Tuesday, March 31, 2020

SAVAGE RADIO PLAYLISTS MARCH 2020: WVMO 98.7 FM-THE VOICE OF MONONA

SAVAGE RADIO EPISODE #211
"AN EVENING WITH DISQ"
MARCH 4, 2020
1. "Loneliness"
2. "Gentle"
3. "Konichiwa Internet"
4. "I Wanna Die"
5. "I'm Really Trying"

SAVAGE RADIO EPISODE #212
"AN EVENING WITH WILDER DEITZ"
MARCH 11, 2020

1. "Workin' On 'Em"
2. "Sweatin' The Joneses"
3. "See Go"
4. "Meditation On Compassion (for Rev. John Hicks)"

SAVAGE RADIO EPISODE #213
MARCH 18, 2020

1. "One More Year" performed by Tame Impala
2. "Classic" performed by The Knocks ft. Powers
3. "C-Side" performed by Khruangbin & Leon Bridges
4. "Oh Yeah!" performed by Green Day
5. "Lighthouse Spaceship" performed by The Lickerish Quartet
6. "When The World Is Running Down, You Make The Best Of What's Still Around" performed by The Police
7. "Splendid Isolation" performed by Warren Zevon
8. "Hide In Your Shell" performed by Supertramp
9. "Panic" performed by Todd Rundgren
10."Swingin'" performed by Tom Petty & The Heartbreakers

SAVAGE RADIO- SAVAGE ARCHIVES "SAFER-AT-HOME" SERIES
RE-BROADCAST MARCH 25, 2020
SAVAGE RADIO EPISODE #109: "SAVAGE RADIO'S STATE OF THE UNION ADDRESS"-JANUARY 17, 20181. "What's The World Coming To?" performed by Fleetwood Mac
2. "Stop Hurting People" performed by Pete Townshend
3. "If You Don't Like The Effects, Don't Produce The Cause" performed by Funkadelic
4. "Haven't Got A Clue" performed by The Flaming Lips
5. "Hope Of Deliverance" performed by Paul McCartney
6. "Sometimes I Don't Know What To Feel" performed by Todd Rundgren
7. "Hungry" performed by Tony Carey
8. "Liar" performed by Queen
9. "Spin This" performed by Gizmodrome
10."(Wish I Could Fly Like) Superman" performed by The Kinks
11."Can't Stop The Sun" performed by Tom Petty and the Heartbreakers

Thursday, March 26, 2020

SYNESTHESIA'S YEAR IN MUSIC: FAVORITE ALBUMS/EPS/SINGLES OF 2019 PART 3

"THESE TIMES"
THE DREAM SYNDICATE
Released May 3, 2019
-Hearing this album just felt so good! While I was never a fan of The Dream Syndicate (not for any reason at all), it was all due to a day when I stopped into B-Side Records for something different and I was overcome with what I was hearing over the store speakers. I immediately picked up this album as well and the entire experience lived up to the little I had heard in store. 

The Dream Syndicate's  "These Times," the band second album since their 2012 reunion, finds bandleader Steve Wynn and company again weaving a succulent spell filled with all manner of six string dreams and tapestries. It was yet another album released in 2019 that did not re-invent the wheel but was a work that featured superb songcraft, performance, production and the ability to inspire consistent, repetitive listening...especially in the Springtime.    
"LOTUS GATE"
KAINALU
Released June 19, 2019
-One of my biggest writing regrets from last year is the fact that I never had the opportunity to write a full length piece about the debut album from Madison, WI's singer/songwriter/multi-instrumentalist Trent Prall who records and performs under the moniker Kainalu.

My introduction to Kainalu began auspiciously three years ago with the release of his masterful debut EP entitled "Bloom Lagoon" (released June 20, 2017), which itself starred what I still feel was the BEST single of that year, the hypnotic dance floor sun-star "Love Nebula." That EP simply had it all, from its gorgeously produced and executed one-man-band aesthetic, which often recalled a taste of Tame Impala psychedelia as filtered through 1970's grooves a la Michael Jackson and Barry White merged with Prall's purposeful weaving of his Asian heritage and Hawaiian upbringing into a sumptuous whole.

With "Lotus Gate," Kainalu has made its unquestionably grand return which has taken everything from "Bloom Lagoon" and expanded the palate into a fully immersive album experience which feels like a luxurious deep dive into the Karmic pool, as evidenced the title track's opening words, "I can dig even deeper still/I can  open the gate/The Lotus Gate is calling my name." 

The rhythmic hand of Michael Jackson is evident from the arrival of the brilliantly titled and instantly captivating "Kamikaze Mushroom Palace," on which Kainalu delivers an opening blast of newfound confidence, as presented though Prall's exquisite bass guitar work and dazzling sunshine drenched keyboards, which is then juxtaposed through insightful, questioning interior musings ("I like to think that I got shit worked out better than I used to/But I let myself get mixed up living through the day by day").

That existential day by day is then presented through the remainder of the album as a beautiful struggle through the never ending pulls of heartbreak (the slow jam that is "How Do I Let Go Of You"), urgent uncertainly (the propulsive space odyssey hyperdrive of "In Need Of Reason") and crystalline odes of meditation and self-therapy (the dance floor wonderland of "Folds Like Origami" and the hip swaying dreamworld transportation of "Finding Peace Of Mind").

The album's most stunning song arrives at the conclusion in the seven minute "Talking Nonsense," which finds our album's narrator at a psychological crossroads that is soundtracked by a languid, percussive groove that oddly enough reminded me a little bit of Traffic in their more cerebral moments, with guest appearances from Aaron Gochberg's vibrant congas and Bradley Giroux's free flowing guitar solo. "My dreams are starting to take me away," Prall sings through a cloud of hazy vocals fading into the ether. "I fear that I'm losing touch"

For quite some time since first hearing the album, I always felt this to be an odd or even unsettling way to conclude "Lotus Gate." But having lived with it for nearly one year, something has occurred to me that makes this conclusion so purposeful. Albums are not designed to be heard just once and then shelved away. When good and great albums are created, they are always and forever designed to be revisited, re-heard, re-experienced, revealing itself continuously as we and the music get to know each other better.

With Kainalu's "Lotus Gate," we have a listening experience that is beautifully multi-layered and purposed. We are able to experience it as a sonic glory, which it most certainly is as Trent Prall, who composed, produced, and mastered the album entirely by himself and even performed the lion' s share of the instruments throughout, has undeniably delivered a meticulously conceived and beautifully sequenced work that is simultaneously limber and loose enough to make the always danceable rhythms elastic through the graceful force and melodicism of his bass guitar driven grooves and the ethereal qualities of his lush keyboards and those aforementioned hazy vocals that drift and glide through the atmosphere.

Even further, it is an album that presents  itself as a rich internal journey, one that is personal and universal, one that is singular yet mirrors our own individual journeys and tribulations, day by day life experiences that often begins with optimism and end in disillusion, only to find a new reason to get up and move and try all over again. Kainalu's "Lotus Gate" is an exceedingly well crafted musical and artful expression of the very existential journey we are all undertaking in our lives, individually and collectively. One that is illustrated from one stunning song to the next, all the way to pressing "PLAY" the moment it ends to hear it all over again.
"ANIMA"
THOM YORKE
Released June 27, 2019
-With Radiohead still on its hiatus and following his eerie double album film score to Director Luco Guadagnino's "Suspiria" (released October 26, 2018), Thom Yorke returned with his latest solo album, which further continues to blur the lines between his solo material and both of his bands in Radiohead and Atoms For Peace. Again collaborating with Producer Nigel Godrich, Yorke's "ANIMA" weaves a lushly dark spell as its dystopian themes and emotions of anxiety are served by an electronic soundscape that is miraculously and simultaneously chilly and warm. Drum machines bubble with restless rhythms while the synths draw up a succulent bath of sound to soak inside of and throughout is the angelic, haunting voice of Thom Yorke swirling in and out of the darkness like a lost soul or lonely ghost.
"KING'S MOUTH"
THE FLAMING LIPS
Released July 19, 2019
-After several years and albums that ventured deeply into the darker, more disturbing realms of psychedelia, The Flaming Lips return to their prettier side with what is essentially a fairy tale. "Kings Mouth," tells the story of a giant King who is born, lives and dies and is beloved by his kingdom. Upon his death, the King's head is severed and transformed into a monument for all to walk inside of and experience the wonderment of the universe and existence itself. Warmly narrated by Mick Jones formerly of both The Clash and Big Audio Dynamite and based upon an art exhibit created by frontman Wayne Coyne, The Flaming Lips only continue to blaze ahead to their own fiercely idiosyncratic beat, unveiling their trademark strangeness with a gentler sonic ride.
"THE CENTER WON'T HOLD"
SLEATER-KINNEY
Released August 16, 2019
-I came extremely late to the Sleater-Kinney party and in doing so, I had no idea of what to expect...although I did know that some longtime fans were vehemently put off by this album. Yet, even so, I was extremely intrigued due to their collaboration with St. Vincent, who produced the album, as well as the behind-the scenes issues which made for the album's difficult gestation, a period which even found drummer Janet Weiss exiting the band, leaving Sleater-Kinney as the duo of Carrie Brownstein and Corin Tucker.

That very turbulence is evident from beginning to end on "The Center Won't Hold,"a work that feels tailor made to our exceedingly anxious, tension filled times. The work contains a monstrous sound, fills with heavy riffs and propulsive rhythms that serve what are essentially melodic pop songs..albeit unapologetically feminist pop songs. Real world anxieties merged with internal band difficulties have resulted in a risky, roaring firestorm.
"JIMMY LEE"
RAPHAEL SAADIQ
Released August 23, 2019
-Named after his brother who passed away from a heroin overdose after contracting HIV, Raphael Saadiq has released his darkest, most wrenching work to date. "Jimmy Lee" is an album of mourning and grief certainly but also of lives and souls lost and silenced made even more unnerving due to the aesthetic of not allowing any songs to flow into natural ending but always ceasing abruptly, urgently suggesting yet another life instantaneously snuffed out without warning. 

Despite the grim themes and jarring presentation, the songs themselves are nonetheless overflowing with soul and melodicism, suggesting the classic R&B albums of the 1970's as created by the likes of Stevie Wonder, Marvin Gaye, and Eddie Kendricks for example. Finding light and salvation from the depths of darkness is indeed the crucial element of the core of soul music and Saadiq delivers much to be illuminated by.

Saturday, March 7, 2020

SYNESTHESIA'S SESSION NOTES MARCH 2020: THE RISE OF DISQ

DISQ
(l -r Brendan Manley, Raina Bock, Isaac de Broux-Slone, Shannon Connor, Logan Severson)

FROM THE DJ'S STUDIO DESK:
The day has arrived. It is finally here and I could not be happier for these young artists are more than deserving.

It has been a hair over five years since I began exploring and writing about the current crop of musicians that make up the music community here in Madison, WI,  Beginning with Post Social and the now defunct Modern Mod, this journey has consistently proven itself to being as illuminating as well as superbly entertaining as band after band has released (and often self-released) highly original works that each showcase the commitment, talent, drive, tenacity, ingenuity, innovation and most importantly, the joy and wonder of being able to write, perform, produce and deliver musical artistry to any listeners ready and willing to hear something profoundly new.

This journey also led me to see how this community is not limited to the bands themselves but how their existence is symbiotic with the venues and businesses that allow them to hone their chops in live musical settings, plus the local record stores who may sell their albums and the local community radio stations that assist with giving these bands exposure.

It has been a privilege to write about these people and this community as well as have the opportunities to feature members upon Savage Radio, either through their songs and sometimes with on-air interviews. As far as my own perceptions are concerned, I sometimes question or even fear if my enthusiasm might be the result of their proximity to myself.  There is an aspect of being in a vacuum, playing these songs for myself or to what I feel to be are a few friends, experiencing things either on my own or within the confines of the Madison community.

It is a scene that is of us and so it feels as if it is solely ours to experience. Not in a possessive way but something that feels that we are the only people who may know about what is happening. And so, does it affect my judgement? I am conscious of this but what speaks the loudest of all is how these artists, time and again, have proven themselves to me so explosively because they do indeed deliver everything that I love about music itself and the purity in which it is all created, especially as Madison is a city that is far from any sense of the music business industry, therefore lessening expectations and existing firmly in inspiration.

Now, I turn my attention to Disq, originally a duo made up of Isaac de Broux-Slone and Raina Bock, two superbly talented songwriters/musicians who released a stellar work during their high school years entitled "Disq 1" (released July 11, 2016). By the time I had heard of them, Disq already possessed a healthy reputation as they had gained a coveted opening act position for the band Whitney's tour stop in Madison at the Majestic Theater.

I read about the band at the time in the local free weekly newspaper the Isthmus, which then inspired me to check out "Disq 1" on their Bandcamp page, which then inspired me to reach out to Modern Mod/Dash Hounds singer, songwriter, bassist, guitarist Alivia Kleinfeldt for any info about Disq, which then inspired me to reach out to Isaac de Broux-Slone (as I was first listening to the album at that) and by this point I was on my way (and see how this sense of community worked out?).

As with their contemporaries, I continued to experience their pursuits from the sidelines, seeing them perform whenever I was able to do so, promoting them whenever I was able to do so as well and all the while cheering them on as they marched forwards one song at a time.

Yet, it was last year when both Disq and Madison's, but now Chicago based, Slow Pulp both had opportunities to play at the SXSW Festival and it was not terribly long afterwards when I felt a certain shift upwards. Te indie music press reviews for both bands were strong but I distinctly remember a review of Disq's performance, which I think was in Paste, a publication I have read for years upon years, that literally brought tears to my eyes!

I began to tear up because, and obviously, I was so happy for the band but also because, I knew that what I felt to be was existing in a vacuum has punctured far outward from it and what I responded to so powerfully was being responded to in the exact same way. That sense of validation and vindication filled my heart and made me cheer even louder for this band as I only wish for their dreams to be fully realized because they have the goods and they are so deserving due to the fact they are all good, genuine people.

Since I was first introduced to the band, Disq has expanded from the original duo into a quintet, now featuring songwriter, singer, guitarist, keyboardist Shannon Connor (Post Social), singer, songwriter, guitarist Logan Severson (the still gestating Lameena) and drummer Brendan Manley (Post Social, Dash Hounds, Squarewave, Modern Mod). 

They have been signed to the Saddle Creek label, toured extensively, including overseas in England, filmed two wonderful music videos, participated in professional photo shoots, conducted a variety of interviews, have billboards displaying their faces, received radio airplay upon the BBC and oh yes, recorded a full length album last Summer in Los Angeles under the production leadership of Rob Schnapf (Beck, Guided By Voices, Saves The Day, The Anniversary, Tokyo Police Club, Elliot Smith and more) which was just released March 6, 2020 entitled "COLLECTOR."

Several days ago, four of the five members of Disq were guests upon Savage Radio as a means to preview and celebrate the new album and despite what I presume to being a whirlwind around them, they were the same as I had always known them to being. Shy, introverted, fiercely intelligent, empathetic people who also  happen to be enormously skilled in their chosen art. I love them as artists and I love them as people and I sincerely hope that know, understand and will accept my friendship as being just one more person in their corner rooting for them.

As I think of my hopes and wishes for this band as they continue their ascent, which will include more touring and subsequently, more albums under their Saddle Creek deal, that they remain friends in an experience which will house more than its moments of stress and unpredictability, that they enjoy this ride for as long as it lasts for nothing is promised, they they remain fearlessly inventive artists who will make more music in the future, that they take immense pride in what they have already achieved and that this unforgiving industry does not hurt them.

Honestly...Please don't hurt my friends.

But for now, "Collector" by Disq is officially in the world and while I will write extensively about the albumin the near future, what I will tell you now is that I graciously implore you to race out and get it for it is the real deal...

...and when you get it...PLAY LOUD!!!!!!!!!