What do you get when you mix a cup full of Captured Tracks-esque post-punk revival with healthy dose of Pacific Northwest misanthropy and a splash of power pop? Portland’s own Hausu, who have been playing a steady run of house shows and basement parties for a few years. Their debut album Total drops June 25th on Sub Pop subsidiary Hardly Art (who I affectionately refer to as Sub-Sub Pop).
I first saw Hausu twice in one weekend all the way back in January 2011. Back then they only had a handful of songs released including a self-released single called “The Haze” and an upcoming 7″ through a Portuguese label called LebensStrasse. At the time, their music was a hook filled, powerful blast of singalong shoegaze and punk, not too far removed from contemporaries like Beach Fossils or Naomi Punk. But on tracks like “Weaving Spiders” they displayed a complex sense of songwriting that transcended the East Coast centric state of lo-fi rock at the time. Disregarding the Cascadia flag on my wall and how much I love the Northwest, Hausu still have a somber, earthy mood about their music that makes it less reliant upon nostalgia and more evocative of the present-day melancholia that goes with living under overcast skies.
After those first few singles Hausu went eerily silent for a good 12 months, playing a few shows and hinting at a future LP. Total boasts 10 songs varying from the aforementioned hook-filled power pop to heavier, dissonant tracks like “Leaning Mess”, which recalls the post-hardcore sway of past Northwest underdogs Lync. Frontman Ben Funkhouser howls with a deep voice reminiscent of noted influence Edwyn Collins of Orange Juice, but even during quiet moments on the album he sounds distant, physically and emotionally. On the appropriately titled closer “Bleak” he promises “This will be the last time you hear of me” before the song explodes to a fitting climax. Elsewhere on “Chrysthanemum” the crunchy guitars coalesce into something like Women meets Dinosaur Jr.
Total is a remarkably enjoyable listen from a wonderfully talented Pacific Northwest band that has taken their time to craft something beautiful and somber. Although you’ll start hearing Total blasting out of car windows as the hot weather turns hotter this summer, wait until the Autumn rain hits and the muffled sounds of “Gardenia” are pumping through every apartment wall in the Pacific Northwest.
From Left to Right: Bryce Poulin, Sam Lachow, Gift uh Gab & Sky Blaow
A couple weeks back KZUU had the pleasure of having Sam Lachow, Gift uh Gab & Sky Blaow come into the station and perform a Live song and short interview on AIR. Shortly following the In-Studio interview, Raz Simone called from New York to chop it up about his new project Solomon Samuel Simone EP & what it is like being an aspiring rap artist in the Pacific Northwest. These cats are some of the most talented and humble artists in hiphop today & have been showing love to KZUU for nearly two years. Check out the live recording from Sam, Gabby and Sky performing D.Y.B (Dubs You B****) from the Avenue Music EP & Raz Simone’s interview and spotlight single Sometimes I Don’t ft Sam Lachow from the Solomon Samuel Simone EP. I know one of the things I am gonna miss most about leaving KZUU this year is having the pleasure and opportunity to interview and kick it with Sam and Co. Check out all Sam’s music at http://www.samlachow.com and Raz’s tunes at http://www.razsimone.com !!
-bryce p.
*New song & video from Raz Simone titled “Hometown”.
Raz Simone hits us fans with another great song and video titled “Hometown”. Coming hot off his spectacular debut EP ‘Solomon Samuel Simone’, Raz keeps true to his Seattle roots with the new cut. Speaking of the 206, check him and Sam Lachow out at their live show at the Vera Project with Gift uh Gab & Dave B on April 14th. Tickets going fast so make sure to cop em & Download the free EP below if you haven’t done so yet!
I have a hard time coming up with a rebuttal to the notion that a lot of what we consider “popular” underground music is complacent and/or conformist. Many of the most highly praised albums in recent history favor personal, relatable songwriting over controversial or abstract themes. When we consider the history of music as a tool of liberation, it seems incredible that we could have lost such an important tool for voicing the voiceless in a tumultuous age where privacy, freedom of information, and political integrity are all being threatened or questioned. Of the few artists still willing to still speak out through their music (see: Killer Mike, Godspeed You! Black Emperor, M.I.A., among a few others) The Knife have found something sufficiently more profound to declare on their fourth album Shaking the Habitual, their first release since 2006′s Silent Shout.
Shaking the Habitual, while thematically heavy, can be phenomenally subtle at times. The Knife are a duo who have rarely been conspicuous with their message, often hiding behind masks or releasing bizarre press sheets that read more like serial killer manifestos than promotional materials for launching an album. When Karin Dreijer Andersson won Swedish Public Radio’s award for Best Dance Artist for her 2009 solo album Fever Ray, she accepted the award by revealing a mask of melted flesh and moaning in strained agony into the microphone. The audience (and most of the internet) took it as a stunt or prank — a fair assumption since the costume was never really explained. But appearing at an award show is already a notable occurrence for a member of The Knife, a band who has famously turned down making any appearances at any of the numerous Swedish Grammis they have won for their music. Andersson’s Fever Ray acceptance speech coincided with a rise in acid throwing attacks in the Middle East and India, where women were disfigured for dressing inappropriately, attending school, or any other violation of archaic law. It was a silent commentary on an ignored tragedy on a national stage.
Musically, Shaking battles with itself throughout most of its 96-minute runtime between subtlety and seething rage, oftentimes blending contrasting emotions with music that reflects the opposite, like the bouncy, Caribbean-influenced opener “A Tooth for an Eye”. Despite the brightness of the music, Andersson fiercely concludes the song by demanding “[Draw] lines with a ruler / Bring the fuel to the fire”. It’s a mission statement that youth uprisings in Egypt and Libya adopted years ago. One that separates this kind of demonstration from whatever the hell this is. Though in spite of the militaristic intentions of some of more aggressive songs here, there are equal moments of frail uncertainty. “A Cherry on Top” sounds on the verge of snapping in half, with a detuned zither plucking aimlessly beside a mournful hymn. “Fracking Fluid Injection” is 10 minutes of shrill mechanical sounds rhythmically toying with echoed mumbles. “Wrap Your Arms Around Me”, despite its romantic title, sounds more like a funeral dirge than a passionate slow dance. Where some of the more accessible tracks on Shaking are upfront with their intentions, a large portion of the album expects a certain degree of critical interpretation from the audience.
Yet from the retina-burning cover art to the extensive dissonant ambient pieces that extend this album’s runtime past one and a half hours, everything about Shaking the Habitual is purposefully confrontational. The violent drum machine kicks that rattle throughout the 9-minute single “Full of Fire” eventually give way to a cacophony of belching and pulsing electronic feedback where Andersson’s Salt-n-Pepa referencing coda “Let’s talk about gender baby / let’s talk about you and me” is consumed by some sort of suffocating distortion. Later on during “Raging Lung” she states through gritted teeth: “You’ve got your money / and you’ve got it because others can’t”
But the most controversial and antagonistic moment of the album is the 19-minute centerpiece “Old Dreams Waiting to Be Realized”. It’s an impossible piece to ignore, due both to it’s overwhelming length and placement in the middle of the album. In a traditional record, a song like this would be a mood killer; completely deflating any momentum or pacing set by the first half. But here, after 35 minutes of politically-charged fire, it’s a welcome and necessary opportunity for contemplation. Quivering ambient patches inflate and deflate behind an amalgam of ominous noise. Footsteps slosh through damp mud, a metallic hum throws itself down a concrete hallway, doors slam and warning sirens chatter in and out of audible range. It is — cliches aside –frighteningly post-apocalyptic.
A continuing thematic pattern throughout the album deals with power struggles and class issues prevalent in 21st century capitalism. And while The Knife continually borrow elements of Eastern and tribal music, it rarely feels exploitative or farcical. Because for all of the co-opting of traditionally non-Western instruments and styles, it’s the progressive mindset and recognition of advantages (like the chorus of “Ready to Lose” that repeats “Ready to lose the privilege”) that makes the melting-pot of influences feel more communal than naive.
Shaking the Habitual, like many other great politically-charged albums before it, rarely claims to have the solutions to the problems it describes. It simply lays out a devastating narrative of what the world has become under our watch. Think of the ambiguity of Dylan’s “Blowin’ in the Wind” in comparison to this record and you’ll find a striking number of similarities. There are few instructions for reform, just incentives to achieve it. In reality, the social influence of this record will take years to understand. If it has one weakness, it’s the audience it’s trying to reach. This is, after all, the MTV generation we’re speaking to here. If extreme wealth inequality, war, poverty, racism, monarchy, and oppression won’t rile up the Tumblring youth of today, what will? Apathy killed punk as we knew it, and it’s taken us this long to figure out how to get it back.
-Adam
Shaking the Habitual is out April 9th via Rabid Records.
There’s new blood at Hospital Records, and they’re pushing out some of the best music on the drum and bass market today. Guys like Camo & Krooked, Metrik, and Fred V and Grafix are on the forefront of the dancefloor dnb scene, rivaling talent from RAM Records and beyond. The music in question would be Fred V & Grafix’s new EP, titled “Goggles”. It’s a forward thinking player from them, featuring not just the standard liquid vibes that you’d come to expect from the duo from Devon.
The title track, “Goggles”, is definitely one of more interesting tunes I’ve heard in a while. An unassuming bleepy sort of arpeggiated intro builds into a definite roller of a tune. Nothing outstandingly complex here, just some strong bass and their ever present snare rolls to move into the different parts of the song. Drops are definitely not the thing to notice in this, as the whole tune just rolls along with its brooding distorted sort of bassline and ever present bleepy arpeggios. I’m a big fan of this one, as the two definitely showcase that they’re not just about those same airy synth lines and jazzy motifs. Definitely one of my standout tunes on the new EP.
The followup to Goggles is “Games People Play”, and boy, what a tune! Those looking for a truly “Fred V & Grafix” experience, look no further. The two have absolutely nailed that absolutely blissful liquid drum and bass sound with this. The standard light intro with the brooding vocal samples building into a massive snare roll crescendo, no doubt the calling card of the boys, works a treat in “Games”. Definitely a track with undeniable playback appeal, yet retains enough energy to be played out on the dancefloor. The second drop is definitely the winner here, featuring just a sublime guitar solo that quite simply does not fail to deliver on the goosebumps. The whole track is composed just so simply yet so brilliantly, it’s not hard to see why the duo won “Newcomer Producers of the Year” at the 2012 DNB awards. Fantastic tune all around.
Next up, it’s the massive “Basilisk”. Definite drumstep vibes on this one, featuring lots and lots of very organic sounding instruments. Guitars and pianos galore in the intro, sweeping into a stomping build to get the blood pounding just a bit more. The build and drop definitely took me by surprise, as I’d never heard anything quite so..fearsome? by the boys. It’s definitely a dancefloor smasher, everything sounds impeccably crisp as you’d expect from the two, and still retains that playful air of fun that Fred and Grafix’s music just about always contains. It’s heavy, but it doesn’t take itself seriously whatsoever, and that’s what makes it so addicting. Longtime Hospital fans don’t seem too keen on drumstep lately, but I think this is absolutely a great move for the boys, it screams “Fred V and Grafix” but also sounds absolutely brand new to them. Definitely keeping in my heavy play list for my dj sets.
Rounding off the EP is the brilliantly chilled “Denmark Road”. Kicking off with a very airy sort of piano driven intro, it’s easy to just lean back and let your mind wander off a bit. This is strictly summer day – windows rolled down sort of vibes and it’s absolutely perfect. Another sublime example of how far some well written yet simply executed synths and some crisp bass can get you. Not quite dancefloor material, but it’s just a wonderful tune all the way through. The first time I heard it, I wondered how the duo could possibly encapsulate the mood and feelings that a nice summer day with friends and music better. Again, guitar use in this tune seems to emulate the rest of the EP, it all sounds incredibly organic with a great solo piece in the 2nd drop, guiding the tune along to its completion. One of my favorite Fred V and Grafix tunes to date. Simply brilliance in every way.
Fred V and Grafix continue to show you don’t need to make the same music over and over again when you are this talented at capturing the vibe of a song. They continue to impress with their astonishing DJ sets and are hands down one of the most exciting production duo’s I’ve heard in my years as a fan of drum and bass. Do yourself a huge favor and do NOT skip this EP. You won’t regret it.
Raz Simone (formerly known as Razpy) fresh off his September release of 5 Good Reasons with the homie Sam Lachow, is back again with his first official EP, Soloman Samuel Simone. Brought to you by Black Umbrella, the 206 native drops 5 brand new cuts that instantly prove why he is one highlights of the young artists in Seattle today. I have never really been a fan of the phrase “up-&-coming” as it is perceived that the music is progressing, but not on the level of other hip-hop artists. Give this EP one tune and you’ll soon understand there is nothing up and coming back this & that it tops 95% of all other mass produced hip-hop albums coming out of blogs these days. It’s damn refreshing for projects like this to come out and demonstrate the right way of doing hip-hop. It is some truthful and insightful hip-hop, telling stories of a young man and his path to this day. Check out the video for “Sometimes I Don’t ft. Sam Lachow below” & DOWNLOAD THE PROJECT HERE FOR FREE! Spread this to every blog and mass of people you can.
If you’re anything like us or what seems like 90% of campus right now, then you’re probably sick. Which means you’re also probably lying in bed bingeing on Netflix. No shame in that. But if you’ve already run through every season of Breaking Bad and The Walking Dead then check out these awesome music videos by some of our favorite bands right now (and then maybe take a shower ya slob).
Ra Ra Riot – Beta Love
If you’ve listened to KZUU at all in the past couple of weeks then you’ve probably heard the title track off of Ra Ra Riot’s Beta Love at some point. But have you seen this video? I mean, nothing puts a smile on my face faster than watching white people in bright outfits from the ‘70s awkwardly dance. Let’s all just laugh at them for a moment. Done? Good. Because in 20 years our children will be laughing at the videos of us dancing. Or crying…I’ve seen you at Stubbies you dirty dirty kids.
Unknown Mortal Orchestra – So Good At Being In Trouble
What do you get when you cross Unknown Mortal Orchestra, a hippie commune (possibly cult), and an older, crazed McLovin bashing a baseball bat around with pantyhose on his head. The video for UMO’s track So Good At Being In Trouble off of their sophomore album, aptly titled II, of course! Along with McLovin, (or Chris Mintz-Plasse if you prefer to refer to his birth name. I do not.) the video also stars director Ruban Nielson, who has worked with Animal Collective and Black Dice.
Aan – Mystery Life
If you missed Aan at the Belltower on February 8th for the Built to Spill show then I don’t know what to tell you. Basically you need to reevaluate your life choices because it was an amazing night of music. These guys are super cool and apparently know how to put together a super cool music video as well because this one is fantastic. It’s a story of life, friendship, betrayal and, ultimately, death. Plus it’s just f$%#ing funny.
MØ – Glass
Danish electro-pop artist MØ (known by her mother as Karen Marie Ørsted) is one bad ass chick. Or at least that’s what I gather from this video for her amazing track Glass. She twirls a hula hoop in slow motion, smokes cigarettes at a casino, hangs out at aquariums, uses a vacuum to suck up her hair, whips her hair back n forth, and has a very sad goth friend who appears to enjoy grocery stores and rubik’s cubes. If that isn’t the epitome of a badass then I don’t know what is. But in all seriousness, the only thing that matters in this video is THAT VEST. Holy mother of god is that not the best thing you’ve ever seen? I see a new project in my future…
Also, FYI: MØ’s debut LP Waiting For Something To Happen will be released sometime this year.
Foxygen – San Francisco
This is another track that’s been getting a lot of airplay here at KZUU and for good reason! I double dog dare you to try to be sad while listening to this song. It’s not physically possible. It’s all happy, sunshine, sparkles, and freaking rainbows coming out of the speakers through this song. This correlates squarely with the ‘70s in my mind. Ahhh the days of love, peace, music, and drugs. Foxygen’s latest release, We Are The 21st Century Ambassadors Of Peace & Magic is very clearly ‘70s influenced and there’s no reason the video should be otherwise. Just sit back, relax, maybe smoke a bowl (hey it’s legal now! I can say that!) and let Foxygen take you on a beautiful ride to happiness.
Portland Cello Project – Please Leave a Light On When You Go (featuring Patti King), from Beck Hansen’s Song Reader
Call me a nerd, but the cello may be one of my most favorite instruments in the entire world. Portland Cello Project has been together for six years and covered the gamut of artists such as Radiohead, Kanye West, and Justin Timberlake. But the sextet has stepped its game up and has taken on all of Beck Hansen’s Song Reader. If you’re unfamiliar with what that is, basically Beck decided to release his latest album as sheet music only, for artists to take a stab at playing and putting their own spin on. Portland Cello Project and Patti King of Radiation City took on Please Leave a Light on When You Go and it is fantastic. Seriously. Check out their entire album on iTunes.
Check out this past week’s top Hip-hop charts with Toronto, Canada’s K-OS (pronounced “chaos”) hits #1 with Black On BLonde. Right behind him was SF’s Alexander Spit with the psychodelic album A Breath Taking Trip To That Otherside. Check out the full charts below!
1. K-OS – “Black on BLonde”
2. Alexander Spit – “A Breathtaking Trip To That Otherside”
I’ve been meaning to write about this little EP for a long time. After much delay, I figured Valentines day would be the best time for it. “Limey” actually made it’s way to ears late last year, but as a whole, was very, very overlooked by many people. Rainy Milo is a south London native, and her accent is so clear it gives the EP a really neat touch. Her voice is soft yet oddly commanding. She ranges from a clear to a smoky sound. The beats are simple yet oh so groovy. The soulfulness is reminiscent of Amy Whinehouse but with the composure of Aluna Francis, and a ton of shy innocence, or calm sternness Either way, it’s easy to get lost in this mixtape, filled with musical joys that will move you one way or another. It’s a really gorgeous mix of R&B, soul, and hip hop beats, as well as an inkling of garage. Even whispers of a jazz influence is there too. Indeed this mixtape is a near celebration of back to basics vocal ability and musical wonder, that is certainly hard to find nowadays. It’s easily one of the more vocally unique bits of individual creativity I’ve heard in a while. Songs range between emotions akin to mournfulness, admiration, wistfulness and longing. Like floorboards of an old building, the creaks and odd variances in Rainy Milo’s voice have a story to tell, and strength is within their respective experiences. Every track on this EP is gold. I promise it is definitely worth your time, no matter what your musical preference may be.
As an added bonus, the EP is available for a free download. (Link is on her soundcloud.)
