“From Grygiel’s stripped down acoustic set, to Oilhead’s dance-rock assault, to the rock/electronic clusterf*ck of Cancer Killing Gemini, to the high-octane rock of Full Body Anchor, it’s a one-time music collection that can’t be missed.”
Beyond helping an amazing non-profit organizaton (and the awesome raffle prizes), this is, perhaps, the most exciting thing about the BIG QUEER ROCK SHOW. The artists involved are all producing such diverse sounds, and some of them are even doing it within their own set list. “Rock/electronic clusterfuck” is an apt description for Cancer Killing Gemini. The band has been releasing a new song through their website since January 2011, and you never really know what to expect. The last two, which currently includes “In Nine Months I’m Fucked”, are always available as a free download.
Rumor has it that March’s track “Homosexual” will be making its official debut at Friday’s show. I will confirm or deny those rumors shortly after Cancer Killing Gemini (and the rest of the bands) have finished rocking my face off.
PS: You can get advance tickets to the show here. If you are unable to make the show for whatever reason, you can still make a donation to BAGLY at the very same link (or make plans to attend the Out For Youth Event at the New England Aquarium on March 23rd).
Click through (or look below) for one of my personal faves from Cancer Killing Gemini: // full post // ///
Though it appears to have been available digitally for the past month, We Have Band‘s sophomore effort Ternion was finally released today. I will admit that I had initially written off the trio as a blog-driven buzz band. If we’re being completely honest with one another, and we shall be, all I heard was a bunch of noise and excessive hullabaloo the first time I listened to Ternion.
Alas, the feeling didn’t last very long.
With each subsequent listen, I began to let my guard down and peel back the layers of the album. “What’s Mine, What’s Yours” (as heard in the video above) was my gateway drug, shortly followed by “Visionary” and “After All”. Even then, I wasn’t sold on the full package until the acceptance of these “softer” tracks led to an appreciation for the complexities of the project’s darker songs.
Eventually, light was seen in the dark on “River of Blood”. The noise from “Steel In The Groove” suddenly translated to “interesting percussion”. Weird Muppet-like breakdowns (see “Watertight”) added a charming element to an otherwise serious collection of songs. If anything, my only problem was left with the all-too-mellow closing track “Pressure On”. While it might be necessary to wind you down after the adventurous ride of Ternion, it doesn’t quite live up to the expert craftsmanship and fuller sound of the nine preceding offerings.
But, uh, nine out of ten ain’t bad, right? If you’re willing to exercise your patience and dedicate some time to Ternion, I’d highly recommend giving it a few spins. All ten songs (albeit, out of order) can be streamed on PureVolume, or you can take a chance and (gasp)order the album before you hear it.
I’ve told you what you need to know. Now, make the right decision.
Those who are only familiar with Joseph Arthur‘s poppier, soundtrack-friendly offerings—“Honey and the Moon” (American Pie 3, The O.C.), “In The Sun” (Saved!, The L Word, Scrubs, The Bourne Identity) and “You’re So True” (Shrek 2)—might be taken aback by the direction of his latest project Redemption City. The majority of the record’s lyrics are delivered in a spoken-word style, falling somwhere between Lou Reed‘s “Walk On The Wild Side” and Paris Hilton‘s lowbrow masterpiece “Drunk Text”.
Redemption City is a concept album of sorts, with a history that spans a whole decade. Back in 2002, photographer Peter Beard made a comment that Arthur’s Redemption’s Son sounded “too religious”, suggesting that he change the title to “Redemption City”. Unfortunately, the record was already on its way to stores, so it was too late to make any changes… Sad face!
The name haunted Arthur for years, until he eventually began writing and self-recording a project inspired by the title. “What would a city of redemption sound like?” he asked himself. “What kind of characters would inhabit it?” You can find out the answers (or something) by downloading the double album for free through his website (with the option to make a donation or purchase a limited-edition vinyl).
This is FOR REAL free. You don’t have to sell your soul to Satan or join any lame mailing lists.
Admittedly, sitting through the entirety of Redemption City can be a bit of a chore, depending on your mood. I’d recommend zeroing in on a few tracks and then expanding your horizons as you move along. “I Miss The Zoo” may not be the best place to start, but it’s a personal favorite. Maybe you’ll like it too? The world may never know (unless you leave a comment and tell me).