Much-missed SF shoegazers Young Prisms return with "Drifter", their first album in a decade
Richard Haig drops darkwave beast "Sepulchre"; Indie pop meets post-punk on new EP from neutrals; Miko Marks and the Resurrectors release "Feel Like Going Home"
What does it mean to be from a place?
And what does that say about the music you can make?
The deceptively simple questions on my mind this week. It’s a rare time, when my favorite album of the moment is the same one receiving near universal acclaim from critics and fans alike: MOTOMAMI by Rosalía. In no substantial way connected to the Bay (that I know of), the Catalonian artist is nevertheless relevant to the White Crate quest because her identity and divergent musical styles have fueled her fiercest challengers to raise these very questions.
After facing accusations of cultural appropriation for her projects based in flamenco, a style associated with the Romany people of southern Spain, Rosalía has embraced the traditionally Afro-Caribbean sounds of reggaeton, dembow, bachata and more. She has also piled up awards in Latin categories, despite her European roots, leaving her — along with artists like J Balvin, of Colombia — to answer for the music industry’s tendency to foreground white artists in Black genres. (NYT)
All important points. I don’t know how many people would suggest that only a Romany artist can sing flamenco and only a Dominican can play bachata, but the point remains: Rosalía is the new face of an old, broken power structure in the music industry elevating white creators. But is it fair to blame the individual? Seems like the least we should expect from an artist that benefits from this structure is self-awareness, and the most we can hope for is determination to change it.
I have no answers. Likely, there are no easy ones. But I’m thankful for the people who pose the questions, and I’ll always be grateful to the artists speaking their truth straight from the heart. As Rosalía says: “I cannot think of making music in a right or wrong way. For me, creativity is not about that — it’s not about proper or not proper, correct or incorrect. It’s beyond that. Does it sound free or does it not sound free?”
Peace,
ronny
THAT NEW NEW
We’re born, we drift through space, we drift through time, and then we die. It happens whether we’re aware of it or not. I am reminded of this while listening to Drifter, the first new album from Young Prisms in a decade. I went to high school with a couple of the dudes in this band. We were usually decent to each other, even though our all-boys Catholic environs bred and nourished boorish, immature, unspeakable behavior. Oh well, “boys will be boys.” The years passed. People moved. Into the city, away from the city. Joined bands, left bands. Pursued careers, started families. Drifting, drifting, drifting. And here is a moment in time: A blissful new shoegaze album by old friends, wiser, still full of wonder, and brimming with something that needs to be said, sung. Open hands reaching out, a simple, warm embrace in a cold, noisy world.
—
“An algorithm is just a modern term for creating form.” There’s a fresh perspective, especially from someone based in tech-drenched SF, where we almost always associate algorithms with technology platforms. Even if we’re talking about music, it’s assumed that algorithms are for electronic music. But William Susman remarks that “composers have been using algorithms for centuries and with names such as isorhythm, hocketing, fugue, canon, sonata, etc.” Likewise, algorithms allowed him to write Quiet Rhythms, a suite of piano music that would sit comfortably on the shelf alongside repetitive, minimal music by Steve Reich, Philip Glass, and the like. French pianist Nicolas Horvath is the first to perform all 88 pieces from the suite, and the first 22 of Quiet Rhythms Book I are out now on Collection 1001 Notes.
—
“Thank you Alex Shen for letting me borrow your MC-303.” RITCHRD returned this week with GREEN LOVE, a surprise EP of disco house and acid. It’s all fuzzy, sunny, analog vibes, cool and midtempo on the original mixes, hot and heavy on the remixes.
—
“Existing in the nether region between a song and a track is where I naturally come to rest. I love a groove but feel most satisfied when composing and performing a memorable piece.” One new trend (or am I just paying better attention?) is the rising tide of dark, deep, goth-glazed darkwave from artists like Boy Harsher, Alice Glass, HEALTH, and others. Here in the Bay Area, we have a producer creating original work within this palette, and it’s probably better than anything else I’ve heard: His name is Richard Haig, the new EP is Sepulchre, and I dare you to tell me that “Altered State” isn’t the most darkly delectable piece of techno you’e heard this week.
Richard was kind enough to offer these download codes for White Crate readers. Redeem here, and enjoy!
ujr6-k6ju
vgx2-gkzp
7tca-ukkn
mnjb-v9zj
f5gl-g8kk
—
“Labyrinthine atmospheres of volatile collision and clandestine resonance.” Societal Eye is a new full-length album by Orogen (Lucas Patzek), who we previously covered for his collaborative work with Kush Arora (aka Only Now) on Magma Pulse. Originally from Oakland, now based in Sonoma, Patzek produced this new work after working in Cambodia with A Growing Culture, a nonprofit working for food sovereignty—healthy, accessible, and culturally appropriate food—for people around the world. This is largely unsettling music, dub techno with fleeting attachments to comfortable familiarity. A challenging sound for a challenging world. All profits from this new work will be donated to A Growing Culture.
—
“The San Francisco Bay has a history steeped in heavy metal and NITE carries that torch with pride.” Voices of the Kronian Moon is the second full-length album by NITE (featuring current and past members of Satan’s Wrath, High Spirits and Dawnbringer), released by Philadelphia label Season of Mist. It’s an interesting juxtaposition: the voice is raspy and shrouded as one would expect from a black metal, but the drums and guitars are all classic heavy metal, reminiscent of classics by Iron Maiden, Judas Priest, Thin Lizzy, and the Scorpions.
—
Has anyone figured out how, grammatically speaking, to combine pop and post-punk? Is it pop post-punk? Post-pop punk sounds like something else entirely. Post-punk pop? Anyway, Oakland group neutrals nails the sound on their new Bus Stop Nights E.P., released by indie London label Static Shock Records. Hop around the living room to the punchy bass, beaming guitars, and handclaps—or, if you’re around Sacramento, get tickets to see them play at Phono Select Records on Saturday, April 16 with fellow Bay Area acts Kids on a Crime Spree, Artsick, and Lunchbox.
—
The first single from Oakland country rockers Miko Marks and the Resurrectors since they released Race Records last October, “Feel Like Going Home” is more straight ahead swamp rock that builds to an anthemic guitar solo and heavenly choir.
—
Even a 1,000-pound cow could feel weightless in the tractor beam of these spaced out garage rockers. Space Blanket is the super chill debut full-length album by Electric Vibe, which started as a recording project for singer-songwriter Harry Kim in 2017. Fans of Allah-Las, Khruangbin, or Woods will love every song, but the centerpiece may be the eight-minute jam “Digital Age,” which evolves and builds effortlessly without any of the anxiety of its namesake. Get tickets to see the band play the Continental Club in Oakland next Friday, April 1 with the Helltones and Liz Lubin.
—
“Like a reverie, capturing the warmth & tenderness of a day spent exploring with friends.” Another one for the chillers: The Breathing Room, based in Berkeley, released “Opaque” b/w “You’ve Got a Hold on Me”—the band’s first new music of the year and bellwether for an upcoming album in collaboration with Oakland producer Jason Kick (Mild High Club, Marinero). The Breathing Room is celebrating the new single with a music video premiere and solo sets by Mayya, James Wavey, and DJ Caltrane tonight at B-League, a vintage record and clothing shop in Berkeley.
MAYBE MISSED
“Fearlessly combines punk rock defiance with riot grrrl snottiness, and centers it all with empathetic lyrics and stirring melodies.” Slowly working my way through KQED’s 10 Best Bay Area Albums of 2021, here’s some fun punk from Destroy Boys, a band originally formed in Sacramento and now based in the Bay. Open Mouth, Open Heart is furious, expansive, emotional, and—as the title says—full of heart.
CLASSICS
The last piece of evidence I needed that drum & bass had staged an epic comeback? One of the newest tracks by Valencia-based theBasement Discos (usually strictly house music dealers) applies the Amen break for a few measures.
It’s a rich time for jungle lovers, not just because of all the new music coming out (and interesting infusions of genres like the one mentioned) but because there’s renewed attention on all the great selectors and producers that came before. Here’s one I knew next to nothing about but loved: An hourlong mix by DJ Sage (released by indie LA label Moonshine Music in 2003), featuring a variety of early 2000’s tracks from across North America, including a few selections produced by Sage themselves.
Hat tip to Technopagan: Listen to them spin techno, gabber, and remixes on their Lower Grand Radio show iHateMondays every first Sunday from 6-8 PM PT.
SHUFFLE ON
Listen to a megamix of the best music from the Bay Area in 2021.