovator, aka Purple Disco Machine, has risen to international status since 2009, releasing one spectacular track and remix after another. It should go without saying that this long-awaited collection, featuring everyone from Kool Keith to Faithless and Boris D'lugosch, is ripe with memorable highlights.

The saucy, soaring "Mistress" shines a spotlight on the stellar pipes of "UK soul hurricane" Hannah Williams. While it might be a crowning moment within the set, its the strutting discofied "Body Funk", and the album's first single, "Devil In Me", that linger long after the record has stopped spinning. The former track with its camptastic fusion of '80s Sylvester gone 1940s military march, and the latter anthem, a soulful stunner that samples the 1968 Stax hit "Private Number", and features the vocal talents of Duane Harden and Joe Killington, feels like an unearthed classic. Without a doubt, the German DJ's debut is one of the best dance records of the year.

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