We’re back with more fantastic jazz from the second quarter of 2017! Unfortunately with the departure of staff writer and our friend Jimmy Mullett from Heavy Blog, it’s left a hole in our Jazz Club trifecta. Thankfully we were able to fill that void quickly with our buddy Dave Tremblay of Can This Even Be Called Music? Dave is constantly finding interesting and original stuff in the way of jazz and elsewhere, and we’re excited to have him join and help us recommend jazz of all stripes that demands your attention.
I am at Rough Trade in Williamsburg, Brooklyn for the Boston-based art-rock band Bent Knee, both to interview them and to see them play live for my first time. I would love to say that I had been following the band for years and have already seen them a handful of times, but somehow their head-spinning mixture of heavy-hitting Faith No More energy, proggy theatrics, and off-kilter pop/rock experimentations somewhere between Björk and St. Vincent had escaped me until only just this year when a fellow Heavy Blogger introduced me to them through their 2014 sophomore LP Shiny Eyed Babies. Upon hearing tracks like “Way Too Long” and “Being Human” I was instantly hooked. The blend of jazz influences with the bite of heavy rock and metal, extensive incorporation of violin, and the powerful siren sounds of vocalist Courtney Swain were more than enough to grab my attention, and I quickly did all I could to catch myself up on their (at the time) 3 albums.
For those who missed our last installment, We post biweekly updates covering what the staff at Heavy Blog have been spinning. Given the amount of time we spend on the site telling you about music that does not fall neatly into the confines of conventional “metal,” it should come as no surprise that many of us on staff have pretty eclectic tastes that range far outside of metal and heavy things. We can’t post about all of them at length here, but we can at least let you know what we’re actually listening to. For those that would like to participate as well (and please do) can drop a 3X3 in the comments, which can be made with tapmusic.net through your last.fm account, or create it manually with topsters.net. Also, consider these posts open threads to talk about pretty much anything music-related. We love hearing all of your thoughts on this stuff and love being able to nerd out along with all of you.
Even a cursory glance of our biweekly “What Heavy Blog Is Really Listening To” posts will reveal that there is a great deal of variety among our staff’s musical tastes. Due to this, we brainstormed the idea of “Playlist Swap,” another biweekly segment that takes place between playlist updates. We…
World fusion’s possibilities are truly endless; this year alone, clarinetist/composer Wacław Zimpel led his ensemble Saagara through a blend of jazz and Indian classical music on 2, while Nguyên Lê and Ngo Hong Quang spliced Vietnamese folk music and jazz guitar on Hà Nội Duo. Not only does Yazz Ahmed ‘s phenomenal La Saboteuse add to 2017’s exceptional world fusion offerings, her sophomore album is easily one of the most significant releases in modern Arabic jazz. The London-based composer, trumpeter and flugelhorn player leads an eclectic nine-member ensemble through psychedelic chamber pieces that effortlessly continue in the legacy of Arabic jazz greats like Ahmed Abdul-Malik, Rabih Abou-Khalil and Anouar Brahem.
This week we get hyped about announcements of albums and new music. Enslaved,
Krautrock was a musical movement with roots in Germany during the sixties and seventies, with key focus on psychedelia, musical experimentation, and a heavy focus on repetition. Bands like Faust, Neu!, Kraftwerk (in their earlier years), and, of course, Can, were integral in pioneering this sound. However, Can’s adherence to the typical krautrock sound was short-lived, with this album as proof of that. While Tago Mago has krautrock elements in it (especially on the first half of the album), the band ultimately went beyond what others in the genre were doing and created something amazing and out there, full of experimentation with delay effects and tape music, among other things. It’s a long, dense listen that grows more difficult as the minutes go by, but it’s ultimately a rewarding experience that has proven to be a huge influence on modern music. Artists like Radiohead (specifically Thom Yorke and Johnny Greenwood), Primal Scream, The Jesus And Mary Chain, and Public Image Ltd all have cited inspiration from Tago Mago. And, of course, this is one of our favorite albums as well! So, have fun!
It’s the beginning of the year, which means that people like ourselves who write about music and the music industry received a nicely-formatted press release from Nielsen’s PR firm touting their shiny new year-end report on the music industry from the past year. For those of us who find the sorts of things these reports deal with – namely the increasing prominence of digital streaming and its effects on all sectors of the industry – this report is like a second Christmas. And though the press release lays out all of the top-line findings of the report in neat little bullet points, it’s still a lot of information to take in with a lot of spin (or at least things left unsaid) to make everything sound as rosy as possible. So, as a public service to those who care, we present to you a brief, unfiltered guide to Nielsen’s 2016 music industry report.