Real Estate band members Matt Mondanile and Alex Bleeker have had their side projects (Ducktails and Alex Bleeker and the Freaks, respectively) for years, but until recently, frontman Martin Courtney has been content to remain within the confines of the band. As the band’s principle songwriter, it’s perhaps no surprise that his efforts were focused primarily in that direction. He finally stepped out on his own this year, though, with the release of his first solo album Many Moons, which he and producer Jarvis Taveniere (of Woods) have been slowly working on since before Real Estate started the recording of their most recent album, Atlas. Last Wednesday, Courtney came to perform songs from that album in the intimate setting of DC9, a much smaller space than the larger venues and festivals where Real Estate has graduated into performing.
You should treat antique instruments with respect and care...unless you're in a Tarantino film.
Florida hip hop wizard Chester Watson put all of his "greatest hits" into a blender and hit "crush." The result is, Past Cloaks, one of the most exciting records of 2016 to date.
Typefigher/Joy Buttons/Polyon guru Ryan McLaughlin (along with DC music vets John Scoops and Erik Sleight) is back with yet another new band - Jauze - and suddenly everything old is new again. You looking for jams? Jauze has got jams.
We've got hot sauce in our bag...and it's gotten all over everything. Help.
Touring is hard. Crowdfunding startup RoadNation is aiming to help.
Eleanor Friedberger is back with her third solo album, a new band, and a whole "New View."
Chairlift's Moth is strong with the synth-pop and the gang is pleased.
Meet ya at the Beauty Pill show this Saturday, yea?
Au Pair's Gary Louris and Django Haskins met while performing as part of a Big Star tribute, and, as the story goes, hit it off and started writing songs together almost immediately. Maybe it's a function of where they met, but the spectre of the power pop legends inhabits throughout the duo's recently-released debut ablum, One Armed Candy Bear. Both musicians are busy with their main projects - The Jayhawks, the Minneapolis-based alt-country pioneers which Louris has fronted for three decades, are gearing up to release their ninth album in April; North Carolina indie rockers The Old Ceremony, led by Haskins, are still actively promoting last year's Sprinter - yet were able to find the time to record, release, and promote their side project. On Saturday, the duo came to Jammin' Java to present their new project to the DC area in a mostly acoustic (aided at times by a small synthesizer played by Louris) set.
Chance the Rapper; Memphis hip hop; chillaxation
Why You Should Care:
Perhaps one day when we talk about music from Memphis we won’t automatically think of Sun Records. Healy could start that revolution with the mellow brand of hip-hop presented on his great debut album A Galaxy with Skin. His singsong delivery and minimal yet bluesy instrumentation illustrate that he’s more than familiar with the musical progeny of his home city.
Rihanna’s latest was an exclusive to TIDAL…until it leaked…everywhere…because the internet.
Rihanna is back with her new album, Anti¸ a new attitude and at least three new fans.
The Pines are from Minneapolis and make great music. The track “Aerial Ocean” off of their upcoming LP Above The Prairie is but one example of the aforementioned great music
Did we mention Rihanna?
The Eagles (and Glenn Frey) are dead. Long live the Eagles…unless you’re THAT a-hole.
Pop weirdo Benji Hughes follows up 2008’s A Love Extreme by packing more fun per square inch than should be legally allowed on his Merge debut, Songs In The Key Of Animals.
Hailing from Austin, TX, Casey Chandler aka Galapaghost is keeping it real, and real mellow on his latest album I Never Arrived and we’ve got a track for your a$$.
Get hype for our diss track response to the B.O.B./Tyson flat earth feud. It’s dropping the same day as Frank Ocean’s album.
Baltimore native Guy Blakeslee moved to LA years ago, but he still returns regularly to perform in his home city, and on Tuesday last week he played a solo set at The Crown. Blakeslee began his solo career in the early 2000s performing under the name Entrance, changing it to The Entrance Band in 2009 when he was joined by Paz Lenchantin on bass and Derek James on drums. In 2014 he released his first solo album in a decade (and the first under his own name), Ophelia Slowly, and just this month he released an album of instrumental pieces titled The Middle Sister.
High profile music publicist Heathcliff Berru has serious and multiple allegations of sexual assault leveled against him, and that’s just the tip of one of the darkest corners of the music industry iceberg.
The Besnard Lakes return with their fifth album, A Coliseum Complex Museum, and we have an excite.
K.A.A.N. drops his latest exhilarating track, “The Eagles”, just days after the passing of rock legend Glenn Frey.
Snowzilla has come and gone leaving a potential baby boom in its wake, yet Frank Ocean’s Boys Don’t Cry still hasn’t dropped. Draw your own conclusions.
Soundcloud strikes a deal with Universal, adding gas to the streaming wars.
The spirit of the Louvin/Everly Brothers courses through the veins of The Cactus Blossoms debut album, You’re Dreaming.
“Handle With Care” is a righteous song, and a George Fest super-jam proves Wilbury dominance once and for all.
And oh yea…we’re FIVE YEARS OLD. Anyone know what that is in cat years?
Modern, indie Nancy Sinatra; lo-fi surf rock
Why You Should Care:
Audrey Ann and Kyle Jukka came together in the summer of 2014 – following Ann’s high school partnership with Majical Clouds’ Devon Welsh (and the Clouds’ Matthew Otto also mixed and mastered She-Devil’s new EP). Their new EP is a beautiful exercise in minimalism, and the first single, “Come,” proves that atmosphere and simplicity can often outweigh advanced musicality.
Revered jazz/prog/post-rock purveyors Tortoise are back with their new album, The Catastrophist.
All Songs Considered turns 16 with a jam packed musical blowout at the 9:30 Club right here in Washington, DC.
Chicago's Crown Larks take the legacy of Tortoise straight to the future.
Oh...and Glenn Frey of The Eagles is gone.
Welcome back to the basement. We missed you.
Elliot Smith, Wilco
Why You Should Care:
One of the newest artists on Anti- Records (label of the two influences cited above), Saskatchewan’s Shauf is poised to break out. Andy Shauf’s 2015 record Bearer of Bad News was a breathtaking collection of mostly harsh tales about drug addiction, murder, and the kind of world-weary ne’er-do-wells that would feel right at home in songs by another of Shauf’s labelmates – Tom Waits.
David Bowie is dead.
LCD Soundsystem is putting the band back together.
David Lowery is suing Spotify for $150M.
Welcome to 2016
Oxford, England’s Foals have transformed over the course of the last decade, starting off with angular math rock on their 2008 debut album Antidotes, but slowly shedding the more esoteric parts of their initial sound over the course of the next two albums to take on a more streamlined, arena-friendly sound. While for many bands this kind of transition would have been a death-knell for credibility, Foals have seemed to grow into it naturally and without compromise. 2010’s Total Life Forever saw the beginning of the transition, shedding much of the raw dance-punk of their debut for a more subdued, post-punk style. 2013’s Holy Fire took that sound and extended it, adding the bombast and expansiveness of a band looking to fill the air in much larger spaces. With this year’s What Went Down, the band has fully matured into their sound, displaying a confidence which has brought back some of the edge of their earlier days while still forging ahead. On Wednesday evening, the band brought their tour for this latest album to DC, for a sold-out show at the Lincoln Theatre.
2015 was a huge year for music, so obviously we had to make a huge podcast to wrap the whole thing up. In part two of our year-end blowout, Quinn, Paul, and Kevin share the music that gave them the most feels in 2015, then offer up some thoughts on the year to come, pull back the curtain a little on how to make a podcast, and do a dramatic reading of The Force Awakens for your pleasure.*
We’ve reached the end, but it’s only the beginning, so sit back, relax, and get your ears ready because here comes our final podcast of the year. It’s Episode 147 of ChunkGlasses: THE PODCAST – BEST OF 2015 EDITION - PART 2!
*That may not be treu
Rocket From the Tombs formed in 1974 in Cleveland, Ohio, existed for less than a year, and in that time never made a studio recording. But somehow in the intervening decades, the band achieved near mythical status, due in no small part to having spawned two bands which went on to have a much larger impact – singer David Thomas and guitarist Peter Laughner formed infamous art rock legends Pere Ubu, while guitarist Cheetah Chrome and drummer Johnny Blitz formed the short-lived but highly influential punk band The Dead Boys. Both took songs from the band with them – “30 Seconds Over Tokyo” and “Final Solution” became classics of the early Pere Ubu catalog, while The Dead Boys made “Sonic Reducer” and “What Love Is” into two of their best known tracks. Rocket From the Tombs lived on only in legend and in bootleg recordings of live performances passed around amongst those in the know.
This is it! As the year draws to a close, the gang hangs out one last time to talk all of the good, bad, and ugly of 2015. Does your favorite album make the cut, and does that even matter? Can we all just agree Kendrick cuz dammmmnnn?
All of these questions and more will be answered as we geek out on all of the music that made 2015 one of the best years for music in recent memory. So sit back, relax, and get your ears ready because here comes Episode 146 of ChunkGlasses: THE PODCAST – BEST OF 2015 EDITION PART 1!
When British prog rockers Jethro Tull split in 2014, Martin Barre had been their lead guitarist for nearly 46 of the band’s 47 years, on 20 of their 21 albums. Though he was often overshadowed in the band by dynamic frontman Ian Anderson, Barre gained a reputation as one of the greatest guitarists in rock music, best known for the memorable riffs behind FM radio staples such as “Aqualung” and “Locomotive Breath.” Since the Tull’s final tour in 2012, Barre has kept busy, releasing a solo album each year since – Away With Words in 2013, Order of Play in 2014, and his latest, Back to Steel, in September of this year. On Sunday, Barre brought the band that he recorded this new album with to Jammin’ Java to play to an absolutely packed house.
Despite Jethro Tull calling it quits, neither Anderson nor Barre seem eager to leave the music that has been a part of their lives for so long behind. Anderson is currently touring the world with his “Jethro Tull: The Rock Opera” show, a storyline built around many of the band’s classic tracks. And Barre’s set also consisted largely of Tull classics, reworked to bring the guitar to the forefront, replacing the band’s signature flute leads. The result was versions of the songs which in many cases rocked significantly harder than the originals, but the reinterpretation brought new life to them. For vocal duties (as well as additional guitar), Barre has recruited singer Dan Crisp, who manages to make the songs his own. His vocals fall into a similar range to Anderson’s, allowing him to comfortably pick up the material, but rather than trying to mimic Anderson he maintains his own style. Bassist Alan Thompson and drummer George Lindsay round out the group.
Deerhunter, who released their seventh studio album, Fading Frontier in October, exists somewhere on the border between indie pop and noise rock. Without compromising their sound, the Atlanta, GA quartet has steadily grown in popularity. On Saturday night they brought the new album to the 9:30 Club, this time for a sold out show.
Bradford Cox opened the night with his solo project, Atlas Sound, appearing on stage barely disguised with a half-face mask, sunglasses, and a baseball cap. His 40-minute set fluctuated between soundscapes and songs, as he moved back and forth between several different synthesizers and his guitar, layering sounds and effects to create a wall of noise that filled the club.