Pairing one of today’s most gifted jazz guitarists (Anthony Pirog) with one of rock ‘n’ roll’s fiercest rhythm sections (Brendan Canty and Joe Lally) was always going to be a recipe for success, but on their sophomore LP Anthropocosmic Nest, Washington, D.C.’s The Messthetics are blowing past the old goals and delivering one of the most raucous and satisfying releases of the year. Wildly inventive with surprises awaiting the listener at every turn, Nest is an ecstatic proclamation of skronk-and-circumstance that says not only are The Messthetics BACK, but they’re here to stay!
Eight years ago, before To Pimp A Butterfly, before The Epic, the West Coast Get Down was a rising force in the Los Angelas jazz scene...who recorded their epic work in Kamasi Washington's garage.
On The Optimist, WCGD trombonist Ryan Porter is unleashing some of the group's early work as scrappy young jazz savants and in the process revealing the heart of what drives its member's dominance of the music world to this day. Bandcamp's Marcus J. Moore joins Kevin and Marcus K. Dowling (Iconoclasm) as they dig in on this sumptuous slice of music history.
1,300,000. That’s the number of copies English rockers The Darkness sold of their debut album Permission To Land. Not only is that a lot of wax, it translates exponentially to an egregious amount of asses in seats at shows across the world and back again. Their song “I Believe In A Thing Called Love” – a track that fueled a large portion of those sales and brought in a lot of those asses -- was granted an award by ASCAP for being one of the most performed songs in America in 2005. The Darkness were for all intents and purposes HUGE.
But not in the hyper-genrefied music wasteland known as 2015. In a time where every genre has at least three sub-genres spawning by the time it takes you to view the latest cat gif, The Darkness’s T-Rex revisionism is more often than not seen as a nostalgia act, or even worse, a novelty. Despite having hit after hit, surviving pretty much ALL of the perils that rock and roll can sling at a band, people still ask questions like “I wonder what kind of crowd is gonna show up for this gig?”
The kind who came to fucking RAWWWWWWWWk, that’s who.