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Out now: FILTER Issue 51: “Thom Yorke Detonates Atoms For Peace”
Publishers
Alan Miller & Alan Sartirana
After two decades as the voice of one of the most influential bands of our time, what more is there left to
achieve? Apparently, the only thing left is complete renovation. Equipped with a roster of musicians famous
Editor-in-Chief
Pat McGuire
in their own right, an unorthodox approach to song construction and a veil of mystery behind the enigma,
Thom Yorke’s new project Atoms For Peace lives up to its explosive name. In this issue, FILTER finally
Managing Editor
Breanna Murphy
breaks the silence behind Yorke’s mystic endeavor, detailing how the group of musicians naturally gravitated
Art Director
Melissa Simonian
together, the unusual process behind their musical methods and how the Earth’s impending doom became
a primary muse for one of the most anticipated releases of this year. Also: We discuss tween idol corruption in Harmony Korine’s newest
Editorial Interns
Andres Murillo, Chloe Nguyen
film Spring Breakers with James Franco and the director himself; trade words with the notoriously reclusive Swedish electronic music duo
The Knife (their first print interview in seven years); and indulge in the youthful aesthetic antics of Kid Koala and his unique interactive
approach to performance. Plus: Witness the oddly pleasing alliance between Big Boi and Little Dragon; follow The Growlers cross country
in a haze of narcotics, decadence and rock and roll; revive the genius behind Rocket From the Crypt; gaze upon the beauties of Icona Pop;
have a Big Day Out in the land Down Under; get to know Villagers, Iceage, Ólafur Arnalds and Julian Lynch; reflect with Eels; and go to
the head of the class with an illustrated lesson in Analog Synthesizers 101 as taught by Jamie Lidell.
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IN THE GUIDE
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New York’s Brewery Ommegang, whose little birds delivered the first of their collaboration beers with HBO to our portcullis:
Iron Throne. “With a Lannister currently on the throne, it made sense to do a delicate but piercing Golden Blonde Ale with
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COVER Photo by ROSS FARRAR
WORLDS
Design Interns
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Scribes
Jeffrey Brown, Kendah El-Ali, Jon Falcone, Marty Sartini Garner,
Elise Hennigan, Gianna Hughes, Daniel Kohn, Zack Kraimer,
Shane Ledford, Kyle Lemmon, Kyle MacKinnel, Nevin Martell,
Paula Mejia, Andres Murillo, Chloe Nguyen, David C. Obenour,
Kurt Orzeck, Loren Auda Poin, Ken Scrudato, Dom Sinacola,
Laura Studarus, Adam Valeiras, Evan Wallis, Jonathan Zwickel
Your guide to the unseen from the current issue of FILTER Magazine
THOM YORKE ON ATOMS FOR PEACE
“The only reason to do any of this was to get out of Britain.”
“I’ve been through times when we’ve produced dark shit...like,
when Radiohead did OK Computer, we did all this artwork that
was so dark. For the press release, we just faxed “Fitter Happier”
with no explanation. That was the press release. Imagine if you
did that now, man. People would be like, ‘Oh, fuck off!’” “I feel like it’s just the start of [Atoms For Peace] for me. I feel like
I’m only dipping my toes in something so far. It’s weird to have
produced a record and then come to the end of it and say, ‘I feel
like I’m just dipping my toes in it.’”
UNSEEN QUOTES AND PHOTO FROM FILTER MAGAZINE ISSUE 51’S COVER STORY, “WEIRD FISSION: THOM YORKE DETONATES ATOMS FOR PEACE.”
INTERVIEW BY MARTY SARTINI GARNER. PHOTO BY MICHAEL MULLER.
10 filter good music guide
good music guide filter 11
Your guide to the unseen from the current issue of FILTER Magazine
ICONA POP
Caroline Hjelt: “You have to throw yourself out there. Any road you choose will be bumpy. To believe in yourself and to be proud of
yourself and your work is important. We’re both dreamers—we have huge dreams. We dream a lot, and I think that’s very important. A
lot of young girls that we’ve been talking to don’t feel they can follow their dreams. I think you’re truly able to do whatever you want.”
Aino Jawo: “It’s important to be yourself. We’re lucky that people get who we are.”
UNSEEN QUOTES AND PHOTO FROM FILTER MAGAZINE ISSUE 51’S F-STOP STORY, “ICONA POP: CONTRAST AND CONQUER.”
INTERVIEW BY KENDAH EL-ALI. PHOTO BY PIPER FERGUSON.
12 filter good music guide
All Killer, No Filler
PHOTOS BY JOSEPH CULTICE
Since the release of their 2010 album Pickin’ Up the Pieces, Fitz & The Tantrums have ridden what
seems like a never-ending wave. On the strength of their vivacious Motown-influenced singles
“MoneyGrabber,” “L.O.V.” and “Winds of Change,” the Los Angeles–based sextet has performed for
increasingly bigger audiences across the globe, while still somehow managing to make it home long
enough to write and record a follow-up.
The Guide joined bandmates Michael “Fitz” Fitzpatrick and Noelle Scaggs for a friendly
conversation about their new album More Than Just a Dream. Over lunch at a bistro in Los Angeles’
Silver Lake neighborhood, they discussed the marathon sprint to write their new album, how they
learned to hit the high notes and what will always make them happy to empty their wallets.
By Laura Studarus
14 filter good music guide
good music guide filter 15
If I’m doing my math right, the ’80s was an influential decade for you. What
bands epitomize the decade?
You’ve kept a tour schedule that is exhausting just to read. How did you find
time to write and record a new album?
Noelle: I grew up in the ’90s. A lot of mine were R & B groups, a lot of disco stuff. My
father was a DJ, so I had a lot of vinyl access. So I grew up listening to singers. I got into
Madonna at some point. That was my thing.
Fitz: We set up time, for sure. When we came off the last major tour, we took two
months off. The band said, “Alright, we’ve got this amount of time to write songs.” We
wrote about 40 songs in 35 days.
Fitz: I was at Madonna in the beginning! [Laughs.] Dancing in front of my mirror when
my voice could still hit all those notes!
Noelle: I didn’t want to look at another adjective! I was done! We got towards the end
of the record, and they were like, “We may need to tweak…” and I was like “Nope!
Not doing it!”
Given that your debut was so Motown influenced, what brought the ’80s to the
surface for More Than Just a Dream?
Fitz: We could have gone and made a really safe record. Or we could have made a record
that, at the end of the day, turned us on and made us excited. When we first started writing,
there was a little bit of this energy where, “We can’t do that, that doesn’t sound like us.”
Quickly the rule became: there is no rule. We’re allowed to do anything and everything
we want in this experimental phase of writing. Obviously, both of the records have threads
back to the past. At the same time, it’s always trying to be a modern, fresh take.
PHOTOS BY JOSEPH CULTICE
Is the first single, “Out of My League,” indicative of the album as a whole?
16 filter good music guide
Fitz: There’s a lot of other moments on the record. One of the similarities between the
first record and the second record is that they’re whole entire albums. It’s not two singles
and some filler. It’s all killer, no filler.
Noelle: It’s a “something for everyone” record, the same way Pickin’ Up the Pieces was.
You have moments when you just want to dance; your car pump-up song; then we have
songs like “Break the Walls,” which is very much a cry out to people to open their mouths
and make a statement. Then we have our dark song, “House on Fire.”
Fitz: I found you cheating on me and now I’m going to burn the house down. That’s
actually one of my favorite tracks on the record.
Are you ever tempted to put things out more often to match the accelerated
demand for new music?
Noelle: Fans want to be in your life 24 hours a day, because you’re sitting in front of a
device 24 hours a day.
Fitz: It’s a weird phenomenon. I see people I know online; I haven’t talked to them
in months, but I feel like I’m a part of their life. It’s kinda cool, but I realize I’m
making no effort. I’m not engaging with anyone. But social media has been really
important for us. I’m not sure this band would have arrived to the point we are at
without the Internet. A song was posted for free, a reporter in Holland downloads
it, gives it to all the biggest DJs in Amsterdam and all of a sudden it’s a hit. The
only reason it happened was the Internet. That, and our live shows. We’ve built up
a reputation for our live shows.
Fans appreciate that you’re not afraid to create a look and a distinct live
experience.
Fitz: We wanted the sound, the show, the look of the band—everything—to be an
experience. And Noelle and I are total clothes whores. It’s not a stretch for us to play
dress up. It’s an extension of our lives and empty wallets. F
good music guide filter 17
CAN’T HOLD ’EM
By Jonathan Zwickel
Photos by Ross Farrar
18 filter good music guide
good music guide filter 19
Macklemore is walking
on people’s heads. For real:
America to approve same-sex marriage through popular vote, an issue the
The 29-year-old rapper is stepping from hand
pair vocally supported with their single “Same Love.” When they perform
to hand and head to head above the crowd
the song tonight—the first time in Seattle since Referendum 74 passed in
at the Neptune Theatre in Seattle. The
November—it plays like an anthem.
faces of the kids holding him aloft bear the
illuminated, determined countenance of apostles enduring a holy trial.
In the real world and on the album charts, Macklemore & Ryan
Lewis are on top of everything right now. Score one for the good guys.
Around them, the audience of 800 is going bonkers, dancing in a blizzard
After meeting in 2006, Macklemore—born Ben Haggerty—and
of confetti exploding from cannons, while onstage, under spiraling
Lewis began honing their crowd-pleasing brand of big-moment, big-
spotlights, 24-year-old producer Ryan Lewis bumps the triumphant beat
emotion hip-hop. Since then, the pair has built an emerging empire
to “Can’t Hold Us.” Next to him, 21-year-old singer Ray Dalton wails on
from within a cramped studio space on a shitty stretch of road in north
the hook: “Can we go back, this is the moment/Tonight is the night, we’ll
Seattle, abetted only by a manager and Haggerty’s fiancée. Through a
fight till it’s over/So we put up our hands like the ceiling can’t hold us...”
few savvy single releases, high-concept music videos and epic live shows,
Despite its Super Bowl halftime show ambiance, this is the most
20 filter good music guide
There’s more: Their home state of Washington was the first in
they amassed an ardent audience in Seattle, the culmination of which
intimate concert Macklemore and Lewis have played in months. Their
might’ve been the symbolic passing of the mic from the Emerald City’s
single, “Thrift Shop,” has recently gone multi-platinum, resides at the
own Sir Mix-A-Lot—the longtime independent, platinum-selling hip-hop
top of the Billboard Hot 100, is Number One in the UK, Denmark and
artist—during a hometown show in early 2011. “It’s a lot of those kind of
Australia, and has accrued some 100 million views on YouTube. Their
random two degrees of separation,” Lewis says about the Seattle scene
debut album, The Heist, has sold some 300,000 copies since its October
that nourished the band. “Somebody knows somebody else. That’s sort of
release. Their recent US tour was sold out across the continent; February
in the lane of what we imagined for the songs on The Heist.”
shows in Australia and New Zealand were sold out in advance. It’s worth
When we rode shotgun around Seattle with Macklemore in
noting that they’ve scored each of these victories as independent artists
September of last year, none of the commercial success or mainstream
without the support of a record label. “We’re absolutely running a massive
recognition had found him yet. Today, on the phone before yet another
business right now,” Lewis says. “And at the same time, we’re absolutely
gig in yet another city, he’s exactly as humble and assured as he was then—
wanting to do what we love, which is create art.”
if a little shell-shocked.
good music guide filter 21
How are you coping with being a regular person and now living this dream?
Macklemore: I don’t know how good I’m doing with it. Even in the past two weeks,
life has magnified on every level possible. It’s intense walking around the street;
it’s overwhelming to kind of not be a normal person anymore. It’s easy to kind of get
distracted with all the success that the record is having, and with “Thrift Shop.” I don’t
exactly know what I signed up for.
Is it safe to say that Sir Mix-A-Lot saw this all coming a couple of years ago?
[Laughs.] You’d have to ask Mix. I don’t
know what his genie or Magic 8-Ball
read. He’s been great. When we sold the
first million for “Thrift Shop,” he was
really congratulatory and telling me about
how he did it, and he did the same thing
independently. He was putting out his own
records forever, and to me, that’s almost
the bigger parallel between us and Sir
Mix-A-Lot: the independent factor and the
DIY factor, even more so than obviously us
both being from the Northwest. The fact
that he was doing it independent in an era
where not a lot of people were, and he was
successful doing it independently, there’s a
lot to draw from there.
Right now, I feel like everyone is
making the same record over and over
and over again. Like, people have been
rapping to the same beat for the last two
years straight, and “Thrift Shop” was a
departure from that. It’s something that
was fun; it was a concept that immediately
stuck out in people’s minds. So, automatically, just by nature of the record, it was
different. And the fact that the beat isn’t sexist and the hook is super catchy, it stuck
out like “Baby Got Back” stuck out.
It seems distinctly possible that with “Same Love” you had some influence in
getting Referendum 74 to pass. Music rarely has that kind of direct impact.
A civil rights victory for the state of Washington... I can’t trace that back to the song
and keep any sort of humility but I do think that it had to have helped. Obviously,
Referendum 74 passing was huge, but the thing that I have a tangible perspective on
is to travel around the country and watch young people sing the lyrics word for word.
To actually make a song that has an impact on people’s lives, people’s awareness,
people’s heightened compassion and their tolerance for a civil rights issue—that’s my
22 filter good music guide
greatest achievement up to this point. It’s been the most profound experience as a
songwriter: to watch a song with such social commentary be embraced by so many
different types of people. That precedes any sort of “Thrift Shop” numbers.
It seems “Thrift Shop” now exists on some other level.
It was weird to see Anne Hathaway being quoted singing the song. You know, it’s pop
culture now. And with that, it’s an open territory for the masses to get it stuck in their
head. You never want to be that “Thrift Shop” guy; that one guy who in 2013 had that one
song called “Thrift Shop.” But I think we made
a record that exceeds that, and you just want to
make sure that the general public knows that,
and is aware.
I embrace that challenge. I don’t
necessarily need to write another Number
One record—if I never do that again in my
life, that’s OK. I do want to make great music
that has an effect on society, that captures
moments and turns an idea into something
tangible, that’s what I care about. If “Thrift
Shop” never happens again, so be it. I had
that experience, and not many people can
say that they had the Number One record
in the country. To take that to the grave is
pretty dope.
A lot of your songs implore the listener
to live life in the moment, but I’ve never
heard you shout out “YOLO.”
I tend to stay away from the word of the
week. Not to say that there’s anything wrong
with “YOLO” or “swag” or any other words
that popular culture embraces. I want to be somebody that creates contemporary
language, not someone that follows the name of a Drake song. I imagine that E-40 is
not going around saying “YOLO.” He’s got his own word for it.
Is there a secret to walking on top of a crowd?
Yeah. For one, you have to make sure that they know [what you’re doing], because
they don’t know what’s going to happen. The tendency is that they kind of rush to
you, but you need to calm them down a little bit, or they’ll just drop you. I’ve been
dropped many times—not to the ground, but it just turned into a shitty crowd surf.
Also, it’s about trying to find a spot in the crowd that has the least amount of teenage
girls; go with the dudes. Make sure that you get at least one good foot on a buff dude’s
hand. And then just kind of head out on a mission of faith. F
good music guide filter 23
YOU'RE INVITED TO THE
DUTCH IMPACT PARTY
ON WEDNESDAY, MARCH 13TH,
AT BAR 96 (96 Rainey Street)
From 1-6pm, offering drinks and live performances by seven
top acts hailing from the lowlands. Kim Janssen, Paceshifters,
The Black Atlantic, Bombay Show Pig, traumahelikopter, Jacco
Gardner and Blaudzun. +21, SXSW Badge/wristband required.
Be sure to RSVP: www.filtermagazine.com/dutchimpact2013
Kim
Janssen
1:05 pm
Paceshifters
1:45 pm
The
Black
Atlantic
2.30 pm
PRESENTED BY DUTCH PERFORMING ARTS, EUROSONIC NOORDERSLAG,
AMSTERDAM DANCE EVENT, FILTER MAGAZINE AND PLANETARY GROUP,
POWERED BY THE CULTURAL DEPARTMENT OF THE EMBASSY OF THE
KINGDOM OF THE NETHERLANDS AND BUMA CULTUUR
Bombay
Show
Pig
3:15 pm
Traumahelikopter
4:00 pm
Jacco
Gardner
4:45 pm
Blaudzun
5:30 pm
There are some conspiracy theorists out there who believe our Neanderthal ancestors were influenced by a group of
extraterrestrials that visited Earth during the Stone Age. These ancient aliens were directly involved in the evolution of
the human species through genetic engineering and cross-breeding. If this far-fetched theory was depicted as a popcorn
flick, the five-piece Brooklyn indie-rock outfit Caveman could supply its soundtrack…for reasons beyond the name alone.
Caveman’s singer-guitarist-percussionist Matthew Iwanusa adores the creepy soundtracks to old B-movies. Those various
aesthetics and his band’s propensity to kickstart songs with pulse-quickening drum circles make for an energetic sophomore
release. Caveman is the heavily anticipated follow-up to the young group’s self-released debut, CoCo Beware, which was rereleased by Fat Possum last year. Now the New Yorkers have a daring new set of synth-rock jams to tour behind.
The Guide snagged Iwanusa on the phone to discuss the new tunes, evergreen influences and Werner Herzog’s
Fitzcarraldo. [In a nasal German accent: Cue the eerie harmonic guitar squeal over the troglodyte spaceship…now!]
26 filter good music guide
By Kyle Lemmon
good music guide filter 27
.
Why did you choose Caveman for your band’s name?
What were your influences for this new set of songs?
Matthew Iwanusa: There are multiple reasons, but one
funny one is that when I was younger, my old band was
playing and somebody came up to me after the show and
said, “You guys were really good and you look like a caveman,
Matthew!” I had this huge beard. We kind of laughed and
I wondered if he was insulting me. It also symbolizes the
start of something new and trying to approach new things
like a caveman would do it.
We always talk about how we want it to sound like outer
space and go from there. It changes as we move along. I
really like Fleetwood Mac. It’s hard to pinpoint what we
were looking to do. I’m really into Tears for Fears, too.
Growing up, we all listened to different things, but we have
a lot of common interests. A lot of visuals are referenced
when we discuss music.
I know you made the art for CoCo Beware. Did you
make the artwork for the new album?
I worked on it with my friend Alex Reeves. The first one I did
myself. For Caveman, I had some ideas and then gave it over
to Alex and he really ran with them. It’s always great working
with him because he’s got a great eye.
Your bandmate Jimmy Carbonetti is also one of New
York City’s go-to guitar makers. How long has he had
that gig?
Yeah, he opened up his own shop downtown called
Carbonetti Guitars. He built guitars for the whole band,
so we have this tailor-made sound. He really got into the
craft while I was in college. He’s been learning a lot this
past year.
“Chances” is a fairly poppy song, but towards that
end you guys start layering a discordant drone over
the mix like it was a post-rock track. Tell me a little
bit about that song’s development.
We like to start a lot of songs with a drum circle and that
was one of those instances. We came up with the main
chord progression and melody and then added the drum
circle. The other sounds are us fading in really distorted
and pretty sounds until they take over the song.
I understand that old-school video game music is a
consistent influence for you?
I go through phases where I get really into video game
music. It’s crazy and every move that somebody does has
to be synced up with a different sound of musical theme.
It’s like a movie, but with video games it has to be even
PHOTOS BY PHILIP DI FIORE
Caveman
PRESENTS
more dramatic at times. Back in the day, they would
come up with some really catchy music from simple tools
and for crude-yet-beautiful visuals. The Nintendo days
had these really memorable melodies to go along with
the action. Now they really play up the drama with big
soundtracks. I’m a big fan of the original Resident Evil.
It was so memorable and I was terrified of it. All those
Rockstar games like Red Dead Redemption and Grand
Theft Auto are great, too.
Are there any movies that would pair well with the
sounds of Caveman?
I really like old Ed Wood movies and the style of that
era of sci-fi and horror movies. I would always go to my
friend’s house after elementary school and watch scary
movies. My mom would complain because I would come
home being so terrified after watching the craziest horror
movies. I was into the movies that were supposed to be
creepy, but end up being kind of funny.
How would you describe Caveman to a deaf person?
It sounds like the scene of Werner Herzog going down the
Ucayali River in that boat for the making of Fitzcarraldo.
That scene always reminds me of our band. F
Youngblood Hawke
The Henry Clay
People
David Bazan
Atlas Genius
NO
The Lonely Wild
Army Navy
Eastern Conference
Champions
Hellogoodbye
Wildcat! Wildcat!
28 filter good music guide
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good music guide filter 29
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BY DOM SINACOLA
30 filter good music guide
PHOTOS BY CAT ROIF
Staying
Posi
When Wavves—the duo of founder/songwriter Nathan Williams and
bassist Stephen Pope—went into a studio in Los Angeles’ Los Feliz
neighborhood to record Afraid of Heights, their fourth full-length
and first for emerging label Mom + Pop, they didn’t know they’d be
spending an entire year there.
“A part of it was working at our own pace,” Williams
says. “Since we were paying for it ourselves, I thought
deadlines would be counter-productive, so we just
recorded until we felt it was done. That just happened
to be a year; luckily it wasn’t longer than that, ’cause
I’m broke.”
Pope agrees: “If a label had been involved, I
guarantee they wouldn’t have let us stay in the studio
for that long…it would have fucked up the creative
process.”
That “creative process” proved fruitful before,
when they self-financed and -recorded the Life Sux
EP, so it was only after Heights was finished that the
two took up with Mom + Pop to hash out the rigmarole
of distribution. An ideal situation, maybe, for a band
to mine, but not without a measure of good faith:
“Our producer, John Hill, was willing to work without
getting paid until we had a label,” Pope says.
“I had done a couple writing sessions with [Hill]
for various artists that are more famous and make more
money than me, and the idea came up,” Williams says,
“and we both just kind of said, ‘OK, let’s go for it.’”
Hill, typically aligned with spit-shined pop acts
like Rihanna and Shakira (the “more famous” folks
who “make more money” than Williams), abetted in
the sessions’ sense of precision, ensuring each sound
on the record was exactly how Wavves wanted it. It
meant string sections, looped beats, even what could
be their first acoustic ballad; it meant rabbit holes
and endless trial and error. “If we couldn’t achieve a
particular sound, we would research how to get it and
usually spend way too much on a random instrument
on eBay,” Pope says.
What Hill brought to the table wasn’t so much
blockbuster breadth as it was his knack for guiding
Wavves to the kind of record they always had in them.
“The sound [of Afraid of Heights] is inspired by what
Stephen and I first fell in love with about music, I
think,” Williams says. “A lot of alternative radio-ready
stuff: Weezer, Nirvana, Dinosaur Jr.”
Although their fourth LP isn’t a drastic departure
from their third, 2010’s King of the Beach, which also
exploited Williams’ primordial gift for punching out
hooks in a hurry amidst the detritus of laid-back pop
and surf punk, Afraid of Heights may just be the sound
of Wavves—a band known for dredging the shallows
of early-20s bacchanalia—taking some responsibility.
“I guess instead of, ‘I’m drunk, let’s party,’ it’s more,
‘I’m drunk, what the fuck am I doing with my life?’”
Pope explains.
Williams dials back the drama a bit: “I want to
continue to evolve musically and experiment with
different things. I would get too bored otherwise.”
Further staving off boredom, Wavves will set out
on tour with stoner acolytes FIDLAR, starting at SXSW
a few weeks before the release of Heights. Then there’s
Williams’ Sweet Valley project with his brother, Joel,
who, in between a spate of hip-hop-leaning mixtapes,
are working on a record with the rapper Killer Mike,
having just finished one with Bay Area emcee DaVinci.
“And we’ll release a couple more tapes this year, I’m
sure,” Williams adds.
Whatever feels right, right? It’s left to Pope to sum
up the band’s journey thus far: “Life’ll get you down
sometimes. Stay posi. Don’t worry, be happy.” F
good music guide filter 31
IN the early 2000’s, Atlanta was the place to be
for cutting-edge hip-hop. With pioneering artists like Outkast,
Goodie Mob, Ludacris and Jermaine Dupri paving the way, the
ATL was fertile soil for homegrown, emerging Southern talent.
During this Hotlanta heyday, it seemed that every member of
any Dirty South crew was getting a record deal based on mere
association—which rarely ended up equating to long-term
success. However, Outkast protégé Killer Mike has proven to be
In fact, it took nine years of navigating through the murky waters
Did you find it easy to record these songs because of that unspoken musical chemistry?
Introduced to the world with a guest spot on Stankonia
before eventually releasing his solo debut in 2003, the man born
of the hip-hop scene for Killer Mike to finally be appreciated for
his own enormous individual talent and to be respected as more
than just a “Whole World” sideman.
His sixth album, R.A.P. Music, dropped last year and
cemented the 37-year-old’s status as one of the most intelligent
lyricists in hip-hop, with a firestorm delivery and deep baritone
snarl. Working with Brooklyn-based producer El-P, the record
found Killer Mike mixing sharp political tirades with introspective
personal lyrics, which won him both critical accolades and new
fans across the globe.
Having just returned to Atlanta from a European tour with
plans to finish a second album with El-P, the Guide caught up
with the hardworking rapper via phone where he filled us in on
BY DANIEL KOHN
When did you realize you wanted El-P to be the sole producer on the album?
as Michael Render didn’t achieve the initial success of his peers.
32 filter good music guide
Everything I’ve been doing has been trying to improve on what I’ve done before. Building off
what I learned making my Pledge series [beginning with I Pledge Allegiance to the Grind in
2006], I went in with a set of rules based on what I did before to make a great record. I knew
going in that R.A.P. Music would only be 11 or 12 songs and under an hour. I knew I would have
full advantage of having one producer’s attention, which gave me a focus I hadn’t had before.
The process was easier once El and I were in the room together. We did a week in Atlanta and
that’s when I realized I had to make the record with just him. I had to badger him a bit to do
the entire record and over the badgering, we became friends. We’d smoke weed, talk about
music and make a song every day and a half before starting the process again. Our relationship
is less about guys having a great working relationship, but is more about us having a great
friendship that’s strengthened through music.
an exception to this trend.
PLAYER PENTECOSTAL
Although your debut album, Monster, was released in 2003, it seems many people were
discovering you for the first time on R.A.P. Music. What was different about this album
compared to your earlier material?
why he loves working with his producer, why he doesn’t want to
be called a political rapper and what Big Boi told him after the
release of R.A.P. Music.
It’s always easy now. We always accuse each other of being lazy and we’ll get that competitive
spirit going and that’s what hip-hop is. It’s easy because I’m working with my friend who
happens to be a producer.
You were first noticed for your verse on Outkast’s “Snappin’ & Trappin’.” Did you find
it difficult to carve out your own career without relying on the Outkast name?
That was one of my goals. Those guys were like big brothers to me and Big Boi is a mentor
to this day. At first I was seen as a protégé or sidekick to Outkast. If it stayed like that, my
career would have floundered. Some artists are seen putting their friends on [their songs]
when their friends weren’t good enough to deserve the opportunities they got. So I got
lumped in with a bunch of others and it was up to me to break that mold to make sure
people knew me for me. When me and Big linked up last year, he said to me, “I’m just so
glad that you showed the world what I was talking about.”
Do you see yourself as a political rapper?
I’m not a political rapper and don’t wake up with a politicized conscience. I don’t have an
affiliation to an agenda or political party as much as I’m interested in the pursuit of happiness.
Those aren’t the only records I make, though. I make some about hanging out with my wife,
kickin’ it, how much I love my kids or how much I give a damn about rap music. I will always
make records that are reflective of me as a whole human being instead of a politicized guy
ranting about politics. F
good music guide filter 33
JAMES
BLAKE
(UK)
(UK)
KRAFTWERK
ALABAMA
SHAKES
(US)
TAME IMPALA
(DE)
(AU)
RODRIGUEZ
(US)
JOHN TALABOT
(ES)
CARMEN VILLAIN
ØYA @ FILTER DAY PARTY | SXSW | SATURDAY 16th MARCH 11AM-01PM
LIVE: MIKHAEL PASKALEV | HEYERDAHL | YOUNG DREAMS | FREE FOOD!
MOUNT
KIMBIE
(UK)
One-Liners:
a miniature take on selected Filter Magazine reviews
........................................................................................................................................
(Go to FILTERmagazine.com or pick up Filter Magazine Issue 51 for full reviews of these albums)
JIM JAMES
Regions of Light and Sound of God
ATO
88%
If highways were Milky Ways and cars were
spaceships, Regions would be the go-to
soundtrack for light-year-long road trips to
another galaxy.
YO LA TENGO
Fade
Matador
83%
ROBYN HITCHCOCK
Love From London
YEP ROC
Evoking melancholic pop spells reminiscent
of The Cure and The Smiths, Optica’s
downtempo vocals, exploding bass lines and
peppy drumming astound and beguile.
Love From London is the newest of the prolific
jangle-rocker’s solo endeavors, but he’s still not
finished reinventing himself.
81%
STRFKR
Miracle Mile
POLYVINYL
SHOUT OUT LOUDS
Optica
Merge
78%
86%
BOY
Mutual Friends
Nettwerk
With their 13th release, Yo La Tengo take
us back to whiskey-drunk summers of the
early aughts when lo-fi alt rock and happy
simplicity reigned supreme.
An updated take on girlie folk-pop, the debut
album from the ladies of BOY is as bubbly
and lighthearted as a morning mimosa, but
just as necessary a hangover cure.
Somehow, two chords become a promise and
an ode to be better and to let go; Miracle Mile
is fun, but the record’s sparse highs also lay
bare its lows.
THE NIGHT MARCHERS
Allez Allez
SWAMI
85%
INDIANS
Somewhere Else
4AD
77%
From the galloping beats and buzzsaw
guitars that scorch through Allez Allez, you
would probably guess it’s a new effort by Reis
& co.’s other other band. Close!
80%
VERONICA FALLS
Waiting For Something To Happen
Slumberland
There’s a brooding, dark cloud drifting across
each song, dotted with twinkling, tingling
splashes; the vibrating electric-piano-filled
“Magic Kids” and the slow-building-to-epic
“I Am Haunted” show off the starshine best.
Veronica Falls’ sophomore album features
dreamy ’80s Britpop with a witchy-chick vibe
all while staying true to the group’s signature
shoegaze sound.
FOXYGEN
We Are the 21st Century Ambassadors of
Peace & Magic
84%
JAGJAGUWAR
YOUTH LAGOON
Wondrous Bughouse
Fat Possum
79%
TROPICAL POPSICLE
Dawn of Delight
VOLAR
Trevor Powers’ brand of indie rock continues
to evolve on his sophomore release, a
kaleidoscope of fuzz-drenched vocals and
experimental synth-pop outpourings.
FILTER
ALBUM
RATINGS
With a sound like they’re raiding your hip
uncle’s record collection, these youngsters’
Richard Swift–produced debut is a stirring
paean to the golden age of rock.
36 filter good music guide
91-100%
81-90%
71-80%
61-70%
below 60%
8
8
8
8
8
a great album
above par, below genius
respectable, but flawed
not in my CD player
please God, tell us why
75%
73%
Dawn of Delight certainly has a defined
style. It’s too bad that the style is the familiar
song structure of so many garage-rock bands
these days.
Music,
etc.
.......................................................................................................................................................................................................
The Strokes
Comedown Machine
RCA
75%
When The Strokes began with the one-two
knockout of Is This It and Room on Fire,
the New York quintet’s instantly relatable lyrics mixed
with an energetic and modern take on the three-minute
rock song placed Julian, Fab, Nick, Albert and Nikolai
at the center of the garage-rock revival, inspiring an
entire wave of new artists. Ten years later, Comedown
Machine suffers at the mercy of today’s trends with a
lackluster jumble of genres from ’80s dance music (“One
Way Trigger”) and hard-rock/hair-metal (“Tap Out”), to
the ghost of Strokes songs past (“All The Time”). The
results aren’t all winners, but there are gems where you
wouldn’t expect them—in slower tracks like “Welcome
To Japan” and “Call It Fate, Call It Karma.” While the
technical talent is still here, the raw passion for rock
music that made them so dominant a decade ago is gone.
The Strokes now are a band under the influence...as
opposed to of influence. BAILEY PENNICK
The Knife
Shaking the Habitual
MUTE
78%
It would be fascinating to have tea at
the Dreijer household. The parents that
spawned The Knife, the brother-and-sister duo of Olof
Dreijer and Karin Dreijer Andersson, indeed must be a
curious pair. Famous for slicing out superior dance—and
even pop—tracks set against a harshly disturbing artistic
backdrop that’s fueled with anti-capitalistic fervor, the
siblings return after a seven-year hiatus with Shaking the
Habitual. Shimmering in demented glory and psychotic
beats, the album partially lives up to The Knife’s flawless
splendor. The other half, however, really sounds like orcas;
strange orcas, doing strange things—sometimes maybe
even nitrous and acid—under the sea. It’s hard not to miss
the days of 2004’s Deep Cuts with this album, as more than
a decade into their career, The Knife’s sound and vision—
and the members’ unrelenting oddness—seem to slightly
buckle under the weight of their idealism. Nobody really
loves orca music that much. KENDAH El-ALI
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Wavves
Afraid of Heights
MOM + POP
82%
There’s more to life than skating, booze
and blunts, as Wavves’ Nathan Williams
has evidently discovered—but not that much more.
Afraid of Heights reflects Wavves’ (now a duo) newfound
quasi-maturity with ambitious cello and glockenspiel
arrangements, but time’s still found for the endearingly
disheveled, apathetic no-fi they’re known for. So
endlessly California that it sunburns, Afraid is derivative
when it’s idling and full of vigor when it’s not. Druggy
slow-burners like “Dog” and “I Can’t Dream” break up
the expected but polished machismo of “Beat Me Up,”
“Sail to the Sun” and “Mystic.” Producer John Hill’s
résumé (Rihanna, M.I.A.) and Williams’ side project
Sweet Valley made a hip-hop infusion seem likely, but
it’s more Blue Album than Illmatic. ZACK KRAIMER
Iceage
You’re Nothing
MATADOR
Mark Kozelek
Like Rats
CALDO VERDE
76%
Cover songs can be tricky, and entire albums
composed solely of covers are trickier yet.
As with his best-known album of Modest Mouse covers
as Sun Kil Moon, Mark Kozelek’s latest takes a variety of
songs (Descendents, Sonny and Cher) and reworks them
into occasionally unrecognizable versions. Fans of the
originals may find these versions completely irrelevant,
but for those interested in Kozelek’s body of work, it’s
an interesting collection that lends itself equally well to
both intellectual deconstruction and simply listening.
JEFFREY BROWN
85%
Following up their superb 2011 debut,
Denmark’s favorite thrashing sons have
returned with the vengeful You’re Nothing, featuring
the four-piece’s characteristic jagged guitar lines,
hardcore hooks gargled to perfection through distortion
and singer Elias Bender Rønnenfelt’s grasping vocals
with a more refined edge. You can practically see
fingers frantically strumming bloody guitar strings,
drops trickling onto the moshpit below. Less dense than
New Brigade but equally as prowling, You’re Nothing
spits and stuns. PAULA MEJIA
The Black Angels
Indigo Meadow
BLUE HORIZON
The “Broken Soldier” lyric, “It’s hard to kill when you
don’t know which side you’re on,” could easily apply to
Vietnam. Will Maas be forever obsessed with the good–
evil dichotomy? The answer’s in their moniker—and
their monitors. KURT ORZECK
73%
Are the Austin psyche-paths committed
to documenting 1967? On “I Hear Colors
(Chromaesthesia),” singer-guitarist Alex Maas’ contralto
salutes Grace Slick. “Don’t Play with Guns” invokes the
hippie beeline from the Summer of Love to Manson.
Iron & Wine
Ghost on Ghost
NONESUCH
79%
Iron & Wine’s fifth album is another
dependably verdant set of Southern
Gothic tunes. Much like his 2011 major-label debut,
Kiss Each Other Clean, Ghost on Ghost is teeming with
judicious lyricism and jazzy doodles. Fans who prefer
the singer-songwriter’s early albums over his newer
AM radio jams may still tune out. Sam Beam’s wily
flirtations with girl-group chants and country-politan
pageantry entices in fits and starts. Unfortunately,
Ghost on Ghost’s midsection suffers from some genre
weariness and similitude. Longtime Beam collaborator
Rob Burger (Tin Hat Trio) handled the string and
horn arrangements and impressive jazz session players
bolster even the weaker moments. Final track “Baby
Center Stage” is a reminder that Beam can still
deliver beautiful country ballads about love, life and
the bewitching power of the American landscape.
KYLE LEMMON
39 filter good music guide
Sally Shapiro
Somewhere Else
PAPER BAG
book
80%
If Sally Shapiro is good at anything, it’s aptly
naming albums. With wispy techno beats
leading the way, Somewhere Else, the Swedish duo’s (Shapiro
and Johan Agebjörn) third studio album, is a journey to
a distant land—a heaven of music for anime characters
hosting raves on clouds with rainbows for dance floors.
Shapiro’s enchanting whisper of a voice guides you along, only
occasionally bringing you back to earth with lyrics that speak
of lost love and struggle. EVAN WALLIS
The Embassy
Sweet Sensation
INTERNATIONAL 77%
One of the undeniable jewels of the
Gothenburg electro scene (which includes
The Tough Alliance, Air France, Studio and ceo), The
Embassy have always seemingly gotten lost in the frantic
shuffle to Stateside notoriety. While their first new album
in eight years isn’t going to win any shouting matches, the
tropically-bent duo make up for it with an unimpeachable
style. Combining a heady blend of steel drums and
melancholy, Sweet Sensation is a breezy trip through a
downtrodden world. LAURA STUDARUS
Josh Rouse
The Happiness Waltz
YEP ROC
84%
Josh Rouse has always been comforting.
Recently, he twitched toward bossa nova with
2010’s El Turista, a stylistic signifier to his current residence
abroad. It didn’t quite inspire, but he returned to form with
2011’s Josh Rouse and the Long Vacations. The Happiness
Waltz is a continuation: a graceful rotation of melodies and
gentle reflection. “Won’t you tell my woman to bring some
speed?/I can’t wait another minute to see those eyes,” he
implores in “It’s Good To Have You,” as side-clicks patter
against a snare. Characteristic Rouse, every song is beautiful,
every word connecting in such a simplicity that makes you feel
glad to be alive. JON FALCONE
40 filter good music guide
ECM: A Cultural Archaeology
Edited by Okwui Enwezor
and Markus Mueller
PRESTEL
77%
In an art form where categorization has
become a primary instinct, the chains
of diminishing an aggregation of sound
to a simple umbrella term has become the norm
in music history. That, however, is not the case for
legendary avant-garde record label ECM (Edition
of Contemporary Music). To celebrate the legacy of
the label that broke past conventions and celebrated
improv and jazz, this expansive volume showcases a
collection of unseen photographs, art installations,
essays and liner notes, providing a quintessential
glimpse into ECM’s cultural significance through
history and sound. ANDRES MURILLO
David Grubbs
The Plain Where the Palace Stood
DRAG CITY
84%
A book could be written on the merits of this
album, but a twofold snapshot highlights that
this is classic solo Grubbs: Firstly, for the supreme restless
guitar lines that untangle like Neil Young’s Dead Man but
backed by Sonic Youth (“Super-Adequate”) and, secondly, that
he sings in beautiful unison with his guitar lines in the slower
ones, a hobo George Benson with a beaten acoustic (“I Started
To Live When My Barber Died”). JON FALCONE
Suede
Bloodsports
INGROOVES/FONTANA
80%
The enfants terribles of the Britpop era
are back—a little softer around the edges
and a little older around the eyes. Their first album in a
decade is a stately, more considered effort. Nonetheless,
Bloodsports still thrums with the darkness and danger
that made the fivesome’s early records so worthy of your
absolute allegiance. “Snowblind” and “Hit Me” are a
continuation of Coming Up’s gritty, glitzy, glammy pop,
while the soaring “For the Strangers” aims to supplant
“Saturday Night” as the band’s sing-along set closer.
Some moments feel too safe, most notably the mid-tempo
first single “It Starts and Ends With You.” For the most
part, though, Suede’s newfound maturity suits them well.
NEVIN MARTELL
Cold War Kids
Dear Miss Lonelyhearts
DOWNTOWN
78%
Cold War Kids have an interesting
approach to composition: each instrument
finds itself a small tune or pattern and, when alone,
seems insignificant; yet, when layered or consecutively
placed, weaves into less a song than a directional
progression, a build-up, tied together by Nathan
Willett’s rough and lovable filtered vocals. Their fourth,
Dear Miss Lonelyhearts—interestingly titled similarly
to Nathanael West’s devastating work—returns to
the above composition style that 2011’s Mine Is Yours
unfortunately chose to forego. Themes of maturation
again flow through, yet some tracks (“Jailbirds,” “Bottled
Affection”) recognize the trade-off between freedom
and insecurity of youth. The Kids are no longer children.
Then again, they probably never were. ADAM VALEIRAS
blu-ray
Badlands
CRITERION
90%
“They wanted to know why I did what
I did/Well, sir, I guess there’s just a
meanness in this world.” Inspired
by the very real 1950s murder spree
committed by teenaged Nebraskans Charles
Starkweather and Caril Ann Fugate, this 1973 debut
film from slow-burn genius Terrence Malick is a
lesson in many things, but most especially in endless
cool. It inspired countless follower films, as well as
some of The Boss’s best moments. Keep pushin’ ’til
it’s understood, and let this Blu-ray start treating you
good. SHANE LEDFORD
The Besnard Lakes
Until In Excess, Imperceptible UFO
JAGJAGUWAR
83%
The world didn’t end in 2012, but The
Besnard Lakes have nonetheless continued
to hone a pre-apocalyptic sound with their latest, Until
In Excess, Imperceptible UFO. The title alludes to an
otherworldly presence, replicated through the doomdripped “46 Satires,” and the somber “And Her Eyes
Were Painted Gold” is reminiscent of Pet Sounds–era
Beach Boys. Spirit of Brian Wilson aside, through warbled
vocals and doom-laden synths, the Montreal band casts
even the world’s end in a beautiful light. PAULA MEJIA
Palma Violets
180
ROUGH TRADE
84%
The best albums are those that figure out
a way to incorporate weird ideas into an
accessible structure. Too much of one and it’s unlistenable
cacophony; too much of the other and it’s gaggingly sweet.
On their third album, New Orleans duo Generationals
balance the act perfectly. It’s markedly less garage-born
than previous endeavors, too, sounding more akin to
a dancier Echo & The Bunnymen or a version of The
Magnetic Fields’ 69 Love Songs recorded at higher fidelity.
DAVID C. OBENOUR
book
84%
Who the fuck are Palma Violets? This past
fall, the London four-piece roared out of
nowhere, dripping with snot and sincerity on their shout-y
first single “Best of Friends.” The tune is an instant classic,
sprung from the same gnarly tree that gave us The Clash
and The Libertines. This full-length proves that they’re no
one-hit wonder, demonstrating depth, dexterity and a slapdash genius that’s impossible to contrive. Meet your new
favorite band. NEVIN MARTELL
Pissed Jeans
Honeys
SUB POP
Generationals
Heza
POLYVINYL
83%
If comedian Louis C.K. started a posthardcore band, it would probably sound
like Philadelphia’s Pissed Jeans. Their dependable fourth
effort, Honeys, vents mature frustrations about Dilbert
cubicle life and eventual irrelevance in the eyes of youth
culture. The rhythm section is an impenetrable phalanx
and frontman Matt Korvette’s unraveled vocals lend the
oftentimes hilarious lyrics a fitting counterbalance. Pissed
Jeans satirize the languor of adulthood and unleash punk
malice on unsuspecting targets. KYLE LEMMON
A Crack-Up at the Race Riots
By Harmony Korine
DRAG CITY
79%
Crude jokes, half-remembered vignettes,
script-scraps, found letters from Tupac,
suicide notes featuring blank spaces for
your signature, a grainy portrait of MC
Hammer at age 11…there’s nothing coherent about
Harmony Korine’s A Crack-Up at the Race Riots except
its incoherence. Much like his absurd, realist films, A
Crack-Up at the Race Riots—originally published
in 1998—captures life as perceived through media
and illuminates Korine’s strange and sometimes dark
sensibilities. This reissued collection of multimedia
makes no sense, really, and that’s exactly why it’s so
refreshing. CHLOE NGUYEN
Phosphorescent
Muchacho
DEAD OCEANS
82%
Three years after the twangy Here’s
To Taking It Easy, Phosphorescent’s
Muchacho channels a domestic crisis into an album that
is as eclectic musically as it is painful lyrically. There are
experimental beauties (the majestic “Song For Zula”),
but Matthew Houck is at his best when he returns to
familiar sounds (the soul-bearing “Terror in the Canyons
[The Wounded Master]”). While there are moments
when the music is upbeat to the point of distraction from
the anguish of the lyrics, as Houck can attest, it doesn’t
make heartbreak suck any less. DANIEL KOHN
Crime & The City Solution
American Twilight
MUTE
77%
Crime & the City Solution’s Simon Bonney
once played the debauched poet to Nick
Cave’s wanton literary malcontent. But he shares his
fellow Aussie’s obsession with a sort of mythical America
that probably never existed. Indeed, on the snarling
title track of American Twilight he concedes, “The poor
always been fucked by the rich.” Their first album in 23
years finds Bonney again waxing romantic and sardonic
over lurching post-punk stormers and haunted spaghetti
Western ballads. “A cruel wind blows a southern
tempest,” he warns. Best duck for cover. KEN SCRUDATO
Julian Lynch
Lines
UNDERWATER PEOPLES
78%
Perhaps if a young Nino Rota had been
limited to a tape recorder, synthesizers,
saxophones and whatever else he found lying around
his apartment, Federico Fellini’s films might sound
like certain moments in Lines. Julian Lynch’s music
lacks the bombast of that composer’s works, but is
similarly raucous, mysterious and full of whirling joy.
Each song seems driven by its own organic engine,
capturing that hovering feeling of glad emptiness after
the passing of a psychic storm—a death, a breakup, a
journey or any trying encounter with life’s brunt. More
flushed with emotion than previous efforts, Lines is
worth your while to sit, open your mind and listen.
It had been years since this famous mouth had experienced the 3-part harmony
of sweet, tangy & creamy. But after a recent reunion on a veggie deluxe,
they’re besties on wheat again. So what’s your mouth waiting for?
LOREN AUDA POIN
#KAO
KA
AO M
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miraclewhip
h
© 2013
20 Kraft Foods Group, Inc. *While suppl
upplies
ies last
last..
This year, we’re opening a million mouths to our unique flavor. Get your taste at Facebook* and be counted.
ted
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blu-ray
Veep
HBO
88%
What exactly do politicians do all day?
Veep series creator Armando Iannucci
provides a hilarious behind-the-scenes
peek into the world of Vice President
Selina Meyer (Julia Louis-Dreyfus), a once-promising
political star who now plans her schedule around
yoghurt shops and photo ops. Her attempts to stay
relevant in Washington are squashed in equal parts by
a neglectful POTUS (did he call?) and the snowball
effect of her own gaffes (how could she have known the
creepy photographer was a lip reader?). As her staff—
played brilliantly by a Buster-Bluth-level-incompetent
Tony Hale, Anna “My Girl” Chlumsky, Matt Walsh and
Reid Scott—is quick to bring up, it could always be
worse: Tom Hanks could die. ELISE HENNIGAN
Bleached
Ride Your Heart
DEAD OCEANS
82%
For their highly anticipated debut album,
sisters Jennifer and Jessica Clavin, better
known as the indie pop-punk duo Bleached, have
successfully harnessed the powers of the warm Los
Angeles sun and the universal topic of heartache and
heartbreak. Following in the footsteps of another surfrock-influenced duo from Southern California (one with
a large affinity for cats), Bleached’s Ride Your Heart
blends just the right amount of catchy melodies and
guitar fuzz with the rollercoaster ride known as love.
BAILEY PENNICK
Purling Hiss
Water on Mars
DRAG CITY
83%
Like any good J Mascolyte, Purling Hiss’s
Mike Polizze comes armed with high-flying
wah and keeps his tunes set to whippit-phase like his
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buddy Kurt Vile, but Polizze’s Philly-based band puts the
“power” back in “power trio” with effortless, heavier-thanheaven riffage. They’ll get major points for pouring Bleach
all over your Nevermind, but don’t miss the trance-andrelease rush of the title track. MARTY SARTINI GARNER
Psychic Ills
One Track Mind
SACRED BONES
80%
Psychic Ills’ well-worn groove of fuzzy
psychedelia is enough to suffice if you
can bring a congruent headspace to the turntable. Best
suited to a sunbaked couch or a slow drive through the
desert, the Brooklyn trio’s fourth finds itself cozy in the
vein of its predecessor, Hazed Dream. Outposts of note
are crossed at “Might Take A While” and “Tried To Find
It.” Elsewhere, project yourself to one of the Ills’ ripping
live shows and ride out the tremolo. “One Track Mind” is
right. KYLE MacKINNEL
EmptyMansions
snakes/vultures/sulfate
RIOT HOUSE
77%
Having survived the most zeitgeisty band
of the new millennium, Sam Fogarino’s
Interpol hiatus project makes no small work of distancing
itself from the mothership. Strident single “Lyra,” if
anything, recalls the ferocity and dissonance of the best
Pixies tracks; “FTC” exhibits all the ominous brutality of
Killing Joke. Throw in a few Zeppisms, and it’s virtually
a metal record—which his snarl is actually well suited to.
It’s also a drummer’s record, as even with ripping licks by
guitar virtuoso Duane Denison, it’s the pounding of the
skins that makes the album really pop. KEN SCRUDATO
Various Artists
Sound City: Real to Reel [soundtrack]
RCA
64%
simultaneously preserving rock history while galvanizing
its icons and fans into boldly seizing the future. But
while Sound City Studios was unforgettable, this
glorified jam session is not. It’s uneven and top-heavy;
Grohl and recurring guest Josh Homme should’ve just
used it as the template for the next Queens of the Stone
Age LP. Grohl tried the supergroup trick before, with
his poorly received metal project Probot. This is no
different and the sum of its parts is greater than the
whole. An impressive Rolodex doesn’t necessarily make
an impressive album. KURT ORZECK
The Milk Carton Kids
The Ash & Clay
ANTI-
83%
When you see The Milk Carton Kids live,
you quickly realize how harmony is crucial
to the performance. There is a simplicity present in their
vocals that is incredibly complex. And when combined
with Kenneth Pattengale’s signature, intricate guitar
picking and Joey Ryan’s humor and rhythm, the audience
is left both heartbroken and healed. The Ash & Clay takes
this live approach and translates it into the duo’s most
collaborative and folk-driven record yet. GIANNA HUGHES
Shannon Whitworth
High Tide
RED EYE
RYAN
BRADLEY
GOSLING
COOPER
EVA
and
MENDES
LIOTTA
F R O M
T H E
D I R E C TO R
O F
B L U E V A L E N T I N E
81%
On her third album, it seems Shannon
Whitworth has settled into a groove.
Working with Bill Reynolds of Band of Horses and
producer Seth Kauffman of Floating Action along with
a full-time band has allowed the North Carolina native
to create a bluesy blend of Americana indie rock that she
can call her own. Combining up-tempo rockers (“You Are
In Love”) with slower, lyrically driven songs (“Henry”),
the singer sounds a bit like Kathleen Edwards and Mazzy
Star. When added up, the sum is her best album to date.
DANIEL KOHN
Everybody who loves rock music loves
Dave Grohl. So it’s easy to applaud him for
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Love Child and Wax-Off Short-Sleeve T-Shirts
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