The Shelters‘s Rebel Heart jangles at its beginning, but its Byrdsian overtones give way to straight Stonesian grease.
Liar is almost the same song without the jangle!
Everybody sings, guitarists Chase Simpson and Josh Jove front the band and drummer Sebastian Harris and bassist Jacob Pillot give it a chooglin’ bottom.
The Shelters strike me as in the league of Wussy, similar to Blues and Lasers, and, the band reminds me of the sorely missed, defunct The Quarter After.
Somewhere it is always 1967.
Slow Joshua Tree desert funk. Love the Fender Jaguar!
Wussy. . .
and American Band.
The band sound is more Velvets than Burritos, yet country still. It’s as if they’ve reduced all of white Ohio to an articulated drone, unlocked a silo or warehouse of hummable tunes, and worked out the harmonies. – Robert Christgau
Above are roots. . .recovering today the crucial elements of wash and noise.
Friday I was trying to see a piece of art at an opening here in Cleveland, and, I really mean trying to see it, thus trying to look into and through and around and right at map and territory.
A young man walked up to me and asked me what I thought, or something like that, and I was hesitant, asked if he was (perhaps,) the artist, and, I thought he told me he was not the artist. He wondered if speaking in response to the artist’s question might mean I would give the artist something less than my ‘unfettered viewpoint.”
At the time I didn’t get into the answer. It starts with me stating, “I like to know when the artist is asking, versus anybody else.” As an artist, in the engagement with the viewer, I’d like to work my way to the unfettered response, and work all the way to the deeply intentional response. So, as a viewer I prefer to proceed in the same manner.
As it turned out, throughout are conversation, I didn’t catch on to the fact that this gentlemen was the artist! Nevertheless, when I happened to mention that I too was an artist, and that my art was more influenced by music than it was by art, he affirmed this was true for him too!
But I remained unable in the real time of our all too brief, yet compelling conversation, to connect up two simple dots.
After going through some of his audio opus–it was the background in my studio yesterday, and, then reading an interview and reading what he has to say, I could only end up for the first time in over two years wondering about musical collaboration. I’m thirty-five years older, yet the overlap in interests and concerns is apparently a very deep pool.
Matthew’s Soundcloud is full of sharp experiments. This track stood out.
Visited with Roger Linn’s LinnStrument back in October 2014, where it did duty as a pseudo-pedal steel guitar. How fun would it be to hook up with my beloved Gestrument or Alchemy on the iPad?
A new friend mentioned to me over the phone the other day, “Did I know Los Lobos, did I know they are coming to Cleveland?”
Besides being reminded once again about how much fun it is to discover with ‘somebody fresh’ shared musical affinities, I smiled on my end.
I told him, “Los Lobos is one of the greatest rock bands ever.”
Ha! My fondness for Los Lobos goes back to when Jamie Cohen excitedly told me over the phone that “there was this great new band on Slash,” and had I heard of ’em? This was in 1983. Slash had sent me the promo a few weeks before.
“Yes! Outrageously unadulterated rock and roll, right my man?”
I’ve seen them a couple of times. Loud. They are as good a live band as there has ever been.
Although, for me, Clarence White will always remain the greatest electric guitarist of rock and roll, in the august group in the next (non-slide guitar) spot, David Hilgado joins Clapton, Thompson, Robertson, Cippolina, Garcia and Cline. The other Los Lobos guitarist Cesar Rojas is also a barnburner and one of the greatest ensemble guitarists rock and roll has produced.
Complicated. Genius. Flyer.
It will be interesting to learn what will happen with the mountain of music he made, and didn’t make widely available, after 2005.
My art and image making have gobbled all my creative time for a year. (This puts the couple of hundred or so hours of recording activity in 2014 in bittersweet relief.) At the moment the only way to join the two creative urges are to contemplate their meta-integration at the one counterintuitive spot that a bridge is possible.
The bridge, existing right now as a vague complex archetype, integrates reverberation and symmetric pattern.
This Kamelmauz track from 2014 captures what I’m dreaming.
Last year the blog visited The Tank
Kamelmauz envisions this bridge in 2012:
Lesley Flanagan, singer, composer, instrument builder, sound conceptualizer, deep listener
4. How could we make sound improve our lives?
I think it’s about listening. I feel that when we take time to truly listen — to actively engage in listening to another person, to music, to sounds in nature and in cities, to all the many sounds in world around us — we give ourselves time to be present in our lives. That’s very meaningful to me.
Five Sound Questions to Lesley Flanagan – via everydaylistening.com