Michigan’s Wolf Eyes has remained one of the country’s most consistent contributors to the harsh, dissonant and otherwise fucked-up sounding genre of noise. The Vanguard recently spoke to guitarist Mike Connelly about the band’s approach to making their latest record.
If there’s a downside to creating one of the most innovative, expansive and critically appreciated albums of 2006, Brooklyn’s Grizzly Bear can only realize it in 2009. On releasing Veckatimest, their first full-length since the textural, mellow and infinite brilliance of Yellow House, the group is now facing complications.
As a one-time proper member of Au and founder of the infamous noise-mongers Cex Fucx and Thee Oregon Artificial Limb Co., Mark Kaylor’s nonchalant, tribal drumbeats have probably found their way to your ears at some point.
There’s been a slight change in the past year for New Orleans transplants Here Comes a Big Black Cloud. For a band whose live performance have been characterized by sci-fi costumes and choreographed dancing, to find it focusing on songwriting and recording is a bit strange.
If the thought of an iconic band reassembled 20 years later in arena-friendly form to the delight of many a toe-tapping, Teva-footed amateur sends shivers down your spine, it’s because it ought to.
Of all the things Xiu Xiu’s Jamie Stewart can be accused of, preciousness is probably not one of them. Sure, on a current solo tour he’s already sold out of homemade chocolate and posters of his enormous stuffed animal collection, but don’t let that deceive you, a cute singer/songwriter showcase this is not.
“We’re selling out,” says Fred Cole, smoking a cigarette in a much lived-in tour van before a show at Slabtown one evening. “We’re gonna sign to Sony next week. We’re going big time. Toody’s got a red mini skirt, Kelly’s got a silver jumpsuit, and me, I’m gonna go with rhinestone cowboy boots.”
Lil Wayne is, as fans, critics and those who don’t really listen to rap have insisted for years, the best rapper of his generation.
The Creative Music Guild has been bringing some of the world’s most influential and innovative improvisational artists to Portland since 1991.
Jesse Hall and Shoko Horikawa of Experimental Dental School are their own toughest critics. After the frenzied shuffle-pop of 2008’s Jane Doe Loves Me, the two are ready to shed some layers when it comes to their forthcoming record.
Is there a direct correlation between aging, going solo and wearing a cowboy hat? Are the three mutually exclusive? Perhaps not, but Michael Gira’s set last night at the Doug Fir would show evidence strongly in favor.