Ghost (Sweden)

The Metal Examiner: Ghost’s Opus Eponymous

Every Friday, The Metal Examiner delves metal’s endless depths to present the genre’s most important and exciting albums.

Ghost - Opus EponymousGhost: Opus Eponymous (Metal Blade, 1/18/11)

Ghost: “Con Clavi Con Dio”
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Sweden’s Ghost is a purposefully mysterious sextet propagating an overtly Satanic message. With a tongue-in-cheek press release making bold claims about subverting the minds of adolescents who have a “void in their life,” it’s tempting to dismiss Opus Eponymous as ironic kitsch. However, the songs themselves are wildly catchy and full of melodic twists in the school of King Diamond‘s 1980s compositions.

Zs

Record Review: Zs’ New Slaves Part II: Essence Implosion!

Zs: New Slaves Part II: Essence Implosion!Zs: New Slaves Part II: Essence Implosion! (The Social Registry, 1/25/11)

Zs: “AcresRMX” (Gabe Andruzzi Remix)

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It would be just like the beaten-to-death art of the remix to take on new life in scorched earth.

Nothing about New York avant-garde group Zs has a hook to give people a happy thrill of recognition when it pops up combined with something unexpected. Not only do sax player Sam Hillmer and his bandmates create sounds that no sane instrument maker could have intended, they do so systematically, in drawn-out patterns of percussive fury.

It certainly has elements of noise and free jazz to it, but even that doesn’t do credit to Zs’ disciplined pursuit of alien, enveloping sound mass. Processing its music can be so demanding — the band has a stated goal of “challeng[ing] the physical and mental limitations of both performer and listener” — that making sense of it might as well be a constructive act of hands-on interpretation.

Refreshingly, the remixers on New Slaves Part II: Essence Implosion! use the opportunity to explore the sounds that Zs pried from extended technique and beyond-maddening feats of repetition on the first New Slaves. Three tracks — “New Slaves,” “Concert Black,” and “Acres Of Skin” — get two remixes here. Neither pair immediately seems to come from the same source, and that’s a great sign.

Twin Shadow

Concert Photos: Twin Shadow @ Schubas (Chicago, IL)

As part of the recent Tomorrow Never Knows festival, new-wave pop band Twin Shadow recently played at Schubas in Chicago, along with Fol Chen and Brahms. Adapting the “twin shadow” idea for coverage, ALARM had two photographers on the scene, capturing the show in two different styles. Photo duo Sanchez+Kitahara took the black-and-white route, while Elizabeth Gilmore opted for vibrant color. Check out both sets below.

Sanchez+Kitahara:

Twin Shadow

Tapes 'n Tapes

Pop Addict: Tapes ‘n Tapes’ Outside

Tapes 'n Tapes: OutsideTapes ‘n Tapes: Outside (Ibid, 1/11/11)

Tapes ‘n Tapes: “Freak Out”

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It wasn’t too long ago when Tapes ‘n Tapes was indie rock’s next big thing. And there certainly was reason for the hype. The Minneapolis-based quartet’s 2006 effort, The Loon, is chock-full of raw pop hooks and a DIY sensibility that has often propelled forward the best that the genre has to offer.

And back in 2006, Tapes ‘n Tapes certainly seemed destined to become one of the elite. When the everyday no-namers decided to self-release a bad-ass concoction of Pixies-style rock songs that were just as upbeat and catchy as they were introspective and self-exploratory, something new and refreshing was at hand. The band came out of nowhere, really, garnering a buzz that thrust it onto a major label, and it was crowned as indie’s great new hope.

Then, like many heavily hyped bands, Tapes ‘n Tapes fell victim to the dreaded sophomore slump. Its first effort on a major label, Walk It Off, in 2008, fell short of reviving the youth and vivacity that dripped from every track on The Loon. Gone were the rough edges and hook-laden pop songs; instead, the album featured a collection of songs that seemed intent on missing the mark. Aside from the album’s standout track “Hang ’Em All,” Walk It Off seemed unable to capture what The Loon did.

It lacked that same freshness, that same energy that the band was somehow able to bottle on its first album. The band no longer offered its sparse yet frenzied melodies that helped each song gleam. Each song purged on gluttonous arrangements and instruments, an indulgent examination of what the band should have done with a major-label budget. And so Tapes ‘n Tapes became another victim of hype — so much promise, but so much pressure. And it fell to the wayside, for better or worse.

Bill Frisell & Vinicius Cantuaria: Lagrimas Mexicanas

World in Stereo: Bill Frisell & Vinicius Cantuária’s Lagrimas Mexicanas

Each week, World in Stereo examines classic and modern world music while striving for a greater appreciation of other cultures.

Bill Frisell & Vinicius Cantuária: Lagrimas Mexicanas (E1, 1/25/11)

Bill Frisell & Vinicius Cantuária: “Aquela Miller”

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The fretwork abilities of guitar luminaries Bill Frisell and Brazilian singer/songwriter Vinicius Cantuária meet on a fantastic Latin jazz record titled Lagrimas Mexicanas (“Mexican Tears” in English).  An expert collaboration that shows itself in every detailed note, Lagrimas Mexicanas has the harmonic twists and turns of a bossa-nova record sliced up by the experimental sounds you’d expect from Frisell. Whether sung in Spanish or Portuguese, Cantuária anchors much of the album with a voice as timeless as Gilberto Gil’s, capturing a worldly romanticism that comes off as seductive as the music that accompanies it.

Though it’s the first exclusive partnership between the two, the musicians have kept good company with each other in the past, playing together in a variety of settings — most notably Frisell’s guest spot on Cantuária’s second international release, Tucumã, in 1999. Cantuária, in return, was a part of the impressive global roster that made up Frisell’s Intercontinentals group.

Growing up in Manaus and Rio De Janiero, Cantuária’s Tropicália sound is informed by the places and people of Brazil. Taking Brazil’s rich musical tradition and relocating to New York in the mid-’90s, he has made a career in pushing the bossa-nova sound forward into the 21st Century.

Sam Cooke

ALARM Dispatches: Remembering Sam Cooke

January 22, 2011 marks what would be soul legend Sam Cooke‘s 80th birthday. In advance of the anniversary, ALARM photo journalist Brian Leli meets with his younger brother L.C. to reflect on a life that touched many.

Faesthetic

Zine Scene: Faesthetic

Faesthetic is changing the way zines are marketed and redefining that for which they stand. Much more than a high-quality art showcase, Faesthetic has grown into a taste-maker for the 21st Century art scene.

This glossy, invitation-only art zine began as a magazine showcase for established talent and up-and-coming artists, but it has since expanded into the areas of gallery shows, T-shirt design, and poster art, and it has even lent its name and style to a New York Fashion Week event. Exclusive, high-brow, and part of a growing media empire characterized by artistic partnerships — is this the future of zine culture?
 

Faesthetic
Faesthetic #13

Created in 2001 by Dustin A. Hostetler, Faesthetic has only produced 12 issues so far, but its involvement in cultural events and its highly active blog lend it influence beyond a few dozen pages of actual printed product. Hostetler intends to continue producing one issue per year and to add an Internet-based supplement in the near future. However, the focus of Faesthetic remains squarely on its glossy, high-quality print issues.

Originally, Hostetler’s idea was to create a tangible product in response to the boom in PDF zines during the past few years. The fact that Faesthetic is a polished, collectible art book is obviously important to his aesthetic. “I wanted something I could tuck away in a box, put it in my attic, and that my grandchildren could find some day,” he explains.